Robert Fried

Nous ne parlons pas tous le même langage sexuel. Chacun a sa personnalité. Pourtant, nous ne connaissons souvent qu'une seule approche de la sexualité, que nous croyons universelle et à laquelle nous devrions nous conformer.
Or, il n'existe pas un, mais cinq langages sexuels : mental, sensuel, émotionnel, physique et énergétique.

Nous ne parlons pas tous le même langage sexuel. Chacun a sa personnalité. Pourtant, nous ne connaissons souvent qu'une seule approche de la sexualité, que nous croyons universelle et à laquelle nous devrions nous conformer.
Or, il n'existe pas un, mais cinq langages sexuels : mental, sensuel, émotionnel, physique et énergétique.

And we're certainly glad he did! We're confident you're familiar with the tremendous impact of songwriter and lyricist Robert Hunter's work with the Grateful Dead. He may have been the sixth member unseen, but his contribution to their songs stands testament to their everlasting effect on generations of Dead Heads.

And we're certainly glad he did! We're confident you're familiar with the tremendous impact of songwriter and lyricist Robert Hunter's work with the Grateful Dead. He may have been the sixth member unseen, but his contribution to their songs stands testament to their everlasting effect on generations of Dead Heads.

This is Robert Fried's third book on the crucial role of breathing and hyperventilation in our emotional and physical health. The first, The Hyperventilation Syndrome (1987), was a scholarly monograph, and the second, The Breath Connection (1990a), was a popular version for the lay reader. This book combines the best features of both and extends Dr. Fried's seminal work to protocols for clinical psychophysiology and psy­ chiatry.

When one thinks of Max Reger's organ music, his intensely chromatic and densely textured fugues are the first examples to come to mind, especially his imposing Fantasy and Fugue on B-A-C-H. Yet there are several smaller, simpler pieces of a more casual nature that are sampled on Robert Benjamin Dobey's 2006 album, The Intimate Reger. Not all the selections here were intended to be informal or low-key: the opening Consolation, Op. 65/4, and several of the chorale preludes are typical products of Reger's elaborate invention and serious-minded counterpoint, and because of their religiosity, they seem more appropriate in a solemn liturgical setting than on a recital of light music.