Podcasts about Crosscurrents

The Northern California chapter of Society of Professional Journalists recently announced their 2025 award winners… KALW took home four awards! So next we're bringing you an episode from Sidewalk Stories, which won a Public Service award.  The series Sidewalk Stories, is a collaboration between Crosscurrents and the East Bay's Street Spirit newspaper/ where we hear from unhoused people about how they survive and build a life outside. And in this piece, we hear about “street names."

Episode summary Joe and Mary dive into how platform censorship and shifting algorithms have reshaped psychedelic media, why DoubleBlind moved to a “newsletter-first” model, and what that's revealed about true audience engagement. They reflect on the post-2024 MDMA decision headwinds, state-level policy moves (wins and losses), and how funding, politics, and culture continue to reconfigure the field. They also explore alternatives to alcohol, chronic pain research, reciprocity around iboga/ibogaine, and lessons from PS25 (MAPS' Psychedelic Science 2025). Highlights & themes From platforms to inboxes: Social and search suppression (IG/FB/Google) throttled harm-reduction journalism; DoubleBlind's pivot to email dramatically improved reach and engagement. Post-MDMA decision reality: Investment cooled; Mary frames it as painful but necessary growth—an ecosystem “airing out” rather than a catastrophic pop. Policy pulse: Mixed year—some state measures stalled (e.g., MA), others advanced (e.g., NM; ongoing Colorado process). Rescheduling cannabis may add complexity more than clarity. Censorship paradox: Suppressing education makes use less safe; independent outlets need community support to keep harm-reduction info visible. Chronic pain & long COVID: Emerging overlaps and training efforts (e.g., Psychedelics & Pain communities) point beyond a psychiatry-only frame. Alcohol alternatives: Low-dose or occasional psychedelic use can shift habits for some; Mary stresses individual context and support beyond any single substance. Reciprocity & iboga: Rising interest (including from right-leaning funders) must include Indigenous consultation and fair benefit-sharing; pace of capitalism vs. community care is an active tension. PS25 field notes: Smaller, more manageable vibe than 2023; fewer “gold-rush” expectations; in-person dialogue beats online flame wars. Notable mentions DoubleBlind: Newsletter-first publishing; nurturing new writers and reported stories. Psychedelics & Pain Association / Clusterbusters: Community-driven models informing care and research (cluster headache protocols history). Books & media: Body Autonomy (Synergetic Press anthology); Joanna Kempner's work on cluster headaches - Psychedelic Outlaws; Lucy Walker's forthcoming iboga film. Compounds to watch: LSD (under-studied relative to MDMA), 2C-B, 5-MeO-DMT (synthetic focus), and broader Shulgin-inspired families.   Mary Carreon: [00:00:00] Okay, I'm gonna send it to my dad because he wants to know. Here Joe Moore: we go. Yeah, send it over. So, hi everybody. We're live Joe here with Mary Anne, how you doing today? Mary Carreon: I'm great Joe. How are you? Joe Moore: Lovely. I actually never asked you how to pronounce your last name does say it right? Mary Carreon: Yes, you did. You said it perfectly Joe Moore: lovely. Joe Moore: Um, great. So it's been a bit, um, we are streaming on LinkedIn, YouTube, Twitch X and Kick, I guess. Yeah. Kick meta. Meta doesn't let me play anymore. Um, Mary Carreon: you're in forever. Timeout. I got it. I got it. Yeah. Joe Moore: Yeah. I think they found a post the other day from 2017. They didn't like, I'm like, oh cool. Like neat, you Mary Carreon: know, you know. Mary Carreon: Yeah. That happened to me recently, actually. Uh, I had a post taken down from 2018 about, uh, mushroom gummies and yeah, it was taken down and I have strikes on my account now. So Joe Moore: Do you get the thing where they ask you if you're okay? Mary Carreon: Yes, with, but like with my searches though, [00:01:00] like if I search something or, or someone's account that has, uh, like mushroom or psychedelic or LSD or something in it, they'll be like, mm-hmm are you okay? Mary Carreon: And then it recommends getting help. So Joe Moore: it's like, to be fair, I don't know if I'm okay, but Yeah, you're like, probably not. I don't really want your help. Meta. Yeah. Mary Carreon: You're like, I actually do need help, but not from you. Thanks. Yeah, Joe Moore: yeah, yeah. Mary Carreon: So not from the techno fascists. Joe Moore: Oh, good lord. Yeah. Uh, we'll go there. Joe Moore: I'm sure. Mary Carreon: I know. I just like really dove right there. Sorry. Yeah. All right, so let's, Joe Moore: um, before we go, let's give people like a bit of, you know, high kicks on, on who is Mary, where you working these days and what are you doing? Mary Carreon: Yeah, thank you. My name is Mary Carryon and I am forever and first and foremost a journalist. Mary Carreon: I have been covering, I say the plant legalization spaces for the past decade. It's, it's been nine and a half years. Uh, on January 3rd it will be [00:02:00] 10 years. And I got my start covering cannabis, uh, at OC Weekly. And from there went to High Times, and from there went to Mary Jane, worked for Snoop Dogg. And then, uh, I am now. Mary Carreon: Double blind. And I have become recently, as of this year, the editor in chief of Double Blind, and that's where I have been currently sinking my teeth into everything. So currently, you know, at this moment I'm an editor and I am basically also a curator. So, and, and somebody who is a, uh, I guess an observer of this space more than anything these days. Mary Carreon: Um, I'm not really reporting in the same way that I was. Um, but still I am helping many journalists tell stories and, uh, I feel kind of like a story midwife in many ways. Just like helping people produce stories and get the, get the quotes, get the angles that need to be discussed, get the sentences structures right, and, um, uh, helping [00:03:00] sometimes in a visionary kind of, uh, mindset. Mary Carreon: So yeah, that's what I'm doing these days. Joe Moore: Oh, there it is. Oh, there you are. Love that. And um, you know, it's important to have, um, editors who kind of really get it from a lot of different angles. I love that we have a lot of alignment on this kind of, and the drug war thing and kind of let's, uh, hopefully start developing systems that are for people. Joe Moore: Yeah, absolutely. If you wanna just say that. Yeah, absolutely. Mary Carreon: Yeah, absolutely. Joe Moore: So, um, yeah, I almost 10 years in January. That's great. We um, it's so crazy that it's been that long. I think we just turned nine and a half, so we're maybe just a few, a few months shorter than your I love it. Plant medicine reporting career. Joe Moore: That's great. I love it. Um, yeah, so I think. I think one of the first times we chatted, [00:04:00] um, I think you were doing a piece about two cb Do you, do you have any recollection of doing a piece on two cb? Mary Carreon: I do, yes. Yes. Wait, I also remember hitting you up during an Instagram live and I was like, are you guys taking any writers? Mary Carreon: And you guys were like writers, I mean, maybe depending on the writer. Joe Moore: And I was like, I was like, I dunno how that works. Mary Carreon: Like me. Yeah. Joe Moore: Yeah. It was fun. It was fun to work with people like yourself and like get pieces out there. And eventually we had an awesome editor for a bit and that was, that was really cool to be able to like support young startup writers who have a lot of opinions and a lot of things to point out. Joe Moore: There's so much happening. Um, there was so much fraud in like wave one. Of kind of the psychedelic investment hype. There's still some, but it's lesser. Um, and it's really a fascinating space still. Like changing lives, changing not just lives, right? Like our [00:05:00] perspective towards nearly everything, right? Joe Moore: Yeah. Mary Carreon: Yes, absolutely. Absolutely. I mean, it's interesting because the space has matured. It's evolved. It's different than it was even, what a, I mean, definitely nine years ago, but even five years ago, even four years ago, even last year, things are different. The landscape is different than it was a year ago. Mary Carreon: And I, it's, it's interesting to see the politics of things. It's interesting to see who has money these days given like how hard it is just to kind of survive in this space. And it's interesting just to. Bear witness to all of this going down because it really is a once in a lifetime thing. Nothing is gonna look the same as it does now, as it, uh, then it will like in a, in a year from now or anything. Mary Carreon: So it's really, yeah. It's interesting to take account of all of this Joe Moore: That's so real. Uh, maybe a little [00:06:00] too real, like it's serious because like with everything that's going on from, um, you know, governance, governments, ai Yes. Drug policy shifts. Drug tech shifts, yes. There's so much interesting movement. Um, yes. Joe Moore: You, you know, you, you kind of called it out and I think it's really actually worth discussing here since we're both here on the air together, like this idea that the psychedelic market, not idea, the lived experience of the psychedelic market having shifted substantially. And I, I, I think there's a lot of causes. Joe Moore: But I've never had the opportunity to really chat with you about this kind of like interesting downturn in money flowing into the space. Mm-hmm. Have you thought about it? Like what might the causes be? I'm sure you have. Mary Carreon: Yeah. Yeah, I have. Yeah. I've thought about it. I mean, it's hard. Well, I don't know. I am really not trying to point fingers and that's not what I'm [00:07:00] trying to do here. Mary Carreon: But I mean, I think a lot of people were really hopeful that the FDA decision last June, not last June, the previous June, a year ago, 2024, June was going to open the floodgates in terms of funding, in terms of, um. In terms of mostly funding, but also just greater opportunities for the space and, uh, greater legitimacy granted to the psychedelic medicine space. Mary Carreon: Mm. And for those who might not know what I'm talking about, I'm talking about the, uh, FDA decision to reject, uh, MDMA assisted therapy and, um, that whole, that whole thing that happened, I'm sure if it, you didn't even have to really understand what was going on in order to get wind of that wild situation. Mary Carreon: Um, so, so maybe, yeah. You probably know what I'm talking about, but I, I do think that that had a great impact on this space. Do I think it was detrimental to this space? [00:08:00] I don't think so. We are in a growth spurt, you know, like we are growing and growing pains happen when you are evolving and changing and learning and figuring out the way forward. Mary Carreon: So I think it was kind of a natural process for all of this and. If things had gone forward like while, yeah, there probably would be more money, there would be greater opportunity in this space for people wanting to get in and get jobs and make a living and have a life for themselves in this, in this world. Mary Carreon: I don't know if it was, I don't know if it would necessarily be for the betterment of the space in general for the long term. I think that we do have to go through challenges in order for the best case scenarios to play out in the future, even though that's difficult to say now because so many of us are struggling. Mary Carreon: So, but I, but I have hope and, and that statement is coming from a place of hope for the future of this space and this culture. Joe Moore: Yeah. It's, um, I'm with [00:09:00] you. Like we have to see boom bust cycles. We have to see growth and contraction just like natural ecosystems do. Mary Carreon: Absolutely, absolutely. It has to be that way. Mary Carreon: And if it's not that way, then ifs, if. It's, it like what forms in place of that is a big bubble or like a, a hot air balloon that's inevitably going to pop, which, like, we are kind of experiencing that. But I think that the, I think that the, um, the, the air letting out of the balloon right now is a much softer experience than it would be if everything was just like a green light all the way forward, if that makes sense. Mary Carreon: So, Joe Moore: right. And there's, there's so many factors. Like I'm, I'm thinking about, uh, metas censorship like we were talking about before. Yes. Other big tech censorship, right? Mm-hmm. SEO shifts. Mary Carreon: Oh. Um, yes, absolutely. Also, uh, there were some pretty major initiatives on the state level that did not pass also this past year that really would've also kind of [00:10:00] helped the landscape a little bit. Mary Carreon: Um. In terms of creating jobs, in terms of creating opportunities for funding, in terms of having more, uh, like the perception of safer money flow into the space and that, you know, those, those things didn't happen. For instance, the measure for in Massachusetts that didn't go through and just, you know, other things that didn't happen. Mary Carreon: However, there have been really good things too, in terms of, uh, legalization or various forms of legalization, and that's in New Mexico, so we can't, you know, forget that there, and we also can't forget just the movement happening in Colorado. So there are really great things happening and the, the movement is still moving forward. Mary Carreon: Everything is still going. It's just a little more difficult than maybe it could have been Joe Moore: right. Yeah. Amen. Amen. Yes. But also, we Mary Carreon: can't forget this censorship thing. The censorship thing is a horse shit. Sorry. I'm not sure if I'm allowed to cuss, but it is, [00:11:00] but it is Joe Moore: calling it out and it's important to say this stuff. Joe Moore: And you know, folks, if you want to support independent media, please consider supporting Doubleblind and psychedelics today. From a media perspective, absolutely. We wanna wanna put as much out as we can. Yes. The more supporters we have, the more we can help all of you understand what's happening and yes. Joe Moore: Getting you to stay safer. Mary Carreon: Yeah, absolutely. And that's the whole difficulty with the censorship is that psychedelics today, and Doubleblind for instance, but also Lucid News, also other, uh, other influencers, other creators in the space, they like. What all of us are doing is putting out information that is ultimately creating a safer user experience. Mary Carreon: And so with the censorship, we are not able to do so anymore, which creates actually a lot of danger. So. Yeah, it's, it's difficult. The censorship is difficult, and if you are somebody who posts about psychedelics, I know that you know this and I am preaching to the choir. Joe Moore: Yeah. So can you talk a [00:12:00] little bit about you all at Double Blind made a major shift in the last number of months towards, uh, kind of not necessarily putting everything out there and, and kind of like, um, actually I don't even know the language you use. Joe Moore: What's the, what's the language you use for the kind of model shift you took on? Mary Carreon: Yeah, I mean, it's great. It's been a wild shift. It's been a wild shift. Um, what we are currently doing is we went to a newsletter first model, which instead of just posting onto a website for everyone to see, and then, um, you know, hopefully getting SEO hits and also posting on their, then posting those stories onto Instagram and Facebook and Twitter, and hoping to get traffic through social media. Mary Carreon: Uh, we decided that that was no longer working for us because it wasn't, um, because the censorship is so bad on, on social media, like on Instagram, for instance, and Facebook and Twitter, well, less on Twitter, [00:13:00] but still, nonetheless on social media, the censorship is so bad. And also the censorship exists on Google. Mary Carreon: When you Google search how to take mushrooms, double blinds is not even on. You know, our guide is not on the first page. It's like, you know, way the heck, way the heck down there. Maybe page 2, 3, 4, 5. I don't know. But, um, the issue, the issue with that, or, or the reason why rather that it's that way is because Google is prioritizing, um, like rehabilitation centers for this information. Mary Carreon: And also they are prioritizing, uh, medical information. So, like WebMD for instance. And all of these organizations that Google is now prioritizing are u are, are, are, are organizations that see psychedelic use through the lens of addiction or through drug drug abuse. So [00:14:00] again, you know, I don't know, take it for how you want to, I'm not gonna say, I'm not gonna tell anybody like what is the right way to use their substances or whatever. Mary Carreon: However, it's really important to have the proper harm reduction resources and tools available. Uh, just readily available, not five pages down on a Google search. So anyways, all of that said double blind was our traffic was way down. And it was looking very bleak for a while. Just we were getting kicked off of Instagram. Mary Carreon: We weren't getting any traffic from social media onto our website, onto our stories. It was a, it was a vicious kind of cycle downward, and it wasn't really working. And there was a moment there where Doubleblind almost shut down as a result of these numbers because there's a, like you, a media company cannot sustain itself on really low page views as a result. Mary Carreon: So what we [00:15:00] decided to do was go to a newsletter first model, which relies on our email list. And basically we are sending out newsletters three days a week of new original content, mostly, uh, sometimes on Wednesdays we repost an SEO story or something like that. Um, to just to engage our audience and to work with our audience that way, and to like to actually engage our audience. Mary Carreon: I cannot emphasize that enough because on Instagram and on Facebook, we were only reaching like, I don't know, not that many people, like not that many people at all. And all of that really became obvious as soon as we started sending out to our email list. And as soon as we did that, it was wild. How many, how many views to the website and also how many just open like our open rate and our click through rate were showing how our audience was reacting to our content. Mary Carreon: In other words. [00:16:00] Social media was not a good, in, like, was not a good indicator of how our content was being received at all because people kind of weren't even receiving it. So going to the newsletter first model proved to be very beneficial for us and our numbers. And also just reaching our freaking audience, which we were barely doing, I guess, on social media, which is, which is wild, you know, for, for a, an account that has a lot of followers, I forget at this exact moment, but we have a ton, double blind, has a ton of followers on, on Instagram. Mary Carreon: We were, we, we get like 500 likes or, you know, maybe like. I don't know. If you're not looking at likes and you're looking at views, like sometimes we get like 16 K views, which, you know, seems good, but also compared to the amount of followers who follow us, it's like not really that great. And we're never reaching new, like a new audience. Mary Carreon: We're always reaching the same audience too, [00:17:00] which is interesting because even with our news, with our, with our email list, we are still reaching new people, which is, which says just how much more fluid that space is. Mm-hmm. And it's because it's, because censorship does not at least yet exist in our inboxes. Mary Carreon: And so therefore email is kind of like the underground, if you will, for this kind of content and this type of material journalism, et cetera. So, so yeah. So it, it, it has been a massive shift. It is required a lot of changes over at double blind. Everything has been very intense and crazy, but it has been absolutely worth it, and it's really exciting that we're still here. Mary Carreon: I'm so grateful that Double-Blind is still around, that we are still able to tell stories and that we are still able to work with writers and nurture writers and nurture the storytelling in this space because it needs to evolve just the same way that the industry and the [00:18:00] culture and everything else is evolving. Joe Moore: Yeah, I think, I think you're spot on like the, when I watch our Instagram account, like, um, I haven't seen the number change from 107 K for two years. Mary Carreon: Absolutely. Same. And, um, same. Joe Moore: Yeah. And you know, I think, I think there's certain kinds of content that could do fine. I think, uh, psychedelic attorney, Robert Rush put up a comment, um, in response to Jack Coline's account getting taken down, um, that had some good analysis, um. Joe Moore: Of the situation. Go ahead. You had No, Mary Carreon: no, I'm just like, you know, I can't, when, when journalists are getting kicked off of these, of these platforms for their stories, for their reported stories, that's like, that is a massive red flag. And that's all I have to say. I mean, we could go into more, more details on that, but that is a [00:19:00] huge red flag. Joe Moore: Mm-hmm. Yeah. Um, for sure. The, I, yeah. And like I'm sure he'll get it back. I'm sure that's not for good, but I think he did. Okay, great. Mary Carreon: I think he did. Yeah. Yeah, I think he did. Joe Moore: Yeah. So thank you. Shout out to Jack. Yeah, thanks Jack. Um, and I think, you know, there's, there's no one with that kind of energy out there. Joe Moore: Um, and I'm excited to see what happens over time with him. Yeah. How he'll unfold. Absolutely unfold. Oh yeah. It's like, um. Crushing the beat. Mary Carreon: Oh yeah, absolutely. Especially the political, the political beat. Like, there's no, there's few people who are really tackling that specific sector, which is like mm-hmm. Mary Carreon: So exciting for a journalist. Joe Moore: Yeah. Um, so model shifting, like we all have to like, adapt in new ways. Kyle and I are still trying to figure out what we're gonna do. Like maybe it is newsletter first. Like I, I realized that I hadn't been writing for [00:20:00] years, which is problematic, um, in that like, I have a lot of things to say. Mary Carreon: Totally. Joe Moore: And nobody got to hear it. Um, so I started a substack, which I had complicated feelings about honestly. 'cause it's just another. Rich person's platform that I'm, you know, helping them get Andreessen money or whatever. And, you know, so I'm gonna play lightly there, but I will post here and there. Um, I'm just trying to figure it all out, you know, like I've put up a couple articles like this GLP one and Mushrooms article. Mary Carreon: I saw that. I saw that. Really? And honestly, that's a really, like, it's so weird, but I don't, like, it's such a weird little thing that's happening in the space. I wonder, yeah, I wonder, I wonder how that is going to evolve. It's um, you know, a lot of people, I, I briefly kind of wrote about, um, psychedelics and the GLP, is that what it is? Mary Carreon: GLP one. Joe Moore: GLP one. Say Ozempic. Yeah, just, yeah, Ozempic. Yeah, exactly. Mary Carreon: Yeah, exactly. I wrote about [00:21:00] that briefly last year and there were a bunch of people like obviously horrified, which it is kind of horrifying, but also there's a bunch of people who believe that it is extremely cutting edge, which it also is. Mary Carreon: So it's really interesting, really fascinating. Joe Moore: Yeah. Um, I remember Bernie Sanders saying like, if this drug gets as much traction as it needs to, it will bankrupt Medicaid. I guess that's not really a problem anymore. Um, but, but, uh, but so like naming it real quick, like it changed the way we had to digest things, therefore, like mushrooms get digested differently and, um, some people don't respond in the expected ways. Joe Moore: And then there was some follow up, oh, we, in the regulated model, we just do lemon tech. And then I was like, is that legal in the regulated model? And I, I don't know the answer still. Mm-hmm. Like there was a couple things, you know, if users know to do it, you know, I don't, I don't totally understand the regulated model's so strange in Oregon, Colorado, that like, we really need a couple lawyers opinions. Joe Moore: Right. I think Mary Carreon: yes, of course Joe Moore: the lawyers just gave it a [00:22:00] thumbs up. They didn't even comment on the post, which is, laughs: thanks guys. Um, Joe Moore: but you know, laughs: yeah. You're like, thank you. Joe Moore: Thanks and diversity of opinions. So yeah, there's that. And like GLP ones are so interesting in that they're, one friend reached out and said she's using it in a microdose format for chronic neuroinflammation, which I had never heard of before. Joe Moore: Whoa. And um, I think, you know, articles like that, my intent was to just say, Hey, researchers yet another thing to look at. Like, there's no end to what we need to be looking at. Abso Mary Carreon: Oh, absolutely, absolutely. You know, reporting on this space actually taught me that there's so much just in general that isn't being researched, whether that's in this space, but also beyond and how, um, yeah, just how behind, actually, maybe not, maybe behind isn't the right word, but it kind of feels from my novice and from my novice place in the, in the world and [00:23:00] understanding research, it's. Mary Carreon: Hard for me to see it as anything, but being behind in the research that we all really need, that's really going to benefit humanity. But also, you know, I get that it's because of funding and politics and whatever, whatever, you know, we can go on for days on all of that. Joe Moore: What's the real reason? What's the real reason? Joe Moore: Well, drug war. Mary Carreon: Yeah. Well, yeah, definitely the drug war. Nixon. Yeah. Yes, yes, definitely the drug war. Yeah. I mean, and just the fact that even all of the drug research that happens is, again, through the lens of addiction and drug abuse, so Joe Moore: mm-hmm. Hard to right. Yeah. Um, like ni a is obviously really ridiculous and, and the way they approach this stuff, and Carl Hart illustrates that well, and, Mary Carreon: oh man, yes, he does. Joe Moore: Like, I think Fadiman's lab in Palo Alto got shut down, like 67, 66 or 67, and like that's, you know, that was one of the later ones, Mary Carreon: right? And, Joe Moore: and like, Mary Carreon: and here we are. Joe Moore: The amount of suffering that could have been alleviated if we [00:24:00] had not done this is. Incalculable. Um, yes. Yes. Yeah. Mary Carreon: I mean the, yeah, it's hard to say exactly how specifically it would be different, but it's difficult to also not think that the fentanyl crisis and the opioid addiction rate and situation that is currently like plaguing the, the world, but particularly the United States, it's hard to think that it wouldn't be, like, it wouldn't be a different scenario altogether. Joe Moore: Right, right. Absolutely. Um, and it's, um, it's interesting to speculate about, right? Like Yeah. Yes. Where would we be? And Mary Carreon: I know, I know, I know, I know it is speculation. Absolutely. But it's like hard, as I said, it's hard not to think that things would be different. Joe Moore: Right. Right. Um, I like, there's two kind of quotes, like, um, not, this one's not really a quote. Joe Moore: Like, we haven't really had a [00:25:00] blockbuster psychiatric med since Prozac, and I think that was in the eighties or early nineties, which is terrifying. And then, um, I think this guy's name is James Hillman. He is kinda like a Jungian, um, educator and I think the title of one of his books is, we're a hundred Years Into Psychotherapy and the World is Still a Mess. Joe Moore: And I think like those two things are like, okay, so two different very white people approaches didn't go very far. Yes. Um, yes and laughs: mm-hmm. Joe Moore: Thankfully, I think a lot of people are seeing that. Mm-hmm. Um, finally and kind of putting energy into different ways. Um, Mary Carreon: yeah. Absolutely. I think, yeah, I mean, we need to be exploring the other options at this point because what is currently happening isn't working on many fronts, but including in terms of mental health especially. Mary Carreon: So mm-hmm. We gotta get going. Right? We [00:26:00] gotta get moving. Geez. Joe Moore: Have you all, have you all seen much of the information around chronic pain treatments? Like I'm, I'm a founding board member with the Psychedelics and Pain Association, which has a really fun project. Oh, that's interesting. Mary Carreon: Um, I've seen some of the studies around that and it's endlessly fascinating for obvious, for obvious reasons. Mary Carreon: I, um, we have a writer who's been working for a long time on a story, uh, about the chronic pain that has since. Become an issue for this, for her, for the writer. Mm-hmm. Um, since she had COVID. Mm-hmm. Since, since she is just like, COVID was the onset basically of this chronic pain. And, um, there she attended a psychedelics in pain, chronic pain conference and, uh, that has pretty much like, changed her world. Mary Carreon: Um, well, in terms of just the information that's out there, not necessarily that she's painless, but it's just, you know, offering a, a brand new, a brand new road, a brand new path that is giving her, [00:27:00] um, relief on days when the pain is, uh, substantial. laughs: Yeah. Mary Carreon: So that's interesting. And a lot of people are experiencing that as well. Joe Moore: Mm-hmm. So there's, there's a really cool set of overlap between the COVID researchers, long COVID researchers and the chronic pain people. 'cause there is Yes. This new science of pain that's yes. Our group, PPA put out like a really robust kind of training, um, for clinicians and researchers and even patients to get more educated. Joe Moore: And we're, we're getting, um, kind of boostered by cluster busters and we're kind of leveraging a lot of what they've done. Mary Carreon: Wait, what is a cluster buster? Joe Moore: Oh gosh. Um, so they're a 5 0 1 C3. Okay. Started with Bob Wald. Okay. Bob Wald is a cluster headache survivor. Oh, oh, oh, Mary Carreon: okay. Got it. Got it. Yes. So they're Joe Moore: the charity that, um, has been really championing, um, cluster headache research because they found a protocol [00:28:00] with mushrooms. Joe Moore: Yes, yes, yes. To eliminate. Mm-hmm. Yeah. Um, this really great, I Mary Carreon: love that. Joe Moore: This really great book was written by a Rutgers, um, I think medical sociologist or anthropologist psychedelic. Love laughs: that. Joe Moore: Joanna Kempner. Cool. Um, and it kind of talks about the whole, um, cluster busters saga, and it was, it was pretty cool. Joe Moore: Nice. So they've been at it for about as long as maps. Um, oh wow. Maybe a little earlier. Maybe a little later. Mary Carreon: I love that. Cool. I mean, yeah, that's really great. That's really great. Joe Moore: So we're copying their playbook in a lot of ways and Cool. We about to be our own 5 0 1 C3 and, um, nice. And that should be really fun. Joe Moore: And, uh, the next conference is coming up at the end of next month if people wanna check that out. Psychedelic. Nice. Mary Carreon: Nice, nice, nice. Cool. Joe Moore: Yeah, so that, like, how I leaned into that was not only did I get a lot of help from chronic pain with psychedelics and going to Phish shows and whatever, um, you know, I, and overuse for sure helped me somehow. Joe Moore: [00:29:00] Um, God bless. Yeah. But I, I like it because it breaks us out of the psychiatry only frame for psychedelics. Mm. And starts to make space for other categories. Mm-hmm. Is one of the bigger reasons I like it. Mary Carreon: Mm-hmm. Mm-hmm. Yes. Yes. Which, like, we need to be, we need to, we, no one else is gonna do it for us. We like the people in the space who are finding new uses for these substances need to be creating those, those pathways and those new niches for people to then begin studying, et cetera, and exploring and yeah. Mary Carreon: Making, making a proper avenue for, Joe Moore: right, right. And, you know, um, I don't know that this is a Maha thing, so No, I'm going there, I guess, but like, how do we kind of face squarely America and the world's drinking problems? Not [00:30:00] knowing what we know now about alcohol, you know what I mean? And then like, what are the alternatives? Joe Moore: You know, some, some writers out there on substack are very firm that everybody needs to not do any substance. And like all psychedelics are super bad and drugs are evil, you know, famous sub stackers that I won't name. But you know, like what is the alternative? Like, I, like we have to have something beyond alcohol. Joe Moore: And I think you've found some cannabis helpful for that. Mary Carreon: Yeah, I, you know, it's, it's interesting because it's, there are, there's definitely an argument to be made for the power of these substances in helping, I don't wanna, I don't wanna say curb, but definitely reduce the symptoms of, uh, wanting to use or to drink or to consume a specific substance. Mary Carreon: There's obviously there is an argument to be made. There are, there is ano another camp of people who are kind [00:31:00] of in the, in the, in the, in the realm of using a drug to get off of a drug isn't how you do it. However, and, and I do, it depends on the individual. It depends on the individual and the, and how that person is engaging with their own addiction. Mary Carreon: I think for whether or not the substances work, like whether psychedelics work to help somebody kind of get off of alcohol or get off of cocaine or stop using opioids or, you know, et cetera. Mm-hmm. However, I think like, when the situation is so dire, we need to be trying everything. And if that means, like, if, like, you know, if you look at the studies for like smoking cessation or alcohol use, mushrooms do help, psilocybin does help with that. Mary Carreon: Mm-hmm. But, you know, there's, there's a lot of, there's a lot of things that also need to happen. There's a lot of things that also need to happen in order for those, uh, that relief to maintain and to stick and to, uh, really guide [00:32:00] somebody off of those substances. Mm-hmm. It's not just the substance itself. Joe Moore: Right. So I'm, I'm explicitly talking like recreational alternatives, right. Like how do I Yeah. On per minute, like, am Anitas becoming helpful? Yeah, yeah. Are helpful and Yeah. Yeah. I think like even, um, normal. What we might call like normal American alcohol use. Like Yeah. That's still like, quite carcinogenic and like, um, absolutely. Joe Moore: We're kind of trying to spend less as a country on cancer treatments, which I hope is true. Then how do we, how do we develop things that are, you know, not just abstinence only programs, which we know for sure aren't great. Mary Carreon: Yeah. They don't work. Yeah. I don't, it's, it's difficult. Mm-hmm. It's difficult to say. Mary Carreon: I mean mm-hmm. I don't know. Obviously I, I, well, maybe it's not obvious at all for people who don't know me, but, you know, I exist in a, I exist in, in a world where recreational use is like, it's like hard to define what recreational use is because if we are using this, if we are using mushrooms or LSD even, or MDMA, [00:33:00] you know, there are so many, there's a lot of the therapy that can happen through the use of these substances, even if we're not doing it, you know, with a blindfold on or whatever and yeah, I think like. Mary Carreon: There is a decent swap that can happen if you, if you are somebody who doesn't wanna be, you know, having like three beers a night, or if you are somebody who's like, you know, maybe not trying to have like a bottle of wine at a night or something like that, you know, because like Americans drink a lot and a lot of the way that we drink is, um, you know, like we don't see it as alcoholism. Mary Carreon: Even though it could be, it could be that's like a difficult Joe Moore: potentially subclinical, but right there. Mary Carreon: Um, yeah. Yeah. It's like, you know, it's, um, we don't see it as that because everybody, a lot of people, not everybody, but a lot of people drink like that, if that makes sense. If you know mm-hmm. If you, if you get what I'm, if you get what I'm saying. Mary Carreon: So, you know, I do think that there's a lot of benefit that, I don't [00:34:00] know, having, like a, having a mushroom, having a mushroom experience can really help. Or sometimes even like low dose, low doses of mushrooms can also really help with, like, with the. Desire to reach for a drink. Yeah, totally. And, and AMS as well. Mary Carreon: I know that that's also helping people a lot too. And again, outside of the clinical framework. Joe Moore: Yeah. I'm, a lot of people project on me that I'm just like constantly doing everything all the time and I'm, I'm the most sober I've been since high school. You know, like it's bonkers that like Yeah. Um, and you know, probably the healthiest event since high school too. Joe Moore: Yeah. But it's fa it's fascinating that like, you know, psychedelics kind of helped get here and even if it was like For sure something that didn't look like therapy. Yeah, Mary Carreon: yeah, yeah, yeah. Absolutely. Absolutely. Yeah. I, I think, I think most of us here in this space are getting projected on as to like, you know, being like what Normies would consider druggies or something, or that we are just like, you know, high all the time. Mary Carreon: Um, [00:35:00] I know that that is definitely something that I face regularly, like out in the world. Um, but, you know, I would also, I would also argue that. Uh, like mushrooms have completely altered my approach to health, my approach to mental health, and not even having to consume that, you know, that substance in order or that, you know, that fun fungi, in order for me to like tap into taking care of my mental health or approaching better, uh, food options, et cetera. Mary Carreon: It's kind of like what these, it's like how the mushrooms continue to help you even after you have taken them. Like the messages still keep coming through if you work with them in that capacity. Right. And yeah, and also same with, same with LSD too. LSD has also kind my experiences with that have also guided me towards a healthier path as well. Mary Carreon: I, I understand that maybe for some people it's not that way, but, um, for me that substance is a medicine as well, [00:36:00] or it can be. Joe Moore: Yeah. Um, so. What are, what are some things popping up these days about like US drug policy that's like getting exciting for you? Like, are you feeling feeling like a looming optimism about a, a major shift? Joe Moore: Are you kind of like cautiously optimistic with some of the weird kind of mandatory minimum stuff that's coming up or? Mary Carreon: Yeah. Yeah. I mean, I know that there was a huge, a, a pretty huge shift over at the DEA and I wish I remembered, I wish I remembered his name. The new guy who's now, I believe the head of the DEA, I don't know enough information about it to really feel a way. Mary Carreon: However, I don't think that he's necessarily going to be serving us as a community here, uh, in the psychedelic space. I, you know, I just don't think that that's something that we can ever depend on with the DEA. Uh, I also don't think that [00:37:00] the DEA is necessarily going to be. All that helpful to cannabis, like the cannabis space either. Mary Carreon: Um, I know that, that Trump keeps kind of discussing or, or dangling a carrot around the rescheduling of cannabis. Um, for, he's been, he's been, but he's doing it a lot more now. He's been talking about it more recently. Uh, he says like, in the next like couple weeks that he's going to have some kind of decision around that, allegedly. Mary Carreon: But we will see also, I'm not sure that it's going to necessarily help anybody if we reschedule two. Uh, what from schedule one to schedule th two, three, schedule three. Joe Moore: Either way it's like not that useful. Right. Exactly. Mary Carreon: Yeah. Yeah, exactly. It's, um, just going to probably cause a lot more red tape and a lot of confusion for the state rec markets. Mary Carreon: So it's like something that we, it's like only ridden with unintentional, unintentional consequences. Unintended consequences. Mm-hmm. Because no one knows how it's really going to [00:38:00] impact anything, um, if, if at all. But I don't know. It's hard, it's hard to imagine that there won't be any, uh, like more complex regulatory issues for business owners and also probably consumers as well. Joe Moore: Hmm. Yeah. This guy's name's Terry Cole. Mary Carreon: Oh, the new DEA guy. Joe Moore: Yeah. Um, I don't know much about him. Terry. Yeah. Terry, I would love to chat. Mary Carreon: Yeah. Terry, let's talk. I'm sure your people Joe Moore: are watching. Yeah. So like, just let him know. We wanna chat. Yeah. We'll come to DC and chat it out. Um, yeah. It's, um, but yeah, I, Carl Hart's solution to me makes like almost most of the sense in the world to just end the scheduling system Absolutely. Joe Moore: And start building some sort of infrastructure to keep people safe. That's clearly not what we have today. Mary Carreon: No. But building an infrastructure around the health and wellness and uh, safety of [00:39:00] people is the exact opposite system that we have currently right now. Because also the scheduling system has a lot to do with the incarceration in the United States and the criminal just, or the criminal system. Mary Carreon: So, so yeah, like we can't disentangle the two really. Joe Moore: It just started, um, I feel negligent on this. Uh, synergetic press put out a book like a year or two ago called Body Autonomy. Mm-hmm. Um, did that one come across your desk at all? Mm-hmm. No. I wish basically contributed. Oh, nice. A number of people. So it's both like, um. Joe Moore: Drug policy commentary and then like sex work commentary. Oh, nice. And it was like high level, like love that really, really incredible love that detailed science based conversations, which is not what we have around this. Like, that doesn't make me feel good. So you should go to jail kind of stuff. Or like, I'm gonna humiliate you for real though. Joe Moore: Ticket. Yeah, Mary Carreon: yeah, yeah, yeah, yeah. Oh God. Uh, when you think about it like that, it just really also shows [00:40:00] just the uh, um, the level at which religion has also kind of fundamentally infused itself into the scheduling system, but also our laws, you know, like what you just said, this like, shame-based, I'm going to embarrass you and make you into a criminal when you know actually you are a law for the most part, a law abiding citizen, with the exception of this one thing that you're doing for. Mary Carreon: A, your survival and or your, like, your feeling good, wanting to feel good addressing pain. Um, there's a large, uh, like noise coming out of the front yard of my house right now. Hold on. Just a, it doesn't sound too bad. It doesn't sound too bad. Okay. Okay, good. Not at all. Not at all. Okay. Yeah, I had Joe Moore: people working on my roof all day and somehow it worked out. Joe Moore: Oh, good. Um, yeah. Um, yeah, it's, it's fascinating and I, I've been coming around like, I, I identify as politically confused, [00:41:00] um, and I feel like it's the most honest way I can be. Um, Mary Carreon: I am also politically confused these days, impossible to align with any, uh, party or group currently in existence at this exact juncture in American history. Joe Moore: I can't find any that I want to throw my dice in with. Nah. This idea of like fucking way being. Like what is the most humane way to do government as a way it's been put to me recently. And that's interesting. So it comes down to like coercion, are we caring for people, things like that. And um, I don't think we're doing it in a super humane way right now. Mary Carreon: Um, we, yeah, I am pretty sure that even if there was, I mean, I think that even if we looked at the data, the data would support that we are not doing it in a humane way. Joe Moore: So Mary Carreon: unfortunately, and Joe Moore: you know, this whole tech thing, like the tech oligarch thing, you kind of dropped at the beginning and I think it's worth bringing that back because we're, we're on all [00:42:00] these tech platforms. Joe Moore: Like that's kind of like how we're transmitting it to people who are participating in these other platforms and like, you know, it's not all meta. I did turn on my personal Facebook, so everybody's watching it there. I hope. Um, see if that count gets, Mary Carreon: um, Joe Moore: but you know, this idea that a certain number of private corporations kind of control. Joe Moore: A huge portion of rhetoric. Um, and you know, I think we probably got Whiffs of this when Bezos bought Washington Post and then Yes. You know, Musk with X and like yes. You know, is this kind of a bunch of people who don't necessarily care about this topic and the way we do, and they're like in larger topics too about humane government and like, you know, moving things in good directions. Joe Moore: Um, I don't know, thoughts on that rift there as it relates to anything you, wherever you wanna go. Yeah. Mary Carreon: Yeah. I mean, I don't think that they are looking at, I don't think that they are looking [00:43:00] at it the way that we are. I don't think that they can see it from their vantage point. Um, I think that like, in the, in a similar way that so many CEOs who run businesses have no fucking clue about what's actually happening in their businesses and the actual workers and, and employees of their businesses can tell them in more detail. Mary Carreon: Far more detail about what's actually happening on the, on the floor of their own business. Uh, I think that it is something like that. However, that's not to say that, you know, these, these CEOs who employ people who build the A algorithm are obviously guided to create the limitations on us as people who speak about drugs, et cetera, and are creating a algorithm that ultimately is looking at things in a very blanket way in terms of, uh, like we're probably seen on the same level as like drug dealers, if that makes sense. Mary Carreon: Which is obviously a much, you know, there's, [00:44:00] it's a very different thing. Um, so, you know, there's like these CEOs are giving directions to their employees to ultimately create systems that harm. Information flow and inform and, and like the information health of, of platforms and of just people in general. Mary Carreon: So it's hard to say because there's nuance there, obviously, but I would bet you that someone like Elon Musk doesn't really have a full grasp as to the, the nuances and details of what's even happening within, on the ground floor of his businesses. Because that's like, not how CEOs in America run, run, and operate. Mary Carreon: They're stupid companies. So, so yeah. And I feel like that, like, that's across the board, like that's across the board. That's how I, that's probably how Zuck is operating with Meta and Facebook, et cetera. And yeah, just likewise and across, across the whole, [00:45:00] across the whole spectrum. Joe Moore: Mm-hmm. Yeah. And I think, um, a thing. Joe Moore: Then as the people like, we need to keep looking at how can we keep each other informed. And that's kind of circling back to drug journalism like we do and like, um, other, other sorts of journalism that doesn't really get the press it deserves. Right. And I've been getting far more content that I find more valuable off of tragically back on Zucks platform like IG is getting me so much interesting content from around the world that no major outlet's covering. Mary Carreon: That's so interesting. Like what? Like what would you say? Joe Moore: Oh, um, uh, certain, um, violent situations overseas. Oh, oh, got it. Yeah, yeah, yeah. And, um, you know, that America's paying for, so like, you know, I just don't love that I don't have a good, you know, journalistic source I can [00:46:00] point to, to say, hey, like right. Joe Moore: These writers with names, with addresses, like, and offices here. Yes. You know, they did the work and they're held, you know, they're ethical journalists, so yes. You can trust them. Right. You know what I mean? Yes, Mary Carreon: yes. Yeah, yeah, yeah. I mean, all of this makes everything so much harder for determining, like, the censorship specifically makes it so much harder for the people to determine like, what's real, what's not. Mary Carreon: Because, because of exactly what you just said. Mm-hmm. Like, you know, we are, we are basically what that means, like what is required of the people and people who are consuming information is becoming a smart consumer and being able to determine what's real, what's not. How can we trust this individual? Mary Carreon: How can we not, which isn't analysis process that all of us need to be sharpening every single day, especially with the advent of AI and, uh, how quickly this, this type of content is coming at all of us. Like, especially if you're on TikTok, which many of us are, you know, like information comes flying at you 3000 miles an hour, and it's sometimes [00:47:00] really difficult to determine what's real, what's not, because AI is. Mary Carreon: AI is not where it's going to be, and it still is in its nascent phase. However, it's still pretty fucking good and it's still very confusing on there. So, so again, like the media literacy of the people needs to be sharpened every single day. We cannot be on there, we cannot be on the internet existing. Mary Carreon: That everything that we are seeing is real. Whether that's about, you know, these, um, the violence overseas, uh, happening at the hands of the United States, whether that is, uh, even drug information like, you know, et cetera, all of all of it. Or just like news about something happening at Yellowstone National Park or something that is happening in the, uh, at like. Mary Carreon: Um, like potential riots also happening at protests in downtown la, et cetera. Like all, all of it, we need to be so careful. And I think what that also, like, one way that [00:48:00] we can adjust and begin to develop our media literacy skills is talking to people maybe who are there, reaching out to people who are saying that they were there and asking them questions, and also sussing that out. Mary Carreon: You know, obviously we can't do that for all situations, but definitely some of them. Joe Moore: Yeah, absolutely. Like, Joe Moore: um, a quick pivot. Mm-hmm. Were you at PS 25? Mary Carreon: Yes, I was. What did I think? Uh, you know, I, I was running around like crazy at this one. I felt like I didn't even have a second to breathe and I feel like I didn't even have a second to really see anybody. I was like, worry. I was jumping from one stage to the next. Mary Carreon: However, I would say, uh, one of, one of the things that I have said and how I felt about it was that I felt that this, this event was smaller than it was two years ago. And I preferred that I preferred the reduction in size just because it was, uh, less over, less overwhelming [00:49:00] in an, in an already very overwhelming event. Mary Carreon: Um, but I thought that from the panels that I did see that everyone did a really great job. I thought that maps, you know, it's impressive that maps can put on an event like that. Um, I also was very cognizant that the suits were there in full effect and, uh, you know, but that's not unusual. That's how it was last time as well. Mary Carreon: And, um, I felt that there was Mary Carreon: a, uh, like the, the, the level of excitement and the level of like opportunity and pro, like the prosperous. The like, prospect of prosperity coming down the pipeline like tomorrow, you know, kind of vibe was different than last time. Mm-hmm. Which that was very present at the one, two years ago, uh, which was the last PS psychedelic science. Mary Carreon: Yeah. Um, anyways. Yeah. But it was, you know, it was really nice to see everybody. [00:50:00] I feel like in-person events is a great way for everybody in the psychedelic space to be interacting with each other instead of like keyboard warrioring against each other, you know, uh, over the computer and over the internet. Mary Carreon: I think that, um, yeah, uh, being in person is better than being fighting each other over the internet, so, yeah. Joe Moore: Mm-hmm. People seem to be a little bit more civil in person. Mary Carreon: Exactly. Exactly. Mm-hmm. And I think that that is something that we all need to be considering more often, and also inviting people from across the aisle to your events and creating peace, because in person it's a little different than it is. Mary Carreon: When you have the opportunity to, uh, yeah, like keyboard attack someone over the internet, it's like, yeah. It's just so silly. So silly. We look like fools. Like we look like absolute idiots doing that. And you know what? I cannot sit here and say that I haven't looked like an idiot. So, you know, it's like I'm not, I'm not talking from like a high horse over here, but, but you know, it's like, it's [00:51:00] better when it's in person. Mary Carreon: I feel like there's like more civil engagements that we can all have. Joe Moore: It's practice, you know? Yeah. We're learning. Yeah. We are. We should be learning, including us, and yes, of course. Um, I, I play a subtler game these days and, uh, you know, I, I, I, it's better when we all look a lot better in my opinion, because yes, we can inform policy decisions, we can be the ones helping inform really important things about how these things should get implemented and absolutely right. Joe Moore: Like, Mary Carreon: absolutely. Yeah, it does. It does. Nobody, any service, especially these medicines, especially these sacraments, especially these plants, these molecules, et cetera, if we are all sitting here fighting each other and like calling each other names and trying to dunk on one another, when like in reality, we are also all kind of pushing for the same thing more or less. Joe Moore: Mm-hmm. So a thing that [00:52:00] I, it's a, it's kind of a, I, I had a great time at PS 25. I have no, no real complaints. I just wish I had more time. Yeah, same. Um, same. Yeah. Our booth was so busy. It was so fun. Just good. And it was like, good. I, I know. It was really good. I'm trying to say it out loud. I get to talk at the conference before Rick did. laughs: Oh, oh, Joe Moore: the morning show they put us on at like seven 30 in the morning or something crazy. Oh my god. It was early. I dunno if it was seven 30. Mary Carreon: That's so early. That's so early. Joe Moore: Yeah, right. Like that's crazy. I got zero nightlife in That's okay. Um, I was not, I was there for work. Yeah, Mary Carreon: yeah. I was Joe Moore: jealous. I didn't party, but you know, whatever. Joe Moore: Yeah, yeah. Mary Carreon: I did not party this time really in the same way that I did at PS 20. Was it 2023? Joe Moore: 23, yeah. 23. I only stay up till 11 one night in 23. Nice. Mary Carreon: Okay. Um, okay. Joe Moore: So I behaved, I have a pattern of behaving. 'cause I like That's good. I'm so bent outta shape inside going into these things. I'm like, I know, I know. Joe Moore: And, and I'm like, oh, all [00:53:00] my friends are gonna be there. It's gonna be great. And then it's like, yeah. It's mostly friends and only a little bit of stress. Yeah. Um, yeah. Yeah, Mary Carreon: yeah. I had a, I had a great time. It was really good seeing everybody again. Like you, I wish that I had more time with people. Like there are people that I like didn't even see who are my friends, Joe Moore: so, which Yeah. Joe Moore: Which is sad. That's like a subtext in, in like the notes coming away from 25. Is that the, um, American Right, if we wanna call it that, is very interested in this stuff. Oh yeah. Like the Texas establishment. Oh yeah. Um, the Texas contingent, right? They're deep. They're real deep. Mm-hmm. I have, um, Mary Carreon: let's talk about that more. Mary Carreon: Yeah. So Joe Moore: it's optimistic in, in some sense that psychedelic science is getting funded more. By states. 'cause the feds aren't stepping up. Right. I love that. Right. Yeah. Like, Hey feds, look what we can do. And you can't somehow, and [00:54:00] then, um, we'll see if state rights stays around for a while longer, maybe, maybe not. Joe Moore: And then the other part is like, is there a slippery slope given the rhetoric around addiction and the rise in interest in iboga for compulsory addiction treatment with psychedelics or, or compulsory mental health treatments with psychedelics because of the recent, it's illegal to be a person without housing. Joe Moore: Um, and you're gonna get put in treatment. Mm. Like, that's now a thing. So like, I don't know, I don't think forced treatment's good at all. I, and I don't think like, um, like the data is something like 15% effective, maybe less. Right. Right. It's not a good use of money. I don't know. We're, let's, I. You can go there if you want, and riff on that, or if you wanna talk about like, Texas, um, Arizona more generally. Mary Carreon: Yeah. I mean, I will just say this, I also don't really believe that forced treatment is like good, you [00:55:00] know, data Joe Moore: says it's bad. Mary Carreon: Yeah. Yeah. I also, yeah, I mean, it's like, I don't know. Yeah, that's, it's complex. It's a complex issue. I also don't think it's good, but I also do think that we need a much better framework and foundation for like, if people do want the help, helping them get it. Mary Carreon: Much more easily and in a way that's going to be beneficial for them. Um, and I don't think that that system or that pathway currently exists as we saw in, uh, with, with, um, measure 1 0 9 and the failure of measure 1 0 9 or, or was it Measure 1 0 10, 1 10, measure one 10 in Oregon. Joe Moore: But did you see the response yesterday or two days ago? Joe Moore: No, I didn't. No, I didn't. I'll I'll send it to you later. Okay. So the university did the research, um, Portland State University did the research Yes. And said, Hey, look, there was actually 20 other things that were higher priority. Like that actually influenced this increase in overdoses, not our law. Mary Carreon: Right. Mary Carreon: Yes. It was really COVID for Okay. [00:56:00] Like for, yeah. Right. Absolutely. Also, there was not a. Like there was not a framework in place that allowed people to get off the street should they want to, or you know, like, like you just can't really have a, all drugs are legal, or small amounts of drugs are legal without also offering or creating a structure for people to get help. Mary Carreon: That, that's, you can't do one without the other. Unfortunately. That's just like a, that's faulty from the start. So that's all I'll really say about that. And I don't think that that had fully been implemented yet, even though it was something that wasn't ideal for the, um, for the, for the measure. And I believe it was measure one 10, not measure 1 0 9, to be clear. Mary Carreon: Measure one 10. Um, yes, but confirmed one 10 confirmed one 10, yes. Mm-hmm. Um, but yeah, uh, that's, you know, that's kind of what I'll say. That's what I'll, that's where I'll leave that portion. Mm-hmm. You know? Uh, but yeah, forced treatment. I don't know. [00:57:00] We can't be forcing, forcing people to do stuff like that. Mary Carreon: I don't know. It's not gonna, it's, yeah, it doesn't seem Joe Moore: very humane. Mary Carreon: Yeah. No. And it also probably isn't gonna work, so, Joe Moore: right. Like, if we're being conservative with money, like, I like tote, like to put on Republican boots once in a while and say like, what does this feel like? And then say like, okay, if we're trying to spend money smartly, like where do we actually get where we want to be? Joe Moore: And then sometimes I put on my cross and I'm like, okay, if I'm trying to be Christian, like where is the most, like, what is the most Christian behavior here in terms of like, what would the, you know, buddy Jesus want to do? And I'm just like, okay, cool. Like, that doesn't seem right. Like those things don't seem to align. Joe Moore: And when we can find like compassionate and efficient things, like isn't that the path? Um, Mary Carreon: compassionate and t. Yeah, even, I don't know, I don't know if it looks lefty these days, but Yeah, I know what you mean. Yeah, I know what you mean. I know what you mean. Yeah. [00:58:00] Yeah. Um, yeah, it's complicated. It's complicated, you know, but going back, kind of, kind of pivoting and going back to what you were talking about in regards to the subtext, some of the subtext of like, you know, where psychedelic medicine is currently getting its most funding. Mary Carreon: You know, I do believe that that was an undercurrent at psychedelic science. It was the, the iboga conversation. And there's, there's a lot, there's a lot happening with the Iboga conversation and the Iboga conversation and, um, I am really trying to be open to listening to everyone's messages that are currently involved in. Mary Carreon: That rise of that medicine right now? Um, obviously, yeah, we will see, we'll see how it goes. There's obviously a lot of people who believe that this is not the right move, uh, just because there's been no discussions with, uh, the Wii people of West Africa and, you know, because of [00:59:00] that, like we are not talking to the indigenous people about how we are using their medicine, um, or medicine that does like that comes from, that comes from Africa. Mary Carreon: Um, also with that, I know that there is a massive just devastating opioid crisis here that we need to do something about and drug crisis that we need to be helping with. And this medicine is something that can really, really, really help. Um, I find it absolutely fascinating that the right is the most interested party in moving all of this forward, like psychedelic medicine forward. Mary Carreon: And I, I currently have my popcorn and I am watching and I am eating it, and I am going to witness whatever goes down. Um, but I'm, I, I hope that, uh, things are moving in a way that is going to be beneficial for the people and also not completely leave behind the indigenous communities where this medicine comes from. Joe Moore: [01:00:00] Mm-hmm. Mary Carreon: We'll see how it goes. Yeah. We'll see how it goes. We'll see how it goes. It Joe Moore: would be lovely if we can figure it out. Um, I know, and I think, uh, Lucy Walker has a film coming out on Iboga. Mm. I got to see it at Aspen, um, symposium last summer, and it was really good. Mm. So I'm sure it'll be cut different, but it's so good and it tells that story. Joe Moore: Okay. Um, in a helpful way. I'm gonna, I, yeah. I always say I'm gonna do this. I'm like, if I have space, maybe I'll be able to email her and see if we can screen it in Colorado. But it's like a brilliant film. Yeah. Cool. This whole reciprocity conversation is interesting and challenging. And so challenging being one of the few countries that did not sign onto the Nagoya protocol. Joe Moore: Absolutely. We're not legally bound, you know, some countries are Mary Carreon: I know. Yes, yes, yes. So Joe Moore: we're, you know, how do we do that? How do we do that skillfully? We still haven't done it with, um, first Nations folks around their [01:01:00] substances. Um, I think mushrooms are a little flexible and account of them being global, um, from Africa to Ireland and beyond. Joe Moore: And, but you know, that's, we still want to give a nod to the people in Mexico for sure. Yeah, absolutely. Absolutely. Yeah. Um, yeah. Yeah, it's, I had some fun commentary there that I would love to flesh out someday. Uh, but yeah, it's not for today. Mary Carreon: Yeah, yeah, yeah. Um, there's, yeah, there's obviously, there's obviously a lot with the conversation of reciprocity here and, um, I know, I, I don't know. Mary Carreon: I, I, what I do know is that we need to be listening to the indigenous people, not just listening to them second, like secondhand or listening to them, uh, once we have moved something forward, like actually consulting with them as the process goes. And that, you know, the way that both parties move, indigenous folks and, uh, western folks move, uh, are at inherently different paces. Mary Carreon: And, [01:02:00] um, I just hope, and I wish, and I, I hope, I just hope that, uh, Western what, like the Western party, the western folks who are diving into these medicines. Slow the fuck down and listen and just are able to at least make one right move. Just one, just like you. Like it's, doesn't have to be this, it doesn't have to be that hard. Mary Carreon: Although the pace of capitalism usually propels, uh, the western folks at, at a much quicker rate than, u

From Highs to Headwinds: Navigating the Economy's Crosscurrents In this episode of Something More with Chris Boyd, Chris and co-host Jeff Perry sit down with Senior Portfolio Manager Brian Regan to unpack the economic “headwinds” that could challenge today's market highs. From the ripple effects of tariffs and their $800B impact on consumers, to the economic consequences of shifting immigration patterns, student loan repayments, and rising wages, the conversation dives deep into the data, the Fed's balancing act, and the looming question of recession risk. Whether you're an investor, business owner, or simply curious about where the economy is headed, this episode offers a grounded, data-driven look at the forces shaping our financial future. #Economy #Markets #Investing #Tariffs #Inflation #RecessionRisk #FederalReserve #EconomicOutlook #PortfolioManagement #FinancePodcast #MarketAnalysis #InterestRates #EconomicHeadwinds #Headwinds #WallofWorry #FinancialPlanning #Investing For more information or to reach TEAM AMR, click the following link: https://www.wealthenhancement.com/s/advisor-teams/amr  

Introducing a new series on Crosscurrents where we round up what's happening in transportation news in the Bay Area

In a market climbing a wall of worry, Alfred Lee, Deputy CIO at Q Wealth Partners, breaks down what's really driving resilience in equities, the pitfalls of the 60/40 portfolio, and why private markets may hold the key to asymmetric opportunities.SummaryAlfred Lee, Deputy Chief Investment Officer at Q Wealth Partners, joins us for a deep dive into the future of portfolio construction, the limitations of legacy models, and the overlooked opportunities in private markets.With over two decades of experience—from building BMO's ETF platform from the ground up to shaping Q Wealth's investment platform—Alfred brings a candid, data-driven perspective on how advisors can navigate today's uncertain environment.Our conversation ranges from the rise of independence in Canada's wealth management industry, his role as Deputy CIO at Q Wealth Partners, one of Canada's leading independent advisor platforms where he has been for almost one year, to his views on navigating markets in the context of the push-pull dynamics between fiscal expansion and monetary caution. Alfred also shares his conviction that investors need to evolve beyond the traditional 60/40 and embrace a more diversified, resilient approach—one that integrates private equity, private debt, and liquid alternatives alongside public markets.This is a must-listen for advisors and investors looking to position portfolios for an era where fundamentals matter again, resilience is paramount, and opportunity often lies beyond the obvious.4 Key TakeawaysThe rise of independence in wealth management – Q Wealth is at the forefront of Canada's RIA-style movement, offering turnkey infrastructure for advisors seeking freedom from traditional institutions.Markets priced for perfection – Equity markets may look overvalued, but earnings surprises suggest valuations could be less frothy than they appear. Still, risks such as tariffs, inflation, and geopolitical uncertainty loom large.Beyond the 60/40 portfolio – Traditional models fail in inflationary regimes; resilient portfolios now require privates and alternatives alongside equities and bonds.Asymmetric opportunities – The most compelling upside lies in private markets and alternative strategies, where strong due diligence can unlock alpha inaccessible in public markets.Timestamped Chapters00:00 – Introduction to Alfred Lee and his career journey02:00 – Q Wealth's model and the rise of advisor independence in Canada08:30 – Freedom in strategy: private pools, ETFs, and broader exposures14:00 – Defining success at an independent platform15:30 – Market outlook: resilience, risks, and equity momentum24:00 – Fiscal expansion vs monetary caution: Powell vs Trump33:00 – Valuations, earnings, and the search for asymmetric returns39:00 – Private equity, private debt, and the power of secondaries45:00 – Why the 60/40 model is outdated50:00 – The case for alternatives and diversification52:00 – Closing reflections and key lessons#InvestmentStrategy #WealthManagement #QWealth #AlfredLee #InsightIsCapital #MarketOutlook #PortfolioConstruction #PrivateMarkets #Alternatives #ETFInvesting #6040Portfolio #FinancialAdvisors

In the latest Market Signals podcast, LPL Research's Chief Equity Strategist Jeffrey Buchbinder and Chief Fixed Income Strategist Lawrence Gillum recap a strong week for stocks, discuss what's next for the Federal Reserve (Fed), and explain why stocks have been so resilient in the face of policy headwinds. Tracking #781176

Today on Crosscurrents, we bring you one of our favorite episodes of The Stoop Podcast. In it we meet Ayanna Davis to learn what it means to be "Phenomenally Autistic." And, why Black people with autism are diagnosed later in life. Check out more from The Stoop Podcast here!

The Bay Area is home to thousands of Haitians. In this segment of our Diaspora stories, Crosscurrents host, Hana Baba went to visit one whose restaurant was  named one of the tastiest restaurants in the Bay Area by the SF Chronicle.

The roots of tradition sometimes take hold in unexpected soil. What happens when traditions from France, Korea, and China converge in one practitioner's hands? There's a kind of alchemy in the way knowledge travels—through stories, teachers, and clinical results that raise the question of what is going on here.In this conversation with Jacques MoraMarco, we explore the shape of a career that's spanned over five decades. From his early exposure to French-Vietnamese and Korean teachings, to his role in building acupuncture education in the U.S.—Jacques has carried multiple lineages while helping to shape what Chinese medicine looks like in the modern clinic.Listen into this discussion as we talk about the perspective of different streams of practice, the shift from apprenticeship to formal schooling, and how European and Korean influences still echo in his work.

Hana Baba is creator of the new audio series “Folktales From Sudan.” The series is a passion project inspired by the stories Baba grew up hearing when visiting relatives in Sudan. Each episode is a single story narrated by Baba with music and sound effects. Baba says the series marks the first time the tales have been recorded in English. “Folktales From Sudan” premiered in March and is now available wherever you get your podcasts.Baba is an award-winning journalist with KALW in San Francisco, where she hosts the long-running news magazine “Crosscurrents.” She reports on immigrants and communities of color, health, education, race, identity, culture, religion and arts. Baba was born in Sudan and migrated to the United States with her family as a child.Michael Griffin talks with Baba about storytelling's role in culture, and the virtue of sharing African stories on a global scale.

We need a recovery of the sacred in our secular world. Because the mental, emotional, and psychological struggles haunting society right now can't be solved without addressing meaning, purpose, and the longing for connection to something beyond ourselves.In other words, spiritual health is an essential part of mental health.An attorney, religious scholar, and university chaplain, Dr. Varun Soni is Dean of Religious Life at the University of Southern California, and is leading us back to our true north, through spacious and life-giving spiritual conversations and sacred practices that realign us to our values and identity.In this conversation with Varun Soni, we discuss:Finding the sacred in our secular culture.Religious pluralism and what it means to build trust that reaches across religious lines of difference.The transformative power of finding your “truth north”—your North Star—to orient our journeys of faith and spirituality.Varun shares six pillars of flourishing; how to align our actions with our values; and the benefit of listening to the cultural narratives and stories we tell.He reflects on the missing elements of spirituality in our understanding of mental health today, evidenced in his work with teens and emerging adults.He offers us a Hindu meditative practice to provide inner clarity, stability, and calm.And he comments on compassion and a cultivation sacred spiritual practices to counteract the loneliness, anguish, and suffering in our world.Show NotesDr. Pam King welcomes Varun Soni, Dean of Religious and Spiritual Life at USCJourney from Hindu attorney to first Hindu Dean of Religious and Spiritual Life in the U.S.“What does it mean to be Indian? What does it mean to be Hindu? What does it mean to be American? What is this Indian American experience?”1965 Immigration and Naturalization ActInspired by grandfather's connection to Mahatma Gandhi“ What it meant to be Hindu was to be like Gandhi. What it meant to be Indian was to be like Gandhi. What it meant to live a meaningful life was to live like Gandhi.”“ I continued to study religion as a way of understanding myself.”Sitting with the Dalai Lama on Mahatma Gandhi's birthdayMentorship from the Dalai LamaDeepak Chopra's influence“Interfaith trust building”University ChaplaincyWhat is thriving to you?"Thriving is the alignment of purpose and practice—it's not about arriving, but about moving in the right direction."“What is my north star, and how do I get there?”Spiritual well-being about asking the right questions, not having all the answersReligion once provided meaning, rituals, and community—now young people seek new structures"What is sacred to you? If you can't answer that, you're drifting without a compass."The urgency of time when turning 50 years old“I'm not trying to prove anything to anyone anymore.”“Put the process before the answer.”6 pillars of thriving and well-being: diet, sleep, exercise, contemplative practice, emotional intelligence, connection to natureBasic physical pillars of thriving: Diet, Sleep, ExerciseSpiritual pillars of thriving: Contemplation, Emotional Intelligence, and Communing with NatureFinding what is sacred—faith, relationships, personal values51% of USC students non-religious, 80% spiritualRecord levels of loneliness, imposter syndrome, comparison culture“Not just a mental health crisis, but a spiritual health crisis.”Loss of intergenerational religious experiences—key protective factor against depression"We took away religion and replaced it with social media, then wondered why anxiety skyrocketed."Social media fuels disconnection rather than community"We weren't built for this much bad news. Our brains weren't designed to process global suffering 24/7."“There's no right way to do contemplative practice.”Find moments built into your dayExercise: So Hum breath meditation: Inhale “So,” exhale “Hum”Using meditation as a spiritual technology or tool"You are not your thoughts—you are the awareness behind them."Identity shaped by personal narrative—"If you don't like your story, rewrite it."Telling the story of who you will become"Every individual is the hero of their own journey, whether they realize it or not."Cultural mythology, from sacred texts to Marvel movies, reflects search for meaningSpirituality helps build redemptive life narratives“There power in being part of something bigger.”The Spiritual Child by Lisa Miller—research on spirituality and mental health"It's hard to hate the people you love—universities are one of the last places where people can learn to love each other across differences."Technology and mediated relationshipsWhat is sacred to you?"Gen Z's greatest superpower is empathy, but they've never been lonelier."Building protective factors for young peopleGratitude rituals shift focus from anxiety to appreciationCare, justice, and connectionMental Health CrisisMental Health and Spiritual HealthAwe-inspiring moments—nature, music, relationships—essential to well-being"Awe, wonder, and gratitude aren't luxuries—they're survival tools."“You can't doom-scroll your way to joy. Presence and connection matter.”Religious institutions declining, but human need for transcendence remainsCreating new rituals and meaning-making for a secular generation"Spiritual health is just as important as mental health—ignore it, and you miss a key part of the equation."What is your North Star? What gets you up in the morning?How do your daily practices align purpose and action?How do the stories you tell shape your identity and thriving?Try So Hum meditation as a daily mindfulness practiceEngage in one act of gratitude—write a note, express appreciation, savor a momentIt's all too easy to fragment our lives into secular and sacred, but thriving and spiritual health require wholeness and integration of every aspect of ourselves, including our faith and spirituality.Future generations of leaders need our guidance and support in their connection to community and their search for meaning, purpose, and hope.Keep your seat-belt firmly fastened, your seat-back upright, tray table stowed, and secure your own spiritual oxygen mask before assisting others.We can counteract the outrage, anxiety, and information overload with simple, daily practices that bring stability and clarity.We thrive when we align our actions and our values, our behavior with our beliefs, and our practices with our purpose.About Varun SoniVarun Soni is the Dean of Religious Life at the University of Southern California. He received his B.A. degree in Religion from Tufts University, where he also earned an Asian Studies minor and completed the Program in Peace and Justice Studies. He subsequently received his M.T.S. degree from Harvard Divinity School and his M.A. degree through the Department of Religious Studies at the University of California, Santa Barbara. He went on to receive his J.D. degree from University of California, Los Angeles School of Law, where he also completed the Critical Race Studies Program and served as an editor for the Journal of Islamic and Near Eastern Law. He earned his Ph.D. through the Department of Religious Studies at the University of Cape Town, where his doctoral research focused on religion and popular culture. As an undergraduate student, Dean Soni spent a semester living in a Buddhist monastery in Bodh Gaya, India through Antioch University's Buddhist Studies Program. As a graduate student, he spent months doing field research in South Asia through UCSB's Center for Sikh and Punjab Studies.Dean Soni is currently a University Fellow at USC Annenberg's Center on Public Diplomacy and an Adjunct Professor at the USC School of Religion. He is the author of Natural Mystics: The Prophetic Lives of Bob Marley and Nusrat Fateh Ali Khan (Figueroa Press, 2014) and his writings have appeared in the Washington Post, Huffington Post, Crosscurrents, Jewish Journal, and Harvard Divinity Bulletin. He produced the critically acclaimed graphic novel Tina's Mouth: An Existential Comic Diary by Keshni Kashyap, which is currently being adapted as a feature length film. He also produced and hosted his own radio show on KPFK-Pacifica that showcased music from South Asia and its diaspora. In 2009, he was one of the organizers of the historic Concert for Pakistan, a benefit concert at the United Nations General Assembly Hall featuring Salman Ahmad, Sting, Outlandish, Jeff Skoll, Deepak Chopra, and Melissa Etheridge.Dean Soni is a member of the State Bar of California, the American Academy of Religion, and the Association for College and University Religious Affairs. He is on the advisory board for the Center for Muslim-Jewish Engagement, Journal for Interreligious Dialogue, Hindu American Seva Charities, Future45, and the Parliament of the World's Religion. Prior to joining USC, Dean Soni spent four years teaching in the Law and Society Program at UCSB. Born in India and raised in Southern California, he has family on five continents and they collectively represent every major religious tradition in the world. About the Thrive CenterLearn more at thethrivecenter.org.Follow us on Instagram @thrivecenterFollow us on X @thrivecenterFollow us on LinkedIn @thethrivecenter About Dr. Pam KingDr. Pam King is Executive Director the Thrive Center and is Peter L. Benson Professor of Applied Developmental Science at Fuller School of Psychology & Marriage and Family Therapy. Follow her @drpamking. About With & ForHost: Pam KingSenior Director and Producer: Jill WestbrookOperations Manager: Lauren KimSocial Media Graphic Designer: Wren JuergensenConsulting Producer: Evan RosaSpecial thanks to the team at Fuller Studio and the Fuller School of Psychology & Marriage and Family Therapy.

Today, we bring you a special episode of Crosscurrents. It's an audio tour of some of the institutions that have lasted, impacted, and changed San Francisco over time.

In this episode, we bring you a deep and reflective conversation from Theology Beer Camp focusing on the interlocking crises of democracy and religion in America. The panel took place on the Theology Nerd stage and was moderated by previous podcast guest, Aaron Stauffer from Wendland-Cook Program in Religion & Justice  at Vanderbilt University and features esteemed scholars Robert C. Jones, Diana Butler Bass, and Gary Dorrien. They explore various dimensions of liberal democracy, social democracy, and the historical and present impacts of religion and race on American politics. The discussion delves into personal histories, the influence of the black social gospel, and practical steps for communities and churches to combat current socio-political challenges, particularly emphasizing community organizing and educational initiatives. If you want to get info, updates, and access to pre-sale tickets for Theology Beer Camp 2025 you can signup here. For information on Wendland-Cook's Solidarity Circles, a program to build virtual peer-networks for faith leaders, organizers, clergy, and members of the community to build grassroots solidarity, head over here. Previous Podcast Conversations Theology for Action with Aaron Stauffer Theological Ethics & Liberal Protestantism with Gary Dorrien James Cone and the Emergence of Black Theology with Garry Dorrien Truth & Kindness in the Public Square with Diana Butler Bass (a bunch more are linked there) Aaron Stauffer is the Director of Online Learning and Associate Director of the Wendland-Cook Program at Vanderbilt University Divinity School. He earned his PhD in social ethics at Union Theological Seminary in the City of New York and has organized with the Industrial Areas Foundation in San Antonio, Texas and Religions for Peace. His work has appeared in Tikkun, Sojourners, The Other Journal, Political Theology, and CrossCurrents, as well as other scholarly and popular publications. Diana Butler Bass, Ph.D., is an award-winning author, popular speaker, inspiring preacher, and one of America's most trusted commentators on religion and contemporary spirituality. Gary Dorrien is Reinhold Niebuhr Professor of Social Ethics at Union Theological Seminary and Professor of Religion at Columbia University. He is also the author of Anglican Identities: Logos Idealism, Imperial Whiteness, Commonweal Ecumenism, Social Ethics in the Making: Interpreting an American Tradition, American Democratic Socialism and In a Post-Hegelian Spirit: Philosophical Theology as Idealistic Discontent. You won't want to miss his upcoming theological memoir Over from Union Road My Christian-Left-Intellectual Life. Robert P. Jones. Is the president and founder of Public Religion Research Institute (PRRI) and the author of three books best-selling books, The Hidden Roots of White Supremacy and the Path to a Shared American Future , White Too Long: The Legacy of White Supremacy in American Christianity, The End of White Christian America . _____________________ Join my Substack - Process This! Join our upcoming class - THE RISE OF BONHOEFFER, for a guided tour of Bonhoeffer's life and thought. Go with me to Berlin to spend a week in Bonhoeffer's House! Follow the podcast, drop a review, send feedback/questions or become a member of the HBC Community. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, we're launching a new series by KALW's own Angie Coiro: "Book It!" In the series, we'll hear from Bay Area authors about stories set in California across time and genre. In this episode, Noir author Scott Phillips talks about his new book set in the earliest days of Hollywood.

In this episode, we are joined by social ethicist Dr. Aaron Stauffer to guide us through the intersection of theology and community organizing. Aaron, a coordinator for the Wendland-Cook Program in Religion & Justice and author of Listening to the Spirit, explores the intertwining of theology, activism, and justice. Discover how faith has historically inspired activism and can energize current movements. The dialogue delves into sacred values, community organizing, and the transformation of religious and political landscapes. Topics include bipartisan politics, military spending, foreign policy, and the role of unions like the UAW. Reflect on the impact of historical social movements, the military-industrial complex, and theological perspectives on democracy and class solidarity. Learn about upcoming events like Theology Beer Camp and the concept of Solidarity Circles to build supportive networks of change-makers. This episode is a compelling blend of faith, practical efforts for social change, and community values. Aaron Stauffer is the Director of Online Learning and Associate Director of the Wendland-Cook Program at Vanderbilt University Divinity School. He earned his PhD in social ethics at Union Theological Seminary in the City of New York and has organized with the Industrial Areas Foundation in San Antonio, Texas and Religions for Peace. His work has appeared in Tikkun, Sojourners, The Other Journal, Political Theology, and CrossCurrents, as well as other scholarly and popular publications. About Solidarity Circles Building Solidarity by Deep Transformation Faith leaders, clergy, & organizers today feel more isolated than ever. We are over-resourced and under-connected. We need spaces and networks to organize together. Solidarity Circles are built to meet this need. These are virtual peer-networks for faith leaders, organizers, clergy, and members of the community who realize that the solidarity economy is essential for the flourishing of life and our faith communities. Solidarity circles are one way the Wendland-Cook Program is seeking to revitalize and build the church and Christian theology in positive ways. We believe that this work is deeply connected to the mission and vocation of Christian churches. Broadly understood, the cooperative and solidarity economy are ways of addressing longstanding economic inequalities within our society, including white supremacy and gender and sex inequities. We're so excited about the work we can do together. INFO HERE Watch the conversation on YouTube _____________________ Join my Substack - Process This! Join our upcoming class - THE GOD OF THE BIBLE: An Absolutely Clear and Final Guide to Ultimate Mystery ;) Come to THEOLOGY BEER CAMP. Follow the podcast, drop a review, send feedback/questions or become a member of the HBC Community. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Crosscurrents, we hear why the Oakland A's plan to move to Las Vegas has some skeptics. It's the next episode of Foul Ball. Then, we meet Uncuffed Producer Greg Eskridge the morning of his release. And, we hear a poem on police brutality from KALW's open mic night.

The Bayview-Hunters Point Coastline is currently being developed into a chain of parks. Today on Crosscurrents, how Free swim lessons are connecting kids with water. Then, we break down the stereotypes about Black people and swimming. And, a Burning Man artist talks about his time at Black Rock city.

In this episode of Crosscurrents, we hear how tending to our mental health can be tough when it feels like the world is on fire. Today, we dig into the psychological impacts of climate change. Then, the history of one local wildlife haven. It's a conversation and a story about taking care of ourselves and the natural world.

Today on Crosscurrents, we learn how cement and concrete produce almost as much carbon dioxide as cars. We bring you a story that exlpores the climate issues with our most used building material. Then, we learn how high school suspension rules in California have changed to protect students.

In today's episode of Crosscurrents, we hear how some residents in West Marin are fighting to keep the lights off. But in order to succeed they will need more than just the North Star to navigate through all the municipal red tape. It's part two of a special story from our friends at the Nocturne podcast.

Lauren Rhoades talks with author Gerry Wilson, whose new novel That Pinson Girl follows a young mother in a rural North Mississippi community, against the backdrop of the deprivation of World War I and the 1918 influenza epidemic. A seventh generation Mississippian, Gerry Wilson grew up in the red clay hills of the north. Her short story collection, Crosscurrents and Other Stories, was nominated for the Mississippi Institute of Arts and Letters Fiction Award. On the Arts Hour, Gerry talks about her journey to becoming a writer, her years as a high school English teacher, and, of course her new novel. If you enjoyed listening to this podcast, please consider contributing to MPB. https://donate.mpbfoundation.org/mspb/podcast. Hosted on Acast. See acast.com/privacy for more information.

Contrasting macro-economic indicators plus geo-political concerns are tugging commodities generally higher… but new money is only following part of the trade. Find out why.     

Episode 121 Crosscurrents in Early Electronic Music of Canada, Part 2   Playlist   Track Time Start Time Introduction –Thom Holmes 04:32 00:00 1.             John Mills-Cockell, “On The Heath” from A Third Testament (1974 True North). John Mills-Cockell is a Canadian composer from Toronto who was a very early adopter of the original Moog Synthesizer. He was part of the multi-faceted and ground-breaking work with the avant garde/poetry group Intersystems in the late 1960s and then the group Syrinx. I became acquainted with John more recently and he told me that his original Moog modules, used for Intersystems, burned up in a fire and so he turned to the use of ARP instruments around 1971. I am featuring his synthesizer work from a couple of solo albums as a representative of the independent stream of electronic music artists from Canada. John has continued to produce works for and for his numerous works for radio, television, film, ballet, and stage, and he is still active. 02:30 04:32 2.             John Mills-Cockell, “North African Gladiator” from A Third Testament (1974 True North). Produced, played, engineered, organ and synthesizer, John Mills Cockell. 04:08 07:00 3.             John Mills-Cockell, “Collision” from Gateway (1977 Anubis Records ). Produced, played, engineered, organ and synthesizer, John Mills Cockell. 03:32 11:03 4.             Alcides Lanza, “Eidesis IV For Wind Ensemble And Electronic Sounds” (1977) from McGill Wind Ensemble (1980 McGill University Records). This collection of contemporary Canadian works was released by McGill University's own label. This track is the only work with electronic sounds on the album, by Argentinean-born composer Lanza. Lanza studied music in Buena Aires, moved to Canada in 1971, and became Director of the Electronic Music Studio of McGill University in 1976. 11:20 14:34 5.             Dennis Patrick, “Phantasy III (Excerpt)” (1977-78) from Dennis Patrick--Musical Portrait (1982 CAPAC). Another one of the 7” vinyl Musical Portrait series of Canadian artists, released by the Composers, Authors and Publishers Association of Canada, Limited (CAPAC). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976. 04:53 25:48 6.             Barry Truax, “Arras” (1980) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Truax represented the left coast of Canada, and worked with R. Murray Schafer beginning in 1973 on the World Soundscape Project. Several of the composers in this episode came from that same environment, mixing natural acoustic sounds with electroacoustic treatments. This work was made using four computer synthesized tracks. Truax became known for his computer compositions as well as soundscapes. 10:08 30:38 7.             Canadian Electronic Ensemble, “Chaconne À Son Goût” from Canadian Electronic Ensemble (1981 Centrediscs). Performers, David Grimes, David Jaeger, James Montgomery, Larry Lake. Composed by David Grimes. The ensemble was founded in Toronto in 1971 by David Grimes, David Jaeger, Jim Montgomery and Larry Lake, "to promote the live performance of electronic music and thereby the composition of new repertoire for this medium." This is another nice example of music by independent artists working in Canada. 17:21 40:34 8.             Dennis Patrick, “Metasuite” (1982) from Dennis Patrick--Musical Portrait (1982 CAPAC). Another one of the 7” vinyl Musical Portrait series of Canadian artists, released by the Composers, Authors and Publishers Association of Canada, Limited (CAPAC). Completed in the Electronic Music Studio of the University of Toronto, where he was Director of the studio beginning around 1976. 07:55 57:54 9.             David Keane, “Aurora” (1985) from Aurora (1985 Cambridge Street Records). A work from a fellow author, David Keane who wrote a book called Tape Music Composition in 1981 (Oxford University Press). He was born in America but became a Canadian citizen in 1974. At the time of “Aurora” Keane was a professor of music theory and director of the electronic music studio at Queen's University in Kingston, Ontario, which I think he founded in 1970. The music was created to be played during a dance performance in which movement was seen through colored images projected on the dancers. The work was realized in the Queen's University Electroacoustic Music Facility. 10:17 1:05:48 10.         Claude Schryer, “A Kindred Spirit” (1985) from Group Of The Electronic Music Studio - McGill University (1986 McGill University Records). Bass Clarinet, Yves Adam; Cello, Andras Weber; Composed and conducted by, Claude Schryer; Flute, Jill Rothberg; Guitar Daniel Desjardins; Percussion, Helen Barclay; Piano, Laurie Radford. Recorded at McGill University Recording Studios. This work is notable for its use of the Synclavier, a high-end digital synthesizer/sampler/workstation from the mid-1980s. 16:02 1:16:04 11.         Bruno Degazio, “Heatnoise” (1987) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Degazio is a composer, researcher and film sound designer based in Ontario, Canada. “Heatnoise is one of a series of algorithmic compositions applying principles of fractal geometry to music.” It uses digital synthesis. 11:24 1:32:04 12.         Hildegard Westerkamp, “Cricket Voice” (1987) from from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). A super accomplished sound ecologist, Westerhamp is best known today as the creator of many works of sound art that use natural acoustic environments. She also composed many tape works. This work is a “musical exploration of the cricket,” with a cricket sound recorded in Mexico. If you know crickets, you will note that this one is not Canadian. But the composer is and this work was produced at the Simon Fraser University in Vancouver where Westerkamp was teaching at the time. 11:09 1:43:18 13.         Ann Southam, “Fluke Sound” (1989) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Southam is another female Canadian composer of note. Much of her career has been spent composing works for dance. She is from the Toronto area. This work is from a period when she was immersed in electroacoustic music. 10:22 1:54:13 14.         Norma Beecroft, “Evocations: Images Of Canada (1992) (2003 Ovation Volume 3). In contrast to the earlier tape works of Beecroft featured in part 1 of this series, this is a purely digital composition. She used an Apple Macintosh, the program/sequencer Performer and a Roland D-70 synthesizer. Commissioned by the Music Department in Toronto of the Canadian Broadcasting Corp. with the purpose of utilizing their then new digital mixing facilities. The materials for this composition represent the many aspects of Canadian culture and was a statement around her concern for the “future of Canada as a unfied country.” 16:01 2:04:22 Opening background music: David Keane, “Lumina” (1988) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). For tenor voice and “digital tape recorder” to sample and manipulate the sound. Created in Keane's studio in Scarborough, Ontario. Voice, Richard Margison. 11:46 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.  

Today we bring you a very special episode of Crosscurrents. First, we hear how the coastal town of San Pippo sees climate change as a glass half full. Then, we bring you practical advice on combating airline anxiety. And, we have conversation with the very first user of the new Google Brain.

Scripture Reference: http://www.biblegateway.com/passage?version=ESV&search=Mark%2014:12-26

Since 9/11, Muslims have occupied the U.S. public and political spheres as threats to national security, as victims of hate crimes, as targets of torture and war, and as a community to be included in diversity initiatives. This insightful panel will explore Muslim inclusion and representation in a variety of contexts, including education, politics, and the entertainment industry. Shafiqa Ahmadi is an associate professor of Clinical Education at the Rossier School of Education and the co-director for USC's Center for Education, Identity, and Social Justice. She is an expert on diversity and legal protection of underrepresented students, including female Muslims, and is the co-editor of Islamophobia in Higher Education: Combating Discrimination and Creating Understanding. Maytha Alhassen holds a PhD in American Studies and Ethnicity from USC. She is the writer of the report, Haqq and Hollywood: Illuminating 100 Years of Muslim Tropes and How to Transform Them, and producer and writer of the Golden Globe and Peabody­–winning Hulu series Ramy. Evelyn Alsultany is the author of Broken: The Failed Promise of Muslim Inclusion and Arabs and Muslims in the Media: Race and Representation after 9/11. She is an associate professor of American Studies and Ethnicity at USC, has served as a consultant for Hollywood studios, and co-authored the Obeidi-Alsultany Test with criteria to help Hollywood improve representations of Muslims. Hajar Yazdiha is an assistant professor of Sociology, faculty affiliate of the Equity Research Institute, and a 2022–23 Ford Foundation Fellow at the USC Dornsife School of Letters, Arts, and Sciences. She is an expert on the racial politics of inclusion and exclusion and is the author of The Struggle for the People's King: How Politics Transforms the Memory of the Civil Rights Movement. Moderator: Varun Soni is the Dean of Religious Life at USC, University Fellow at USC Annenberg's Center on Public Diplomacy, and an adjunct professor at the USC School of Religion. His writings have appeared in the Washington Post, Huffington Post, Crosscurrents, Jewish Journal, and Harvard Divinity Bulletin.

Episode 120 Crosscurrents in Early Electronic Music of Canada, Part 1 Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 10:36 00:00 1.    Hugh LeCaine, “Dripsody: An Etude For Variable Speed Recorder” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). One of the earliest pieces of tape music by the inventor and composer Hugh Le Caine. Also, one of the most available works from the early years when it was used to demonstrate simple techniques of tape composition. It is probably the most-played work of electronic music other than “Poeme Electronique” by Varese. Every sound in this work is based on a recording of of a single drop of water falling into a bucket, which then underwent various speed adjustments and edits to create this composition. I chose a recording from a CD compilation spanning the first 45 years of electroacoustic music in Canada. The original version of Dripsody was monophonic. Le Caine produced this stereophonic version in 1967 for Folkways records. 2:12 10:36 2.    Maurice Blackburn / Norman McLaren, “Blinkity Blank” (1955) from Anthologie De La Musique Canadienne / Anthology Of Canadian Music - Musique Électroacoustique; Electroacoustic Music (1990 Radio Canada International). Another early work of tape music from Canada, produced around the same time as “Dripsody.” As a member of the National Film Board of Canada, Blackburn created this soundtrack with Norman McLaren by hand drawing on the optical soundtrack of a short film. 5:07 12:36 3.    Hugh LeCaine, “Ninety-Nine Generators” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). The title refers to the 99 tones of the touch sensitive organ. Each note had a separate generator and they could all sounds at the same time. 1:42 17:34 4.    Hugh LeCaine, “Arcane Presents Lulu” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 1:50 19:14 5.    Hugh LeCaine, “This Thing Called Key” (1956) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 1:53 21:04 6.    Hugh LeCaine, “Invocation” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Le Caine composed this using his Special Purpose Tape Recorder using individual tape playback heads for six tapes, activated by keys. 2:21 22:56 7.    Anhalt, “Electronic Composition No. 2” (1959) from Electronic Composition No. 2 ("Sine Nomine II") (1985 Radio Canada International). 8:47 25:18 8.    Hugh LeCaine, “Nocturne” (1957) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). This piece was played on a conductive keyboard using printed circuit keys (designed by Rene Farley) and tape delay. Notes are sounded by the pressing of a finger on the conductive surface of the keys. 3:08 34:04 9.    Norma Beecroft, “From Dreams of Brass” (1964) from Music And Musicians Of Canada Centennial Edition Vol. II / Musique Et Musiciens Du Canada Edition Du Centenaire Vol. II (1967 CBC Radio Canada). Norma Beecroft is a Canadian composer, producer, broadcaster, and arts administrator. Among the pioneering academic electronic music composers, she worked independently in the Electronic Music Studio of the University of Toronto. As a professional composer, she was one of the first non-students to be able to experiment in the new facility. There she focused on multitrack recording and looping as an extension of existing instrumental or vocal sounds. This particular work contrasts tape sounds with sung and spoken word sounds. 15:59 37:12 10.Paul Pedersen, “Themes From The Old Testament” (1966) consisting of 1) Saul And David; 2) David And Bathsheba; 3) Lot's Wife; 4) Parable Of Trees” (1966) from Paul Pedersen – Portrait Musical – Portrait No.1 (1976 CAPAC). Excerpts of a larger work. Produced in the Electronic Music Studios of McGill University and the University of Toronto. Paul Pedersen is a Canadian composer, arts administrator, and music educator. He was head of the McGill University Electronic Music Studios from 1971-1974. Concordia University in Montreal created 'The Paul Award in Electroacoustics' to celebrate Paul Pedersen's contribution to the development of electroacoustics in Canada. 5:47 53:10 11.Anhalt, “Cento” (1967) from Istvan Anhalt (1972 Radio Canada International).  “CENTO was composed in 1966 under a grant from the Centennial Commission, and its premiere performance took place in 1967, Canada's Centennial Year. The composer describes his work thus: ‘It is a work for a twelve-part mixed choir and two channels of tape-recorded sounds. Most of the sounds on the tape are also vocal, and it was my intention to blend, as much as possible, the live and the recorded voices. The effect I was seeking is that of a single choir performing in an acoustical space the character of which is partly real, partly unreal. "Much of the electronic equipment in both works was invented and built by Dr. Hugh Le Caine at the National Research Council of Canada.” 11:23 59:02 12.Norma Beecroft, “Two Went to Sleep” from Norma Beecroft – CAPAC Musical Portraits (circa 1976 CAPAC). Excerpt from a larger work, released on the Musical Portraits series of extended play 7-inch discs. This piece was written for soprano, flute, percussion, and tape with words by poet Leonard Cohen. It is a great example of the kind of work that combined instruments with tape. 2:49 1:10:24 13.Hugh LeCaine, “Music for Expo” (1967) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Produced using Le Caine's Serial Sound Structure Generator, a device intended to provide controls for making twelve tone serial music. Tones and other parameters were created using rotary dials on the control panel. Created for Expo '67 World Exposition in Montreal. 2:34 1:13:12 14.Peter Huse, “Space Play” (1969) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Fraser was a west coast person and composed this work while at Simon Fraser University. He was assistant director of the World Soundscape Project. 3:46 1:15:46 15.Hugh LeCaine, “Mobile” (1970) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). One of the first pieces of music to be composed on the NRC Computer Music System.   1:19:28 16.Micheline Coulombe Saint-Marcoux, “Trakadie (3 Excerpts), For Percussion And Tape” (1970) from Micheline Coulombe Saint-Marcoux: Musical Portrait (1976 CAPAC). This series of composer's Musical Portraits was initiated and sponsored by the Composers, Authors and Publishers Association of Canada. Micheline Coulombe Saint-Marcoux was a Canadian composer and music educator who played an important role in the contemporary classical music scene of Canada and France from the late 1960s through the mid-1980s. Primarily a composer of contemporary classical music, she experimented with electroacoustic music from time to time with some amazingly original and fresh results. From 1968 to 1971 she studied musique concrete with Pierre Schafer in Paris, and from this period comes this work. 4:17 1:21:20 17.Michel Longtin, “La Mort Du Pierrot” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced in the electronic music studio of McGill University. 5:21 1:25:34 18.David Paul, “Eruption” (1971) from Carrefour (Musique Electro-Acoustique = Electroacoustic Music). Produced at the University of Toronto, using Le Caine's equipment, this work explores sound densities and glissandi. 6:07 1:30:56 19.Paul Pedersen, “For Margaret, Motherhood And Mendelssohn” (1971) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Composed at McGill University where Pedersen was director of the electronic music studio. The electroacoustic work uses fragments of speeches such as prime minister Pierre Trudeau's and the electronic sounds were composed using Le Caine's Polyphonic Synthesizer. 4:21 1:37:02 20.Hugh LeCaine, “Paulution” (1972) from Pioneer In Electronic Music Instrument Design: Compositions And Demonstrations 1948-1972 (1985 JWD Music). Uses Le Caine's Polyphonic Synthesizer, a new device created by the scientist around this time. Much of this was created in real-time with little tape manipulation. 4:09 1:41:18 21.Micheline Coulombe Saint-Marcoux, “Zones” (1972) from Carrefour (Musique, Électro-Acoustique = Electroacoustic Music). Musique électroacoustique réalisée au Sonic Research Studio, Université Simon Fraser, Vancouver. An exploration of different instrumental timbres using electroacoustic music. 9:02 1:45:22   Opening background music: Hugh Le Caine, Rhapsody in Blue, performed on the Electronic Sackbut (1953) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation)00:58; Hugh Le Caine, Safari: Eine Kleine Klangfarbenmelodie (1964) from Compositions Demonstrations 1946-1974 (1999 Electronic Music Foundation). Played on the Sonde, a Le Caine instrument that could generate 200 sine tones separated by intervals of 5 Hertz, as a demonstration of textures and densities. 3:10 (then repeated). Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations.

EPISODE 306 - Gerry Wilson - That Pinson Girl - Historical Fiction and a class on Writing Your StoryA seventh generation Mississippian, Gerry Wilson grew up in the red clay hills of the north. Her novel, THAT PINSON GIRL, is forthcoming from Regal House Publishing February 6, 2024. Her debut short fiction collection, Crosscurrents and Other Stories (Press 53 2015), was nominated for the Mississippi Institute of Arts and Letters Fiction Award. A story, “Life Line,” was a finalist in december magazine's Curt Johnson Prose Award for Fiction and was published in december in the spring of 2023. Her short fiction has been published in numerous other journals.Gerry has a new Substack publication, “Stories I'm Old Enough to Tell,” where she writes about her journey to publication and reveals tidbits about That Pinson Girl you won't find anywhere else!A literary novel that resonates with issues of race and class, THAT PINSON GIRL pits a white teenage mother and a biracial sharecropper against prejudice and hatred in Mississippi during World War I.“That Pinson Girl is a beautiful novel about the destructive power of dark secrets. Gerry Wilson's prose shines as she breathes life into her characters and into the north Mississippi landscape.” — Tiffany Quay Tyson, award-winning author of The Past is Never and Three Rivers“Devastating and beautifully written, Gerry Wilson's That Pinson Girl is at once a heart-rending tragedy and a testament to the indomitable human spirit.” — Clifford Garstang, author of Oliver's Travels and The Shaman of Turtle Valley.“In Gerry Wilson's gripping debut novel, 1918 in North Mississippi becomes tangible again; here are the red hills, the suck of winter mud, the scrabble of subsistence living, and the intricately crossed lines of race and kin.” — Katy Simpson Smith, author of The Everlasting, Free Men, The Story of Land and Sea.https://gerrygwilson.com/___https://livingthenextchapter.com/Join award-winning, indie author, Dianne Burckhardt, as she chats with fellow authors and industry insiders around the world about their work, inspirations, greatest challenges, and triumphs. https://www.burckhardtbooks.com/podcastSupport the showhttps://livingthenextchapter.com/Want to support the show and get bonus content?https://www.buzzsprout.com/1927756/subscribe

Brent has presented their research at museums, cultural centers, and universities across Asia, Europe, and North America. Recent books include Religion and Film: Cinema and the Re-Creation of the World, A History of Religion in 5 ½ Objects, and the co-edited Routledge Handbook of Material Religion. They are the Executive Director of  the Association for Public Religion and Intellectual Life, otherwise known as APRIL, editor of the 70-year-old journal CrossCurrents, and Board Member of the Interfaith Coalition of Greater Utica, NY.​ In this episode, Brent and I discussed the profound interplay between spirituality and tangible objects. We explore how material culture has shaped and continues to influence religious practices, rituals, and beliefs. Brent offers valuable insights into the historical significance of religious artifacts, shedding light on their role in preserving and transmitting spiritual traditions. 

Buckle up queers and prepare for a new episode of Q4Q! In this episode, Haley is joined by Esther Bley of @QueerAnimation to share some stories of cults, queer communes, and personal ads from people searching for a little bit more than a partnership. Will you decide to worship at the shrine of Pussy, or become a husband of Christ in Boston's gayest monastery? The possibilities are endless.  Follow Esther's work on Instagram @QueerAnimation. Explore the Queer Animation website.Buy a Queer Animation button! Listen to us on Spotify, Stitcher, Apple Podcast, or wherever you listen to your tunes!Interested in being on the show? Contact us at Q4QPodcast@gmail.com or find us on Twitter @Queerpersonals and Instagram @Queerpersonalspodcast.Cover art by Bekah Rich. Music by Kaz Zabala.Sources: ROBINOU. “QUEER COMMUNAL KINSHIP.” In Queer Communal Kinship Now!, 79–148. Punctum Books, 2023. http://www.jstor.org/stable/jj.2353823.7. Accessed November 2023.Mack Moore, “What is the difference between a cult and a commune?” Quora comment, ca. 2019. Accessed November 2023.Elizabeth Yuko, Cult or Commune? How Utopian Communities Turn Dangerous, Rolling Stone, November 10, 2016. Accessed November 2023.Stephen Vider,  “The Ultimate Extension of Gay Community”: Communal Living and Gay Liberation in the 1970s, Gender & History. Volume 27, Issue 3. November 2015. Accessed November 2023. Kaliflower Commune - Wikipedia Radical Faeries - Wikipedia Faeriefilm by Eugene Salandra that you can watch on Queer AnimationLavender Hill: A Love StoryProducer/Writer: Austin Bunn | Cinematographer/Editor: Bob HazenGorsline, Robin Hawley. “Queering Church, Churching Queers.” CrossCurrents 49, no. 1 (1999): 111–14. http://www.jstor.org/stable/24460524.Charles Manson's Hollywood, Part 8: Sharon Tate and Roman Polanski — You Must Remember ThisAds:Outweek (NYC), 26 December 1990Gay Community News (Boston, MA) 1974GAY (Houston, TX) 19 July 1971 The Atlanta Barb (Atlanta, GA) April 1976RFD Issue 73 Spring 1993Just Out (Eugene, OR) 30 March 1984Sentinel USA (San Fran, CA) - 11 Oct 1984Support the show

This story originally aired on October 23, 2019 and it most recently aired for the October 25, 2023 episode of Crosscurrents.

In this episode Kate is joined by historian Dr. Bruce Dorsey. Bruce is a professor of history at Swarthmore College. In 2002, he published his first book, Reforming Men and Women: Gender in the Antebellum City, and he is also the co-editor of the book Crosscurrents in American Culture. His new book is called Murder in a Mill Town: Sex, Faith, and the Crime that Captivated a Nation. In it, Bruce tells the story of the death of factory worker Sarah Cornell, the trial of the Methodist preacher who was accused of her murder, and the public frenzy over the trial and its aftermath. I was thrilled to have the chance to talk with Bruce about how a historian tackles true crime, and our conversation covers how this book originated in a college course, as well as the challenge of weaving historical analysis a gripping drama.

Episode 107 Crosscurrents in Early Electronic Music of Norway Playlist Arne Nordheim, “Epitaffio” (1963) for orchestra and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. The electronic sound material on the tape are taken from the end of the performance, but played during the opening section. It fuses the acoustic instruments and voices with electronics, filtering and speed changes. This recording is 10:15 Alfred Janson, “Canon” (1964) for chamber orchestra and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. In this piece, two tape recorders were used in performance. The first records for about four minutes and the, half a minute later, begins to play back what was recorded. The second tape recorder begins to record after the first tape machine ends, and then plays back what was recorded after another half minute, creating, in a sense, the structure of a canon. 12:27 Arne Nordheim, “Response I” (1966) for 2 percussion groups and tape from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. Two percussionists respond to electronic sounds such as filtered white noise, sine waves and the filtered sounds of organ and metallic clanging distributed throughout the score. 18:09 Björn Fongaard, “Homo Sapiens” (1966) for magnetic tape from Poul Rovsing Olsen • Thorkell Sigurbjörnsson • Arne Mellnäs • Björn Fongaard – Nordiska Musikdagar 1968 Nordic Music Days Vol.3 (1969 His Master's Voice). Realized at the Norsk Riksringkastings studio, Oslo. 9:20 Bjørn Fongaard, “Galaxy” for 3 electric guitars in quarter-tones from Nordheim, Alfred Janson, Bjørn Fongaard – Response: Electronic Music From Norway (1970 Limelight). Limelight release with the delightful painting of flying ears on the cover, includes the same tracks as the original Philips release from 1968 on the Prospective 21e Siècle label. The electronic part makes use of audio filtering, changing tape speed, and editing to treat some unorthodoxed playing on the guitar. 12:05 Kåre Kolberg, “Keiserens Nye Slips - Electronic Music” from Kåre Kolberg – Contemporary Music From Norway (1980 Philips). A foray in computer composed music synthesis realized in the Electronic Music Studios in Stockholm using a PDP 15/40 computer; it was programmed in the EMS-1 computer language developed in the same studio. 9:54 Jan Bang, “Artificial Reeves” from from Narrative From The Subtropics (2013 Jazzland). Norwegian release of the Norweigian electronic musician and composer Jan Bang. Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang. 3:05 Jan Bang, “Funeral Voyage” from Narrative From The Subtropics (2013 Jazzland). Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang; Bass, Eivind Aarset; Guitar, Eivind Aarset; Synthesizer, Erik Honoré; Trumpet, Nils Petter Molvær. 5:26 Jan Bang, “Melee of Suitcases” from Narrative From The Subtropics (2013 Jazzland). Akai Sampler, MPC 3000 Sequencer, Dictaphone, Synthesizer, Jan Bang; Piano, Electronics, Dai Fujikura; Vocals, Sidsel Endresen. 4:03 Safariari, “Fetsild” from This Is The Cafe Superstar Beat Vol. 2 (2002 Café 2001 Records). Electronic music project of Jon Furuheim. 2:16 Remington Super 60, “RS60 And Milano In Space (Remix)” from This Is The Cafe Superstar Beat Vol. 2 (2002 Café 2001 Records). Electronic pop rock group, from Fredrikstad, Norway, founded late 1998. 6:07 Opening background music: Arne Nordheim, “Caliban's Warning” (excerpt) from The Tempest (Suite From The Ballet) (1980 Philips). An abrupt moment of electronic sound blended into the instrumentation. The electronic realization was done in the Studio Eksperymentalne, Warsaw, Poland. The Tempest was commissioned by the Schwetzinger Festival and first performed by Ballet Rambert at the Rokokotheater, Schwetzingen on 3. May 1979. 7:35 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Today we're launching a new Crosscurrents series: Elements. It's a collection of stories about the four most elemental ingredients of life—air, water, earth, and fire—and how they're being reshaped by climate change. The first story takes us the front lines of California's water war. And we'll learn how the original vision for BART still impacts commuters today.

In this episode, a significant drop in sales following pushback against LGBT-themed merchandise. Let Biden linger on, then drop the nuclear bomb. The media is losing its pull on swaying hearts and minds.

Episode 103 Crosscurrents in Early Electronic Music: Japan Playlist Experimental Music of Japan (1968 Victor) Album produced and recorded at the NHK Electronic Studio and supervised by K. Akiyama and W. Uenami. The tracks have been slightly reordered to represent the correct chronology of the works. Toshiro Mayuzumi and Makoto Moroi, “Variations Sur” (1956) from (1968 Victor). On this album, this piece was called the first work of electronic tape music produced in Japan. Not so. I know of five earlier works (by the NHK Studio engineers, Mayuzumi, and Shibata) dating back to 1954-1956. This work is also known as “Variations on the Numerical Principle of Seven” and actually dates to 1956, unlike what the liner notes tell us. I have two of those works in the archive and will feature them in a future episode. 14:54 Toru Takemitsu, “Sky, Horse And Death (Concrete-Music)” (1958) from Experimental Music Of Japan (1968 Victor). 3:22 Joji Yuasa, “Projection Esemplastic (For White-Noise)” (1964) from Experimental Music Of Japan (1968 Victor). 7:40 Maki Ishii, “Hamon-Ripples (For Chamber Ensemble, Violin And Taped Music)” (1965) from Experimental Music Of Japan (1968 Victor). 9:53 Toshi Ichiyanagi, “Situation (For Biwa, Koto, Violin, Double Bass, Piano and Multiplier)” (1966) from Experimental Music Of Japan (1968 Victor). 6:31 Toshiro Mayuzumi, “Campanology (For Multi-Piano)” (1967) from Experimental Music Of Japan (1968 Victor). 8:01   Group Ongaku (2011 Seer Sound Archive) Remastered at Inoue Onkyo Kikaku by Kazuya Sakagami, Yukio Fujimoto. Group Ongaku, “Automatism” (1960) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on May 8, 1960 at Mizuno's house. This is the recording of a live performance for which the players used a piano, a pedal organ, a cello, alto saxophone and various everyday objects such as a vacuum cleaner, radio, an oil drum, dolls, and a set of dishes. The music was spontaneously created and recorded in real-time. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 26:20 Group Ongaku, “Object” (1960) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on May 8, 1960 at Mizuno's house. Performers were Chieko Shiomi, Mikio Tojima, Shukou Mizuno, Takehisa Kosugi, Yasunao Tone, and Yumiko Tanno. 7:34 Group Ongaku, “Metaplasm 9-15” Parts 1 and 2 (1961) from Music of Group Ongaku (2011 Seer Sound Archive). Japanese pressing, includes English language insert, edition of 300. Recorded on September 15, 1961, at Sogetsu Kaikan Hall, Tokyo. Performers: Cello, Mikio Tojima; Cello, Drums, Tape, Shukou Mizuno; Guitar, Genichi Tsuge; Piano, Chieko Shiomi; Saxophone, Tape, Yasunao Tone; Violin, Saxophone, Tape, Takehisa Kosugi. Part 1, 14:16; Part 2, 11:26. Opening background music, Makoto Moroi, “Shōsanke” for electronic sounds and Japanese traditional instruments (1968) from Experimental Music Of Japan '69 (no. 2) (1969 Victor). Issued also as part of the Prospective 21e siècle series, both Electronic Panorama: Paris, Tokyo, Utrecht, Warszawa Box-Set and self-contained Japanese Electronic Music LP. 13:20. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Episode 101 Crosscurrents in Early Electronic Music in Italy—Part 2 Playlist Pietro Grossi, Studio Di Fonologia Musicale Di Firenze (S 2F M) Pietro Grossi, Marino Zuccheri, “Progetto II e III” (1961) (1961 RAI). Pietro Grossi began experimenting with electronic sound while visiting the RAI in the early 1960s. During this time, he became fascinated with algorithmic manipulations of sine waves and produced the piece Progetto 2-3 (1961) which mathematically managed the slowly intersecting trajectories of six audio signals. This is an excerpt from the original 30-minute work. 2:56 Pietro Grossi, S2 F M: A1, “Primavera,” “Estate,” Autunno,' “Inverno,' “Alba,' “Tramonto,' “Notte,' “Temporale,' “Arcobaleno,” “Suspense N. 1,” “Suspense N. 2,” “Suspense N. 3,” “Suspense N. 4” and “Thrilling” from Electronic Soundtracks (1965 Cooper Recordes). Works composed at the Studio di Fonologia Musicale (S 2F M) in Florence. This is the first example of broadcast library music that Grossi was engaged in for many of the following years, presumably to keep his S2FM Studio funded. 9:24 Pietro Grossi, “Battimenti A Due Frequenze” (1965) from Battimenti (2003 Ants). From the inside cover: "94 sets of beats with 2, 3, 4, 5 frequencies taken from a catalogue of sound events that I and my collaborators have created in the electronic music studio S 2F M around the year 1965. These sound events were meant to be used for various compositional purposes. Each set of beats lasts approximately 30 seconds; they are arranged as follows: 10 sets with two frequencies, 25 with three frequencies, 31 with four frequencies, 28 with five frequencies. Listening at low level is suggested. P.G." Interestingly, this experiment in four parts required about 54 minutes to hear in total. This part is the shortest. 5:50 Pietro Grossi, “Collage” (1968) from Musicautomatica (2003 Die Schachtel). A change of pace from other works at this studio, this collage piece is an electroacoustic work largely based on naturally occuring sounds that have been distorted and modified. 13:52 Pietro Grossi, “Citta' Sommersa,” from Atmosfera & Elettronica (1972 Lupus records). Another broadcast library album of interesting, electronic atmospheres. 2:59 Studio Di Fonologia Musicale Di Firenze, “Mixed Paganini,” “Permutations Of Five Sounds,” “Continuous,” (1967) from GE-115 - Computer Concerto. Imagine hyour surprise if you were a recipient of this 7-inch disc that was distributed in 1967 as a New Year's gift by Olivetti company. “Transcriptions for the central processor unit of a GE-115 computer of short excerpts of Paganini & Bach music scores and original works as well.” I chose to present side 2 of the disc which features early computer works with a flare for the rapid-fire articulation of notes by the computer. These examples vary significantly from the more traditional classical arrangements found on side 1. Realized at Studio di Fonologia musicale di Firenze (Italy). 5:04 Enore Zaffiri, Studio di Musica Elettronica di Torino (SMET) Enore Zaffiri, “Musica Per Un Anno”(1968, excerpt) from Musica Per Un Anno (2008 Die Schachtel). Early work from this studio was mostly abstract and experimental. This piece is a terrific representation. All of the frequencies, their amplitude and durations were determined based on the mathematical analysis of 12 geometric figures derived around the 12 hours on a clock face. From the liner notes: “This electronic music is intended as a sound track for ambients. It develops over a duration of one year's time. The sound events change imperceptibly but continuously, in relation to the months, days, hours and minutes. Every instant has its unique music, which merges with the light, and the air of the ambient.” The original is 60 minutes long. 13:41 Lorenzo Ferrero, “Immigrati” (1971) from Musica Elettronica - Computer Music (1972 Compagnia Editoriale Pianeta). The third major Italian electronic music was the Studio Di Musica Elettronica located in Torino and founded in 1964 by Enore Zaffiri. This piece was recorded in 1971 after they had acquired and EMS Synthi. 6:22 Teresa Rampazzi, Gruppo Nuove Proposte Sonore (NPS), Padua Gruppo NPS (Rampazzi, Marega, Chiggio, Meiners, Alfonsi), “Ricerca 4” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Monophonic track revolving around a group of sound objects that were manipulated using tape editing and processing. The reverberation of this work was created by putting a loudspeaker in a stairwell. There is also the unwanted thud of a door still in the work. 5:46 Gruppo NPS (Rampazzi, Marega, Mazurek), “Modulo 4” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Monophonic track revolving around a group of sound objects that were manipulated using tape editing and processing. Experiments on signal impulses and their changing attacks and decay. of 3:48 Gruppo NPS (Rampazzi, Marega), “Freq. Mod. 2” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). Short bands of frequencies modulated by low-level signals abd brief, “violent impulses.” 6:26 Gruppo NPS (Rampazzi, Gracis), “Insiemi” (1965) from Nuove Proposte Sonore 1965-1972 (2011 Die Schachtel). A more lyrical, rather than systematic composition process is shown in this work. Adjectives such as calm, cathartic, and conflict were used to describe the outcome. 7:33 Opening background music: Pietro Grossi, “Unicum” from Musicautomatica (2003 Die Schachtel), excerpt.   Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Explaining how crosscurrents in financial markets are impacting how institutional investors allocate assets, Elizabeth Burton, client investment strategist in the Client Solutions Group in Goldman Sachs Asset Management, joins our latest episode of The Markets, a new weekly podcast from Goldman Sachs Exchanges.

Episode 100 Crosscurrents in Early Electronic Music: Italy—Part 1 Playlist Berio, Maderna, Nono, Zuccheri, RAI Studio di Fonologia Musicale (RAI), Milan Luciano Berio, “Mutazioni” (1955) from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). The first complete tape work by Berio at the newly founded RAI studio, which he was running with composer Bruno Maderna. Sound engineering by Marino Zuccheri. Berio and Maderna kept an open mind about the music that would be produced under its roof. They did not align themselves aesthetically with either the musique concrète approach taken in Paris or the serialist, rules-based composing style of Cologne. “Bruno and I immediately agreed,” explained Berio, “that our work should not be directed in a systematic way, either toward recording acoustic sounds or toward a systematic serialism based on discrete pitches.”[1] As a consequence, Alfredo Lietti Marino Zuccheri, engineers for the studio, filled it with equipment that appealed to a wide spectrum of compositional needs. In 1956, studio no. 3 at RAI had a custom-built cabinet with six vertical racks consisting of audio generators (9 sine wave oscillators, 1 white noise generator, 1 pulse generator), sound modifiers (plate reverb, octave filter, high pass filter, low-pass filter, variable band-pass filter, third-octave filter, ring and amplitude modulators), and a mixing panel. Several tape recorders were available mix and match sounds. You can almost sense the excitement of the creation of these foundational works as each composer brought their own individualism to the sound a translated that into electronic music. 3:36 Berio & Maderna, “Ritatto di Città (poema radiofonico)” (1955) (1955 RAI). File from the RAI Archives. This is an excerpt from a radiophonic production that was 26' long. 6:05 Bruno Maderna, “Notturno” (1956) from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). Maderna's first official solo tape work produced at the RAI studio. From an original disc released by the RAI in 1956. 3:24 Luciano Berio, “Perspectives” from Prospettive Nella Musica (1956 RAI Radiotelevisione Italiana). An eight-part work of experiments in transforming musical sounds and rhythms with electronic manipulation. 6:36 Bruno Maderna, “Música su Due Dimensioni” from História da Música Eletroacústica (1958). 7:10 Luciano Berio, “Momenti”(1960) from Images Fantastiques (Electronic Experimental Music) (1968 Limelight). This release was an American collection of European electronic music released on the Limelight label, a subsidiary of Philips. Although released a few years after “Momenti” was available elsewhere, this was an album that captivated my imagination at the time. You hear Berio's innate sense for fashioning unique sounds and rhythms with this sound material, adding some reverb to give it depth, producing audio that is reminiscent of natural sounds, but transformed to give it an other-worldly quality. 7:02 Bruno Maderna, “Dimensioni II (Inventione su Una Voce)” from Musica Elettronica / Electronic Music (1994 Stradivarius). Anyone familiar with Italian new music will know the name of Cathy Berberian. She was an American operatic mezzo-soprano and for a time (1950-64) was married to Luciano Berio. She was a kind of muse for the modern composers at the Milan studio, lending her incredible vocal capabilities to tracks that could then be transformed into electronic music. One such famous piece, not included here because it is so familiar, is “Thema (Omaggio a Joyce)” by Berio. Instead, I wanted to feature another tape piece, this one by Maderna, because he not only transforms Berberian's voice using electronic techniques but allows her to express herself as well in some unmodified sections. This marks a period where Maderna was longer magnetic tape pieces, ten minutes or more each. Unlike his shorter, more frenetic works, these longer pieces gave him time to develop themes, apply long silences, and structure his works around variations on his audio materials. 10:52 Luigi Nono, “Omaggio a Vedova” (1960) (1976 Wergo). A magnetic tape work by another outstanding contributor to electronic music in Italy, Luigi Nono. Like Berio, Nono went on to be better known for his instrumental and vocal compositions. This work is an homage to artist Emelie Vedova. Note that we feature another homage to Vedova from 1967 later in the podcast, “Parete 1967 _1” by Marino Zuccheri. 4:52 Niccolò Castiglioni, “Divertimento” (1960) from Elektron 3 (1967 Sugar Music). Produced at the Studio di Fonologia Musicale di Milano. Castiglioni was an Italian composer, born in Milan who later came to the United States to teach composition at the University of Michigan. This work sounds a bit like chirping insects and is the only tape piece he produced at the RAI. 2:38 Bruno Maderna, “Le Rire” (1962)” from Musica Elettronica / Electronic Music (1994 Stradivarius). Another long-form tape piece by Maderna. The voices heard and processed are those of Maderna, Cathy Berberian, and the sound designer Marino Zuccheri. The sounds in the beginning are modulated by sine waves and filters, plus some occasional ambient sounds like footsteps and rain. The second part of the work, beginning around the 11-minute mark, switches to more traditional musique concrete sounds reminiscent of drums, flutes, as well as white noise. 15:53 Luigi Nono, “La Fabbrica Illuminata” for voice and magnetic tape (1964) from Luigi Nono La Fabbrica Illuminata (1968 Wergo). Nono was also expanding his use of electronic sounds and wrapping them in vocal music. This work combines sounds created at the RAI with vocals written for a choir ( Chor Der RAI Mailand) and sopranos (Carla Henius). Marino Zuccheri helped Nono with the tape music. 16:28 Jon Hassell, “Music for Two Vibraphones” (1965) (1965 RAI). Yes, this is the Jon Hassell, the American composer and trumpeter. I know he is American, but I couldn't resist including this brief track that he recorded while in Milan in 1965. To my ears, this has an especially digital sound, especially when you consider how time consuming it must have been to assemble the opening sequence using tape editing. It is also a work of contrasts, with the explosive opening section giving way to about a minute of extremely quiet, almost ambient sound to close the work. 2:43 Marino Zuccheri, “Parete 1967 _1” (1967) from Parete '67 Per Emilio Vedova (2018 Die Schachtel). The sound mixer and designer at the RAI studio, Zuccheri often appears as a credit on works created in the studio. Working as a sound technician after World War II, Zuccheri was transferred to the RAI headquarters in Milan where he met Luciano Berio. He was instrumental in developing the system and layout of the Studio di Fonologia Musicale, where he worked until 1983. His close collaboration with the composers working at the Studio, above all Berio, Maderna and Nono, gave rise most of their notable tape pieces. Visitors, such as John Cage, were quick to acknowledge his steady hand as chief orchestrator of sound and engineering at the studio. He was often asked to provide electronic music for broadcast and film productions, of which this is one, a collaboration with Emilio Vedova for the preparation of the Italian pavilion of the Montreal Expo. 15:03 Luigi Nono, “Contrappunto Dialettico Alla Mente” (For Magnetic Tape)(1968) from Roland Kayn / Luigi Nono – Cybernetics III / Contrappunto Dialettico Alla Mente (1970 DGG). Another one of Nono's exquisite works combining vocals and electronic music on magnetic tape, recorded at RAI. In this work you can see how Nono complements the sound palette of the usual RAI sounds with sounds that are uniquely presented by human voices. Chorus, Coro Da Camera Della RAI; Conductor, Nino Antonellini; Soprano Vocals, Liliana Poli; Other Voices, Cadigia Bove, Elena Vicini, Marisa Mazzoni, Umberto Troni. 19:48 Opening background music: Bruno Maderna, “Serenata III” (1962)” from Musica Elettronica / Electronic Music (1994 Stradivarius). 11:20 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.   [1] Joel Chadabe, Electric Sound: The Past and Promise of Electronic Music (Upper Saddle River, NJ: Prentice Hall, 1997), 48

Episode 99 Crosscurrents in Electronic Tape Music in the United States Playlist Louis and Bebe Barron, “Bells of Atlantis” (1952), soundtrack for a film by Ian Hugo based on the writings of his wife Anaïs Nin, who also appeared in the film. The Barrons were credited with “Electronic Music.” The Barrons scored three of Ian Hugo's short experimental films and this is the earliest, marking an early start for tape music in the United States. Bebe told me some years ago about a work called “Heavenly Menagerie” that they produced in 1950. I have written before that I think this work was most likely the first electronic music made for magnetic tape in the United States, although I have never been able to find a recording of the work. Bells of Atlantis will stand as an example of what they could produce in their Greenwich Village studio at the time. They were also engaged helping John Cage produce “Williams Mix” at the time, being recordists of outdoor sounds around New York that Cage would use during the process of editing the composition, which is described below. The Forbidden Planet soundtrack, their most famous work, was created in 1956. 8:59 John Cage, “Williams Mix” (1952) from The 25-Year Retrospective Concert Of The Music Of John Cage (1959 Avakian). Composed in 1952, the tape was played at this Town Hall concert a few years later. Premiered in Urbana, Ill., March 22, 1953. From the Cage database of compositions: “This is a work for eight tracks of 1/4” magnetic tape. The score is a pattern for the cutting and splicing of sounds recorded on tape. Its rhythmic structure is 5-6-16-3-11-5. Sounds fall into 6 categories: A (city sounds), B (country sounds), C (electronic sounds), D (manually produced sounds), E (wind produced sounds), and F ("small" sounds, requiring amplification). Pitch, timbre, and loudness are notated as well. Approximately 600 recordings are necessary to make a version of this piece. The compositional means were I Ching chance operations. Cage made a realization of the work in 1952/53 (starting in May 1952) with the assistance of Earle Brown, Louis and Bebe Barron, David Tudor, Ben Johnston, and others, but it also possible to create other versions.” This was a kind of landmark work for John as he explored the possibilities of working with the tape medium. It is the only work from this period, created in the United States, for which there is an original recording of a Cage realization. He also composed “Imaginary Landscape No. 5” in 1952 for 42-disc recordings as a collage of fragments from long-playing records recorded on tape (he preferred to use jazz records as the source), put together with the assistance of David Tudor. Though some modern interpretations exist, there is no recording from the 1950s of a Cage/Tudor realization so I am unable to represent what it would have been like at that time. 5:42 Otto Luening and Vladimir Ussachevsky, “Moonflight” (1952) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:54 Otto Luening, “Fantasy in Space” (1952) from Tape Music An Historic Concert (1968 Desto). Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:51 Otto Luening and Vladimir Ussachevsky, “Incantation” (1953) from Tape Music An Historic Concert (1968 Desto). This record documents tape pieces played at perhaps the earliest concert of American tape music at the Museum of Modern Art, New York, October 28, 1952. Realized at the composer's Tape Music Center at Columbia University, the precursor of the Columbia-Princeton Electronic Music Center. 2:34 Henry Jacobs, “Sonata for Loudspeakers” (1953-54) from Sounds of New Music (1958 Folkways). “Experiments with synthetic rhythm” produced by Henry Jacobs who worked at radio station KPFA-FM in Berkeley. Jacobs narrates the track to explain his use of tape loops and recorded sound. 9:29 Jim Fassett, track “B2” (Untitled) from Strange To Your Ears - The Fabulous World of Sound With Jim Fassett (1955 Columbia Masterworks). “The fabulous world of sound,” narrated with tape effects, by Jim Fassett. Fassett, a CBS Radio musical director, was fascinated with the possibilities of tape composition. With this recording, done during the formative years of tape music in the middle 1950s, he took a somewhat less daring approach than his experimental counterparts, but a bold step nonetheless for a national radio audience. He hosted a weekend program called Strange to Your Ears to showcase these experiments and this album collected some of his best bits. 8:15 Harry F. Olsen, “The Well-Tempered Clavier: Fugue No. 2” (Bach) and “Nola” (Arndt) and “Home, Sweet Home” from The Sounds and Music of the RCA Electronic Music Synthesizer (1955 RCA). These “experimental” tracks were intended to demonstrate the range of sound that could be created with RCA Music Synthesizer. This was the Mark I model, equipped with a disc lathe instead of a tape recorder. When it was upgraded and called the Mark II in the late 1950s, it became the showpiece of the Columbia-Princeton Electronic Music Center. Here we listen to three tunes created by Harry F. Olsen, one of the inventors, in the style of a harpsichord, a piano, and “an engineer's conception of the music.” 5:26 Milton Babbitt, “Composition For Synthesizer” (1960-61) (1968 Columbia). Babbitt was one of the only composers at the Columbia-Princeton Electronic Music Center who composed and produced works based solely on using the RCA Music Synthesizer. Most others took advantage of other tape processing techniques found in the studio and not controlled by the RCA Mark II. It took him quite a long time to work out all of the details using the synthesizer and his meticulous rules for composing serially. On the other hand, the programmability of the instrument made it much more possible to control all the parameters of the sound being created electronically rather than by human musicians. This work is a prime example of this kind of work. 10:41 Tod Dockstader, “Drone” (1962) from Drone; Two Fragments From Apocalypse; Water Music (1966 Owl Records). Self-produced album by independent American composer Dockstader. This came along at an interesting period for American elecgtronic music, sandwiched between the institutional studio work being done at various universities and the era of the independent musician working with a synthesizer. Dockstader used his own studio and his own devices to make this imaginative music. This was one of a series of four albums featuring Dockstader's music that were released on Owl in the 1966-67 timeframe. They have all been reissued in one form or another. Here is what Dockstader himself wrote about this piece: “Drone, like many of my other works, began life as a single sound; in this case, the sound of racing cars. But, unlike the others, the germinal sound is no longer in the piece. It's been replaced by another a guitar. I found in composing the work that the cars didn't go anywhere, except, seemingly, in circles. The sound of them that had interested me originally was a high to low glissando the Doppler effect. In making equivalents of this sound, I found guitar glissandos could be bent into figures the cars couldn't. . . . After the guitar had established itself as the base line of the piece, I began matching its sound with a muted sawtooth oscillator (again, concrete and electronic music: the guitar being a mechanical source of sound, the oscillator an electronic source). This instrument had a timbre similar to the guitar, with the addition of soft attack, sustained tones, and frequencies beyond the range of the guitar. . . . The effect of the guitar and the oscillator, working together, was to produce a kind of drone, with variations something like the procedure of classical Japanese music, but with more violence. Alternating violence with loneliness, hectic motion with static stillness, was the aim of the original piece; and this is still in Drone, but in the process, the means changed so much that, of all my pieces, it is the only one I can't remember all the sounds of, so it continues to surprise me when I play it.” (From the original liner notes by Dockstader). 13:24 Wendy Carlos, “Dialogs for Piano and Two Loudspeakers” (1963) from Electronic Music (1965 Turnabout). This is an early recording of Wendy, pre-Switched-on Bach, from her days as a composer and technician. In this work, Carlos tackles the task of combining synthesized sounds with those of acoustic instruments, in this case the piano. It's funny that after you listen to this you could swear that there were instruments other than the piano used, so deft was her blending of electronic sounds with even just a single instrument. 4:00 Gordon Mumma, “Music from the Venezia Space Theater” (1963-64) (1966 Advance). Mono recording from the original release on Advance. Composed at the Cooperative Studio for Electronic Music in Ann Arbor, Michigan. This was the studio created by Mumma and fellow composer Robert Ashley to produce their electronic tape works for Milton Cohen's Space Theater on Ann Arbor, which this piece tries to reproduce. The original was a quad magnetic tape. It was premiered at the 27th Venezia Bianale, Venice, Italy on September 11, 1964 and comprised the ONCE group with dancers. 11:58 Jean Eichelberger Ivey, “Pinball” (1965) from Electronic Music (1967 Folkways). Realized at the Electronic Music Studio of Brandeis University. This work was produced in the Brandeis University Electronic Music Studio and was her first work of electroacoustic music. In 1964 she began a Doctor of Musical Arts program in composition, including studies in electronic music, at the University of Toronto and completed the degree in 1972. Ivey founded the Peabody Electronic Music Studio in 1967 and taught composition and electronic music at the Peabody Conservatory of Music until her retirement in 1997. Ivey was a respected composer who also sought more recognition for women in the field. In 1968, she was the only woman composer represented at the Eastman-Rochester American Music Festival. Her work in electronic music and other music was characteristic of her general attitude about modern composing, “I consider all the musical resources of the past and present as being at the composer's disposal, but always in the service of the effective communication of humanistic ideas and intuitive emotion.” 6:12 Pauline Oliveros, “Bye Bye Butterfly” (1965) from New Music for Electronic and Recorded Media (1977 1750 Arch Records). This was composed at the San Francisco Tape Music Center where so many west coast composers first found their footing: Terry Riley, Steve Reich, Jon Gibson, Pauline Oliveros, Stuart Dempster, Morton Subotnick, Ramon Sender all did work there around this time. Oliveros was experimenting with the use of tape delay in a number of works, of which “Bye Bye Butterfly” is a great example. 8:05 Gordon Mumma, “The Dresden Interleaf 13 February 1945” (1965) from Dresden / Venezia / Megaton (1979 Lovely Music). Composed at the Cooperative Studio for Electronic Music (Ann Arbor, Michigan). Remixed at The Center for Contemporary Music, Mills College (Oakland, California). This tape piece was premiered at the sixth annual ONCE Festival in Ann Arbor where Mumma configured an array of sixteen “mini speakers” to surround the audience and project the 4-channel mix. The middle section of the piece contains the “harrowing roar of live, alcohol-burning model airplane engines.” (Mumma) This anti-war piece was presented in the 20th anniversary of the Allied fire-bombing of Dresden near the end of World War II. 12:14 Kenneth Gaburo, “Lemon Drops (Tape Alone)” (1965) from Electronic Music from the University of Illinois (1967 Heliodor). From Gaburo: “Lemon Drops” is one of a group of five tape compositions made during 1964-5 referencing the work of Harry Partch. All are concerned with aspects of timbre (e.g., mixing concrete and electronically generated sound); with nuance (e.g., extending the expressive range of concrete sound through machine manipulation, and reducing machine rigidity through flexible compositional techniques); and with counterpoint (e.g., stereo as a contrapuntal system).”(see). 2:52 Steve Reich, “Melodica” (1966) from Music From Mills (1986 Mills College). This is one of Reich's lesser-known phased loop compositions from the 1960s. It is “composed of one tape loop gradually going out of phase with itself, first in two voices and then in four.” This was Reich's last work for tape before he transitioned to writing instrumental music. 10:43 Pril Smiley, “Eclipse” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Pril Smiley was 1st finalist and realized “Eclipse” at the Columbia-Princeton Electronic Music Center. Smiley had this to say about the work: “Eclipse” was originally composed for four separate tracks, the composer having worked with a specifically-structured antiphonal distribution of compositional material to be heard from four corners of a room or other appropriate space. Some sections of “Eclipse” are semi-improvisatory; by and large, the piece was worked out via many sketches and preliminary experiments on tape: all elements such as rhythm, timbre, loudness, and duration of each note were very precisely determined and controlled. In many ways, the structure of “Eclipse” is related to the composer's use of timbre. There are basically two kinds of sounds in the piece: the low, sustained gong-like sounds (always either increasing or decreasing in loudness) and the short more percussive sounds, which can be thought of as metallic, glassy, or wooden in character. These different kinds of timbres are usually used in contrast to one another, sometimes being set end to end so that one kind of sound interrupts another, and sometimes being dovetailed so that one timbre appears to emerge out of or from beneath another. Eighty-five percent of the sounds are electronic in origin; the non-electronic sounds are mainly pre-recorded percussion sounds–but subsequently electronically modified so that they are not always recognizable.” (From the original liner notes by Smiley.) 7:56 Olly W. Wilson, “Cetus” (1967) from Electronic Music, Vol. IV (1969 Turnabout). The selections are works by the winners of the First International Electronic Music Competition - Dartmouth College, April 5, 1968. The competition was judged by composers Milton Babbitt, Vladimir Ussachevsky, and George Balch Wilson. The winner was awarded a $500 prize. Olly W. Wilson was the competition Winner with “Cetus.” It was realized in the studio for Experimental Music of the University of Illinois. Olly Wilson wrote about the work: “the compositional process characteristic of the “classical tape studio” (the mutation of a few basic electronic signals by means of filters, signal modifiers, and recording processes) was employed in the realization of this work and was enhanced by means of certain instruments which permit improvisation by synthesized sound. Cetus contains passages which were improvised by the composer as well as sections realized by classical tape studio procedures. The master of this work was prepared on a two channel tape. Under the ideal circumstances it should be performed with multiple speakers surrounding the auditor.” (Olly Wilson. The Avant Garde Project at UBUWEB, AGP129 – US Electronic Music VIII | Dartmouth College Competition (1968-70). 9:18 Alice Shields, “The Transformation of Ani” (1970) from Columbia-Princeton Electronic Music Center Tenth Anniversary Celebration (1971 CRI). Composed at the Columbia-Princeton Electronic Music Center. Alice Shields explained, “The text of “The Transformation of Ani” is taken from the Egyptian Book of the Dead, as translated into English by E. A. Budge. Most sounds in the piece were made from my own voice, speaking and singing the words of the text. Each letter of the English translation was assigned a pitch, and each hieroglyph of the Egyptian was given a particular sound or short phrase, of mostly indefinite pitch. Each series, the one derived from the English translation, and the one derived from the original hieroglyphs, was then improvised upon to create material I thought appropriate to the way in which I wanted to develop the meaning of the text, which I divided into three sections.” (see). 8:59 Opening background music: John Cage, Fontana Mix (1958) (1966 Turnabout). This tape work was composed in 1958 and I believe this is the only recorded version by Cage himself as well as the only Cage version presented as a work not in accompaniment of another work. An earlier recording, from the Time label in 1962, feature the tape piece combined with another Cage work, “Aria.” This version for 2 tapes was prepared b Cage in February 1959 at the Studio di Fonologia in Milan, with technical assistance from Mario Zuccheri. From the Cage Database website. “This is a composition indeterminate of its performance, and was derived from notation CC from Cage's Concert for Piano and Orchestra. The score consists of 10 sheets of paper and 12 transparencies. The sheets of paper contain drawings of 6 differentiated (as to thickness and texture) curved lines. 10 of these transparencies have randomly distributed points (the number of points on the transparencies being 7, 12, 13, 17, 18, 19, 22, 26, 29, and 30). Another transparency has a grid, measuring 2 x 10 inches, and the last one contains a straight line (10 3/4 inch). By superimposing these transparencies, the player creates a structure from which a performance score can be made: one of the transparencies with dots is placed over one of the sheets with curved lines. Over this one places the grid. A point enclosed in the grid is connected with a point outside, using the straight line transparency. Horizontal and vertical measurements of intersections of the straight line with the grid and the curved line create a time-bracket along with actions to be made.” Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Originally Recorded on April 24th, 2022 How did Burritos have an impact on Kristee's recovery journey? Listen and find out... Kristee Ono is a San Francisco Bay Area Comedian and the host of Into the Fold on CrossCurrents. A journey of self discovery through burritos. Click the link to check out the 1st episode! https://www.kalw.org/arts-culture/2022-04-07/into-the-fold-episode-1-the-life-changing-magic-of-eating-burritos Instagram - @rabidpixie Por*Ass Podcast Theme Song by Inappropriate Things Instagram - @Porasspodcast Twitter - @Porasspodcast www.venmo.com - @BMEREcovery Want a personal video message? Get me on Cameo! - https://www.cameo.com/veeporras Subscribe on Spotify for access on exclusive episode content! https://podcasters.spotify.com/pod/show/porasspodcast/subscribe pay pal - https://www.paypal.com/paypalme/VeronicaPorras Leave a Tip Buy Me A Coffee -https://www.buymeacoffee.com/porasspodcast Leave a Tip On my GoodPods page and be added to my GoodPods Private Chat Group - Follow me on the Goodpods podcast app rate and comment on individual episodes chat with me and with other fans! https://goodpods.app.link/UzMxr9Duhkb Riverside Referral Link - Looking for a platform to record, stream, create clips of your content? Use my referral link to sign up when you subscribe to an upgraded account --- Send in a voice message: https://podcasters.spotify.com/pod/show/porasspodcast/message

Earlier this month, KALW's podcast The Spiritual Edge released its latest season. It's called “A Prayer for Salmon." It's about the Winnemem Wintu and their fight to protect their sacred sites and return salmon to waters above the Shasta dam. We're airing episodes on Crosscurrents every Thursday. In episode 4, an elder remembers indigenous life back before the Shasta dam was built. Then, the legality of a proposal to raise the dam's water levels is challenged.

Household debt on the rise. What the auto market is telling us. Persistent grocery inflation. Real estate reality.The Fed and the too hot or too cold debate. Market prediction??!!? Walmart and Home Depot numbers. Biden trip to the Ukraine. It is not legal for the United States to default on our debt.

Resources Mentioned in this Episode: Campbell-Reed, Eileen. “State of Clergywomen in the U.S.: A Statistical Update.” Eileen R. Campbell-Reed. 2018. https://eileencampbellreed.org/state-of-clergy/ Campbell-Reed, Elieen. “No Joke! Resisting the “Culture of Disbelief” That Keeps Clergy Women Pushing Uphill.” CrossCurrents, Issue 1 vol. 69, 2019. https://www.academia.edu/56422748/No_Joke_Resisting_the_Culture_of_Disbelief_That_Keeps_Clergy_Women_Pushing_Uphill

On this episode of Crosscurrents, we hear from recent Oakland School for the Arts graduate and Minions superfan Elizabeth Truong. She brings us along with her and her family on their recent trip to watch Minions: The Rise of Gru at the movies as she explores how theaters have changed during the pandemic. Then, San Leandro City Manager Fran Robustelli speaks on a new financial incentive helping the city retain its police force.

We are increasingly confident that the global economy will avoid a recession. This owes largely to improvements in the US where a resilient labor market looks set to combine with falling inflation to boost spending. By contrast, surging inflation in Europe—which surprised to the upside this week—is expected to spark a recession. And in China, headwinds are building and we lower the outlook. Against this backdrop, the Fed and ECB are still focused on getting rates above or at least back to neutral respectively. Speakers: Bruce Kasman Joseph Lupton This communication is provided for information purposes only. Institutional clients please visit www.jpmm.com/research/disclosures for important disclosures. © 2022 JPMorgan Chase & Co. All rights reserved.

In this week's show, Prof. Wolff talks about the effect of Ukraine sanctions on inflation, Musk as economic dictator, Idaho progressives' impressive gains, and offers a practical response to shootings. In the second half of the show, Wolff interviews media host Krystal Ball on US politics.    

A new sweeping exhibit at the Metropolitan Museum of Art showcases the work of painter Winslow Homer, with a particular focus on his depictions of conflict from the mid 19th to early 20th century. Curators Stephanie Herdrich and Sylvia Yount join us to discuss the exhibit, Winslow Homer: Crosscurrents, which is up at the Met through July 31.