Podcasts about YIRA

I'm not a financial advisor; Superpowers for Good should not be considered investment advice. Seek counsel before making investment decisions.Watch the show on television by downloading the e360tv channel app to your Roku, AppleTV or AmazonFireTV. You can also see it on YouTube.When you purchase an item, launch a campaign or create an investment account after clicking a link here, we may earn a fee. Engage to support our work.Devin: What is your superpower?Brian: I definitely feel like empathy is my superpower.Today's episode of Superpowers for Good features a remarkable guest, Brian Coleman, Founder and CEO of A Heart 2 Help. Brian's innovative app aims to connect people in need with those who are eager to help, creating a community built on kindness and support.Brian explained the core function of A Heart 2 Help, a mobile app designed to facilitate real-time care sharing. Whether someone needs their driveway shoveled after a snowstorm, groceries delivered, or just a listening ear, this app makes it possible to request assistance and receive help quickly through geolocation technology.Brian's extensive experience in healthcare, spanning nearly 35 years as a surgical tech, has deeply influenced his passion for helping others. He shared, “For me, that's always just been just a wonderful thing to be, you know, just to be able to help people. And so for this, even though there are so many opportunities when it came to volunteering for me, because of my schedule, a lot of times I just didn't have the time or the opportunity to be able to assist.”A Heart 2 Help goes beyond in-person assistance. The app also supports virtual help, offering services such as career advice, tutoring, and mentoring. “It could be someone that just needs a listening ear,” Brian noted. “At the end of the day, it's just trying to create community and spread kindness throughout the world.”One of the most inspiring aspects of the app is its ability to meet people where they are without judgment. Brian emphasized, “With the A Heart 2 Help app, we're really trying to build a community where it's judgment-free. We want to meet you where you are but then also realize that it doesn't have to come with this negative stigma attached to it.”In a world where everyone faces moments of need, A Heart 2 Help provides a platform for individuals to share their unique gifts and make a meaningful impact. As Brian eloquently put it, “For me, our goal at A Heart 2 Help is to sort of change what the word help means.”This episode underscores the profound impact that A Heart 2 Help can have on fostering a supportive and compassionate community. By leveraging technology to bridge gaps and provide aid, Brian is paving the way for a kinder, more connected world.A Heart 2 Help is raising capital from the crowd via Netcapital. Click here to learn more.tl;dr:* Introduction of Guest: Brian Coleman, founder and CEO of "Heart 2 Help," is introduced. He discusses the purpose and impact of his care-sharing app, which connects people in need with those willing to help, leveraging geolocation technology for real-time assistance.* App Functionality: The "Heart 2 Help" app enables users to request and offer various types of help, from physical assistance like shoveling snow or fixing a flat tire to virtual support such as career advice or emotional support. The app aims to create a community focused on kindness and assistance.* Empathy and Community Building: Brian emphasizes the importance of empathy, kindness, and community support, sharing personal experiences that highlight the need for judgment-free help. The app seeks to change the stigma associated with asking for help, encouraging people to offer and receive assistance without judgment.* Crowdfunding Campaign: The app is currently raising capital on NetCapital to expand its reach and functionality. Brian discusses the fundraising efforts and the goal of aligning with nonprofits to support their causes and needs through the app.* Call to Action: Listeners are encouraged to download the "Heart 2 Help" app from the Apple Store or Google Play Store, post offers for assistance, and support the fundraising campaign on NetCapital. The app has already gained 5,000 downloads and aims to grow its user base and impact further.How to Develop Empathy As a SuperpowerBrian's superpower is empathy. His ability to deeply understand and share the feelings of others drives his mission to help those in need through his innovative app, A Heart 2 Help. Brian's empathy enables him to connect with people on a personal level, offering genuine support and kindness.Brian shared a poignant story from his time in Ohio when he encountered a man in need outside a McDonald's. The man, hesitant and humble, asked for a simple meal. Brian invited him inside and offered him anything he wanted. The man's gratitude and his subsequent story of personal hardship deeply impacted Brian, highlighting the importance of meeting people where they are and offering help without judgment.Tips for Developing Empathy:* Listen Actively: Pay close attention to what others are saying without interrupting or judging.* Practice Compassion: Approach interactions with a genuine desire to understand and help.* Suspend Judgment: Avoid making assumptions about people's situations or needs.* Put Yourself in Their Shoes: Try to understand the world from the perspective of others.* Offer Unconditional Help: Provide assistance without attaching conditions or expectations.By following Brian's example and advice, you can make empathy a skill. With practice and effort, you could make it a superpower that enables you to do more good in the world.Remember, however, that research into success suggests that building on your own superpowers is more important than creating new ones or overcoming weaknesses. You do you!Guest ProfileBrian Coleman (he/him):Founder/CEO, A Heart 2 Help About A Heart 2 Help: A Heart 2 Help is a groundbreaking free care-sharing app designed to allow people to help people in real-time, fostering a global community built on kindness and support. Through this innovative app, users can offer and receive assistance swiftly and efficiently, whether it's providing a listening ear, running errands, offering emotional support, or donating items to someone in need. A Heart 2 Help aims to create a network of empathy, compassion and solidarity, empowering users to make a positive difference in each other's lives, one act of kindness at a time.Website: www.aheart2help.comX/Twitter Handle: @AHeart2HelpLLCCompany Facebook Page: @AHeart2HelpOther URL: netcapital.com/companies/aheart2helpBiographical Information: I'm Brian Coleman, born and raised in Cleveland, Ohio, the youngest of four siblings. My career began in the Air Force, stationed at Keesler Air Force Base in Biloxi, Mississippi, where I honed my skills as a Surgical Technician. Over more than 30 years, I traveled across the United States as a Surgical Technician, serving in prestigious medical centers.Driven by an entrepreneurial spirit, I ventured into different paths, including owning a healthcare staffing agency. One of my proudest accomplishments is inventing the ClipVac, a revolutionary Pre-Surgical Hair Removal System that has transformed pre-surgical procedures in hospitals nationwide.Family is central to my life. I live in sunny California with my beloved wife, Yira, and together we nurture a blended family of seven children. Our home is a sanctuary of love and shared experiences, cherished deeply.Beyond work and family, I find joy in various pursuits. I am a dedicated churchgoer, deriving spiritual fulfillment from my faith community. In my leisure time, I treasure moments with friends, cultivating lasting bonds and creating memorable experiences. My interests range from enjoying the thrill of horror films.My journey is one of dedication, innovation, and a profound appreciation for the people and experiences that shape my world. Personal Facebook Profile: fb.com/profileLinkedin: linkedin.com/in/brian-coleman-03a428286Instagram Handle: @AHeart2HelpUpcoming SuperCrowd Event CalendarIf a location is not noted, the events below are virtual.* Impact Cherub Club Meeting hosted by The Super Crowd, Inc., a public benefit corporation, on August 20, 2024, at 1:00 PM Eastern. Each month, the Club meets to review new offerings for investment consideration and to conduct due diligence on previously screened deals. To join the Impact Cherub Club, become an Impact Member of the SuperCrowd.* SuperCrowdHour, August 21, 2024, at 1:00 PM Eastern. Each month, we host a value-laden webinar for aspiring impact investors or social entrepreneurs. At this month's webinar, Devin Thorpe will provide a “Step-by-Step Guide to Raising Capital from the Crowd.”* Recently, we created an AI GPT to help you learn more about The Super Crowd, Inc., a public benefit corporation, and our upcoming events. Click here to try it.Community Event Calendar* Successful Funding with Karl Dakin, Tuesdays at 10:00 AM ET - Click on Events* Raisepapers Reg A+ Office Hours, August 8 at Noon ET.* Main Street Skowhegan and NC3 Entrepreneur Finance Workshop Series, September 17 - November 19, 2023.* Crowdfunding Professional Association, Summit in DC, October 22-23* Asheville Neighborhood Economics, November 12-13.If you would like to submit an event for us to share with the 8,000+ members of the SuperCrowd, click here.We use AI to help us write compelling recaps of each episode. Get full access to Superpowers for Good at www.superpowers4good.com/subscribe

Brimage holds the top leadership position for the University's Gilbert Campus and is a member of the University's executive leadership team. She is responsible for leading the strategic growth and operations of the campus, including academic programming, market development, community relations, fundraising, enrollment growth, student services, student academic support, student engagement, and athletic program development and growth.  Most recently, Brimage has been the principal and owner of Brimage Consulting in Tucson, Ariz., which specializes in working with educational, health care and small businesses to prepare their workforces with competency-based skill development.  Brimage is not a stranger to higher education in Arizona. For nearly four years (August 2014 to June 2018) she served as vice president of student affairs and engagement at Pima Community College's downtown campus in Tucson. She also served a variety of roles with Maricopa Community Colleges for 14 years, including vice president of student affairs at Phoenix College from 2010-14, and associate dean of enrollment services (2000-05), dean of student affairs (2005-09) and acting vice president of student affairs (2009-10) at Scottsdale Community College. Brimage began her career in higher education at Arizona State University, serving nine years in undergraduate admissions for various campuses, as well as in student affairs for the ASU East (now Polytechnic) Campus.  She has been active in the Tucson community, having served as a liaison with the Tucson Urban League and Tucson Hispanic Chamber of Commerce, and as a board member with the University of Arizona Campus Christian Center, Wesley Fontera, Paiute Neighborhood Center Scottsdale, Chandler-Gilbert ARC, and most recently House of Refuge, Gilbert Talks, Phoenix East Valley Partnership and Educational Partnership.  Brimage is working to earn her Doctorate of Education degree in educational leadership from Northern Arizona University (expected to graduate in Spring 2024), following the completion and successful defense of her dissertation on “Latina Leadership in Community College.” She earned a Master of Education degree in educational leadership and policy studies from NAU and a Bachelor of Arts degree in Spanish and communications from ASU. ---------- Guiding Growth: Conversations with Community Leaders Join our hosts, Sarah Watts and Ben Kalkman, as we explore the human journey of leaders - their stories of humility, triumph, roadblocks, and lessons learned - as they reflect on how they became who they are today and share stories of inspiration and hope with listeners. We'll take away the title, just for a moment, and enjoy a connection with the soul. Be sure to subscribe to our show for more interviews with community leaders. This podcast is brought to you by the Gilbert Chamber of Commerce and Modern Moments. Learn more about our show at https://guidinggrowth.co. View our Privacy Policy at https://modernmoments.com/privacy

El mundo está cambiando en un abrir y cerrar de ojos. La tecnología ha afectado todas las industrias incluyen la industria musical. Nos sentamos con Yira de "Protege Tu Música" para hablar sobre el aspecto legal de la inteligencia artificial. Si te quieres poner al día, tienes que ver este podcast.

En este episodio hablamos con @yrenepuello, la hija de Yira y mamá de Jean Daniel. Una amiga que tuvo que aprender a ser mamá mientras lidiaba con el duelo de perder a la suya.Acompáñanos a escuchar el poder de las palabras y por qué era Yrene el Girasol de su existencia. Les prometemos que aunque lloremos, no es un episodio triste y tiene un mensaje muy positivo para despedir el año.¡Quédate y escucha!

Victories in Jesus Read Colossians 2:9-15 Victories in Jesus Let's Pray! Born again Christians have already been spiritually circumcised V. 11 Paul's argument is the answer to those who said they needed to be physically circumcised this side of the cross; Paul says you have already been spiritually circumcised through faith in Christ, and are not obligated to keep OT Civil Law. For no one is a Jew who is merely one outwardly, nor is circumcision outward and physical. But a Jew is one inwardly, and circumcision is a matter of the heart, by the Spirit, not by the letter. His praise is not from man but from God. -Romans 2:28-29 Circumcise therefore the foreskin of your heart, and be no longer stubborn. -Deuteronomy 10:16 Born again Christians have already been spiritually baptized V. 12 For by one Spirit we were all baptized into one body – Jews or Greeks, slaves or free – and were all made to drink of one Spirit. -1 Cor. 12:13 Born again Christians have been made alive and debt-free V. 13-14 Consider Psalm 90:11 in Hebrew, which basically says it all in 2 back to back words – Yira, Ebra – the lack of fear (Yira) we should have showed YHWH will be the amount of the wrath (EBRA) we deserve. My little children, I am writing these things to you so that you may not sin. But if anyone sins, we have an Advocate with the Father, Jesus Christ the Righteous. He is the propitiation for our sins, and not for ours only but also for the sins of the whole world. -1 John 2:1-2 Born again Christians are on eternity's winning side V. 15

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En este episodio de El Negocio del entretenimiento hablamos con la Lcda. Yira Santiago, Abogada especialista en música y entretenimiento, quién nos habla de los erróres legales más comunes de los artistas y creadores de la industria musical. Episodio #2/ Season #6. Follow us en FB e Instagram: @Sparkofstudios www.sparkofstudios.com Host: Jafet Santiago Productora Ejecutiva: Millietzie Vélez Ingeniero de audio y editor: Alejandro Colón Luces y Cámaras: James Lynn Una producción de Sparkof Studios para Sparkof TV www.sparkof.com Derechos reservados Sparkof Media LLC y Sparkof Entertainment Group Corp. --- Send in a voice message: https://anchor.fm/jafet-santiago/message

The teachings of Shamai powerfully contrast with those ofhis colleague Hillel. At the heart of this differentiation are polar-oppositepersonas of Yira- discipline and practicality vs. Ahava- love and creativity.Ultimate these two great leaders have a complimentary relationship and are bothindispensable to the leadership of Klal Yisrael.

Series: Be'erot, Love & Relationship with God.     Episode Transcript:   Last time we were learning we had uncovered a very amazing feature about Yosef Hatzadik.  And that is that everything about what he is is hinted in his name that Rachel Imeinu gave him.  He's actually defined in two realizations in life: one is that, she declares as soon as he's born asaf Hashem et cherpati.  That G-d has gathered in my degradation.  And the other is she says rather, well, if he were listening when he was born he might have been somewhat disturbed by the other thing she says, which is naming him Yosef by virtue of  Yosif li ben acher, that I have a prayer that there should be another one.  It's a rather funny thing to be called.  Because it actually means about you that you're nothing but a transition.  Nothing but an avenue for other things to come into the world.  His mother expresses her sense of him as really being that which is to be traversed in order that the next child be born.  And in fact Rachel is very connected to that phenomenon as we've spoken about her in the past, that she is the behina of this world, she's the alma d'it galya , about which the rabbis say is simply a passageway to the next.  And her herself, she herself, participates in that as becomes reveals when she dies "on the way."  And Yaakov emphasizes that, the Chumash emphasizes that, she dies "on the way," derech Efrata.  Towards the place of fertility.  She never really arrives there.  She dies on the way to that realization, and so, in a sense Yosef is really her image in being the one who lives "on the way."  But what was most real for us about Yosef in that is what we explored last week, Yosef as the channel.  And his personal way of being which was – our primary last week was -- in giving over life.  And that's what Yosef does.  He gives over life, he's the mashbir l'khol ha'aretz.  And he stands in a radical difference from the way of living that his brothers live, or especially as expressed by Yehuda, which is of containment.  Containment.  Yehuda, who is the malchut , literally malchut is kelim, is, the letters of malchut actually is kelim.  That's what malchut does.  Is it creates kelim and it's very good at that, and that's very, very crucial, but it also has a tremendous failing when the kelim become self-serving, and the structures become a self-justifying reality in which the – like we all know it in politics – where the bureaucracy becomes its own self-serving system.  And we all know it in personality also.  When our personality actually becomes self-serving.  By which I mean, when we have a way of being in the world that we become very, very protective of.  Become very, very insistent upon.  And we become very expressed through and identified with, to the point that all we see is ourselves, and then, rather than being a picture of that which is beyond, which is what the malchut is meant to be – it's a temuna, it says in the kabala the malchut is the temuna --  it's the picture.  Instead of being a picture it becomes a false mirror.  In other words, a true reflection of what is, is the true path of malchut, in which it's expressing that which is feeding into it, and is expressing it outside of itself as the image.  So, too, in a personality.  When you're authentic to what it is that you're manifesting so that's an integris picture of who it is that you are.  But often times we find ourselves becoming very much involved in looking at the image that we've created and becoming, in a sense, worshipers of that image.  It becomes the avoda zara of personality when that which you've created as your persona becomes that which you worship, and that which you protect and that which you preserve.  And then instead of it being a picture of what is, it becomes a mirror of its own self.  And as we saw last time, Yaakov actually tells that to his children before they sat [set?] out on the path of their meeting with Yosef, their first meeting with Yosef.  Which begins, as we saw last week, with him saying to them, it says that Yaakov saw that there was shever in Mitzrayim.  That he saw – of course literally in the pshat is he saw that there was what to buy in Egypt.  There was food in Egypt. Shever; it means food and what to purchase.  But shever also means, as we know, a crack. He saw that there was a sever, a severing, in Mitzrayim.  Probably shever and sever, in English, are related.  Because there was a cleavage in Mitzrayim.  And that cleavage and that severing is what's called in the kabbala the ateret hayesod.  Which is the place where things open up into reality outside themselves.  And so he saw that there was this cleavage, this break in Mitzrayim, he saw there was an opportunity in Mitzrayim,  for something to be born.  And he says to his children lama titra'u.  How comes you're just standing around here looking at each other.  But, more deeply, because it's the reflexive, "how come you're just standing around looking at yourselves?"  He mamash says it to them; so clear.  You're just standing around looking at yourselves; all you have is these persona that you've created, and all you're doing is looking at them.  And the only relationship you have with the world outside you is just figuring out how it's going to harm or feed that which you've already created about yourself that you are going to maintain.  But you have no interest, really, in the outside reality as something from which you could possibly learn, grow from, which you would actually invest in, as something which would become a greater realization because of your investment in it.  That's not at all your interest; you're just interested in maintaining the institutions that you've created.  And they're great institution makers; I mean, they are.  Like, although, clearly I sort of see myself belonging on the Yosef side of the map, I don't want to denigrate the great institution makers, and they are.  But that's basically what Yehuda does; he goes to Mitzrayim in order to build the Beit Midrash there: v'yishlach le'horot.  He's sent ahead to teach in the Beit Midrash and to set up the yeshiva, Rashi says, that are going to be in Goshen.  That's his task.  But, as we all know, when an educational institution, for instance, just becomes its own self-serving fact, so then the students in it become secondary.  It's like, I'm working now with this charitable organization, who's supposed to funnel money that someone has donated to make a commemoration for Shlomo who was murdered a month and a half ago, and so, I'm just watching how they're really well meaning, you know, they really want to be a charitable organization.  But they've created this monster!  There's like all this overhead.  So from a rather large donation, they want to take 10%, which is more than $10,000. Just to give you a sense of what … Now, they don't have all that much work to do.  But, I mean, the people are there, they're full-time, I mean it's like there are 2 people on staff and there's a space they're renting, and it's like this big thing.  So then they need the donations to keep themselves running.  That's what institutions become instead of -- losing the vision of what it was they were set-up for – they become their own self-serving thing of seeing themselves.  And, literally, the attitude becomes one of spying, which we saw last week as Yosef's accusation to the brothers: "you've come spying."   Because when all you're doing is being committed to the maintenance of the forms that you've made, so then the only attitude that you're really going to be willing to have with that which is outside of you is to spy all the time, whether it's going to be to your advantage or to your disadvantage.  And the vision that you originally had that you're supposed to be a picture of, and maintain a perfect reflection of, becomes lost and clouded.  And this is one element of what the kabala calls kitzutz b'netiyot, when the malchut  is like a plant which has been cut off from its source.  Like a plant that's been cut off out of the ground.  That's ultimate sin in kabbala.   That's ultimate sin; that's the root of avoda zara.  And it is the root of avoda zara!  It's when the things that are creations that are pictures of that which is beyond  loose the beauty that they have as the reflection of what is beyond and they become self-serving phenomenon.  That was the sod of lama titra'u that Yaakov says to the children: "All you're doing is looking at yourselves.  What you need is the man who is the man of shever ."  And the man who is the man of shever is Yosef always.  Yosef is always in a crisis.  He's always in the place of the shever.  And he creates crises; he does!  Yaakov Avinu, when he was mevakesh shalva, as we saw, so, ele toldot Yaakov – if you want to see someone growing, toldot Yaakov, if you want to see Yaakov producing, ele toldot Yaakov, Yosef,ben 17 shana.  So bring on Yosef, right?  The rest of the brothers don't even matter in the depiction of ele toldot Yaakov: well where are the rest of them?  There's Reuben, Shimon, Levy, Yehuda, Yissachar, Zevulun, Dan, Naftali; where are they all?  The only toldot of Yaakov, the only one who makes Yaakov continue to grow, is Yosef.  Because Yaakov, who, as we saw last week, is simply a fire – just a fire burning, he doesn't reach out of himself – so he would just stay put. [16:44]  Kafatz alav rogzo shel Yosef Rashi says: the guy whose whole being says "hey, where you are, it's just a transition to the next place."  That's all.  It's just transitions all the time.  Don't get snagged on where you've come to; there's something else waiting for you.  That's Yosef.  Don't get snagged.  So kafatz alav rogzo shel Yosef : Yaakov knows this about Yosef.  He finds it out more and more.  And then finally, when he, I believe, comes to the realization that his path has been, sort of, "lehitra'ot,"  you know, to just "see himself" all the time, and for them to see themselves, when he comes to that, then he can send the children out to meet Yosef.  I don't know if these are conscious processes, but in the story that's mamash what happens.  He sends Yosef to the brothers to make shalom, which, as we saw last week, is always involved in moving beyond.  It's not shalva, it's not "peace."  Right?  It's not peace, as we saw, peace and pius is simply, what's it called, appeasement.   There's a fancy word: rapprochement.   That's not shalom.  That's like, ensconcing things as they are.  But Yosef insists on the moving; that's why he will always be the ish shalom.  That's such a different perspective, and we saw last week how much he plays that out.  But that comes from a perspective on reality which is that way.  Which is why we saw last week that he's the candle, he's the flame.  And he teaches his brother this consciousness, in telling them of 10 candles, 10 lights, 10 fires, flames couldn't put out one, certainly one can't put out ten.  When flames meet they just make each other brighter.  "I met you; all you did was make me brighter, and yourselves brighter, and that's all I've been about since you did what you did to me – all I've been about is making you brighter and making me brighter.  That's all I've been about.  And making the world brighter.  Doesn't matter what you'll do, and how dark a place you'll throw me into."  And they throw him into the darkest place.  It's like a way of living, all the time, to be touching that.  But he's also always in crisis.  There's always like a crisis, like a shever,  because he can never sit still, like, where he's come to is not good enough.  But for him it's not out of driveness, it's out of there's just so much more, there's always more fire to burn, there's always more reality to expose, always more connections to make.  Connections to make, which is where growth and reality comes from.  This is why he names his son Ephraim for.  He names his son Ephraim. And Yaakov recognizes Ephraim, even though he's the second son, as being the primary son.  Because that's, yeah, "that's Yosef."  The man of incessant creativity and fertility; that's Yosef; he's always opening up for more.  That's Ephraim.  So these are the themes that we explored last week with more openings here of the nature of how this works in personality, in human personality.  And how they became entrapped and therefore spies, and ceased to be brothers.  Which is what basically he accuses them of.  So, this is what we explored last time, and the nature of Yosef's name, is yosif li ben acher. And the other thing, which I'm not sure I spoke out enough, which I sorely don't want to forget, and that is Yosef in his being for those people he meets.  And this is another, this is a trap, which is a trap for Yosef.  It's not a Yehuda trap, it's a Yosef trap.  Yehuda we made enough critique of.  And Yehuda desperately needs Yosef.  Just as all the institution makers need the one who's always breaking the kelim. Always making a shever.  They need them.  They invite them in;  I don't know, they may have trouble with them.  But, that's a true need of the "Yehudaim" in the world, is that there be a shever to break the place out of what it just becomes more thickly and thickly self-justifying and self-creating-with.  So, but the great failing in Yosef is he becomes self-involved.  That's different than trying to maintain a veneer.  Yosef will never try to maintain the veneer.  He doesn't really care about the veneer; the veneer just gets in the way.  Doesn't care about the persona.  It's like, not his thing.  But what he does become in his failing, and where he needs Yehuda, is he becomes self-involved.  He just becomes, like, it's all about growing.  It's all about creating.  Right?  So, "leave me to my artistry."  And then there's no – this I give for Sarah  -- there's no "for-ness."  You know, what they call – I think that's a made-up word – but there's no for-ness, there's no being for the, for being completely devoted to truth, to creative expression, to realization, but then it becomes, in its failing, personal realization.  And personal involvement.  And that's his way of becoming, he's not titra'u in the sense of just looking at himself; it's not that he's looking at himself.  He's just like – in the sense of trying to mirror himself.  The way the Yehuda people become.  He's just self-involved.   He's not for the people he's coming in contact with.  That's Yosef who's fixing his hair, looking in his mirror making sure he looks nice.  He's outward directed, but self-involved.  That's Yosef the na'ar, the adolescent Yosef.  Who just becomes caught up in his own stuff and loses his for-ness.  Of course the great tikkun of Yosef comes by virtue of what Paro puts him in charge of, which is to become the mashbir kol ha'aretz.  Which is the greatest thing Yosef can do.  Is to become completely a channel for the goodness which he brings out and into the world from beyond himself.  And then he becomes a channel; that's like, clog up the Yosef and mamash the guy's going to die!  Once he realizes his tikkun.  And even when he's not in a realized tikkun he's like, he really in a sense deserves to die.  That's simply a reflection of what he himself is sort of giving off.  Because if Yosef isn't for others, if Yosef isn't out there seeking shlom acheicha, seeking the peace of your brothers, he's not out there and that's why his father sends him out to do that.  "You can't stay home, Yosef!  You gotta be out there seeking the shlom of your brothers, 'cause if you don't you'll just die!"  So, in a sense, Paro really gives him his tikkun, to make him mashbir kol ha'aretz.  It's just funny, because he'll be not only the one who provides all the nutrition and sustenance of the land, but he's also a crisis maker: the mashbir kol ha'aretz.  He creates crises!  He creates openings for people.  He was always shuddering them out of their complacency.  "Is he creating a crisis or revealing a crisis that's there?" Revealing the crisis that's there, beseder, OK, I'm not even sure.  I mean, of course, from his perspective he's only creating, he's only revealing something which is there, latent in the reality as it is and just kinda exposing the openings that people have not come to recognize in themselves, for sure.  But from the perspective of the people he's [? Working them? 26:10.2].  They probably experience him as making crises.  In any case, so, Yosef, that's his tikkun, that's when the yesod becomes a giver.  And that's his only tikkun, he's like, he's a dead man without that.  He's a dead man; there's no existence for him.  That's why Yaakov, knowing this about Yosef, as we saw, says about him that "you're the flame.  I might be the fire; I might have been perfectly happy b'eretz migurei aviv, just going back home."  Which is the way the chumash describes vyeshev Yaakov b'eretz migurei aviv ???? [26:59.3]:  "I didn't like that whole galus  thing, you know, that wasn't what I was looking for.  I just got, like, chased into it.  But, you know, I'm a fire.  But in order for a fire to get back to Eretz Yisrael, so, we need a flame in order to get back to the place from which we can really give. We need the flame.  That's you, Yosef."  So, you hear in that description of him -- these primary depictions of these characters is just so marvelous, how precise Chazal are, and so deserving of real, in Hebrew it's called mishush, you know, like, I don't know if there's a good English word for that, of like, just, touching them and caressing them and moving them around – but that depiction of Yosef is also a description of his essence and therefore also of his tikkun: he always has to be a flame.  Always has to be a flame.  And a flame is lighting others, and is also igniting others.  And [I'll? 28;16.2] experience him both ways.  So we saw, in our context of achoti, ra'ayati, yonati, tamati, so we saw in that context that Yosef brings this about in people by looking in their eyes.  We were in a context of achoti, ra'ayati, yonati, tamati, with achoti Avraham, ra'ayati  Yitzhak, yonati  is Yosef, he's the yonah who the kabalah says looks infinitely into the eyes of the other, her partner, all the time, she's always like, very … it's a deep, deep ne'emanut that the yonah has.  And it's in that both reliability and investment and faithfulness, so she exposes the infinite wellsprings of the other.  So, in that sense, it's like lighting the fire of the other to look in their eyes; it's very delicate, and you have to be careful how you do it.  It's tricky.  But, that's how you bring another person out really, unless they're so caught up in their own being ashamed of themselves that they can't let you look in. And that will be what it will be; it's, that's what'll do it, right? Like, we turn our eyes down; it's like, we're embarrassed.  And correctly so; we're embarrassed.  And often times incorrectly so.  But that's where a person who's embarrassed by something that's how, you know: "looked him straight in the eyes."  You know.  That's when it's power.  But that you're willing to hold the glance, and look back, that's when you can rely on me.  Right?  The one who's being looked at and being willing to look back, it's "you can rely on me; you can count on me.  There's nothing I'm ashamed of which I'm afraid that if it would be exposed then you'll cease to trust me."  I think all those words revolve around the issue of looking into each other's eyes, which the yona is representative of.  So, I don't know, but – I do know – that, I mean, we don't have explicit statements of this in Chazal about Yosef, you know, looking into people's eyes, but what we do have is that Yaakov Avinu calls him the shor.  The bull.  So people normally associate that with, and correctly, they associate with fertility.  But here's a deeper secret about shor:  and that is that shor means seeing.  It means looking.  In Hebrew mi yishurenu, his vision is so long, mi yishurenu.  Mi yishurenu is from Parshat Bilam.  Bilam says this.  "Wow!  [32:23.7?] tov…." I don't remember the precise pasuk, but mi yeshurenu.  Who can see it? shurai'na, in Aramaic means vision.  Shuraina.  Banot tza'ada alei shur is a play on words.  It's about the women in Mitzrayim who – it's got a triple play on words, it's unbelievable – Banot tza'ada alei shur: are you familiar with the pasuk?  It's in the bracha of Yosef.  Ben porat Yosef [33.00.4?] porat alei ayin:  he's the one, the fertile one, the beautiful one. Porat means fertile and beautiful.  Alei ayin:  he's the one who is above the eye.  He's the one who's above the eye, or, as some interpret it: he's the olay ayin, he's like the springs of the eye.  Springs of the eye.  Banot tza'ada alei shur: the women were marching on the shur – did we talk about this last week?  Great!  The women march on the shur, meaning, literally, it means a shur is a wall, so it's the origin of the – excuse the expression – they were "climbing the walls."  To see him.  'Cause he was so beautiful and so attractive, and so igniting.  Extremely charismatic personality.  Igniting everyone.  Banot tza'ada alei ishur is a play also on him being the shor.  Being the ox, as Yaakov calls him.  Then: banot tza'ada alei shur they're trying to get up and over the usual way of looking at things.  So that they can really look at him.  So shur is a wall that you climb up on in order to get a better view, it's an ox, because it's extremely fertilizing, and productive, and it's seeing.  It's [just? a] beautiful pasuk; it's really an amazing pasuk:  banot tza'ada alei shur .  And that's because Yosef, as we have revealed by virtue of him being connected to the yona.  In this pasuk Yosef is the one who brings out fertility by looking into the other's eyes.  And, in that looking, not from the place ruling and taking control, which is the abuse of that when you're looking at someone who's ashamed of themselves, so that's how you get control over them: you look them straight in the eye, right?  And you know that they feel lowly about themselves and demeaned about themselves, and they're like, just garbage.  So the more you look them in the eyes the more low they feel.  Because you must be seeing all that stuff that they've got.  And the more ashamed they are: that's how people gain control, the guys who can hold the glance are the ones – not because they're not ashamed of anything, just because they have the power, the "power glance" -- I think they have assertiveness classes – if they don't then I'll teach it to them!  Not that I necessarily have it, but I know what's going on!  The "power glance" is like, when, you're giving the glance in a way in which you're seeking to shame – this is extremely important for the second part of what we're going to explore this morning – but the power glance is when you're seeking to intimidate the other person by the way you're looking into their eyes, 'cause they're just feeling embarrassed and ashamed and belittled and nothing and blah, blah, blah, blah, blah.  But that creates – it's for me not to just, like, slip into it – but that creates what's called ona'a, which is what we've taken upon ourselves to look at today, which is the other aspect of Yosef, who's totally against that.  But that creates ona'a, which we began to explore last time, which is the denigration and devaluing of the other.  Which we're going to explore more today.  Just put that aside for now, so you can see how the question of the use of the eyes and what you're seeing in the other person is so big.  But having the ayin tova of Yosef, having a good eye, is to look at the other in a way that empowers them.  That creates trust and love and connection and commitment and investment.  Those are all words for the yona.  That's really what those girls were looking for.  And climbing up the wall [for].  But you can see how – I mean, this is a delicate conversation, 'cause you can see how easily tripped up that can become into a power play, or into some base excitement that the charismatic people produce and then utilize that, when they're self-involved, to gain the sense of worth or control or whatever it is that they're looking for.  Right?  That's how charismatic people then become self-involved and use the charisma and use the chiyuniyut to destroy people's lives.  Mamash.  Destroys people's lives, and to destroy relationships.  And they always get involved in other people's relationships.  They always seek to break them, ruin them, and they can't keep their own.  They go from relationship to relationship, from woman to woman, from man to man, however it'll be.  So [39:01.3 ?? yesod], what're you going to do; it's heavy stuff.  It's the very foundations:  you don't have this? You don't have anything!  Mamash.  If you don't have this foundation in life, the things we're teaching this morning?  You mamash, everything else is just completely destroyed and you'll have Yehuda going haywire in all of his institution building and kelim building and persona building.  And you'll have the rest of the binyan clogged up and unable to come to expression.  And you'll have Yosef completely self-involved.  And just, using all these powers, to their precise perversion. Of what they're given to him for.  So, so to speak, the yesod needs the yesod.  Right?  The yesod needs to have within it this ongoing realization of "I'm just a passageway. Just, this is coming through me; it has nothing to do with me.  It's just what's coming through, and I want to share that and give that over and be with the other in that."  We saw that, if you remember, in David in lev tov, when [what?] he actually does.  But Yosef just does it with his eyes. He's not really so much the doer, Yosef.  He's the one who creates the belief that people can have in themselves to go and do.  But he's not the doer; he doesn't make the kelim.  The only way he knows what to do in Mitrayim is because he interpreted Paro's dream.  Couldn't have figured it out for himself!  There are some people who interpret Yosef as like the gashmiyut and Yehuda the ruchniyut and all these crazy things which are complete violations of the text: Yosef is not a kelim maker.  He just rides around on the chariot in Egypt and gets everyone really excited about being Egyptian, or whatever.  He doesn't really do anything.  He just interprets Paro's dream; he knows what needs to get done – v'yafked pikidi – and he sets up all of the pekidim – what's the word in English for that? they're called the clerks – they're like "take care of everything" and they take care of everything.  So,  if it's not flowing through him, then it becomes snagged on itself and it becomes extremely destructive.  I don't think there's anything more destructive than burning people up!  So, the yona, in her beautiful place of investment, commitment, liability, sticking with her partner – that's what the yona is the primary image of – is the real Yosef, so to speak.  And when he invests that into the malchut, so then the malchut can become for the people.  And not just for the institutions it's created.  And when he lives that, so then he can become for the other.  And not just for himself.  So this is some of the tapestry of the yona of Yosef, of yonati.  But there's another very, very deep and important aspect of this, and this is where we'd gotten to last week.  And that is the other aspect of his name.  And that is that Rachel says "you've saved me from shame."  And now you can really appreciate from this perspective and in this context how that's his first name.  "My first experience of you, Yosef," Rachel says, "is you protect me from shame.  Yeah.  When you look into my eyes, I don't feel ashamed, I feel trusted.  When you look into my eyes, I don't feel denigrated and small and embarrassed, I feel enlarged.  Like, there's more to be born here, more to grow here."  Asaf et cherpati.  You're whole being is built, and its tikkun, on the guarding of other's from shame, and relating to them in such a way that the shame will not be their primary experience.  They might be embarrassed about something, ok.  Like, we all have what to be embarrassed about.  We all have the things we're messed up about.  But that the primary experience should be that we're embarrassed and ashamed?  Is to enslave the person and to rule over them and to entrap them, because then they become so belittled that they have no power to do anything at all.  Shame is the greatest and most powerful disenabler.  It's like, you don't want anything, you don't want anybody to know about anything that you are, so it's better to keep it to yourself.  [45:27.7 "no excuse me"?]; people just walk into the room, you know, and create this whole environment of "excuse me; is it ok?" they sit down very carefully as if they don't want to bother anyone, like they're the most "bothering" people who could come into the room, are the ones who, like, come into the room with this sense of "I don't want to bother anyone!"  You know these kinds of things? Walk in and it's like [whispers] "excuse me," like, all closed up inside themselves; it creates this energy in the room of "eew! I don't want to be here!"  Because that's all they're giving off all the time is "I don't want to be here!"  Because to be ashamed, in shame, is to be in this shmama, which is literally what – are you allowed to do drashas on English words into Hebrew words?  No, it's a shmama; that's what it is.  Shame is a shmama.  Shame is the inverse – all right, as long as we went there, but we won't spend too much time on this – but, shame, like to make a name for yourself is, like, when you're ready to go out there.  You know, when the malchus makes a shem: baruch shem kavod malchuto, the malchus makes a shem, makes a name for itself.   It's not embarrassed, right?  It's not embarrassed.  When you're empowered, you're out there to make a name.  G-d says to Avraham Avinu agadla shmeicha, I'm going to make your name great.  But if you live shame, if you live the English version of shin-mem, then you're really living a shmama, which is your living "name" as a devastation.  Shmama is a devastation.  You're living the inverse of shame.  Forget the English for now; just listen in Hebrew.  The inverse of shame, of name, is shmama, is to be like a desolation.  That's what it means in Hebrew: a desolation.  And that's because of "shame" in English, that's because of embarrassment.  Of, ok.  Enough of that, enough explaining.  But the point is that Yosef HaTzadik is able to make the malchut want to be a name.  Is able to make another want to be exposed.  Is able to, himself, expose, himself, and cut away the blockages.  Because even though he may have things of which he is ashamed, and we all should, and do our tikkunim on them, that's not his prime experience of life.  His prime experience of life is asaf Hashem et cherpati – like Rachel implants it in him in the outset.  "This is who you are.  You know what you did for me Yosef?  Thank you.  You've taken away my shame. You've taken away my degradation."  That's so beautiful; that's her first experience of him.  Imagine being born into the world with that!  That means your primary reality is to function in the world in a way in which you are gathering people's shame by giving them the power to be who they are most fully.  And when Yosef's orientation is that, then instead of his charisma becoming a way in which he lords himself over people, it becomes a way in which he ignites them and burns their fire so that instead of burning with shame, which is the other possibility, right, instead they burn with creativity and fertility and then the malchut really becomes what it needs to become.  So I want to explore a little more of that today.  We have this curious word usage, words that come up around Yosef.  We saw shalom coming up around Yosef a lot.  We saw yosef, his power of tosefet.  We saw shever, and mashbir.  Another word which is a primal word, and the word is on. Alef-vav-nun: on, comes up a lot.  Comes up first in Onen, who's Yehuda's son.  It comes up again when Yosef marries the daughter of, my gosh of all people, the prince, the priest of On.  Bat Potifera kohen on.  And it actually comes up deeply the first time in the Torah in the name of Binyamin when Rachel says "oh, you; you are the son of my on", alef-vav-nun, ben oni.  Father calls him Biniyamin, but she calls him ben-oni.  M'eanyen.  'Cause if her prayer with Yosef was "Yosef li ben acher," so, who's the on that Benyamin is the son of?  I mean, literally it means, in the pshat, the son of my sorrow.  Because on means sorrow.  On also means power.  About Reuben, Yaakov says kochi v'reishit oni.  The first of my power.  So is Yosef the on that Benyamin is the son of?  "The son of my on."  I mean, he's the son that, in a sense, Yosef brought her, right?  Thanks to Yosef she'll have another son.  Interesting.  Now, an onen is someone who is sexually self-involved.  That's who On was, the son of Yehuda; clearly turned it on himself.  That's why he died, and Er died, etc.  What Tamar does, is she draws Yehuda out of himself.  I mean, as a whore, but she draws him out of himself to do the giving that he's meant to do, which is to fill her with a child that On  and Er did not.  So, in a sense, he has to overcome the, so to speak, onenut of his child in the relation with Tamar.  So, the Ramak, Rav Moshe Cordevero, says in the Erkei Kinuyim, in the Pardes, that Tamar is the Ateret hayesod.  That she's the opening of the yesod, and some say she's malchut.  What is that?  I'll tell you what that is.  And I think we began to hint at this last week.  She is a feminine embodiment of Yosef.  As the verse says: Tzadik k'tamar yifrach.  The tzadik, who is Yosef, blossoms like a Tamar.  Ah!  Oh, I get it!  So she's actually drawing Yehudah out into what he needs to become, the one who would impregnate another.  So she's functioning there as the teacher of Yehuda.  In a very similar fashion that Yosef functions as the teacher of Yehuda in saying "you're just spies, just involved with yourselves.  Just mirroring your own realities all the time.  Hey, take a look" – take a look, where? At the petach einayim, 'cause that's where he meets her.  She's sitting there at the petach einayim.  That's Yosef bechina:  "open up your eyes, open up your eyes!  Take a look, hey!  Here I am!"  Right?  She's sitting at the petach einayim.  And she gets Yehuda to open up his eyes!  And then again, it's not in the very best of circumstances, but nebech, some people need processes, as they say.  So, part of the process for some of them is – all right, enough said.  But the, yeah.  So, she does the most amazing thing.  And, it's really the pinnacle of the story, in the Chumash, and it's certainly the pinnacle of the story [as] the Rabbis describe it, and that is, she is ready to sacrifice herself, lest he be shamed.  That's what happens, right?  She's there, about to be burned, and she sends to him, apparently in a box, or someone that other's wouldn't see it, she sends to him "you know, the one who this signet and cloth belongs to?" – sorry, "staff, belongs to? That's the one who I've been made pregnant by."  Now, the Rabbis even have it more intense: hi mutzeit.  They have it she was already set on fire.  In Hebrew hatzata means to "ignite it."  With an alef means "she's been taken out," but without the alef , it means she's been "set on fire."  So she's already burning.  And she sends it to him in a discreet fashion, for him to decide whether he wants to expose himself or not.  I mean, come on!  Come on!  Just tell them it's Yehuda!  He's the one, actually, who declared "she shall be burned."  Ah.  So the Rabbis say, and Rashi brings it mamashi like a pshat, even though it's a Rashi in which his issue, I don't think, is in the structural problems in the pasuk, but rather it's in the content problems in the pasuk: "why is she doing this!  [she's] in danger!"  So he says, "well, you know what?  You know what she was?  She was observing the rule, which is 'it's better to be burned in an oven than to shame someone.'" Better you burn, then that they burn.  Basically.  Better that you burn, literally, then that they should burn in shame.  It comes down to halacha!  I mean, I don't know exactly what the precise application of the din would be, but the Gemara takes it very literally, and tells stories about people who actually lived that way, and almost died that way.  But you see the pinnacle of the story of Yehuda and Tamar is that she will not shame him.  And that becomes him saying tzadka mimeini, "wow; she is far more righteous than I am!  She's mode to that."  He learns that from her.  This thing about not shaming.  He learns that from Yosef's feminine version.  So, you know, the same root, in Hebrew, for on is the word that the Rabbis use for shaming another, and degrading them: it's called ona'ah.  Ona'at devarim.  It's when you say to someone "you stinking nothing; who do you think you are, to have something to say about this matter?  Why, just last week I saw you eating pork!"  Or, if you don't have him on something, "I know who your parents were!"  Or, if you don't want to… "Hona'ah?" Ona'ah.  Hona'ah is "trickery."  Ona'ah is causing this kind of destructive pain to another, but it's a very specific kind of pain.  On is pain, it's a power pain.  That's why in Hebrew the word on means both power and pain.  It's a "power pain," in which you use their pain to become empowered over them.  By shaming them.  Or, if you're not going to shame them, so then you just "toy" with them.  Like, if you walk into a store, the Mishna says, and you ask the guy "how much does this cost," while you're snickering – either inside or with your buddy – "how much does this cost?"  "Well, I'll look it up;" he's like, working it all out, looking it up, and, you know, "how much is that, and how much is that, and how much is that;" you've got the guy, like, ping-ponging around the whole store, you know, like – what's that machine called?  Like a pinball machine.  And like, "yuk, yuk, yuk, hah, hah, hah!"  Well, that evil laugh is the laugh of ona'ah, the rabbis say.  Now, there, you're not even embarrassing him.  'Cause you could actually walk out of the store without him knowing what you were up to.  But what you were doing is a power ploy.  In which you're using his weakness and his needs to lord yourself over him, by making him more and more worthless.  That's why the rabbis,  by the way, say "just like there's ona'ah, with commerce, there's also ona'ah with devarim.  Same thing.  When I overcharge you, or you under-buy me: same thing."  What do you mean "same thing?"  Doesn't look like the same thing; it's exactly the same thing.  It's a power-play:  I've got you being taken advantage of in my little play-thing.  Right?  That's what the picture is: my little play-thing.  That's a different madreiga, the one with playing with him in the store, or playing with the prices.  But the more painful one is when it's "you are nothing. Why, just a year ago, you were eating this or that, doing this or that."  Using shame against them.  As a ploy of power:  that's ona'ah.  Is that related to on, or  onen? Yeah, sure it is.  It's just all the self-involved use of my power, my charisma, my standing, my eyes, in the act of the precise inversion of reliability, integrity, and faithfulness.  It's the exact inversion of it.  That's what it looks like, it's oneinut.  So, guess what?  That word, on, the Radak says, is also written in Hebrew in the Tanach sometimes, like in Yishaya, in a word cherev hayona.  The yona comes from the same root.  It's the sort of destructiveness in that pasuk.  I have a whole list of them.  In Yermiyahu 25, verse 38; Tzefania chapter 3, verse 1. I guess sometimes it happens that way, right?  The same yona can become the birds in Hitchcock's "Birds."  That's what's so like, mastery of terror in that film, 'cause, "huh? Little birds?"  But, yeah, 'cause, [sigh] that's the way it is in life, you know.  Like, I don't know how graphic to get, but it's like, you can be a giver of life or you can pish on people.  That's the way… we use that term.  You know?  Pish on.  It's like, they're both functions of yesod.  Weird.  It's not so weird, because when you want to understand these powers, so you understand how they're mamash both in the same place, they're mamash in the same place.  Because the opposite of ne'emanut and emuna is ona'ah.  And so the opposite of the yona, who's the bird of peace and the bird of faithfulness, and the bird who looks in the other's eyes with empowerment and appreciating the infinite wellsprings of the other, is also the yona who pecks to death.  And lords over.  And abuses and shames.  Same word in Hebrew. So here's the [1:07:14.5 ?] perspective of what we were looking at last week of how Yosef – were we looking at it last week?  How Yosef tells them "what you thought was going to be evil, G-d has turned around to good."  Correct?  We were there?  I don't entirely remember why, but I can tell you why we're there again this week,  because here's the deeper aspect of that:  and that is that Yosef as asaf Hashem et cherpati is watching his brothers writhing in shame and telling them "enough of that."  Not that you don't have to pass through that.  He lets them experience that, and he actually purposely does it.  First he says ani Yosef achi, excuse me, Ani Yosef.  The first time he meets them, he says "I am Yosef; is my father still alive?"  V'lo yachlu dabr – they couldn't talk to him, ki nivhalu mi panav – 'cause they were in total pandemonium of embarrassment.  And of fear.  I think primarily of embarrassment.  Yeah.  I think that's how Rashi says it: boshu mi panav.  [checks the Rashi]  Yeah, nivhalu mi panav: mipnei habusha.  And I think he does it on purpose.  How do I say that; why do I say that?  Ha'od avi chai?  Is my father still alive?  Got it?  It's not like he didn't know whether our father was still alive: they've been talking about the father the whole time!  They've been telling him that they can't take Binyamin 'cause "our father will die, nafsho k'shura b'nafsho."  Yehuda's been pleading [with] him, that "send him back, because our father, our father…"  Yeah, he knows how to use it when he needs to!  "Is my father still alive? Or have you killed him? Yet. Like you almost did."  Well, then once that's been passed through, that's Yosef, the yona.  That's the cherev, man.  Careful!  Then, Yosef says to them: ani Yosef achichem, "I am Yosef your brother, whom you sold to Mitzrayim."  And then, right away, he says "and now, don't be sad, and let it not be harsh in your eyes that you sold me here.  Because it's all been for the good.  Thank you for what you did."  'Cause it's all been for the good, and he means it.  And the way he reveals it to them is when he says: ani Yosef achichem.  That's the shift.  "I'm your brother."  "That's great!  You're our brother?"  "I'm your brother." "How do we know you're our brother?"  "'Cause I'm going to now sew the whole thing together for you," that's ichui - ach, "going to sew the whole thing together for you now.  You know, all those things you thought you were doing that were bad, they were really – not only good – they increased light in the world."  But he'll only tell them that after they've done real teshuva.  Don't play with this one; people like to play with this one.  And they go to it too quickly:   "it's really ok."  Pat, pat, pat. Psychology-psychology-psychology, positive-, positive-, positive. "really, ok,  ok, ok, ok.  I'm OK; you're OK.  Everyone's OK, blah, blah, blah."  [next 2 sentences are unclear to me.]You can if you go there too fast, then, you have a [lived? 1:12:01.1] life. [Not a first? 1:12:05.0] ani Yosef, ha'od avi chai? "Huh? Is my father still alive?  Not your father; not the way you treated him."  Nivhalu mi panav.  OK?  Shame.  Fine.  Next.  Ani Yosef achichem:  "don't be sad, it's ok; everything you did has been for the good."  Imagine really being looked at that way.  Like [by] someone you really did wrong to.  But not in a way in which you become, like "I can't believe I did this to this person."  But, rather, he really, really, really, really, not only, means it, he brings you to mean it and to know it.  As it says later v'yedaber el libam, he speaks to their heart.  Wow, I'd love to meet someone like that!  That's the depth of the yona revealing the infinite wellsprings that you have brought into the world even when what you were doing was seemingly working against it.  That's real love.  That's the level of yonati.  It's not "I've such faith in you, it doesn't matter what you do."  "Love means never having to say you're sorry."  It's not that.  It's after you've said you're sorry.  Then, now, let's go someplace together.  [And with?] what's really happened.  And come of this.  That's Yosef's on.  Not his negative on, but his empowering on.  That's Binyamin ben oni.  The son of – the real on.  'Cause, the other kind of an on doesn't have children.  And, thank G-d they don't.  Wouldn't want to be a child of an onen.  Their little play-thing.  And we all have a little of that in our parenting.  Gotta be careful of your children being your decoration.  Your proof of success, your rectitude.  Your accomplishment.  It's all onenut.  You don't want to be a child of a parent like that!  You want to be a child of a parent who knows how to shame you, and then right away say "and now I want to tell you something about what you did and where it went.  And grow from that.  Let's grow from there." It's the exact opposite of the malbin panei chavero b'rabim."  It's the exact opposite of one who brings another to shame.  Tamar would never do that.  She'd rather die than do that.  And that's why she has this funny play in her name, that she is the beginning of the aperture to tamati.  To the final level of tamati, of the perfect reflection .  Perfect twinning.  Perfect revelation of what reality holds.  Must have been quite a personality.  Must have been, because she gave birth to the other shever person, whose name is Peretz, who breaks-out!  And becomes the father of David, and of malchut, and ultimately of Moshiach.  Came out of that zivug.  This is why this transition point is so crucial and it plays exactly into, if you remember how we saw Yehuda as the man who has hoda'a, by virtue of Leah's personal realization.  But in order to get from Yehuda to a malchut which functions rightly, which is not involved in its own persona and its own mechanisms and its own kelim, you have to pass through Yosef.  The belief in the other person.  And the commitment to them, so that the kelim serve that, and not that they serve the kelilm.  [That would be? Gotta be? 1:19:00.2] looking outside itself. Seeing itself in its own mirror-image all the time.  You must pass through yonati to get to tamati correctly.  And Tamar is the transition point.  Ateret hayesod.  So, there was once a great man whose name was Akiva ben Yosef.  Akiva, child of Yosef.  And he was the origin of all the Torah sh'b'al'peh.  The rabbis say. He had 5 talmidim that he had in his older age, the most famous Rebbi Shimon Bar-Yochai, but they were all great.  And Rebbe Akiva told us a great secret of how to be this way.  And, it's whatever happens to you, always say, whatever happens, G-d has done for the good.  kol de'avid Rachmana l'tav avid: everything that G-d did he did for the good.  And the Maharal says taught that you should say it, because when you say it, you channel the reality towards it.  Mamash, the Maharal says this.  'Cause when you say it, so you express the full bitachon in HKB"H.  And then, G-d sees you're relying on him, and he provides it.  There was one place, by the way, where Yosef failed in that.  And that was when he asked the sar hamashkim to tell Paro about him and get him out of jail.  The rabbis say because of that this sar hamashkim forgot him, he didn't remember him, and he forgot him when he got out, and he had to spend another 2 years in jail.  So the rabbis say "why, I mean, it says about the true tzadik" [pauses to look for a source].  It says about the true tzadik, ”ashrei hagever asher sam Hashem mivtacho,v'lo panav el rabin. [1:22:01.1]"  The true tzadik is completely boteach on Hashem.  If you lose that, then you lose kol de'avid Rachmana l'tav avid. And you lose the sense of reality as always flowing toward the good.  And then you become the manipulator, the spy, the advantage taker, the, all the things where the yona can fall.  But if you're reliant on G-d knowing that every place that G-d takes you is to light a greater flame, so then you get out of jail.  Otherwise you stay in jail.  So, though Yosef never said those words, Rebbe Akiva ben Yosef said those words. That's why when he sees the fox on Har HaBayit he laughs.  That's why, when they don't let him stay in the city, and he has to sleep outside, and then the wind blows the candle out, and the cat eats the rooster, and the lion eats the donkey, he just keeps saying, and turns it out that, "it's a good thing you didn't have the candle or the rooster or the donkey or stayed in the town."  'Cause it was ransacked that night.  But what was he saying when he was being burned by the Romans?  When Eisav finally got the upper hand over the flame of Yosef?  What was he saying then? kol de'avid Rachmana l'tav avid?  Well, yeah, "my whole life I've been in pain.  When will this verse come to me in fulfillment?  V'ahavta et Hashem Elokeicha b'chol nafshecha, efilu notel et nafshecah.  Love G-d with all of your life, even if He's taking your life?  When am I gonna live that?"  So, on that story, the Maharal says the most incredible thing.  He says "yeah, 'cause, let me tell you a mashal."  As if he doesn't know what he's talking about.  "Let me tell you a mashal, you know what love is like?  Love is like fire.  How's love like fire?  Well, you know, if a fire is burning, it's always going up.  It's always going up.  And no matter what you try to do to the fire, you can't make it stop going up!  That's just what it is!"  That's what love is.  It's not like fear, where you're reacting or responding to something else.  Love is when it's just the nature of what is, love of G-d, just the nature of what we are as humans beings, we have that love of G-d.  The only thing that blocks it is all the blocks of shame about ourselves and embarrassment; we're not worthy and we're not deserving, and all the things that get in the way of the flame flowing.  But the truth is, that we've got a flame that's always yearning for G-d.  And that's called love of G-d.  That's what the Maharal teaches.  That's why you bring all the yisurim you want on someone who really loves G-d and -- you don't want – but, if you do, you bring all the yisurim so he just keeps loving G-d and relying on G-d and keeps connected to G-d.  That's his essence.  Whereas someone who lives in fear of G-d, you know, when it doesn't go good, so, "I'm outta here!"  'Cause, then the fear is not being provided the response that it wants, I mean, after all, "I'm fearing you, G-d, because all the good things I'm expecting of you.  Otherwise it's not worth my while.  Because, if, anyway, it goes bad for me, so then there's no reason to be in fear of You, because apparently You're not really in charge around here."  Or, however it'll come out in that kind of thinking.  That's because fear is a reaction.  But love, the Maharal says, is an essence.  That's why Rebbe Akiva, at that moment, became the burning fire.  It's horrible.  But, he didn't think so.  And it's both, really, because we are committed to life.  And then, a most astounding things happens, and we'll end with this, the astounding thing that happens: he was in the reality of "my whole life I've been yearning for this moment, waiting for it to come to realization."  And then the story goes on and says "at the end his soul went out saying 'echad.'"  So the Maharal asks another simple kashya; he says "wait a minute!  Shouldn't his soul have gone out saying 'nafsheicha?'  Will all of your soul?"  That's the one he wanted to be mekayem his whole life, right?  Love has to do with yearning; love has to do with longing for.  Love, I add, has to do with listening.  Love, in a sense, is never requited.  It's never fulfilled; it's the eternal looking into the other's eyes.  Because, when it arrives at its fulfillment, it's no longer love.  It's just being with.  Echad.  Just being with the one [? 1:30:23.3].  It wasn't the time to say v'ahavta et Hashem Elokeicha b'chol nafshecha.  That's a verse to yearn for.  But when that verse is fulfilled, then there's only echad.  There's only "at one with."  "You are my completion, tamati. We are twins, ta'omati."  But when you're inside that, and there's no longer any longing for and yearning for, then it's just "what is."  Love is yearning, love is mashber, love is shever.  Love comes out of ra'ayati.  And moves through yonati.  To be realized in tamati.  And the ongoing and incessant back and forth.  Just the real life of love of G-d and of lover. Questions, comments? Crying? Singing? "I feel like that statement, or that place, where Rabbi Akiva was, of saying, or Yosef was, of saying 'all this is for the good.'  Obviously it's great for the person who's been on the side of suffering through the not-so-necessarily-experiences-good parts.  But what happens when the person on the other side, who's throwing you in a pit, or burning you, says 'don't worry, I mean, it's all for the good, like it's all,' like, isn't that kind of dangerous to…" Yes it is!  And the yonah is a cherev pifiyot – it's a two-edged sword.  It's, mamash, cherev hayonah is one of the verses that the yonah  has a cherev.  Now, I'm sorry; I'm going to mix up images for you.  It doesn't mean that, doesn't mean that the dove has a sword.  Literally it means that there's a cherev hayona meaning there's a sword of destruction and desolation.  Because ona'ah is desolation when it's destroying the other.  That's the ona'ah of the desolation of the other.  Right?  When the onen moves outside of himself, it's perversion and sickness.  Right?  But, I'm sharing with you that that's right, I mean, those most destructive features of the onen will end up [noise of shuffling 1:35:16.6] described too.  "Don't worry" – as you're being smothered under their thumb.  "It's all for the good trust me!  Trust me!"  Right?  That's what they'll always say: "Trust me."  That's, "ok; I'm putting my trust in you."  "Good."  That's the precise perversion of the power of yona.  I'm getting your trust so that I can desolate you.  And one of the most horrifying usages of, abuses, of that is what you just described: "I'm [building? 1:36:01.7] you, and it's all for the good.  You don't understand.  Trust me.  It's all for the good."  That comes from a precise opposite of being boteach on Hashem on that person's part, for sure.  It has nothing to do with Hashem.  They may present themselves as having a lot to do with Hashem.  Some of the most perverted and distorted abuse of people is empowered by the person's – who's doing it – presenting a face of being a complete One who relies on Hashem.  He has infinite backing for what he's doing.  And he has everything that you want.  Right?  "I have everything you want."  So then, [whisper ? 1:36:59.2], that's where yesod ceases to be yesod.  It's not a pathway through which it travels.  It's all about me.  Yeah, you're right; this can be extremely destructive.  All these things can be the most destructive ways that people get abused and destroyed, mamash.  Just 'cause it's so, it's so pnimi, because it's so much about everything we so, so want.  Everything we so much want.  That's why, the rabbis say, and this is a lot more destructive – there's a certain sense in which they mean that -- this is a lot more destructive than killing someone.  How do I know that that's kind of what we're saying?[not sure I heard last sentence right because of shuffling noises 1:37:44.8] Not sure it's "kind of," that's hedging a little, because I haven't completely thought it through, but the simple pshat is, if someone says about you "either I kill you or you kill them," so you're not allowed to kill them; you have to die.  But if you have the water, and they don't, so Rebbe Akiva says "keep the water. Keep the water.  He'll die; you'll live."  Because, your life comes first.  But, if we're right about Rebbe Akiva, and I think we are, that he's clearly faithful also to, rather than shame someone you'll be burned, so, hmmm, so you're not allowed – it comes out equivalent, right? – you're not allowed to kill that person in shaming them; you must rather die.  So, it's at least the equivalent of killing a person, that you're not allowed to do.  But it may be even worse, because, after all, you don't shame them; they, in a sense, shame themselves.  All you do is, "here Yehuda; isn't this yours?"  In fact, the rabbis actually say that about busha.  They say, e-hu d'avid l'nafshei, a person really shames himself.  Right?  I can't shame you!  I can say all kinds of terrible things, but, in the end the shame is going to be coming from you.  So, I didn't do anything to you!  It's like, you did it to yourself.  So, I can create a situation where you'll kill yourself, I guess, I mean, I don't know, like, do I have to give up my life rather than create a situation where you might come to kill yourself?  Lo yodea.  I'm not sure; it's an interesting question.  I'm not exactly sure what those situations are.  You know.  Steal all your money.  And you're one of those people who works on Wall Street.  Who jumps out of the 21st floor when he loses all his stocks.  And that's probably going to happen.  And I steal all your money.  Well, someone said to me, "if you don't steal all their money, we're going to kill you."  So [?] pikuach nefesh is doche, that is, sir, and we're allowed to steal your money. Even though I know that you're likely to jump out the window.  (Not you, chas v'shalom, none of us…)  That person is likely to jump out the window as a result of that.  But, probably, al pi halacha, I'm allowed to take the money.  Because, if he jumps out the window, that's him doing it.  If he says "we'll kill you if you don't push him out the window," that's something else.  But if they say "we'll kill you if you don't take his money away, even though he's going to kill himself," b'pashtut, al pi halacha you're allowed to take his money away.  And if he kills himself, that's his doing.  But I can't do that when it comes to shaming him.  If I do that, you're out of Olam Haba.  Why?, if he just shamed himself?  It's like a really ultimate type perversion and abuse.  But it's really our only possibility for tikkun.  It's our only possibility for Moshiach and tikkun is in that yona being there, invested in life, invested in other, invested in [the world? 1:41:59.5]. "In terms of the flames, like, so, like, it's sweet to say, like, or, maybe it's not sweet, maybe it's not nice to Yosef to say he got involved – got self-involved – 'cause he's just wanting the creativity.  'Cause I think there's a space also of, ok, so the plains[?] are all there and today they're covered by huge oceans with massive waves that are like, shooooo, spraying out all the time, so if you're a flame, and you're walking around like that, it's right!  You have the right to be self-involved sometimes for chizuk, not like self-involved.  And I think, like, when you said it, like, he just wants to be in the creative – creativity – [of the learning?] we did earlier, is like, yeah, the creativity, the flow, remembering, hearing Hashem, knowing that Hashem is just giving it to him and, you know.  And really, I think sometimes in the world, like, we're so "ok, we're the flame, we gotta go out and ignite the flame and we're all flame, flame, flame."  That's great, and I believe in it, and I also believe "good luck!"  You're gonna be totally, you're never, unless you understand the way to come back to your creativity, real creativity, you'll totally become "the system," totally become exactly what it is the ona… you'll become everything that you don't want to be.  And that, somehow we need, I don't know, I feel that, as Jews, like, in the same way, we're so clogged [clogged? Klal 1:43:36.1] out! Out!  And there has to be a space where we say like "no!" Like, "what's wrong with going inside, 'cause you need the creativity."  As long – it's right – ok, and I don't get stuck, whatever, it's a balance, but I feel that's a really crucial part, and I feel like Yosef, like bseder, like, 'take it! that's why you could go out, 'cause you took it and knew, like how to take that space!'" Hmm.  Thank you.  Yeah.  Thank you.  And it speaks to me on a number of levels; it speaks to me on a level of process, where, an adolescent needs to be an adolescent.  Let them be adolescents.  It speaks to me in the back and forth, which is so, so much, it reminds me of what we spoke of when we spoke of Avraham as being the root of all living, as being, having, the connection to the bliss of simple being.  As being the place where all must begin from, and that never being forgotten.  And what you're kind of bringing that down to is "and also, yeah, in the pleasure of who you are."  And taking pleasure in things in a self-involved way, sometimes, at the right moment and with the right context.  Someone told me the other day, I was working with a group, and she said to me, she said, like, "I'm like ruach. I flow there, I flow here, seeking truth, seeking what's real; I'm like the wind.  There are some people who are fire, some people who are water, some people who are earth; I'm wind.  And you know, the wind can get lost.  Flowing out there and turning around somewhere else.  So you know how I re-root myself in myself sometimes?   I take"  -- she had like this little plate of stuff on the table, "I take a little piece of cake, and I hold it in my mouth and I enjoy it.  "Why weren't Tamar and Yosef together?" Tamar's for Yehuda's tikkun just like Yosef is for Yehuda's tikkun.  In the end, it's malchut.  In the end, it's David.  In the end, it's the completion, and the bringing into kelim, the brining into realized, manifest reality in vessels.  In the end, that's a transition, after all, Tamar and Yosef.  They're not a zivug.  I don't think they're a shidduch, Tamar and Yosef.  They're "for."  It's like Chanina ben Dosa, who was also a Yosef personality, milashon 'chen', that the rabbis say "the whole world was fed because of Chanina ben Dosa."  But Chanina ben Dosa?  He didn't need any food practically; he would just eat a couple of charuvim from week to week.  But I don't think you put two people like that together.  "אתה אמרתה משהו על אהבת השם ויראת השם.  לא [??? 1:47:56.3]" מצוין שאת שואלת.  Yirat Hashem the Maharal says in the Netiv HaAhava that, we see that first passage there, he says v'chen ahava l'shem Yitbarach, shenimshach ha'adam el Hashem Yitbarach mitzad atzmo, so too the love of G-d is the person's being drawn towards G-d from his own essential being.  V'shem Yitbarach hu hashlamato.  G-d is his completion, ein bitul l'davar ze, you can't take that away from him, sh'hu inyan atzmi lo, this is something which is essential to who he is, v'hashlamato, and his completion.  Aval ha'yira, but fear, sh'eino yira rak shelo ya'aseh davar neged r'tzon Hamelech.  What is yira?  In its lower manifestation. But a person fears that he shouldn't do something against the King's will, lo shayach al davar zeh shehu atzmi al ha'adam.  That's not something which is of the essential nature of what he is, mashelo ya'aseh.  That which he will not do.  'Cause yira is all about not doing the wrong thing.  So, not doing the wrong thing is not something which is an essential expression.  It's a holding back.  Ein ze hashlamato, this doesn't bring a person to completion.  Hu neged ha'adam.  That's something which is against the person; in other words, if I do that wrong thing, then I've violated myself.  But yira is in the restraint from doing it, so it's not the essential expression of

Bueno, hoy antes que nada tengo que pedir perdón, de antemano, a nuestros amigo y compañero Carlos Azcona, argentino de pro, por el atrevimiento, pero el sentido de este programa es este, solo música, NADA MÁS QUE MÚSICA, solo música que nos gusta, y amigos… el tango nos gusta mucho. Así que, como unos aficionados más, y con el atrevimiento que da la ignorancia, nos lanzamos en brazos de la voz y del carisma de Carlos Gardel. “El tango es un pensamiento triste que se baila”. Esto decía D. Enrique Santos Discépolo, autor de tangos fundamentales como Yira, Yira, Cambalache o Cafetín de Buenos Aires. Un hombre que, según sus biógrafos, “su vida fue un permanente desgarrarse en una sociedad injusta, solo comprensible en el marco de la sufrida Argentina del siglo XX”. España ya tenía una historia tanguera, previa incluso a la llegada del tango argentino, alguno recordará el famoso “Fumando espero” del catalán Juan Viladomat. Y es que, el tango, venía difundiéndose como baile de moda en Europa desde la primera década del siglo XX, hasta que poco antes de la Primera Guerra Mundial, sobre 1910, estalló la tangomania. Y el principal responsable de este fenómeno, que no se ha extinguido, no fue otro que Carlos Gardel. La vida de Carlos Gardel, como la de todo mito que se precie, está llena de leyendas que su fama póstuma no ha hecho desaparecer a pesar del tiempo. Todavía hoy, muchas personas peregrinan a la tumba de Gardel para pedirle salud y trabajo. Nada nuevo. Charles Romuald Gardés nació, suponemos, en Toulouse, Francia en 1890. O no, tal vez lo hizo en Tacuarembó, Uruguay, en 1887. Lo cierto es que Carlos Gardel tuvo una infancia realmente difícil, que por otro lado, no es otra que la que caracteriza a todo héroe arrabalero y triunfador. Su madre, Berthe Gardés, nunca llegó a saber con exactitud quien era el padre de aquel hijo que, años más tarde, correteaba entre las casuchas de Retiro, Montserrat o Los Corrales, barrios de la ciudad de Buenos Aires a la que Bérthe había huido en busca de fortuna. Charles se convirtió en Carlitos, un muchacho despierto, simpático e irascible cuyo único objetivo en la vida era alcanzar el lujo de los ricos y ganar montones de dinero. Con 18 años ya dejaba oír su voz por las esquinas y garitos, y se esforzaba por imitar a los adinerados acicalándose con un esmero narcisista y casi, casi… femenino. Por aquel entonces, ese “pensamiento triste que se baila”, de incierto origen llamado tango, comenzaba a hacer furor en París. Sus interpretes más destacados viajaban al continente y regresaban con los bolsillos a rebosar y, claro, Carlos, a quien le gustaba el canto casi tanto como la “guita” probó fortuna en alguno de los muchos cafés de los barrios periféricos bonaerenses, en los que se presentó con el sobrenombre de “El Morocho” y ante la sorpresa de propios y extraños, manifiestó una aguda sensibilidad y un temperamento artístico completamente original. Sus aptitudes le inclinaron hacia el tango canción o tango con letra, escasamente cultivado hasta ese momento. En efecto, el tango estaba entonces en un proceso de evolución que lo había llevado de ser una música alegre, posiblemente cubana, y que se bailaba de forma un tanto procaz en la fiestas de las clases populares de Buenos Aires, a convertirse en un lamento cantando, una música nostálgica y desgarrada que los porteños acomodados había aprendido a admirar y a bailar y que Gardel estaba destinado a dar a conocer en todo el mundo. En 1915 formó pareja con José Razzano, un intérprete de tangos que disfrutaba de alguna fama. Su apoteósica actuación en el teatro Esmeralda de Buenos Aires, en 1917, hizo que su personal estilo de interpretar el tango calara hondo en el público porteño de tal manera que el dúo Gardel-Razzano se situara inmediatamente en la cresta de la ola. Este dúo funcionó hasta 1925, momento en que Gardel debió partir solo hacia Europa. José Razzano, con una afección de garganta, había decidido dejar su carrera. Y, bueno, esta desgracia de Razzano, significó la fama internacional para Gardel. Su éxito en París fue extraordinario, admirado por figuras como Bing Crosby, Charles Chaplin o Enrico Caruso. Pero si el éxito en París fue grande, no lo fue menos en España. Gardel debutó en solitario en 1925 en el teatro Apolo de Madrid y en el teatro Goya de Barcelona el 5 de noviembre de ese mismo año. Tal fue el recibimiento y cariño que el público brindó en Barcelona al “zorzal criollo”, como se le llamaba, que instaló en ella su centro de operaciones para sus giras europeas, no obstante sus largas estancias en París. En el tango "Che, papusa, oí" canta Gardel: "Trajeada de bacana, bailás con corte / y por raro esnobismo tomás prissé", acaso evocando las fiestas al estilo parisino que ofrecía por esa época la aristocracia barcelonesa, con esmoquin, champán francés y cocaína o plis o plissé, como llamaban a esta droga. La voz, la estampa y la simpatía de Gardel arrollaban, especialmente entre las señoras. Reveladora es la entrevista "a la sombra de Gardel", que salió publicada en Tango Moda, en 1929. La sombra era una bella francesa que seguía al ídolo por todas partes después de haberlo visto actuar una vez en el cabaret de Florida de París. "Cuando por la noche me retiro a mi cuarto del hotel, doy por muy bien pagados mis esfuerzos si le he oído cantar tres o cuatro canciones", confesaba esta admiradora incondicional, una groupie en toda regla. La forma de cantar de Carlos Gardel los pequeños dramas existenciales de sus tangos fue toda una revolución. Nadie ha sido capaz de imitar el fraseo de Gardel, ni su habilidad para empatizar con los personajes de sus canciones. Además, esa imagen suya, simpática, mezcla de pícaro y castigador siempre bien vestido y repeinado se ha convertido en un modelo a seguir por los porteños. Pero, a pesar de esta imagen, Gardel fue en la intimidad un hombre tortuoso y retraído, con una tristeza endémica y con una facilidad extraordinaria para la depresión. Y en cuanto a su vida sentimental, confesó que nunca se había enamorado de mujer alguna, "porque todas valen la pena de enamorarse y darle la exclusividad a una es hacerle una ofensa a las otras". Bueno. En 1934, después de haberse paseado en olor de multitud por escenarios de Europa y Estados Unidos, Carlos Gardel inició una gira por toda Hispanoamérica provocando el delirio. Los teatros se llenaban de un público rendido al cantante argentino que lo aclamaba y lo continuaría aclamando hasta después de su muerte. El 24 de junio de 1935, cuando se encontraba en lo más alto de su fama, el cantante murió en un accidente de avión cuyas causas nunca se han aclarado, una vuelta de tuerca más a las leyendas que siempre le han rodeado. Gardel viajaba de Bogotá a Cali en un F-31 de la compañía Saco. Habían hecho escala en Medellín y el avión recorría la pista para alzar el vuelo, pero penas había despegado se precipitó a tierra, chocando con otro avión alemán que esperaba en la cabecera de la pista. Los rumores se desataron. Se dijo que se había producido un tiroteo entre Gardel y uno de sus acompañantes y que una bala perdida había dado al piloto y que, de esta manera, se había producido la tragedia. Sin embargo, y según el testimonio de los dos únicos pasajeros que lograron salvarse de los veintiuno que viajaban en el vuelo, la verdadera causa del accidente fue el fuerte viento que hizo que el piloto perdiera el control del trimotor en el momento del despegue. A la confusión del accidente se sumaría después la leyenda de un cantor encapuchado cuya voz sorprendía por su parecido con la de Gardel; muchos afirmaron que el ídolo se había salvado y que seguía cantando pero no deseaba mostrar su rostro por estar totalmente desfigurado. De ser así, el cuerpo velado por las multitudes en el estadio del Luna Park no habría sido el suyo. Bueno, leyendas al fin y al cabo. Lo cierto es que su espíritu es lo que cuenta: un sinfín de melancólicos lo lloró entonces y lo sigue llorando ahora, añorando la pérdida de la voz más triste y cálida que el tango ha dado nunca. La de Carlos Gardel. Hace ahora 86 años de la muerte de Carlos Gardel. La vida del artista fue tan intensan que son numerosas las anécdotas que se cuentan sobre él, unas verdaderas y otras fruto de la imaginación de sus admiradores. Ya hemos comentado su accidentada fecha y lugar de nacimiento y el desaforado interés que Gardel tenía por ser ciudadano argentino. Sin embargo, no son tan conocidas la penurias que el joven Carlitos padeció trabajando como un niño inmigrante en un taller de planchado. O cuando el cantante fue acusado de estafador, aunque en esta ocasión, y según documentación escrita encontrada recientemente, Gardel logró que el presidente Alvear destruyese pruebas que le relacionaban con múltiples estafas. En otra ocasión, y durante una farra con sus amigos para celebrar su vigésimo quinto cumpleaños, uno de estos amigos tuvo un enfrentamiento con un marido celoso, al parecer con razones bien documentadas. Gardel salió en defensa de su amigo y fue él quien recibió un balazo que le perforó el pulmón. Una bala que los médicos no pudieron extraer por los riesgos que conllevaba y que quedó para siempre alojada en su pecho. ¿es o no es ésto un tango? Por cierto, según aseguran, la bala fue disparada por Roberto Guevara, a la sazón, tío del Che. Con la ansiada nacionalidad argentina en su bolsillo, Gardel se hizo forofo de la selección nacional, como debe ser. Bien pues, el primer encuentro mundialmente conocido entre la selección de ese momento y el cantante fue durante los Juegos Olímpicos de Amsterdam de 1928. Ese día Gardel interpretó por primera vez el tango “Dandy” delante de todos los jugadores y el equipo técnico. Desde entonces, el tango se convirtió en una especie de himno interno para la selección. El partido de marras era ante Uruguay. Por cierto, ganó Uruguay. Dos años más tarde, en el mundial de fútbol de Uruguay, Argentina y el anfitrión volvían a enfrentarse en el campo de fútbol. Gardel volvió a cantar ante la selección argentina antes del partido. La selección argentina volvió a perder frente a Uruguay y, sin que sepamos por qué, Gardel nunca más volvió a cantar para la selección, ni éste ni otro tango. El día que Gardel estaba grabando “Madreselva”, hacía un calor agobiante. Lógicamente no podía ponerse ningún ventilador y tanto el cantante como los músicos estaban empapados en sudor. Gardel, ni corto ni perezoso, empezó por quitarse la chaqueta, el chaleco, la camisa, el pantalón y los calcetines. Por ultimo, el calzoncillo. Así que, de esta manera, se quedó con los zapatos y las gafas de cerca. Cuando apareció el técnico de grabación, un alemán un poco estirado, las risas se pudieron oir desde Europa. Carlos Gardel, un mito. Algunos intelectuales le han dedicado controvertidas opiniones. Para Jorge Luis Borges, el ídolo no era santo de su devoción: “A mi Gardel no me interesa mucho, me interesa más el tango”. También Ernesto Sábato, que dedicó muchas páginas al tango, retrató a Gardel con breves esbozos de fragmentos de cartas y publicaciones de amigos suyos dando al mito un tratamiento mucho más amable.. En fin, con opiniones para todos los gustos, nos despedimos por hoy. Nos despedimos de este artista que, si hacemos caso a sus incondicionales, “cada día canta mejor”. Señoras, señores… ¡Buenas Vibraciones!

„Myslím, že pokud bude Sor hrát takto i nadále, Slavia ho dlouho neudrží. Byl to jeho zápas, je neskutečně rychlý. Je posilou pro Slavii jako hrom,“ popisuje ve vysílání Rádia Z Ladislav Vízek odvetu osmifinále Evropské konferenční ligy, ve které se Slavia utkala s týmem LASK Linz.

The journey begins with Yira. Source sheets: https://www.sefaria.org/sheets/378923?lang=bi Sign up to be notified of live discussions: rabbitreger.com Podcast production: talkingpeople.co

Mussar

In this segment we catch up with Jordan and Greta Yira to hear an amazing story on Greta's Wisconsin buck they nicknamed Hank the Tank. Follow along with the Yiras on Instagram: https://www.instagram.com/gretayira/ https://www.instagram.com/jyira23/

Fue actor, compositor, director de cine y teatro, un artista integral, también conocido como Discepolín, nació el 27 de marzo de 1901 en el barrio porteño de Balvanera. Si bien se lo identifica por componer los tangos "Yira, Yira", "Uno", "Cambalache" y "Cafetín de Buenos Aires", realizó una importante cantidad de películas y obras teatrales. En 1917 debutó como actor en Chueco Pintos, de Armando Discépolo, su hermano y Rafael José de Rosa y; al año siguiente, estrenó su primera obra teatral El Duende, escrita junto a Mario Folco, en el Teatro Nacional. Tuvo un fuerte compromiso social, razón por la cual sus obras reflejaron los conflictos de la época y las necesidades del pueblo. En paralelo a su vida teatral, que desarrolló tanto en Buenos Aires como en Montevideo, escribió letras de tango en las cuales mostró las dificultades económicas y sociales de los años `20 y `30, y así nació por ejemplo "Qué Vachaché": En 1928 escribió "Esta noche me emborracho", siendo Azucena Maizani quien le dio voz, obteniendo un rotundo éxito, el primero para Discépolo. A partir de ese momento comenzó a tener un importante reconocimiento entre las figuras del tango; más tarde estrenó "Chorra", y Tita Merello convirtió en éxito "Qué Vachaché". En 1935 compuso para la película Alma de Bandoneón, uno de sus tangos emblemáticos "Cambalache": En las siguientes décadas escribió sus tangos más notables: "Desencanto", "Uno", con música de Mariano Mores, y "Canción desesperada". En lo que respecta al cine, actuó en la película Mateo, de Daniel Tinayre, y Melodías Porteñas, para la cual, además, compuso dos temas: uno con el mismo nombre del largometraje y "Condena". Como director estrenó su primera película titulada Cuatro Corazones, por la que no obtuvo buenas críticas y hacia 1940 dirigió otras dos películas: Caprichosa y millonaria y Un señor Mucamo. Más tarde, se estrenó Fantasma de Buenos Aires, también bajo su dirección, y una de las películas de Nini Marshal: Cándida, la mujer del año, donde también escribió el guión. La última película de Discepolín como actor y guionista fue El Hincha, que se estrenó en 1951 y dejó una serie de frases inolvidables que definen al hincha de fútbol argentino. Fue muy criticado por sus pares a partir de la amistad con el Gral. Juan Domingo Perón y el cariño que sentía por Evita; pero defendió con convicción, ironía y vehemencia lo que para él era un avance en el campo de lo político y social. Murió la noche del 23 de diciembre de 1951, en su casa, a raíz de un síncope cardíaco y hoy, a 70 años de su partida física, lo recordamos a través de un retrato elaborado por el Área de Contenidos y conservado en el Archivo Histórico de Radio Nacional.

En este episodio estaremos platicando con Yira y Yimel Tovar, quienes nos platicarán de su nuevo emprendimiento además de darnos increíbles ideas para nuestros regalos de estas fechas super especiales, Tenemos sorpresas así que no te puedes perder este maravilloso episodio. Producción: Amper Radio Amper es una estación de la Universidad Latinoamericana Los comentarios y opiniones vertidos en este programa, son de exclusiva responsabilidad de quien los emite, y puede no reflejar la opinión de la institución.

Oh yeah, right off the bat we're gonna tell you this is a MUST LISTEN! The Listen Local guys caught up with local Hunting Expert Jordan Yira, and this convo was something else to say the least. While yes, Jordan gave some GREAT tips for hunting this weekend, but I think the main thing here is that he, along with Colton and Isaiah, taught a Hunting 101 class to Jacob. There are definitely some laughs - at Jacob's expense - in this episode. Also... to go along with the many good stories from Jordan, he tells us why Smuckers Uncrustables are a game changer when it comes to hunting. Hear all of this and SOOOOO much more in the latest episode of Listen Local! Thank you once again to Jordan for being on the show, it was an awesome time! Instagram:ListenLocalMNBlazeAirMNWoodsToWaterMNNorthwoodsAgent Facebook:Listen Local MNBlazeAirMNWoodsToWaterMN

Join a live recording of Madlik disruptive Torah on Clubhouse with Geoffrey Stern, Rabbi Adam Mintz and Rabbi Avraham Bronstein  as we use the book of Kohelet to explore the fundamental difference between the Torah given at Sinai and the Wisdom literature we share with our ancient Near Eastern neighbors. We explore the difference between linear and cyclical time and we wonder why we need a healthy dose of common sense, living in the moment and even cynicism after the Jewish New Year. Sefaria Source Sheet: www.sefaria.org/sheets/348859  Transcript: Geoffrey Stern  00:00 So welcome to Madlik disruptive Torah every week at four o'clock on clubhouse eastern time, we have a half an hour discussion of the Parsha. And by disruptive we mean we look at things maybe from a slightly different angle and hopefully help our participants look at it slightly differently as well. And this week is no exception. So Rabbi Adam challenged me last week to talk about Kohelet Ecclesiastes and that is what we're going to do. And we're going to start with the first verse because in that first verse is so much of what is to follow, and it raises so many questions about authorship and about the  sense of the message. So this is how it begins The words of Kohelet, Son of David king in Jerusalem. utter futility, said Kohelet, utter futility, all is futile." And of course, the Hebrew is "haval havalim" And that translation of utter futility, or "vanity all is vanity" is from the King James Bible, and probably we've all absorbed it. So the question that really comes up is Who was this guy? Kohelet? Was it a real person? Or is it a nom de plume for the writer? And then of course, the other question is, what does it mean that all of life is vanity? So why don't I start right there and open up to the discussion of what are you guys thoughts on who is Kohelet what is Kohelet? Avraham? Why don't you store   Avraham Bronstein  01:45 The words after Kohelt are "Ben David Melech Yerushalyim". So whoever Kohelet is, he's the son of David king in Jerusalem. That kind of narrows it down. That's why the tradition is that the author King Solomon.   Geoffrey Stern  02:00 So I think you're absolutely right. Of course, we're all called B'nai Yisrael And Yisrael is not my actual father. So that's not totally true, in terms of necessarily making it Shlomo. And then I mentioned a second ago that we all read "Vanity of Vanities", and that comes from the King James Bible. And I hardly doubt that King James translated the Bible. But what he did was he financed a group of people to translate the Bible. So all of a sudden, we have a lot of complication, when it says, somebody wrote a book, did he actually write it? Or did he support it? And when it says, We are a child, does it mean a follower? Does it mean an actual child? Rabbi, Adam, where do you come in on this?   Adam Mintz  02:50 So there are a couple things. First of all, I want to bring everyone's attention, there's an amazing English translation of the Bible, written by a professor from Berkeley by the name of Robert Alter, and generally he's good, and his introductions to Kohelet is especially good. The first thing he says is what Geoffrey says. And that is Kohelet Ben David doesn't mean that he's the son of David doesn't have to be Solomon. And it means that he came from the Davidic family. Now, that's one thing. So we could be many generations later. And the scholars all think it was later. The other thing is, and I think this is interesting to consider when you write a book, and there's some kind of competition, whether or not your book is going to be included in the Bible. You very often want to give yourself some credibility. It might be to give yourself some credibility. You say, I'm William Shakespeare, I wrote this play. Like it was 500 years ago. I don't know if William Shakespeare wrote it, or William Shakespeare didn't write. But if I say that I'm William Shakespeare, then I give myself credibility. So it is possible that the author of go hell it is not indeed the son of David or a descendant of David. But he knew that if he wanted to get his book into the Bible, he needed to call himself a son of David. That's a little cynical, but I think it's something to consider.   Geoffrey Stern  04:31 Well, it gets but it does get even better because it's not as though he said my name is Shlomo. Like he did for the Song of Songs that he said Shir HaShirim asher l'Shlomo" he took on a Nom de plume, and he engendered this whole conversation that we're talking about him so it is kind of fun that way.   Adam Mintz  04:55 Not only a name that we've never heard before, but the structure Kohelet is a very funny structure. That's not the way you say it. If the word Kohelet means the one who gathers people, there's a way to say that in Hebrew "make'el" "he gathers people"  Kohelet is a very strange form of the term to gather people. So Geoffrey, it's almost as if he chose a name for himself, a Nom de plume and it's not even real, meaning that he just chose a name for himself. So I think that's interesting. "vanities of vanities" of course, the King James made that famous. Alter points out and this has been pointed out by many, many people, the word has really means breath. And "hevel havalim hakol hevel" really means that everything is no more than breath. The same way when you breathe in the cold, and you can see your breath, but it's really nothing. That's what life is have, "hevel havalim amar Kohelet" All life is like that. It's like the breath that looks like it's something but it's really nothing.   Geoffrey Stern  06:19 So we don't have a dearth of material today, that's for sure. So the word that he took forgetting about who he was, as you point out, Kohelet means to gather. It's one who assembles and even in the translation into Latin Ecclesiastes, which literally means someone who gathers an ecclesiastical court is a gathering. It's an assembling an audience. It can also mean gathering ideas, gathering truth, and different opinions. If you look at Kings 1, here it says, "Oz yikahal Shlomo", that Solomon convoked, the elders of Israel, and this is when he read, dedicated or he dedicated the temple on Sukkot time, those of us and I said this in the pre party, who remember the episode two times ago about the revolution of the Aleph Beit, we know that in the time of Sukkot, was this "VaYakel" this commandment to publicly read the book of the Torah. So I will almost venture to say my pet name for Kohelet is Mr. Sukkot, in a sense, because what he's doing is he's bringing the themes together, that we've kind of been discussing for a while, and we're going to get into how deep that is this idea of this short breath, I absolutely love Alter says it. Also, Rabbi Sacks, talks about it. And he says, everything to do with life in Judaism refers to a breath. So there's a "Neshama", which comes from the word "Linshom" to breathe. There's Nefesh. there's Ruach, which is wind. And what he says "hevel" is, is a very short breath. It's a very superficial breath. It's that breath of the fleeting breath. And what he is saying is that the sense that we're going to get from the book that follows is the fleetingness of life. But it comes at a moment where maybe that's it's all we have. And so I think all of these kind of themes come together. And if we think about Sukkot, there are so many words that have to do with in gathering. It just occurred to me You know, they always say the Eskimos have so many words for snow. Here we have Ketzir, the "hag Hakazir or the Hag Ha'assaf" these are the gathering of the crops. We have the lulav in the Etrog and the Arba minim (four species) that have to be bound together. We have the very word for moed, which is a holiday, but as "Ohel Moed" It's a tent of meeting. It's a time to come all together. So all of these concepts of binding of coming together of gathering of welcoming other thoughts all come to the fore at this moment, and that's why I say that maybe Kohelet is Mr. Sukkak.   Adam Mintz  09:41 Great. I love it. Now the question is, why is that so? Why is Sukkot the holiday of gathering?   Geoffrey Stern  09:51 so I'm going to call on Avraham before he leaves because he started talking about something that I really want to get into. He talked about the difference between cyclical time and linear time. And that short little breath. That was momentary time, where does that fit in Avraham?   Avraham Bronstein  10:12 So before I say anything I want to riff on what you were saying a second ago, that connection between Hakel and Kohelet that was great. Because if you continue in Devarim, right, what we read a few weeks ago where the mitzvah of Hakel is first kind of spoken about. The whole point is, everyone has to be there to hear the Torah being read. . "Lman yishmau ve lilmadu l'yira et hashem Elokehchem" the point ultimately, to arrive at "yira" reverence of God, which is actually the point of the entire book of Kohelet when it comes down to the very end after everything is said and done. "sof Davar HaKol Nishma" The point of Hakel is to arrive at Yira, the point of Kohelt is to arrive at the same place... a connection I never ever saw before or thought about before, but I think now is actually very compelling. So first, thank you.   Geoffrey Stern  11:09 You're welcome.   Avraham Bronstein  11:11 That's great. The second thing is to address what you just asked, maybe we can unpack this a little bit more based on what you said. But the overall sense of what Kohelet is trying to say in the first several verses, and then you get back to it again, is that everything always stays the same that people try to do things that people build things and they accumulate things that they expend effort, and they do all these different things. But ultimately, everything kind of repeats itself everything, the same generation comes generation goes nothing really changes it and to a degree. You know, you're reading this at the end of the year, when one agricultural season is ending and the next one is starting at the same time, the ingathering festival. So last year's harvest is coming in. But the farmers are all getting ready to plant next year's crop. They're already praying for rain for next year's crop. So again, your sense of time moving in a circle where you've arrived at the end but even while you're ending you're beginning again and your in the same place you were a year ago.   Geoffrey Stern  12:22 There is this sense of do Rosh Hashannah and do Yom Kippur and then "repeat". And the thing that really struck me in reading some of the thoughts of Rabbi Sacks is he also discusses the difference between happiness and joy between Osher and Simcha and he makes the difference, that Simcha like that short breath is absolutely momentary, and Osher we talk about Ashray Yoshvey vetecha... all throughout Psalms and other writings we're trying to look for a life well lived. And what he points out and again it kind of touches upon their sense of cyclical or lineal is that we land at this moment between the end of the last year and the beginning of the new and of course, for a farmer that comes where you're pulling the crops and I'm not a farmer, but I know the second you pull in the crops The next thing you do is start preparing the land for the next crop. And it's this sense of simcha is what we call it zeman simchataynu. He says that the simcha that we feel, the absolute joy, unadulterated joy that we feel is of the moment...  is that short breath, if we read the rest of Kohelet we're gonna see a sense of eat, drink and be merry type type of Simcha. It's something that's very special and distinct from that kind of linear progression of slow growth over time over maybe a lifetime that we are so accustomed to. We've binged on Judaism for the last two, three weeks, maybe even a month and a half. And this is a very special time that I think Jewish tradition kind of understood that somehow Kohelet, which is from the Wisdom literature, and we're going to get into that in a second, was able to grasp and able to convey more than traditional types of linear Torah texts that have a beginning in Eden and an end in Redemption might have is that the kind of area that you're going to be talking about a little bit. Rabbi Avraham?   14:59 A little bit. Yeah, kind of you're doing the same thing over and over again. But what are you doing a little bit differently this year as opposed to last year?   Geoffrey Stern  15:08 Interesting, I would, I would say that the argument of Kohelet is "not so different". His argument is very humbling from the perspective of someone who believes that the life of us as an individual, and life of us as a people, is a long project is a struggle has a beginning, a middle and an end, and a slow evolution, and investment. I think much of what Kohelet is about and we're not going to be able to read the book today. But stay tuned, go to synagogue and listen to it. It's literally almost a rebellion against that, or at least an alternative side of the coin, in terms of "you know what, it's just a moment and when things are good, take the good and when things are bad look forward to when the sun will shine again." What do you think, Adam?   Adam Mintz  16:06 So I wonder about a slightly different point. And that is what do you make about Kohelet come coming a week after Yom Kippur. When we take life so seriously, "mi Yichiye, Mi Yamut" who will live and who will die, who by fire, who by water, everything is very serious. And all of a sudden comes King Solomon or whoever it is; Kohelet and says haveil havalim hakol hevel. That everything is Vanity of vanities or breath or whatever the word may be. What do you make of that reading kohelet right after Yom Kippur?   Geoffrey Stern  16:51 I think that no one can say it's unintentional. That's the one thing I think I can safely say. But I do believe the intention is rather strong. And I do believe that your question is a wonderful segue into what I'd like to spend the rest or at least a large portion of the discussion discussing, which is that co Kohelet comes from Wisdom Literature. We all know that King Solomon was not referred to as a Torah scholar. He was referred to as a wise man. And that is not simply an adjective or a description. It is a trigger. In the Ancient Near East, there is much literature that is called Wisdom Literature. And those of you who know Shai Held he's a Rosh Hayeshiva at Hadar. Well, I took a course from his father at Columbia, and his name was Moshe Held, and he was an expert in Ugaritic and Akkadian and he explained what the difference is between wisdom literature and Torah, and you will listen to these three rules, and it will make you listen and read differently. When you study Kohelet, when you study Ecclesiastes, or Proverbs, or even the Song of Songs or Job. Number one, it's only about the individual, nothing to do with a nation, it's about a single person. Number two, it's unhistorical. There's no nationalism, the name of Israel is never mentioned, the only difference and I underline only, between the wisdom literature of our neighbors, the Sumerians, the Mesopotamians, and the Egyptians and us is that when they cry out to god, they might cry out to three gods, we cry out to one ... it's monotheism. But otherwise, you couldn't find something more stark, then wisdom literature as something that was shared by every nation and society in our neighborhood. It's practical, and Professor Held ends by saying that anybody, anybody who studies a book like Kohelet or Ecclesiastes and doesn't understand this difference is operating with a false eyeglass. And, unfortunately, we tend to break down that barrier and homogenize Wisdom Literature with Torah. But as you all know Torah talks about the people of Israel Torah talks about history in terms of Egypt in terms of Sinai, none of those terms would ever find themselves in wisdom literature and the real key is when we say Eitz Hayim hi L'machazikim ba"; "that it is a tree of life to those hold on to it" that comes from Proverbs. And we have homogenized that I would say kidnapped it. And we talking about Torah. But it's not about Torah. It's about Wisdom. When we read Proverbs, and we say "listen to the "Torat Imecha" listen to the Torah of your mother. It doesn't mean Torah, it means the wisdom of your mother. So Held and other scholars need us to understand. And this really relates to the question that you asked Rabbi Adam, about why are we reading this book, it's not only reading this book, it's reading a book from a totally different tradition than the Torah tradition. And it is included in our, in our canon, we call it TaNaKh, Torah, Nevi'im veKetuvim. Ketuvim is the written books of Wisdom Literature. So they're probably accepted as different as they are because they were written in Hebrew, and they were part of our culture. But it's a stark difference. And I think I'd love to hear your comments on this. But I think what it does is it raises the stakes in your question. It's not simply Why did we pick one of the 24 books to read on Sukkot when we had other choices? It's why did we pick one of the most representative books of the common wisdom, the common practical guidelines? And yes, the cynical and I would say fatalistic viewpoint that was shared by all humanity to read after such a Jewish month?   Adam Mintz  21:52 So I just want to I want to strengthen your question. There's a rabbinic teaching in something called Masechet Sofrim that was written around the year 800. And it says that on Shabbat Hol HaMoed Pesach we read Shir HaShirim (the Song of Songs) because Shir Hashirim is about a love story. It's about spring time, it's perfect for Pesach. That we read the book of Ruth on Shavuot, because it's about acceptance of mitzvot. It's about conversion, whatever that means. And it's perfect for Shavuot.  We read Esther on Purim, we read a Eicha (Lamentations) on Tisha B'Av. What's amazing about that teaching in Masechet Sofrim is it does not mention that we read Kohelet on Sukkot. That seems to be a later tradition. That was not part of the original tradition. And it might be that there's something in that Geoffrey, it was it was more communal, the community felt after the heaviness of Rosh HaShannah and Yom Kippur that we needed a book like Kohelet.   Geoffrey Stern  23:10 I think so. I'd like to just for the purposes of sharing my discovery that goes back 40 years about Near Eastern Wisdom Literature, to read some parallel texts. So in Ecclesiastes 1: 2 we read "Hevel Havalim, which now we know is a short breath, a short breath, otter futility, utter futility what real value is there for a man in all the gains he makes beneath the sun, one generation goes another comes, but the earth remains the same forever." Here's from The Epic of Gilgamesh, "Who my friend can scale Heaven, only the gods live forever under the sun. As for mankind numbered are their days, whatever they achieve is but the wind, even here though art afraid of death." There are stories about and parallels to this concept of riches that comes up, or even scholarly pursuits. Gilgamesh goes on, "do we build a house forever? Do we seal contracts forever? Do brothers divide shares forever, does hatred persist forever in the land. Since the days of yore, there has been no permanence, the resting of the dead how alike are they? Do they not compose a picture of death, the commoner and the noble?" These themes about the difference between us is less than what we have in common the Pauper in the king both end up in the same place, that riches won't give you anything. These are themes that are shared by all of humanity, and didn't change as a result of the revolution of the Jewish people. And if anything, if anybody knows anything, I believe in the in the past six months of Madlik, I believe that there is much that's unique about Judaism and we contributed so much. But we get to this moment. And we say, you know, it's all said and done, we've changed the way we celebrate the New Year. The other nations they make their earthly King into their ruler, we make God into our ruler we change the way we read our texts, other traditions hide it in a holy of holies. And let only the priestly caste read it. We democratize it, all of the changes that we've discussed, all of the revolutions that were led by the Hebrew project, when it's all said and done in Yom Kippur and Rosh Hashannah are all over. I think what we do is we make a an amazing stop. And we say, but at the end of the day, we're still human. At the end of the day, all we have is that short breath. And I think that, too, is an amazingly humbling, but also liberating concept. And maybe that's where the simcha comes in.   Adam Mintz  26:30 I think that's great. I think that that's really a nice, you know, a nice explanation, kind of for the evolution of Kohelet as almost a continuation of Yom Kippur. It's interesting that right after Kohelet that we have Simchat Torah which is really a celebration of the whole process, right? It's a celebration of the whole month, and that you can't have the celebration without having both Yom Kippur. And Kohelet. They're both part of the celebration, one without the other isn't good enough.   Geoffrey Stern  27:09 I mean, I totally agree. And it also makes us look a little bit differently at Yom Kippur and Rosh Hashannah, which actually are not really in history, either. They're really about us, as a universal people (humankind). If you think about the themes that I described before that are unique to the wisdom literature and the wisdom world. It's kind of interesting. Now when you look back, that you can see that Rosh Hashannah is actually a very universal holiday, we celebrate the birth of the world, or some say the birth of man. We we discuss who rules us and who doesn't. And then on Sukkot, even though there's an attempt to tie it into the exodus from Egypt, and it's not a great attempt, you know, everybody argues and says, Did they really the Jews really live in thatched roof structures? Or did they live in actual tents. But the point is, that there's this temptation to try to bring so called back into the other Regalim, the other pilgrimage, holidays, and make it kind of historic, but on the other hand, it's in nature, it's out of the house. I mean, you have to believe even in the days of the temple, they moved out of the temple and went into this sukkah. It literally takes what makes us human. And it brings us outside and I have to say that one idea, one thought that I had you mentioned Simchat Torah. You know, I said a second ago that in wisdom literature, when you say to "torah", you don't mean the Torah that was revealed or given at Sinai. When you say "torat immecha", you mean the wisdom of your parents, of your elders, have prior generations of lives already lived? And I wonder whether we have the license to celebrate one or the other or both torot... meaning to say this this confluence of finishing the yearly public reading of the Torah which is an amazing democratizing event. But there's also simchat torah, Simcha as described by by Rabbi Sacks which is this momentary, just take life by the coattails and laugh when you can and cry when you have to. And that torah that wisdom the simchat torah.... I really just thought about it kind of this morning when I was thinking about simchat torah.  Do we have that license? Do you give me that license? Adam,   Adam Mintz  27:10 I give you that license. I love it.   Geoffrey Stern  30:09 So it's, it's, it's really an amazing book and amazing tradition and we Jews, who always talk about how distinctive we are and how different we are ... on the culmination.... And I think you really can refer to Sukkot as a combination as a climax. And the climax of the climax again, is shmini atzeret, which again, the word ottzer means to gather in to retain, to keep everybody around. But the climax at the end of the day is when all is said and done. And now I'm gonna sound like I wrote wisdom. Sof davar Hakol nishma... what do we have, we all have the same sun and sky over us, we have the same end. It's such a universal message. And it's such an unvarnished message because if you read the wisdom literature, whether it's Jewish or Sumerian, or Mesopotamian, it doesn't pull any punches ever. You know, we can beg for our lives and for rain on Yom Kippur. And Rosh Hashannah. But when you read the wisdom literature, it makes it very clear, you can beg all you want, but the God or the gods, they act using their own logic, and all we have is just what we can grasp in a breath.   Adam Mintz  31:40 I think that's great. I think that there are so many different pieces here. I think that that's great. You know, so many Roh hashannah and Yom Kippur piece. The idea of the breath, I think Rabbi Sacks really captures so much by talking about the fact that hevel means a breath, I think that's great.   Geoffrey Stern  32:00 So I couldn't finish without going to one of my favorite folk songs of the 60s, which is Pete Seeger's Turn, turn, turn. And it probably is the first, maybe only time that a writer literally took the words of Scripture, and turned them into a hit song, and turn turn turn really just captures both in the title. And also in the lyrics. You know what we're talking about, that when all is said and done, it's just a cycle in a sense. And all we have is the ability to go one step at a time, go forward, there's a time for love. There's a time for hate. There's a time for peace. And what he added was, "I hope it's not too late". And what what I was surprised to find out is that first of all why he wrote this song, his agent told him Pete, cut out the revolutionary songs, no one wants to hear any more about changing the world. And for some reason he had in his notebook, the words of Kohelet. And he submitted them, and in his mind, Kohelet was a guy with a long beard and sandals, who was definitely a rebel rouser. But the agent said, It's from Scripture. Finally, you gave me something that I want. And a few years ago, Pete gave 45% of the royalties from the song to the Israeli Committee Against House Demolitions. So he made a political statement. He kept 50%. And then he said, 5%, he added on because he added, "I hope it's not too late". So those were his own words. But this story gave me simcha when I read it, and it showed us how we have to take the words that we study and that we read, make them our own dance to them, clap to them. And I just want to wish everybody an amazing Simchat Torah, whatever torah you're celebrating, and that we should all savor the moment and be able to savor those small little breaths that we make. And I have to say, Rabbi, it's been a wonderful few months I reading the Torah  with you. And one of the things that I will be celebrating is our partnership here every Friday, thank you so much.   Adam Mintz  34:47 You know, what more can we say next Friday. We get together to study Bereshit. That's an amazing thing. Rabbi Avraham talked about cyclical time and linear time. What an amazing thing that we go back to the beginning isn't it?   Geoffrey Stern  35:02 We start all over Turn, turn, turn.   Adam Mintz  35:08 Shabbat shalom. We are going to post this as a podcast. And I used to end every podcast with some music so you guessed it. This week, I will add a recording of Pete Seager singing, turn, turn, turn. And let's hope it's not too late. Shabbat Shalom and Hag Samayach.

Amigos de Cultura de Seguros, esta vez tuvimos el gusto de conversar con Yira Deamond, quien tiene una excelente carrera en el mundo de los seguros, la cual nace a partir de un interinato en Mapfre Venezuela, quienes la llevan hasta Guatemala para seguir desarrollándose en Mapfre Guatemala y luego en algunas corredoras del país, hasta llegar a formar su propia empresa, la cual tiene como objetivo apoyar a los corredores y agentes de seguros a mejorar sus procesos y así alcanzar un crecimiento exponencial en sus empresas. Hablamos de Insurtech, comercialización, digitalización, productividad y un poco acerca de lo que Top Advisors ofrece a sus clientes y al sector asegurador. Esperamos que disfruten de esta conversación.

Today Zarela and Aarón are joined by their friend Yira Vallejo. Yira spent ten years as a brand incubator in the wine and spirits industry of New York City, before returning to Oaxaca in 2014. Now she works to preserve the cultural and biological diversity of Oaxaca through a number of projects, including a documentary film and the production of Mexican Corn Whiskey. Together Aarón, Zarela and Yira outline the history of corn whiskey, tell us about the system of seed exchange that has preserved heirloom crops, and explain how Yira partners with local farmers to encourage the production of these precious grains. For more recipes from  Zarela and Aarón, visit zarela.com and chefaaronsanchez.comHeritage Radio Network is a listener supported nonprofit podcast network. Support Cooking in Mexican from A to Z by becoming a member!Cooking in Mexican from A to Z is Powered by Simplecast.

Luis Formento en este "Encuentro Gardeliano" narra un panorama de la década del '30. Episodio 13, Gardel, década del '30, postal de una época. "Yira yira" - 04-05-2021

Esta semana tenemos con nosotros a la abogada Yira Santiago. Hablamos de sus inicios de como empezó todo y el tiempo de ella como cantante. Hablamos de algunos casos notorios en la música en Puerto Rico como Sammy Marrero y la familia a la de Raphy Levit y de los problemas de la disquera de universal con Don Omar y otros. También hablamos de algunos mitos legales con la música. Entre otras cosas mas. REDES Desde La Línea Podcast https://linktr.ee/DesdeLaLineaPod Yira Santiago @protegetumusicatv @lcdayirasantiago Melo @m3lolmr

La explicación de este tango =)

Espacio realizado por "Siéntelo con oído", de Zaragoza (España), en colaboración con Carlos Azcona, de Azul (Argentina); en él queremos intercambiar información alternativa y veraz, música, poesía, paisajes sonoros, cultura en fin. Todo ello con buen humor y buen amor. ¡POR LA DESPENALIZACIÓN DEL ABORTO EN ARGENTINA! Escuchamos a: 1 - Sheila Blanco - Gracias a la vida (Letra y música de Violeta Parra) 2 - Sheila Blanco y Federico Lechner - Alfonsina y el mar 3 - Silvio Rodríguez - La era está pariendo un corazón (directo) 4 - Yira, yira - Carlos Gardel.

Hay veces que con tan solo hacer unos pequeños ajustes en tu rutina diaria, tu vida cambia.De eso hablamos Yira y yo en este episodio, de cómo las rutinas ayurvédicas son tan poderosas no solo para bienestar físico, sino también para el bienestar mental y emocional.Yira trabaja como Creativa en una agencia y en este episodio nos cuenta cómo ella lleva su vida ayurvédica aún en su trabajo de tiempo completo, mejor dicho, sobre todo porque tiene su trabajo de tiempo completo le da más importancia a las rutinas ayurvédicas.Puedes encontrar a Yira en Instagram como @ayurveando y @yirisr.Comparte este episodio con tu tribu.Namaste,SelmaNature’s Heart Centroamerica Bebidas vegetales y snacks hechos con deliciosos ingredientes naturales

There are people who are so good. They have Yira'at Shamayim , they are shomer Torah u’mitzvot , yet they seem to be living the toughest lives. Our Rabbis tell us, at the end of days, before Mashiach will come, many of the neshamot that need tikkun will be allowed to come back to this world to fix what needs fixing so that they can enjoy the Future World for all eternity. Things will happen that will not make sense to us because we can only see the here and now. Hashem, however, sees the full picture at all times, and He knows exactly what He’s doing. It’s our job to trust even when it is so hard to do. A highly respected woman who is mizakeh the rabim told me that she feels that she is experiencing ייסורי איוב- suffering like Iyov (Job). She had been in an abusive marriage, her children were brainwashed to turn against her and she had to wait years to finally receive a get . And then, so quickly, a yeshua came – the perfect husband. She made a great deal of hishtadlut making sure the man was who he seemed to be. She even had him interviewed by professionals. She prayed to Hashem, asking Him to guide her so she shouldn’t make another mistake. She went to a great rabbi for a beracha , and then she got married. She was so thankful that her life turned around so quickly for the better. But then, just a few months later, she found out her husband had clinical depression, and he went into a depressed state for months and months. And then, for a second time, she had to accept a get . She asked, what else was she supposed to do? She wasn’t even looking to get remarried, everything just fell into place so quickly for it to happen. She did her due diligence and, after all of her efforts, once again it ended in miserable failure. All of her prayers were exactly for this not to happen, and this is what ended up happening. To make matters worse, the shame she is experiencing from all this is too great to bear. Someone of her caliber, having to get divorced a second time. I told her, although you pleaded with Hashem that this shouldn’t happen, He brought it about because He knows what your soul needs much better than you do. He wants you to be happy forever and this is the way it has to happen. It is not a coincidence that everything worked out so perfectly for her to get married so quickly. It was part of the master plan. Furthermore, although we think embarrassment is the worst suffering, and we would do anything to avoid it, our great rabbis had a completely different understanding of it. Rav Yechezkel Levinstein once came home overjoyed and his family asked him what happened. He said he had just been humiliated. He then added, “Do you know the value of shame? Rav Chaim Vital writes, if we would know it, we would look to get shamed.” It is not easy to feel this way, but the rewards for doing it are infinite. The Shomer Emunim writes in perek 7 that the tikkun necessary to be made before Mashiach comes will be in the area of emunah. He continues, if someone will have simple emunah in Hashem at that time, b’ikvetah d’Mashicha , he will bring about a tikkun for the entire generation. His emunah alone will stop many tragedies from taking place. Simple emunah from even one Jew can save countless lives. So imagine if the emunah would come from a person who has every reason in the world to ask questions. The tests of life are not easy, but they do give us an opportunity to soar to the greatest heights. If we can accept the way Hashem deals with us with love and continue serving Him happily, we could make a tikkun for the entire generation and bring about the final Geula .

Pocos profesionales del periodismo venezolano contemporáneo, en medio de tantas conmociones y cierres de medios de comunicación, han podido estar por más de dos décadas trabajando dentro de la plantilla de una misma institución. Hoy jubilada y con 21 años de experiencia a sus espalda Yira Yoyotte comparte en esta entrevista sus experiencias profesionales y sus apreciaciones sobre lo que ha sido el trabajo de su vida. Graduada en la Universidad Central de Venezuela, comenzó su carrera profesional en el año 1997 cuando el Parlamento venezolano era bicameral y se llamaba aún "Congreso de la República de Venezuela". Desde entonces, atestiguó de cerca aquel proceso constituyente que particularmente tuvo su epicentro en el Palacio Federal Legislativo, y que poco tiempo poco después cambiaría prácticamente todo en el país, incluyendo el nombre del parlamento, el cual hasta la fecha se denomina "Asamblea Nacional de la República Bolivariana de Venezuela". Haga clic aquí para leer la nota completa. Ayúdanos a seguir adelante con este espacio de autonomia y libertad haciendo clic aquí --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/parlamundi-ve/support

Sintonía: "Terra Vista" - Bambas & Biritas "Como e o ar" - Mo' Horizons; "Maestro do Canao" (feat. Rappin' Hood & Funk Buia); "Roda Rodete Rodeano" (feat. Chico Science, Zambo Mix), "E depois..." (feat. Seu Jorge) y "Mandingueira" (feat. Elza Soares) - Bambas & Biritas; "La última curda", "Paraíso" y "Grapa" - Yira; "Tomando el centro", "Todo o casi nada", "En todas las esquinas", "Momentos" y "Flash" - Yusa. Escuchar audio

Bienvenid@, en esta ocasión te presento algo muy especial, los Grandes Tangos por artistas originales y en formato 8D! Carlos Gardel, Charlo, Ada Falcón, Ignacio Corsini, Francisco Fiorentino, Enrique Rodríguez y Libertad Lamarque. 1- El día que me quieras 2 - Los mareados 3 - El choclo 4 - Madreselva 5 - Caminito 6 - A media luz 7 - La última copa 8 - Mi Buenos Aires Querido 9 - Fumando espero 10 - La cumparsita 11 - Uno 12 - Adiós muchachos 13 - Tiempos viejos 14 - Sentimiento gaucho 15 - Por una cabeza 16 - Corazón de oro 17 - Palomita blanca 18 - Volver 19 - Mano a mano 20 - Yira yira

Conocí a Yira en un CreativiLive. Simplemente se conectó y empezó a compartirme su historia. Tiene una visión ÚNICA sobre el cáncer y una determinación creativa (así la interpreto). La elegí como una de mis entrevistadas reales porque su historia nos puede dar luz. Apoya su proyecto aquí: https://www.instagram.com/yis_arte/

Conocí a Yira en un CreativiLive. Simplemente se conectó y empezó a compartirme su historia. Tiene una visión ÚNICA sobre el cáncer y una determinación creativa (así la interpreto). La elegí como una de mis entrevistadas reales porque su historia nos puede dar luz. Apoya su proyecto aquí: https://www.instagram.com/yis_arte/

Conocí a Yira en un CreativiLive. Simplemente se conectó y empezó a compartirme su historia. Tiene una visión ÚNICA sobre el cáncer y una determinación creativa (así la interpreto). La elegí como una de mis entrevistadas reales porque su historia nos puede dar luz. Apoya su proyecto aquí: https://www.instagram.com/yis_arte/

En nuestro 7mo episodio hablamos de un tema no muy hablado pero muy común “Deberian de dividirse los dependents (hijos) a la hora de llenar los taxes. Un año tu, un año yo? Tu pon el baron, yo pongo la hembra.   Espero que disfruten de este episodio.   Por favor de mirarlo por el lado amable y con mente abierta, y que sepan que no queremos faltarle el respeto a nadie con ninguno de nuestros temas.  Solo son oipiniones.   En este episodio estuvo un servidor Tomas Soto, Dj Chupa Lite, Cuba y Amaury Pajita y Yira Entertainment. Los puede buscar en instagram bajo esos mismos nombres.   "OPINAN2 LIVE SHOW" El show que vino a hacer la diferencia. Show de temas que todos pensamos pero la mayoría callamos. Aqui tendras la oportunidad de llamar y dar tu opinion. 617 870 1928 No te lo puedes perder, pero si así fue...tranquilo, lo podrás escuchar en tu propio tiempo en el TOMASSOTOPODCAST Sintoniza y comparte tu opinión, por qué tu opinion aquí si vale.   TOMASSOTOPODCAST: El propósito de este Podcast es de llevarle a nuestros oyentes un mensaje y energía positiva en cada episodio. Aqui estaremos hablando de un sin numero de temas super importantes. Entrevistas, historias personales, temas de Marketing, Temas de negocios y muchos mas. Espero que les sea de su agrado y que lo disfruten.   Follow us on instagram: @tomassotopodcast www.tomassotopodcast.com

Yira Vermenton tiene la dicha de haber nacido con gozo y felicidad como parte de su naturaleza. Pero cuando una situación difícil puso ese bienestar en riesgo, se vio obligada a protegerlo, lo que la llevó a descubrir que era un regalo que debía compartir con otros. Sostiene que la felicidad no depende de nuestras circunstancias y a través de herramientas como el Test de la Pasión®, se dedica a construir puentes entre las personas y sus más anhelados sueños. Más en yiravermenton.com.

Philosophy in small coinsSome years before, in his essay Les Assassins de la Mémoire —an acute study on the neo-nazi revisionism in contemporary Europe—, the French writer Pierre Vidal-Naquet transcribed lyrics of “Cambalache”, the seminal tango by Enrique Santos Discépolo. A far-fetched quotation? Maybe a feature of exotism by an intellectual in search of oxygen out of the European culture environment? According to the author´s confession, he was acquainted with Discépolo´s work by way of some Latin American friends. And he decided to include him in a book not at all connected with tango. The image of a cambalache (second-hand shop) as scenery for insolent random, of a confusion of values and desacralization seemed to him most adequate to seal his denouncing text.That was not the first time which Discépolo´s work aroused interest in the field of thought. The Spaniard Camilo José Cela included him among his preferred popular poets and Ernesto Sábato had no doubt in identifying himself with the pessimistic philosophy of the one who wrote “Qué vachaché”: «True love got drowned in the soup». Several years before these recognitions, the lunfardo (slang) poets Dante Linyera and Carlos de la Púa defined Discépolo as an author with philosophy. Another writer from Buenos Aires, Julián Centeya, when reviewing one of his films, talked of «philosophy in small coins», and at the same time was risking an analogy —undoubtedly exaggerated— between Discépolo and... Charlie Chaplin.Unlike other popular creators who displayed their talent in an instinctive and somewhat naïve way to be later recognized as future exegetes, Discépolo was always conscious of his contribution. It could also be stated that all his artistic renderings were articulated by common sense, a certain Discepolian air or spirit which people immediately recognizes with affection and admiration as if his work —more than once defined as prophetic— should express the common sense of the Argentines. Discépolo´s singularity keeps on disquieting either in the tango universe or outside it. While most of his contemporaries are today strange to new generations, the man who wrote and composed “Cambalache” persists, is in force. Or to say it with one of his most loved images: he keeps on biting.Enrique grew up seeing theater guided by his brother Armando, the great playwright of the River Plate grotesque, and soon later he was attracted by popular arts. He arrived at tango after having tried with uneven success, play writing and acting. In 1917, he made his début as an actor, in the company of Roberto Casaux, a comic star of that time, and a year later he wrote together with a friend the play Los Duendes, mistreated by critics. He later improved his level with El Señor Cura (adaptation of a Maupassant´s story), Día Feriado, El Hombre Solo, Páselo Cabo and, especially, El Organito, fierce social painting sketched with his brother in the mid-20s. As an actor, Discépolo evolved from chorus member to a cast name, and his work in Mustafá, would be remembered, among many other renditions.Although the worlds of tango and theater were not divorced in the Argentina of Yrigoyen and Gardel, Discépolo´s decision to be an author of popular songs was resisted by his elder brother —Armando had been responsible for Enrique´s education after the early death of their parents—, and it cannot be said that things had been easy for the feeble and shy Discepolín. A mild familiar influence (Santo, his father, was a noted Neapolitan musician settled in Buenos Aires) may have been the first evidence towards the combined art of sound organization and lyrics, but the revelation was not immediate. On the contrary, either the anodyne “Bizcochito”, his first composition commissioned by the playwright Saldías, or the remarkable and revulsive “Qué vachaché”, published by Julio Korn in 1926 and premiered at a theater in Montevideo where it was noisily whistled, were a bad start or, at least, that was what people in Buenos Aires, used to appraise Manuel Romero's, Celedonio Flores' and Pascual Contursi's tangos, thought.The luck of the stubborn author changed in 1928 when, in a revue, the singer Azucena Maizani sang “Esta noche me emborracho”, a tango with Horatian touches (because of Horacio, author of Odes) and with an entirely River Plate subject: an old cabaret woman who was mercilessly treated by time. Days after its début, the lyrics of that tango were heard throughout the country. Argentine musicians on tour of Europe included it in their repertories, and in Alfonso XIII´s Spain, the composition achieved an enormous popularity. That was Discépolo birth in tango. That very year, the actress and singer Tita Merello returned to the previously critized “Qué vachaché” and drove it to the same stature of “Esta noche me emborracho”. Finally, 1928 would be the year of love for an intellectual full of uncertainties. Tania, a Spanish singer of cuplés settled in Buenos Aires, who would turn out to be an adequate interpreter of his tangos, was to accompany Discépolo until the end of his life.At a time when lyric writing and musical composition were clearly differentiated within the frame of cultural industries, Discépolo wrote lyrics and music, even though the latter was conceived with just two fingers on the piano keyboard, to be later committed to staff sheet by some friend musicians (generally Lalo Scalise). This twofold capacity allowed Discépolo to develop each tango as a perfect unit of lyrics and music. With an extremely sharp sense of rhythm and dramatic progression, with an impeccable melodic sense (Carlos de la Púa defined him as a Philharmonic Tom Thumb), Discépolo managed to make of his short and, most times, violent stories, an authentic River Plate human comedy. He set aside a big portion of the modernist influence which viciated other lyricists (Rubén Darío was the literary hero for hundred of Argentine poets, for many years) and translated to the minor format of song, certain predominant ideas of the age: theatrical grotesque, Croce´s idealism, Pirandellian estrangement...The profusion of ideas in each lyric found in the witty humor and in the lyricism of music, a certain balance, a sensory compensation, a way to tell things in and through tango. No other author would go so far.Of course, the fact that Carlos Gardel had recorded almost all his early tangos greatly helped to divulge and legitimate Discépolo as author and composer in a genre plenty of authors and composers. In this sense, Gardel´s rendition of “Yira yira” in October 1930 stands amongst the great numbers of Argentine music. The intensity of the recording, where there were not special theatrical resources and the singer avoided all unnecessary emphasis, is given by the immediacy of Gardel´s expression. There are no instrumental preambles to make the listener familiar with the material beyond a brief introduction by the guitarists who present the bridge with tremolos and phrasings in the low strings so typical of the period. The melodic line, with deceptive simplicity suddenly breaks in, with a force which excludes complaint.“Yira yira” was listened to and interpreted as a claim loaded with skepticism. The ridiculed militant in “Qué vachaché” comes back to assault, but this time he is backed by a profound material crisis. Now the conceited one, who resisted to believe that «true love got drowned in the soup», is taking the place of a cynical voice. The principles have been changed by reality. This is the triumph of disbelief but now without the cynicism —and even less the grotesque— of some years before. The character of “Yira yira” trusted the world but the world failed him. Such as in other Discépolo´s tangos, the lyrics tell us of a fall, a cruel sunrise: there is no more space for deceipt and fraud. (From this perspective, those who saw in Discépolo a moralist disappointed by modernity are not completely mistaken, but perhaps he is much more than that).The trend that begins with “Qué vachaché” and ripens in “Yira yira” is continued in the tangos “Qué sapa señor” and, in 1935, “Cambalache”. But this is not the only style of the compositional art of Discépolo. He was romantic in the waltz “Sueño de juventud”, mocking in comic tangos such as “Justo el 31” and “Chorra”, expressionist in “Soy un arlequín” and “Quién más quién menos”, passionate in “Confesión” and “Canción desesperada” and somewhat nostalgic and elegiac in “Uno” and “Cafetín de Buenos Aires”, both written together with Mariano Mores. He was not as prolific as Enrique Cadícamo, and a portion of his work lacks in interest. Undoubtedly, Discépolo's musical variety had to do with his interest in theater and cinema. His staging of Wunder Bar and his most known movies —Cuatro Corazones,En la Luz de una Estrella— made known several songs —some almost forgotten— which the director and actor wrote with his programmatic sense.Enrique Santos Discépolo was born in the neighborhood of Once, Buenos Aires, and died at his downtown apartment which he shared with Tania. His commitment with Peronism, made public through his brief and shocking participation in a controverted radio program, caused a troublesome distance between him and his old friends. Two years after his death, when the political trenches no longer needed him but several of his tangos kept on striking on the collective consciousness, Discépolo was remembered by the writer Nicolás Olivari on a remarkable article. There Olivari asserted that “Yira yira”'s author had been the bolt of Buenos Aires humorism, smeared with grease for anguish. In a way, that was a Discepolian definition.Sergio A. Pujol is historian and music critic. Among other books, he published Discépolo. Una Biografía Argentina (An Argentine biography) (Emecé, 1997).

Philosophy in small coinsSome years before, in his essay Les Assassins de la Mémoire —an acute study on the neo-nazi revisionism in contemporary Europe—, the French writer Pierre Vidal-Naquet transcribed lyrics of “Cambalache”, the seminal tango by Enrique Santos Discépolo. A far-fetched quotation? Maybe a feature of exotism by an intellectual in search of oxygen out of the European culture environment? According to the author´s confession, he was acquainted with Discépolo´s work by way of some Latin American friends. And he decided to include him in a book not at all connected with tango. The image of a cambalache (second-hand shop) as scenery for insolent random, of a confusion of values and desacralization seemed to him most adequate to seal his denouncing text.That was not the first time which Discépolo´s work aroused interest in the field of thought. The Spaniard Camilo José Cela included him among his preferred popular poets and Ernesto Sábato had no doubt in identifying himself with the pessimistic philosophy of the one who wrote “Qué vachaché”: «True love got drowned in the soup». Several years before these recognitions, the lunfardo (slang) poets Dante Linyera and Carlos de la Púa defined Discépolo as an author with philosophy. Another writer from Buenos Aires, Julián Centeya, when reviewing one of his films, talked of «philosophy in small coins», and at the same time was risking an analogy —undoubtedly exaggerated— between Discépolo and... Charlie Chaplin.Unlike other popular creators who displayed their talent in an instinctive and somewhat naïve way to be later recognized as future exegetes, Discépolo was always conscious of his contribution. It could also be stated that all his artistic renderings were articulated by common sense, a certain Discepolian air or spirit which people immediately recognizes with affection and admiration as if his work —more than once defined as prophetic— should express the common sense of the Argentines. Discépolo´s singularity keeps on disquieting either in the tango universe or outside it. While most of his contemporaries are today strange to new generations, the man who wrote and composed “Cambalache” persists, is in force. Or to say it with one of his most loved images: he keeps on biting.Enrique grew up seeing theater guided by his brother Armando, the great playwright of the River Plate grotesque, and soon later he was attracted by popular arts. He arrived at tango after having tried with uneven success, play writing and acting. In 1917, he made his début as an actor, in the company of Roberto Casaux, a comic star of that time, and a year later he wrote together with a friend the play Los Duendes, mistreated by critics. He later improved his level with El Señor Cura (adaptation of a Maupassant´s story), Día Feriado, El Hombre Solo, Páselo Cabo and, especially, El Organito, fierce social painting sketched with his brother in the mid-20s. As an actor, Discépolo evolved from chorus member to a cast name, and his work in Mustafá, would be remembered, among many other renditions.Although the worlds of tango and theater were not divorced in the Argentina of Yrigoyen and Gardel, Discépolo´s decision to be an author of popular songs was resisted by his elder brother —Armando had been responsible for Enrique´s education after the early death of their parents—, and it cannot be said that things had been easy for the feeble and shy Discepolín. A mild familiar influence (Santo, his father, was a noted Neapolitan musician settled in Buenos Aires) may have been the first evidence towards the combined art of sound organization and lyrics, but the revelation was not immediate. On the contrary, either the anodyne “Bizcochito”, his first composition commissioned by the playwright Saldías, or the remarkable and revulsive “Qué vachaché”, published by Julio Korn in 1926 and premiered at a theater in Montevideo where it was noisily whistled, were a bad start or, at least, that was what people in Buenos Aires, used to appraise Manuel Romero's, Celedonio Flores' and Pascual Contursi's tangos, thought.The luck of the stubborn author changed in 1928 when, in a revue, the singer Azucena Maizani sang “Esta noche me emborracho”, a tango with Horatian touches (because of Horacio, author of Odes) and with an entirely River Plate subject: an old cabaret woman who was mercilessly treated by time. Days after its début, the lyrics of that tango were heard throughout the country. Argentine musicians on tour of Europe included it in their repertories, and in Alfonso XIII´s Spain, the composition achieved an enormous popularity. That was Discépolo birth in tango. That very year, the actress and singer Tita Merello returned to the previously critized “Qué vachaché” and drove it to the same stature of “Esta noche me emborracho”. Finally, 1928 would be the year of love for an intellectual full of uncertainties. Tania, a Spanish singer of cuplés settled in Buenos Aires, who would turn out to be an adequate interpreter of his tangos, was to accompany Discépolo until the end of his life.At a time when lyric writing and musical composition were clearly differentiated within the frame of cultural industries, Discépolo wrote lyrics and music, even though the latter was conceived with just two fingers on the piano keyboard, to be later committed to staff sheet by some friend musicians (generally Lalo Scalise). This twofold capacity allowed Discépolo to develop each tango as a perfect unit of lyrics and music. With an extremely sharp sense of rhythm and dramatic progression, with an impeccable melodic sense (Carlos de la Púa defined him as a Philharmonic Tom Thumb), Discépolo managed to make of his short and, most times, violent stories, an authentic River Plate human comedy. He set aside a big portion of the modernist influence which viciated other lyricists (Rubén Darío was the literary hero for hundred of Argentine poets, for many years) and translated to the minor format of song, certain predominant ideas of the age: theatrical grotesque, Croce´s idealism, Pirandellian estrangement...The profusion of ideas in each lyric found in the witty humor and in the lyricism of music, a certain balance, a sensory compensation, a way to tell things in and through tango. No other author would go so far.Of course, the fact that Carlos Gardel had recorded almost all his early tangos greatly helped to divulge and legitimate Discépolo as author and composer in a genre plenty of authors and composers. In this sense, Gardel´s rendition of “Yira yira” in October 1930 stands amongst the great numbers of Argentine music. The intensity of the recording, where there were not special theatrical resources and the singer avoided all unnecessary emphasis, is given by the immediacy of Gardel´s expression. There are no instrumental preambles to make the listener familiar with the material beyond a brief introduction by the guitarists who present the bridge with tremolos and phrasings in the low strings so typical of the period. The melodic line, with deceptive simplicity suddenly breaks in, with a force which excludes complaint.“Yira yira” was listened to and interpreted as a claim loaded with skepticism. The ridiculed militant in “Qué vachaché” comes back to assault, but this time he is backed by a profound material crisis. Now the conceited one, who resisted to believe that «true love got drowned in the soup», is taking the place of a cynical voice. The principles have been changed by reality. This is the triumph of disbelief but now without the cynicism —and even less the grotesque— of some years before. The character of “Yira yira” trusted the world but the world failed him. Such as in other Discépolo´s tangos, the lyrics tell us of a fall, a cruel sunrise: there is no more space for deceipt and fraud. (From this perspective, those who saw in Discépolo a moralist disappointed by modernity are not completely mistaken, but perhaps he is much more than that).The trend that begins with “Qué vachaché” and ripens in “Yira yira” is continued in the tangos “Qué sapa señor” and, in 1935, “Cambalache”. But this is not the only style of the compositional art of Discépolo. He was romantic in the waltz “Sueño de juventud”, mocking in comic tangos such as “Justo el 31” and “Chorra”, expressionist in “Soy un arlequín” and “Quién más quién menos”, passionate in “Confesión” and “Canción desesperada” and somewhat nostalgic and elegiac in “Uno” and “Cafetín de Buenos Aires”, both written together with Mariano Mores. He was not as prolific as Enrique Cadícamo, and a portion of his work lacks in interest. Undoubtedly, Discépolo's musical variety had to do with his interest in theater and cinema. His staging of Wunder Bar and his most known movies —Cuatro Corazones,En la Luz de una Estrella— made known several songs —some almost forgotten— which the director and actor wrote with his programmatic sense.Enrique Santos Discépolo was born in the neighborhood of Once, Buenos Aires, and died at his downtown apartment which he shared with Tania. His commitment with Peronism, made public through his brief and shocking participation in a controverted radio program, caused a troublesome distance between him and his old friends. Two years after his death, when the political trenches no longer needed him but several of his tangos kept on striking on the collective consciousness, Discépolo was remembered by the writer Nicolás Olivari on a remarkable article. There Olivari asserted that “Yira yira”'s author had been the bolt of Buenos Aires humorism, smeared with grease for anguish. In a way, that was a Discepolian definition.Sergio A. Pujol is historian and music critic. Among other books, he published Discépolo. Una Biografía Argentina (An Argentine biography) (Emecé, 1997).

Bienvenidos al episodio número 34 de Mi Gato Dinamita, el podcast que le hace anotaciones al margen a la biografía de tus gatitos. Duración total: 1:10:22.0:00:01-0:04:25 - Música: "Rebel Rebel", por David Bowie.0:04:26-0:14:06 - Susanette y Guille nos dan la bienvenida hablando de coincidencias cósmicas y los juegos que la realidad juega con nosotros.0:14:07-0:16:14 - Música: "Angueto Quedate Quieto", por Carlitos Balá.0:16:15-0:18:11 - Como somos un programa inmensamente profundo, hablamos de Heidegger y el ser.0:18:12-0:22:03 - Música: "Con la misma piedra", por Julio Iglesias.0:22:04-0:29:36 - Luego de quejarse del café, Susanette cuenta de su encuentro con nuestro amigo y vecino Horacio. Dicho y hecho, Horacio aparece en nuestros estudios y cuenta de su piso en Punta del Este y su encuentro tanguero con Entintado.0:29:37-0:32:19 - Música: "Yira, Yira" de Discépolo, por Roberto Goyeneche.0:32:20-0:36:14 - Entintado nos cuenta acerca de las novelas y guiones de William Goldman.0:36:15-0:39:05 - Música: "Raindrops Keep Falling on my Head", por Burt Bacharach y Hal David.0:39:06-1:04:07 - Guille sigue desgranando historias de filosofía y casualidades, hablando un poco de Kusch, Prieto, Feinmann y Martínez Estrada. Nuestro amigo Horacio nos sorprende al revelarse como filósofo de carrera y antigato desde un punto de vista existencialista, mientras cuenta sus planes de repartir sus gatos con la familia de Entintado y detalla su colección de armas.1:04:08-1:10:22 - Música: "Suspicious Minds", por Elvis Presley.Ilustramos este episodio, como siempre, con imágenes alusivas: Sartre y su gato; Martínez Estrada; Heidegger; Feinmann; William Goldman; el poster de Misery; y Stephen King con su gato. Como siempre, podés disfrutar de este episodio online con el reproductor de acá arriba, bajártelo en formato .mp3 haciendo clic en donde dice "Download" o escucharlo en SoundCloud. Si querés suscribirte a este podcast con tu aplicación favorita, buscanos en iTunes o usá nuestro feed RSS.

El Zorzal incursiona en Broadway, tiene amoríos famosos, graba con Lepera sus tangos más icónicos... Escuchamos los tangos: Melodía de arrabal; Mano a mano; Barrio Viejo; Yira, Yira; Silencio; Madreselva; ¡Viva la Patria!; Pan; Folié. En este programa hacemos la despedida formal de 2015 y recibimiento con los buenos augurios para 2016.

El Zorzal incursiona en Broadway, tiene amoríos famosos, graba con Lepera sus tangos más icónicos... Escuchamos los tangos: Melodía de arrabal; Mano a mano; Barrio Viejo; Yira, Yira; Silencio; Madreselva; ¡Viva la Patria!; Pan; Folié. En este programa hacemos la despedida formal de 2015 y recibimiento con los buenos augurios para 2016.

Yira es una orquesta formada en el 2004 que cruza tango con bases electrónicas. "Santos impostores" es el tercer trabajo discográfico, que está disponible para libre descarga. Destacadas: "Asuntos internos", "Santo impostor", "Seloqueno" y "Quemado".

Yira es una orquesta formada en el 2004 que cruza tango con bases electrónicas. "Santos impostores" es el tercer trabajo discográfico, que está disponible para libre descarga. Destacadas: "Asuntos internos", "Santo impostor", "Seloqueno" y "Quemado".

Questa settimana la seconda parte di un omaggio a Enrique Santos Discepolo, colui che disse : "Il tango è un sentimento triste che si balla". Potete ascoltare i seguenti brani: Malevaje - Carlos Gardel; Confesión - Anibal Troilo canta Floreal Ruiz; Tres Esperanzas - Fracisco Canaro canta Ernesto Famá; Justo El 31 - Francisco Rotundo canta Julio Sosa; Uno - Rodolfo Biagi canta Carlos Acuña; Fangal - Rubén Juarez; Yira, Yira - Anibal Troilo canta Edmundo Rivero.