Podcasts about encounters

In this powerful, deeply personal interview, Tanc walks us through a life shaped by gang culture, prison time, cartel connections, near-death situations, and ultimately—transformation. From his early days in the California state system to navigating the dangerous world of cross-border drug trafficking, he breaks down how major operations moved product from Peru and Mexico into the U.S., what it was like coordinating “jumps” across the border, why warehouses sat full of hundreds of untouched bricks, and the razor-thin line between survival and disaster. He also opens up about fatherhood changing his mindset, the struggle to find legitimate work after prison, facing racism while trying to re-enter society, and how community college became the unlikely start of a new path. This episode dives into: -His final state bid and what made him leave gang life behind -How he became involved with high-level cartel operators -The logistics behind massive cross-border drug shipments -The paranoia, betrayals, and close calls that come with the lifestyle -The moment he knew the feds were closing in -How education and family pulled him toward a different life Go Support Tanc! Protein Ice Cream: https://www.californiaiceprotein.com/ This Episode Is #Sponsored By The Following: BetterHelp! This month, don't wait to reach out. Whether you're checking in on a friend, or reaching out to a therapist yourself, Betterhelp makes it easier to take that first step. Our listeners get 10% off their first month at https://betterhelp.com/connect Mood! Head to https://mood.com to find the functional gummy that matches exactly what you're looking for, and let Mood help you discover YOUR perfect mood. And don't forget to use promo code CONNECT when you check out to save 20% on your first order. Join The Patreon For Bonus Content! https://www.patreon.com/theconnectshow 00:00 Intro: Meet Tanc & Background 02:12 Growing Up in South Central LA 06:33 Early Crime, Robberies, and Bank Heists 13:35 Gang Life, Juvenile Time, and State Prison 25:29 Coming Home & Trying to Go Legit 27:15 Discovering the Hollywood Club Scene 29:59 Today's Sponsors 33:51 First Taste of Ecstasy—And Seeing $$ 36:40 Growing a Multi-Million Dollar Ecstasy Empire 45:47 Making Hollywood Connections & Living Large 53:23 Transitioning from Ecstasy to Cocaine 58:52 Meeting 'O' & Forming a Powerful Partnership 01:10:36 Into the Cartel World—International Drug Running 01:17:12 Cross-Border Operations & Stash Houses 01:31:15 Expanding to the East Coast: New York Hustle 01:41:11 Money Movement, Laundering & Risk 01:48:42 Scaling Up: Cartel-Level Distribution 02:00:06 The Fed Problem: Informants, Encounters & Risk 02:08:48 Busts, Betrayals & The Fall 02:19:12 Getting Pinched: Arrest, Indictments & Snitches 02:33:03 Concluding the Case & Lessons Learned 02:44:00 Life After Prison & Final Thoughts Learn more about your ad choices. Visit podcastchoices.com/adchoices

In tonight's episode, Jason joins us from the UK to share strange events that began in a house marked by footsteps, shadow figures, and an out-of-body moment floating over London rooftops. As he grew older, the experiences followed him: lucid dreams that later connected to real events, unexplained nosebleeds shared only with his youngest son, and a pattern of synchronicities tied to the number 13.More information on this episode on the podcast website:https://ufochroniclespodcast.com/ep-360-the-number-13/Hidden Cults (Promo)It is a documentary-style podcast that digs deep into the world's most extreme, elusive, and explosive fringe groups. Listen on all podcast apps: Spotify: https://open.spotify.com/show/4Q0kbgXrdzP0TvIk5xylx1Apple Podcasts: https://podcasts.apple.com/us/podcast/hidden-cults/id1816362029If you enjoy this podcast, please support the show with a virtual coffee:https://ko-fi.com/ufochroniclespodcastFollow and Subscribe on X to get ad free episodesX: https://x.com/UFOchronpodcast/Want to share your encounter on the show?Email: UFOChronicles@gmail.comOr Fill out Guest Form:https://forms.gle/uGQ8PTVRkcjy4nxS7Podcast Merchandise:https://www.teepublic.com/user/ufo-chronicles-podcastHelp Support UFO CHRONICLES by becoming a Patron:https://patreon.com/UFOChroniclespodcastAll Links for Podcast:https://linktr.ee/UFOChroniclesPodcastThank you for listening!Like share and subscribe it really helps me when people share the show on social media, it means we can reach more people and more witnesses and without your amazing support, it wouldn't be possible.Become a supporter of this podcast: https://www.spreaker.com/podcast/ufo-chronicles-podcast--3395068/support.

Deep in the shadowed heart of Alaska's Copper River Valley, the wilderness holds more than silence—it remembers. In this chilling episode of Sasquatch Odyssey, the haunting folklore of Alaska comes alive through vivid accounts passed down by those who've lived closest to its mysteries.From the whispered warnings of elders to the trembling voices of witnesses, Killers in the Valley explores the eerie boundary between legend and lived experience. We journey through tales of monstrous “killer monkeys” stalking the riverbanks, and the Harrimen—dark, elusive figures said to roam the fog-laden forests where few dare to tread.But the most unnerving of all are the shape-shifters: sea otters that rise from the depths, transforming into towering, humanlike beings cloaked in shadow and dripping river water.Agatha, whose quiet day of berry picking turned into a nightmare of strange sounds and unseen watchers; of Ms. Carroll, whose property became a beacon for ghostly lights and inexplicable disturbances; and of William Williams, who faced a creature so horrifying it blurred the line between man, beast, and spirit.Each account carries the pulse of Alaska's untamed wilds—a reminder that isolation, fear, and ancient belief intertwine in the frozen frontier. These stories are more than folklore; they are fragments of memory, fear, and reverence for a land that is beautiful, merciless, and deeply haunted.Get Our FREE NewsletterGet Brian's Books Leave Us A VoicemailVisit Our WebsiteSupport Our SponsorsBecome a supporter of this podcast: https://www.spreaker.com/podcast/sasquatch-odyssey--4839697/support.

In this episode of Bigfoot Society, host Jeremiah Byron interviews Greg Lambert, a veteran BFRO (Bigfoot Field Researchers Organization) investigator from West Virginia with over 11 years of experience tracking Bigfoot sightings across Appalachia.Greg shares his first encounter as a teenager, terrifying moments from BFRO and East Coast Expeditions, and eyewitness accounts that have baffled investigators for decades. From eye glow and wood knocks to rock throws and thermal imaging sightings, this episode dives deep into the real evidence and eyewitness reports that define the Bigfoot mystery in the mountains of West Virginia and Kentucky.Hear exclusive stories of encounters near Monongahela National Forest, Dolly Sods, and Blackwater Falls.

In tonight's episode, Jason joins us from the UK to share strange events that began in a house marked by footsteps, shadow figures, and an out-of-body moment floating over London rooftops. As he grew older, the experiences followed him: lucid dreams that later connected to real events, unexplained nosebleeds shared only with his youngest son, and a pattern of synchronicities tied to the number 13.More information on this episode on the podcast website:https://ufochroniclespodcast.com/ep-360-the-number-13/Hidden Cults (Promo)It is a documentary-style podcast that digs deep into the world's most extreme, elusive, and explosive fringe groups. Listen on all podcast apps: Spotify: https://open.spotify.com/show/4Q0kbgXrdzP0TvIk5xylx1Apple Podcasts: https://podcasts.apple.com/us/podcast/hidden-cults/id1816362029If you enjoy this podcast, please support the show with a virtual coffee:https://ko-fi.com/ufochroniclespodcastFollow and Subscribe on X to get ad free episodesX: https://x.com/UFOchronpodcast/Want to share your encounter on the show?Email: UFOChronicles@gmail.comOr Fill out Guest Form:https://forms.gle/uGQ8PTVRkcjy4nxS7Podcast Merchandise:https://www.teepublic.com/user/ufo-chronicles-podcastHelp Support UFO CHRONICLES by becoming a Patron:https://patreon.com/UFOChroniclespodcastAll Links for Podcast:https://linktr.ee/UFOChroniclesPodcastThank you for listening!Like share and subscribe it really helps me when people share the show on social media, it means we can reach more people and more witnesses and without your amazing support, it wouldn't be possible.Become a supporter of this podcast: https://www.spreaker.com/podcast/ufo-chronicles-podcast--3395068/support.

4 Hours of CREEPY Listener Submitted TRUE Strange EncountersBecome a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

Michael Jaco sits down with contactee and walk-in soul Katie Bishop for a profound and reality-expanding conversation on supernatural encounters, multidimensional existence, and the deeper purpose of human awakening. Katie, founder of Earth Bishop LLC and author of Remember Your Torch, shares her extraordinary background as a walk-in soul and describes the moment her consciousness transitioned into this life with full awareness. She explains her mission to help humanity remember its eternal origins, activate the higher self, and reclaim soul sovereignty during this critical time on the planet. Together, Michael and Katie explore the nature of interdimensional contact, the hidden structure of the soul, and the ways higher-density beings guide humanity through awakening cycles. Katie reveals how planetary inversions have distorted consciousness, why the resurrection of the Divine Feminine is essential for restoring balance, and how individuals can reconnect with their original blueprint. They also speak candidly about psychic interference, targeting, and the spiritual attacks that often occur when someone steps into their purpose. Katie explains how she broke free from dark influences, the tools she uses for protection, and the importance of staying aligned with higher frequencies. The conversation expands into the coming shift from 3D to 5D consciousness, the meaning of timeline convergence, and what it truly takes to transcend fear and step into one's mission. Katie describes her “Remember Your Torch” approach—an inner activation designed to awaken soul memory, heal ancestral imprints, and ignite spiritual purpose. This is a deep, intimate, and activating dialogue for anyone experiencing awakening symptoms, contact phenomena, or the call toward higher consciousness. Connect with Katie Bishop https://www.earthbishop.com Connect with Michael Jaco https://michaelkjaco.com https://michaelkjaco.com/courses/   00:00 Introduction and Guest Introduction 03:03 Katie's Walk-In Experience 09:11 Challenges and Targeting 19:46 Revelations and Teachings 27:53 The Feminine Principle and Deep State Resistance 28:42 Anki, Draco, and the Orion Group 29:27 Benevolent Factions and Feminine Reinstatement 30:32 Ancient Stories and Biblical Context 31:54 Yeshua's Mission and New Age Deception 37:01 Sacred Mysteries Class Overview 39:43 Contact and Information Retrieval 43:12 The Role of Earth and Humanity's Evolution 49:29 The False Matrix System and Future Split 51:44 Final Thoughts and Resources  

For nearly fourteen years, Chicago has stood at the epicenter of one of America's most perplexing modern mysteries, the rise of the winged humanoid phenomenon. From frightened residents throughout Chicagoland to police officers, pilots, and air traffic controllers at O'Hare International Airport, credible witnesses have described a massive, dark entity with glowing eyes and bat-like wings stalking the skies over the city and its suburbs. In this episode, I revisit the most disturbing and best-documented encounters ever recorded, stories that suggest this being is more than legend… and may still be watching from above.

For nearly fourteen years, Chicago has stood at the epicenter of one of America's most perplexing modern mysteries, the rise of the winged humanoid phenomenon. From frightened residents throughout Chicagoland to police officers, pilots, and air traffic controllers at O'Hare International Airport, credible witnesses have described a massive, dark entity with glowing eyes and bat-like wings stalking the skies over the city and its suburbs. In this episode, I revisit the most disturbing and best-documented encounters ever recorded, stories that suggest this being is more than legend… and may still be watching from above.

Ed Komarek is a longtime UFO/ET investigator and activist having been involved in the field for forty years. He was involved in exopolitics long before the word exopolitics was coined by Alfred Webre a few years ago. For the past several years Ed has written over one hundred exopolitical essays on exopolitics published to this blog and in the Internet press. The essays are regularly published in the American Chronicle, The Oped News, The Canadian National Newspaper as well as in the UFO/ET community by UFO Digest and The Alien Seeker News. Because these articles can be republished by anybody they float about the Internet creating an extensive global exopolitical network feeding back into the blog. Recently Ed has compiled these essays and cases into a free Internet e-book that can be read on the Internet or printed out for easy reading. It is believed to be the most extensive and detailed exopolitics book available to the public to date. - http://exopolitics.blogspot.com/Become a supporter of this podcast: https://www.spreaker.com/podcast/the-x-zone-radio-tv-show--1078348/support.Please note that all XZBN radio and/or television shows are Copyright © REL-MAR McConnell Meda Company, Niagara, Ontario, Canada – www.rel-mar.com. For more Episodes of this show and all shows produced, broadcasted and syndicated from REL-MAR McConell Media Company and The 'X' Zone Broadcast Network and the 'X' Zone TV Channell, visit www.xzbn.net. For programming, distribution, and syndication inquiries, email programming@xzbn.net.We are proud to announce the we have launched TWATNews.com, launched in August 2025.TWATNews.com is an independent online news platform dedicated to uncovering the truth about Donald Trump and his ongoing influence in politics, business, and society. Unlike mainstream outlets that often sanitize, soften, or ignore stories that challenge Trump and his allies, TWATNews digs deeper to deliver hard-hitting articles, investigative features, and sharp commentary that mainstream media won't touch.These are stories and articles that you will not read anywhere else.Our mission is simple: to expose corruption, lies, and authoritarian tendencies while giving voice to the perspectives and evidence that are often marginalized or buried by corporate-controlled media

There are many testimonies from individuals about what their life was like before a significant event, and their life after that event. For a man who had been born blind, that significant event was when he met Jesus. It was a transforming encounter, and his life was never the same again. Transforming lives is what Jesus has come to do. Pastor Michael Dutshcke Bible Reading: John 9:1-41 (NLT)

There are many testimonies from individuals about what their life was like before a significant event, and their life after that event. For a man who had been born blind, that significant event was when he met Jesus. It was a transforming encounter, and his life was never the same again. Transforming lives is what Jesus has come to do. Pastor Michael Dutshcke Bible Reading: John 9:1-41 (NLT)

Psychedelics opened a door Shane didn't know he was opening—and what came through destroyed his life until Jesus closed it. Shane turned to ayahuasca and DMT for spiritual enlightenment, encountering entities that seemed wise, ancient, and genuinely interested in teaching him. These beings felt more real than reality itself, communicated telepathically, and left him convinced he'd accessed higher dimensions. What he didn't understand was that those experiences were invitations that gave these entities legal access to his life. During Air Force service at a classified location, Shane witnessed UFOs performing impossible maneuvers—and the intelligence behind them felt eerily similar to the psychedelic entities. Years later, the door swung wide: alien abduction began with paralysis, grey beings, examinations, and the profound sense that something had rights over him he couldn't revoke. The friendly psychedelic entities had revealed their true nature, and he was trapped. Shane shares how psychedelics functioned as a gateway to demonic oppression, his military UFO sightings that confirmed these entities operate in physical reality, the abduction experiences that proved their malevolent intent, and how calling on Jesus Christ brought immediate deliverance when nothing else worked. Not a member yet? Check out the Blurry Creatures membership here: https://blurrycreatures.com/pages/members Learn more about your ad choices. Visit megaphone.fm/adchoices

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In this episode, Brian sits down with John from Ohio, a lifelong Bigfoot enthusiast whose fascination began in childhood and never faded. Inspired by 1970s classics like The Six Million Dollar Man and vintage sci-fi books, John recalls his very first encounter at just nine years old — an experience that would ignite a lifelong passion for uncovering the truth behind the Bigfoot mystery.John shares how cultural legends, local folklore, and popular media shaped his curiosity and how his fascination evolved into genuine field research. He takes us back to a thrilling 1987 sighting, describing every detail of that unforgettable moment and how it deepened his conviction that something extraordinary roams the forests of Ohio.Beyond the encounters, John opens up about his work with Crow Town Squatchers, the Bigfoot vendor and support group he co-runs with his wife, Beth. Together, they've built a welcoming community of researchers, experiencers, and fans who share evidence, stories, and the unshakable belief that discovery is just around the corner.Get Our FREE NewsletterGet Brian's Books Leave Us A VoicemailVisit Our WebsiteSupport Our SponsorsBecome a supporter of this podcast: https://www.spreaker.com/podcast/sasquatch-odyssey--4839697/support.

Steve welcomes James O'Keeffe who tells of his strange personal encounters from Maine to Mexico.Become a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

Ethereal Encounters Unveiled welcomes Maria Toso Thursday, November 13th, 2025 LIVE 11-13 at 5 PM EST Topic: Heal What Hurts: The Process That Gets Results When Therapy Fails Bio: Yoga Teacher, Author, and Energy Guide, Maria is sparking a movement to remember the healing power of loving presence as the Divine within. Fed up with the endless cycle of lashing out, numbing out, or checking out, thousands of people turn to Maria's Heal What Hurts method to heal emotional triggers at their root. Her approach is based on a profound truth: the dynamics we find ourselves in are precise manifestations of the programming held in the energy field of the body. Just as a projection on a screen can only be changed by clearing the lens, our painful life stories will keep repeating until the energetic contractions in the body are dissolved. Maria's method teaches us to meet these contractions with loving presence. In doing so, we clear the energy field, realign with the Divine Light we truly are, and remember our original wholeness. Being triggered becomes not a trap but a sacred opportunity to return to love, flow, and authentic connection. Originally from Denmark, Maria has lived in Minnesota since 1998. She has taught Yoga Teacher Training in the Minnesota College system since 2015 and has led retreats across the U.S. and Europe. Her new book, Heal What Hurts: How to Heal Emotional Triggers (Llewellyn Worldwide, September 2025), introduces her eight-step process for transforming emotional pain into a path of spiritual growth and embodied presence. She now teaches Heal What Hurts in small group settings online, through retreats, and in private sessions. Book: Heal What Hurts: Get it on Amazon: https://amzn.to/4nRfeoZ https://www.mariatoso.com

Ethereal Encounters Unveiled welcomes Janet Lynn Roseman, Ph.D. LIVE Friday, November 14th, 2025 , 3 PM EST Topic: Daughters Honor Their Mothers on The Other Side BIO: Janet Lynn Roseman, PhD, is an Associate Professor in Integrative Medicine at the Dr. Kiran Patel College of Osteopathic Medicine. She teaches courses in Spirituality and Medicine, Art and Medicine, and Death and Dying for medical school students. She received the first Joseph Moore President's Award for her work in oncology and spirituality from Lesley College and was a David Larsen Fellow in Spirituality and Medicine at the Kluge Center for Scholars at the Library of Congress. Dr. Roseman is also the Founding Director of the Sidney Project in Spirituality and Medicine and Compassionate Care™, a medical education program for physician residents. She is also a registered dance therapist, a registered art therapist, and an intuitive healer. Llewellyn: The Eternal Bond | Llewellyn Worldwide, Ltd. Her website: Dr. Janet Lynn Roseman The Eternal Bond: Daughters Honor Their Mothers on the Other Side: get her book here: https://amzn.to/49JURGN

Fluent Fiction - Spanish: Catalonia's Creative Connection: Artful Encounters in Park Güell Find the full episode transcript, vocabulary words, and more:fluentfiction.com/es/episode/2025-11-14-08-38-20-es Story Transcript:Es: En un fresco día de otoño, Park Güell brillaba con sus mosaicos de colores bajo el cielo de Barcelona.En: On a cool autumn day, Park Güell glimmered with its colorful mosaics under the Barcelona sky.Es: El viento movía las hojas secas, creando un suave murmullo.En: The wind moved the dry leaves, creating a soft murmur.Es: Lucia, una artista en busca de inspiración, paseaba por el parque.En: Lucia, an artist in search of inspiration, strolled through the park.Es: Estaba un poco perdida.En: She was feeling a bit lost.Es: Su arte ya no le emocionaba.En: Her art no longer excited her.Es: Buscaba una chispa, una nueva dirección.En: She was looking for a spark, a new direction.Es: Mientras tanto, Mateo, un arquitecto local, recorría el parque.En: Meanwhile, Mateo, a local architect, wandered through the park.Es: Era un lugar que le daba paz.En: It was a place that brought him peace.Es: Había pasado por un momento difícil y aún lidiaba con su dolor.En: He had been going through a tough time and was still dealing with his pain.Es: Mirar la ciudad desde el parque le calmaba, pero todavía sentía un vacío en el corazón.En: Looking at the city from the park calmed him, but he still felt an emptiness in his heart.Es: El destino quiso que los caminos de Lucia y Mateo se cruzaran de manera inesperada.En: Fate had it that Lucia and Mateo's paths would cross unexpectedly.Es: Lucia, absorta en sus pensamientos, no vio a Mateo.En: Lucia, absorbed in her thoughts, did not see Mateo.Es: Chocaron de repente y el café que ella llevaba se derramó en su bufanda.En: They suddenly collided, and the coffee she was carrying spilled on her scarf.Es: Sorprendida, Lucia se disculpó rápidamente.En: Surprised, Lucia quickly apologized.Es: Mateo, al principio serio, notó la sinceridad en sus ojos y sonrió ligeramente.En: Mateo, initially serious, noticed the sincerity in her eyes and smiled slightly.Es: "Lo siento mucho," dijo Lucia, tratando de limpiar la mancha.En: "I'm very sorry," said Lucia, trying to clean the stain.Es: Mateo, sin embargo, la tranquilizó.En: Mateo, however, reassured her.Es: "No te preocupes, este parque es más valioso que cualquier bufanda."En: "Don't worry, this park is more valuable than any scarf."Es: Ambos rieron, y esa risa fue el comienzo.En: They both laughed, and that laughter was the beginning.Es: Continuaron caminando juntos, compartiendo historias.En: They continued walking together, sharing stories.Es: Mateo escuchó sobre las dudas de Lucia con su arte, y Lucia escuchó cómo Mateo intentaba superar su tristeza.En: Mateo heard about Lucia's doubts regarding her art, and Lucia listened to how Mateo was trying to overcome his sadness.Es: Había una conexión, algo inexplicable que los unía.En: There was a connection, something inexplicable that united them.Es: Días después, decidieron trabajar juntos.En: Days later, they decided to work together.Es: Una tarde, en uno de los bancos adornados del parque, comenzaron un proyecto de arte improvisado.En: One afternoon, on one of the park's decorated benches, they began an improvised art project.Es: Lucia pintó mientras Mateo diseñaba una estructura con materiales que encontraron alrededor.En: Lucia painted while Mateo designed a structure with materials they found around them.Es: Con cada trazo y diseño, sus almas se reconectaban con el mundo.En: With each stroke and design, their souls reconnected with the world.Es: El proyecto se convirtió en algo más que arte.En: The project became more than just art.Es: Fue un símbolo de renovación.En: It was a symbol of renewal.Es: Mientras creaban, Lucia sintió cómo su confianza regresaba.En: As they created, Lucia felt her confidence returning.Es: El arte volvía a hacerla feliz.En: Art once again made her happy.Es: Mateo encontró alegría en el acto de crear, en la colaboración y en la compañía de Lucia.En: Mateo found joy in the act of creating, in the collaboration, and in Lucia's company.Es: Al finalizar aquel día, Lucia supo que tenía que quedarse en Barcelona.En: By the end of that day, Lucia knew she had to stay in Barcelona.Es: La ciudad y Mateo eran su nueva inspiración.En: The city and Mateo were her new inspiration.Es: Mateo, por su parte, sintió que su corazón comenzaba a sanar.En: Mateo, in turn, felt his heart beginning to heal.Es: Juntos, caminaron hacia un nuevo comienzo.En: Together, they walked toward a new beginning.Es: Así, en un rincón vibrante de Barcelona, dos almas encontraron lo que necesitaban.En: Thus, in a vibrant corner of Barcelona, two souls found what they needed.Es: Lucia recuperó su pasión y dirección, y Mateo abrió su corazón al mundo una vez más.En: Lucia regained her passion and direction, and Mateo opened his heart to the world once more.Es: Bajo el cielo claro de otoño, sus vidas se entrelazaron, llevándolos hacia un futuro lleno de posibilidades.En: Under the clear autumn sky, their lives intertwined, leading them toward a future full of possibilities. Vocabulary Words:autumn: el otoñoday: el díascarf: la bufandaartist: la artistaspark: la chispainspiration: la inspiraciónarchitect: el arquitectoemptiness: el vacíopain: el dolorfate: el destinoconnection: la conexiónpath: el caminobeginning: el comienzorenewal: la renovaciónconfidence: la confianzadesign: el diseñoproject: el proyectosymbol: el símbolojoy: la alegríacompany: la compañíaafternoon: la tardebench: el bancostructure: la estructuramaterial: el materialpossibility: la posibilidadheart: el corazónstory: la historialaugh: la risaworld: el mundosky: el cielo

This week we're slipping into the dream world—where sleep blurs with the supernatural and reality flickers. From shared nightmares and prophetic visions to comforting visits from beyond, these stories explore how our dreams might just be the bridge between worlds. Listener Stories: A couple's shared sleep paralysis turns terrifying when they both dream of the same gray-faced figure peeking through their door. A listener whose nightmares predict real deaths—and what it's like working among both the living and the dead. A heartwarming and eerie tale of a grandmother's passing, a watchful cat, and love that lingers. A prophetic dream that reveals a bittersweet destiny and chosen family. A skeptic's vivid dreams where her late grandmother still lives raises questions about alternate timelines… Dreams can comfort, terrify, and connect us to something greater—and sometimes, they even let us peek beyond the veil.

Leila Rahimi and Marshall Harris welcomed on Matt Spiegel and Laurence Holmes for the daily transition segment.

Isaiah 6:1-7 "The Holiness of God"

This week Natty is joined by Miss Liss from Ouch! Was That A Ghost? yet again as they fly into some first hand UFO/UAP encounters reported in Reddit feeds. From black space crafts to blimps like anonmalies, we try to determine the authenticity of the accounts. Big news about the new podcast venture is also explained. So buckle up, put on your tinfoil hats and let's get into it!Click here for merch sites, patreon site, website, to donate, and join me on social media!Sources:https://www.reddit.com/r/AskReddit/comments/1r034d/alien_abductees_of_reddit_or_people_who_have/Become a supporter of this podcast: https://www.spreaker.com/podcast/cryptids-creeps-and-conspiracy-podcast--6041412/support.

How has the classical music industry approached representation and how has the new music community forged new paths to embrace diverse musics? On tonight's episode of Obbligato on APEX Express, Isabel Li is joined by violinist Shalini Vijayan, who discusses her vibrant career and reflects upon the ways contemporary classical music can build community.  Violinist Shalini Vijayan, deemed “a vibrant violinist” by Mark Swed of the Los Angeles Times is an established performer and collaborator on both coasts. Always an advocate for modern music, Shalini was a founding member and Principal Second Violin of Kristjan Jarvi's Absolute Ensemble, having recorded several albums with them including 2001 Grammy nominee, Absolution. Shalini was also a founding member of the Lyris Quartet, one of Los Angeles' most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series, for Jacaranda Music and helped to found the Hear Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles.  Shalini performed for over a decade with Southwest Chamber Music and can be heard on their Grammy nominated Complete Chamber Works of Carlos Chávez, Vol. 3. She has been a featured soloist with the Los Angeles Master Chorale in Chinary Ung's Spiral XII and Tan Dun's Water Passion, including performances at the Ravinia Festival. As a chamber musician, Shalini has collaborated with such luminaries as Billy Childs, Chinary Ung, Gabriela Ortiz, and Wadada Leo Smith on whose Ten Freedom Summers she was a soloist. Shalini joined acclaimed LA ensemble, Brightwork New Music in 2019 and also serves as the curator for Brightwork's Tuesdays@Monkspace series, a home for contemporary music and performance in Los Angeles. As a teacher, she has been on the faculty of the Nirmita Composers Workshop in both Siem Reap and Bangkok and coaches composition students through the Impulse New Music Festival.  Shalini received her B.M. and M.M. degrees from Manhattan School of Music as a student of Lucie Robert and Ariana Bronne. As a member of the New World Symphony in Miami Beach, Florida, Shalini served as concertmaster for Michael Tilson Thomas, John Adams, Reinbert de Leeuw and Oliver Knussen. She was also concertmaster for the world premiere performances and recording of Steven Mackey's Tuck and Roll for RCA records in 2000. Shalini was a member of the Pacific Symphony Orchestra for ten seasons and also served as Principal Second Violin of Opera Pacific. She lives in Los Angeles with her son, husband and two dogs and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  Check out more of her work at:  https://brightworknewmusic.com/tuesdays-at-monk-space/  https://www.lyrisquartet.com/    Transcript  Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the APEX Express.    00:01:03 Isabel Li  You're listening to Obbligato, which is a segment about the Asian American Pacific Islander community, specifically in classical music.  00:01:11 Isabel Li  I'm your host, Isabel Li, and today joining me is Shalini Vijayan, who is a violinist, established performer, and always an advocate for modern music.  00:01:21 Isabel Li  Shalini is also a founding member of the Lyris Quartet, one of Los Angeles most beloved chamber ensembles. With Lyris, she has performed regularly at Walt Disney Concert Hall on the Green Umbrella series for Jacaranda Music, and helped to found the Here and Now Music Festival in Venice, California, a festival dedicated to the music of living composers in Los Angeles. She joined acclaimed LA ensemble Brightwork New Music in 2019, and also serves as the curator for Brightwork's Tuesdays at Monk Space series. She currently lives in Los Angeles with her son, husband and two dogs, and spends her free time cooking Indian food and exploring the culinary landscape of Southern California.  00:02:04 Isabel Li  Well, Shalini, thank you so much for joining me in this conversation today.  00:02:09 Shalini Vijayan  I'm so happy to be with you.  00:02:11 Isabel Li  Awesome. I'd like to just get to know you and your story. How do you identify and what communities do you consider yourself a part of?  00:02:18 Shalini Vijayan  I use the pronouns she, her, and I. Um, I identify as South Asian. I grew up in an Indian family. My parents immigrated to the US in the sixties to teach at medical school. And I grew up with a great deal of Indian culture. And I've spent a lot of time going back and forth to India from the time that I was very young. You know, it's interesting because I feel like in LA, where I live and work specifically, there is so much overlap between all of our different musical communities. You know, I went to school in New York, and I feel like there I was much more, I'm very connected to the new music community in New York and felt really kind of entrenched in that at the time I was there. And after coming to LA, I realized that, um, there are a lot of musicians doing so many different things. That's one of the things I love about Los Angeles, actually. And, you know, I'm definitely very, very rooted in the new music community in LA. And that was where I made my first sort of connections when I first moved to Los Angeles. But I also, you know, worked in an orchestra when I first came to LA. I played in the Pacific Symphony for almost ten seasons, and so I became a part of that community as well. And you know, as the years went on, I also became much more involved in the studio music community of LA studio musicians playing on movie scores, playing on television shows, records, what have you, Awards shows, all sorts of things. And these are all very distinct communities in LA in music. But I see a ton of overlap between all of them. There are so many incredibly versatile musicians in Los Angeles that people are able to really very easily move from one of these groups to the other and, you know, with a great deal of success. And I feel like it gives us so much variety in our lives as musicians in LA, you don't feel like you're ever just in one lane. You can really occupy all these different kinds of spaces.  00:04:23 Isabel Li  Right, yeah. So you're classically trained, from what I know, and you describe yourself as an advocate for modern music. So why modern music?  00:04:33 Shalini Vijayan  That's a great question. I have have had to answer this question quite a bit over the years, especially to non-musicians. And it's always an interesting story for me. You know, as a violinist in particular, you know, we have such a storied history of repertoire and pedagogy, and there is such an incredible, um, library of music that we have access to from the very standard classical repertoire. And there is a great deal to be learned about the instrument and about music from playing all that repertoire. I think at some point when I was in high school, I started to become interested in more modern music. And actually I grew up in Davis in Northern California.   My parents both taught at the university there, at the medical school and in Sacramento. Nearby there was a festival of modern American music that I think still goes on to this day at Cal State University, Sacramento. And it was really a great festival. And at that time, you know, they would bring professional artists, they'd have composers, they'd have commissions, all sorts of things. But at the time that I was like in high school, they also had a junior division to the festival, and I was asked to play a couple pieces in the Festival of, um, Modern Works, and I can't remember at this time what the pieces were, but it left such a huge impression on me. And I think what I really took away from that experience as a kid is that in my studies as a violinist, I was always being asked to sort of live up to this history and this legacy of violin music and violin playing in Western classical music. And it's a very high bar. And it's, um, you know, of course, there's so much great stuff there. But there was something so freeing about playing this music that had either never been played or not been recorded. So there was nothing to reference in terms of listening to a recording, um, and listening to how you, you know, quote, should be playing it that it made me feel, uh, you know, all this, this freedom to really interpret the music, how I felt, rather than feeling like I had to live up to a standard that had been set for me, you know, decades or centuries before. And I think that really something really clicked for me with that, that I wanted to have that kind of freedom when I, when I was playing. And so from there on out, um, you know, when I went to college and I really sought out opportunities in new music as much as I could.  00:07:00 Isabel Li  So you were first exposed to new music when you were in high school. Did that influence your decision to become a musician at all? Or were you already set on becoming a musician and that was just part of what shaped your works over the years.  00:07:15 Shalini Vijayan  I think by that time, I had already decided that I wanted to be a musician. I mean, as you know, so many of us as musicians and I think particularly string players, we decide so young because we start our instruments at such a young age and we start studying so early. Um, that I think by that time I, I had decided I wanted to do music, but this sort of opened another door for me that made me realize that it wasn't just one path in music necessarily. I think it's very easy as a, as a kid and as a violinist to think you admire these great soloists that you see and, you know, people like Perlman and, you know, Isaac Stern, who were the stars of the time when I was growing up. But, you know, you get to be in high school and you realize that hasn't happened yet. It's probably not going to happen. And so, you know, what's then then what's your path forward? How do you find a life in music if you're not going to be one of these stars? And I think, you know, new music really opened up that opportunity for me. And yeah, made me look at things a little differently for sure.  00:08:18 Isabel Li  And currently you're in the contemporary classical music ensemble, Brightwork newmusic, and you curate the ensemble's concert series, Tuesdays @ Monk Space. So how do you go about curating concerts with music by contemporary or living composers? What do you look for?  00:08:33 Shalini Vijayan  Well, right now I'm really focused on trying to represent our new music community in LA at Monk Space, which is such, you know, we have such a diverse community of musicians, not just in the makeup of who the people are making the music or writing the music, but also in just the styles of music. And so I think I try to really represent a very diverse set of aesthetics in our season. Um, you know, everything from, you know, last season we had, uh, Niloufar Shiri, who is a traditional Persian kamancheh player, but she also she can play very in a very traditional way, but she also plays with a jazz pianist. And, you know, it does all this very improvisatory stuff. And, you know, then we would have other programs where everything is very much written out and very through, composed and you know, it's been a very wide variety. And, you know, when I try to build the season, I try to make sure that it's really balanced in terms of, you know, the different types of things you'll be hearing because not every audience member is going to want to engage with every type of music. Um, or, you know, if we if we really stuck to one style and it was just in that language for the whole season, then I feel like we would, you know, alienate potential audience members. But with this, I feel like if we can bring people in for one concert and they're really into it, then hopefully they'll come to something else that is new and different for them and be exposed to something that they may really get into after that. So yeah, I think diversity and variety is really where I try to start from.  00:10:09 Isabel Li  How does that engage the community? Have you observed audience reception to this type of new music when there are composers from all different types of backgrounds?  00:10:20 Shalini Vijayan  Yeah, definitely. I mean, I think that each composer and each artist brings their own community into the space, which and so that's another. I feel like another strong reason why I try to make things very different from concert to concert. And, you know, we have some younger players who come in and bring in, you know, everyone from college students to, you know, their friends and family. And then, you know, really established composers. Like this season we have Bill Roper, who is kind of a legend in the music community in LA. Mult instrumentalist and composer who has been around for decades. And, you know, I think people will come out just because they want to see him and he's such a draw. And, um, you know, I, I also would love to be able to incorporate more world music into the series. Like I said, we did do Niloufar concert, which I felt like I really hoped would like engage with the Persian community in LA as well. And a couple seasons ago we had Rajna Swaminathan, who is, I just think, an incredible artist. Um, she plays mridangam, which is a South Indian percussion instrument, but she also writes for Western instruments, uh, and herself. And we had her and a pianist and then Ganavya, who's a vocalist who's amazing. And, you know, Ganavya had her own following. So we had and Rajna has her own following. So we had a whole full audience that night of people who I had never seen in the space before. And that was for me. That's a success because we're bringing in new friends and new engagement. And, um, I was really excited about that. When I'm able to make those kinds of connections with new people, then that feels like a success to me.  00:12:05 Isabel Li  Certainly.  00:12:06 Isabel Li  Let's hear one of Shalini's performances. This is an excerpt from the 10th of William Kraft's “Encounters”, a duologue for violin and marimba, performed here by Shalini Vijayan with Southwest Chamber Music.  00:12:20 [MUSIC – Encounters X: Duologue for Violin & Marimba]  00:17:18 Isabel Li  An excerpt from William Kraft's Encounters, the 10th of which is called Duologue for Violin and Marimba, that was performed by Shalini Vijayan, the violinist, with Southwest Chamber Music.  00:17:31 Isabel Li  And Shalini is here with me in conversation today. We've been discussing contemporary music and her involvement in the new music scene, specifically in Los Angeles.  00:17:40 Isabel Li  Music is all about community, drawing people together. So going back to how you describe yourself as an advocate for modern music, what are other ways that you have advocated for modern music besides curating the concert series?  00:17:53 Shalini Vijayan  Well, over the years, um, you know, I feel like in all the ensembles I've been in, there's been a real focus on commissioning composers and on performing works that have not been, uh, either performed or recorded before. And I feel like the only way to really get the music out there is to, obviously, is to play it and hopefully to be able to record it. We've worked especially with the lyrics quartet. We've worked with so many young composers in LA either just strictly, you know, contemporary classical composers or even film composers who, um, have works that they'd like to have recorded. And, you know, it's been great to see a lot of those people go on to really amazing things and to be a part of their journey, uh, and to help support them. And, uh, the other thing that the quartet has been heavily involved in and now Bright Work Ensemble has been involved in as well, is the Here Now music festival, which has been going on in LA for well over a decade now. We were involved in the first, um, seasons of that festival. We've been one of the resident ensembles since the very beginning, and that festival is dedicated to the music of LA and Southern California composers. And, um, we have a call for scores every year that we, the four of us in the quartet, are part of the panel that reviews all the scores, along with a lot of our other colleagues, um, who are involved with the festival, and Hugh Levick, who is the artistic director of the festival and has we've worked side by side with him on this for a very long time. And that's also been a fantastic avenue for, um, meeting new composers, hearing new works, having them performed. And the thing I always say about that festival every time it comes around, usually in the spring we have at least three concerts. It's this incredible coming together of the new music community in Southern California, where all these great composers and all these amazing players come together and play these series of concerts, because there's such a vast number of pieces that end up getting programmed. They can't rely on just like one group or one or two groups to play them. So it really pulls in a lot of players from all over town. And I don't know, it always just feels like a really fun time, a fun weekend for all of us to see each other and connect. And, um, and again, just build our community to be even stronger.  00:20:20 Isabel Li  That's really cool. How do you ignite interest in new music? Because this is a genre that I think is slightly underrepresented or just underrepresented in general in both the classical music community and the music industry as a whole.  00:20:35 Shalini Vijayan  That's a great question, and I think it's a really important question for our whole industry and community. How do you engage people in new music and get them into a concert? Um, you know, I think one of the biggest hurdles for classical music in general, I will say, um, when I talk to people about why they don't want to come to a concert or why they don't want to, you know, let's say, go see the LA Phil or, you know, wherever, whatever city they're in, the major cultural music institution. I think there is a misconception generally that, oh, it's, you know, I have to be dressed a certain way or I it's going to be really stuffy. And, um, I, you know, I don't know what to wear or I don't know how I'm supposed to dress or how I'm supposed to act when I'm in the concert. Am I going to clap at the wrong time? You know, is it going to be really long? And, you know, and I and I get it, you know, I mean, I understand why that would be uncomfortable for a lot of people.   And it's not, um, it's something that necessarily everyone has grown up with or that it's been a part of their life. So I think it's really up to us, as you know, when we're on the side of programming concerts or putting together festivals or whatever, um, that we make things more accessible in terms of, um, concert length and interaction with audience. And, um, you know, I think it's I know I've been told so many times and I really think it's important that I think audiences love it when performers talk to them, when they talk about the music and, and set things up for a listener. I think that puts a kind of context on things that makes it so much easier for perhaps a new audience member, someone who's never come to a concert before to feel at ease and feel like, okay, I know what I'm getting into.   One of our, actually our former executive director at Brightwork, Sarah Wass, who was fantastic, and I was very happy to work with when I was just starting out programming, Monk Space had the idea of putting on the program the running time of the pieces, and I think even that is just something that, like, can prepare people for what they're getting into when they're about to listen to something new. And in terms of the music itself, I think that if someone, especially a younger person, doesn't feel like they have any connection to Beethoven or Brahms or Mozart, they might actually feel more connected to someone who is their age or a little older.   Someone who has had similar life experiences to them, or grown up in the same era as them, rather than someone who grew up, you know, in the seventeen hundreds. You know, there can be more of a real connection there, and that that person is writing this music and reflection of their life and their experiences. And, um, you know, again, I think that kind of context is important for a listener. And yeah. And then just lastly, I would say also, I feel like our space at Monk space is very inviting. It's very low key. It's, um, you know, it's casual, it's comfortable. Role. Um, we have, you know, snacks and a bar and, you know, everyone is very relaxed at intermission and has a good time. And I mean, for me, every time we host one of those concerts, I feel like I'm hosting a little party, you know? That's what it feels like for me. And that's what I want it to feel like for the audience as well.  00:23:52 Isabel Li  That brings up a really good point in that new music can make classical music or a new classical music, contemporary music, more accessible to different audiences. And certainly I've definitely heard the complaint from people over the years about classical music being a little too uptight. Would you say that these are two different genres?  00:24:11 Shalini Vijayan  I think that there is overlap, and I think, you know, for an ensemble like ours, like Brightwork, we have chosen to make our focus new music. So that's our thing. That's what we do. Um, and, uh, all of our concerts and our programming reflect that. Very rarely do we do anything that's not considered a contemporary piece. Um, but, you know, if you do look at some of our major institutions, like I think the LA Phil and I think the San Francisco Symphony, um, earlier, you know, like in the nineties under MTT, really started to pave the way for incorporating contemporary music into a standard classical format. And, you know, I think that's been very important. And I think it's really changed the way that orchestras have programmed across the country. And there has been such a nurturing of contemporary music in larger spaces. Now that I think that kind of overlap has started to happen much more frequently. I think that in more conservative settings, sometimes there's pushback against that. And even even, you know, in some of the places that I play, you know, sometimes with with the lyrics quartet, um, we are asked to just purely program standard classical repertoire, and we will occasionally throw in a little short piece, you know, just to try and put something in there, you know, something that's very accessible. Um, and, uh, you know that we know the audience will like so that we can help them, you know, kind of get over that fear of connecting to a newer piece. And I, I think in some ways, that's where the path forward lies, is that we have to integrate those things, you know, in order to keep kind of the old traditions of classical music alive. I think we have to keep the newer tradition alive as well, and find a way to put them in the same space.  00:26:00 Isabel Li  I certainly agree with that.  00:26:01 Isabel Li  Let's hear more of Shalini's work in new music. This is a performance of the first movement of Atlas Pumas by Gabriela Ortiz. Violinist Shalini Vijayan is joined by percussionist Lynn Vartan.  00:26:18 [MUSIC – Atlas Pumas, mvt 1 by Gabriela Ortiz]  00:29:21 Isabel Li  The first movement of Gabriela Ortiz's Atlas Pumas played here by violinist Shalini Vijian, and Lynn Vartan plays the marimba.  00:29:30 Isabel Li  And Shalini is actually joining us here for a conversation about new music, performances, identity, and representation.  00:29:38 Isabel Li  Many Asian American Pacific Islander artists in music have varying relationships between their art and their identity. I was wondering, to what extent do you feel that perhaps your South Asian identity intersects or influences the work that you do with music?  00:29:54 Shalini Vijayan  Growing up, um, you know, I grew up in a in a university town in Northern California and, you know, a lot of highly educated and, you know, kids of professors and, you know, but still not the most terribly diverse place. And then going into classical music. And this was, you know, in the early nineties when I went to college, um, it still was not a particularly it was very much not a diverse place at all. And, um, there certainly were a lot of Asian students at, um, Manhattan School of Music where I did my my studies.   But I would say it was a solid decade before I was ever in any sort of classical music situation where there was another South Asian musician. I very, very rarely met any South Asian musicians, and it wasn't until I went to the New World Symphony in the early late nineties, early two thousand, and I was a musician there. I was a fellow in that program there for three years that I walked into the first rehearsal, and there were three other South Asian, I think, of Indian descent musicians in the orchestra, and I was absolutely blown away because I literally had not, um, other than here and there at some festivals, I had not met any other South Asian classical musicians.   So it was really like that was the hallmark moment for me. It was a really big deal. And coming with my family, coming from India, you know, there is such a strong tradition of Indian classical music, of Carnatic music and Hindustani music. And, um, it's such a long, long tradition. And, you know, the people who have studied it and lived with it are, you know, they study it their whole lives to be proficient in it. And it's such an incredible, incredible art form and something that I admire so much. And I did as a kid. Take a few lessons here and there. I took some Carnatic singing lessons, um, and a little bit of tabla lessons when I was very young. Um, but I think somewhere in middle school or high school, I kind of realized that it was, for me at least, I wasn't, um, able to put enough time into both because both of them, you know, playing the violin in a Western classical style and then studying Indian classical music require a tremendous amount of effort and a tremendous amount of study. And I at that point chose to go with Western classical music, because that's what I'd been doing since I was five years old. But there has always kind of been this longing for me to be more connected to Indian classical music. Um, I'll go back again to Rajna. When I presented Rajna Swaminathan on Monk Space a couple of years ago, it was a really meaningful thing for me, because that's kind of what I'd always wanted to see was a joining together of that tradition, the Indian tradition with the Western tradition. And, um, I'm so happy that I'm starting to see that more and more with a lot of the artists that are coming up now. But at the time when I was young, it just it felt almost insurmountable that to to find a way to bring the two together. And, um, I remember very clearly as a kid listening to this, um, there was an album that Philip Glass did with Ravi Shankar, and I thought that was so cool at the time. And I used to listen to it over and over again because I just again, I was so amazed that these things could come together and in a, in a kind of successful way. Um, but yeah, there is, you know, there there's a part of me that would still love to go back and explore that more that, that side of it. Um, and but I will say also, I'm very happy now to see a lot more South Asian faces when I, you know, go to concerts on stage and in the audience. And, you know, a lot of composers that I've worked with now, um, of South Asian descent, it's been, you know, I've worked with Reena Esmail and Anuj Bhutani and Rajna and, um, there's so many more, and I'm so glad to see how they're all incorporating their connection to their culture to, to this, you know, Western kind of format of classical music. And they're all doing it in different ways. And it's it's really amazing.  00:34:22 Isabel Li  That's fantastic.  00:34:24 Isabel Li  I was wondering if you could maybe describe what this merging or combination of different styles entails. Do you think this makes it more accessible to audiences of two different cultures?  00:34:36 Shalini Vijayan  For me, one example, before I started running the series at Tuesdays at Monk Space, Aron Kallay, who is our Bright Work artistic director, had asked me to come and do a solo show on Monk Space, which I did in November of 2019.  00:34:52 Shalini Vijayan  And at the time, I wanted to commission a piece that did exactly that, that, that, um, involved some sort of Indian classical instrument or kind of the language of Indian classical music. And so I actually did reach out to Reena Esmail, and she wrote me a very cool piece called blaze that was for tabla and violin. Um, and I really had so much fun doing that. And Reena, Reena really has a very fluid way of writing for the violin, which she actually was a violinist, too. So she's she's really good at doing that. But being able to write for any melodic instrument or for the voice, which she does quite a bit as well, and incorporating sort of the tonality of Indian classical music, which obviously has its own scales and, um, has its own harmonic, harmonic world that is different from the Western world, um, but finds a way to translate that into the written note notation that we require as, uh, Western classical musicians. And, you know, I think that's the biggest gap to bridge, is that in Indian classical music, nothing is notated. Everything is handed down in an oral tradition, um, over the generations. And for us, everything is notated. And in Indian classical music, you know, there's much more improvisation. And now, of course, with modern classical music, there now is a lot more improvisation involved. But in our old standard tradition, obviously there isn't. And in the way that we're trained, mostly we're not trained to be improvisers. And um, so it's it was great. She has a great way of writing so that it kind of sounds like things are being tossed off and sounding sounds like they're being improvised, but they are actually fully notated, um, which I really appreciated.  00:36:50 Isabel Li  Yeah.  00:36:51 Isabel Li  So your career has spanned orchestras, recording ensembles, chamber music. Having had so much experience in these types of performance, what does representation in classical music mean to you?  00:37:04 Shalini Vijayan  Well, representation is is very important because we're talking about a tradition that was built on white men from centuries ago, European white men. And and it's again, it's an incredible tradition and there's so much great repertoire. But I'm going to circle back to what you were saying or what you asked me about connecting to audiences and, you know, connecting to audiences with new music. It's I think people like to see themselves reflected in the art that they choose. They choose to consume. And, you know, whether that's movies or television or music, I think that's how you connect with your audience is by being a bit of a mirror.  I think the only way that we can really continue to connect with a diverse audience is by having that type of diverse representation on our stages and on our recordings. And again, also not just the people, but the types of music, too. You know, musical tastes run wide, genres run wide as well. And it's I think It's good for all of us to be exposed to a lot of different kinds of music, to figure out what we connect with the most. And, um, yeah, the only way we can do that is by really, you know, opening our arms to a, a much wider variety of styles of music. And so I, you know, I mentioned improvisation, improvisation earlier. And I think that is something that's now starting to happen so much more in modern classical music. And, you know, I think there's something about the energy that a player has when they're improvising that is maybe not something that an audience member could quantify verbally, but there's a looseness and a freedom there that I think, you know, for a lot of audience members, they probably really can connect to. And, you know, that's a lot of why people go and listen to jazz is because there's so much freedom and there's so much improvisation.   I've been very lucky to be able to work with, um, Wadada Leo Smith, who's a trumpet player and composer. I've worked with him for probably almost ten years now. And um, through Wadada, actually, I have learned to become much more comfortable with improvising on stage and not within a jazz language of any kind or any kind of harmonic structure necessarily, but within the language of his music, which is very unique and very open and very free and, um, but also has a really strong core in its connection to history. And, um, you know, he's written a lot of amazing works about the civil rights movement and about a lot of, you know, important moments in history for our country. And, um, that's been a real learning experience for me to connect with him in that, in that way and learn from him and learn to be more comfortable with improvisation. Because I think growing up, improvisation for me always meant jazz, and that was not a language I was comfortable in. And um, or even, you know, jazz or rock music or folk music or whatever, you know, it was just not something that came naturally to me as a kid to, I mean, I listened to all of it. I listened to everything when I was a kid, but I never played in any of those styles. And I think the older you get, the scarier it gets to start branching out in those ways. But, um, I think, uh, that's been a an incredible, like, new branch of my life in the last decade has been working with Wadada.  [MUSIC – “Dred Scott, 1857,” from Ten Freedom Summers, by Wadada Leo Smith]  00:42:23 Isabel Li  An excerpt of Wadada Leo Smith's music to give you a sense of the jazz influences in these types of contemporary new music pieces that also touch on pieces of history. This was an excerpt from his album, Ten Freedom Summers, which also consists of compositions based on pieces of American history. For example, what we just heard was from a piece called Dred Scott, 1857.  00:42:49 Isabel Li  Now that I realize that we've been having a conversation about new music, I realize that, hmm, when does new music really start? So if you take a look at maybe music history, when does new music really become new music?  00:43:07 Shalini Vijayan  I guess it depends on who you ask, probably. Um, it's it's pretty recent. You know, it has to be really legitimately pretty new. And, um, again, you know, if you ask an audience member, um, and I think of some of my friends or family who are maybe who are not musicians who come to concerts, and I'm always so interested in talking to them and hearing their opinions about things. Um, you know, they will listen to Bartok and say, oh, that sounds like new music to me. But, you know, Bartok, Bartok passed away a long time ago, and it's, you know, and for me, that's more like canon now. You know, that's like now for me, part of the the standard repertoire. But there was a time when Bartok was new music. And I think for, you know, maybe the listeners who are more comfortable with the very diatonic, you know, world of Beethoven, Brahms, Mozart, then something like Bartok really does sound so modern for me. Boy, maybe around the time that minimalism started, you know, John Adams and Steve Reich, Terry Riley, Philip Glass, all of that for me feels like maybe that's the older like the The edge of new music now even though that was that would be the eighties, probably seventies 80s, you know, but that we're talking about like, you know, fifty years ago. So yeah, I mean, it's not that new, but those are all still living composers. So maybe, maybe that's part of what it is for me is that it's the composers of our era, the composers who are alive, who we can communicate with and ask questions of. And, um, you know, at the very least, if you can't talk to John Adams, you can talk to somebody who has worked directly with him and get their impressions of how something should be played, um, as opposed to composers who have been gone for hundreds of years. And you can't have that level of communication with them. I think that, for me is what new music, new music is about. It's about working with living composers and, um, having that type of interaction.  00:45:15 Isabel Li  Yeah. So would the word or the phrase contemporary classical music, be a little oxymoronic in a sense?  00:45:26 Shalini Vijayan  No, I don't think so. I think it's still part of the same tradition. Um, yeah. I really do think it is, because I think there is a lineage there. Um, for a lot of composers, not all of them, um, that I mean, I think particularly if you're writing for, let's say, an orchestra or a string quartet or sort of one of these very standard classical ensembles. Um, even if you're writing in a very new language and you're writing in a very different way, I think there is still a through line to the canon of classical music. I guess for me, new music and classical music are not mutually exclusive. I think they can be the same. So I don't I don't think they're totally different. I think that there is a lot of a lot of overlap.  00:46:16 Isabel Li  For sure, considering how new music fits into the classical music or the classical music industry as a whole. Have you noticed any sorts of shifts in the classical music industry in the past several decades in regards to diversity, equity, inclusion? And have you just noticed any changes?  00:46:35 Shalini Vijayan  I have noticed some changes. I mean, I think that most organizations in this country are making an effort to be more inclusive in their programming now. And, um, you know, another another South Asian composer who I just think is fantastic is Nina Shekhar. And, um, she has had pieces played by the New York Phil for the last couple seasons. I mean, you know, so on on major, major stages, I feel like now I'm seeing more representation and that is definitely Encouraging and, um, you know, uh, same for Anuj and Rajna and Reena. They've all, you know, had their works done by major ensembles. And, um, I think I think there is definitely movement in that direction, for sure. I think it could always be more.   I think also for women and women composers, women performers, I think that has also always been a struggle to find enough representation of women composers and you know, especially if like as I mentioned before, when you're in a situation where an organization asks you to program a concert, like, let's say, for our quartet and wants much more standard repertoire than it does limit you, you know, how because there isn't much from the older canon. You know, there is. You know, there's Fanny Mendelssohn and Clara Schumann and, um, you know, I think in the last five to ten years they've both been played a lot more, which is great. But, you know, I think, uh, there's so many amazing female composers right now that I think are starting to get much more recognition. And I think that just needs to be more, more and more, um, but, uh, you know, that is why, again, like on those programs, sometimes we try to just sneak one modern piece in because it's important for those voices to be heard as well. But yes, I do see some forward movement in that direction with, um, classical programming. And, you know, you just have to hope that the intent is always genuine in those situations. And I think, um, you know, I think that's the most important thing. And giving a platform to those voices is really important.  00:48:59 Isabel Li  How would you go about arts advocacy during this current time when, well, the arts are being defunded and devalued by our current administration and how everything is going on right now?  00:49:10 Shalini Vijayan  Yeah, it's really, really difficult right now. And, um, you know, I think a lot of arts organizations are losing a lot of government funding. Obviously, I know of a couple projects that lost their NEA funding because of DEI, and which is so disheartening. And, um, I think, you know, there's going to be a lot of leaning on private donors to try and, uh, make up that difference or, you know, private foundations to make up the difference in funding, hopefully. And, um, uh, you know, it's yeah, it's scary. It's  a scary time. And I think, you know, even for private funding and, um, private donors, it's, you know, everyone is feeling stressed and feeling concerned about our future right now, just as a country. and there's so much uncertainty. And, um, but I think people who really rely on the arts for all the things that it can provide, you know, an escape and pleasure and, you know, stimulation of a different kind. And especially in a time like this, when you want to be able to get away from maybe what's going on around you, you know, I'm hoping we can find a way to really come together and, um, kind of, you know, rally around each other and find a way to support each other. But, um, I think it is going to be hard for the next few years if we can't find ways to replace that funding that so many people have lost. And I certainly don't think that anyone wants to back away from the progress that's been made with inclusion and representation, you know, just to get funding. So I know we have to be very creative with our path ahead and find a way to, to keep doing what we're doing in this current environment.  00:51:07 Isabel Li  Yeah, on a brighter note, I read about your work with Lyris Quartet earlier this year when you presented a concert with Melodia Mariposa called Altadena Strong with the Lyris Quartet, raising funds for those who have been affected by the LA fires. Can you talk a bit about the power of music? And we're going to end on a stronger note here about the power of music in bringing communities together and accelerating community healing.  00:51:31 Shalini Vijayan  Well, I have to say that concert was really a special one for us. You know, um, so many musicians were affected by the fires in LA. And, you know, I, I've lived in LA for over twenty years now, almost twenty five years and, um, certainly seen my share of wildfires and disasters, but this one hit so much more close to home than any of the other ones have. And, you know, I know at least twenty five people who lost their homes in between the Palisades and Altadena and Altadena in particular.   When I moved to LA, it was a place where a lot of musicians were moving to because you could it was cheaper and you could get a lot of space, and it's beautiful. And, you know, they really built a beautiful community there among all the musicians out there. And it's just heartbreaking, um, to see how many of them have lost everything. And I have to say, Irina Voloshina, who is the woman who runs Melodia Mariposa, and just an amazing violinist and an amazing, wonderful, warm, generous person. You know, she started that series in her driveway during COVID as a way to just keep music going during the pandemic, and it really turned into something so great. And she's, you know, got a whole organization with her now and puts on multiple concerts a year. And when she asked us if we would play that concert for the community in Altadena is, you know, there's no question that we were going to do it. I mean, we absolutely jumped at the chance to support her and support the organization and that community. And people really came out for that concert and were so excited to be there and were so warm and, um, you know, and and she talked to the crowd and really connected with everybody on a very personal level, because she also lost her home in Altadena and, um, you know, it was it was a really meaningful show for all of us. And again, those are the moments where you realize that you can use this art to really connect with people that you may have never met before and show your your love for them, you know, through music, as corny as that may sound, but it's true.  00:53:54 Isabel Li  Yeah, definitely. Well, thank you so much, Shalini, for sharing your visions, your knowledge with new music and community building with us today. Thank you so much for being on Obbligato.  00:54:07 Shalini Vijayan  Thank you so much for having me, Isabel. It was really a pleasure.  00:54:10 Isabel Li  What a wonderful conversation that was with LA-based violinist Shalini Vijayan. If you go to kpfa.org, you can check out more of her work. I put the links to two of her ensembles, Brightwork New Music and Lyris Quartet up on kpfa.org. And thank you for listening to our conversation here on Obbligato on Apex Express.  00:54:32 Isabel Li  We thank all of you listeners out there. Keep resisting, keep organizing, keep creating, and sharing your visions with the world. Your voices are important.  00:54:42 Isabel Li  APEX Express is produced by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, and Cheryl Truong. Tonight's show was produced by Isabel Li. Thanks to the team at KPFA for their support. Have a great night.  [OUTRO MUSIC]  The post APEX Express – 11.13.25 – Obbligato with Violinist Shalini Vijayan appeared first on KPFA.

The Outer Realm welcomes back Morgan Daimler Date: November 21th, 2025 EP: 640 TOPIC: We will discuss the world of Dreams. She will talk about Dream Reality, Encounters, Visitations, Premonitions, Lucid Deaming and much more! Contact for the show - theouterrealmcontact@gmail.com Michelle Desrochers and The Outer Realm :https://linktr.ee/michelledesrochers_ Please support us by Liking, Subscribing, Sharing and Commenting. Thank you all !!! About Morgan: -Morgan Daimler teaches classes on Irish myth and magical practices, fairies, and related subjects in the United States and internationally. She has been published in multiple anthologies as well as in Witches and Pagans magazine and Pagan Dawn magazine, and she is one of the world's foremost experts on all things Fairy. Besides the titles available through Moon Books Morgan has a high fantasy novel 'Into Shadow' through Cosmic Egg and has self-published books of Old and Middle Irish language translations, and has an urban fantasy/paranormal romance series called Between the Worlds. Morgan has also presented papers on fairies and on fairies and witches at several university conferences. If you enjoy the content on the channel, please support us by subscribing: Thank you All A formal disclosure: The opinions and information presented or expressed by guests on The Outer Realm Radio and Beyond The Outer Realm are not necessarily those of the TOR, BTOR Hosts, Sponsors, or the United Public Radio Network and its producers. Although the content may be interesting, it is deemed "For Entertainment Purposes" . We are always respectful and courteous to all involved. Thank you, we appreciate you all!

Anchors for the Soul Pastor Ben Bufkin November 12, 2025

A protective ghost of an ancestor, the spirit of one overly possessive ghost and a dogman encounter. These are the three encounter stories and more talks in this episode of "In The Dark All Things Supernatural!"

Real Life Encounters With Supernatural BeingsBecome a supporter of this podcast: https://www.spreaker.com/podcast/darkest-mysteries-online-the-strange-and-unusual-podcast-2025--5684156/support.Darkest Mysteries Online

Real Life Encounters With Supernatural BeingsBecome a supporter of this podcast: https://www.spreaker.com/podcast/darkest-mysteries-online-the-strange-and-unusual-podcast-2025--5684156/support.Darkest Mysteries Online

When Nick travels to his family's remote property near Helena, Montana, he expects peace and quiet — not growls in the dark, strange wood knocks, glowing orbs, and a massive shadowy figure watching from the trees.In this unforgettable episode of Bigfoot Society, host Jeremiah Byron dives deep into Nick's month-long series of terrifying events that left him questioning what really lives in the Montana wilderness. From mysterious lights and eerie noises to possible Bigfoot encounters and migration theories, this true story will keep you listening until the very end.If you love true Bigfoot stories, paranormal encounters, cryptid mysteries, and real eyewitness accounts, this is one episode you don't want to miss.

-Episode 116- This week Bryan talks about Secret Santa, retail during the holidays and paint distractions. 

Send us a text Step inside the chilling corridors of Ashmore Estates, one of Illinois' most infamous haunted locations, as our episode unlocks spine-tingling history and modern paranormal investigation. Join owner Robbin Terry and caretaker Ashley Burgoon for an exclusive deep dive into eerie encounters, historic poor-farm tragedies, and ghost stories that still echo through the halls. From its 1916 origins as the Coles County Poor Farm to a commercial haunted attraction, Ashmore's dark past fuels its supernatural reputation. We uncover alleged apparitions, unexplained voices, and the restless spirits who may still roam the building. This episode captures the essence of Ashmore's haunting legacy through chilling stories and firsthand experiences.Watch the video version here: https://youtube.com/live/b4j9zYoa8oYDon't forget, you can watch us live on Tuesday nights at 8PM CST - U.S. on YouTube and Facebook! Support the Show: Patreon (Bonus Content)Follow us on Social Media: YouTube ChannelFacebook Fan PageInstagram Fan Page X (formerly Twitter)TikTok Fan Page"After Dark with EVP" (Use code "AFTERDARK25" for 25% off an annual subscription)https://bit.ly/46GOmAzSubmit Your Story, Comments, or Questions: theevppod@gmail.com

God's Word is exciting! Even in the book of Leviticus, God speaks, and He speaks CLEARLY. I love reading God's Word and I pray you will come to love it as you grow closer to Him.Enjoy Leviticus 9 as I read it for you and share my thoughts.************************Other Resources:You Don't Have To Be Perfect by Vanessa LuuTruth and Tools Workbook by Vanessa LuuThe Relevant Old Testament by Vanessa LuuThe Wilderness Remains by Vanessa LuuReturn to Me by Vanessa Luu

CREEPY Late Night Live Marathon True Listener Paranormal EncountersBecome a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

4 Hours of TRUE Paranromal Encounters from Listener SubmissionsBecome a supporter of this podcast: https://www.spreaker.com/podcast/missing-persons-mysteries--5624803/support.

Jem Marie delves into the spiritual realm, discussing experiences of seeing into the spirit world, encounters with demons, angels, and the challenges faced by those with prophetic gifts. Jem shares her journey, from childhood encounters with the spirit world to understanding her prophetic calling. This episode explores the intersection of faith, spirituality, and the unseen forces that influence our lives. https://www.justiceprophetic.com/

Jem Marie delves into the spiritual realm, discussing experiences of seeing into the spirit world, encounters with demons, angels, and the challenges faced by those with prophetic gifts. Jem shares her journey, from childhood encounters with the spirit world to understanding her prophetic calling. This episode explores the intersection of faith, spirituality, and the unseen forces that influence our lives. https://www.justiceprophetic.com/

Ethereal Encounters Welcomes Jodi Jones November 12th , 2025 LIVE Wednesday 4:10 PM EST TOPIC: The Physics of Consciousness: How Tesla's 3, 6, 9 Applies to the Universe Jodi Jones is a world-class Medical Medium, Empath, and multidimensional channel — here to lead the sensitives, the seers, and the energetically cracked open back to their original blueprint. Meet the Frequency Behind the Method. But this Method wasn't born in light. It was forged in fire. Jodi walked through her own full-body unraveling — navigating over 46 chronic symptoms, adrenal collapse, nervous system shutdown, and spiritual disconnection. The kind of initiation you don't come back from the same. The 369 Blueprint Method™ was channeled through that collapse — built in real time with Spirit, and co-created alongside a vast multidimensional team of doctors, healers, shamans, galactic beings, and non-physical guides. With over 18 years of experience and thousands of client transformations, Jodi's work blends psychic precision, energetic medicine, and Tesla's 3-6-9 frequency technology — helping sensitives remember who they were before the world got loud. Her podcast, Collective Soulversations, is a portal for the raw, the real, and the Spirit-led — where spiritual awakening meets cellular truth. This isn't mindset work. This isn't manifestation. This is energetic architecture — encoded for those who are ready to return home to the frequency they were born to hold. Website: https://jodi-jones.com/

Cale looks at Genesis 42. Joseph’s brothers go to Egypt to buy grain, but little do they know that the brother they sold into slavery long ago is now second in command over all Egypt.

Before there were military consultants on movie sets, there were officers like Jon McBride — servicemen who understood how stories shape public perception. On this Veterans Day episode of Below the Line, we look at how the Navy's storytellers helped connect the worlds of service and cinema. This week, Skid is joined by Jon McBride, a former U.S. Navy officer whose service from 1964 to 1968 led him from the deck of the USS Kitty Hawk to the Navy's Public Affairs Office in Hollywood — bridging two worlds that rarely meet but often influence one another. We explore: Jon's path from Yale graduate to Naval officer during the Vietnam War era, and how chance and persistence steered him toward public affairs Life aboard the aircraft carrier USS Kitty Hawk, where he volunteered for the ship's public information role — discovering a talent for storytelling under pressure How a Pentagon connection set Jon on the path to Hollywood, joining the Navy's West Coast Public Affairs Office on Sunset Boulevard The Navy's relationship with the film industry — reviewing scripts, assigning project officers, and shaping depictions of sailors on screen Behind-the-scenes memories from Operation: Entertainment, Yours, Mine and Ours, and an unexpected day serving as Dionne Warwick's “agent” Encounters with Ray Charles, the Blue Angels, and the surreal overlap between show business and service How McBride's later work with the grassroots Beyond War movement reframed his understanding of conflict and communication Episodes like this one reflect a recurring theme for Below the Line — the shared discipline, teamwork, and creative purpose that link filmmaking and military service. Jon's story captures that connection with humor, humility, and a deep sense of how storytelling itself can serve a mission.

A Vietnam veteran shares one of the rarest firsthand encounters ever recorded — a true story that connects two worlds: Bigfoot in Georgia and the legendary Rock Apes of Vietnam.In this exclusive interview with Bigfoot Society host Jeremiah Byron, Joe recounts his eerie encounter deep in a Georgia swamp and the chilling moments in the jungles of Vietnam when soldiers came face to face with something they called rock apes.Hear what it was like to see the impossible — from silent footsteps in the swamp to apes throwing rocks on Monkey Mountain. This conversation bridges folklore, warfare, and mystery in a way few stories ever have.

In today's episode WJ and KJ deliver another entertaining and creepy episode. KJ covers the eerie legend of James Dean's Porsche known as the Little Bastard. Bill covers a tale of a terrifying night hike in the Olympic National Forest. And some great listener mail. Please join us!Thank you for listening!www.bigfootterrorinthewoods.comProduced by: "Bigfoot Terror in the Woods L.L.C."

328. | Spiritual Warfare Is Real: Interviews, Encounters & Ministry Update (Principalities Film) In this episode of Fearless with Mark & Amber, we're sharing powerful updates from our first wave of interviews for our upcoming documentary Principalities: Doctrine of Demons. From conversations with warriors on the frontlines, to divine appointments we never saw coming, this trip reminded us that the spiritual battle is real — but so is the victory in Christ. We also share two major 2026 conference announcements, and an opportunity for churches near South Bend, IN to host a 6-year memorial screening of Inwood Drive on February 12th — honoring the 2,411 babies laid to rest. If you want to help us collect the remaining interviews and finish Principalities, please visit: https://www.FearlessFeatures.org/give

Welcome to Issue 296 of Critical Encounters, a podcast about Marvel Champions, a Living Card Game by Fantasy Flight Games. Here we take a good look at that most critical piece of the game, the Encounter Sets. We'll discuss those poorly understood characters, unfairly labeled Villains, and their various plans to shape humanity and benefit the planet, as well as those so-called heroes intent on thwarting them. In this Supervillain Roundtable issue we talk to a bunch of friends who went to MC/DC Con all about their experiences. You can find us on Discord as: Vardaen, bigfomlof, Darcy Email us at: criticalencounterspod@gmail.com Follow us on Facebook at: https://www.facebook.com/criticalencounterspod/ Subscribe to our YouTube Channel: https://www.youtube.com/channel/UCg-r6-EooHoJGa1RRsH7i3w Find our Patreon: https://www.patreon.com/criticalencounterspodcast Find our Twitch: https://www.twitch.tv/vardaen You can also find our Discord Channel on the Marvel Champions Monthly Discord Server. "Hail Hydra!" - Everyone

In this chilling episode, Fred Alaska shares a series of unsettling experiences passed down from his First Nations friend, David, whose family cabin near Bristol Bay, Alaska became the site of strange and unexplainable events throughout the 1990s. Late-night disturbances in the snow, mysterious animal tracks that began and ended abruptly, and the haunting sensation of being watched deep in the Alaskan wilderness—all point toward something far beyond the ordinary.But David's encounters are only part of the mystery. Fred also explores the enduring legends of Alaska's “Little People”—elusive, otherworldly beings said to dwell in remote regions like the Johnson River and the Aleutian Mountains. Blending Native oral history, local folklore, and firsthand accounts, these stories reveal a hidden side of Alaska where myth and reality blur, and where ancient spirits may still roam among the mountains and tundra.Get Our FREE NewsletterGet Brian's Books Leave Us A VoicemailVisit Our WebsiteSupport Our SponsorsBecome a supporter of this podcast: https://www.spreaker.com/podcast/sasquatch-odyssey--4839697/support.

In this episode of Point of Convergence we're back for another engagement with Ardy Sixkiller Clarke's catalog of the contact experiences of indigenous peoples. These accounts are informative not just in how they mirror "mainstream" accounts, but also in how they differ.

Comedian and friend Oscar Montoya (Dropout TV, Drag Her) is back for another kiki. They talk about the best slutty Halloween costumes, the casual racism in early-2000s fashion, recounts stories of wild audience members, dating someone as a "bit", and Nicole shares the time she officiated a wedding proposal while soaked in toilet water. It's a nice fun time.See the Bad Drag Race finale in LA Nov 15th, co-hosted by Nicole, Oscar, and Mano. Get tickets here.Watch this episode on our YouTube channel at https://www.youtube.com/@WhyWontYouDateMePodcastSupport this podcast and get discounts by checking out our sponsor:Uncommon Goods: To get 15% off your unique gifts this year, go to https://uncommongoods.com/dateme.Follow:All Links: linktr.ee/whywontyoudatemeTour Dates: linktr.ee/nicolebyerwastakenYouTube: @WhyWontYouDateMePodcastTikTok: @whywontyoudatemepod Instagram: @nicolebyerX: @nicolebyerNicole's book, #VERYFAT #VERYBRAVE: indiebound.org/book/9781524850746This is a Headgum podcast. Follow Headgum on Twitter, Instagram, and Tiktok. Advertise on Why Won't You Date Me? via Gumball.fm.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This week, we're diving into extra-spooky and unexplainable tales from Mexico, each woven with wonder and wickedness.Witches take flight as glowing balls of fire, shadowy creatures stalk the night, and the veil grows perilously thin. Get cozy and join us as we explore eerie energy, generational curses, and wild witchy legends that'll have you side-eyeing every flickering light and midnight breeze. Stories include: A mother's terrifying encounter with the witches of Juventino Rosas, who may have tried to steal her baby. A generational haunting that begins with a scorned witch known as “The Vulture” and ends in possession, heartbreak, and black magic. A listener with remote-viewing abilities who stumbles into a real-life Bloody Mary ritual. A family on a rural farm faces a witch on the roof — saved only by a pair of scissors and some quick thinking. From baby-snatching witches to possessions and tar-black vomit, these stories have us wondering if Mexico might just be one of the most paranormally charged places on Earth. Watch the video version here. Have ghost stories of your own? E-mail them to us at twogirlsoneghostpodcast@gmail.com New Episodes are released every Thursday and Sunday at 12am PST/3am EST (the witching hour, of course). Corinne and Sabrina hand select a couple of paranormal encounters from our inbox to read in each episode, from demons, to cryptids, to aliens, to creepy kids... the list goes on and on. If you have a story of your own that you'd like us to share on an upcoming episode, we invite you to email them to us!  If you enjoy our show, please consider joining our Patreon, rating and reviewing on iTunes & Spotify and following us on social media! Youtube, Instagram, TikTok, Facebook, and Discord. Edited by Jaimi Ryan and produced by Emma Leventer and Jaimi Ryan, original music by Arms Akimbo! Disclaimer: the use of white sage and smudging is a closed practice. If you're looking to cleanse your space, here are some great alternatives! Learn more about your ad choices. Visit podcastchoices.com/adchoices