Podcast appearances and mentions of elizabeth mcgrath

John Eves of X101 was joined in the studio recently by Democratic Candidate for District Attorney of Cortland County, Elizabeth McGrath. McGrath spoke on her history and qualifications, ways she[Read More...] The post DA Candidate Elizabeth McGrath Joins X101 appeared first on X101 Always Classic - WXHC.com.

Researchers analyzing images from NASA's James Webb Space Telescope have found that galaxies in the early universe are often flat and elongated, like surfboards and pool noodles – and are rarely round, like volleyballs or frisbees. “Roughly 50 to 80% of the galaxies we studied appear to be flattened in two dimensions,” explained lead author Viraj Pandya, a NASA Hubble Fellow at Columbia University in New York. “Galaxies that look like pool noodles or surfboards seem to be very common in the early universe, which is surprising, since they are uncommon nearby.”The team focused on a vast field of near-infrared images delivered by Webb, known as the Cosmic Evolution Early Release Science (CEERS) Survey, plucking out galaxies that are estimated to exist when the universe was 600 million to 6 billion years old.While most distant galaxies look like surfboards and pool noodles, others are shaped like frisbees and volleyballs. The “volleyballs,” or sphere-shaped galaxies, appear the most compact type on the cosmic “ocean” and were also the least frequently identified. The frisbees were found to be as large as the surfboard- and pool noodle-shaped galaxies along the “horizon,” but become more common closer to “shore” in the nearby universe. (Compare them in this illustration.)Which category would our Milky Way galaxy fall into if we were able to wind the clock back by billions of years? “Our best guess is that it might have appeared more like a surfboard,” said co-author Haowen Zhang, a PhD candidate at the University of Arizona in Tucson. This hypothesis is based partly on new evidence from Webb – theorists have “wound back the clock” to estimate the Milky Way's mass billions of years ago, which correlates with shape at that time.These distant galaxies are also far less massive than nearby spirals and ellipticals – they are precursors to more massive galaxies like our own. “In the early universe, galaxies had had far less time to grow,” said Kartheik Iyer, a co-author and NASA Hubble Fellow also at Columbia University. “Identifying additional categories for early galaxies is exciting – there's a lot more to analyze now. We can now study how galaxies' shapes relate to how they look and better project how they formed in much more detail.”Webb's sensitivity, high-resolution images, and specialization in infrared light allowed the team to make quick work of characterizing many CEERS galaxies, and model their 3D geometries. Pandya also says their work wouldn't be possible without the extensive research astronomers have done using NASA's Hubble Space Telescope.For decades, Hubble has wowed us with images of some of the earliest galaxies, beginning with its first “deep field” in 1995 and continuing with a seminal survey known as Cosmic Assembly Near-infrared Deep Extragalactic Legacy Survey. Deep sky surveys like these led to far greater statistics, leading astronomers to create robust 3D models of distant galaxies over all of cosmic time. Today, Webb is helping to enhance these efforts, adding a bounty of distant galaxies beyond Hubble's reach and revealing the early universe in far greater detail than previously possible.Webb's images of the early universe have acted like an ocean swell – delivering new waves of evidence. “Hubble has long showed an excess of elongated galaxies,” explained co-author Marc Huertas-Company, a faculty research scientist at the Institute of Astrophysics on the Canary Islands. But researchers still wondered: Would additional detail show up better with sensitivity to infrared light? “Webb confirmed that Hubble didn't miss any additional features in the galaxies they both observed. Plus, Webb showed us many more distant galaxies with similar shapes, all in great detail.”There are still gaps in our knowledge – researchers not only need an even larger sample size from Webb to further refine the properties and precise locations of distant galaxies, they will also need to spend ample time tweaking and updating their models to better reflect the precise geometries of distant galaxies. “These are early results,” said co-author Elizabeth McGrath, an associate professor at Colby College in Waterville, Maine. “We need to delve more deeply into the data to figure out what's going on, but we're very excited about these early trends.”The James Webb Space Telescope is the world's premier space science observatory. Webb is solving mysteries in our solar system, looking beyond to distant worlds around other stars, and probing the mysterious structures and origins of our universe and our place in it. Webb is an international program led by NASA with its partners, ESA (European Space Agency) and the Canadian Space Agency.

In part two of this two-part ASCO Education podcast episode, host Dr. Jeremy Cetnar (Oregon Health & Science University) continues the conversation with Drs. Lauren Abrey and Jason Faris, whose careers have criss-crossed academia and industry. They share words of advice for trainees today. If you liked this episode, please subscribe. Learn more at https://education.asco.org, or email us at education@asco.org. TRANSCRIPT Dr. Jeremy Cetnar: Hello, and welcome to Part 2 of the ASCO Educational Podcast episode focused on career choices and transitions. My name is Jeremy Cetnar. I'm a Medical Oncologist and Associate Professor of medicine at Oregon Health and Science University in Portland. In Part 1, Dr. Lauren Abrey and Dr. Jason Faris about their motivations for pursuing medicine, and how they arrived at the different positions they've had. Today, we'll further explore career fulfillment, maximizing impact on patient care, and differences between working in academia and industry. Dr. Faris, what have you learned from the different roles you have had, and what aspects of your current work do you find most rewarding? Dr. Jason Faris: So, there's a lot to discuss here. In my academic and patient care roles, I felt extremely privileged to forge strong bonds with patients and their families, to offer support, counseling and hope in the context of making really difficult, challenging decisions... to rejoice in the individual victories, whether that was clean scans and normal tumor markers after adjuvant therapy for Stage III colon cancer, using the neoadjuvant therapy in locally advanced pancreatic cancer and watching them go to resection, helping to maintain quality of life by addressing key symptoms that a cancer patient unfortunately must endure, and providing emotional support when things do not go as hoped. Whereas the latter times in GI cancer patients are unfortunately all too common. And the moments or clinic visits where the cancer has recurred, or the treatments aren't working really do take their emotional toll on clinicians. I'll just say I took many of those losses personally. And as a general rule in medicine, I tend to wear my heart on my sleeve, which can be a mixed blessing. But that shared sense of purpose and the many times where you were able to offer something meaningful to patients and families provided real fulfillment and joy. I think at the time of the two transitions I've had, this was fundamentally the most difficult part for me, which was relinquishing these direct patient care interactions. So, another highly rewarding part of my role in academia was working with colleagues to open clinical trials or conduct clinical research. I had opportunities to be mentored by or collaborate with multiple people Ted Hong, Dave Ryan, Chin Wu, Jeff Clark, David Ting, and others at Mass General, as well as Lionel Lewis, Konstantin Dragnev, and Steve Leach at Dartmouth. Treating patients on clinical trials was always a stressful enterprise but highly rewarding, and I had the chance to be part of some really amazing groundbreaking trials at MGH, in some cases witnessing breathtaking responses in patients who were out of treatment options, in some cases for many months. Another highly rewarding aspect of my role in academia or my roles in academia involved all of the many opportunities to engage in teaching and mentoring, whether that's with medical students, residents, or fellows, where the enthusiasm for helping patients and learning was always infectious. Finally, I'd be remiss not to mention the wonderful nurse practitioners that I've worked with like Patty Tammaro at Mass General, with whom I cared for many GI cancer patients for years, and Elizabeth McGrath at Dartmouth, whose wisdom and dedication to patient care was really inspiring. On the industry side, on the NIBR side, I've had the opportunity to work on novel therapeutics that are making a bench to bedside transition from a drug candidate to a first in human Phase 1 trial, which to me is a thrilling, complex, and highly fulfilling endeavor that contributes critical knowledge to advance the field. And in the best of cases, identifies therapies that has the potential, that have the potential to alter the prognosis for thousands of future patients. As a clinician or clinical investigators, those times where your patients are responding to their treatment, whether it's on or off a clinical trial are wonderful and so incredibly rewarding. And I would argue that there's a similar phenomenon in running trials in industry, where there's nothing quite as magical as having a cadre of patients who had run out of treatment options, enrolled to a clinical trial designed based on compelling science, go on to experience sustained and significant responses. I absolutely love the commitment to patients and to follow the science, the collaborations among our teams, and interactions with our academic colleagues which I really treasure. I'm part of a team whose responsibility is to ensure the development of a clinical protocol to safely evaluate the potential of that therapeutic, carefully monitor for adverse events, evaluate the emerging pharmacokinetic and pharmacodynamic data, and most fulfilling of all, begin to observe responses in patients whose cancers had progressed on standard of care therapies. So I think the chance to have an opportunity to explore new therapeutics that might impact the eventual treatment of thousands of people with cancer is what keeps me engaged and fulfilled. It's been a wonderful opportunity and applies the clinical skills and patient focus from my prior roles and combines this with the resources and expert teams to run and analyze clinical trials. Dr. Jeremy Cetnar: If I can opine a little bit and ask you guys some philosophical questions. I think what I'm hearing today and what I've heard from other folks who have made that transition is that in industry versus academics, you work in a team, and you're evaluated as a team. And that's very different than in academics. You're very much rewarded for, whether it's patient volume or number of papers or leadership. That seems to me like a very big difference in terms of academic versus industry. And I'm wondering if you guys can comment on that a little bit more. Then you guys also mentioned, at least you just mentioned this, Dr. Faris, is that some will also say that when you go into industry, you're able to just impact a much bigger population of folks rather than typically in an academic setting where you are working one on one with patients. And yes, you have your IETs and whatnot, but there's just a bigger vision. Would you say that those are two accurate differences that are fairly significant, Dr. Abrey? Dr. Lauren Abrey: Yes. You are certainly part of a team. But I think if we're honest, you're part of a team when you're in the hospital. So I ran the team of research nurses. I ran the fellowship program. I needed people to manage the patients who were in-patient and to help me look after the clinical trial conduct paperwork, etc. and so I think that does translate into the setup that you find when you move to industry. It may be a little bit that your personal success, and industry can get very sometimes focused on metrics, like what have you contributed? What has the team been successful? So you do need to think about how to set yourself up for success. If you're leading the team, how do you set the team up for success? To me, that doesn't feel terribly different than academic medicine, but I could see where it could be a change depending on what your role was in the academic world. So I think that's reasonable. The other part of what you said, I struggle with that sometimes. I feel like we tell ourselves, that we're impacting more patients. And I think that's true. If we get a drug approved, and potentially that drug is used, not only in the US, but across western countries, in Europe, potentially in China, you get a sense of that. But it's like how do you feel that? You feel the story of an individual patient. Sensing the scale can be hard. News media know this well. They often tell the story of a particular person in the Ukraine right now to try to help us understand the scale of the war, because otherwise, it's a little impossible to digest. So for me, that doesn't always resonate. I think it resonates when I go out and talk to the different physicians practicing in different parts of the world. And I think that has been an incredibly eye-opening experience for me being in the global organization, is seeing the impact well beyond the US, because I think most companies are very indexed on the US. And we understand US practice well, but I think understanding the impact we can have across the world is also really inspiring, humbling, challenging, and something I think we all have to contend with because it's not the same everywhere. So yes, no, and in between, that's where philosophical lives, so thank you. Dr. Jeremy Cetnar: Yeah. Well, that's a fascinating perspective, the international perspective. Very interesting. Dr. Faris, how about you? Dr. Jason Faris: I completely agree with Lauren. I think on the team question, I definitely feel like we worked on teams in academia as well, whether we're talking about the multidisciplinary groups that are needed to take care of GI cancer patients, which always involves multiple specialties. I think at MGH, in particular, we would tend to go see the patient as a group, which is a bit unusual, to try to get everyone's schedules aligned, to be able to go into the room together. But it really presented an opportunity for the patient and the families to ask questions of us as a group and hear any disagreement that's in the room between the providers right there. There's absolutely a ton of teamwork that goes into taking care of patients. But what you were alluding to, I think, is also right, which is your promotion, your opportunities for advancement are sometimes couched on or developed from accomplishments on the individual side. And I would say more so than is true in industry. I think that's correct as well. I mean, certainly there are multidisciplinary grants that I was a part of, of course, publications that had multiple authors to which I was a contributing author. Sometimes I was first or last author, sometimes I was in the middle, but contributing to the paper. So there was teamwork there, but no question that there's an element of individual accomplishment. How many first- and last-author publications do you have? What's the grant situation look like in terms of ability to supplement the RVUs that you need to generate your clinical…? There's no question that there's an element of that that's not a present to the same degree in an industry role. And I just wanted to speak to the impact side, because I also agree with what Lauren said here. I think the idea and the hope is that in industry, we have an opportunity to potentially affect the lives of many, many, many patients, thousands of patients potentially, with a given cancer type if a new therapy is a homerun and takes off and is approved. That's a huge draw and I think something that motivates all of us is to be a part of something like that. But of course, not every drug, far from it, unfortunately, is going to end up as an approved drug that impacts thousands of patients. So I think it requires some recognition of that fact and patience and continuing to work on multiple projects, and always under the prism of doing the right thing for the patients while those trials are open. And I think that's the key, as well as working on scientifically exciting projects, really proud to say in NIBR that we follow the science. If there's an indication to be explored, based on the science, it may not be the most common indication in cancer, but if the science leads us to that place, that's what we work on. I think that decision making gets tougher, obviously, as you move through the system into a later stage, more commercially informed decision. But I think and certainly on the early phase trials side, that's something that's really exciting. I think on the academic side, taking direct care of patients, you have incredible impact on individual patients, and there's a lot of individual patients. I think you have tremendous opportunity for impact there as well, and your impact can be measured by those that you mentor and teach as well, the committees that you serve on influencing other trials that may be open at your institution. So I would in no way suggest that the impact is less in academia. I don't think that's true at all. I think it's just a different approach. And it is true that if you're lucky enough to work on a program in industry that ends up being an approved drug, you can help thousands of future patients or your team has helped thousands of future patients. That's also true when you're on the academic setting, serving as a PI, contributing safety data and efficacy data, really giving the best information back to the sponsor that you can or maybe you're running your own investigator-initiated study that can change a standard of care down the road. So that's the homerun. That's kind of the Grand Slam of situations that might develop as a medical oncologist on either side of the divide. Dr. Jeremy Cetnar: Thank you. I'd like to shift gears just a little bit and ask you, for people who are deciding for a transition in their career, what are some characteristics or skills or other attributes that you think would make one successful in industry? What are some things that are really, really important to be successful? And that might be different than in an academic situation or not? I'm not sure. And maybe that's another question is, you know, what are some of the things that make people successful in a career in industry? Dr. Abrey? Dr. Lauren Abrey: So I think there are so many things that you can do in industry that depending on what your strength is, I think you have the opportunity to play to that. So again, I think if you are very entrenched in the science, and that is really what makes you want to get out of bed in the morning, being in the early research group, whether it's Novartis, Roche, other companies or small biotech, you can really dig in and spend time thinking and contributing in incredible ways. And if you're the person who is much more interested, perhaps in finding out, what's influencing the patterns of care and why people are using certain drugs or certain treatment paradigms, you could absolutely work on the absolute other end and work in medical affairs and be the person who's out there, who's the critical partner to whether folks at MGH, OHSU, major cancer centers around the world, to figure out how do we bring those two together. And I think the group in the middle typically, like the drug development group that's getting the approval, so running the large Phase 3 studies, that requires people who are in it a little bit for the long haul. Those tend to be large studies. They run over several years, you're constantly looking at the incoming data, and yet you're blind to the results. So you have to be pretty diligent while you're in that space and willing to just buckle down and work hard. But I think there are things for everyone. And I think it's a little bit similar to what I discovered when you went into medicine. Not everybody's going to be a cardiothoracic surgeon. Only a few of us end up in this weird oncology space. But I think it does give you the chance to reinvent yourself and explore a few things. So I wouldn't say you have to have something. I think probably what you should do is talk to a lot of people. I think people make a lot of assumptions about what a change to a career in industry is or means. And you probably don't know what you don't know. So call people like me or Jason or someone who's done it and talk to people, because I think that's probably the best way you can make an informed choice. Dr. Jeremy Cetnar: What do you think, Dr. Faris? Dr. Jason Faris: Can I offer some advice? So are we in this kind of advice section? Dr. Jeremy Cetnar: Absolutely. Please do. Dr. Jason Faris: Yeah. So I would say my advice to oncology trainees would be to keep an open mind and stay flexible. I've got a Wayne Gretzky quote that I'd like to bring into this here, which is 'You miss 100% of the shots that you never take'. And I feel like I've probably taken that flexibility to a bit of an extreme with my career path and transitions. But ultimately, it's really enabled me to experience diverse career opportunities that I might otherwise not have had the chance to really experience. I think sometimes there can be assumptions or negative stereotypes about moves from academia to industry. But my own personal experience, now twice, at NIBR has been overwhelmingly positive. I've learned a tremendous amount from both environments, which I think provides me with a different perspective on design, conduct, and analysis of clinical trials and allows me to bring a patient-centric view into clearer focus in my industry role. I think it's also really critical to recognize that there are significant stressors and positives to each of these career paths. And they're not necessarily one way. I know multiple colleagues who have made a transition from academia to industry. Other colleagues like me who did return to clinical practice in a clinical investigator role or returning from industry to an academic lab, I've seen that happen multiple times, and multiple colleagues, of course, that have transitioned to other industry roles. So regardless of which path someone ultimately pursues, the real critical thing to me is to remember what brought us to medical school in the first place, which is a commitment and focus to patients above all else. I believe this can be achieved in many career options, direct patient care, teaching and mentoring, clinical investigator roles in the academic setting, or in industry by collaborating with academic colleagues and patient groups, focusing on programs that have high potential to advance treatment options for diseases with high unmet medical need. I happen to think GI cancers are the poster child for that, but you know, I'm a bit biased, and designing trials that are as patient-centric as possible. So that's the kind of advice that I would offer to people is not to think of these as mutually exclusive or there's only one way forward or if I make this decision, it's irreversible. I don't think any of those things are true. And I feel like I'm living proof. Dr. Jeremy Cetnar: Dr. Abrey, back to you. Any advice? Dr. Lauren Abrey: I can only agree with Jason, and I know a number of people who've gone in both directions, including some who have been in pharma for quite a long time, and then make a decision to go back to patient care. Sometimes, I'm going to say, like as a final career chapter, but it has been a bit like that, including in countries where it's quite difficult to return to practice, that they need to go back and redo some training. So I think, move forward, do things that make you want to get out of bed in the morning, and that probably will change over the course of your career. But I think don't be afraid to try something because the worst thing that could happen—that's always a good question to ask yourself, right? What is the worst thing that could happen? If it doesn't work out, you can probably make another choice. I also think you should, you know, I already said talk to lots of people. But pay attention to that network that you have and nurture it, cultivate it, because some of those people in your network might become mentors at some point, might become advocates or sponsors at some point. And always, always, always take the opportunity to mentor somebody else, including if you're young, do some reverse mentoring. I have gotten some of my best mentoring from somebody that I agreed to mentor, but he really ended up reverse mentoring me. And he's actually now leading a very small biotech and you could argue has leapfrogged part of my career. And that's a fantastic dialogue that I get to have. So, great fun. We only go around this once. So have some fun while you're doing good things, too. Dr. Jeremy Cetnar: Ain't that the truth? And I'll tell you, this is a small world. It does feel like the more people you talk to, all of a sudden, we all are connected. And so I just want to thank you, Dr. Abrey, Dr. Faris, for your time today, for your perspective, your interesting stories. And to all the listeners, we appreciate you tuning into this episode of the ASCO Education podcast. Dr. Jason Faris: Thank you very much.   Thank you for listening to the ASCO Education podcast. To stay up to date with the latest episodes, please click subscribe. Let us know what you think by leaving a review. For more information, visit the Comprehensive Education Center at education.asco.org. The purpose of this podcast is to educate and to inform. This is not a substitute for professional medical care and is not intended for use in the diagnosis or treatment of individual conditions. Guests on this podcast express their own opinions, experience, and conclusions. Guest statements on the podcast do not express the opinions of ASCO. The mention of any product, service, organization, activity, or therapy should not be construed as an ASCO endorsement.  

Some people are extraordinarily unique and change the game completely. We here at NOT REAL ART are pleased to present last year's https://notrealart.com/greg-escalante/ (episode) on Juxtapoz Magazine founder and lowbrow art enthusiast Greg Escalante. Escalante was a bona fide maverick and trailblazer, carving out a space where so many of us could feel at home. For this episode, originally aired April 9, 2021, some 30 artists and friends gathered to record personal audio messages in honor of Escalante's birthday on April 17. To celebrate the episode's one-year anniversary, we're baking a cake, lighting the candles, and remembering Escalante's impact for one more turn around the sun. Juxtapoz, the publication Escalante co-founded with cartoonist Robert Williams, is still a leading work in the alternative and underground art space. Escalante's legacy is about far more than the magazine—it's about the community he built and the lives he touched. During the show, you'll hear tributes from many of the artists who were impacted by Greg, including Robert Williams, Shag, Shepard Fairy, Elizabeth McGrath, and Chaz Bojórquez, just to name just a few. The episode is hosted by NOT REAL ART founder, Scott “Sourdough” Power, Heidi Johnson of Hijinx Artist Management & PR, and Wendy Sherman, who acted as Escalante's personal assistant and gallery manager. Johnson and Sherman share their fondest memories of Greg, like his love of ice cream, their travels, and what a day spent with him would look like. Tune in to this week's episode to hear the profound impact Escalante had, not just on the art world, but on the many weird and wonderful people in it. Key Points From This Greg Escalante Episode:The first time “Sourdough” heard about Escalante and Juxtapoz in 1995 Hans's experience of being in Southern California in the center of the community Escalante was building Heidi's experience of working with Escalante and how they helped one another's careers Hear artists like Robert Williams, Mark Ryden and Scott Hess share stories about their dear friend, Escalante Merry Karnowsky, Ben Goretsky, Shag, Shepard Fairy, and Shana Nys Dambrot honor Escalante How Escalante changed Elizabeth McGrath's life and career forever What a day spend with Escalante in Chinatown would look like Heidi shares a story of a dinner she and Escalante went to when he had a rare drink Reflecting on some of Escalante's wild birthday celebrations How Escalante approached studio visits with his characteristic generosity and openness More artists, including Marnie Weber, Natalia Faber, Timothy Robert Smith share what Escalante meant to them Escalante had a unique way of making people feel truly seen The timeline of starting Juxtapoz; it all happened very quickly after he met Robert What Juxtapoz means to the art world and artists who ordinarily would have been ignored The story of how Robert and Escalante connected and met Chaz Bojórquez shares the story of his and Escalante's friendship Some other artists tell stories of their memories with Escalante Escalante's experience of seeing Robert's work on the cover of Thrasher Escalante's relationships with gallerists were as special and unique as his ones with artists Insights into Escalante's generosity with his art collection and his penchant for giving art away. Reflecting on the fun that Escalante brought to the often serious art world Escalante's varied music taste and his love for all genres Hear about Escalante's spiritual life and what he might have thought about The Vatican The story of how Wendy met Escalante after being interested in lowbrow art for many years Doug Harvey, LC, and more pay tribute to Escalante Heidi's trip with Escalante to Mexico and his other travels over the years Escalante did not just change the art scene; he changed people's lives More friends and artists share their tributes to Escalante to end the show For more information visit:...

Some people are extraordinarily unique and change the game completely. Greg Escalante was a bona fide maverick and trailblazer, carving out a space where so many of us could feel at home. Juxtapoz Magazine, the publication Greg co-founded, is still a leading work in the alternative and underground art space. Greg's legacy is about far more than the magazine; it is about the community he built and the lives he touched. Not only did he provide unconditional support to so many artists early in their careers, but he quite literally changed so many people's lives. In this incredibly special episode, filmmaker, Hans Fjellestad, Greg's gallery director, Wendy Sherman, and PR powerhouse, Heidi Johnson join Sourdough to reflect on Greg's life. During the show, you will hear tributes from many of the artists who were impacted by Greg, including Robert Williams, Shag, Shepard Fairy, Elizabeth McGrath, and Chaz Bojórquez, to name just a few. Heidi and Wendy also share some of their fondest memories of Greg, like his love of ice cream, their travels, and what a day spent with him would look like. Tuning in, you will understand the profound impact that Greg Escalante had not only on the art world but on the many weird and wonderful people in it!  Key Points From This Episode: The first time Sourdough heard about Greg and was introduced to Juxtapoz in 1995.  Hans's experience of being in Southern California in the center of the community Greg was building.  Heidi's experience of working with Greg and how they helped one another's careers.  Hear artists like Robert Williams and Scott Hess share stories about their dear friend, Greg.  Merry Karnowsky, Ben Goretsky, Shag, Shepard Fairy, and Shana Nys Dambrot honor Greg.  How Greg changed Elizabeth McGrath's life and career forever.  What a day spend with Greg in Chinatown would look like.  Heidi shares a story of a dinner she and Greg went to when he had a rare drink.  Reflecting on some of Greg's wild birthday celebrations.  How Greg approached studio visits with his characteristic generosity and openness.  More artists, including Marnie Weber, Natalia Faber, Timothy Robert Smith share what Greg meant to them.  Greg had a unique way of making people feel truly seen.  The timeline of starting Juxtapoz; it all happened very quickly after he met Robert.  What Juxtapoz means to the art world and artists who ordinarily would have been ignored.  The story of how Robert and Greg connected and met.  Chaz Bojórquez shares the story of his and Greg's friendship.   Some other artists tell stories of their memories with Greg.  Greg's experience of seeing Robert's work on the cover of Thrasher.  Greg's relationships with gallerists were as special and unique as his ones with artists.  Insights into Greg's generosity with his art collection and his penchant for giving art away.  Reflecting on the fun that Greg brought to the often serious art world.  Greg's varied music taste and his love for all genres.  Hear about Greg's spiritual life and what he might have thought about The Vatican.   The story of how Wendy met Greg after being interested in lowbrow art for many years.  Doug Harvey, LC, and more pay tribute to Greg.  Heidi's trip with Greg to Mexico and his other travels over the years.  Greg did not just change the art scene; he changed people's lives.  More friends and artists share their tributes to Greg to end the show. For more information and photos, visit here: https://notrealart.com/greg-escalante

Some people are extraordinarily unique and change the game completely. Greg Escalante was a bona fide maverick and trailblazer, carving out a space where so many of us could feel at home. Juxtapoz Magazine, the publication Greg co-founded, is still a leading work in the alternative and underground art space. Greg's legacy is about far more than the magazine; it is about the community he built and the lives he touched. Not only did he provide unconditional support to so many artists early in their careers, but he quite literally changed so many people's lives. In this incredibly special episode, filmmaker, Hans Fjellestad, Greg's gallery director, Wendy Sherman, and PR powerhouse, Heidi Johnson join Sourdough to reflect on Greg's life. During the show, you will hear tributes from many of the artists who were impacted by Greg, including Robert Williams, Shag, Shepard Fairy, Elizabeth McGrath, and Chaz Bojórquez, to name just a few. Heidi and Wendy also share some of their fondest memories of Greg, like his love of ice cream, their travels, and what a day spent with him would look like. Tuning in, you will understand the profound impact that Greg Escalante had not only on the art world but on the many weird and wonderful people in it!  Key Points From This Episode: The first time Sourdough heard about Greg and was introduced to Juxtapoz in 1995.  Hans's experience of being in Southern California in the center of the community Greg was building.  Heidi's experience of working with Greg and how they helped one another's careers.  Hear artists like Robert Williams and Scott Hess share stories about their dear friend, Greg.  Merry Karnowsky, Ben Goretsky, Shag, Shepard Fairy, and Shana Nys Dambrot honor Greg.  How Greg changed Elizabeth McGrath's life and career forever.  What a day spend with Greg in Chinatown would look like.  Heidi shares a story of a dinner she and Greg went to when he had a rare drink.  Reflecting on some of Greg's wild birthday celebrations.  How Greg approached studio visits with his characteristic generosity and openness.  More artists, including Marnie Weber, Natalia Faber, Timothy Robert Smith share what Greg meant to them.  Greg had a unique way of making people feel truly seen.  The timeline of starting Juxtapoz; it all happened very quickly after he met Robert.  What Juxtapoz means to the art world and artists who ordinarily would have been ignored.  The story of how Robert and Greg connected and met.  Chaz Bojórquez shares the story of his and Greg's friendship.   Some other artists tell stories of their memories with Greg.  Greg's experience of seeing Robert's work on the cover of Thrasher.  Greg's relationships with gallerists were as special and unique as his ones with artists.  Insights into Greg's generosity with his art collection and his penchant for giving art away.  Reflecting on the fun that Greg brought to the often serious art world.  Greg's varied music taste and his love for all genres.  Hear about Greg's spiritual life and what he might have thought about The Vatican.   The story of how Wendy met Greg after being interested in lowbrow art for many years.  Doug Harvey, LC, and more pay tribute to Greg.  Heidi's trip with Greg to Mexico and his other travels over the years.  Greg did not just change the art scene; he changed people's lives.  More friends and artists share their tributes to Greg to end the show. For more information and photos, visit here: 

Many ghosts haunt the famed Fairmont Empress in Victoria, British Columbia, Canada including that of its architect, Francis Rattenbury.  Rattenbury himself was part of a salacious love triangle that led to a murder-suicide in Bournemouth, England.  His ghost, however, haunts the Empress in Canada alongside the spirit of Lizzie McGrath and the lost soul of Margaret.   Follow Us on Instagram: https://www.instagram.com/crimesandwitchdemeanors Submit your feedback or personal stories to crimesandwitchdemeanors@gmail.com  Like Us on Facebook: https://www.facebook.com/crimesandwitchdemeanors  Episode Transcript: Visit the website: https://www.crimesandwitchdemeanors.com  Main podcast illustration by GiAnna Ligammari: https://gialigammari.wixsite.com/portfolio    Sources: Accidental Death is Jury's Verdict: Rider Against Contractors Recorded in Inquest on Death of Mrs. Elizabeth McGrath. (1910, August 2). The Victoria Daily Times, page 5.   Adultery, jealousy and murder: How the Rattenbury case gripped the nation. (n.d.). Bournemouth Echo. Retrieved December 24, 2020, from https://www.bournemouthecho.co.uk/news/13217933.adultery-jealousy-and-murder-how-the-rattenbury-case-gripped-the-nation/   Bournemouth's most sensational murder | Dorset Life—The Dorset Magazine. (n.d.). Retrieved December 24, 2020, from https://www.dorsetlife.co.uk/2006/08/bournemouths-most-sensational-murder/   British Columbia, Canada, Death Index, 1872-1990—AncestryLibrary.com. (n.d.). Retrieved December 28, 2020, from https://search.ancestrylibrary.com/cgi-bin/sse.dll?indiv=1&dbid=6093&h=463325&tid=&pid=&queryId=65f42413adf181b27bd90780bad3225e&usePUB=true&_phsrc=eBA210&_phstart=successSource   Cold spots, scandals and Victoria's Empress Hotel – The Superstitious Times. (n.d.). Retrieved December 23, 2020, from http://www.superstitioustimes.com/cold-spots-scandals-and-victorias-empress-hotel/   Elizabeth B. McGrath (Unknown-1910)—Find A... (n.d.). Retrieved December 28, 2020, from https://www.findagrave.com/memorial/121312245/elizabeth-b.-mcgrath   Five haunted hotels with true-crime stories. - The Washington Post. (n.d.). Retrieved December 23, 2020, from https://webcache.googleusercontent.com/search?q=cache:wA5SdAuQMGkJ:https://www.washingtonpost.com/lifestyle/travel/like-a-good-scare-here-are-five-haunted-hotels-with-stories-fit-for-true-crime-files/2018/10/25/ddd4e70e-d3cb-11e8-b2d2-f397227b43f0_story.html+&cd=6&hl=en&ct=clnk&gl=us   Francis Rattenbury. (2020). In Wikipedia. https://en.wikipedia.org/w/index.php?title=Francis_Rattenbury&oldid=995725423   Has anyone had a ghost experience here LOL. (n.d.). Retrieved December 28, 2020, from https://www.tripadvisor.com/FAQ_Answers-g154945-d155472-t3751444-Has_anyone_had_a_ghost_experience_here_LOL.html   Mrs. Alma Rattenbury Found Dead in a River: Man Tells of Seeing Her Fall, Knife in Hand, Vain Efforts to Save Her, Six Stab Wounds. (1935, June 5). Gloucestershire Echo, Page 1.   Murder comes with a question mark. (2011, October 30). Vernon Morning Star. https://www.vernonmorningstar.com/life/murder-comes-with-a-question-mark/   Staveley-Wadham, R. (n.d.). A Seaside Drama – The 1935 Murder of Francis Rattenbury. Retrieved December 24, 2020, from https://blog.britishnewspaperarchive.co.uk/2020/03/06/the-murder-of-francis-rattenbury/   The Ghostly Guests of the Empress Hotel. (n.d.). Retrieved December 24, 2020, from https://www.flightcentre.ca/blog/the-ghostly-guests-of-the-empress-hotel/   The Outrageous Life and Death of Francis Rattenbury. (2018, November 13). MONTECRISTO. https://montecristomagazine.com/community/the-outrageous-life-and-death-of-francis-rattenbury   Untitled. (1910, August 1). Victoria Daily Times, Page 3.   Villa Madeira, the home of home of Architect Francis Rattenbury and... (n.d.). Getty Images. Retrieved December 24, 2020, from https://www.gettyimages.dk/detail/news-photo/villa-madeira-the-home-of-home-of-architect-francis-news-photo/551907551   TRANSCRIPT: Hello, and welcome back to another episode of Crimes & Witch-Demeanors.  Today we're heading back to form and covering a sensational international murder with ghosts aplenty!    Our adventure begins in Victoria, British Columbia, Canada and then takes us across the pond to Bournemouth, England for a scandalous depression-era murder suicide…after which we'll be headed back Victoria's Fairmont Empress hotel to talk about the spirits that rest or, don't, there…including the ones from England?  Yeah, it's a complicated ghost story where the ghosts didn't actually die on the property…or in the country…in fact they hadn't been there in over a decade prior to their death…but, hey, that's what we do here.  So grab a hot coacoa, put on your mukluks…and yes I know mukluks are Inuit and not of the Salish coast people…but, hey, I  don't know of any regional-specific waterproof clothing for this intro bit…but I digress.  We're headed on up to Victoria, Canada!       At 721 Government Street in Downtown Victoria sits an empress.  The Fairmont Empress, formerly known as the Empress is one of Victoria's historic landmarks and also happens to be the noble host of many mislaid spirits.  Her architect, Francis Rattenbury, left an indelible stamp on the architecture of British Columbia.  Originally born in Leeds, England, he skipped across the pond and a whole continent, landing in Vancouver in 1892.  He was only 25 years old but he had incredibly grand plans; not all of them architectural.   Francis planned to take advantage of the westward expansion and building boom happening in the region.  He placed an ad in the paper led him down the path that began his life.  However, little did he know, that 42 years later an ad in the paper would also pave the path leading to his dreadful end.   Rattenbury's advertisement claimed that he was a classically trained architect who studied under the world-renowned architect Henry Lockwood…but if anyone had read further than his headline it didn't show—seeing as Lockwood died when Rattenbury was only 11 years old.  Even if he had taught him anything, it couldn't have been very much.  Despite this blatant and careless lie luck happened to be on his side.   An architectural contest had been announced in order to solicit a new design to replace Victoria's detested parliament buildings.  Naturally, Rattenbury saw this opportunity and leapt at it.  Rattenbury entered the contest, signing his designs with the pseudonym ,“A.B.C. Architect”. His incredibly grand and overly-ambitious design caught the attention of the judges, with Rattenbury winning the competition out of 66 total entries from around the world.     While construction on the parliament building was still underway, Rattenbury had met and his wife, Florence Nunn.  They married and had their first child seven months later—which was quite salacious for the time.  Francis and Florence had two children together: Frank and Mary.   The construction on the parliament building was completed in 1898 and while grand and opulent, it had run $400,000 over budget…or the equivalent of 12 million dollars in the present day.  In fact, this became a pattern: Rattenbury's projects were known to be a nightmare to work on.  Rattenbury notoriously underestimated the cost of his bids, throwing the burden of the additional costs to the contractors, eventually driving one of them to bankruptcy.  Rattenbury would change his designs at the last moment, reject building materials he had selected earlier in favor a new whim, and would battle with anyone who dared to stand in the way of his designs.   Despite this reputation, Rattenbury was extraordinarily successful.  His portfolio came to include many high profile projects and he became the Canadian Pacific Railroad's western division architect.  This title with the CPR is what allowed him to design ostentatious resort hotels across Canada, ultimately leading to the commission to design the Empress in 1903.    However, in 1906 Rattenbury, in his typical fashion, grew frustrated with others working on the Empress project.  In his mind, Rattenbury believed that Walter Painter, CPR's head architect, was ruining his vision for the grand hotel.  In a rage, Rattenbury left the CPR and the Empress project.  And the losses didn't end there.  After reaching such meteoric highs it appeared to all be crashing down around him.  He lost two design contests and it was exposed that he had won others by less than honest means.  Rattenbury was being accused of money laundering and his marriage was also suffering.  One project that had the potential to save him—working on the Grand Trunk Railway—was ruined when the general manager Charles Hays died on the Titanic.   Unlike the Titanic, Rattenbury did manage to keep on enough projects to stay afloat but by the end of 1912 his marriage had hit rock bottom.  Things had gotten so bad that his daughter Mary became the middleman between him and Florence, carrying messages between the two.   In 1923, at the age of 56 Rattenbury won the bid to design Victoria's Crystal Garden and also won the heart of Alma Pakenham, a 26 year-old flapper who had a scandalous reputation for drinking and smoking in public.  Alma had been married twice before and had a son, Christopher, from a previous marriage.   Rattenbury first approached Florence for a divorce, but when she refused he decided to make his affair as public as possible and would flaunt Alma around in public before bringing her home to drink and fornicate late into the night...all the while Florence sat in her bedroom just above them.  Eventually Rattenbury moved out of his home, shutting off the electricity and heating when he did so, leaving his wife and children without utilities.  Rattenbury's scandalous and downright wicked behavior ultimately led to him being shunned by his friends, his profession, and the community.    Florence finally granted a divorce in 1925 and Rattenbury immediately married Alma and had their own son together, John.  Due to his scandal and his architectural style falling out of favor with more modern times, Rattenbury and Alma faced financial hardships.  They remained in Canada for some time and in 1929, the same year his ex-wife Florence died, they moved to Bournemouth England.   Rattenbury hoped that moving across the pond would improve their finances, however once they moved into the Villa Madeira on Manor Road things only worsened.  By 1934 Francis Rattenbury was nearly deaf, impotent, and suicidal.  Needing assistance around the house, the Rattenburys placed an ad in the Bournemouth Daily Echo seeking a “willing lad” who was “good-natured and honest”  This ad would be the beginning of the end of Francis Rattenbury.   18 year-old George Stoner responded to the advertisement and was promptly hired by Alma.  Stoner was a quiet, shy, friendless young man and was grateful for the work.  Alma was entranced by George and his youthful virility, something that her husband lacked—Alma and Francis hadn't had intercourse since the birth of John.  She was still rather young and was growing tired of her situation.  And so, after three months of his employment, Alma seduced Stoner.  Not long after the passionate affair began, George went from being their chauffeur and gardener to Alma's live-in lover, taking up residence in a spare bedroom.   It was said that Rattenbury acknowledged and silently excused the affair: he was well aware of his advancing age, ill health, and alcoholism.  However, neither Rattenbury nor Alma could anticipate the rage and violent jealously that dwelt within the quiet Stoner.  As their affair progressed, George would become exceedingly mad if Alma had spent any time with her husband, no matter how trivial.  Alma tried to break off the affair on a number of occasions, but this would also send George into a rage, at one point trying to strangle her.   Things came to a head, so to speak, on March 24, 1935.  Alma and Francis had just returned from a trip to London.  As was usual, Francis was particularly depressed and Alma had decided to arrange another trip the following week to visit a friend, in hopes of cheering him up. George was already furious that Alma had spent the weekend away with her husband and the news of yet another trip sent him over the edge.  He went to his parent's home and asked to borrow a carpenter's mallet that he said he needed to erect a fence at the Rattenbury's residence.   When George returned to the Villa Madeira he threatened to shoot Alma with a gun, but was quickly dissuaded.  Later that evening, around 10 p.m., Stoner made his way downstairs with the carpenter's mallet and bashed in the head of Francis Rattenbury.  Stoner had hit Rattenbury with such force that his false teeth fell out and half of his skull was removed by the blows.  Despite the brutal injuries, Rattenbury did not die.   When the police arrived early that Monday morning, Alma appeared sleepless, disturbed, and under the influence of alcohol or drugs.  “I've done him in, I've done him in, I've done him in” she repeated over and over to the police officers.  The police arrived the next day where she repeated this confession and she was arrested for attempted murder.   While Alma was in prison, George Stoner allegedly confessed to the housekeeper that he had been that made the attempt on Rattenbury's life.  This confession led to him also being arrested on attempted murder charges.   However, both Stoner's and Alma's charges were elevated to murder when Rattenbury succumbed to his injuries on that Thursday.  After Alma's eldest son visited her in prison, she quickly recanted her earlier confession saying she was in a state of shock at the time.   The trial was an absolute sensation, mainly due to the rumors of Stoner's cocaine addiction and the scandalous affair.  In fact, due to the local popularity of the case, the trial had to be held in London's Old Bailey instead of the Winchester.  By the time of the trial, both defendants had entered a plea of “not guilty” and had taken back their previous confessions.  Alma was acquitted and released but Stoner was convicted of murder and sentenced to death by hanging.   The public felt an immense amount of sympathy for Stoner and villainized Alma as a temptress who seduced him into committing the crime.  As she left the Old Bailey that day, a free woman, onlookers booed her.  Awful things were said about her in the paper and people called for her death.  Distressed, Alma took a train from Waterloo to Christchurch.  She walked across the meadows to the Three Arches Railway bridge.  She sat down at the bank for a while, casually smoking a cigarette, before getting up, walking to the water's edge, pulling out a dagger, stabbing herself six times in the heart before falling into the River Stour at Christchurch.   A note in her handbag read “It has been pointed out too vividly that I cannot help him, and that is my death sentence”   Despite being initially being a villain in the media, over 3,000 individuals attended her funeral; a stark contrast to the “only a few” that attended her late husband's.  Rattenbury didn't even receive a headstone and was buried in an unmarked grave.   In a turn of fate it turns out that Stoner was saved from death.  A petition signed by over 300,000 people commuted his sentence to life imprisonment instead of hanging.  Even stranger still, Stoner only served seven years of his sentence and was released in 1942 to fight in the second World War.  After the war he married and had a daughter.  He lived a quiet and fairly uneventful life until 1990 when he was arrested for indecently exposing himself to a 12 year old boy in a public bathroom.  He received only two years' probation for this incident.   During his life he had stated that it was actually Alma who murdered her husband.   Curiously, in the year 2000 George Stoner a died in a hospital at Christchurch…less than half a mile from the scene of Alma's suicide, and on the 65th anniversary of the murder of Francis Rattenbury.      In 2007, 72 years after his death, Francis Rattenbury finally received a headstone which was paid for by a family friend.   Despite dying across the pond in England, Francis Rattnebury's ghost does not dwell in Bournemouth.  If you spend a night at the Fairmont Empress back in Victoria you may be lucky enough to catch a glimpse of Old Man Ratz.  What better place for his ghost to dwell than his greatest pride?  An opulent structure that reminds him of a time when his life was full of elegance, opulence, and prestige.       The last thing I expected when starting my research on the ghosts of the Fairmont Empress was to wind up in Bournemouth learning about a scandalous murder suicide!  I synthesized a few sources to get the most accurate and well-rounded view of the murder.  Even shaky sources were fairly accurate except they said the murder was conducted with a croquet mallet which is…just…not true?  I guess it sounds more English, or something?   The one thing I don't understand about this haunting is…why?  Why?  WHY?   Yes, Francis Rattenbury designed the Fairmont Empress and it was one of his greatest designs…but…he left the project before it was completed.  He was known to be rotten and controlling and he abandoned the project because things weren't going his way…so why would he haunt it?  It doesn't make sense to me.   I don't have any evidence that he spent any time at the Empress after it was finished and just judging by his personality I don't think he would have.  This is obviously all conjecture but am I the only one that thinks that?  Plus, Rattenbury died 4,700 miles away in a place that he then considered to be his home.  That doesn't add up, especially since ghosts who die in traumatic circumstances typically tend to haunt the location of their death due to being trapped there.   Take Lizzie McGrath for example, whose tragic and unexpected death at the Fairmont Empress has led to her being spirit being one of the most active ghosts at the hotel.   The story goes that Lizzie McGrath was a chambermaid at the Empress Hotel and in those days, maids and other employees actually lived at the hotel.  Being an Irish immigrant she was a devout Catholic and would say the rosary on her fire escape every night.  However, one night in 1909 Lizzie McGrath opened her window and got onto the fire escape…except there was one problem…the fire escape had been removed for renovations and she plummeted to her death on the walkway below, right at the entrance of the hotel.  Her ghost is said to haunt the ___ floor and she can also be seen at the spot where she died.   I liked this story a lot and decided to investigate.  Lizzie McGrath or Elizabeth McGrath is a very common name so I knew I had to narrow it down to 1909…but I couldn't find anything—even with a limiter to the city of Victoria.  It turns out the Elizabeth died in 1910, not 1909.  I've corroborated this with Victoria's death index, her gravesite, and newspaper articles from The Victoria Daily Times.   Lizzie McGrath died on July 30, 1910 at 50 years of age.  The newspaper articles say that she was a native of Halifax, which I'm assuming would be Halifax, Nova Scotia…though there is a Halifax in England…neither of these would indicate she was an Irish immigrant.  The article also states that her family all resides in Victoria with an exception of a few “in the east” which to me would indicate Nova Scotia or thereabouts.  However, newspapers are known to be wrong quite often.  McGrath is quite an Irish name but Elizabeth was actually married so I don't know her surname so it makes it difficult to find immigration records without spending a lot of time on it.   Lizzie also didn't die at the Empress as stated in all the stories; she died at St. Joseph's hospital.  It did also seem strange that she wouldn't know that the fire escape had been removed, but there was prosecution where they were found guilty for not notifying the residents.  It seems that this story, despite some minor details, is true! Another popular ghost at the Empress is that of an elderly woman.  Her identity seems to be unknown, although she has been given the name Margaret by Ian Gibbs, the author of Victoria's Most Haunted.  Allegedly Margaret is an old woman who used to stay at the hotel every year for the winter season.  She died on the sixth floor where her residence was, seemingly of natural causes.  After her death they stopped renting out the room because of the weird things that would happen and eventually, because of this, it was chosen for the area where the new elevators would be installed.   Strange…seeing as they probably should have been installed where they would make architectural and structural sense?  Maybe.    Regardless, those staying at the hotel may receive a knock on their door in the middle of the night, and if they answer it may find an elderly woman who says that she's lost.  If you are kind enough help her find her room on the sixth floor, she'll promptly vanish at the spot of the elevator.   This story, like Lizzie's makes sense: she died in the hotel and she is lost, both spiritually and physically since her old room no longer exists.  However, I couldn't find anything to verify this information since there isn't much for me to go on.   As usual, I wanted to try and find some firsthand encounters and stories about the ghosts in the hotel.  I checked reddit and hotel reviews and I sadly came up rather emptyhanded.  Most people said that they felt that the hotel should be haunted because it looks it – the period wallpaper and the old portraits on the walls.  One particularly privileged man said his experience was haunted because he couldn't' find a king size bed and their accommodations weren't up to his standards?  Gross.   But someone did ask a question on TripAdvisor.  I wish you could read it, it just says “Has anyone had a ghost experience here LOL” No questions mark.  Lol in all caps.  It's great.   The answers are “We stayed on the sixth floor and there was an odd feeling” okay, supports the old lady.  Another says “Yes, late at night on the 6th floor near room 657” okay, Wayne Carl…care to elaborate?  Some of us have podcasts to make.  What a cliffhanger.  please feel free to elaborate.  Another says they saw “something”  They put something in quotes.  WHAT DID YOU SEE DARREN? Another kind soul lets us know he did see spirits…in his glass.  Wow, FERD, so original.  HAVEN'T HEARD THAT ONE.

Are You Low Carb'n? In this episode of the Vegetarian Zen podcast we discuss the possibility of being a low carb vegetarian (yep…you can totally do it). Special thanks goes out to Andrea Gaietto and Elizabeth McGrath for suggesting this topic … The Low Carb Vegetarian Read More » The post The Low Carb Vegetarian appeared first on Vegetarian Zen.

Are You Low Carb’n? In this episode of the Vegetarian Zen podcast we discuss the possibility of being a low carb vegetarian (yep…you can totally do it). Special thanks goes out to Andrea Gaietto and Elizabeth McGrath for suggesting this topic in response to a request for topic ideas that Vickie posted in the Peas and … The post The Low Carb Vegetarian (VZ 151) appeared first on Vegetarian Zen.

Chet Zar and Mike Correll interview internationally acclaimed sculptor, painter and musician Elizabeth Mcgrath. Mcgrath discusses her early start in the LowBrow art movement, through experimentation in Pop Surrealism, to her eventual rise into fine art stardom! Topics include early trauma, intellectual property rights, personal “art gripes”, ways to manage and moderate self-employment stress, and many more musings about the Dark Art movement. The Dark Art Society Podcast is produced by Mike Correll and Chet Zar, with mixing and mastering by Bryan Kilgore of Kilgore Sound; find him on Instagram and Twitter (at)kilgoresound, or his website http://www.kilgoresound.com Elizabeth Mcgrath: http://www.elizabethmcgrath.com The Dark Art Society Podcast is now available in a variety of places, including the following platforms: iTunes: http://apple.co/2gMNUfM SoundCloud: http://www.soundcloud.com/darkartsociety Stitcher: http://www.stitcher.com/s?fid=134626&refid=stpr Podbay: http://podbay.fm/show/1215146981 YouTube: http://bit.ly/2nNYPre Google Play: http://bit.ly/2rxiwmu

Today on the podcast, I'm joined by Elizabeth McGrath, author of The Couples' Kama Sutra. She explains the origins of Kama Sutra, how to break out of your sex routine, how to overcome sexual shame, gendered expectations and much, much more. 1.20 - Elizabeth explains emotion focused therapy and how she uses it to improve clients' sex lives. 4.55 - Learn what somatic coaching and therapy is and how it can help you and your sex life. 8.25 - Why getting the basics right when it comes to sex is more important than learning a million fancy sex techniques if you are serious about pleasure. 9.45 - Discover the origins of Kama Sutra and what it will teach you. 12.10 - Elizabeth explains how you and your man can break out of your routine. 19.05 - We discuss sexual shame and how to get over it so that sharing sexual fantasies with your man is easy. 23.00 - Elizabeth explains how 'gendered expectations' often leads to bad sex and how to avoid this happening to your relationship. 28.45 - What Elizabeth tells women who have never had an orgasm. 29.55 - Elizabeth runs through (step-by-step) an exercise you can do right now to connect more deeply to your body and orgasm more easily. 35.30 - Why the best sex is where you're not even thinking AND how to have it. 39.00 - Elizabeth explains what positions are best for more clitoral stimulation. 40.10 - Elizabeth describes the 'Sexy Back' position aka the Poles Apart position (http://badgirlsbible.com/poles-apart-sex-position) and why it's great for lots of manual clitoral stimulation. 43.45 - Elizabeth shows you everything you need to know about stimulating your G Spot. Show Notes Get In Touch With Elizabeth on her site: https://www.mcgrathsextherapy.com/ Get her book, The Couples' Kama Sutra on Amazon: https://www.amazon.com/Couples-Kama-Sutra-Deepening-Incredible/dp/1943451540/ref=sr_1_1 Email: Elizabeth@McGrathSexTherapy.com https://www.instagram.com/mcgrathsextherapy/ http://www.facebook.com/mcgrathsextherapy We also talk about a bunch of other positions detailed below: http://badgirlsbible.com/launch-pad-sex-position http://badgirlsbible.com/anvil-sex-position

Come to think of it, I don’t remember ever wondering what sex therapy was or who it’s for but after my conversation with somatic sex therapist, Elizabeth McGrath, I realized I could have saved a million sessions with my therapist and a lot of time and money if I just would have started with someone like her. Sure, there’s plenty of other non-sexually related issues you can chat with your Counsellor about like facing mortality, how your parents were total assholes, and your fear of meat but at least for me, most of my issues have had to do sex and relationships. If I would have spent time unraveling those, I would have known so much more of myself, so much faster and that would have leaf blown a million mental boxing matches. Just have a listen to this conversation with Elizabeth McGrath and you’ll see what we mean. We cover a massive range topics and really helpful advice that will, no doubt, lead you to the same conclusion I had: Sex-therapy is the new must have.

  In this episode of the Vegetarian Zen podcast we discuss the possibility of being a low carb vegetarian (yep…you can totally do it). Special thanks goes out to Andrea Gaietto and Elizabeth McGrath for suggesting this topic in response to a request for topic ideas that Vickie posted in the Peas and Carrots group on […] The post VZ 151: The Low Carb Vegetarian appeared first on Vegetarian Zen.

Inside WAMS with Elizabeth McGrath

Inside WAMS with Elizabeth McGrath

Inside WAMS with Elizabeth McGrath

Inside WAMS with Elizabeth McGrath

Inside WAMS with Elizabeth McGrath

Inside WAMS with Elizabeth McGrath

Inside WAMS with Elizabeth McGrath

Inside WAMS with Elizabeth McGrath

On this episode of Inside WAMS, Elizabeth McGrath talks with arts coordinator Mimi Zwick, middle school teacher Ana Bosman, Bill Scheidt, and student Celina Caetano about Living Rhythms.

Elizabeth McGrath has a discussion about the WAMS after school programs with art teacher William LaVallee, social studies teacher Licia Fitzpatrick, and arts coordinator Mimi Zwick.

Elizabeth McGrath has a discussion with theater teacher Bruce Post and student Cheyenne Barboza about their success at the Bonderman Playwriting for Youth National Competition and Symposium in Indiana.

On this weeks episode of Inside WAMS, Elizabeth McGrath talks with Rami Haxhi, Patrick Ospalek, and Lissa Black about Tony Vacca and World Rhythms.

On this weeks Inside WAMS, Elizabeth McGrath talks to Mr. Kyle Ondrush, Sgt. Wilfred E. Cabana, Vivian Okakpu, and Joseph Boruch about Veteran's Voices.

On this episode of Inside WAMS, Elizabeth McGrath talks with Scott Shulte, Ashley Franklin, and Sean Lounsbury about the upcoming show The Crucible.