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On Mother's Day, 2020, a mother of two, Suzanne Morphew, received texts from her daughters and husband wishing her a happy holiday. Suzanne, who lived in Salida, Colorado, never responded. Soon, her husband Barry had put out a reward for her safe return and all of her loved ones were searching for her, but to no avail. What would come from her disappearance was a story of betrayal and lies. Kelsey Berreth lived in Woodland Park, Colorado with her one-year-old daughter, Kaylee. Kaylee's Dad and Kelsey's boyfriend, Patrick Frazee lived in nearby Fluorescent, Colorado. Kelsey was a flight instructor and was looking in to finally moving in with Patrick. But on Thanksgiving Day, 2018, Kelsey suddenly vanished. Show Notes:https://www.imdb.com/title/tt17507508/https://www.imdb.com/title/tt11673730/
In this episode, Criterion breaks down the latest property updates, dives into the impact of tariffs and inflation on commercial real estate, and explains how owning assets positions investors to win in any market cycle. Time Stamps: 0:00 Welcome back to the show! 1:11 Recent property tour highlights 4:03 Landon Square & Richmond deal updates 4:42 Fluorescent outparcel success story 7:13 Introducing today's topic: tariffs & inflation 8:15 How tariffs impact prices & inflation 10:00 Why inflation benefits asset owners 13:33 Rent growth & value-add strategies 17:00 Refinancing strategies in a recession 20:02 Final thoughts: Winning in any market *Be Sure to check us out on Spotify and Apple Podcasts for the Audio version of today's episode!** https://open.spotify.com/show/08KmNvqGV5HjmHUC8fLuce https://podcasts.apple.com/us/podcast/how-to-invest-in-commercial-real-estate/id1543470290 Leave a review and win FREE MERCH! https://maps.app.goo.gl/QaaSZnQVWre1HUMH6 Links mentioned in this episode: www.TheCriterionFund.com www.HowToInvestInCRE.TV Invest.HowToInvestInCRE.com To sign up for our exclusive investor list, click below. https://www.thecriterionfund.com/join-our-investor-list
Fluorescent tape markers on the floor pointing to the exit, and extended make-up sessions just to hold zoom meetings with his staff… just how far gone WAS Joe Biden, anyway? Join our crack team of elite anti-elitists by becoming a member or making a one-time donation right here: https://billwhittle.com/register/
In episode 766 of The Pennsylvania Rock Show, we sit down with the dynamic and innovative rock band Normal Creatures to discuss their highly anticipated new album release! Hailing from Pittsburgh, Pennsylvania, Normal Creatures is a band that thrives on delivering strange sounds for a strange planet, blending powerful vocals, captivating basslines, and electrifying guitar riffs to create a truly... The post 766 the Pennsylvania Rock Show – Fluorescent Black – Normal Creatures first appeared on Build the Scene.
Even though it was completed a quarter century ago, geneticists still struggle to estimate the number of genes in the human genome. They went from ‘hundreds of thousands' to “22 thousand”, then more recently to “about 19,500”. The number, however, has just exploded. Tens of thousands of new genes with important functions were discovered hiding in the ‘junk DNA'. Dr Rob explains what these new findings mean to the creation-evolution debate. Links and notes: Carter 2025 The dark proteome https://creation.com/dark-proteome Carter 2024 The incredible shrinking human genome, https://biblicalgenetics.com/shrinking-genome/ Amaral et al. 2024 The status of the human gene catalogue, Nature 622(7981):41–47; https://pubmed.ncbi.nlm.nih.gov/37794265/ Prensner et al. 2024 What can Ribo-seq and proteomics tell us about the non-canonical proteome? https://www.biorxiv.org/content/10.1101/2023.05.16.541049v1 Pennisi 2024 ‘Dark proteome' survey reveals thousands of new human genes, Science 386(6725):951–952; https://pubmed.ncbi.nlm.nih.gov/39607933/ Podcast: https://biblicalgenetics.com/contra-creation-myths Carter et al. 2004 Cloning of anthozoan fluorescent protein genes, Comparative Biochemistry and Physiology, Part C 138:259–270; https://pubmed.ncbi.nlm.nih.gov/15533784 Matz et al. 1999 Fluorescent proteins from nonbioluminescent Anthozoa species, Nature Biotechnology 17(10):969–973; https://pubmed.ncbi.nlm.nih.gov/10504696/
Support this podcast at — https://redcircle.com/hypnosis-and-relaxation-sound-therapy9715/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
At nearly every turn, we see modern technology replacing quality and health with convenience and control. Modern lighting is an example of this. We have known for a long time about the health issues associated with certain types of artificial lights. Fluorescent lights are known to be harmful and toxic. However, their continued use is (more...)
On this episode I sit down with Mud Whale an emo/grunge band from Cleveland, OH. We talk about their new album "Humans Pretending to be Human", from the different sounds shining through to the vinyl variants. Before we get to stories we talk about their music videos. Be sure to follow Mud Whale and check out "Humans Pretending to be Human"!!! This episode features the songs "Sacrifice" and "Fluorescent" from the album Humans Pretending to be Human. You can find Mud Whale at the following links: Instagram: https://www.instagram.com/mudwhale Twitter: https://x.com/mudwhale Youtube: https://www.youtube.com/@mudwhale/ Bluesky: https://bsky.app/profile/mudwhale.bsky.social Bandcamp: https://mudwhale.bandcamp.com/ Everywhere else: https://linktr.ee/MudWhale _______________________________________ You can find Beers With Bands here: Facebook: https://www.facebook.com/BeersWithBands2 Twitter: https://twitter.com/BeersWBandsPod Instagram: https://www.instagram.com/beerswithbandspod/ Bandcamp: https://beerswithbands.bandcamp.com Everywhere else: https://linktr.ee/BeersWithBands Logo and Banner design by Kaylyn Chileen Instagram: https://www.instagram.com/madam.fortress.mommy/ Website: https://kaylynchileen.art Beers With Bands intro by Thomas Allen of Say Days Ago and Last Autumn Say Days Ago: https://www.instagram.com/saydaysagoband/ Last Autumn: https://www.instagram.com/lastautumnband/
Motive for Green Beret supposed suicide in cybertruck Las Vegas Trump explosion: https://redstate.com/bonchie/2025/01/02/new-possible-motive-in-cybertruck-explosion-revealed-n2183886 Coming soon to Oregon? Seattle lefty restaurant closes cause they can't survive even one day with over $20 per hour minimum wage: https://www.thegatewaypundit.com/2025/01/popular-restaurant-unable-survive-even-one-day-new/ New Laws in OR for the new year: some good and some bad: https://www.opb.org/article/2025/01/01/new-laws-oregon-2025/ Fluorescent lights banned in OR: https://www.kezi.com/news/oregon-begins-fluorescent-light-bans-to-promote-sustainability/article_74268e04-c972-11ef-aa76-e7bddfd12d9c.html Bill Gates funding research into making mosquitoes as flying syringes to infect all humans with mRna: https://www.breitbart.com/clips/2025/01/02/alex-marlow-bill-gates-funded-researchers-turned-mosquitoes-into-flying-syringes-to-deliver-vaccines/ College sports is being destroyed by transfer portal and NIL money to athletes: https://www.burntorangenation.com/2024/12/31/24333059/quinn-ewers-tampering-offer-transfer-portal-texas-longhorns
Join Premium! Ready for an ad-free meditation experience? Join Premium now and get every episode from ALL of our podcasts completely ad-free now! Just a few clicks makes it easy for you to listen on your favorite podcast player. Become a PREMIUM member today by going to --> https://WomensMeditationNetwork.com/premium Join our Premium Sleep for Women Channel on Apple Podcasts and get ALL 5 of our Sleep podcasts completely ad-free! Join Premium now on Apple here --> https://bit.ly/sleepforwomen Hey, I'm so glad you're taking the time to be with us today. My team and I are dedicated to making sure you have all the meditations you need throughout all the seasons of your life. If there's a meditation you desire, but can't find, email us at Katie Krimitsos to make a request. We'd love to create what you want! Namaste, Beautiful,
Speaking of SurgOnc has a new home! New episodes can now be found under the Society of Surgical Oncology's podcast, SurgOnc Today, available on all major podcast platforms. Subscribe today to receive updates on new episode releases. In this new episode of Speaking of SurgOnc, Dr. Rick Greene discusses with Dr. Michael Bouvet and Dr. Kristin Cox the applicability of M5A-IR800 to target human gastric cancer, as reported in their article, "Targeting Patient-Derived Orthotopic Gastric Cancers with a Fluorescent Humanized Anti-CEA Antibody."
Speaking of SurgOnc has a new home! New episodes can now be found under the Society of Surgical Oncology's podcast, SurgOnc Today, available on all major podcast platforms. Subscribe today to receive updates on new episode releases. In this new episode of Speaking of SurgOnc, Dr. Rick Greene discusses with Dr. Michael Bouvet and Dr. Kristin Cox the applicability of M5A-IR800 to target human gastric cancer, as reported in their article, "Targeting Patient-Derived Orthotopic Gastric Cancers with a Fluorescent Humanized Anti-CEA Antibody."
Emily and Phoebe from Monster Donut join us to discuss what might be the best two chapters of Battle of The Labyrinth. Other discussions include: Julie's work nemesis, Emily's rock collection, Nepo babies, Planning our next summer road trip, Mal's beef with the Percy Jackson graphic novels, Annabeth/Rachel fanfiction, and Kronos soup.Follow us on instagram at @demigoddebutpod, TikTok at @demigoddebutpod, Threads at @demigoddebutpod, and Twitter (X) at @demigoddebutpodSend us an email: demigoddebut@gmail.comFind Monster Donut on Instagram at @pjopod, TikTok at @pjopod, and Twitter (X) at @pjopod Hosted on Acast. See acast.com/privacy for more information.
Fluorescent Green Wasp Nests
Video version: https://youtu.be/weaFSVsvyBY Anna Motýľová talks with Dr Keira Tucker, manager of ASCUS Art & Science, the first open access lab space in Scotland. They host science workshops for the general public and art exhibitions inspired by science. You will learn about Keira's personal journey as an artist/scientist, as well as 3 weird and wonderful creative projects she has facilitated between artists and scientists from the University of Edinburgh.By the end of this episode, you will have thought about things you never have before. What happens to cancerous organs once they leave the body? Should noise in scientific data always be discarded? When medical practicioners don't hear the voices of suffering patients, can an artistic approach help?Interview recorded, edited and produced for BioPOD by Anna Motýľová.Camera by Ainslie Rönsdorf.Intro and outro recorded by Felix Selasi Dewornu.Episode cover art by Amandine Hong-Minh.Check out the featured artists:ASCUS Art & Science [www.ascus.org.uk]G-lands by Emily Fong [https://emilyfongstudio.squarespace.com/]Fluorescent images & video of salivary glands by Dr Elaine Emmerson and Dr Sara Knox, Centre for Regenerative Medicine [https://regenerative-medicine.ed.ac.uk/research/elaine-emmerson]Oculations by Victoria Evans [www.victoriaevans.space]Blackford Eye video by Dr Richard Essery [https://www.research.ed.ac.uk/en/persons/richard-essery/]Hemispherical Mosquito by Dr Cecile Menard [https://www.research.ed.ac.uk/en/persons/cecile-menard]Chapters:01:26 What is ASCUS Art & Science?03:46 Keira's background05:14 ASCUS as a lab space06:39 Keira's artistic journey08:55 Keira's work in ASCUS09:56 Project 1: The Egyptian god in salivary glands11:27 Why salivary glands?14:22 Why bring artists into scientific teams?18:24 The artwork: From drawings to cabbages29:29 The workshops: Scientist-artist-sufferer discussion33:46 Project 2: Noise in snow science39:04 Scientific vs. artistic research40:30 Changing mindsets41:59 Project 3: Surface echoes47:05 The eczema experience(s)49:04 Communicating science through performance53:07 Training GPs through art54:15 Future projects56:11 Final lessons
What plants would you recommend to entertain five to six year-olds? How do I successfully grow Japanese banana plants? Are rose fertilisers and tomato fertilisers the same thing? Kathy Clugston and her team of horticultural champions visit Birmingham Botanical Gardens to solve the gardening gripes of the audience. On the panel this week are proud plantsman Matthew Biggs, ethnobotanist James Wong and garden designer Juliet Sargeant.Later, Matt Biggs educates us on the life and legacy of renowned plant collector Ernest Wilson whose expeditions across Asia led to the introduction of over 2,000 plant species. Senior Producer: Daniel Cocker Assistant Producer: Rahnee Prescod Assistant Producer: Suhaar Ali Executive Producer: Carly MaileA Somethin' Else production for BBC Radio 4
Show Notes: https://wetflyswing.com/662 Presented By: Stonefly Nets, TroutRoutes, Smitty's Fly Box In today's Littoral Zone episode, Phil chats with Jason Randall about what trout see and why it matters. Jason has written four books, including his famous trout trilogy, which dives deep into how trout behave in their environment. While Jason's passion lies in rivers and streams, the research and knowledge he's amassed is equally beneficial to stillwater fly fishers. ]His understanding of how trout see is crucial information for all fly fishers, guiding both our pattern selection and presentation techniques, information that helps us consistently make the correct pattern and presentation choice. Show Notes with Jason Randall on What Trout See and Why it Matters. 2:20 - Jason Randall graduated as a veterinarian and did postgraduate work in fish health and medicine. Although he considered a career in fisheries, he ultimately chose private practice. 4:16 - Jason started fly fishing around 40 years ago but got frustrated early on due to a lack of guidance. He took a break, then later tried again this time with the help of great mentors. Jason says his passion really started during a trip to Colorado. A guide introduced him to a caddis hatch that transformed the river into a feeding frenzy of trout. Watching the stream come alive with caddis and rising fish was a game-changer for Jason. 08:21 - Jason says he was lucky to have some amazing mentors like George Kustin who guided him in fly fishing and taught him about wet flies and soft tackles. Lefty Kreh took Jason under his wing. 09:31 - Jason also works with Temple Fork Outfitters on rod design and prototype testing. This year, they introduced a new European Nymphing Rod called the Elevare, which won Best New Rod at ICAST 2024. Books by Jason Randall 13:00 - Jason's trout fishing trilogy started in 2012 with Jay Nichols from Stackpole Books. The trilogy covers: Feeding Time: A Fly Fisher's Guide to What, When and Where Trout Eat Trout Sense: A Fly Fisher's Guide to What Trout See, Hear, and Smell Moving Water: A Fly Fisher's Guide to Currents Jason also wrote Nymph Masters, a collaborative effort featuring tips from top nymph anglers like Gary Borger and Lefty Kreh. Trout Sense 17:00 - Trout begins life as prey, eating small organisms like plankton. As they grow, they become predators, feeding on insects, crustaceans, and even small fish or mammals. They retain the wide-set eyes of prey for spotting threats and the sharp focus of predators for hunting. This makes them tricky to catch. 21:10 - Jason explains how light works differently underwater, which affects how trout see. Refraction, or the bending of light when it moves from air to water, can also trick us into thinking we're casting right over a fish, but we could be a few feet off. 26:08 - Jason dives into how color fades underwater, starting with red, and how different colors are absorbed at various depths. Fluorescent colors like chartreuse stand out the most and create a strong contrast, which trout notice. 29:18 - Unlike humans, a trout's pupils don't adjust to light, and their eyes have a football-like shape that lets them see clearly both in front and to the side. Search Image and How Trout Decide to Eat 42:11 - Trout uses a "search image" to figure out what's food and what's not. They focus on four things: size, shape (profile), movement, and color. If a fish keeps ignoring your fly from far away, it's probably the size or shape that's off. But if they come close, and then turn away, Jason says that it may be a color-based refusal. Show Notes: https://wetflyswing.com/662
All about the Avari.
In this episode of the NeuroNoodle Podcast,
First, Jeremy shares stories of strange happenings around French Lick, Indiana – bigfoot, ghosts, and other weirdness. Following Jeremy, we travel back in time to hear stories of Fluorescent Freddie, a green-haired, bigfoot-like entity seen in French Lick from 1965, and another green monster from Indiana just 10 years later. If you would like to help us continue to make Strange Familiars, get bonus content, t-shirts, stickers, and more rewards, you can become a patron: http://www.patreon.com/StrangeFamiliars If you would prefer a one-time payment to help us out, here is a PayPal.me link - you can change the number 25 in the URL to any amount: https://www.paypal.me/timothyrenner/25Strange Familiars merch: https://www.strangefamiliars.com/merchOur Strange Familiars / Lost Grave etsy shop has art, books, patches, t-shirts, and more ... including original art done for Strange Familiars: https://lostgrave.etsy.comFollow us on Whatnot: https://whatnot.com/invite/strangefamiliarsEpisode 481 notes and links:Strange Familiars is sponsored by BetterHelp. Check out BetterHelp: betterhelp.com/STRANGEPODHere is the photo Jeremy shared:Episode artwork by Timothy. Here is the original:This illustration can be purchased in our etsy shop: https://lostgrave.etsy.com/listing/1782213287Strange Familiars Curiosity of the Week #126: “Operation Trojan Horse” by John KeelThis book can be purchased in our etsy shop: https://lostgrave.etsy.com/listing/1768019728Please support Kiya.Life and their work at Pine Ridge.KIYA.LIFE: https://kiya.lifeLancaster Conservancy: https://www.lancasterconservancy.orgProtect Cuff's Run: https://www.lancasterconservancy.org/protect-cuffs-run/Riverbend Comics: https://www.riverbendcomics.comRiverbend Comics Instagram: @riverbendcomicsTimothy's books: https://www.amazon.com/Timothy-Renner/e/B072X44SD5Chad's YouTube channel: https://www.youtube.com/channel/UCNB7MSJ2F1SRBPcQsEFLnvg (make sure to subscribe to Chad's channel, Ruck Rabbit Outdoors.)Chad's etsy shop: https://www.etsy.com/shop/RuckRabbitOutdoorsTo help with the Capuchin Day Center's work with the homeless you can donate here: https://www.capuchindaycentre.ieand here: https://www.cskdetroit.orgMaynard's GoFundMe: https://www.gofundme.com/f/maynard-walk-againContact us via email at: strangefamiliarspodcast@gmail.comhttp://www.facebook.com/strangefamiliarsJoin the Strange Familiars Gathering group on facebook: https://www.facebook.com/groups/strangefamiliars/instagram: @strangefamiliarshttp://www.strangefamiliars.comIntro and background music by Stone Breath. You can find more at http://stonebreath.bandcamp.comThe closing song is Mad Song by Stone Breath from The Snow-White Ghost-White Stag: https://stonebreath.bandcamp.com/album/the-snow-white-ghost-white-stagOur Sponsors:* Check out BetterHelp: betterhelp.com/STRANGEPODSupport this podcast at — https://redcircle.com/strange-familiars/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
In this episode, we review the high-yield topic of Fluorescent Antibody Tests from the Immunology section. Follow Medbullets on social media: Facebook: www.facebook.com/medbullets Instagram: www.instagram.com/medbulletsofficial Twitter: www.twitter.com/medbullets
Sofía's Tunes 4 Thursday: The Brothers And Sisters - Lay Lady Lay Marcía Griffiths - Feel Like Jumping Yung Lean, FKA Twigs - Bliss The Whatnauts - Message from a Black Man The Poets Of Rhythm - Path of Life Manu Dibango - The Panther Joe Bataan - What Good Is A Castle Lava La Rue - Push N Shuv, Aerial Head, Friendship's Death, FLUORESCENT, Shell Of You Liz Cooper - Motorcycle Blood Orange - Jesus Freak Lighter Deradoorian - Weed Jam Niecy Blues - Bones Become the Trees Greentea Peng - Bun Tough The Cleaners From Venus - The Artichoke That Loved Me
Gina Livy's Facebook Lives from The Livy Method Winter 2024 Support Group hosted on Facebook. This is a recording of the Day 59, 9 AM live. You can find the full video hosted at:https://www.facebook.com/groups/livymethodwinter2024Topics covered:Are you trying to lose weight but getting off track by setbacks?Invest in your WHY! Motivation alone is not going to get this done for you!Using our setbacks to get back on track.The Livy Method App is a great tool and resource to use!A-type personalities and their drive to get it done can lead to missing out on some of the struggles of going deeper.When you are doing the best you can, there is nothing wrong with being "slightly off track."Why noticing the language you use to describe your journey can make a big difference in how you feel.There's a difference between weight loss and fat loss.If you're going to have the pasta, have the pasta! Make it worth it!After taking time away from the Program, maintaining your weight is a HUGE win!Make choices that make you feel good!Prioritizing ourselves and connecting the dots between our choices yesterday and how we feel today.Is it really self-sabotage?Setbacks are the setups to your success.Check out @livylosers on Instagram. It's a great place for community sharing!Immerse yourself and be obsessed with prioritizing yourself!You are not alone! It takes a community and we are all about real people supporting each other!In case you missed it: check out the discussion on hormones with Dr. Olinca found in our Expert Guide or the Weigh In with Gina podcast.Our guest experts are generously sharing what they know to help us on our journey.Are you picking up what I'm throwing down?Why it's important to give yourself the resources you can while you are healing.Fluorescent pee? It's probably the B vitamins you're taking.Indulge in the goodness you provide yourself.Drinking water during the night isn't necessary for hitting a fluid goal but may be helpful if you have a dry mouth.Check in with yourself about those evening, after-dinner cravings!A-Types will benefit from digging deeper into the times they are feeling off track.Check out the Poo Protocol if you are constipated or are experiencing bowel issues.Your body doesn't want junk food. There's always a meaning in the message.There is a difference between feeling confident, competence and feeling worthy.To learn more about the Livy Method, visit www.ginalivy.com. Hosted on Acast. See acast.com/privacy for more information.
Designing a successful PCR assay is all about selecting the right primers to deliver the sensitivity and selectivity for which PCR is known for. But anyone that's designed an assay themselves will know that doing so successfully is a lot harder it sounds. We're joined by two PCR assay design pros for this episode. Kimi Soohoo Ong, and Dr. Rounak Feigelman, both from Thermo Fisher Scientific, shine a light on the many factors that must be considered to design a winning PCR assay. From the level of fragmentation of nucleic acids in the sample, to what other species' genomes that may be present in the sample, to what the sample matrix may contain, to the PCR master mix being used, if multiplexing is required, to what assay controls will be, and more! These two practiced bioinformaticians cover these challenges and then tell us how their team overcomes challenges to develop winning assays for both qPCR and dPCR applications. Our conversation uncovers the level of skill and artistry that goes into this craft. As always, you get to learn a bit more about our guests' backgrounds and career paths in the Cassie's Career Corner portion of the interview. They share how they both chose a bioinformatics path over wet lab work, while also acknowledging how important the wet lab work is to what they do. They also share some great advice and resources for anyone looking to explore a career in bioinformatics. Visit the Absolute Gene-ius page to learn more about the guests, the hosts, and the Applied Biosystems QuantStudio Absolute Q Digital PCR System.
Gina Livy's Facebook Lives from The Livy Method Winter 2024 Support Group hosted on Facebook. This is a recording of the Day 59, 9 AM live. You can find the full video hosted at:https://www.facebook.com/groups/livymethodwinter2024Topics covered:Are you trying to lose weight but getting off track by setbacks?Invest in your WHY! Motivation alone is not going to get this done for you!Using our setbacks to get back on track.The Livy Method App is a great tool and resource to use! A-type personalities and their drive to get it done can lead to missing out on some of the struggles of going deeper.When you are doing the best you can, there is nothing wrong with being "slightly off track."Why noticing the language you use to describe your journey can make a big difference in how you feel.There's a difference between weight loss and fat loss.If you're going to have the pasta, have the pasta! Make it worth it!After taking time away from the Program, maintaining your weight is a HUGE win!Make choices that make you feel good!Prioritizing ourselves and connecting the dots between our choices yesterday and how we feel today.Is it really self-sabotage?Setbacks are the setups to your success.Check out @livylosers on Instagram. It's a great place for community sharing!Immerse yourself and be obsessed with prioritizing yourself!You are not alone! It takes a community and we are all about real people supporting each other!In case you missed it: check out the discussion on hormones with Dr. Olinca found in our Expert Guide or the Weigh In with Gina podcast.Our guest experts are generously sharing what they know to help us on our journey.Are you picking up what I'm throwing down?Why it's important to give yourself the resources you can while you are healing.Fluorescent pee? It's probably the B vitamins you're taking.Indulge in the goodness you provide yourself.Drinking water during the night isn't necessary for hitting a fluid goal but may be helpful if you have a dry mouth.Check in with yourself about those evening, after-dinner cravings!A-Types will benefit from digging deeper into the times they are feeling off track.Check out the Poo Protocol if you are constipated or are experiencing bowel issues.Your body doesn't want junk food. There's always a meaning in the message.There is a difference between feeling confident, competence and feeling worthy.To learn more about the Livy Method, visit www.ginalivy.com. Hosted on Acast. See acast.com/privacy for more information.
How VFD (Vacuum Fluorescent) Displays Work. Extracted from a hacking video #717: https://www.youtube.com/watch?v=clUVEyi_YNM Forum: https://www.eevblog.com/forum/blog/eevblog-1601-how-vfd-(vacuum-fluorescent)-displays-work/
Board-certified veterinary dermatologist, Dr. Ashley Bouregois, joins Dr. Andy Roark to explore cutting-edge developments in veterinary dermatology. The focus is on Fluorescent Light Energy (FLE), also known as photobiomodulation (PBM), and its revolutionary applications in addressing diverse dermatological cases. Dr. Bouregois demystifies the workings of this light energy, and provides insights into seamlessly integrating this innovative technology into veterinary practices. LINKS: Referenced Article: https://todaysveterinarynurse.com/dermatology/fluorescent-light-energy-therapy/ Phovia: https://www.phoviausa.com/ The DermVet: https://thedermvet.com/ Uncharted Veterinary Podcast: https://unchartedvet.com/uncharted-veterinary-podcast/ Uncharted Veterinary Conference: https://unchartedvet.com/uvc-april-2024/ Dr. Andy Roark Charming the Angry Client Team Training Course: https://drandyroark.com/product/charming-the-angry-client/ ABOUT OUR GUEST Dr. Ashley Bourgeois is a board-certified veterinary dermatologist passionate about providing practical knowledge to general practitioners to help itchy pets! She completed her bachelor's degree at Iowa State University and graduated from the University of Missouri's College of Veterinary Medicine in 2010. She then completed a one-year small animal internship at Purdue University. Upon finishing her internship, she accepted a residency position with the Animal Dermatology Clinic's Tustin, California location in 2011. She became a Diplomate of the American College of Veterinary Dermatology in 2014. Dr. Bourgeois moved to Portland, Oregon in 2016 to help expand the company. She is an owner within the company and on the board of directors. She has a strong interest in autoimmune skin diseases, allergies, cytology, and otology. In her leisure, Dr. Bourgeois enjoys outdoor activities, traveling, and watching sports. She and her husband stay busy with their daughter, son, and rescue Lab/Boxer/Pit mix. Dr. Bourgeois is passionate about educating veterinarians in dermatology and work/life integration through her podcast, lecturing, and social media presence (The Derm Vet).
Painexam Podcast Show Notes: Journal Club on "Ventricular Infusion and Nanoprobes Identify Cerebrospinal Fluid and Glymphatic Circulation in Human Nerves" Special Thanks to Robert Stall, MD Introduction: Welcome to another episode of the Painexam Podcast! In today's journal club edition, we delve into a fascinating study by Dr. Joel E. Pessa on cerebrospinal fluid (CSF) circulation in human nerves. Background: The study addresses the growing evidence of CSF circulation in human nerves and its implications in various conditions encountered by plastic surgeons. Conditions such as nerve transection, stretch injuries, and peripheral neuropathy may be related to dysregulation of the CSF system. Methods: Dr. Pessa and his team developed the ventricular infusion technique using buffered saline in 2017. The technique was applied to eight fresh cadavers before dissecting the median nerve. Fluorescent imaging and nanoprobe injections were combined with ventricular infusion in selected specimens. Results: The eight cadaver specimens (six female, two male) aged 46–97 underwent successful ventricular infusion. Ventricular cannulation was performed successfully using specific coordinates. Results suggest that CSF flows in neural sheaths, including pia meninges, epineurial channels, perineurium, and myelin sheaths (neurolemma). Conclusions: Ventricular infusion and nanoprobes effectively identify CSF flow in neural sheaths of human nerves. CSF flow in nerves is described as an open circulatory system occurring via channels, intracellular flow, and cell-to-cell transport associated with glial cells. Neural sheaths, including neurolemma, may play a role in glucose and solute transport to axons. The techniques showcased in this study can be utilized in anatomic dissection and live animal models and have been extended to the central nervous system to identify direct ventricle-to-pia meninges CSF pathways. Significance: This study opens new avenues for understanding the intricate mechanisms of CSF circulation in neural tissues. Plastic surgeons and researchers can benefit from these techniques in studying and addressing conditions related to CSF dysregulation in nerves. The findings have implications not only for nerve-related conditions but also for broader applications in the central nervous system. Closing: Thank you for joining us on this insightful journey through Dr. Joel E. Pessa's study. Stay tuned for more engaging discussions on pain management and neurology in future Painexam Podcast episodes! Reference Pessa JE. Ventricular Infusion and Nanoprobes Identify Cerebrospinal Fluid and Glymphatic Circulation in Human Nerves. Plast Reconstr Surg Glob Open. 2022 Feb 17;10(2):e4126. doi: 10.1097/GOX.0000000000004126. PMID: 35198353; PMCID: PMC8856590.
Painexam Podcast Show Notes: Journal Club on "Ventricular Infusion and Nanoprobes Identify Cerebrospinal Fluid and Glymphatic Circulation in Human Nerves" Special Thanks to Robert Stall, MD Introduction: Welcome to another episode of the Painexam Podcast! In today's journal club edition, we delve into a fascinating study by Dr. Joel E. Pessa on cerebrospinal fluid (CSF) circulation in human nerves. Background: The study addresses the growing evidence of CSF circulation in human nerves and its implications in various conditions encountered by plastic surgeons. Conditions such as nerve transection, stretch injuries, and peripheral neuropathy may be related to dysregulation of the CSF system. Methods: Dr. Pessa and his team developed the ventricular infusion technique using buffered saline in 2017. The technique was applied to eight fresh cadavers before dissecting the median nerve. Fluorescent imaging and nanoprobe injections were combined with ventricular infusion in selected specimens. Results: The eight cadaver specimens (six female, two male) aged 46–97 underwent successful ventricular infusion. Ventricular cannulation was performed successfully using specific coordinates. Results suggest that CSF flows in neural sheaths, including pia meninges, epineurial channels, perineurium, and myelin sheaths (neurolemma). Conclusions: Ventricular infusion and nanoprobes effectively identify CSF flow in neural sheaths of human nerves. CSF flow in nerves is described as an open circulatory system occurring via channels, intracellular flow, and cell-to-cell transport associated with glial cells. Neural sheaths, including neurolemma, may play a role in glucose and solute transport to axons. The techniques showcased in this study can be utilized in anatomic dissection and live animal models and have been extended to the central nervous system to identify direct ventricle-to-pia meninges CSF pathways. Significance: This study opens new avenues for understanding the intricate mechanisms of CSF circulation in neural tissues. Plastic surgeons and researchers can benefit from these techniques in studying and addressing conditions related to CSF dysregulation in nerves. The findings have implications not only for nerve-related conditions but also for broader applications in the central nervous system. Closing: Thank you for joining us on this insightful journey through Dr. Joel E. Pessa's study. Stay tuned for more engaging discussions on pain management and neurology in future Painexam Podcast episodes! Reference Pessa JE. Ventricular Infusion and Nanoprobes Identify Cerebrospinal Fluid and Glymphatic Circulation in Human Nerves. Plast Reconstr Surg Glob Open. 2022 Feb 17;10(2):e4126. doi: 10.1097/GOX.0000000000004126. PMID: 35198353; PMCID: PMC8856590.
Painexam Podcast Show Notes: Journal Club on "Ventricular Infusion and Nanoprobes Identify Cerebrospinal Fluid and Glymphatic Circulation in Human Nerves" Special Thanks to Robert Stall, MD Introduction: Welcome to another episode of the Painexam Podcast! In today's journal club edition, we delve into a fascinating study by Dr. Joel E. Pessa on cerebrospinal fluid (CSF) circulation in human nerves. Background: The study addresses the growing evidence of CSF circulation in human nerves and its implications in various conditions encountered by plastic surgeons. Conditions such as nerve transection, stretch injuries, and peripheral neuropathy may be related to dysregulation of the CSF system. Methods: Dr. Pessa and his team developed the ventricular infusion technique using buffered saline in 2017. The technique was applied to eight fresh cadavers before dissecting the median nerve. Fluorescent imaging and nanoprobe injections were combined with ventricular infusion in selected specimens. Results: The eight cadaver specimens (six female, two male) aged 46–97 underwent successful ventricular infusion. Ventricular cannulation was performed successfully using specific coordinates. Results suggest that CSF flows in neural sheaths, including pia meninges, epineurial channels, perineurium, and myelin sheaths (neurolemma). Conclusions: Ventricular infusion and nanoprobes effectively identify CSF flow in neural sheaths of human nerves. CSF flow in nerves is described as an open circulatory system occurring via channels, intracellular flow, and cell-to-cell transport associated with glial cells. Neural sheaths, including neurolemma, may play a role in glucose and solute transport to axons. The techniques showcased in this study can be utilized in anatomic dissection and live animal models and have been extended to the central nervous system to identify direct ventricle-to-pia meninges CSF pathways. Significance: This study opens new avenues for understanding the intricate mechanisms of CSF circulation in neural tissues. Plastic surgeons and researchers can benefit from these techniques in studying and addressing conditions related to CSF dysregulation in nerves. The findings have implications not only for nerve-related conditions but also for broader applications in the central nervous system. Closing: Thank you for joining us on this insightful journey through Dr. Joel E. Pessa's study. Stay tuned for more engaging discussions on pain management and neurology in future Painexam Podcast episodes! Reference Pessa JE. Ventricular Infusion and Nanoprobes Identify Cerebrospinal Fluid and Glymphatic Circulation in Human Nerves. Plast Reconstr Surg Glob Open. 2022 Feb 17;10(2):e4126. doi: 10.1097/GOX.0000000000004126. PMID: 35198353; PMCID: PMC8856590.
Episode Summary This week on Live Like the World is Dying, we have a short story about prepping called "Blood, Soil, & Frozen TV Dinners" by Matthew Dougal. It's a parody about two right-wing preppers who are faced with a collapse in society. After the story, there's an interview with the author about prepping mentalities and writing. This episode was reposted from the Strangers in a Tangled Wilderness podcast. The story can be read at tangledwilderness.org. Host Info Inmn can be found on Instagram @shadowtail.artificery Reader The Reader is Bea Flowers. If you would like to hear Bea narrate other things, or would like to get them to read things for you check them out at https://voicebea.wixsite.com/website Publisher Info This show is published by Strangers in A Tangled Wilderness. We can be found at www.tangledwilderness.org, or on Twitter @TangledWild and Instagram @Tangled_Wilderness. You can support the show on Patreon at www.patreon.com/strangersinatangledwilderness. Theme music The theme song was written and performed by Margaret Killjoy. You can find her at http://birdsbeforethestorm.net or on twitter @magpiekilljoy Transcript Live Like the World is Dying: “Blood, Soil, & Frozen TV Dinners” with Matthew Dougal **Inmn ** 00:16 Hello, and welcome to Live Like the World is Dying, your podcast for what feels like the end times. I'm your host today, Inmn Neruin, and today we have something a little different. I host another podcast called Strangers in a Tangled Wilderness where every month we take a zine that Strangers puts out and turn it into an audio feature and do an interview with the author. We had a two-part feature called Blood, Soil, and Frozen TV Dinners by Matthew Dougal, and it is a short story about prepping from a very strange perspective, that of two right-wing preppers facing a mysterious collapse of society. This short story is a parody and I promise that the two main pov characters are not the heroes of the tale. It's a fun story and I do an interview with Matthew afterward about prepping mentalities, fiction, and other neat stuff. If you like this episode, check out my other podcast that this is featured from. I did not re-record the outro, so you'll get a little taste of Margaret playing the piano, because she wrote the theme music for the Strangers podcast. You'll also get to hear our wonderful reader, Bea Flowers narrate the story. Follow along with the transcript or at Tangledwilderness.org where you can read all of our featured zines for free. But before all of that, we are a member of the Channel Zero Network of anarchist podcasts and here's a jingle from another show on that network. [sings a simple melody] **Bea ** 02:49 “Blood, Soil, & Frozen TV Dinners” by Matthew Dougal. Read by Bea Flowers. Published by Strangers in a Tangled Wilderness. Katie sat, wide-eyed, beneath the kitchen table and hugged her knees to her chest. She was shaking, vibrating visibly. Tanner put his finger to his lips and prayed that her silent tears would remain just that. There was no time to stop and calm her down. Not again. He moved slowly around the kitchen, fumbling through cupboards and pulling out pre-wrapped packages of food. Always be prepared. Tanner had practiced this before things went dark, but it was different doing it for real. His hands hadn't been so shaky, back then. A noise, on the porch. His body froze before his mind registered the sound. Tanner dropped into a crouch and crossed the room to the window, willing every cell in his body to radiate confidence toward his baby girl. His hand found the Glock 17 at his belt and he brought it up in front of him, the familiar feel of the grip reassuring. He took a breath, steadied himself, and raised his eyes to the level of the windowsill. The muscles in his thighs steeled and he remained, unblinking, utterly still, staring out into the darkness. After thirty or forty nerve-twanging seconds, Tanner drew breath and relaxed. His quads were burning, and they thanked him as he straightened. He could hear the specter of his ex-wife in his head, telling him to lose some weight, exercise more… Well she'd left, and that was 135 pounds gone right there. She'd probably say that was a good start. An unbearably loud ringing pierced the silence and sent him diving to the floor, landing awkwardly on his gun and sounding a crash through the kitchen. A keening whine came from under the table, Katie shaken from her silence. The doorbell. Feeling foolish, Tanner twisted over his shoulder and hissed at his daughter to be quiet. Still prone, he crawled toward the hallway in the most reassuring manner he could manage and pointed his Glock at the front door. Footsteps outside, then a shadow appeared at the window. Tanner's heart pounded in his ears—more violent pulses of silence than sound—and his vision blurred as panic flooded his body. He'd heard the early reports of armed groups in the streets, some sort of fighting downtown, but he hadn't really believed they would come here. His legs were weak, and he silently thanked God that he was already on the floor. The shape at the window didn't move, frozen in the gloom, silhouetted by flickering light coming from the street. As Tanner's head cleared he tried to take stock of what was happening. The apparition was vaguely man-shaped but shorter and slighter, an ethereal grace evident even in its stillness. A voice called out, muffled through the door, the guttural singsong completely at odds with the sleek form at the window. Tanner couldn't understand everything, but he thought he caught the words “little girl.” A second shape mounted the porch alongside the first, similarly short but squat and stocky, and grunted something to its companion in an alien tongue. Fluorescent light flooded the yard and the voices momentarily disappeared beneath the growl of an angry engine. Tanner's breath caught. His trembling finger hovered over the trigger and he willed the barrel to still its swaying dance. Two shots exploded outside—loud shots, from a much bigger gun than his. The creatures spun to face this new threat, their chatter rising in pitch and speed. They sounded panicked. “yalla! hawula' alnaas majnoon.” Tanner sensed his opportunity. He was forgotten. All those hours of training kicked in and muscle memory took over as he rose to one knee, took a two-handed grip, and unleashed a furious hail of fire at his front door. “Keep your filthy hands off my daughter!” He fired until he felt the Glock stop kicking, the magazine spent. As the cacophony faded he realized he was screaming. “Tanner! It's me, Blake. Stop shooting goddammit, they're gone.” “Blake?” Tanner mechanically reloaded his gun. “Why…” His throat was raw, his voice barely audible even to him. He swallowed, fighting to control his breath, and cleared his throat. “What are you doing here?” “Come to see if you were okay. Figured you and the kid might need a hand.” A stocky, heavily muscled figure wearing fatigues and a plate carrier stepped up to the porch, visible through the splintered ruins that had been the front door. A halogen glow lanced through the holes, like the brilliant aura of some kind of avenging eagle. “When this shit spread across the river from the city we locked down. It was touch-and-go for a while, but things quieted down eventually. When they did, I came straight over. Good thing I got here when I did. The quick little fuckers ran for it, but I think you hit one of ‘em.” The figure stopped, pulled down the red, white and blue bandana covering its mouth, and spat. Tanner had never been more relieved to see his buddy's foul-mouthed face. Or his M1A SOCOM 16 rifle. “We're alright.” Tanner's voice was exhausted, his body shivering as the adrenaline fled. “Thank God I was prepared. Still, it's good to see you.” “Prepared, shit.” His buddy grinned. “I been telling you for years to get something heavy duty.” Blake kicked the splintered remains of the door and his grin faded. “You can't stay here. Those things'll be back. Grab your girl and jump in the truck. Let's head to mine, she'll be safe there.” The grin returned.“Prepared, shit.” An hour later they were sitting in “the Hole,” as Blake affectionately called it. The Hole was both name and description, although it perhaps undersold the amount of effort that had gone into its construction. Attached to the garage by a short, downward-sloping corridor, The Hole was a full-blown bunker that spread underneath almost the entirety of Blake's backyard. Tanner was sitting in the main chamber eating Top Ramen, chicken flavor. They had made the half-mile journey in silence—lights down on the Tacoma, Tanner jumpy, Blake grim, Katie in a state of shock. The streets had looked completely foreign, the usual calming glow of LEDs replaced by the orange flicker of scattered flames. The familiar hum of traffic had been gone. Instead, gunfire had cracked in the distance. Blake's wife Lauren had buzzed them inside after Blake confirmed his identity via video feed—three times: at the gate, the door, and the entrance to the Hole. The security was impressive. Lauren had ushered them inside, AR-15 at the ready. “This is prepared,” Blake was saying, as Katie stared blankly at her untouched ramen. “Old owners, they had this backyard full of fruit trees, vegetables, fuckin' kale and kohlrabi. What good is that gonna do, I said, you gonna hide in the pumpkin patch with a slingshot? Idiots. “Anyhow me and Lauren, we wanted to be ready, so I been building this the last two years. Ain't no one knows about it, not even the contractors…” Blake sliced a finger across his throat, then laughed, “I'm joking, but they were from one of them Mexican countries. Had no idea what they were building. Good workers, though, came here the right way. And I did the security all myself.” Tanner laughed too, but at what he didn't quite know. “You took this all real serious.” “Yessir. You never really believed, but we did. Earl Swanson was right, this here's been a long time coming. It's just like he said, and we listened. And here we are, while you was laying on the floor waving round that little waterpistol of yours.” Tanner had listened too, but apparently not well enough. There was only so much time he could watch an angry man on TV shouting about the state of the nation, no matter how prophetic he was turning out to be. Tanner tried to put up a strong front and flex his knowledge. He had listened, dammit. “Is this it, then? The invasion? Earl said they've been preparing it for years, brainwashing people. Recruiting sympathizers and traitors…” “It's worse than that. The invasion started way back, we just didn't notice. Well, most of us didn't. Earl did. He tried to warn us, that the aliens'd started infiltrating, landing in remote parts of the country, blending in, looking just like us…” Blake spat. “Well, not quite like us. But close e-fucking-nough, hiding out and biding their time.” “And now it's out in the open…” Tanner looked from his friend's face to his daughter's, scared and staring, and trailed off. He may have been listening, but he sure as hell didn't understand. “What's happening?” Tanner asked. “We've been laying low at home, locked down and trying to wait out whatever this is. We haven't heard a thing since the power cut out three days back.” He could feel a surge of emotion building, pent-up adrenaline and stress and fear and loneliness rolling over him in a wave as they were released. His stoicism wobbled. “We're… Katie's scared and confused, and tired and sick of hiding and we're all alone! What is all this? What's happening?” Tanner realized he was shouting and stopped, taking a deep breath and lowering his voice. “Blake, man, what the hell is going on?” Blake never flinched, just ran his tongue over his teeth in thought while he watched Tanner's outburst through hooded eyes. “Naw, we don't know nothing for sure. Swanson's been off-air for two days, since just after shit started going down. Said he was right, that it sure as shit seemed like those aliens he'd been warning us about were making a move, and the whole fuckin' lot of us did nothing. Well, seems like it blew up in our face. Last thing he said was he's heading somewhere safe to keep broadcasting, and he'd let us know when he found out more,” Blake paused, sucked his teeth, “We've had the TV and radio on non-stop since then, since we fired the generator up. Nothing.” Lauren lent forward. “There was something, couple days back…” “Nothing useful,” Blake cut in. He spat. “Same old fuckin' commie stations, same old crap. They took over the channels, emergency broadcasting. Said there was a ‘protest.' Stay inside, all under control, daddy government's here, blah blah,” he laughed “Hell of a protest. More like an insurrection. Doublespeak bullshit.” “So what's the plan? We hide out? Lay low? Wait for the military?” “The troops ain't coming, chief.” Blake grimaced, “Alien tentacles go deep. Probably strolling around in general's stars by now, the politicians just handing over the keys. This President'll have us kissing their feet before dinner. “Nah, if we wanna fight back we can't rely on that fuckin' bunch of secretaries and scribes. We hole up here, wait for instructions.” He laughed again, “Huh, hole up in the Hole. That's funny.” That grin was starting to get on Tanner's nerves. “Instructions from who? How long is that gonna take? Who's gonna fight back against… this?” “I know some people, from back in the old days. Good people. There's still patriots out there who won't give up this country without a fight.” Tanner still bristled with questions, but he was starting to feel relieved. There were people in charge, and they had a plan. That was something he could work with. “What if it takes weeks? Months? Do we have food for that long?” Blake settled further into his chair, grinned that cocky grin. “I do, don't know about you.” Before the words were even out of his mouth he was already raising his palms, “Chill out, I'm joking. I'll put it on your tab. You're a lawyer, I know you're good for it. Show him, babe.” Lauren got up and went over to a large yellow flag hanging on the concrete wall, pulling it aside to reveal a long, narrow room that ended abruptly at a large steel door. She flicked on the light. “Dry storage,” she said, gesturing at the shelves lining both walls. Packets of ramen, boxes of cereal, rows of whiskey, and gleaming stacks of cans stared down at Tanner. “And cold storage,” Lauren continued as she stepped over to the door, kicking aside two enormous tubs of supplements and pulling it open to reveal a walk-in freezer. Tanner followed her inside as she happily chatted away, showing everything off like a house-proud hen. “We've got everything we need. Steaks, hotdogs, chili, hamburgers, mac and cheese, chicken parmesan, mashed potatoes--whatever you want. There's a well, too, over the other side, we had that dug last summer. Tastes a bit funny, but it won't hurt you.” Tanner was hardly listening. He had never seen anything like it, never imagined anything on this scale. Blake really had taken preparing for the end of the world seriously. The freezer room was filled, wall to wall, with a treasure trove of gourmet excess; thousands upon thousands of frozen TV dinners. Tanner stared at his microwaved salmon filet, fries drooping from his fork. Out of habit he was eating in front of the TV with Katie, though the display hadn't changed in… however many days it had been. Just the red, white and blue logo, a tile flipping between ads for pillows, brain pills, and frozen food, and the same scrolling red banner: Breaking: The United States of America is under attack. Stand by for updates. Katie was poking at her food silently, barely eating. Still no appetite. Tanner had told her they were safe, told her he wasn't going to let anyone hurt her, told her a hundred times in different ways that she was his precious little girl and he would make sure she was okay. It had made no difference. She had just looked up at him with big, frightened eyes that pulled at Tanner's heart. The only time she had spoken in the past 24 hours was to ask why he had tried to shoot people. Of course she didn't understand. Maybe he should ask Lauren to talk to her. The TV display glitched, blipped, flicked to static and then to black. Tanner shoveled the fries into his mouth and rubbed his eyes. He'd been staring at a blank TV for too long. He chewed and stretched, squeezing his eyes shut and trying to straighten out his aching back. Earl Swanson was on TV. Tanner blinked a few times to make sure he was seeing straight. Swanson's shirt was wrinkled, his hair a mess and his signature bowtie slightly crooked, but his face wore that familiar expression of righteously indignant bewilderment. It was him. “Blake. Blake, get in here!” Swanson was in what looked like a large living room rather than his usual studio. Bookshelves and a TV cabinet were visible behind him. There were shadows under his eyes and his wrinkles were clearly visible without his usual TV makeup, but his eyes were as sharp as ever. There was a strength to them, piercing the screen, full of faith and fire. It felt like he was in the room. He looked like he'd been in a fight, and won. He was back. “Good evening America, and welcome to Earl Swanson Tonight.” “Blake!” Blake stuck his head through the door. “What? I'm working out, give me a…. No shit.” Blake stepped into the room. He was topless, breathing heavily. His stomach was shiny with sweat, pooling and running down the chiseled channels between his well-defined muscles before disappearing behind the low-riding waistband of his camo pants. Tanner realized he was staring and felt his cheeks flush as he snapped his eyes back to his friend's. “Blake, it's--” “Shut up, I'm trying to listen.” The rebuke slapped Tanner back to the present and back to the TV. He surreptitiously sat a little straighter and sucked in his gut, trying to ignore the heat rising in his face. “...cities up and down the west coast. From Seattle to San Diego, the alien invaders and the traitors from among our own citizens have taken control, sowing chaos and destruction. Order has broken down, and anarchy rules in the streets. Yet we hear nothing but silence from the White House. The elites in Washington won't do anything about this -- they encouraged it. They caused it! “No, it is up to patriotic Americans to stop this existential threat. It is up to us, to you and me and the other patriots out there. If you value the American way of life, if you respect the principles that built the greatest nation ever imagined, if you care about your family and the future of your children, then the time has come to stand up. Your country needs you. “I have been warning about this day on this very program for years. If you have been listening, you will be prepared for this betrayal. You know what to do. Find other true Americans who are ready to fight for our civilization and our culture. Defend our Western values against this attack by anarchists and aliens who wish to destroy us. They tried to take our guns from us, to disarm us, and failed -- now is the time to use them. Seek out the prepared, the militias, the heroes. Fight back. Show them that we will not allow it. “I will be moving to an undisclosed safe location so I can keep you informed. You know your job. I am doing my part, will you do yours?” Swanson sat erect and defiant, no less commanding for his disheveled appearance. His willpower flowed from the screen in waves, washing over the watchers. It was compelling. It was urgent. It was the only option. The screen went black. Swanson's gaze bored into Tanner long after the TV went dark, burning with righteous fire, lip curling with fury. The heat in Tanner's cheeks sharpened, focused, began to spread into his chest and throughout his body. There was only one thought in his mind. “We gotta go.” It took him a second to realize that Blake had spoken the words out loud. “We do. But where? I don't know anyone like that.” “You know me, and I know people. Don't worry about that. We gotta go to Baker City. I talked to one of my buddies from the marines this morning, he's headed to join one of the militias out east. They might not be big, but they're hard. They're something.” Tanner looked at Blake blankly, unable to quite comprehend what he was being told. Days of no news, no action, now everything all at once. “But what's in Baker City? Don't you know anyone here? This is where we live, where we have the Hole, where we have a safe base.” Blake was clearly agitated, shifting from foot to foot. “It's not safe. Weren't you listening? It's fallen. The military ain't doing jack, like I fuckin' told you they wouldn't.” Blake stopped bouncing and steadied himself. “But my buddy said the boys in Baker held out. It was bloody, but they held strong. If we can get there in a hurry, we can join a caravan heading for Boise.” “Baker… Boise? What the… Boise?! Surely it's safer in Texas, or… or…” “Texas? And how far away is that? Look, I don't know nothing about nothing, but I know I ain't looking for safer. All I know is I got buddies in Baker, and they say Boise, and they are the fuckin' resistance. We got our orders, soldier. “The west had been invaded. Destroyed. Gone. You heard Swanson, same as me. Grids are down, water's down, TV's down--mostly, anyway. Sky's half full of fire and smoke, gangs roaming the streets, traitors and aliens taking or breaking whatever they can get their thieving hands on.” Tears came to Blake's eyes. “It's a fucking mess out there, buddy. Anarchy. They've burned the lot.” It was a lot to chew on. Tanner put a piece of salmon in his mouth. “I'm not gonna let some filthy aliens take my home, fuck my wife, invade my country, and steal the god damn US of A! The fight is right there, and I'm gonna fight it. Are you?” Tanner's brain was spinning, but his blood was still hot from Swanson's speech. Blake's fire, delivered standing there half-naked like a Steven Seagal action figure, was rousing something inside him. His country needed him, and he felt the call in his bones. He put down his fork. He swallowed. He rose. “Of course I'll fight. I'll put a bullet in every alien who steps foot on American soil. I'll put every collaborator in the dirt.” He saw himself, next to Blake, riding shotgun as they made a fighting escape through the streets. He saw a heroic journey to Baker City, filled with danger and righteous violence. He saw a triumphant return, at the head of an army, cleansing his city with purifying flame. And he saw Katie, small and fragile and beautiful. Perfect, and terrified. The flame wavered. “But I'm fighting for her,” Tanner gestured, “I got my little girl, and I'm not so red-hot on riding out guns blazing to meet these savages with her hanging off my arm. She's the future of this country, and that's a future we have to protect.” To Tanner's surprise, Blake took a half step back. “Shit. I know, man. Katie and Lauren, the innocent and the pure. I'm thinking of them, too.” He dropped his shoulders, but held Tanner's gaze. “But it's not safe for them here neither. We're on our own, and all hell has broken loose up top. We fight for them, and they are the reason we have to fight.” Tanner paused, then nodded. He reached out and placed his hand on his friend's shoulder, fingers gripping the sweaty skin. “Let's go pack the truck.” As the sun set and twilight brought a low fog creeping across the city, they piled into the Tacoma with as many frozen dinners as they could carry. Tanner rode in back. Lauren was up front, AR at the ready, while Blake drove, M1A by his side and his Glock taped to the dash. Katie was at Tanner's side, curled up below the window and hidden from view, and Tanner watched over her with his own Glock and a borrowed Remington 870. They were all a little jumpy. He and Lauren had wanted to maintain a shoot-on-sight policy. Blake had been more cautious. According to Swanson, there would be plenty of people collaborating with the aliens. Lights out, engine low, and hopefully they could slip right on by. No one knew what to expect—Tanner suspected they were all terrified. He certainly was. Even Blake had swapped out his flag bandana for a more understated camo print. He had stashed the red, white and blue fabric in the bed of the truck with the rest of their gear. They pulled out into streets Tanner knew, but didn't. He had driven them every day, on the way to work, to Katie's school, to church, to the mall. The streets were as familiar as a cold Coke, yet now, in some important way, they were… different. As they left the Hole and drove through the suburb he couldn't quite put his finger on it, but once Blake reached the main street and turned past the bars and shops and take-out joints, it hit him. The streets were dead. The cars were gone. The steady flow of traffic, of people living their lives, had stopped. The parking lot in front of the drug store was empty; so was the one behind the bar. The convenience store, normally ticking over with a steady stream of customers buying cigarettes and beer, was dark behind its windows. Unintelligible graffiti in some alien script covered the ads for energy drinks, an expression of mindless violence across someone's hard work. A light rain had started, misting around them and adding to the dreariness. A billboard loomed overhead, the lights that illuminated the Colgate-bright smiles of the models now permanently dark. Tanner was glad—the gloom obscured the flame-scarred destruction streaking the toothpaste company's perfect white message. “Disgusting,” Blake spat. He looked like he wanted to say more but pulled up short, shocked at the sudden sound of his own voice. His eyes focused back on the road and he fell into uneasy silence. The truck continued its crawl down the deserted street, barely clocking 20 miles an hour. Even at that speed, the low growl of the engine seemed unbearably loud as it reverberated among the carcasses of commerce and ricocheted down abandoned side streets. They kept driving, and nothing kept happening. It was torturous. Every minute of unbroken inactivity twisted the crank on the tension in the car, until the unceasing hum of the engine began to seep into Tanner's brain. Every muscle in his arms and legs, primed and waiting and ready to spring, began to tremble, and his eyes focused and unfocused on nothing at all. His frantic heartbeat messed with his breathing, a powerful panicked thud that matched the rumble of the pistons. Overall, he was relieved when the road curved and they entered a strip of restaurants to see signs of life among the debris littered across the street in the distance. It wasn't immediately clear through the gloom what was happening. Blake slowed the truck, now rolling along at barely more than walking pace, and they crept closer. The scene was illuminated by the flickering light of small fires and backlit by a pair of enormous floodlights, creating a glowing aura in the surrounding mist. Images began to resolve, ghostly figures flitting in and out of view and the harsh geometric shapes—not of debris, but of hastily manufactured barricades—throwing long shadows that lanced through the air around them as they approached. All eyes were fixed on the barricades as they pulled within shouting distance, and Tanner nearly pissed himself when someone knocked on his window. He yelped, Blake swore, and Lauren's weapon x-rayed Tanner's head and pointed at the intruder. Tanner followed her lead and jerked his gun up to aim in the general direction of the window and for ten, twenty heartbeats nothing moved. Then another knock, and Blake hissed at them: “Put those things away you idiots, we're the good guys here. Whatever side that guy is on, so are we.” Tanner slowly lowered the gun, then the window. “Hey folks, no cars through here.” The man was clad head to toe in black—black jeans, black hoodie, black gloves, black bandana covering his face, black curly hair running with rainwater. No wonder they hadn't seen him. The stranger spotted their guns. “Oh, nothing like that,” he added, catching the nervous energy in the truck, “You're a bit late to the party. No trouble ‘round here, this area's been cleaned out for days.” He chuckled, sending a shiver through Tanner. “Some folks messed up the cop shop a while back, it was a bit of a fight. Streets were all blocked up anyway, so we set up a little kitchen here. Been feeding some folks. Symbolic, like, new world in the ruin of the old and all that.” The smile fell from his face as he took in the scene in the truck. “Everything alright? Is she okay?” He gestured at Katie, curled up and quivering silently beside Tanner. Tanner opened his mouth to respond, but Blake was quicker. “Sure, probably just spooked by that fucking mask. Look, we don't mean to bother you people. Just heading east, trying to cross the river. We'll go around you and your little kitchen.” If the man took issue with Blake's tone, it didn't show. “Bridge is a no-go, I'm afraid. Pigs blew the cables as they pulled out, some of it collapsed. It's way too unstable to cross.” He scratched at his temple. “What d'you want out that way, anyway? There's dangerous people out there, not exactly safe for… families.” “We're heading for, uh, Hood River,” Tanner spoke up, “Taking supplies out to the girl's grandparents.” “Indians,” Blake chimed in, “they need the help.” He winked at Tanner. The stranger turned to Blake and met his eyes, holding his gaze for an unnerving moment. Then he seemed to resolve some internal discussion, relaxing his shoulders. “Well, you might be able to get across up St. Johns, last I heard the bridge was still intact. There's some folks in the park up there, you can ask them.” “St. Johns? That's the wrong fucking way!” “A bridge is a bridge. It's that or swim, champ.” “Can you at least call the, uh, your boss? Tell him you checked us out, ask if we can get across?” The man smiled, but something hardened behind his eyes. “My boss? Sure, sure. Look, I think it's time you moved on. Head on up there and tell ‘em what you told me, they'll let you out. There's a bunch of poor Indians waiting for their dinner.” There was something strange about the way the man said “Indians,” but he patted the hood of the truck and turned away, waving them down a side street away from the barricade. As Blake slowly drove off, Tanner collapsed back into his seat and quickly rolled up the window. His underarms were cold with sweat, and he relaxed muscles he hadn't known were clenched. Blake took the turn the stranger indicated, muttering that if he heard anyone say “folks” again he would hit them. Tanner stared out the window at the “little kitchen” as they passed. There must have been a couple hundred people, milling around a dozen or so small fires. They were all loosely centered around a large tent directly in front of the scorched skeleton of the precinct. Laughter and music drifted through the open window, and Tanner closed it. He didn't think he could see any aliens, but it was difficult to tell in the dark. “Collaborators. Must be a ration station or something,” he muttered, mostly to himself. Lauren heard him. “No, this has been going on much longer than that, it just wasn't so out in the open. Swanson warned us about it. He said they lure hungry people in with food.” “Yeah,” cut in Blake, “this is how they recruit ‘em. Set up a kitchen, give ‘em food, homeless and crackheads and queers, mostly. Drugs too, probably, and spewing their propaganda. That guy was probably one of the junkies. Sure as shit looked like it, you see the way he stared at me?” Tanner shuddered. A junkie. He had an overwhelming urge to wash his hands. He remembered the way the man had talked about the police station, his manic laugh in the face of such violence, and glanced back at the quickly fading light. And saw a small figure, tottering at the edge of the firelight. A child. “Disgusting,” he said out loud. “Yeah, disgusting. It's like Earl said,” Blake continued, “they been feeding people right under our fucking noses.” They drove on toward the bridge. The streets were more cluttered here, both with people and the remnants of the riots, and they could only manage a slow pace as they picked their way through the destruction. Blake had to swerve to the wrong side of the road to avoid a group of people carrying trash bags, picking through the rubble. “Looking for something to eat,” he grunted, and locked the doors. Signs of violence were everywhere. Tanner's chest tightened as they drove past the law firm where he had started his career—the job that had brought him to the city after he finished college, working for his father's best friend and learning his profession. Inside the shattered windows it was nothing but a shell, the desks overturned and the computers gone. No one would be working there any more. The destruction was completely random. Violence for its own sake. Beside the firm was a pawn shop, covered in graffiti and looted. Next to that, a Vietnamese restaurant, completely unharmed except for ‘Delicious, 5 stars' sprayed on the pavement outside. Across the road was an untouched convenience store and a bookshop with its doors wide open, light flooding out and people crowding the entrance. A donut shop and an Apple store destroyed, a mechanic and a bar looking like they had simply closed for the night. There was absolutely no pattern or reason to it. They saw a Fred Meyers with every window broken, the front door jammed open with a twisted shopping cart. A movement caught Tanner's eye and he saw someone leaving from a side door, carrying a huge bag of stolen food. He hoped Blake didn't see—he might do something stupid, and Tanner didn't want to stop. It wasn't safe. They made it a few more blocks when Lauren gasped and grabbed Blake's arm, making him brake. She gestured across the intersection to a KFC. Half the building had collapsed in what must have been an enormous fire; the half that still stood had been savagely attacked. She pointed to the entrance with a shaking finger. Someone—or something—had toppled the giant bucket sign and sent it crashing through the ceiling of the kitchen. Above the door, someone had scrawled a message in red spray paint: FUCK YOU SANDERS OUR SECRET SPICES NOW There were more barricades set up near the bridge. Where the others had been makeshift, marking a boundary, these were more serious. They were to stop people getting through. Blake slowed before they got too close to the blockade, which they could now see was lined by shapes that very much suggested people. On both sides of the road the land fell away into darkness, sloping down to become a park that ran beneath the bridge. The park itself, a rare green space normally dotted with dog walkers and children, was transformed. The once-quiet lawns were a mass of tents and makeshift structures, stages and bars and sound systems, the proud trees now decked out with effigies and lights. Fires burned everywhere, and the distant space was carpeted with a swarming mass of humanity, undulating to a throbbing cacophony of noise. “This doesn't look good,” said Blake. He pulled over, a hundred yards or so short of the bridge. “That guy said they would let us through,” said Tanner, “if we stick to our story.” “He was a junkie,” scoffed Lauren. “But he thought we were working with them,” said Tanner, “he had no reason to lie to us.” “I guess it's worth a try. Anyway, they ain't gonna try anything against this much firepower.” Blake grunted. “Too late to change our minds now. They've seen us.” He nodded at the barricade, where two shapes had detached from the mass. They moved toward the Tacoma, and Blake responded by flicking the lights to high beam and heading to meet them. As Blake swung back out into the road the beams cut through the darkness to illuminate the figures, throwing wild shadows from the two shapes until the truck steadied course and they coalesced into recognisable forms. One was a large man, white, with a nose ring and a loosely-tied blond ponytail. He was wearing a plaid shirt and carrying a large rifle. The other—Tanner's throat caught—the other looked like one of the aliens. “Shit,” said Blake, as the headlights picked out at least half a dozen more shapes along the barricade, several with big guns visible. “Fuck.” He stopped the truck and rolled down the window, then cursed again and threw open the door. “I'll be fucked if I'm gonna sit here and be pulled over like some criminal. Tanner, you're with me—let's go meet them man to man.” Tanner scrabbled for the door handle and chased after Blake, half-skipping to catch up. They pulled up a few paces before colliding with the approaching party. The blond man stepped forward. “How's it going, dude?” he said. “We need to get to Hood River,” said Blake, “we're trying—” “Yeah, we heard.” The man cut him off. “Bridge is closed to traffic, unfortunately. You wanna cross, you'll have to walk.” Blake bristled. “Are you joking? We need to bring all this stuff. It's… important,” he objected. “You can't just keep people here!” “We could,” said the blond man, calmly. He sounded confident in his assertion. Looking at the line of men—and women, Tanner realized—standing along the barricade, he agreed. “But we're not,” the man continued. “You can go wherever you want. Take your shit, cross the bridge. Some folks have organized buses up the river, they'll take you. But the truck stays.” “But that's my fucking truck!” Blake squealed. The man's eyebrows shot up and Tanner laid a hand on Blake's shoulder, squeezing it and hoping he got the message. The stranger paused, then sighed. “Look, I'm sorry dude. I love my truck, too. But there was an attack at another camp last night by these so-called freedom fighters,” he grimaced. “Militia wackjobs, really. Word is they are gathering across the river, and we can't risk weapons and vehicles falling into the wrong hands. Especially not an arsenal like you folks got here.” The alien stepped forward and, much to Tanner's surprise, spoke in perfect American English. “Don't worry, it'll be here when you get back. We'll take real good care of it for you. They will appreciate the help guarding the buses and I'm sure they'll be more than happy to help you move these… important supplies.” They signaled to the group at the barricade and two more figures made their way into the light of the truck's high beams. The first was a slim Black man in fatigues, wearing a red beret at a jaunty angle and carrying a AR-style rifle in one hand. The other was a woman, tall and imposing. She wore a leather jacket over a long black dress, which was slit to the thigh to reveal hints of slim, bare legs that stretched from the pavement to the heavens. Tanner blinked rapidly and swallowed. He had always had a soft spot for long legs in thigh-slit dresses. As they came closer the man nodded at Tanner and Blake, but he was not what held their attention. The woman with the legs from God was also rocking a luxurious mustache that would have put Teddy Roosevelt to shame. As Tanner's eyes bulged, she caught his gaze and winked. “Hello, boys. I'm Sunshine, they/them. I'll be with you on the bus.” Tanner didn't know how to react. A fuzzy memory bounced around in the back of his head. “An investigation on college campuses found that increasing numbers of American citizens are using pronouns.” Earl's bewildered face frowned, then puckered. “These ‘theys' and ‘thems' are making a mockery of the American tradition, seeking to spread their insidious ideology among good, hard-working citizens, brainwashing young Americans into adopting these ‘pronouns.' What's next, people identifying a different age? A different race? We need to speak out against this perverse trend and most importantly, keep them away from our children.” _ That was it. These were the pronouns Swanson had warned them about. He gripped his gun and glanced at Blake, trying to get his mental footing. Blake looked shocked, too, but quickly pulled himself together. He threw Tanner a sly look, one that hinted at an idea. “Give us a minute,” he snapped, and pulled away from Tanner, back to the truck. When they were both inside he turned on the occupants with a spark in his eyes. “They must be talking about my boys, alive and kicking,” the old grin was back, his excitement barely contained. “Must have set up in the woods. We'll head over and find ‘em. Maybe they got word from Earl. If they're here, and they're fighting, maybe we don't have to go all the way to Boise after all.” “What's going on?” Lauren looked confused. “We're leaving the truck. Grab the shit, cross the bridge, hijack their fucking commie-wagon and strike out east. Either we find them in Baker, or our boys find us first.” Tanner was still coming to grips with the situation. “What about… them?” he said. “Who?” “They… them. In the dress, with the pronouns!” “And what are they going to do, stop us? You ever tried to fight wearing something like that? No. The four of us, across the bridge, grab the bus, easy.” “Katie's not hijacking any bus. She's eight, for God's sake. Maybe she and Lauren should stay here…” “You stay here with Katie,” Lauren snapped, cutting Tanner off. “If you think it's safer, if you're looking for safer, you take her for a nice walk in the park down there. I'll be with my husband, taking my country back from these freaks.” “I know you want to keep Katie safe,” Blake added, almost apologetically, “but you saw what it's like out there. You heard Swanson's warnings. These aren't people, they're animals, aliens. She's your baby fuckin' girl, man. You do what you're at peace with, but my wife sure as shit ain't staying here to get felt up by some dick in a dress.” Tanner looked at Lauren. “But she's just a kid! What if she gets hurt.” “What if she gets hurt _here? So you look after her. Be a man,” Lauren spat back. Blake clapped Tanner on the shoulder and held his gaze. “It's do or die time, soldier. Let's get the fuck outta here, hook up with the resistance, then bring back the fury of God and freedom and the USA to take back this city and liberate my God damn truck!” Tanner looked at Katie, curled up in the footwell, and wanted to object. He wanted to take her somewhere safe, back to the Hole, where it was warm and they could hide from the aliens and the bad people and they had all the food they could need and they could wait for this all to be over. But the fire in his belly wouldn't let him. He knew Blake was right, he knew that he should be ashamed of his moments of weakness. He saw Lauren gripping her rifle and staring at Blake with faith and devotion in her eyes and he knew that was the kind of man he wanted to be. Tanner breathed a silent promise to keep Katie safe, no matter the cost. “Let's do it.” Blake pulled the truck up to the group of guards and they all piled out, Tanner standing straight and feeling tall, Blake's words ringing in his ears. It's do or die time. _ Two of the barricade guards came over to help them unload while the others stood around and watched, their mustachioed escort who made Tanner's skin crawl and the large blond man. Traitor. They stripped off the tray covering and began shifting gear, Blake and blondie up above handing packages down to everyone else. Tanner heard the guards muttering to each other. “Holy shit, that's a lot of firepower.” The blond man snorted. “And a lot of nasty-ass TV dinners. Important supplies, my ass.” Sunshine shrugged. “Folks eat what they eat. Not everyone lives in a Whole Foods and learned to make Tom Yum on their gap year,” they rebuked him. The man grimaced and scratched his jaw. “Yeah, right. That was unfair of me. Well, Thai cooking workshop tomorrow and I'll make a big pot, so at least folks here don't have to eat that frozen stuff… unless they want to.” They busied themselves unloading, bundling food and weapons into bags or tying them together for ease of carrying. Tanner was tying the straps of his backpack and settling it on his back when he heard a curse from the back of the truck. He glanced up, and, frozen in time, watched the next few seconds helplessly. The blond man had pulled out one of the last few satchels, the one containing all their spare clothes. He was standing upright, arms held out, nose ring quivering in silent outrage. In his left hand he had Blake's flag bandana; in his right, Blake's spare jacket, rebel flag patch sitting proudly on the shoulder. Blake reacted fastest. He dropped the food he was holding, raised his Glock, and with a vengeful crack the blond ponytail exploded in a spray of red. The man in the beret raised his rifle and fired two shots into Blake's chest, sending him flying from the tray. A scream burst from Lauren as she reached for her gun, but the alien matched the sound and met her with a powerful tackle, sending both of them crashing into a pile of frozen hamburgers. Sunshine reached out and grabbed Tanner's arm. Time snapped back into motion for Tanner. He instinctively pulled away and shook his arm free of the grasping fingers. Stepping back, he spun and swung his fist in a wild roundhouse. It connected with Sunshine's jaw as they overbalanced toward him. Tanner watched them collapse in a heap. His gaze danced over the chaos unfolding around him, frantically searching for Katie. _There. Tanner picked her up and ran. They plunged off the road and into the darkness. There was only one thought in his mind: get Katie across that bridge. She was sobbing, shaking in his grasp, and Tanner made what he hoped were comforting shushing noises as he ran. He knew this park—there was a staircase inside one of the support towers that rose from the park to the bridge overhead. That was his way out. Holding Katie tightly, breath ragged, he ran toward the orgy of light and noise pulsating below. The two escapees burst into the mass of people. Tanner looked around, eyes darting, taking in the madness and trying to get his bearings. The sensory assault was overwhelming, but he slowly made out patterns in the polyrhythmic press. What had looked from above like a continuous swell of humanity was actually a hundred, a thousand separate groups and camps and parties. People flowed freely between them, groups forming and merging and coming apart in a chaotic, everchanging anarchy. A makeshift stage to his left throbbed with bass, colliding with the bone-jarring screams and guitars of a group of punks. Tanner found himself surrounded by ecstatic dancers, while a group almost under his feet sat staring into a campfire, oblivious to the rest of the world. He crashed through their doped-out reverie and bounced off two men, locked in a hungry embrace. Tanner recoiled and turned away, shielding Katie with his body, searching desperately for the tower that would lead him out of this nightmare. Lights flashed, blinding, creating a sort of slideshow of horror as Tanner scanned the crowd. There. He found it. His escape from this festival of the damned. He soldiered on, caught up in a whirl of half-naked dancers, men, women, and everyone else, mindless of the frigid air as they span and writhed in rapture. Tanner spotted an exit, an island of calm, and dove for it. He exploded from the throng, gasping for air, and breathed in the relative silence. Collecting himself, he was faced with rows of bodies, still, staring at something unseen up ahead, the very air trembling with collective anticipation. A voice shattered his uneasy reprieve, loud and bombastic and dripping with drama. “And now, my darlings, it is time for these fuckers to do what I do best—go down!” Tanner dashed through the crowd as they roared and surged into motion, and caught a glimpse of the scene ahead: two lines of people, straining on thick ropes, as a woman in lingerie and feathers pranced like a princess of hell before them. The ropes led upwards, where they were tied around the necks of two enormous metal figures. Lewis and Clark. Tanner broke into a full sprint, shouldering bodies aside. He was almost there. Up ahead, rising from the chaos, was his stairway to the heavens. His legs trembled and his breath came in ragged sobs, but he couldn't slow down. Not when he was so close. He tore out of the crowd and into the comforting darkness of the spaces in between. His hysterical panic began to subside. One foot in front of the other. Keep running. They were going to make it. As he neared the tower a figure came into view at the base, looming from the shadows of the doorway, staring into the blackness beyond. A stocky, muscled figure wearing fatigues and a plate carrier. It couldn't be… “Blake! Blake, thank God.” Tears welled in Tanner's eyes as he reached his friend. Lauren was nowhere to be seen, but right now Tanner couldn't think about her. He had survived, and he had brought Katie through. His heartbeat was still frantic, but from exertion rather than fear. They were here. He, Katie, and Blake. Emotionally exhausted, physically spent, battered and terrified, but alive. They were going to be okay. He reached out to his friend. Blake turned—No, not Blake. A thick black beard engulfed the shadowy face, momentarily lit by the glowing ember of a huge cigar. The eyes were deep-set and dark, the skin weathered, wrinkled, brown. The face of an illegal alien. Tanner's throat betrayed him. He squeaked, and nothing more would come out. His knees wobbled and threatened to give way, his feet froze in place. He wavered. He whimpered. Puffing on the cigar, the alien took in his terrified face and the little girl slung over his shoulder. He gestured toward the doorway and blew out an enormous plume of smoke. “Go, gringo.” It was well past midnight when Katie ran into the side of a tent, fell on her bottom, and started crying. They had crossed the bridge, left the highway, and headed for the safety of the forest. Since then they had been wandering among the trees for hours, directionless, driven by fear, then by hope, then exhausted aimlessness. Tanner wasn't going anywhere except away from that park. He had briefly entertained the image of finding a group of militia, sitting around a fire, eating and laughing and, maybe, swapping stories with their old friend Blake. That was hours ago. Visions were fleeting in the fever dream of the forest. Since then, they had walked because they didn't know what else to do. Tanner stumbled over to Katie and collapsed beside her, holding her close and hushing her. He felt like crying too. A flashlight clicked on inside the tent and a dreadlocked head poked out of the flap. “Hey, there's someone here!” Rustling erupted from all around and more faces appeared. “Wasn't someone keeping watch?” “I thought you were.” “Doesn't matter, doesn't matter. Someone's crying.” “You folks okay?” Tanner and Katie were soon surrounded by a small group of people. He looked up at them. “Are you the militia?” “No, don't worry. You're safe here. We're friends.” “Although I guess we are a militia if you think about it. Sort of.” “Shh, don't confuse the poor people. They're terrified.” “Sorry. No, no militia. Someone get them a blanket and something to drink.” Minutes later, Tanner and Katie were wrapped in sleeping bags, sipping on hot cocoa. It was scalding and familiar and Tanner felt the tension of the past day fading, leaving bone-deep exhaustion in its place. “Are you okay? What happened?” “Thank you. We were… we just need to sleep.” “And you? What's your name? Are you alright?” Katie looked at her dad, then stared up from her tin mug. “I'm Katie. I'm scared.” “You're safe now. We'll help you. Look, we'll get you somewhere to sleep.” The first face they had seen rummaged around in a tent and brought out a bag. “Lucky we have a spare tent. I'll just put it up, won't be a second.” The tent was almost up by the time Tanner and Katie finished their drinks, and they got up and walked over, sleeping bags over their shoulders, holding hands. “Hey, thanks,” Tanner said. “I would have helped but I don't really know how. Never had much call for camping. I am, uh, was a lawyer,” he glanced around, “not criminal, uh… intellectual property. Copyright.” “No problem, of course. Here, it's not hard. I'm just clipping the…” “This isn't the time for camping lessons, Jacob. Anyway, you'll scare the man, sharing information for free like that. They've been through enough already.” “Sorry, yeah. Look, slide in. Take these sleeping mats. It'll do for tonight, I'll teach you tomorrow.” Tanner and Katie squeezed into the tent, sleeping bags huddled together on the cold, hard ground, and slept. THE END **Inmn ** 1:03:01 Hello, and welcome to the show. Thank you so much for coming on today. Could you introduce yourself with your name, pronouns, and just a little bit about what you do in the world? **Matt ** 1:03:15 Yeah, hi, I'm Matt. He/him pronouns. And I'm a student again, after a really long time, actually, which is why I've just moved to where I'm living now. But I like to write, you know, mostly for me, and this is the first first thing I've published but I enjoy it. And yeah, I'm really grateful that you've taken an interest in it. **Inmn ** 1:03:37 Yeah, totally. I love the story. So we just listened to the second half of your story, Blood, Soil and Frozen TV Dinners and even though listeners just heard...just heard the whole story, I'm wondering if you could just kind of like walk us through the story in your--you know, from the mouth of the author--what is this story about? **Matt ** 1:04:01 So the story, for me, was about, to some extent, seeing yourself in some ways or, you know, people like you, through the eyes of...through the eyes of someone else, I guess, someone who's very different and might see things in a different way. So I always find it interesting to play with different perspectives or different characters instead of telling the story from a heroic perspective or something. And I wondered what a pathway to a better world might look like from someone who didn't necessarily want that to happen. So we have these, you know, preppers who--call them you want, right-wing conservatives, something like this--and what they might think, given the knowledge that they receive about the world, what they might think is happening when something happens that a lot of the rest of us might want. **Inmn ** 1:05:00 Yeah, totally. I really like how you put that. What was it, like, "a better world that they don't necessarily want?" [both laugh] Okay, well, how did this, how did this story kind of...like how did it come to be? What inspiration did you kind of draw from to craft this situation or these like personalities from Tanner and Blake or Earl Swanson? 1:05:35 Yeah, the story itself, there was a discussion last Halloween, I believe it was, on Coffee With Comrades, there was a interview with Pearson and Margaret Killjoy, talking about the discussion of the monster in literature, which is where I first took the idea that they were talking about seeing yourself as the monster in this idea and sometimes reveling in that or perhaps enjoying it. And that was where the first idea came from. And then the most specific layout of the story or main theme, I guess, was, I was doing something on the US Tax Office website. And there's this whole section for aliens, right, if you're an alien in the U.S., these are the tax rules you need to follow. And I just thought it was a funny word. You know, I'd seen it on Fox News or something before but it just struck me as really weird in such an official position. Yeah, and I just was playing with the ideas of this and, you know, I like thinking about utopias and things. And this is where the like the main shape of the story had come from, just the idea of seeing the monster, seeing the alien from there. And then specific characters, I mean, some of them are just kind of people that I've met, you know, Tanner and Blake, specifically, and I think Earl Swanson's character, I mean--I don't know it's possibly libelous--but we can probably figure out who that's meant to be, right? I think it's reasonably obvious. **Inmn ** 1:07:09 Totally, totally. Yeah. Yeah. No, that's super interesting. Yeah, it's funny, I was rereading the story today to prepare for this interview and I realized that the first time that I was reading it, because of this perspective of the.... I'm like, okay, I know, these are some, you know, at least center-right, far-right preppers and they're using the word "alien" and I don't actually know what they mean by this, which was, you know, maybe a purposeful being vague about it, but I was like, I don't know if they think that it's, you know, illegal aliens or undocumented migrants or whatever or if they mean, like, literal from outer space aliens. And, yeah, I was like, I don't know what they mean by what they're talking about. And maybe they don't either. 1:08:20 This was part of the conceit, right, was setting it up like it's a pretend big reveal, I think, that it's a twist in the story that at some point gets revealed, but that's not really the point. It's not really meant to be a big trick or something like this, you know? I think in discussions in the editing, we talked about in the first page or so when they speaking Arabic, and it's reasonably obvious to anyone that knows Arabic who these people are, you know, it's not hidden, but this was the idea, that they may have meant illegal alien all along, was, you know, the way they we're using the term, but that they weren't necessarily drawing so much of a distinction between the two uses of the word alien, that in their minds a, sort of, invasion by one was the same as the invasion by the other to some extent. **Inmn ** 1:09:10 Yeah, which, you know, I actually really love that from the perspective of.... It's like maybe an interesting twist. I didn't listen to that interview with Pearson and Margaret, so I'm not sure what they talked about, but there's this kind of idea in a lot of spaces that I've been part of,you know, when people talk about things like assimilation or something, especially in queer spaces, of like, "We have to seem harmless to them. We have to seem innocent. We have to seem like we just want to be part of the group," you know, and then this other side that's like, "No, we want to be unknowable. We are claiming the monstrosity that they are putting on us," and I'm like, yeah, we're fucking.... I don't know, anarchists are kind of aliens, like, in an entirely other way of thinking, you know? 1:10:09 Yeah, and just considering some social norms is completely irrelevant or harmful or repressive and other things that other people would consider, perhaps, violent or something seem completely okay to other people. There is a complete sort of alienation of perspective from broader society, I think. And yeah, it is, there's a tension between sometimes wanting to go unnoticed, or, as you say, like assimilate, and even, for me, walking around, you know, sometimes you want to look like an anarchist and sometimes you don't. It's an interesting dynamic, I guess, that you can switch sometimes day-to-day. **Inmn ** 1:10:54 Yeah, yeah. Have you read much of--you know, love talking about this person on the show--have you read much of Ursula Le Guin's Hainish Cycle? 1:11:08 I've read only "The Dispossessed" and "The Left Hand of Darkness". **Inmn ** 1:11:16 Great examples. I think "The Left Hand of Darkness," kind of brings out this idea of where the reader is going to maybe most identify with the alien, or whatever, in "The Left Hand of Darkness" being not the not the Gethens--or I don't remember what they're called. But then it's like, the more that we're reading the book... or there's some times where I'm this alien or, you know, our perspective person just doesn't understand this culture. And that's really painful. And then there are other times when I'm like, I don't know, maybe the alien's perspectives on the world are far more dissimilar to what a normal person on like our planet Earth would think, because they're advocating for a better world that is very alien to people on this planet. Does that make sense? **Matt ** 1:12:24 Yeah, I mean, in "The Dispossessed," I think it's the same dynamic with Shevak coming back to Earth and presenting the perspective, both ways that it seems incredibly alien to him and then the other way around to everyone else that's there, to the general culture there. Yeah. I think it's an interesting literary device to present the outsider point of view, I think, which I mean, is quite the opposite of what I did in this story, I presented the more mainstream point of view, I guess, but from the circles that we're in, it's funny to see from the outside what that looks like. **Inmn ** 1:13:02 Yeah, yeah, I had this very silly idea once for...I don't know if it was gonna be a short story or what but kind of, using that "alien" trope or like "Stranger in a Strange Land" trope as a way to talk to my parents about anarchism or about radical queer spheres. **Matt ** 1:13:27 Yeah, I mean, that's about as alien as it can get for a lot of people's parents, right. **Inmn ** 1:13:31 Totally. But just as some funny little zine that's like an introduction to the punk house, you know? **Matt ** 1:13:44 Yeah, viewed as some sort of interesting zoo creatures. **Inmn ** 1:13:46 Yeah. I was wondering if you could talk a little bit about the kind of political renderings of Tanner and Blake or ,rather, their differences in how they perceive or interact with either preparedness or this new world that they're encountering? **Matt ** 1:14:14 Yeah, I think that Blake's character is a lot.... He knows what he's doing, right? It's a lot more intentional and more--I guess educated is maybe not quite the right word--but a lot more of an actually constructed ideology, whereas for Tanner it's very much received. He's not so keen, not so entirely sold on the idea or doesn't necessarily know the idea. It feels like it's like lost and failing a lot of the time and I think that's why I found him a much more interesting character because that's how I feel a lot of people that I know and talk to and family members and friends and things or friends of people I know get pulled into a lot of these, you know, reactionary ideologies is kind of by accident a lot of the time, right? Because it's what's presented and what they're drawn into by someone who has a lot more investment in it than they do. And they just kind of bumble into it almost by accident. Yeah. **Inmn ** 1:15:20 Because it's what they're seeing on TV. People who are deeper into that philosophy are like.... It's like the people that they're around who are their own little echo chambers of, "Oh, okay, there's this thing happening. Not sure how I feel about it. But I'm being like, fed this perspective on it." **Matt ** 1:15:46 Yeah, and a lot of the social or interpersonal issues that draw people in as well, I think. I tried to make it seem relatively obvious that Tanner is envious of Blake in a lot of ways, right? He is, you know, hotter than him and he is cooler than him and he knows more than him and he's always trying to, like, live up to this ideal that he has just completely interpersonally with no politics or anything in it. And he just wants to live up to what he thinks Blake wants him to be, which it turns out, is a bad thing. I mean, I'm not trying to excuse Tanner's character too much here. But yeah, I think this is what's really dangerous a lot of the time actually, for people who don't necessarily have a fully formed belief in all of these philosophical systems or something that then puts them on the wrong side not by...not necessarily out of evil intention. **Inmn ** 1:16:54 Yeah. No, that's very true. And it's interesting talking about not excusing Tanner's character too much, but as I was reading the story I found myself like, not necessarily rooting for Tanner and Bl
Have you ever wondered why fluorescent colors -- like you see in highlighters or clothing dyes, for instance - seem so much brighter than other colors?
Welcome back to ARTMATTERS: The Podcast for ArtistsOn today's episode, I speak with the artist Jennifer Coates. In her recent paintings, ancient deities appear like ghosts in the abstracted landscape of rural Pennsylvania. Figures merge with their surroundings as weeds and trees become a site of both Pagan ritual and painterly event. The works hang together like tapestries with a variety of marks slowly accumulating in layers and zones to create a flickering but cohesive whole. Coates is in conversation with art history, engaging Modernist landscapes, Baroque painting, and ancient Roman frescoes. Light effects are amplified and color is intensified, suffusing the paintings with the glow of synthetic chemistry. While oil paint references earth and flesh, Coates's use of acrylic paint speaks to the history of plastics and dyes. Fluorescent paints, colors of safety and warning, are used to heighten the dense, hallucinatory scenes.About Jennifer CoatesJennifer Coates is an artist working in Brooklyn, NY and Lakewood, PA. She is the 2021 recipient of the John Koch Art Award from the American Academy of Arts and Letters, a 2021 NYFA Award in painting, a 2019 Fellowship at the Civitella Ranieri Foundation, and a Sharpe Walentas Studio residency (2018-2019) (tel:(2018-2019)). Recent solo shows include Para Pastoral at Pamela Salisbury Gallery, Hudson, NY; Lesser Gods of Lakewood PA at High Noon Gallery, NYC; and Pagan Forest, West Chester University. Recent group shows include Psychedelic Landscape at Eric Firestone Gallery, NYC, Post Pop Landscapes at Acquavella Galleries in NYC and Palm Beach, FL, curated by Todd Bradway. Her work has been written about in Hyperallergic, BOMB Magazine, the Brooklyn Rail, Art Critical, the Huffington Post, Smithsonian Journeys, and Art News, among other publications.If you're enjoying the podcast so far, please rate, review, subscribe and SHARE ON INSTAGRAM! If you have an any questions you want answered, write in to artmatterspodcast@gmail.com About the PodcastHost: Isaac Mann www.isaacmann.cominsta: @isaac.mann Guest: Jennifer Coateswww.jenniferlcoates.com insta: @jennifercoates666
Ecoutez Le 2ème œil de Philippe Caverivière du 17 novembre 2023 avec Philippe Caverivière.
Ecoutez Le 2ème œil de Philippe Caverivière du 17 novembre 2023 avec Philippe Caverivière.
For decades, the bright colors and bold type of Globe Poster Printing Corportation formed the cultural heartbeat of Baltimore. From R&B shows and rock concerts to boxing matches and, now, something called a Deviled Egg Pageant (?!), Globe's unmistakable style has shouted out a range of events — and brought color and electricity to the urban landscape. Globe and its archive are now part of the Maryland College Institute of Art (MICA), and we sat down with Allison Tipton from MICA to discuss the living legacy of this landmark print shop. Check out Globe's collection online here.
Welcome back to the scariest time of the year, Draft Housers! It's Creature Feature month here on the podcast and, wouldn't you know it, we reviewed some non-scary shit to start us out! From the year 2017, we reviewed the 2017 Academy Award winning film, directed by Guillermo del Toro and starring Sally Hawkins, Richard Jenkins, Octavia Spencer, and Michael Shannon...The Shape of Water. Tune in to find out why Mark and Jeff don't necessarily understand Oscar-bait, why Guillermo del Toro is a Mount Rushmore director, and why "fish sex" is a huge turn off...everywhere you get your pods! IMDB synopsis "At a top secret research facility in the 1960s, a lonely janitor forms a unique relationship with an amphibious creature that is being held in captivity." Music this month is brought to you by the Chicago, Illinois pop-punk band Fluorescent with their track "Roll the Dice"! Catch their music wherever you get yours! Spotify YouTube Instagram TikTok Follow the podcast anywhere you get your podcasts from! New episodes drop every Thursday! Spotify Apple Follow the podcast on all your favorite social media platforms! Twitter Instagram TikTok
CLARKE, CLARKE WILL TEAR YOU APART, AGAIN! What a match that was man. After picking themselves up off the floor our Gav and Chris sat back down to pick apart another three points on the road, try to put into words what we just witnessed and somehow preview our upcoming home fixture against Cardiff City on Sunday! (Cheers for the title idea @Rachaelthex91) What's the crack? JACK THE LAD! He's only gone and done it again hasn't he the absolutely gorgeous b*stard. The EFL Championship's current top scorer is on fire! DAN NEIL STRIKES BACK! Absolute stunner from our young midfield maestro to get us back in front; Has he been underrated so far this season? Luke O'Nien plays where he wants; some insanity at the back but the Lads got it done any way they possibly could. Hopefully not too a serious knock for Dan Ballard? Pure unadulterated chaos; Are we all ok after that? Everyone got their sedatives aye? Maybe some warm milk or some… valium… Sunderland are now fourth in the league and our main "senior" forward hasn't kicked a ball yet. Not bad going really is it for the red and white wizards? Aye. Cardiff at the Stadium of Light on Sunday so how are we feeling ahead of that challenge? Ridiculously confident? Nervous? Bit of both? Gav gets carried away with it all (again), we read out your three word reviews and more! Ha'way the Lads! #SAFC #EFL #EFLChampionship Hosted on Acast. See acast.com/privacy for more information.
This week we are joined by great Chicago Artist Devin T. Mays. We talk dressing Wisconsin, Poetry, Humor, how “Everything is Everything”, and how dislocation is a meaningful strategy. We do it all live from the Salt Shed in Chicago for the “Shred at the Shed” with the Chicago Abortion Fund, Portable Gray Magazine, Quimby's and more… Also this episode feature the first appearance of “Other Ryan.” Devin T. Mays – https://regardsgallery.com/artists/devin-mays/ Chicago Abortion Fund – https://www.chicagoabortionfund.org/ Portable Gray Magazine – https://graycenter.uchicago.edu/portablegray Quimby's – https://www.quimbys.com/ Other Ryan – https://www.ryanlucasart.com/ The Salt Shed – https://www.saltshedchicago.com/ Image Devin T. Mays - Gather, Light. Fluorescent light fixtures, Variable dimensions, 2021 c/o Regards Gallery - https://regardsgallery.com/
Knowledge Bomb: Dr. G goes through every room in your home and gives some easy and free tips for overall better health. From your shoes, to your shampoo, these simple swaps will increase your bodily resilience and support your health for years to come. - Making swaps over time - The importance of taking off your shoes in the home - Dust - Opening windows - Mold - Signs of mold sickness - BIRCH AD - NED AD - Where to look for mold - Dangers of Plastic tupperware - The myth of BPA-FREE - The numbers on kitchen plastics - Cookware - Water filters - Bakeware - Cleaning products - Air quality in the bedroom - Healthier beds - Rugs in the bedroom - Bathroom swaps - Painting your home - Fluorescent lights - Pets - Pesticides coming in from outside - BETTERHELP AD Guest Segment: Elise Michaels is a trauma-informed men's mental health coach who is joining the show all the way from Croatia to explain how men are affected by societal and interpersonal pressures to stifle their emotions, which can manifest in negative coping mechanisms, poor relationship skills, and even poor physical health. - Introducing Elise Michaels - Why do men cheat? - Lacking the tools to express emotion - One of the most common wounds in men - Some basic tools for men - Looking inward to find patterns - Unhealthy dynamics - Emotional Unavailability - Self-fulfilling negative cycles - Holding space for our partners - Lacking balance in relationships - learning how to balance the feminine and masculine - The wounded masculine - How do we get men to come back to their heart? - Opening yourself up to connection - Early heartbreaks - Breaking generational traumas - Easy steps for men to heal today - Embodying self-love - What do women seek in their relationship with their father? - The best way to love a man - How to open a man's heart - Don't punish what you want more of - Why Men Cheat (emotionally) Ads: BIRCH Thank you Birch Living for sponsoring! Click here http://birchliving.com/HealthySelf to get 22% off your Birch mattress (plus two free Eco-Rest pillows!). Offer expires at the end of the month. #birchliving NED Discover how Shuteye Chai can revolutionize your sleep and get 15% off with code DRG. Go to helloned.com/DRG or enter code DRG at checkout. Be sure to like and subscribe to #HealThySelf Hosted by Doctor Christian Gonzalez N.D. Follow Doctor G on Instagram @doctor.gonzalez https://www.instagram.com/doctor.gonzalez/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Flying squirrels. Fox squirrels. Giant squirrels. Tiny ones. Grey ones. Black ones. Fluorescent ones? Alie is losing her mind talking to dream guest and Sciuridologist, Dr. Karen Munroe. This Baldwin Wallace University professor has studied squirrels for decades and addresses where they sleep, how many babies they have, if they bite each other's junk, how they find their acorns, Marvel movies, birdfeeder drama, imported squirrels, melanistic morphs, world domination, fistfights with birders, the rarest squirrel, the best place for squirrel tourism and more. You'll scatter hoard so many nuggets of squirrel trivia. Enjoy. Follow Dr. Karen Munroe on Instagram and TwitterDonations were made to: Letters to a Pre-Scientist and Squirrel MapperMore episode sources and linksSmologies (short, classroom-safe) episodesOther episodes you may enjoy: Thermophysiology (BODY HEAT), Indigenous Cuisinology (NATIVE COOKING), Dendrology (TREES) with J. Casey Clapp, Urban Rodentology (SEWER RATS), Fire Ecology (WILDFIRES), Indigenous Fire Ecology (GOOD FIRE), Fulminology (LIGHTNING), Field Trip: Birds of Prey and Raptor Facts, Entomology (INSECTS), Mammalogy (MAMMALS), Carobology (NOT-CHOCOLATE TREES), Felinology (CATS), Chickenology (HENS & ROOSTERS), Oreamnology (MOUNTAIN GOATS ARE NOT GOATS)Sponsors of OlogiesTranscripts and bleeped episodesBecome a patron of Ologies for as little as a buck a monthOlogiesMerch.com has hats, shirts, masks, totes!Follow @Ologies on Twitter and InstagramFollow @AlieWard on Twitter and InstagramEditing by Mercedes Maitland of Maitland Audio Productions and Jarrett Sleeper of MindJam Media and Mark David Christenson. Co-Produced by Mercedes Maitland and Susan Hale. Transcripts by Emily White of The WordaryWebsite by Kelly R. DwyerTheme song by Nick Thorburn
Get ready for a journey back in time, as we pull back the curtain on the ninth studio record by The Hip - 'In Between Evolution'. We'll bring you face-to-face with the record's unique evolution, the masterful production by the iconic Adam Kasper, and the first impression this album left on us. We also promise to share our thoughts on what sets this record apart - from Gord's powerful vocals and the band's rhythmic arrangements to the irrefutable political undertones.We'll further dissect the elements of this extraordinary record, including the band's focus on rhythm guitar and the magnetic chorus that simply pulls you in. Our discussion explores the influence of Neil Young on this album, the importance of the first single 'Vaccination Scar', and how it resonates politically, even in today's world. We'll also touch upon the story of Gus, the polar bear from Central Park, and how it adds a unique dimension to the album.Last but not least, we'll delve deep into the legacy of Gordon Downie and his indelible impact on music and society. We'll reflect on the loss of his unique perspective in the current global scenario. So, brace yourself for an enlightening conversation about this remarkable record and the creators who brought it to life. We promise a captivating experience that will leave you with a renewed appreciation for The Hip's musical brilliance. Let's embark on this journey together, shall we?Track ListingSummer's Killing Us - Studio VersionGus: The Polar Bear from Central Park - Live from Chicago 2012Makeshift We Are - Live from Toronto 2004Are We Family - Live Detroit 2009TranscriptTrack 1:[0:00] Well, welcome back guys. How are you doing this week? Track 2:[0:02] Fantastic. Couldn't be better. Yeah. Life couldn't be better. Track 3:[0:09] Pretty good. Pretty good. Excited to be back. And so it's my birthday. Track 1:[0:15] It's July 24th. Track 3:[0:16] Holy shit. Track 2:[0:18] Today's your birthday. Holy shit. Track 3:[0:20] Wow. Track 1:[0:21] July 24th, man. Yeah. Track 2:[0:24] Happy birthday, man. Track 1:[0:26] Thanks. Track 3:[0:27] I'm going to blame the time change on me forgetting. Track 1:[0:30] No, it's July 24th. Get it? Wink wink? Yeah. Track 2:[0:39] It's your birthday, man. Cuantos anos? Oh. Tienes. Track 1:[0:44] Awesome. What's the last part mean? Track 2:[0:48] How old are you? How many years do you have? Yeah. Is the literal translation. Track 3:[0:53] Countless. I mean, change. Track 1:[0:54] 49, baby. 49. Track 2:[0:55] Oh, knock, knock, knockin' on 50 years. Track 3:[1:02] Let's do this. You know, when we entered our 40s, we were like, 40s are gonna be awesome. This is the decade. And we got to our 50s, we're like, maybe 50s will be awesome. Yeah.Yeah. Oh, it's all awesome. It's all awesome. Track 2:[1:16] Did you ever see the movie City Slickers? Track 3:[1:18] Yeah. Track 1:[1:19] Yeah, years ago. Track 2:[1:19] There's a great, the great monologue by Billy Crystal in the beginning of that. He's like, your 20s are a blur. Your 30s, you make a little money, raise a wife, have a couple of kids, buy a house. Your 40s, you wake up one day and you think to yourself, what happened to my 30s? He goes on to every decade and then he's like, your 80s, you end up like, you eat breakfast at, or whatever, you eat dinner at five, lunch at 10, breakfast the night before. Track 3:[1:52] It's just like, dinner's at four. Track 1:[1:55] Yeah, exactly. Track 3:[1:56] Dinner's at four. Track 2:[1:56] Oh, it's so good. Track 1:[1:58] They're taking all Tim's happy hour seats. Yeah. All the octogenarians. Track 3:[2:03] My father's in a retirement home and when I talk to him, he says, they're coming for me for dinner earlier every day. It's three o'clock. It's coming for dinner. Track 1:[2:20] Like, dude, just call a happy hour. Fuck it. Yeah. So in 2004, we got the ninth studio record by The Hip, In Between Evolution. This is a, you know. Like Clockwork, every two years we've got a record from this band, you know, and they were still touring their brains out. I think it's a staggering feat, you know, that a band with their original lineup can put out a record every two years, you know, guided by voices or bands like that, notwithstanding, thosesongwriters are, you know, Bob Puller, it's just so prolific. It's, it's unreal. But in terms of band work, bands that tour extensively, I don't know of many other bands that have had this kind of halcyon run. But here we are, talking about it. And as we always do, I want to find out environmentally what you thought of the record, where you listened to it, where you first heard it and what your overall general thoughts are onthis 9th record produced by Adam Kasper. What do you think? Track 2:[3:45] I think the name is very fitting, In Between Evolution, because I feel like this record is a bit in between. And I say that, you know, when you're in elementary school, you see the monkey going, you know, to like Croag Magnon Man and then like getting up through the ages to get to the likemodern day man, modern day human. I feel like this record is maybe not any of those, but something like in between that we sort of haven't seen before, you know. It's certainly an evolved version of the hip, but I can't really attribute it to anything they've ever done before or anything I think they will do. It's very different in a lot of ways. Track 1:[4:38] Where do you listen to this one? Track 2:[4:41] I listen to it everywhere. I listen to it out and about. I listen to it in my office, working. Probably best place was in the car, you know. The car really, this record was, I feel like, made for driving, you know, like a lot of their records, you know. So I would say if I had to pick any environment, definitely my car, I mean, I don't know if it's everybody's car, I have a bit of a bias, given that, you know, I've got a pretty solid soundsystem in my car, like a premium. But yeah, I enjoyed it in the car. Track 3:[5:23] We need a soundbite that's like, that's like, premium sound system. Track 2:[5:31] We can drop that in post. Track 3:[5:32] Yeah. Well, I, you know, I'll disagree with Pete. I, to me, this felt more hip, right out the gates and you know I think Pete and I differed a little bit on the last album and I'm really liking our, you know, compare and contrast. I'll just quickly add Pete's haircuts throwing me off a little bit today, but I can deal. I can deal. But anyways, that looks good. [6:06] I thought In Violet Light, the last album, what we reviewed was a little bit of a departure and super polished and, you know, made for like, I don't know, an award stage or something.Maybe have the Oscars on the mind. but I thought in Between Evolution, I looked at the title wondering if that meant they were coming back to their own production type, style, soundrecording. You know, I didn't really understand the title for this one because it felt more like a hip album to me. [6:43] The producer, you know, I looked up to see who did this one. Adam Kasper, he did all kinds of bands in Seattle. Mudhoney, Nirvana, you know, the Foo Fighters, he worked with REM. I don't know if it was all in Seattle, but Soundgarden. He even did some work with Cat Power, who Amy and I adore. One of our favorite singer-songwriters. Just, you know, you worked with amazing musicians. And all these musicians I just listed, maybe except for kind of Aerosmith, I'm not exactly a fan of. But, you know, these are bands, maybe Aerosmith, who wear their hearts on their sleeve and really are just going for it. And almost achieving a status where they have a following and they have their shit down and they can kind of do what they want, you know? And I felt like this album went back to the band a little bit more doing what they want. So I was pretty excited, pretty excited by it. Track 1:[7:43] Can you describe that a little bit more? Like, what do you mean by what they want? Track 3:[7:49] Well, the last album I thought was overproduced. I thought it was... Track 1:[7:52] Right, right. Track 3:[7:53] I thought it was too scripted, you know, I thought it was too, like, ha, here we go back to food metaphors. It's like showing up at a restaurant with a preset menu. That's what I felt the last album was, and I felt like this one was a little bit more carefree. It was a little bit more back to experimental. The lyrics, the themes behind all the songs were, in certain ways, like what I've experienced from other albums past themes, with variation and variety. I don't know, this felt more hip to me. This just felt more like the first handful of albums that got me excited about where the band was going. So in that regard, it's like, yeah, fuck. Let's do this every two years. We're going on 10 years. Or this was the ninth album, right? So it's over 10 years. And that, that to me, as Pete knows, as someone who has recorded, that is such a... [8:58] Heroic work with Yeah with touring to as much as these guys toured I mean It's remarkable that they're all still digging each other so much, you know Yeah, but from also from acouple of things that I read during this tour Is when Gord at one point commented about, even if there's differences going on behind the scenes or Or there was some tour manager issues, Iguess, that once they got on stage and started playing, that they just were a band. They were like NSYNC and just super, super in the groove. Track 2:[9:41] Not like NSYNC. Track 3:[9:42] Yeah, they were very much NSYNC. Just super in the groove, which means they're like this fucking locomotive still. So I think it's still super impressive. Even with a band that I'm not as impressed with or fond of, it's still an impressive feat to go this far with recording, producing, touring, everything. Track 1:[10:05] Yeah. Track 2:[10:07] Yes. Track 3:[10:08] Hands down. Absolutely. Track 2:[10:09] Kudos. Track 1:[10:11] And in terms of environments for you? Track 3:[10:14] Yeah, so it was a lot of car. I listened to it pretty quick after our last review. There's a lot of car time and some home time. I don't play their music much at home over my home systems. So it's a lot of car, a lot of headphones. It's a little more intimate for me to do it that way and I also really enjoy when bands geek out on recording, and you can hear things with headphones on that you wouldn't normally reallybe in tune with if you're just walking around the house playing it through your ear. Track 2:[10:56] There's a few of those on this record. Track 3:[10:57] Yeah, there's a few of those on this record, and I love that stuff. I mean, that to me shows that a band is really caring about their listeners and their fans and their art. There's a few of that. Track 1:[11:14] Well let's dig in then. Heaven is a better place today. Track 3:[11:21] So, yeah, this one, you know, there's been a few albums where... My first listen to the first song. I've never done a random listen first try, you know, and that's the way so many people experience music these days. I hear a song from an artist. So I might have to try that as an experiment on some album. But you know, first listen to Heaven is a Better Place Today in the car. It was like, yes, here we go. Like, Pete, you mentioned a great road trip soundtrack or whatever. This is totally it. It felt like a good, fun, solid opener with a drive and the carry of the drums and the bass really throughout this album seemed a little more...I mean they're always solid butthis one just even seemed more gelled, which is kind of hard to even imagine these guys doing. I loved Gord's singing. He's kind of at an elevated pitch with this one and, you know, from what I understand, it's...well. [12:33] My first take was like, this feels like a memorial song, like this is a tribute to somebody and Of course later learned that it's in part about Dan Snyder. I mean, I'm not a hockey guy I mean even I couldn't even tell you who Atlanta's team is or was Atlanta thrashers. That's probably my favorite hockey team name though so, you know read a little bit about Danny Heatley, did I just say his name wrong? No, don't sorry Dan Snyder Snyder Um, he was killed when is with his teammate Danny Healy. Track 1:[13:08] That's right. Track 3:[13:09] They're the ones who were Wrecked some sports car, which is such a tragic story, you know to hear about somebody famous wrecking in a sports car. It's just It's kind of an awesome way to go. But anyways, you know, I thought it was good solid Opener really really easy ending. It was like, okay, let's keep going How about you Pete I dug it. Track 2:[13:32] I mean, I echo a lot of what Tim said. I mean, I feel like a great opening track. I really got some some some cure vibes here. I really felt like this song had, Yeah, just I heard a lot of the cure in here. I think Gord's vocals, clearly this is a record and we'll kind of get into it with more songs and stuff. Not just, I feel like there's so many songs that probably killed it live on this record, but that Gord's vocals really just keep evolving into something new. I mean, I feel like every member of the band grows a lot, but he's just, it's like everybody takes three steps forward and Gord takes like nine. You know, he skips where everybody just takes steps. It's crazy, man. Track 3:[14:36] Completely. Track 2:[14:37] That's not like a diss on anybody in the band. It's just, I think he thinks differently, or he thought differently, either way, I dug this song. I thought it was a great opener. The second track, Summer's Killing Us, yeah, this is another one where the vocals really do it for me. Um, there's a, there's a part, well, during the chorus, when Gord's singing, um, Summer is Killing Us, like his voice is cracking. You can hear it breaking on the recording. And it's just like, it doesn't crack. Like it's, it just fits. It's perfect. And you're like, this guy's, this guy's, he's redlining the engine and the car is still going. you, You know what I mean? Track 3:[15:33] Like, and the car, I think, has like, 300,000 kilometers on it, you know? Yeah, and it's just like, go, go, go, who cares? Track 1:[15:43] Yeah, they could sing, sing, sing all day. Track 2:[15:47] Yeah, it's I mean, it's had its oil changes and services, I'm sure. Track 3:[15:51] Exactly. Track 2:[15:52] The drums, another thing about the drums on this, I watched some, well, you guys know, I'll talk about a little more later songs, but the drums on this song, A song that just seemslike it's probably so much fun to play for Jonny Faye. Just the stops, the fills, just, it just seemed like if anybody's having a blast, it's him and Gord Downie are just fucking having a ball to this song. Track 3:[16:20] I think you've commented on that before, too. And this one, this one I noticed, you know, first listen was like, oh, he's having fun. There's some fills in there, and that made me think this one live, you know, probably varied a little bit, but probably just kicked ass, too. Yeah, I think. Track 2:[16:39] Yeah, and I gotta say, this is gonna sound really bad, so I want to frame it right. I just want to throw this in because I feel like if I didn't throw it in, I'd be... My initial thought... So this is 2004, right? Yeah. 2003, 2004. 2004 you think when they're recording writing this song I got just Gord's vocals and his phrasing very much got some like early 2000s emo vibes to it. I actually heard and I don't mean this in a disrespectful way So no, no do not give away my address JD. I don't I mean Canada's a far away from Spain, but I got getting hip to the hip calm. Yeah for for comments Emo my ass No, but I really heard I heard a dashboard confessional song Yes pretty mind-blowing, you know Yeah, okay. You hear me? Track 3:[17:41] Okay, I do. I do. I would a million times rather listen to this band. No, 100%. Track 2:[17:48] But I hear you. Track 3:[17:50] But I hear you. Track 2:[17:51] And no, no offense, because I think that I think the guy I can't remember his, his name, the guy. Track 3:[17:56] That's okay. Track 2:[17:57] No, I know. No, just respect him as a musician. I think he's a good musician. I just don't fancy his music much. Anyway. Track 3:[18:08] You know, I was shouting this chorus in the car. Like, first listen, you could sing along to this one. If you know the band, you're like, fucking hyped. Hell yeah, it's a song about summer. Who doesn't like a song about summer? Track 1:[18:19] That's right. Track 3:[18:20] That band always sings about summer, said no one ever. So this one, you could just go. There's awesome stops, there's a good bridge, there's... A few times on this album I think there's more of a focus on just I don't know how to say it Pete but just a better rhythm guitar less riffy like the feel like this album has riff sections thatare a little bit more defined or declared maybe yeah yeah yeah this one gourds at like the three-minute He's like, whoo, you know when he left that it is so good I love that. I love that. Track 1:[19:05] I mean I like exhausted slash. Track 3:[19:06] I'm awesome slash I don't even know what the other slash would be but it's like it's great Yeah, if you're having a moment and you stop and you can actually breathe and do thatwhoo I mean you're having a good day like something's going on something's going on that you're enjoying or you're relieved But I also thought this song was like a song about being tiredand touring and working. Also, you know, maybe some of the research I did, that maybe there were some references again to the South, or slavery, or prison life, you know, that's just like, summer's killing us, youknow? It's amazing and beautiful and tough at the same time. That's kind of what I thought about this song. It's, it felt, this is a few times I have had this happen where the song feels long, but it's like measured in a good way. It's like, it's just, there's enough verses, enough choruses. Track 1:[20:12] I think this is one of the longer songs on the record. Track 3:[20:15] Yeah, yeah. This was, this was fun. Track 2:[20:19] This song, this song also, I just wanted to throw this in too, because I kind of forgot to mention it, one of the cool things about it is that it just goes from this, the chorus is sofucking, but then when it goes back into like the verse, it just, it brings it down again. It just, it just, it flattens it like a, like a compressor. It just flattens it really quick and just makes it even again. You're like, whoo, like the dynamic of the band recordings. It's really cool. That's a hard thing to pull off, man. Track 1:[20:53] I really regret not seeing this tour. Like, really. I have so much regret not seeing this tour. Because this is the first tour that I missed since the beginning. This is the first one that I didn't go see a show. And listening to the record now, it's like, oh man, it's again, so much of it seems to be written to be live, you know? Track 3:[21:18] She must have been really cute, JD. Pardon me? Your girlfriend at the time, I guess. You were busy. Track 1:[21:29] Oh, yeah. Track 2:[21:30] Yeah. Track 3:[21:31] Dude, the next song, you know, Gus, I faintly remember hearing about this. Track 1:[21:35] Yes. Track 3:[21:37] Back then. I mean, if we go back to 2004, you know, this is like the era, politics aside, because we'll probably get into that, but this is like the era when shit online started to take off,you know? Everybody's looked at YouTube. Some of your friends might be listening to Pandora, which at that time had the best radio feature. You could like mix stations and you know There's a lot there's a lot going on electronically The zeros are ones then i'm pretty sure i heard about this song and um, I was telling amy wifeamy yesterday this story about gus This polar bear from central park and uh how they they just deduced that, He was depressed And amy's like no shit polar bear and Activity it was likeyeah, I mean a polar bear's life is what? [22:39] Sleeping, drinking, killing, eating, fucking. I mean, let's put a polar bear in captivity and see how hyped he is. I mean, that's just terrible. So this is amazing that they, I guess, Gord, I don't know who exactly picked up on the story and wrote this one. And, you know, this is also where there was some, maybe the beginning of this album with some political under things here as well but there's this first guitar riff at the beginning of thissong Pete I'm sure you heard it but there's like this there's this weird guitar kind of distortion distortion yeah like that that attack at the beginning is like I wish also I mean live it wouldprobably been so fun to hear that I'm sure it varied a little bit but that's like that outro that outro live must have been so yeah banging yeah drums are huge in this one you know and i'vejust i dug this song it was it was fun there's i could go on and on about it but you know just this poor guy gus he's staring at food all day at the zoo i mean he would eat all these people yesgawking at him so of course he's suffering from depression this is like during this era, scientists were like, he might be depressed. [24:06] Bears, animals can have sentiments of depression. [24:11] It's fucking hilarious. Terrible. Track 2:[24:16] I mean, where do I put down my fucking flag here with this one, dude? First of all, if I was going to start a bar fight, this would be the fucking song I'd put on the J-box right before I picked up the neck of a Labatt Blue, fucking break it over somebody's headand just start a melee. Track 3:[24:41] Shit. Track 2:[24:42] Okay. Track 3:[24:43] Watch out, Hamilton. Yeah. Track 2:[24:49] So, Tim, you're telling the story of the polar bear from Central Park, right? And now that you're telling the story, I remember it. Yeah. Track 3:[24:57] Yeah, me too. Track 2:[24:58] But during listening to this, I didn't remember it because that was a long time ago. And I drank a lot of beer and done a lot of shit since then. And so it didn't register. And so I pictured like a bearded homeless man, a giant bear of a man who was depressed and an alcoholic sitting and fucking with people in Central Park. That's who I heard when I heard this song. I didn't, I didn't at all have any correlation with the actual story of Costa Polar Bear. But this is the now this this album, and then some subsequent YouTube videos that I explored this week, really got me digging into the vibe that is Paul Langlois, because you could Youcan just hear this thumping, it's a thumping vibe that he has with this Les Paul that he's playing and it just fucking rips. This song is the tiger, the lion of this record. Track 3:[26:13] I had the same sentiment for sure. Track 2:[26:17] It's the fucking tiger, the lion of this record. What else? I would say I literally, I literally wrote, I literally wrote that, that, that, that I would be cracking balls a little bit blue, a little bit blue over people's heads. But no, it's the tiger, the lion of this record. And I feel like Neil Young is a lot of guitar on this this record is very Neil Young focused. Track 1:[26:50] I can hear Crazy Horse in this. Track 2:[26:53] Yeah, there's another song that's undoubtedly Crazy Horse. But the end, the solo, Rob Baker proceeds, and I'm going to read this verbatim. The solo, Rob Baker proceeds to melt your fucking face off with a complete and utter disregard for human life. Track 3:[27:10] And that he does. Track 2:[27:13] He starts off that way. He just, well, it just, the solo towards the end is just, it's just fucking, fuck me, man. Track 1:[27:25] Yeah, very good. Track 2:[27:26] Great fucking tune. Probably, yeah, this is, this may end up on the, for my pick, who knows. Track 1:[27:33] All right, we roll into the first single from the record. So this would be the song that introduced most people to this record and it's it's a song called vaccination scar First of all before we get into vaccination scar to either you guys have avaccination scar Nope. No, my cousin has one and she's a year younger than me And I don't understand how she has one and I don't like expired shit. Track 3:[27:59] They put in her arm, I guess maybe it's all my ears on your arm no it's on my calf oh wow okay it's on my calf well it's almost gone now but it was pretty prominent um almost untili turned 20 or something around there i mean my my brain with this one went just went to you know Pfizer and all the all the crazy bullshit oh no oh no i mean that's where i went i readthe song Title and I know okay. This is probably about the booster the the cigar look bird Vaccination scar on my sister's left arm. She's got right here. She's like three years older than me So she's got it. But you know and that's like why the fuck did that thing scar like that? I don't know. Could you imagine I mean, why didn't they build that into the the Johnson Johnson? Johnson and Johnson could have had like, they have that trippy logo. Have you ever seen their actual brand logo? Track 1:[28:59] No. Track 3:[28:59] Oh, people say it has like Satan in it, basically. Oh, of course. It's hilarious. Pete, you would like that research. It's too bad. Track 1:[29:08] But I'll tell you, this song would be a completely different song if the band still existed and they released a song called Vaccination Scar now. Oh, big time. Wonder what the fuck it would be about. Track 3:[29:21] Yeah They might lose listeners and gain listeners at the same. Track 1:[29:25] Yeah, it's true Well, this one a throwback to a throwback, you know We've got the slide guitar again that we haven't really rolled out for a couple records. I don't think What you guys think? Track 3:[29:37] I You know the whole when they get into the slide guitar and kind of go back to So, you know the southern belt of the US kind of sound of rock and that's it's not my favorite thatthey do but right yeah I was a little surprised to hear this is the most listened song song on Spotify I look at that at those that I know I look at that data at the end of kind of my listening Idon't look at that at the beginning. Track 1:[30:09] It does blow my mind because I get it that it's a single. Track 3:[30:11] Yeah why? Is it because it has vaccination in the name? Track 1:[30:15] It might be, because the fact that it's a single shouldn't factor into Spotify at this point. Yeah, yeah. Unless they do, unless they sort of do. Track 2:[30:27] No, they don't retroactive, they don't retroactive shit like that. No. Track 3:[30:32] Yeah, I wouldn't think so either. Yeah, but I thought, you know, this is really, It's the second song. With political references to George Bush, the Iraq invasion, the WMDs that didn't exist, like this, there's references in the song about all of that. And that in and of itself is like a time capsule of sorts. Track 1:[30:57] Yeah, and we were thinking the world was a pretty bad place then. Track 3:[31:00] Yeah, it's basically an anti-war song, even though like during that era, I don't know, there were like six or eight other countries that were on board with this whole attack, you know,I believe Spain was one of them. Track 2:[31:13] So it's for everyone. Yeah. Right. States. Track 3:[31:19] So, you know, I, I hate to say it, but I enjoy like hearing something political referencing the times and, you know, it becomes a time capsule type of song with, with those themesduring, let's see, I guess late 80s, in which these guys would have been totally in tune with. You know, that's when the Bushes were really rising to power and going after mega weapons developments. And a buddy of mine grew up in the Carolinas during those George Bush senior years and knew the family, and they have crazy stories about shit they were doing. I don't need the FBI chasing me, but like, a lot of bullshit activity that involves war and weapons in the corporate aspect of America's machine and economy running on just. The war machine. So that's where I feel like Gord's really tapping into in this album. And it keeps going. He's kind of in it in this album. Track 1:[32:27] It was a tough environment to not be in it. And it rips my heart right out of my ribcage and throws it on the ground to think that this band isn't around anymore. Because I would love to know what Gord's thinking about... Track 2:[32:41] You're burying my fucking lead, JD. Track 1:[32:43] Sorry, buddy. Go ahead. Track 2:[32:44] No, no, dude, no, run with it, run with it. Track 3:[32:47] They'd be the Pussy Riot of Canada, I'll tell you that. Track 2:[32:49] JD, please, please continue, I'm sorry. Track 1:[32:51] I just, I just, you know, I just, I would just love to hear his take on what's been going on the last five or six years, you know? And we really missed out on that. And that's like, fuck cancer, you know? Fuck cancer. Yeah, yeah. Some of the lyrics in this, I think they just roll. I think the way he sings in this song He's he's into that lower register, you know Like you said the with the side guitar like it's it's almost anolder version of the band and he's singing again in that older Version voice but man some of the lyrics that he strings together like even the chorus. There's one thing I remember is the tear and the there's one thing I remember is this tear on your bare shoulder this little silver boulder the slowly falling star we're rolling so what nevergetting older where the moon shock curtains part to the start of enough a teardrop then a vaccination scar like holy shit I don't know how I get all that out imagine that writing moment inpen in hand and, you're just like it's just yeah it's incredible yeah well yeah I mean, I echo everything that you guys have said. Track 2:[34:09] Funny point. Just I don't want to leave it out because you made me think of it, Tim, when you were talking about George Bush. This is not unknown, but a great George H.W. Bush fact, Bush number one, our first Bush president, doesn't remember where he was the day Kennedy was shot. What? Track 1:[34:34] Yeah, yeah. Track 2:[34:35] Look that up. That's a total fact. And he was actually in Dallas because there's There's like evidence of it, but you know, everybody's like, I mean, I remember where I was in thechallenge of blew up I remember where I was when Kobe Bryant died when I remember when yeah 9-11 out. Sorry Yeah, Kobe Bryant was you know, now that was a big bit bigger. No offense to Kobe fans But yeah, and he was asked where were you when Kennedy was shot? He's like, I don't remember like what? Track 1:[35:05] Yeah Everybody of that generation, my mom knew where she was and she was a Canadian in Waterford. Track 3:[35:10] You know, they're so detached. The, the, the, the, that whole section of political history just lived on. Track 2:[35:17] If by detached, you mean culpable, Tim, then yes. Track 3:[35:21] Yeah, yeah, completely. I mean, like just not relatable. They just, honestly, like my, my buddy and his family in the late eighties, early 90s, used to meet up at one of their homes. This is the story. Used to meet up at one of their homes on the coast, Bush's homes. And like, oh, our new whatever jet boat is going to come by. Can't wait to show you guys. We'll go for a ride. Like just completely alternative, horrible reality of life and what's appropriate. Track 2:[35:59] Yeah, I mean, that family's, I mean, what more could you say without getting too political? Track 3:[36:04] There was a moment when, we'll get off of politics here, there was a moment during the Trump administration where I was like, damn, I would take Mr. Bush Jr. any moment, bring him back right now, let's swap him out. And I never would have thought that when he was in office. You know? Track 2:[36:22] Well, yeah, it's pretty sad. Track 1:[36:24] For sure, I feel the same way. Track 2:[36:26] It's pretty sad, though, that we're at, that stage, I mean, to bring it back to the record and sort of to not bring it back to the record, because musically, I feel like this song, you guyssummed it up. But in terms of what JD said about the one thing I thought about this song, I kept thinking about was Gord and if he was alive today and this band was alive today. And I say that because he was such a unifying icon for Canada and the band was, I mean, the guy could bring people together completely. And I think America's been divided for a long time. Tim and I both know that pretty well and anybody from the outside who's windowed… That's like his West Coasters, right? You guys really have felt it. Track 3:[37:26] Yeah, yeah, yeah. Track 2:[37:29] But I think that in terms of Canada and everything that went on during the whole COVID lockdown and stuff, I feel like Gord would have had a really interesting take on it. Because I feel like there was the... You know, it's, there's always three sides of every story. And the way we kind of, most people experience COVID, most people, you either were fucking hardcore on the left, or you'rehardcore on the right. But there's one thing I've learned in life. There's the way you think it happened. It's the way the other person thought it was happened. And then there's the way it really happened. Track 1:[38:06] Look at you dropping extreme references, three sides to every story. Track 2:[38:10] I'm just saying, I feel like Gordon would bring a fucking take, and the band would bring a take to, you know, what's going on in life at this time. That just would open people's eyes. And a lot of people on both the right and the left would shut the fuck up and listen to A Voice of Reason, which- I think you're right. Would have been Gord Downie, had it not been for his untimely death. Track 3:[38:35] But I mean, we have that in this day and age, but it's just spread out. And I don't know, less, it's smaller, smaller doses more widely spread out through music today. Well, there's plenty of bands doing it, but like, I don't know. Track 2:[38:53] I agree sort of, Tim, but I think musically, it's one thing to do it musically, but Gord was more than a musician. Track 3:[39:00] Yeah, yeah. Track 2:[39:01] From what I've seen, he's a guy that would get up and make a fucking statement, like outside of music and nowadays I feel like when people make a statement that it's against, thecommon narrative of whatever, They're tarred and feathered as either. You're a racist fuck or you're a liberal Nancy or whatever it is. And the funny thing about Gord is you couldn't do that to him because he was Canada's fucking golden boy. So I would have loved to have seen anybody in Canada try to throw shade onthat motherfucker when he was... Had he been here to dispel the truth like he always liked to do. Anyway, I digress. How about... Track 3:[39:43] I have a feeling like only rednecks in the South were throwing shade at him, you know. Track 1:[39:49] There's a reference in this song about singing Life is Forgetting, and Life is Forgetting is in quotes. I looked it up, I can't find a song called Life is Forgetting. Is that something that rings the bell for you guys? Or is that just, you know, the narrator basically saying that that's a song that somebody's singing that's made up? Track 3:[40:12] Not sure. Track 2:[40:15] No. I'm not sure either. But if I take it into context of what we're talking about, I think people forget, life is forgetting. Tim made the reference earlier about wanting George Bush over Donald Trump at the height of whatever. And I think people forget, you know, I am not Not a Donald Trump fan, didn't vote for the guy, but you can take all the shit that's said and everything, and I'm not carrying water foranybody, let me make this fucking clear, but it's mind boggling to me how we can think that, and I thought it at times too Tim, you're not alone in that, I think a lot of people thought it, buthow we could, be like, I'd rather have a guy who started a war, an illegal war on lies that killed upwards of a million people. In the White House right now, rather than a guy who's just a total piece of shit scumbag who shouldn't be there in the first place. Like we forget that there's a guy who is literally responsible for killing a million people and starting multiple illegal wars. And we'd rather have that person. So life is forgetting, JD. I think that line belongs in that song. If we're talking about politics. Track 1:[41:41] Well, he said fuck this and fuck that and this guy's the diplomat. It can't be Nashville every night. Track 3:[41:52] I love the simplicity of this one. It's quick. You know, what we are is what we lack. That song was just like, if anything's going to make you think about oneself and what you're portraying and working on, or I don't know, that statement just slapped me. There's Gord, I think, is faintly doing his own backup singing in this one, if you really crank it in your headphones, and it's fucking awesome, and it was even kind of cute. I just dug it. The chorus, or maybe it's a verse, I don't know, the la-la-oh-oh-yas, you know, just simple, good rock and roll. Apparently, he's poking fun at Toby Keith with this song. Track 1:[42:41] Oh, did not know that. Track 3:[42:42] He was a country music singer who was pro-America, pro-military, pro-goat. Track 2:[42:51] He was Tarn and Feather the Dixie Chicks, man. He was one of the guys that went against the grain on that and threw them out to try. Track 3:[42:59] Yeah, I also think this is like a song that's, Trying to let artists know that there's more to life than producing a single, you know? This is a time of this era, fucking Maroon 5, Nickelback, you know? This is a little bit later Lenny Kravitz, but when Lenny Kravitz is just like glossed up and just everyone knows the chorus, you know? But nobody has bought the album, maybe. I don't know. I'm not dissing Lenny Kravitz too much. You can diss Lenny Kravitz. He's his own... Well, he's the institution. I mean, I saw him play live and he was incredible. Track 1:[43:37] I did too. That first record was really good with the cab driver on it. Track 3:[43:42] Yep. I saw Blind Melon open for them. Me too! Track 1:[43:46] Oh, shit. Track 3:[43:47] Dude, okay, just to digress. Blind Melon kicked Lenny and his band's ass. Like, Blind Melon, they were so good then. You know, they... Track 2:[43:59] Yeah, we've had this conversation, Jake. Track 3:[44:00] Yeah, so good. So good. So anyways, you know, the song I thought was short and great. And it's just, it's got some good quick statements. It was, I don't know, it just fit for where it was at and everything. That's about it. Track 2:[44:17] Cool. I dug this tune. Real quick, just to my Lenny Kravitz comment, not dissing the guy, I like the music. I think his daughter is a great actress. Track 3:[44:30] Gorgeous. Track 2:[44:31] Just never trust a guy who only plays a flying V. Track 3:[44:33] Never. Track 2:[44:38] It's a fucking red flag, ladies. Track 3:[44:40] At the beginning of COVID, he was apparently stuck on his island in the Caribbean, or like a island with just a handful of other people living there. And he's just like, just living off coconuts and pineapples and avocados, bro. I was like, fuck you. That sounds perfect. Yeah, I would have killed for that. Track 2:[45:03] Yeah, I dug the song. I thought, I thought this is another one that would have been awesome live. The groove was just fantastic. There's a line that he delivers that I'm sure you guys all noticed, but I love the the way it's, one is stares into the blur, stares into the glare, stares into the queer. And it's just fucking, like the way he delivers it, I was like, what is he saying there? And I had to look up the lyrics, cause it was so cool. Cool. Johnny Faye, literally, I don't know what it is, man. But like, this is when he's around early 2000. He started like getting like destroying crash cymbals. And I know I pointed out to you guys this week as I was watching the video, like there's a, there's a concert they were playing, maybe it was at the Fillmore where he just broke a fuckingcymbal, because the motherfucker hit it so hard. And you can see a guy replacing the cymbal like just coming in. Track 3:[46:04] He has a drum tech, you know? Track 2:[46:06] Oh, yeah, I know. Well, I mean, he's got something to come in and do it. But like, middle of the song, guy's got to come in and replace the cymbal. I love it. Track 3:[46:14] So cool. Track 2:[46:14] So cool. This is this song and a number of others to point out at the end of the song, if you're wearing headphones, you can hear a couple drumsticks click. Mm hmm. Oh, so this is this is one of the many Easter eggs on this record. Track 3:[46:31] Yeah, I heard that too at first. I was like, is he hitting the rim? But it really sounded like sticks. Track 2:[46:36] There is one that he does. Track 3:[46:37] He does. Track 1:[46:38] He's just putting them down, though, right? He's just putting the sticks down kind of thing? Track 3:[46:41] I mean, in general, yeah. You hear a little more drum nuggets on this album. Track 2:[46:47] But I feel like these songs are like, it's just a signal to like, that was Johnny's song. Like, all the ones that have those, this is Johnny's song. Because he just fucking ripped on these ones. Track 3:[46:59] Yeah, I feel like when a drummer does that, when a drummer just slaps down the sticks, It's like at the end of a good meal, and you just set your knife and fork down, and you'relike, fuck. Just nailed it. And drummers do that with drummers that care. When bands nail it, you can't. I wish I could produce, because I would love to just yell at musicians, and tell them they're awesome, and tell them they're terrible. Track 2:[47:26] Just kidding. Track 3:[47:28] Just kidding. But that's that sound. That's like that triumphant sound of just killing it. Track 1:[47:34] I win. Yeah, touchdown. We move next to Back, in fact. Back to New Orleans. This is the second geographical song on the record of three, which is interesting. But it's also a trip back to New Orleans. And I can't think of many other bands that would have a song as iconic as New Orleans is sinking, which would still be so heavy in the tourrotation and then they release another song with the same name in it. I know that sounds like really trivial but it's interesting to me. It's really interesting. And this is a very different look at New Orleans and a very different sound but I dig this song. Track 3:[48:23] Did they play there? Chady? They played like a small clubs there, right? Track 1:[48:29] Yeah, likely. Yeah down in the down in the south. They weren't you know quite as As big as they were on the west coast and across the border for sure there was yeah They always but they always played like I mean they would do like au.s. Track 3:[48:45] Tour that would be like 40 dates probably, you know, like they they were fairly thorough There was some reference it with this one about him him going back to New Orleans withfriends or something, just for vacation. And I guess maybe in part this is about that visit, because he found places he wanted to go to that were closed, or... Track 1:[49:08] Oh, okay. It's post-Katrina? Track 3:[49:11] I mean, it's 2004. Track 2:[49:11] No, it's pre-Katrina. Track 1:[49:13] Yeah. Track 3:[49:13] Pre-Katrina. Track 1:[49:14] Okay. Track 3:[49:16] I thought this, you know, it's probably the most beautiful song on the album. It's just serene. I don't know, it's love, it's death, it's fading, you know, rashing away the smiles. It's like, fuck, that's just like storing up in your heart for the future, you know, it's just gorgeous guitar during the chorus. It's just, this is a great one. Track 2:[49:39] Yeah, I thought that, I think this probably might be one of the better, if not one of the best hip songs. And I say that, I don't say that lightly. I think it's a really good song and yeah, JD, I mean, I wrote the notes like, what's the deal with New Orleans? You know, why? Just the song was beautiful. There's the lead in to it and then throughout the song, Rob Baker's using what I think by that time was probably pretty dialed in. He was using an Ebo on his guitar, which is like one of those. You ever seen one of those before? No. I've never been able to use it. I'm not a good enough guitar player to be able to use it. Track 1:[50:27] You stop. Track 2:[50:27] No, dude, they're fucking hard to use. Track 1:[50:29] Everybody go out and buy the record, Marchika, and the first one is out. The second one is in production? Track 2:[50:39] So the the the ebow is like a light it's like a ultraviolet light on this thing and you hold it over the guitar string and it it vibrates the string so it makes it sound like a violin bow henceebow electric bow. Oh okay I had no idea. Track 3:[50:57] Me neither. Track 2:[50:58] It's an amazing effect and it's really cool um some guys can pull it off with like volume and sustain but like he's not He's using an EBO on this shit. And it's fucking, it's just a testament to the, like how talented these guys are. how you can. Take what we've heard for the first five songs of this record and then bring it to this and just you're like transported to New Orleans and just you just I thought I kept thinking I saw NewOrleans in this and then hearing this song I felt like God I wish I could have heard this live at like Red Rocks. Track 3:[51:35] Hell yeah yeah oh man. Track 2:[51:39] Clear sky completely pitch black No lights, just drop the lights. Give me a spotlight on Gordon, nothing else. And Rob Baker during the EBO, but other than that. Track 1:[51:49] **Matt Stauffer** Of course. Track 3:[51:51] You have to be on psychedelics to use that thing or what? That sounds difficult. Track 2:[51:54] **Robert Walsh** Dude, it's hard. Track 3:[51:54] **Matt Stauffer** That sounds, yeah. Track 2:[51:56] **Robert Walsh** It looks easy and everybody's like, yeah, it's not easy. It's not easy. Track 1:[52:04] **Matt Stauffer** All right, let's go to to You're Everywhere and Reel Our Irish In. Track 2:[52:12] The, I dug this song. The fucking melody in this song is just, it's wild. I dug it. I dug it. It has a cool, it straps you in a little bit, like kind of soft and easy, but it just builds. I feel like the lyrics to this song are scathing. I didn't dig much into the meaning. But like reading them, just reading them once, I think when I had listened to it a number of times, I was like, Whoa, whoever or whatever this ismaking reference to is a tense subject. Track 3:[53:00] Yeah, so to speak. Gord's angry. Track 1:[53:03] Can you guys be more specific? Track 2:[53:08] If I'd brought up lyrics, I could've. Track 3:[53:10] I mean, on that note, I heard this song and I knew these guys were recording in Seattle and I figure that probably at this point in their career, probably not everything is writtenbefore recording, you know, like ahead of time, weeks or anything. And I imagine these guys, you know, what are they doing, staying in some hotel in Seattle near this recording studio? And the fucking news during this era is nonstop all the time. You know, it's just like, bad news all the time about the war and GWB. And I mean, I wrote, you know, the heaviness of this song, I wrote, we're bombarded by by fear, we were then and now, fear and despair, and then driven out to be sold by hope, tarnishedby soldiers dying, or not having proper access to healthcare, or being addicts, or suicide rates, you know, when vets return from all of our glorious wars, and it's just kind of like the bandfeeling. That the only way that anyone can attack this kind of corporate war machine that's happening is Is to sing about it, you know produce art about it there's a line in there that it keeps theeconomy alive it's like This song is the fuck that bullshit song, you know, you're everywhere point of the war man smedley butler's War is a racket. Track 2:[54:38] Yeah, you haven't read it. It's pretty it's pretty quick read Yeah. Fuck, yeah, I got a lot of what was going on during this time in this record. It felt very like, if I closed my eyes and listened to this record and I had no idea when it was made, I would have been like, 2003, 2005, somewhere in there. And not just because of the music itself, but yeah, because the content of it was just But this is another one that has drumsticks sound, putting down the drumsticks at the end. So this is another one. Yeah. This is the second song that uses a slide too, so I'm not a big fan of the slide, but It's hard to not enjoy it when it's placed properly. And a song, if it's done well. So I think this song does a good job. Track 3:[55:43] I mean, sometimes there's a time and a place. I don't know. It's more of a historical feature to guitar playing for me. I can't imagine some new song that would really enjoy that's featuring a slide. Track 1:[55:58] Well, that's why I was so strange that Vaccination Scar was the first single. Especially when Heaven is a Better Place Today is such a banger to open the record. Yeah, why yeah Don't know. Don't know. I mean it wasn't it wasn't having this place better place today Wasn't a single at all. The singles were vaccination scar. It can't be Nashville every night and then Gus Was the third single which is like pretty ambitious for a band to release that as a, single Yeah are gonna get that. That's right, that's right. Sothey're well past giving a fuck about trying to use singles to bring people in. Yeah, yeah. Track 3:[56:46] Which, how wonderful. Track 1:[56:48] How wonderful, right? Track 3:[56:49] How wonderful. Track 1:[56:50] They're just doing it for art's sake. Track 2:[56:51] Freeing. Track 1:[56:53] Yeah. Track 3:[56:54] I mean, I have a close cousin of mine who plays in a band here in Portland, I'll give him a quick plug, 40 feet tall. And they're super fun. And they just hit it so hard and they have a few total fuck it songs and they do covers every once in a while. They're courageous in their art, which I love, but it's one of those things also that not everybody gets. Sometimes I think maybe the hip missed some listeners in the USA because fucking half Half the countries are dipshits. Track 2:[57:35] You know what, and Tim, I don't disagree with you on there too, but I will say one thing too, just being from America and now not living there, and I know you've lived in Russiafor for some time too, Tim, but. I think the difference with Russia and the United States, and this is somebody who hasn't lived in Russia, but there's somebody who's also lived outside the United States. I think America is the most, probably the most propagandized country in the world that doesn't know it's being propagandized. Like at least in Russia, you're like, yeah, this is all bullshit, but we just kind of go along with it anyway. The United States, like people actually believe like when they watch like FoxNews or MSNBC, They actually believe the shit they're seeing on TV. And so when I think about, like both the left and the right, when I think about a band like this, I think like Americans attention span is like that of a fucking housefly. They couldn't appreciate this fucking band if they had a gun to their head. Could be. Most couldn't, dude. They just couldn't. Track 3:[58:42] Could be. Track 2:[58:42] It's just like, and so I think the hip probably just got like, fucking, why are we going to waste our time on these fucking dickheads this was like i said this was a fucking era ofmaroon five and britney spears you know yeah i mean jenny do you have to put explicit lyrics or explicit content on all of these because i just realize i'm dropping a few f-bombs oh yeahyeah okay okay yeah it's and on the old podcast on fully and completely we got a few comments that we swore too much oh really yeah yeah Yeah, Greg and I were like, oh, what thefuck. It was Sam Elliott, and he was drinking a beer, and he was like, do you have to swear so much, dude? Track 3:[59:23] It was all the Toby Keith fans who were like, yeah, I still don't like the hip. Track 1:[59:29] Well, we move next into a real banger, coming out of that moody section with New Orleans is beat and you're everywhere. And we go into as makeshift as you are, or as makeshift as we are. What did you vibe on that one, Pete? Track 2:[59:49] So this song comes on right when I put the quarters into the pool table and I push the slide in and those balls drop and I'm just racking it up. Racking up a game of pool. That's what this song is for me. Track 3:[1:00:06] That's fucking beautiful. Track 2:[1:00:08] Popping a cold Coors Light. There's some really low tone. This is another song and this record really opened up my eyes because I feel like I've been a bit of a fucking Rob Baker fanboy. I'll cop to that. Track 1:[1:00:26] No. Track 2:[1:00:27] Last couple of pods, but Paul Langlois is a fucking solid guitar player, dude. You don't notice it unless you look to it. As a matter of fact, one of the things I was thinking of on this song... And also this week and I was watching some live hit videos and I challenge anybody in the community to do this. Listen to a song or and or watch a live recording a live, you know, performance. Watch it five times and each time focus on the instrument of the person you're focusing on and listen to them play their instrument. It is fucking cool. And I did that a number of times with Paul Aigloire. I've done it many times with Rob Baker more than I care to admit. Track 3:[1:01:25] But no, Paul- Are you having dreams about him? Track 2:[1:01:29] No, no, no, I'm making wisecracks. But it's easy to, it's easy to, the focus to just go right to gourd when the chorus hits or he does some fucking amazing shit. But if you really focus on the individual instruments, you will see how fucking polished these musicians are. Track 3:[1:01:48] Yeah, super pro. Track 2:[1:01:49] And then one line that stuck out to me, I love the bridge in the song. I love the harmonies when they all come in together because it
Hey there! Welcome to Accessibility Minute, your weekly look at Assistive Technology, those clever tools and devices designed to help people who have difficulties with vision, mobility, hearing, or other special needs! If you’re looking for a new desk lamp, check out the Kary LED Desk Lamp. Fluorescent lights are commonly used, but they can […] The post AM529 Kary LED Desk Lamp first appeared on Assistive Technology at Easter Seals Crossroads.
Five episodes in and it's the turn of a smutty summer classic to take a spin on the DBTH turntable. There's witty but poignant lyrics, bingo, betting and much more, including another mention for our old mate John Cooper Clarke. Not only that, but we've got a fantastic video to get our teeth into. All this and much much more besides, on the only weekly podcast dedicated to the band of a generation. Don't forget to like, follow and review on whatever you use to listen, it massively helps us out with the algorithms, whatever that means. Don't Believe The Hype is written and produced by Nick Lee and Dan Holt. Sign up to our Patreon here: https://patreon.com/arcticpodcast Find all our links here: https://linktr.ee/arcticmonkeyspodcast Get in touch with the show at arcticmonkeyspodcast@gmail.com Royalty-free music courtesy of https://lesfm.net/
A tough test but not on the greatest stage
Genetic engineering is a controversial topic. From vaccines to fetal cells to transhumanism, the debate rages. Yet, there are certain aspects to genetic engineering that are demonstrably good. How are we supposed to make heads or tails of this new technology, especially since it is impacting every aspect of our lives? I thought that a simple explanation (at least, as simple as I could make it!) of the things I did while earning my PhD could help increase our understanding. I, as a conservative Christian, made the 'frankenfish'. I stole the genes for the bright green and red fluorescent proteins in corals, engineered them into bacteria, then into fish. There is nothing inherently difficult in what I did, but there were a LOT of steps. Perhaps, after this explanation, we can have a more civil discussion on the pros and cons. Links and notes: Gibbs PDL, Carter RW, and Schmale MC (2008) Nucleic acid encoding fluorescent proteins from aquatic species. US Patent #7,413,874. Gibbs PDL, Carter RW, and Schmale MC (2007) Fluorescent Proteins from Aquatic Species. US Patent #7,291,711. Carter RW, Schmale MS, and Gibbs PDL (2004) Cloning of anthozoan fluorescent protein genes. Comparative Biochemistry and Physiology, Part C 138:259–270. Carter RW (2003) Cnidarian Fluorescent Proteins. PhD Dissertation. University of Miami. Manica A, Carter RW (2000) Morphological and fluorescence analysis of the Montastraea annularis species complex in Florida. Marine Biology 137:899–906. Monkeying around with human embryos? Harnessing God's design to help prevent sickness, but will the new vaccine technology alter our DNA? Unnatural selection: CRISPR on Netflix Gene editing babies? A dangerous, pointless experiment Human/animal hybrids? Human Cloning? Mammoth clones coming to a zoo near you
Episode: 3288 Yellow-Bellies. Today we consider "Yellow Bellies".
Do you remember your first date with your spouse? Here's a list of the WORST FIRST DATE locations:-Fast Food? Fluorescent lights, screaming kids, crying babies-In the dark?-Parents house? Why is that even on the list?-A funeral? What? Really?Hope you enjoy this list as much as we did! Photo Courtesy: The Guardian
The Sterling Hill Mine in Ogdensburg, New Jersey is the site of a geological marvel that can't be found anywhere else in the world.READ MORE IN THE ATLAS: https://www.atlasobscura.com/places/flourescent-rocks-of-sterling-hill-mine
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