Podcast appearances and mentions of John Gilmore

Curious about compensation trends for in-house legal roles? What are the different components of private company compensation, how do private equity companies structure equity, or how to evaluate a compensation offer? John Gilmore is a veteran executive recruiter. His firm, Barker Gilmore, conducts one of the industry's most comprehensive surveys on in-house compensation. In this episode, John pulls back the curtain on compensation trends and how GC compensation benchmarks against other roles. He also shares strategies for negotiating compensation and how to nail tough interview questions about comp and other topics.

A survey released by the INMO today has revealed that eight in ten nurses claim that patients are being treated in “inappropriate settings”.This includes places such as hospital corridors…To discuss, Andrea is joined by Dr John Gilmore, Assistant Professor and Head of General Nursing at UCD, as well as listeners.

Episode 136 Sun Ra and Stockhausen—An Imaginary Encounter in Electronic Music Playlist   Time Track Time Start Introduction –Thom Holmes 14:28 00:00 Karlheinz Stockhausen,  “Es (It)” (1969) from Aus Den Sieben Tagen (from the Seven Days) (1973 Deutsche Grammophon). Composed by, electronics (Filters, Potentiometers), spoken voice, technician (Sound Direction), liner notes, Karlheinz Stockhausen; Elektronium, Harald Bojé; Piano, Aloys Kontarsky; Drums, Percussion (Tam-tam, Flexatone, Guero, Bamboo Flute, Jew's Harp, Rolf Gehlhaar; Drums, Percussion (Tam-tam, Flexatone, Guero, Jew's Harp, Alfred Alings; Viola, Johannes G. Fritsch. The Elektronium was an electronic instrument in the form of an accordion, invented by Hohner in 1952. From the cycle of compositions entitled Aus den Sieben Tagen. Es (10th May 1968). This is the complete cycle for the work consisting of 7 albums recorded at the Georg-Moller-Haus (Loge) in Darmstadt, from the 26th to 31st August 1969. This is different than the earlier recordings from Cologne that were released separately. Comes in a sturdy box together with a tri-lingual 20-page booklet. Each record is packed in its own cover. 23:04 14:30 Sun-Ra and his Astro Infinity Arkestra, “Space Probe” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley.” Recorded at Gershon Kingsley's New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year. 17:45 37:30 Sun-Ra and his Astro Infinity Arkestra, “The Code Of Interdependence” (1969) from My Brother The Wind Vol. 1 (2017 Cosmic Myth Records). Moog Modular Synthesizer solo, two keyboards, Sun Ra; Moog programming and mixing, Gershon Kingsley; Drums, Danny Davis, John Gilmore; Oboe, Marshall Allen; Tenor Saxophone, John Gilmore. Recorded at Gershon Kingsley's New York studio before Sun Ra had acquired a prototype Minimoog from Bob Moog the following year. 16:50 55:16   Opening background music: Sun Ra and his Solar Myth Arkestra, “Seen Three Took Four” from The Solar-Myth Approach Vol. 1 (1970 Actuel). Piano, Minimoog, Electric Organ, Clavinet, Sun Ra; Tenor Saxophone, Percussion, John Gilmore; among a huge host of others. Introduction to the podcast voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. My Books/eBooks: Electronic and Experimental Music, sixth edition, Routledge 2020. Also, Sound Art: Concepts and Practices, first edition, Routledge 2022. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. Original music by Thom Holmes can be found on iTunes and Bandcamp.

In his regular monthly spot on PING, APNIC's Chief Scientist, Geoff Huston, discusses a large pool of IPv4 addresses left in the IANA registry, from the classful allocation days back in the mid 1980s. This block, from 240.0.0.0 to 255.255.255.255 encompasses 268 million hosts, which is a significant chunk of address space: it's equivalent to 16 class-A blocks, each of 16 million hosts. Seems a shame to waste it, how about we get this back into use? Back in 2007 Geoff Paul and myself submitted An IETF Draft which would have removed these addresses from the "reserved" status in IANA and used to supplement the RFC1918 private use block. We felt at the time this was the best use of these addresses because of their apparent un-routability, in the global internet. Almost all IP network stacks at that time shared a lineage with the BSD network code developed at the University of California, and released in 1983 as BSD4.2. Subsequent versions of this codebase included a 2 or 3 line rule inside the Kernel which checked the top 4 bits of the 32 bit address field, and refused to forward packets which had these 4 bits set. This reflected the IANA status marking this range as reserved. The draft did not achieve consensus. A more recent proposal has emerged from Seth Schoen, David Täht and John Gilmore in 2021 which continues to be worked on, but rather than assigning to RFC1918 internal non-routable puts the address into global unicast use. The authors believe that the critical filter in devices has now been lifted, and no longer persists at large in the BSD and Linux derived codebases. This echoes use of the address space which has been noted inside the Datacentre. Geoff has been measuring reachability at large to this address space, using the APNIC Labs measurement system and a prefix in 240.0.0.0/4 temporarily assigned and routed in BGP. The results were not encouraging, and Geoff thinks routability of the range remains a very high burden.

Recently, someone on Mastodon asked, "Looking for an article or blog or text, that succinctly describes, at grade 1 level English, why “if you have nothing to hide, you have nothing to fear” is a crazy and bad argument, and perhaps also includes what some good arguments are. Need it for a family member. " I thought that was an excellent request. So along with an article posted with this podcast, I interviewed John Gilmore, head researcher at the data-scrubbing company Deleteme, about the history of that philosophy and why it is "crazy." What I learned from Mr. Gilmore even surprised me. --- Support this podcast: https://podcasters.spotify.com/pod/show/crucialtech/support

Dr. Kenneth Hoffer shares his journey into ophthalmology, starting from his humble beginnings as a high school student with a dream. He overcame financial obstacles and received scholarships to pursue his medical education. Initially interested in heart surgery, he was inspired to become an ophthalmologist after observing a cataract operation. Dr. Hoffer became a pioneer in intraocular lens (IOL) implantation and power calculation, founding the American Intra-Ocular Implant Society (AIOIS) and the Journal of Cataract and Refractive Surgery. He also played a role in the formation of the European Society of Cataract and Refractive Surgery (ESCRS). Dr. Kenneth Hoffer reflects on his experiences as the editor of the Journal of Cataract and Refractive Surgery (JCRS) and his contributions to the field of ophthalmology. He discusses the challenges of editing the journal and the meticulous process of typesetting and printing. Dr. Hoffer also shares his pride in the journal and its impact on lens implant calculations and surgical techniques. He also discusses his invention of the Hoffer Split Bifocal, the first multifocal intraocular lens, and his mentors who influenced his career. Takeaways Dr. Kenneth Hoffer's journey into ophthalmology started with a dream and overcoming financial obstacles. He was inspired to become an ophthalmologist after observing a cataract operation. Dr. Hoffer became a pioneer in intraocular lens (IOL) implantation and power calculation. He founded the American Intra-Ocular Implant Society (AIOIS) and the Journal of Cataract and Refractive Surgery. Dr. Hoffer played a role in the formation of the European Society of Cataract and Refractive Surgery (ESCRS). Editing a journal requires attention to detail and a strong command of language. The Journal of Cataract and Refractive Surgery (JCRS) has played a significant role in advancing lens implant calculations and surgical techniques. Dr. Kenneth Hoffer invented the Hoffer Split Bifocal, the first multifocal intraocular lens. Mentors, such as Carl Lisonic, John Gilmore, Norman Chaffee, and Robert Drew, played a crucial role in Dr. Hoffer's career. Keywords ophthalmology, journey, scholarships, medical education, heart surgery, cataract operation, intraocular lens, IOL, power calculation, American Intra-Ocular Implant Society, AIOIS, Journal of Cataract and Refractive Surgery, European Society of Cataract and Refractive Surgery, ESCRS, journal editing, typesetting, printing, lens implant calculations, surgical techniques, multifocal intraocular lens, mentors

“CATTIN' WITH COLTRANE AND QUINICHETTE” Hackensack, N.J., May 17, 1957Cattin', Sunday, VodkaPaul Quinichette, John Coltrane (ts) Mal Waldron (p) Julian Euell (b) Ed Thigpen (d) RUSS FREEMAN RUSS FREEMAN TRIO Los Angeles, December 28, 1953Yesterday's gardenias, Backfield in motionRuss Freeman (p) Joe Mondragon (b) Shelly Manne (d) Los Angeles, August 12, 1957Joey, Joey, Joey, Woody's dotRuss Freeman (p) Monty Budwig (b) Shelly Manne (d) CLIFFORD JORDAN BLOWING IN FROM CHICAGO Hackensack, N.J., March 3, 1957Status quo, Bo-Till, EverywhereClifford Jordan, John Gilmore (ts) Horace Silver (p) Curly Russell (b) Art Blakey (d) Continue reading Puro Jazz 04 de julio 2024 at PuroJazz.

“CATTIN' WITH COLTRANE AND QUINICHETTE” Hackensack, N.J., May 17, 1957Cattin', Sunday, VodkaPaul Quinichette, John Coltrane (ts) Mal Waldron (p) Julian Euell (b) Ed Thigpen (d) RUSS FREEMAN RUSS FREEMAN TRIO Los Angeles, December 28, 1953Yesterday's gardenias, Backfield in motionRuss Freeman (p) Joe Mondragon (b) Shelly Manne (d) Los Angeles, August 12, 1957Joey, Joey, Joey, Woody's dotRuss Freeman (p) Monty Budwig (b) Shelly Manne (d) CLIFFORD JORDAN BLOWING IN FROM CHICAGO Hackensack, N.J., March 3, 1957Status quo, Bo-Till, EverywhereClifford Jordan, John Gilmore (ts) Horace Silver (p) Curly Russell (b) Art Blakey (d) Continue reading Puro Jazz 04 de julio 2024 at PuroJazz.

Story Hour is Centre for Stories' regular monthly podcast where we sift through our archives of recorded stories to bring you up to an hour of diverse, intriguing, and real experiences from (extra)ordinary people. This month's theme is PREJUDICE, a deeply ingrained aspect of the human experience. Our stories show how prejudice manifests in myriad forms across societies and cultures. It's the lens through which we sometimes view others, coloured by stereotypes, biases, and preconceptions. Featuring storytellers Sarah Duguid, John Gilmore, Shizleen Aishath and Skye Windebank. If you liked this episode, find out more about our stories and services at www.centreforstories.com. Sound engineering and original music from Mason Vellios. Narrated by Luisa Mitchell.

Als marges s'hi viu molt fresc. Explorem territoris sonors fora de les muralles del mainstream buscant propostes aventureres que viatgin per camins poc transitats del jazz i la improvisaci

MCCOY TYNER TODAY AND TOMORROW Englewood Cliffs, NJ, June 4, 1963 A night in TunisiaMcCoy Tyner (p) Jimmy Garrison (b) Albert “Tootie” Heath (d) Englewood Cliffs, NJ, February 4, 1963 Three flowersThad Jones (tp) Frank Strozier (as) John Gilmore (ts) McCoy Tyner (p) Butch Warren (b) Elvin Jones (d) CHARLES LLOYD THE SKY WILL STILL BE THERE TOMORROW New York ?, March, 2023Defiant, tender warrior, Monk's dance, Booker's gardenCharles Lloyd (ts,fl) Jason Moran (p) Larry Grenadier (b) Brian Blade (d) PRINCE LASHA THE CRY! Continue reading Puro Jazz 23 abril 2024 at PuroJazz.

MCCOY TYNER TODAY AND TOMORROW Englewood Cliffs, NJ, June 4, 1963 A night in TunisiaMcCoy Tyner (p) Jimmy Garrison (b) Albert “Tootie” Heath (d) Englewood Cliffs, NJ, February 4, 1963 Three flowersThad Jones (tp) Frank Strozier (as) John Gilmore (ts) McCoy Tyner (p) Butch Warren (b) Elvin Jones (d) CHARLES LLOYD THE SKY WILL STILL BE THERE TOMORROW New York ?, March, 2023Defiant, tender warrior, Monk's dance, Booker's gardenCharles Lloyd (ts,fl) Jason Moran (p) Larry Grenadier (b) Brian Blade (d) PRINCE LASHA THE CRY! Continue reading Puro Jazz 23 abril 2024 at PuroJazz.

Geert Vanden Bossche's DIRE WARNING -Vaccinated Entering ‘Hyper Acute' Phase - Mass Casualties To watch the entire show visit- The Shannon Joy Show  Apr 04 2024   Other Episodes We feature Geert Vanden Bosscha's recent Substack with DIRE warnings that appear to be playing out. ALSO - special guest John Gilmore of the Autism Action Network. A series of incredibly HORRIBLE bills on the docket in NYS and coming to a state near you if people don't WAKE up! Get MORE information at https://www.autismactionnetwork.org/   Excess mortality in younger and middle aged people (Joomi Kim, Bret Swanson & Bret Weinstein) Watch this video at- https://youtu.be/yAkoSjpVrl0?si=m8fohyj0cQtO8_jT DarkHorse Podcast Clips 432K subscribers 29,609 views Apr 9, 2024 What's causing excess mortality? Age Stratified Excess Mortality: https://infonomena.substack.com/p/soc... YouTube continues to punish us so we're moving more content to X and Rumble/Locals and away from YouTube. Please subscribe to us there: https://rumble.com/c/darkhorse https://darkhorse.locals.com/ https://X.com/thedarkhorsepod Clip taken from: https://rumble.com/v4l8x10-unsettling... https://open.spotify.com/episode/7xil...     • Unsettling Science – Rebutting the Ex...   Find more from us on Bret's website (https://bretweinstein.net) or Heather's website (http://heatherheying.com). Heather's newsletter, Natural Selections (subscribe to get free weekly essays in your inbox): https://naturalselections.substack.com A Hunter-Gatherer's Guide to the 21st Century is now available: https://huntergatherersguide.com/ DarkHorse merchandise now available at: http://store.darkhorsepodcast.org/

We feature Geert Vanden Bosscha's recent Substack with DIRE warnings that appear to be playing out.  ALSO - special guest John Gilmore of the Autism Action Network.  A series of incredibly HORRIBLE bills on the docket in NYS and coming to a state near you if people don't WAKE up!Get MORE information at https://www.autismactionnetwork.org/Please support our sponsors!!!Colonial Metals Group is helping Americans emancipate from the rigged market system & protect their hard earned savings with a variety of precious metal investment options to fit EVERY lifestyle.Learn about your options HERE ——>https://colonialmetalsgroup.com/shannonjoy-show/ Or, to talk to a REAL person - give them a call at this special number for the SJ audience!Call them at (888)-705-0950For TOTAL phone security and privacy check out our sponsors at Connecta Mobil! Visit them TODAY at www.Phone123.com/Joy Or talk to a real person by calling: 941-246-2156Get FIT and healthy with your daily serving of Field of Greens!!!Fieldofgreens.com and use the promo code JOY for 15% off! Support the showColonial Metals Group is helping Americans emancipate from the rigged market system & protect their hard earned savings with a variety of precious metal investment options to fit EVERY lifestyle.Learn about your options HERE ——>https://colonialmetalsgroup.com/shannonjoy-show/ Or, to talk to a REAL person - give them a call at this special number for the SJ audience!Call them at (888)-705-0950 For TOTAL phone security and privacy check out our sponsors at Connecta Mobil! Visit them TODAY at www.Phone123.com/Joy Or talk to a real person by calling: 941-246-2156 Get FIT and healthy with your daily serving of Field of Greens!!!Fieldofgreens.com and use the promo code JOY for 15% off!

This episode explores the tidal energy industry. Tidal energy has great potential around our coastline as a reliable form of renewable energy, however, it is all about getting the technology right to reduce costs and make it cost-effective, as well as having no environmental impact. On a new format of Coastal Catch Ups, I answer questions from previous guests on the podcast. So thank you John Gilmore for this question regarding the results of an experimental tidal energy project in Strangford Lough. Although I was not involved in the project, there were plenty of documents, as well as digging out old field trip notes during University, to delve into. So I share the key things I took from my research with you.The episode covers:What controls the tides?Where is the best place to harness tidal energy?What technology can be used to generate tidal energy?What was the Seagen Project in Strangford?What are the environmental impacts of tidal energy?Is Tidal energy cost-effective?What are the future plans for tidal energy in the UK and Ireland?I hope you enjoy the episode and learn something new about our coasts. Please let me know what you think at sam@coastalcatchups.com.

Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 11:57 00:00 1.    Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order. 12:48 11:57 2.    The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart. 5:33 24:44 3.    Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles' first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis. 16:59 30:14 4.    Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel. 4:16 47:10 5.    Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele. 2:30 51:24 6.    J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968. 2:31 53:54 7.    Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers. 5:06 56:22 8.    Bill Evans, “I'm All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano. 5:42 1:01:24 9.    Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson. 9:07 1:07:05 10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin;  Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore. 2:28 1:16:12 11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 2:43 1:18:38 12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 3:34 1:21:20 Sun Ra's flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord. 13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 9:31 1:24:52 14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra's rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:05 1:34:25 15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:40 1:36:30 Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey. 16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson). 9:19 1:39:08 17.  Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin. 10:36 1:48:18 18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson. 7:33 1:58:46 The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s. 19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell. 6:39 2:06:19 20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis. 4:40 2:12:54 21.  Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis. 2:52 2:17:32 22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company's demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson. 2:43 2:20:24 23.  Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 7:25 2:23:04 24.  Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 2:00 2:30:28 25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer's purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer. 4:29 2:32:26 26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 5:32 2:36:52 27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 4:44 2:42:22 28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner. 9:51 2:47:04 29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:12 2:56:54 30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:26 2:58:06   Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.  

Episode 117 Electronic Keyboards in Jazz, A Recorded History, Part 1 of 2 Playlist   Length Start Time Introduction 05:42 00:00 1.             Vernon Geyer, “Day After Day” from All Ashore / Day After Day (1938 Bluebird). Soloist, Hammond Electric Organ, Vernon Geyer. 02:22 05:42 2.             Milt Herth Quartet / Milt Herth Trio, “Minuet in Jazz” from Home-Cookin' Mama With The Fryin' Pan / Minuet In Jazz (1938 Decca). Milt Herth was one of the first to record with the Hammond Organ Model A. His playing was more focused on melody and counterpoint and not so much on creating a lush progression of chords. This was recorded a few years before the availability of the Leslie rotating speaker, which added a special tone quality to later Hammonds, such as the model B3. 02:44 08:04 3.             Milt Herth Quartet / Milt Herth Trio, “Looney Little Tooney” from Flat Foot Floojie / Looney Little Tooney (1938 Decca).  Vocals, O'Neil Spencer; Drums, O'Neil Spencer; Guitar, Teddy Bunn; Hammond Organ, Milt Herth; Piano, Willie Smith (The Lion). 02:50 10:46 4.             "Fats" Waller And His Rhythm, “Come Down to Earth, My Angel” from Come Down To Earth, My Angel / Liver Lip Jones (1941 Bluebird). Waller was an extremely popular ragtime and stride piano player and vocalist. In this number, he takes a rare turn on an electric organ, presumably an early model Hammond. Vocals, Piano, Electric Organ, "Fats" Waller; Bass, Cedric Wallace; Clarinet, Tenor Saxophone, Gene Sedric; Drums, Slick Jones; Guitar, Al Casey; Trumpet, John Hamilton. 03:10 13:36 5.             Collins H. Driggs, “When Day is Done” from The Magic Of The Novachord (1941 Victor). Soloist, Hammond Novachord, Collins H. Driggs. This was an early polyphonic keyboard that generated its sounds using valve, or vacuum tube, oscillators. Made by Hammond, the Novachord was an entirely different electronic instrument than its tone-wheel organs. The Novachord had unique, synthesizer-like controls over envelope generation, band pass filtering and vibrato controlled by a series of flip switches, offering the keyboardist a unique suite of sounds. 03:11 16:45 6.             The Four Clefs, “It's Heavenly” from It's Heavenly / Dig These Blues (1943 Bluebird). Hammond Electric Organ, James Marshall. Another organ recording and a nice duet with a guitarist Johnny "Happy" Green. 02:41 19:54 7.             Ethel Smith And The Bando Carioca, “Tico-Tico” from Tico-Tico / Lero Lero / Bem Te Vi Atrevido (1944 Decca). Another was a popular and skilled organist using a pre-B3 Hammond. 02:45 22:36 8.             Slim Gaillard Quartette, “Novachord Boogie” from Tee Say Malee / Novachord Boogie (1946 Atomic Records). Bass, Tiny Brown; Drums, Oscar Bradley; Guitar, Slim Gaillard; Piano, Dodo Marmarosa. While the Hammond Novachord plays a prominent role in this recording, the player is not credited. 02:57 25:20 9.             Milt Herth And His Trio,” Twelfth Street Rag” from Herthquake Boogie / Twelfth Street Rag (1948 Decca). Recorded in New York, NY, September 5, 1947. Described on the recording as a “Boogie Woogie Instrumental.” Hammond Organ, Milt Herth; Drums, Piano, Uncredited. Herth had been recording with the Hammond organ since 1937. 03:10 28:16 10.         Ben Light With Herb Kern And Lloyd Sloop, “Benny's Boogie” from Benny's Boogie / Whispering (1949 Tempo). This track includes the triple keyboard combination of piano, organ, and Novachord. Hammond Electric Organ , Herb Kern; Piano, Ben Light; Hammond Novachord, Lloyd Sloop. 02:37 31:27 11.         Johnny Meyer Met Het Kwartet Jan Corduwener, “There's Yes! Yes! in your Eyes” from Little White Lies / Thereʼs Yes! Yes! In Your Eyes (1949 Decca). Accordion player Johnny Meyer added a Hammond Solovox organ to his musical arrangements. The Solovox was monophonic and it added a solo voice to his performances. This recording is from the Netherlands. 03:22 34:04 12.         E. Robert Scott, R.E. Wolke, “Instructions For Playing Lowrey Organo” (excerpt) from Instructions For Playing Lowrey Organo (circa 1950 No Label). Promotional disc produced by piano and organ distributor Janssen, presumably with the cooperation of Lowrey. This is a 12-inch 78 RPM disc, but is undated, so I believe that picking 1950 as the release year is safe because the Organo was introduced in 1949 and 78 RPM records were already beginning to be replaced in 1950 by the 33-1/3 RPM disc. Recordings of this instrument are extremely rare. I have no such examples within a jazz context, but being a competitor of the Hammond Solovox, I thought this was worth including. 03:23 37:26 13.         Ethel Smith, “Toca Tu Samba” from Souvenir Album (1950 Decca). One of the great female masters of the Hammond Electric Organ was Ethel Smith. Her performances were mostly considered as pop music, but she had the knack for creating Latin jazz tracks such as this. Featuring The Bando Carioca; Hammond Electric Organ soloist, Ethel Smith. 02:25 40:48 14.         The Harmonicats, “The Little Red Monkey” from The Little Red Monkey / Pachuko Hop (1953 Mercury). Jerry Murad's Harmonicats were an American harmonica-based group. On this number, they included the electronic instrument known as the Clavioline. The Clavioline produced a fuzzy square wave that could be filtered to roughly imitate many other instruments. The record is inscribed with the message, “Introducing the Clavioline,” but the player is not mentioned. 01:56 43:12 15.         Djalma Ferreira E Seus Milionarios Do Ritmo, “Solovox Blues” from Parada De Dança N. 2 (1953 Musidisc). From Brazil comes a jazz group that included the Hammond Solovox Organ as part of its ensemble. Invented in 1940, the Solovox was a monophonic keyboard intended as an add-on to a piano for playing organ-flavored solos. It had a 3-octave mini keyboard and controls over vibrato and attack time, and tone settings for deep, full, and brilliant. Piano, Hammond Solovox Organ, Djalma Ferreira; Bass, Egidio Bocanera; Bongos, Amaury Rodrigues; Drums, Cecy Machado; Guitar, Nestor Campos. 02:31 45:08 16.         Eddie Baxter, “Jalousie” from Temptation (1957 Rendezvous Records). Piano, Hammond Organ, Celesta (Electronic Celeste), Krueger Percussion Bass, Eddie Baxter; rhythm section, uncredited. Like Ethel Smith, Baxter was pushing the limits of popular music with his virtuosity on the organ and other instruments. In this track you can hear the electronic celesta with its chime-like sounds near the beginning before the electric organ and guitar dominate the rest of the piece. 02:33 47:38 17.         Eddie Baxter, “Temptation” from Temptation (1957 Rendezvous Records). Hammond Electric Organ, Eddie Baxter. Piano, Hammond Organ, Wurlitzer Electric Piano, Krueger Percussion Bass, Eddie Baxter. In this track, you can clearly hear the Wurlitzer electric piano in several sections. 02:08 50:10 18.         Le Sun Ra And His Arkestra, “Advice to Medics” from Super-Sonic Jazz (1957 El Saturn Records). This excursion into one of the first records released by Sun Ra as a bandleader of the Arkestra was recorded in 1956 at RCA Studios, Chicago. This track is a solo for the Wurlitzer Electric Piano, an instrument invented in 1954 and that was quickly adopted by many jazz and popular music players. 02:02 52:17 19.         Le Sun Ra And His Arkestra, “India” from Super-Sonic Jazz (1957 El Saturn Records). A work featuring the Wurlitzer Electric Piano played by Sun Ra, miscellaneous percussion; electric bass, Wilburn Green; Drums, Robert Barry and William Cochran; Timpani, Timbales, Jim Herndon; and trumpet, Art Hoyle. 04:48 54:18 20.         Le Sun Ra And His Arkestra, “Springtime in Chicago” from Super-Sonic Jazz (1957 El Saturn Records). This work features Sun Ra playing the acoustic and electric pianos. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran. 03:50 59:14 21.         Le Sun Ra And His Arkestra, “Sunology” from Super-Sonic Jazz (1957 El Saturn Records). Another number with both the acoustic and electric pianos. Of interest is how Sun Ra moves deftly from one keyboard to the other (these recordings were made in real time), often mid-phrase. This was a style of playing that Sun Ra would continue to perfect throughout his long career and many electronic keyboards. Wurlitzer Electric Piano, piano Sun Ra; bass, Victor Sproles; Tenor Saxophone, John Gilmore; Drums, Robert Barry and William Cochran; Alto Saxophone, James Scales; Alto Saxophone, Baritone Saxophone, Pat Patrick. 12:47 01:02:54 22.         Steve Allen, “Electronic Boogie” from Electrified Favorites (1958 Coral). From Steve Allen, who played the Wurlitzer Electric Piano on this track. This track has the characteristic brashness that was typical of the Wurlitzer sound. 02:23 01:15:40 23.         Steve Allen, “Steverino Swings” from Electrified Favorites (1958 Coral). From Wurlitzer Electric Piano, Steve Allen. Unlike many tracks featuring the Wurlitzer Electric, which make use of its distortion and emphasize its sharp attack, it was possible to closely mimic an acoustic piano as well, as Allen does here. I had to listen to this several times before I believed that it was the Wurlitzer, as the liner notes state. But you can hear certain tell-tale sounds all along the way—such as the slight electrified reverb after a phrase concludes and the occasional thump of the bass notes played by the left hand. 02:54 01:18:02 24.         Michel Magne, “Larmes En Sol Pleureur (Extrait D'un Chagrin Emmitouflé)” from Musique Tachiste (1959 Paris). Jazz expression in a third-stream jazz setting by French composer Michel Magne. Third-stream was a music genre that fused jazz and classical music. The term was coined in 1957 by composer Gunther Schuller after which there was a surge of activity around this idea. In this example, the Ondes Martenot and vocalist add jazz nuances to a chamber music setting, the interpretation being very jazz-like. Ondes Martenot, Janine De Waleine; Piano, Paul Castagnier; Violin, Lionel Gali; Voice, Christiane Legrand. 02:38 01:20:54 25.         Ray Charles, “What'd I Say” from What'd I Say (1959 Atlantic). This might be the most famous track ever recorded using a Wurlitzer Electric Piano. The fuzzy, sharp tone added depth and feeling to the playing. The opening bars were imitated far and wide for radio advertising of drag races during the 1960s. 05:05 01:23:30 26.         Lew Davies And His Orchestra, “Spellbound” from Strange Interlude (1961 Command). This was one of Enoch Light's productions from the early 1960s, when stereo separation was still an experiment. This is the theme from the Hitchcock movie with a melody played on the Ondioline, a monophonic organ and an otherwise jazzy arrangement with a rhythm section, reeds, and horns. Arrangement, Lew Davies; Ondioline, Sy Mann; Bass, Bob Haggart, Jack Lesberg; Cymbalum, Michael Szittai; Drums, George Devens, Phil Kraus; French Horn,Paul Faulise, Tony Miranda; Guitar, Tony Mottola; Reeds, Al Klink, Ezelle Watson, Phil Bodner, Stanley Webb; Trombone, Bobby Byrne, Dick Hixon, Urbie Green; Produced by, Enoch Light. 03:29 01:28:34 27.         Sy Mann and Nick Tagg, “Sweet and Lovely” from 2 Organs & Percussion (1961 Grand Award). Duets on the Hammond B3 and Lowrey Organs “propelled by the urgent percussive drive of a brilliant rhythm section.” This is a unique opportunity to contract and compare the sounds of the Hammond and Lowrey organs with percussion. Hammond B3 Organ, Sy Mann, Nick Tagg. The track begins with the Lowrey and demonstrates the sliding tone effects made possible by its Glide foot switch. 02:58 01:32:02 28.         Enoch Light And The Light Brigade, “Green Eyes” from Vibrations (1962 Command). More stereo separation hijinks from Enoch Light. This tune features the Ondioline in an exchange of lines with the guitar and other instruments. The Ondioline is first heard at about 35 seconds. Ondioline, Milton Kraus; Bass, Bob Haggart; Guitar, Tony Mottola; Percussion, Bobby Rosengarden, Dan Lamond, Ed Shaughnessy, Phil Kraus; Piano, Moe Wechsler; Trumpet – Doc Severinsen; Woodwind – Phil Bodner, Stanley Webb; Produced by, Enoch Light. 02:50 01:34:59 29.         Jimmy Smith, “Begger for the Blues” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). Jimmy Smith was a great jazz soloist on the Hammond B3 organ. This stripped-down arrangement shows his nuanced expression skills with the organ. 07:26 01:37:49 30.         Jimmy Smith, “Walk On The Wild Side” from The Unpredictable Jimmy Smith--Bashin' (1962 Verve). This big band arrangement of a theme from the movie Walk on the Wild Side features the Hammond B3 of Smith in the context of a full jazz orchestration. 05:54 01:45:12 31.         Dick Hyman And His Orchestra, “Stompin' At The Savoy” from Electrodynamics (1963 Command). Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Hyman shows off the steady, smooth tonalities of the Lowrey and also makes use of the Glide foot switch right from the beginning with that little whistling glissando that he repeats five times in the first 30 seconds. 02:50 01:51:06 32.         Sun Ra, “The Cosmos” from The Heliocentric Worlds Of Sun Ra, Vol. I (1965 ESP Disc). The instrumentation on this entire album is quite experimental, especially the dominance of the bass marimba, Electronic Celesta, and timpani of Sun Ra. The celesta is seldom heard on jazz records, but it is the only electronic keyboard found on this track. Marimba, Electronic Celesta, timpani, Sun Ra; Percussion, Jimhmi (sp Jimmy) Johnson; Performer, Sun Ra And His Solar Arkestra; Baritone Saxophone, Percussion, Pat Patrick; Bass, Ronnie Boykins; Bass Clarinet, Wood Block, Robert Cummings; Bass Trombone, Bernard Pettaway; Flute, Alto Saxophone, Danny Davis; Percussion, timpani, Jimmi Johnson; Piccolo Flute, Alto Saxophone, Bells, Spiral Cymbal, Marshall Allen. 07:31 01:53:54 33.         Sun Ra And His Solar Arkestra, “The Magic City” from The Magic City (1966 Saturn Research). You won't be disappointed to know that Sun Ra gave the Clavioline a turn on this album. This was prior to his experimenting with synthesizers, which we will cover in Part 2 of this exploration of early electronic keyboards in jazz. He incorporated the Clavioline in many of his mid-1960s recordings. Clavioline, Piano, Sun Ra; Alto Saxophone, Danny Davis, Harry Spencer; Percussion, Roger Blank; Trombone, Ali Hassan; Trumpet, Walter Miller. 27:24 02:01:22 34.         Clyde Borly & His Percussions, “Taboo” from Music In 5 Dimensions (1965 Atco). Vocals, Ondes Martenot, Janine De Waleyne. Yes, Ms. De Waleyne was a French vocalist and Ondes Martenot player. 03:33 02:28:44 35.         Jeanne Loriod, Stève Laurent and Pierre Duclos, ''Ordinateur X Y Z” from Ondes Martenot (1966 SONOROP). Album of broadcast library music from France that happened to feature the Ondes Martenot played Jeanne Loriod; drums, uncredited. The dynamic expression features of the monophonic electronic instrument can be clearly experienced on this track. 02:05 02:32:16 36.         Roger Roger, “Running with the Wind” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. This track features a solo Ondes Martenot and is backed by an electric harpsichord. The Ondes Martenot used the same electronic principle to create smooth, flowing tones as the Theremin, only that it was controlled by a keyboard. In this piece, the articulation of the Ondes Martenot is quite apart from that of the Theremin, including its double-tracked tones and the quick pacing which is rather un-Theremin-like. 01:28 02:34:20 37.         Roger Roger, “Night Ride” from Chappell Mood Music Vol. 21 (1969 Chappell). Broadcast library recording with various themes played using the Ondes Martenot. While this track features a flute solo, you can hear the Ondes Martenot from time to time, especially in the middle break. Other uncredited musician play drums, harp, and perhaps a celesta on this track. 01:35 02:35:45 Opening background music: Dick Hyman And His Orchestra, “Mack the Knife,” “Satin Doll” and “Shadowland” from Electrodynamics (1963 Command). Dick Hyman playing the Lowrey organ. Arranged, Lowrey Organ, Dick Hyman; Bass, Bob Haggart; Drums, Osie Johnson; Guitar, Al Casamenti, Tony Mottola; Marimba, Xylophone, Vibraphone, Bongos, Congas, Bass Drum, Bells, Cowbell, Bob Rosengarden, Phil Kraus; Produced by Enoch Light. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can download the PDF, for free, on my blog, Noise and Notations at thomholmes.com

John Gilmore on Trots Life (24/01/24) Learn more about your ad choices. Visit megaphone.fm/adchoices

John Gilmore, the son of Voyle Gilmore, the famous producer, who did all The Kingston Trio‘s best albums, as well as Sinatra the Beatles and many more great Capitol Records recordings, tells more stories of The Trio. This is much more of a Kingston Trio centric episode and there's some great stories in here from John.

"Easily Slip Into Another World," Henry Threadgill's recent memoir, is required reading for a full appreciation of tonight's Deep Focus.  It reveals the roots, the rich harvest, and the hidden, dark corners of a vibrant, creative life.  The prose is plainspoken and forthright but the content is absolutely mind-expanding.  No one of Threadgill's explosively expressive generation has laid bare the inspirations for his art as Threadgill does here.   - What was it like to talk with John Coltrane? (surprising answer!).   - And what about Duke Ellington? (astonishing answer!). - What experiences, musical and other, shaped you as a creative person? (kaleidoscopic answers!). - What really happened to you guys in Viet Nam? (hideous, bewildering answers). - How distinctive was the music scene in Chicago as you were coming up?    This last question brings us to tonight's Deep Focus.  Henry Threadgill joins host Mitch Goldman for an exploration of two of his great inspirations: saxophonists John Gilmore and Von Freeman.  And will the WKCR archives yield unheard wonders?  Only one way to find out!   This Monday (9/25) on WKCR 89.9FM, WKCR-HD and wkcr.org.  Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   Photo credit: no publishing information available.    #WKCR  #JazzAlternatives #DeepFocus #HenryThreadgill #MitchGoldman #VonFreeman #JohnGilmore #SunRa #JazzRadio #JazzInterview #JazzPodcast   

"Easily Slip Into Another World," Henry Threadgill's recent memoir, is required reading for a full appreciation of tonight's Deep Focus.  It reveals the roots, the rich harvest, and the hidden, dark corners of a vibrant, creative life.  The prose is plainspoken and forthright but the content is absolutely mind-expanding.  No one of Threadgill's explosively expressive generation has laid bare the inspirations for his art as Threadgill does here.   - What was it like to talk with John Coltrane? (surprising answer!).   - And what about Duke Ellington? (astonishing answer!). - What experiences, musical and other, shaped you as a creative person? (kaleidoscopic answers!). - What really happened to you guys in Viet Nam? (hideous, bewildering answers). - How distinctive was the music scene in Chicago as you were coming up?    This last question brings us to tonight's Deep Focus.  Henry Threadgill joins host Mitch Goldman for an exploration of two of his great inspirations: saxophonists John Gilmore and Von Freeman.  And will the WKCR archives yield unheard wonders?  Only one way to find out!   This Monday (9/25) on WKCR 89.9FM, WKCR-HD and wkcr.org.  Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   Photo credit: no publishing info available.   #WKCR  #JazzAlternatives #DeepFocus #HenryThreadgill #MitchGoldman #VonFreeman #JohnGilmore #SunRa #JazzRadio #JazzInterview #JazzPodcast   

"Easily Slip Into Another World," Henry Threadgill's recent memoir, is required reading for a full appreciation of tonight's Deep Focus.  It reveals the roots, the rich harvest, and the hidden, dark corners of a vibrant, creative life.  The prose is plainspoken and forthright but the content is absolutely mind-expanding.  No one of Threadgill's explosively expressive generation has laid bare the inspirations for his art as Threadgill does here.   - What was it like to talk with John Coltrane? (surprising answer!).   - And what about Duke Ellington? (astonishing answer!). - What experiences, musical and other, shaped you as a creative person? (kaleidoscopic answers!). - What really happened to you guys in Viet Nam? (hideous, bewildering answers). - How distinctive was the music scene in Chicago as you were coming up?    This last question brings us to tonight's Deep Focus.  Henry Threadgill joins host Mitch Goldman for an exploration of two of his great inspirations: saxophonists John Gilmore and Von Freeman.  And will the WKCR archives yield unheard wonders?  Only one way to find out!   This Monday (9/25) on WKCR 89.9FM, WKCR-HD and wkcr.org.  Next week it goes up on the Deep Focus podcast on your favorite podcasting app or at https://mitchgoldman.podbean.com/   #WKCR  #JazzAlternatives #DeepFocus #HenryThreadgill #MitchGoldman #VonFreeman #JohnGilmore #SunRa #JazzRadio #JazzInterview #JazzPodcast   

John Gilmore, son of pioneering Producer at Capitol Records Voyle Gilmore discusses his youth, his dad and how he pioneered the recording of The Kingston Trio, Frank Sinatra and many more great Capitol Artists.

Here are my 100 interesting things to learn about cryptography: For a 128-bit encryption key, there are 340 billion billion billion billion possible keys. [Calc: 2**128/(1e9**4)] For a 256-bit encryption key, there are 115,792 billion billion billion billion billion billion billion billion possible keys. [Calc: 2**256/(1e9**8)] To crack a 128-bit encryption with brute force using a cracker running at 1 Teracracks/second, will take — on average — 5 million million million years to crack. Tera is 1,000 billion. [Calc: 2**128/100e9/2/60/60/24/365/(1e6**3)] For a 256-bit key this is 1,835 million million million million million million million million million years. For the brute force cracking of a 35-bit key symmetric key (such as AES), you only need to pay for the boiling of a teaspoon of energy. For a 50-bit key, you just need to have enough money to pay to boil the water for a shower. For a 90-bit symmetric key, you would need the energy to boil a sea, and for a 105-bit symmetric key, you need the energy to boil and ocean. For a 128-bit key, there just isn't enough water on the planet to boil for that. Ref: here. With symmetric key encryption, anything below 72 bits is relatively inexpensive to crack with brute force. One of the first symmetric key encryption methods was the LUCIFER cipher and was created by Horst Feistel at IBM. It was further developed into the DES encryption method. Many, at the time of the adoption of DES, felt that its 56-bit key was too small to be secure and that the NSA had a role in limiting them. With a block cipher, we only have to deal with a fixed size of blocks. DES and 3DES use a 64-bit (eight-byte) block size, and AES uses a 128-bit block size (16 bytes). With symmetric key methods, we either have block ciphers, such as DES, AES CBC and AES ECB, or stream ciphers, such as ChaCha20 and RC4. In order to enhance security, AES has a number of rounds where parts of the key are applied. With 128-bit AES we have 10 rounds, and 14 rounds for 256-bit AES. In AES, we use an S-box to scramble the bytes, and which is applied for each round. When decrypting, we have the inverse of the S-box used in the encrypting process. A salt/nonce or Initialisation Vector (IV) is used with an encryption key in order to change the ciphertext for the same given input. Stream ciphers are generally much faster than block cipers, and can generally be processed in parallel. With the Diffie-Hellman method. Bob creates x and shares g^x (mod p), and Alice creates y, and shares g^y (mod p). The shared key is g^{xy} (mod p). Ralph Merkle — the boy genius — submitted a patent on 5 Sept 1979 and which outlined the Merkle hash. This is used to create a block hash. Ralph Merkle's PhD supervisor was Martin Hellman (famous as the co-creator of the Diffie-Hellman method). Adi Shamir defines a secret share method, and which defines a mathematical equation with the sharing of (x,y), and where a constant value in the equation is the secret. With Shamir Secret Shares (SSS), for a quadratic equation of y=x²+5x+6, the secret is 6. We can share three points at x=1, x=2 and y=3, and which gives y=12, y=20, and y=20, respectively. With the points of (1,12), (2,20), and (3,20), we can recover the value of 6. Adi Shamir broke the Merkle-Hellman knapsack method at a live event at a rump session of a conference. With secret shares, with the highest polynomial power of n, we need n+1 points to come together to regenerate the secret. For example, y=2x+5 needs two points to come together, while y=x²+15x+4 needs three points. The first usable public key method was RSA — and created by Rivest, Shamir and Adleman. It was first published in 1979 and defined in the RSA patent entitled “Cryptographic Communications System and Method”. In public key encryption, we use the public key to encrypt data and the private key to decrypt it. In digital signing, we use the private key to sign a hash and create a digital signature, and then the associated public key to verify the signature. Len Adleman — the “A” in the RSA method — thought that the RSA paper would be one of the least significant papers he would ever publish. The RSA method came to Ron Rivest while he slept on a couch. Martin Gardner published information on the RSA method in his Scientific American article. Initially, there were 4,000 requests for the paper (which rose to 7,000), and it took until December 1977 for them to be posted. The security of RSA is based on the multiplication of two random prime numbers (p and q) to give a public modulus (N). The difficulty of RSA is the difficulty in factorizing this modulus. Once factorized, it is easy to decrypt a ciphertext that has been encrypted using the related modulus. In RSA, we have a public key of (e,N) and a private key of (d,N). e is the public exponent and d is the private exponent. The public exponent is normally set at 65,537. The binary value of 65,537 is 10000000000000001 — this number is efficient in producing ciphertext in RSA. In RSA, the ciphertext is computed from a message of M as C=M^e (mod N), and is decrypted with M=C^d (mod N). We compute the the private exponent (d) from the inverse of the public exponent (e) modulus PHI, and where PHI is (p-1)*(q-1). If we can determine p and q, we can compute PHI. Anything below a 738-bit public modulus is relatively inexpensive to crack for RSA. To crack 2K RSA at the current time, we would need the energy to boil ever ocean on the planet to break it. RSA requires padding is required for security. A popular method has been PCKS#1v1.5 — but this is not provably secure and is susceptible to Bleichenbacher's attack. An improved method is Optimal Asymmetric Encryption Padding (OAEP) and was defined by Bellare and Rogaway and standardized in PKCS#1 v2. The main entity contained in a digital certificate is the public key of a named entity. This is either an RSA or an Elliptic Curve key. A digital certificate is signed with the private key of a trusted entity — Trent. The public key of Trent is then used to prove the integrity and trust of the associated public key. For an elliptic curve of y²=x³+ax+b (mod p), not every (x,y) point is possible. The total number of points is defined as the order (n). ECC (Elliptic Curve Cryptography) was invented by Neal Koblitz and Victor S. Miller in 1985. Elliptic curve cryptography algorithms did not take off until 2004. In ECC, the public key is a point on the elliptic curve. For secp256k1, we have a 256-bit private key and a 512-bit (x,y) point for the public key. A “04” in the public key is an uncompressed public key, and “02” and “03” are compressed versions with only the x-co-ordinate and whether the y coordinate is odd or even. Satoshi selected the secp256k1 curve for Bitcoin, and which gives the equivalent of 128-bit security. The secp256k1 curve uses the mapping of y²=x³ + 7 (mod p), and is known as a Short Weierstrass (“Vier-strass”) curve. The prime number used with secp256k1 is 2²⁵⁶-2³²-2⁹-2⁸-2⁷-2⁶-2⁴-1. An uncompressed secp256k1 public key has 512 bits and is an (x,y) point on the curve. The point starts with a “04”. A compressed secp256k1 public key only stores the x-co-ordinate value and whether the y coordinate is odd or even. It starts with a “02” if the y-co-ordinate is even; otherwise, it starts with a “03”. In computing the public key in ECC of a.G, we use the Montgomery multiplication method and which was created by Peter Montgomery in 1985, in a paper entitled, “Modular Multiplication without Trial Division.” Elliptic Curve methods use two basic operations: point address (P+Q) and point doubling (2.P). These can be combined to provide the scalar operation of a.G. In 1999, Don Johnson Alfred Menezes published a classic paper on “The Elliptic Curve Digital Signature Algorithm (ECDSA)”. It was based on the DSA (Digital Signature Algorithm) — created by David W. Kravitz in a patent which was assigned to the US. ECDSA is a digital signature method and requires a random nonce value (k), and which should never be reused or repeated. ECDSA is an elliptic curve conversion of the DSA signature method. Digital signatures are defined in FIPS (Federal Information Processing Standard) 186–5. NIST approved the Rijndael method (led by Joan Daemen and Vincent Rijmen) for Advanced Encryption Standard (AES). Other contenders included Serpent (led by Ross Anderson), TwoFish (led by Bruce Schneier), MARS (led by IBM), and RC6 (led by Ron Rivest). ChaCha20 is a stream cipher that is based on Salsa20 and developed by Daniel J. Bernstein. MD5 has a 128-bit hash, SHA-1 has 160 bits and SHA-256 has 256-bits. It is relatively easy to create a hash collision with MD5. Google showed that it was possible to create a signature collision for a document with SHA-1. It is highly unlikely to get a hash collision for SHA-256. In 2015, NIST defined SHA-3 as a standard, and which was built on the Keccak hashing family — and which used a different method to SHA-2. The Keccak hash family uses a sponge function and was created by Guido Bertoni, Joan Daemen, Michaël Peeters, and Gilles Van Assche and standardized by NIST in August 2015 as SHA-3. Hash functions such as MD5, SHA-1 and SHA-256 have a fixed hash length, whereas an eXtendable-Output Function (XOF) produces a bit string that can be of any length. Examples are SHAKE128, SHAKE256, BLAKE2XB and BLAKE2XS. BLAKE 3 is the fastest cryptographically secure hashing method and was created by Jack O'Connor, Jean-Philippe Aumasson, Samuel Neves, and Zooko Wilcox-O'Hearn. Hashing methods can be slowed down with a number of rounds. These slower hashing methods include Bcrypt, PBKDF2 and scrypt. Argon 2 uses methods to try and break GPU cracking, such as using a given amount of memory and defining the CPU utlization. To speed up the operation of the SHA-3 hash, the team reduced the security of the method and reduce the number of rounds. The result is the 12 Kangaroo's hashing method. The number of rounds was reduced from 24 to 12 (with a security level of around 128 bits). Integrated Encryption Scheme (IES) is a hybrid encryption scheme which allows Alice to get Bob's public key and then generate an encryption key based on this public key, and she will use her private key to recover the symmetric. With ECIES, we use elliptic curve methods for the public key part. A MAC (Message Authentication Code) uses a symmetric key to sign a hash, and where Bob and Alice share the same secret key. The most popular method is HMAC (hash-based message authentication code). The AES block cipher can be converted into a stream cipher using modes such as GCM (Galois Counter Mode) and CCM (counter with cipher block chaining message authentication code; counter with CBC-MAC). A MAC is added to a symmetric key method in order to stop the ciphertext from being attacked by flipping bits. GCM does not have a MAC, and is thus susceptible to this attack. CCM is more secure, as it contains a MAC. With symmetric key encryption, we must remove the encryption keys in the reverse order they were applied. Commutative encryption overcomes this by allowing the keys to be removed in any order. It is estimated that Bitcoin miners consume 17.05 GW of electrical power per day and 149.46 TWh per year. A KDF (Key Derivation Function) is used to convert a passphrase or secret into an encryption key. The most popular methods are HKDF, PBKDF2 and Bcrypt. RSA, ECC and Discrete Log methods will all be cracked by quantum computers using Shor's algorithm Lattice methods represent bit values as polynomial values, such as 1001 is x³+1 as a polynomial. Taher Elgamal — the sole inventor of the ElGamal encryption method — and Paul Koche were the creators of SSL, and developed it for the Netscape browser. David Chaum is considered as a founder of electronic payments and, in 1983, created ECASH, along with publishing a paper on “Blind signatures for untraceable payments”. Satoshi Nakamoto worked with Hal Finney on the first versions of Bitcoin, and which were created for a Microsoft Windows environment. Blockchains can either be permissioned (requiring rights to access the blockchain) or permissionless (open to anyone to use). Bitcoin and Ethereum are the two most popular permissionless blockchains, and Hyperledger is the most popular permissioned ledger. In 1992, Eric Hughes, Timothy May, and John Gilmore set up the cypherpunk movement and defined, “We the Cypherpunks are dedicated to building anonymous systems. We are defending our privacy with cryptography, with anonymous mail forwarding systems, with digital signatures, and with electronic money.” In Bitcoin and Ethereum, a private key (x) is converted to a public key with x.G, and where G is the base point on the secp256k1 curve. Ethereum was first conceived in 2013 by Vitalik Buterin, Gavin Wood, Charles Hoskinson, Anthony Di Iorio and Joseph Lubin. It introduced smaller blocks, improved proof of work, and smart contracts. NI-ZKPs involves a prover (Peggy), a verifier (Victor) and a witness (Wendy) and were first defined by Manuel Blum, Paul Feldman, and Silvio Micali in their paper entitled “Non-interactive zero-knowledge and its applications”. Popular ZKP methods include ZK-SNARKs (Zero-Knowledge Succinct Non-Interactive Argument of Knowledge) and ZK-STARKs (Zero-Knowledge Scalable Transparent Argument of Knowledge). Bitcoin and Ethereum are pseudo-anonymised, and where the sender and recipient of a transaction, and its value, can be traced. Privacy coins enable anonymous transactions. These include Zcash and Monero. In 1992, David Chaum and Torben Pryds Pedersen published “Wallet databases with observers,” and outlined a method of shielding the details of a monetary transaction. In 1992, Adi Shamir (the “S” in RSA) published a paper on “How to share a secret” in the Communications of the ACM. This supported the splitting of a secret into a number of shares (n) and where a threshold value (t) could be defined for the minimum number of shares that need to be brought back together to reveal the secret. These are known as Shamir Secret Shares (SSS). In 1991, Torbin P Pedersen published a paper entitled “Non-interactive and information-theoretic secure verifiable secret sharing” — and which is now known as Pedersen Commitment. This is where we produce our commitment and then show the message that matches the commitment. Distributed Key Generation (DKG) methods allow a private key to be shared by a number of trusted nodes. These nodes can then sign for a part of the ECDSA signature by producing a partial signature with these shares of the key. Not all blockchains use ECDSA. The IOTA blockchain uses the EdDSA signature, and which uses Curve 25519. This is a more lightweight signature version and has better support for signature aggregation. It uses Twisted Edwards Curves. The core signing method used in EdDSA is based on the Schnorr signature scheme and which was created by Claus Schnorr in 1989. This was patented as a “Method for identifying subscribers and for generating and verifying electronic signatures in a data exchange system”. The patent ran out in 2008. Curve 25519 uses the prime number of 2²⁵⁵-19 and was created by Daniel J. Bernstein. Peter Shor defined that elliptic curve methods can be broken with quantum computers. To overcome the cracking of the ECDSA signature from quantum computers, NIST are standardising a number of methods. At present, this focuses on CRYSTALS-Dilithium, and which is a lattice cryptography method. Bulletproofs were created in 2017 by Stanford's Applied Cryptography Group (ACG). They define a zero-knowledge proof as where a value can be checked to see it lies within a given range. The name “bulletproofs” is defined as they are short, like a bullet, and with bulletproof security assumptions. Homomorphic encryption methods allow for the processing of encrypted values using arithmetic operations. A public key is used to encrypt the data, and which can then be processed using an arithmetic circuit on the encrypted data. The owner of the associated private key can then decrypt the result. Some traditional public key methods enable partial homomorphic encryption. RSA and ElGamal allow for multiplication and division, whilst Pailier allows for homomorphic addition and subtraction. Full homomorphic encryption (FHE) supports all of the arithmetic operations and includes Fan-Vercauteren (FV) and BFV (Brakerski/Fan-Vercauteren) for integer operations and HEAAN (Homomorphic Encryption for Arithmetic of Approximate Numbers) for floating point operations. Most of the Full Homomorphic encryption methods use lattice cryptography. Some blockchain applications use Barreto-Lynn-Scott (BLS) curves which are pairing-friendly. They can be used to implement Bilinear groups and which are a triplet of groups (G1, G2 and GT), so that we can implement a function e() such that e(g1^x,g2^y)=gT^{xy}. Pairing-based cryptography is used in ZKPs. The main BLS curves used are BLS12–381, BLS12–446, BLS12–455, BLS12–638 and BLS24–477. An accumulator can be used for zero-knowledge proof of knowledge, such as using a BLS curve to create to add and remove proof of knowledge. Metamask is one of the most widely used blockchain wallets and can integrate into many blockchains. Most wallets generate the seed from the operating system and where the browser can use the Crypto.getRandomValues function, and compatible with most browsers. With a Verifiable Delay Function (VDF), we can prove that a given amount of work has been done by a prover (Peggy). A verifier (Victor) can then send the prover a proof value and compute a result which verifies the work has been done, with the verifier not needing to do the work but can still prove the work has been done. A Physical Unclonable Functions (PUFs) is a one-way function which creates a unique signature pattern based on the inherent delays within the wires and transistors. This can be used to link a device to an NFT.

So, here's my Top 100 snippets of knowledge for blockchain: Blockchains use public key methods to integrate digital trust. Bob signs for a transaction with his private key, and Alice proves this with Bob's public key. The first usable public key method was RSA — and created by Rivest, Shamir and Adleman. It was first published in 1979 and defined in the RSA patent entitled “Cryptographic Communications System and Method”. Blockchains can either be permissioned (requiring rights to access the blockchain) or permissionless (open to anyone to use). Bitcoin and Ethereum are the two most popular permissionless blockchains, and Hyperledger is the most popular permissioned ledger. Ralph Merkle — the boy genius — submitted a patent on 5 Sept 1979 and which outlined the Merkle hash. This is used to create a block hash. Ralph Merkle's PhD supervisor was Martin Hellman (famous as the co-creator of the Diffie-Hellman method). David Chaum is considered as founders of electronic payments, and, in 1983, created ECASH, along with publishing a paper on “Blind signatures for untraceable payments”. Miners gather transactions on a regular basis, and these are added to a block and where each block has a Merkle hash. The first block on a blockchain does not have any previous blocks — and is named the genesis block. Blocks are bound in a chain, and where the previous, current and next block hashes are bound into the block. This makes the transactions in the block immutable. Satoshi Nakamoto worked with Hal Finney on the first versions of Bitcoin, and which were created for a Microsoft Windows environment. Craig Steven Wright has claimed that he is Satoshi Nakamoto, but this claim has never been verified. Most blockchains use elliptic curve cryptography — a method which was created independently by Neal Koblitz and Victor S. Miller in 1985. Elliptic curve cryptography algorithms did not take off until 2004. Satoshi selected the secp256k1 curve for Bitcoin, and which gives the equivalent of 128-bit security. The secp256k1 curve uses the mapping of y²=x³ + 7 (mod p), and is known as a Short Weierstrass (“Vier-strass”) curve. The prime number used with secp256k1 is ²²⁵⁶−²³²−²⁹−²⁸−²⁷−²⁶−²⁴−1. Satoshi published a 9-page paper entitled “Bitcoin: A Peer-to-Peer Electronic Cash System” White Paper on 31 Oct 31, 2008. In 1997, Adam Black introduce the concept of Proof of Work of Hashcash in a paper entitled, “Hashcash — a denial of service countermeasure.” This work was used by Satoshi in his whitepaper. Satoshi focused on: a decentralized system, and a consensus model and addressed areas of double-spend, Sybil attacks and Eve-in-the-middle. The Sybil attack is where an adversary can take over the general consensus of a network — and leads to a 51% attack, and where the adversary manages to control 51% or more of the consensus infrastructure. Satoshi used UK spelling in his correspondence, such as using the spelling of “honour”. The first Bitcoin block was minted on 3 Jan 2009 and contained a message of “Chancellor on brink of second bailout for banks” (the headline from The Times, as published in London on that day). On 12 Jan 2009, Satoshi sent the first Bitcoin transaction of 50 BTC to Hal Finney [here]. A new block is created every 7–10 minutes on Bitcoin. In Aug 2023, the total Bitcoin blockchain size is 502 GB. As of Aug 2023, the top three cryptocurrencies are Bitcoin, Ether, and Tether. Bitcoin has a capitalization of $512 billion, Ether with $222 billion, and Tether at $83 billion. The total cryptocurrency capitalisation is $1.17 trillion. The original block size was 1MB for Bitcoin, but recently upgraded to support a 1.5MB block — and has around 3,000 transactions. Currently the block sizes are more than 1.7MB. Bitcoin uses a gossip protocol — named the Lightning Protocol — to propagate transactions. A Bitcoin wallet is created from a random seed value. This seed value is then used to create the 256-bit secp256k1 private key. A wallet seed can be converted into a mnemonic format using BIP39, and which uses 12 common words. This is a deterministic key, and which allows the regeneration of the original key in the correct form. BIP39 allows for the conversion of the key to a number of languages, including English, French and Italian. A private key in a wallet is stored in a Wif format, and which is a Base58 version of the 256-bit private key. The main source code for the Bitcoin blockchain is held at https://github.com/bitcoin, and is known as Bitcoin core. This is used to create nodes, store coins, and transactions with other nodes on the Bitcoin network. A 256-bit private key has 115,792 billion billion billion billion billion billion billion billion different keys. A public Bitcoin ID uses Base58 and has a limited character set of ‘123456789ABCDEFGHJKLMN PQRSTUVWXYZabcdefghijkmno pqrstuvwxyz', where we delete ‘0' (zero), ‘l' (lowercase ‘l'), and ‘I' (capital I) — as this can be interpreted as another character. In Bitcoin and Ethereum, a private key (x) is converted to a public key with x.G, and where G is the base point on the secp256k1 curve. An uncompressed secp256k1 public key has 512 bits and is an (x,y) point on the curve. The point starts with a “04”. A compressed secp256k1 public key only stores the x-co-ordinate value and whether the y coordinate is odd or even. It starts with a “02” if the y-co-ordinate is even, otherwise it starts with a “03”. In 1992, Eric Hughes, Timothy May, and John Gilmore set up the cypherpunk movement and defined, “We the Cypherpunks are dedicated to building anonymous systems. We are defending our privacy with cryptography, with anonymous mail forwarding systems, with digital signatures, and with electronic money.” In Ethereum, the public key is used as the identity of a user (a.G), and is defined as a hexademical value. In Bitcoin, the public ID is created from a SHA256 hash of the public key, and then a RIPEMD160 of this, and then covered to Base58. In computing the public key in ECC of a.G, we use the Montgomery multiplication method and which was created by Peter Montgomery in 1985, in a paper entitled, “Modular Multiplication without Trial Division.” Elliptic Curve methods use two basic operations: point address (P+G) and point doubling (2.P). These can be combined to provide the scalar operation of a.G. In 1999, Don Johnson Alfred Menezes published a classic paper on “The Elliptic Curve Digital Signature Algorithm (ECDSA)”. It was based on the DSA (Digital Signature Algorithm) — created by David W. Kravitz in a patent which was assigned to the US. The core signature used in Bitcoin and Ethereum is ECDSA (Elliptic Curve Digital Signature Algorithm), and which uses a random nonce for each signature. The nonce value should never repeat or be revealed. Ethereum was first conceived in 2013 by Vitalik Buterin, Gavin Wood, Charles Hoskinson, Anthony Di Iorio and Joseph Lubin. It introduced smaller blocks, an improved proof of work, and smart contracts. Bitcoin is seen as a first-generation blockchain, and Ethereum as a second-generation. These have been followed by third-generation blockchains, such as IOTA, Cardano and Polkadot — and which have improved consensus mechanisms. Bitcoin uses a consensus mechanism which is based on Proof-of-Work, and where miners focus on finding a block hash that has a number of leading “0”s. The difficulty of the mining is defined by the hashing rate. At the current time, this is around 424 million TH/s. There are around 733,000 unique Bitcoin addresses being used. Satoshi defined a reward to miners for finding the required hash. This was initially set at 50 BTC, but was set to half at regular intervals. On 11 January 2021, it dropped from 12.5 BTC to 6.2 BTC. Bitcoin currently consumes around 16.27 GWatts of power each year to produce a consensus — equivalent to the power consumed by a small country. In creating bitcoins, Satoshi created a P2PKH (Pay to Public Key Hash) address. These addresses are used to identify the wallet to be paid and links to the public key of the owner. These addresses start with a ‘1'. In order to support the sending of bitcoins to and from multiple addresses, Bitcoin was upgraded with SegWit (defined in BIP141). The wallet address then integrates the pay-to-witness public key hash (Pay to script hash — P2SH). These addresses start with a ‘3'. Ethereum uses miners to undertake work for changing a state and running a smart contract. They are paid in “gas” or Ether and which relates to the amount of computation conducted. This limits denial of service attacks on the network and focuses developers on creating efficient code. Ethereum supports the creation of cryptocurrency assets with ERC20 tokens — and which are FT (Fungible Tokens). For normal crypto tokens (ERC-20) we use, there is a finite number of these, and each of these is the same. Ethereum creates NFTs (Non-Fungible Tokens) with ERC721 tokens. We mint these each time and each is unique. Solidity is the programming language used in Ethereum, while Hyperledger can use Golang, Node.js and Java. For Ethereum, we compile Solidity code into EVM (Ethereum Virtual Machine) code. This is executed on the blockchain. Blockchain uses the SHA-256 hash for transaction integrity. Ethereum uses the Keccak hash is used to define the integrity of a transaction. This is based on SHA-3, and differs slightly from Keccak. The Keccak hash family uses a sponge function and was created by Guido Bertoni, Joan Daemen, Michaël Peeters, and Gilles Van Assche, and standardized by NIST in August 2015 as SHA-3. The DAO is a decentralized autonomous organization (DAO) for the Ethereum blockchain and was launched in 2016. In 2016, DAO raised $150 million through a token sale but was hacked and funds were stolen. This resulted in a forking of the blockchain: Ethereum and Ethereum Classic. Non-interactive Zero Knowledge Proofs (NI-ZKP) allow an entity to prove that they have knowledge of something — without revealing it. A typical secret is the ownership of a private key. NI-ZKPs involve a prover (Peggy), a verifier (Victor) and a witness (Wendy) and were first defined by Manuel Blum, Paul Feldman, and Silvio Micali in their paper entitled, “Non-interactive zero-knowledge and its applications”. Popular ZKP methods include ZK-SNARKs (Zero-Knowledge Succinct Non-Interactive Argument of Knowledge) and ZK-STARKs (Zero-Knowledge Scalable Transparent Argument of Knowledge). Bitcoin and Ethereum are pseudo-anonymised, and where the sender and recipient of a transaction, and its value, can be traced. Privacy coins enable anonymous transactions. These include Zcash and Monero. In 1992, David Chaum and Torben Pryds Pedersen published “Wallet databases with observers,” and outlined a method of shielding the details of a monetary transaction. In 1992, Adi Shamir (the “S” in RSA) published a paper on “How to share a secret” in the Communications of the ACM. This supported the splitting of a secret into a number of shares (n) and where a threshold value (t) could be defined for the minimum number of shares that need to be brought back together to reveal the secret. These are known as Shamir Secret Shares (SSS). In 1991, Torbin P Pedersen published a paper entitled “Non-interactive and information-theoretic secure verifiable secret sharing” — and which is now known as Pedersen Commitment. This is where we produce our commitment and then show the message that matches the commitment. Distributed Key Generation (DKG) methods allow a private key to be shared by a number of trusted nodes. These nodes can then sign for a part of the ECDSA signature by producing a partial signature with these shares of the key. Not all blockchains use ECDSA. The IOTA blockchain uses the EdDSA signature, and which uses Curve 25519. This is a more lightweight signature version, and has better support for signature aggregation. It uses Twisted Edwards Curves. The core signing method used in EdDSA is based on the Schnorr signature scheme and which was created by Claus Schnorr in 1989. This was patented as, a “Method for identifying subscribers and for generating and verifying electronic signatures in a data exchange system”. The patent ran out in 2008. Curve 25519 uses the prime number of ²²⁵⁵-19 and was created by Daniel J. Bernstein. Peter Shor defined that elliptic curve methods can be broken with quantum computers. To overcome the cracking of the ECDSA signature from quantum computers, NIST are standardising a number of methods. At present, this focuses on CRYSTALS-Dilithium, and which is a lattice cryptography method. Bulletproofs were created in 2017 by Stanford's Applied Cryptography Group (ACG). They define a zero-knowledge proof as where a value can be checked to see it lies within a given range. The name of “bulletproofs” is defined as they are short, like a bullet, and with bulletproof security assumptions. While Bitcoin can take up to 7–10 minutes to mine a new block and create a consensus, newer blockchains, such as IOTA, can give an almost instantaneous consensus. Banks around the world are investigating CBDC (Central Bank Digital Currency) and which is not a cryptocurrency but a way to quickly define a consensus on a transaction. Homomorphic encryption methods allow for the processing of encrypted values using arithmetic operations. A public key is used to encrypt the data, and which can then be processed using an arithmetic circuit on the encrypted data. The owner of the associated private key can then decrypt the result. Some traditional public key methods enable partial homomorphic encryption. RSA and ElGamal allow for multiplication and division, whilst Pailier allows for homomorphic addition and subtraction. Full homomorphic encryption (FHE) supports all of the arithmetic operations and includes Fan-Vercauteren (FV) and BFV (Brakerski/Fan-Vercauteren) for integer operations and HEAAN (Homomorphic Encryption for Arithmetic of Approximate Numbers) for floating point operations. Most of the Full Homomorphic encryption methods use lattice cryptography. Some blockchain applications use Barreto-Lynn-Scott (BLS) curves which are pairing friendly. They can be used to implement Bilinear groups and which are a triplet of groups (G1, G2 and GT), so that we can implement a function e() such that e(g1^x,g2^y)=gT^{xy}. Pairing-based cryptography is used in ZKPs. The main BLS curves used are BLS12–381, BLS12–446, BLS12–455, BLS12–638 and BLS24–477. An accumulator can be used for zero-knowledge proof of knowledge, such as using a BLS curve to create to add and remove proof of knowledge. Open Zeppelin is an open-source Solidity library that supports a wide range of functions that integrate into smart contracts in Ethereum. This includes AES encryption, Base64 integration and Elliptic Curve operations. Metamask is one of the most widely used blockchain wallets and can integrate into many blockchains. Most wallets generate the seed from the operating system and where the browser can use the Crypto.getRandomValues function, and compatible with most browsers. Solidity programs can be compiled with Remix at remix.ethereum.org. The main Ethereum network is Ethereum Mainnet. We can test smart contracts on Ethereum test networks. Current networks include sepolia.etherscan.io and goerli.net. Ether can be mined for test applications from a faucet, such as faucet.metamask.io. This normally requires some proof of work to gain the Ether — in order to protect against a Denial of Service against the Faucet. The private key can be revealed from two ECDSA signatures which use the same random nonce value. Polkadot is a blockchain which allows blockchains to exchange messages and perform transactions. The proof of work method of creating is now not preference because of the energy that it typically uses. Many systems now focus on proof of stack (PoS). A time-lock puzzle/Proof of Work involves performing a computing task which has a given cost and which cannot be cheated again. This typically involves continual hashing or continual squaring. The Chia blockchain network uses both Proof of Space (PoS) and Proof of Time (PoT). The PoS method makes use of the under-allocation of hard-disk space. With a Verifiable Delay Function (VDF), we can prove that a given amount of work has been done by a prover (Peggy). A verifier (Victor) can then send the prover a proof value and compute a result which verifies the work has been done, with the verifier not needing to do the work but can still prove the work has been done. A Physical Unclonable Functions (PUFs) is a one-way function which creates a unique signature pattern based on the inherent delays within the wireless and transistors. This can be used to link a device to an NFT. In Blockchain applications, we can use Non-interactive zero-knowledge (NIZK) proofs for the equality (EQ) of discrete logarithms (DL) — DLEQ. With this — in discrete logarithms — we have

I had the absolute pleasure to speak with John Gilmore about his adventures around the Caribbean and his sailing career. It all started at a young age, but a key moment in John's life was when he quit his job at 31 years of age to purchase a boat to go on an adventure with a friend.We talk about the highs and lows of his adventures, including a transatlantic trip with his family, and also his observations of the changing landscape in the Caribbean. John is now settled on the shores of Strangford Lough and enjoys racing a classic yacht called the Glen.

Thursday, August 3rd9:30AM REGISTRATION OPENS at the Abbott Plant10:00AM ABBOTT'S DEALERS ROOM OPENS (requires registration) 11:00AM LECTURE - 2ND JAPANESE GROUP LECTURE (requires registration) 12:00PM FREE STREET PERFORMANCE (Gordon Russ at Magic Capital Grill)1:00PM LECTURE - 2ND SOUTH AMERICAN GROUP LECTURE (requires registration) 1:00PM MAGIC SHOW featuring Jeffrey Alan at Abbott's Magic Theatre $52:00PM JAY BLACKWELL JUGGLING/FIRE EATING & MORE at Sterlini Magic & Theater $102:30PM FREE STREET PERFORMANCE (Trino at Grannys Place)2:30PM VENT O RAMA (Vent O Rama Webpage) at Abbotts Plant (requires registration) 3:00PM FACE PAINTING till 6PM outside 5 Star Pizza by Award Winning Artist Carol Hendrix (Standard Fees)3:00PM-5PM COLON HISTORICAL MUSEUM is open (Colon Museum Webpage)3:45PM FAMOUS MAGICIANS GRAVEYARD TOUR (Graveyard Tour Webpage) ushered by Al The Only4:30PM MAGIC SHOW featuring John Gilmore at Abbott's Magic Theatre $55:00PM LIVE AT 5 WITH THE STERLINI'S at Sterlini Magic & Theater $105:30PM FREE STREET PERFORMANCE (Jania Taylor at Magic Capital Grill)6:00PM-7:45PM DINNER (on your own)7:45PM PRESHOW LIVE ORGAN MUSIC - by John Sturk8:00PM ABBOTT'S STAGE SHOW - THE LAS VEGAS MAGIC GALA Featuring Mike Caveney, Mac King, Guy Hollingworth, Meadow Perry, Pat Hazell10:00PM ABBOTT'S DEALERS ROOM OPENS (requires registration) 10:15PM CURLYS CLOSEUP CONTEST View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize View fullsize Time stamps for this episode:00:00:18 – Terry Evanswood tells us a little more detail about the house tours he puts together for his Magic Mansion in Pigeon Forge, Tennessee.00:07:26 – Chairman of the Board of the American Museum of Magic, Jania Taylor, updates us on what's going on with the museum and why they need our financial contributions.00:14:12 – Steve Chezaday closed the opening night's show last night. He is also a long time member of the stage crew at Abbott's. He and his fiancé, Carol Hendrix, also helped recap the show.00:23:51 – at the Legion Hall we chat with BJ Mallen who talks about this evening's show featuring Mick Caveney as emcee, Pat Hazel with comedy, then more comedy by Mac King, and closing with Guy Hollingworth. During the show, Lance Burton and Mac King did a touching bit that is detailed in this chat. But the bulk of this chat is about why this event is important to the magic community.00:35:09 – Matt Stanley gives us his thoughts about this evening's show. Download this podcast in an MP3 file by Clicking Here and then right click to save the file. You can also subscribe to the RSS feed by Clicking Here. You can download or listen to the podcast through Stitcher by Clicking Here or through FeedPress by Clicking Here or through Tunein.com by Clicking Here or through iHeart Radio by Clicking Here..If you have a Spotify account, then you can also hear us through that app, too. You can also listen through your Amazon Alexa and Google Home devices. Remember, you can download it through the iTunes store, too. See the preview page by Clicking Here

In 1993 John Gilmore famously said, "The Net interprets censorship as damage and routes around it.” To learn why that's no longer true, listen to Josh Moon enumerate “the amount of things that have broken that people in the industry assumed could never break,” as activists with personal vendettas and political agendas relentlessly employ every possible strategy to silence his small but notorious gossip site Kiwi Farms. From Cloudflare to Hurricane Electric, ISPs, data centers, and payment processors, literally anything up and down the Border Gateway Protocol has been targeted to shut down the 'Farms. With ISIS, the KKK, Stormfront, neo-nazis, and child porn all continuing to enjoy online services, who expected “the gossip site that makes fun of troons" to be the straw to break the Internet's backbone? And why have the individuals and organizations who once stood against censorship lost their own? Links: Brave browser: https://brave.com/ Tor browser: https://www.torproject.org/download/ Keffals: https://en.wikipedia.org/wiki/Keffals The World Should Not Need Kiwi Farms by Corinna Cohn: https://corinnacohn.substack.com/p/the-world-should-not-need-kiwi-farms Liz Fong Jones calls Corinna a “Kiwi Farms operative”: https://www.youtube.com/watch?v=Np9erdnM4l8&t=3074s&ab_channel=LizFong-Jones Border Gateway Protocol (BGP): https://en.wikipedia.org/wiki/Border_Gateway_Protocol Electronic Frontier Foundation: https://www.eff.org/ Internet Archive: https://archive.org/ Copyright's origins in censorship: https://questioncopyright.org/promise FIRE: https://www.thefire.org/ --- Support this podcast: https://podcasters.spotify.com/pod/show/heterodorx/support

Blog: https://medium.com/asecuritysite-when-bob-met-alice/can-privacy-and-traceability-exist-together-tracing-keys-and-jurisdictions-bfc395d502a Introduction Privacy and traceability are two sides of the same coin, and where the coin will never land on its side. If you want privacy in a transaction, you have to hide the payer and payee and the transaction value. All that needs to happen is that there is proof that the payer has enough currency to pay the payee. We can do this with a range proof — so that Bob can show that the sum of his previous transactions minus the current one is greater than zero. But, this stops any traceability and stops investigators from investigating the trail of an illegal transaction. It's a dilemma that can keep cybersecurity professionals awake at night and where a few bad apples can spoil the whole bunch. But, if we add traceability — such as in Bitcoin — we remove the privacy aspect, and if someone links your Bitcoin address to you and the others you trade with, they will be able to see all your transactions. “Ah, I see”, they might say, “That Bill has just bought a ticket for a bus journey in Edinburgh at 10:03 am”. Along with this, we have different requirements in different jurisdictions and where we might want to limit the investigator power in one jurisdiction to others. For this, John Gilmore — one of the original Cipher Punks — wrote: “We are literally in a race between our ability to build and deploy technology, and their ability to build and deploy laws and treaties. Neither side is likely to back down or wise up until it has definitively lost the race” And, so, the tension between strong cryptography, which protects privacy, and the ability to monitor and investigate remains as open as ever. In the UK, the Online Safety Act could aim to insert backdoors in cryptography in order to monitor communications. So, is it possible to keep things private but also make them traceable? For this, a new paper outlines the TRCT (Traceable Anonymous Transaction Protocol for Blockchain) protocol [1]: The focus of the paper is on the anonymous cryptocurrencies such as Monero, Dash and ZCash. It uses an Extractable Proof of Knowledge (EPoK) to produce a Zero Knowledge Proof (ZKP) for a transaction. This can then be added to the RingCT method of anonymity to produce traceable transactions for the participants and the amount transacted. The transaction, though, is still kept anonymous. The paper pinpoints the usage of Monero in a number of crimes, such as for the Wannacry ransomware attack and where the adversaries converted their Bitcoin rewards into Monero tokens [here], and which has not been since been traced. This problem has become so difficult for law enforcement that privacy-protecting cryptocurrencies have been banned in Canada, South Korea and Australia. TRCT An overview of TRCT is defined in Figure 1. With this, we have a miner which collects broadcasted transactions, and creates a consensus with other miners. An Authority is then responsible for linking account addresses and transactions and which can trace anonymous account addresses of the actual payer and payee and resolve the transaction amount. For TRCT, the payer generates a long-term key pair and then creates a one-time address (Figure 1). This can then be sent to the payer. The transaction is then anonymised for the payer address, payee address and transaction value using the Ring CT protocol, and which integrates the EPoK scheme. The miner then receives this and checks that it is valid and that the payer has enough currency in their account to make the payment. Next, the miner will check the EPoK so that it can be traced by the authority — and without discovering the secret details in the transaction. The authority can then trace the hidden content in the transaction (Figure 2). Figure 1 [1] Figure 2: [1] While applied in RingCT, the TRCT can be generally applied to any permissionless and permissioned blockchain, as it does not affect the underlying logic of the blockchain. In this, a trusted authority creates a tracing key and publicises its public key to the miners and whether these miners may be enabled or not for the integration of EPoK. In a permissioned blockchain, there are typically fewer nodes that create the consensus, and where it is thus easier to broadcast and update the tracing key. Overall, the authority is then used to oversee all the transactions, and decide whether there are illegal transactions, and also trace them. The control of the tracing key can then use attribute-based encryption to control its usage and using threshold-based sharing to control the usage of the key. For example, the FBI, CIA and GCHQ could agree on a 2-from-3 share approach, where two agencies have to come together to regenerate the tracing key. This approach allows for different jurisdictions to generate their own tracing key and where they cannot trace within any other jurisdiction. The addition of tracing tags also allows the tracing of high-value transactions. Next, let's cover ring signatures and RingCT. Ring signatures And so there has been a leak of information at the White House. Donald Trump calls in his Cyber Security leads and tells them, “I know one of you leaked the information, but I can't tell which one”. How can Donald tell that one of his leads has leaked the information but does not know which one? Well, this can be achieved with a ring signature, and which provides anonymity, unforgivably and collusion resistance. A ring signature is a digital signature that is created by a member of a group which each has their own keys. It is then not possible to determine the person in the group who has created the signature. The method was initially created by Ron Rivest, Adi Shamir, and Yael Tauman in 2001, and in their paper, they proposed the White House leak dilemma. Creating the ring In a ring signature, we define a group of entities who each have their own public/private key pairs of (P1, S1), (P2, S2), …, (Pn, Sn). If we want an entity i to sign a message (message), they use their own secret key (si), but the public keys of the others in the group (m,si,P1…Pn). It should then be possible to check the validity of the group by knowing the public key of the group, but not possible to determine a valid signature if there is no knowledge of the private keys within the group. So let's say that Trent, Bob, Eve and Alice are in a group, and they each have their own public and secret keys. Bob now wants to sign a message from the group. He initially generates a random value v, and then generates random values (xi) for each of the other participants, but takes his own secret key (si) and uses it to determine a different secret key, which is the reverse of the encryption function. He now takes the message and takes a hash of it, and thus creates a key (k). This key will be used with symmetric encryption to encrypt each of the elements of the ring (Ek), and then each element of the ring uses an EX-OR function from the previous element: Each of the random values for the other participants is then encrypted with the public key of the given participant. Bob then computes the value of ys in order to create the ring (the result of the ring must equal v). He will then inverse this value to produce the equivalent private key (xs). Bob now releases the overall signature, and the random x values, along with the computed secret key. To check the signature, the receive just computes the ring and checks that the result matches the sent signature. The basic method are: 1. Generate encryption with k=Hash(message). 2. Generate a random value (u). 3. Encrypt u to give v=Ek(u). 4. For each person (apart from the sender): 4.1 Calculate e=si^{Pi} (mod Ni) and where si is the random number generated for the secret key of the ith party, and Pi is the public key of the party. 4.2 Calculate v=v⊕e 5. For the signed party (z), calculate sz=(v⊕u)^d (mod Nz) and where d is the secret key of the signing party. We will end up with the signature (v=Ek(u)), and which completes the ring. The basic method involves creating Bob creating fake private keys for the other people in the ring: The verification of the ring is then: Ring Signatures in Monero The major problem with the Bitcoin network is that the amount of a transaction and the sender and receiver of the funds are not private, and someone who knows someone's address can trace their transactions. This is the case because the blockchain needs to check that the sender has enough funds to pay the recipient. Thus many cryptocurrencies are looking for ways of anonymising the transaction. Ethereum, for example, uses zk-Snarks to hide identities. One method of preserving identity was proposed by Rivest et al and used RSA encryption. Unfortunately, it is not efficient for modern systems, thus, Greg Maxwell's defined an elliptic curve method as a new way of creating the ring signature: the Borromean ring signature [paper]. The cryptocurrency Monero then adopted the method for anonymising transactions but has since migrated to a new method: Multi-layered Linkable Spontaneous Anonymous Group signature. This method hides the transaction amount and the identity of the payer and recipient [paper]. It is now known as RingCT (Ring Confidential Transactions), and was rolled out in January 2017 and mandatory for all transactions from September 2017. Conclusions TRCT provides a roadmap for the integration of tracing keys and the segmentation of rights of access. It is unlikely that we will see the implementation of this method is Monero anytime soon, but it could be applied to new methods. It is only interesting to see it applied to permissioned blockchains, and it could be useful in banking applications which require privacy but traceability. References [1] Duan, J., Wang, L., Wang, W., & Gu, L. (2023). TRCT: A Traceable Anonymous Transaction Protocol for Blockchain. IEEE Transactions on Information Forensics and Security.

Sun Ra (born Herman Blount) was a talented pianist and composer who played and arranged for one of Fletcher Henderson's last bands. He began collecting a company of musicians around him in the 1950's including tenor saxophonist John Gilmore, baritone saxist Pat Patrick, altoist Marshall Allan and others. They created a music that began as hard bop, moved through soul and then became something quite extraordinary! Here are examples (issued as singles on Ra's label Saturn) from all those periods --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support

Support Lorenzo on Patreon.com Guest speaker: Bruce Damer Today's podcast features two Palenque Norte talks that Bruce Damer gave at the 2022 Burning Man Festival. This talk was followed by an hour-long Q&A session that I'll podcast after I post a few of the other Paleqnue Norte talks from 2022. Although I haven't previewed them yet, there are recordings waiting for me from the talks by Corey Doctorow, John Gilmore, Android Jones, and Rick Doblin among others. My plan is to slowly roll them out to you during the next few months. Bruce Damer's Website Confessions of an Ecstasy Advocate from George Wada Dog Paw Productions on Vimeo. Psychedelic Sunday Variety Series - February 5, 2023

INTRODUCTION: Ifetayo Harvey is the founder and board president at the People of Color Psychedelic Collective. Ifetayo's experience of growing up with her father in prison brought her to drug policy reform work at the Drug Policy Alliance. In 2013, Ifetayo was the opening plenary speaker at the International Drug Policy Reform Conference in Denver, Colorado. Ifetayo briefly worked at the Multidisciplinary Association for Psychedelic Studies in 2015 where she was inspired by Kai Wingo's Women and Entheogens Conference in Cleveland, Ohio. Ifetayo worked at the Drug Policy Alliance (DPA) for five years because of her passion for ending the war on drugs. While at DPA, Ifetayo penned the piece Why the Psychedelic Community Is So White in 2016 and began organizing other folks of color and allies in psychedelic circles. Ifetayo comes from a family of seven children raised by her mother in Charleston, South Carolina. She has a Bachelor's degree from Smith College in history and African studies. INCLUDED IN THIS EPISODE (But not limited to):  ·      Breakdown Of What The POCPC Is·      Whiteness Controlling The Narrative ·      Racism in Drug Policy·      White Fragility ·      The Need For POC To Have Healing Spaces Apart From White People·      The Benefits Of Psychedelics – And Risks·      Stories Of Racism In The South·      Theory Vs. Real Life·      Internalized Superiority & Internalized Inferiority ·      The Student Loan Forgiveness Hypocrisy   CONNECT WITH IFETAYO: Website: https://www.pocpc.org/Website:  https://www.ifetayo.meYouTube: https://bit.ly/3FS2Z9xFacebook: https://www.facebook.com/pocpsychedelics/Instagram: https://www.instagram.com/pocpsychedeliccollective/Twitter: https://twitter.com/POCpsychedelicsLinkedIn: https://bit.ly/3Fx8p9H  CONNECT WITH DE'VANNON: Website: https://www.SexDrugsAndJesus.comWebsite: https://www.DownUnderApparel.comYouTube: https://bit.ly/3daTqCMFacebook: https://www.facebook.com/SexDrugsAndJesus/Instagram: https://www.instagram.com/sexdrugsandjesuspodcast/Twitter: https://twitter.com/TabooTopixLinkedIn: https://www.linkedin.com/in/devannonPinterest: https://www.pinterest.es/SexDrugsAndJesus/_saved/Email: DeVannon@SexDrugsAndJesus.com  DE'VANNON'S RECOMMENDATIONS: ·      Pray Away Documentary (NETFLIX)o  https://www.netflix.com/title/81040370o  TRAILER: https://www.youtube.com/watch?v=tk_CqGVfxEs ·      OverviewBible (Jeffrey Kranz)o  https://overviewbible.como  https://www.youtube.com/c/OverviewBible ·      Hillsong: A Megachurch Exposed (Documentary)o  https://press.discoveryplus.com/lifestyle/discovery-announces-key-participants-featured-in-upcoming-expose-of-the-hillsong-church-controversy-hillsong-a-megachurch-exposed/ ·      Leaving Hillsong Podcast With Tanya Levino  https://leavinghillsong.podbean.com  ·      Upwork: https://www.upwork.com·      FreeUp: https://freeup.net VETERAN'S SERVICE ORGANIZATIONS ·      Disabled American Veterans (DAV): https://www.dav.org·      American Legion: https://www.legion.org ·      What The World Needs Now (Dionne Warwick): https://www.youtube.com/watch?v=FfHAs9cdTqg  INTERESTED IN PODCASTING OR BEING A GUEST?: ·      PodMatch is awesome! This application streamlines the process of finding guests for your show and also helps you find shows to be a guest on. The PodMatch Community is a part of this and that is where you can ask questions and get help from an entire network of people so that you save both money and time on your podcasting journey.https://podmatch.com/signup/devannon  TRANSCRIPT: [00:00:00]You're listening to the sex drugs and Jesus podcast, where we discuss whatever the fuck we want to! And yes, we can put sex and drugs and Jesus all in the same bed and still be all right at the end of the day. My name is De'Vannon and I'll be interviewing guests from every corner of this world as we dig into topics that are too risqué for the morning show, as we strive to help you understand what's really going on in your life.There is nothing off the table and we've got a lot to talk about. So let's dive right into this episode.De'Vannon: Ifetayo Harvey is the founder and board president at the People of Color, Psychedelic Collective, y'all. I love the name of that organization so much. I believe, I'll say it one more time. I said the people of color, psychedelic collective. Fat's experience of growing up with our father in prison ignited the spark that has led to this amazing individual's body of work in the area [00:01:00] of drug policy reform.Please join us today as we discuss politics, drugs, and how racism and whiteness plays into all of.Hello, all, all my beautiful souls out there. I appreciate each and every last one of you and the time that you take the tune into the sex drugs in Jesus podcast. Well, if today we're gonna be talking a lot more about drugs than we are gonna talking about the Lord, hallelujah. But I wouldn't be surprised if Jesus didn't do a little hit of something back in his day and you know what I mean?Just cuz it ain't written, don't mean it didn't happen. Hallelujah, tabernac and praise. So the day I have with me, lovely, lovely, lovely darling, lady by the name of Epi Atta darling, and she is the founder of the People of Color psychedelic Collective. Ain't that a fucking mouthful? I'm gonna say it again, [00:02:00] y'all.I'm say it again y'all. The people of color, psychedelic collective. My homeboy, Jay Schiffman, over at the Chooses Struggle podcast told me about this individual here and I felt like Dracula as we getting close to Halloween, I need to just sink my bangs into her. And today I have her. How are youIfetayo: Oh, I'm doing great now that I'm talking to you. Oh, how are you doing?De'Vannon: fan? Fucking fantastic. And you know, I'm on this whole new like drug discovery journey myself, and what I've been doing is working hard to siphon off out of my mind. The voices that I realized that were present affecting me that I didn't know. And what I mean by that, Voices from the military, voices from the church, voices from my parents' house.You know, I'm thinking, I say for instance, I used to really look [00:03:00] down upon drugs, you know, and things like that. Well, you know, I thought about it. It was like, okay, where the fuck did I get that from? Was that due to personal discovery? Was that what they told me? You know? And so many of the voices in my head I've been finding lately, even as I'm approaching 40, you know, it's still, you know, what they told me.And it's not actually my own voice. I've been angry about it. I've been pissed off about it. I've been up about it, I've been down about it. And so I love the work that you do. And it's so on tempo at the times right now, is this resurgence? You know, psychedelics is coming now. You started this back in 2017. And and so just tell us about. What in your words, the people of color psychedelic Collective is and why you started it?Ifetayo: Yeah, so people of Color Psych Collective, we are a non-profit doing education and community building for folks of color interested in learning about [00:04:00] psychedelics and ending the war on drugs. And so since we've started, we've done panel discussions, We've had a conference, we had a retreat and of course this covid started happening.We've done online workshops on varying topics. And the reason why I started was because I was tired of seeing whiteness dominate the conversation on psychedelics. And I was also tired of people trying to have conversations about race where they were afraid to speak directly on race and . Okay. I wanted to make a space for people to be able to.Talk about those things without having to worry about, Oh, what is this white person gonna think? Or, Oh, is white fragility gonna get in the way? Because a lot of times it does. So that was part of my motivation. The other part was [00:05:00] prior to me creating my organization, I worked at the Multidisciplinary Association for Psychedelic Studies, which is also a mouthful. People call it maps. And they do clinical research on psychedelics. And so I worked there for about eight months and I was the only black person there. And it was clear during my time that like working on, you know, racial trauma for black folks was not a priority. Working on even unpacking. The whiteness of the organization was not a priority either. And even involving black folks or other folks of color in their research wasn't our priority. And to me, in my mind, I was just like, we as black people, we have, you know, some, some of the highest rates of trauma in this country. You know, just [00:06:00] given our, how we got here, our story in this country. You know, I, I grew up in Charleston, South Carolina, where we have a number of plantations, old historical sites is where a lot of us were brought through, right?A lot of our ancestors. So to me it just didn't make sense. , Black people's trauma wasn't being talked about. Indigenous folks'. Trauma wasn't being talked about or centered in these conversations around trauma. A lot of times it center just white, middle classness. Right. I was just tired of our trauma and our pain and our healing being second to theirs, and I wanted to create a space where we could talk about our experiences of using these substances, but also our experiences of the war on drugs and how it impacted our communities and how, you know, this new narrative of [00:07:00] psychedelics.You know, reemerging kind of leaves us out.De'Vannon: When you, Thank you for that beautiful breakdown. So when you mention the war on drugs, I like to to talk about it a little bit so, As I understand it, something I learned. I've been watching all my documentaries. I'm a documentary whore. I was watching that one, , How To Change Your Mind on Netflix. And then there's one on PBS called The History of Mental Illnesses.And they both went over like the different psychedelics. But what they, what they made me aware of was how psychedelics were used many years ago before, I think it was fdr, Franklin d Roosevelt, I think started that initial war on drugs. Don't quote me on that, but I think it was him. You know, And then all the clinical studies shut down because of the government policy.And so, and now we're seeing this resurgence of the psyche's coming back because the war on drugs clearly hasn't worked. And I was reading Emmi [00:08:00] Lord Emily Duff's book about, what's it called? Nope. I have to look that up because it's all about like marijuana. It's called grassroots and the rise and fall of marijuana, you know, in the book, her book and then the documentary gets into how, you know, drugs are demonized and they made it seem like people were gonna like, you know, smoke the weed and then go rape the white women, you know, and shit like that.You know, all of our mental health issues was us attacking someone else as opposed to something happening to us. But this is the trap we fall into when they, like you said earlier, going snatch our ancestors up out of Africa where they were just happy bouncing around doing them. Teddy's flopping in the red wind dick swinging as it should be Then here comes some people snatching you up and lo and behold, you [00:09:00] traveling internationally when you, you probably didn't know about no fucking other nations. And so, so the narrative was controlled by the people from CaucasianIfetayo: Mm-hmm.De'Vannon: so the c cassity of it all. And so I love how it's like, I feel like we're taking more of this power back or getting it for the first time maybe.You know, and a lot of this is coming through psychedelics, so I appreciate the fact that you, that you started this and then you stuck with it all this time. Covid has come, you still got it going on, so I commend you on that.Ifetayo: Oh, thank you. Thank you. Yeah. Yeah. And I think you make an interesting point about the history of drug prohibition in, in the US I will say. So it was Nixon who started the war on drugs, the official war on drugs, but even prior to Nicks and there were a lot of drug laws on the books. You know, we had alcohol [00:10:00] prohibition in the twenties and that didn't work.And lots of people die cuz they're making , you know, moon shine and other stuff. And it sometimes was poisoned or, you know and you're right, a lot of drug. Ma rooted in racism, just point blank period. I think you used the example of like the whole reefer madness talking about like the fear of you know, black men or Latino men smoking weed and going to have sex with white women.And that's pretty much, you know, the same for cocaine. Opium, It's, they've all been all these drugs have been used to build a certain narrative around racial groups, and it's all been built around white fear and white fragility. Yeah.De'Vannon: fragile though it don't take, it don't take much to piss Karen off. [00:11:00] Not at all. Not at all. And I, look, I'm not talking about all you white people out there. I've had to be so much white dick in my life. Real and I intend to have some more. So it's not all of y'all. You know who you are, Karen, probably not even listening to this type of show.maybe you are, of you're open minded. I had a dream like a couple of weeks or months ago or whatever, getting in this dream. It's like the Lord was telling me I've been a gifted dream or so It was about like four or five. That's how, that's how the spirit first revealed himself to me was it was like in this dream and I've been dreaming ever since,Ifetayo: mm-hmm.De'Vannon: but, but recently I had this dream and it was like, it was like these like conservative people, like white people were singing a song.Ifetayo: Hmm.De'Vannon: Whenever you hear music in a dream, a good thing, especially, well if it's melodious and.Ifetayo: I D.De'Vannon: but the heart song, like the heart message of it, the heart of the song was, is like they were [00:12:00] asking me like, is there a way, is there something they could do different? Is there, was there a way that they, something they could change?And I felt like, and I felt like, you know, that there is a, now we've always had like, you know, even back in slavery days, the, the white defectors, you know, the, our allies, you know, But in this dream here, these were people who have been closed minded to the struggles of minorities and people who are different from them.And it's like, in this dream, it's like the Lord is showing me that. Like, maybe he's like, he's turning their hearts or they're changing their minds, or something like that. And so I'm, I'm revealing this dream here to say that I think that the work that you're doing and stuff like that, even though these people might not, you know, go on the news, go on Fox News wherever, and say they're changing their minds. I think it's making a difference because otherwise that dream wouldn't have come to me because I don't, I don't invest a lot of energy into trying to change conservative people. I focus on the people they have hurt, [00:13:00] and so I really think that what you're doing is going a long way.Ifetayo: Well, thank you. Thank you. That's, that's, that means a lot especially, you know, caring or connecting that to your dream. Cuz I'm really into dream meetings. And yeah, it's, it sometimes feels like our country's progressing into old ideas or outdated ideas, but I, I still have hope that, you know, that's not the case for a majority of the people, even though sometimes the kids feel like.De'Vannon: Yeah, that's why it's good to take a media purge Sometimes I just don'tIfetayo: Oh yeah.De'Vannon: for like a few days and just detox a media detox.Ifetayo: Mm-hmm. . Mm-hmm.De'Vannon: So the services you provide, I'm gonna talk about 'em from your website, beautiful website, y'all. All that information will go in the showy [00:14:00] notes, as it always does. And then they're, they're on Instagram, Facebook, Twitter, YouTube, all of that will go in the showy notes. You know, you have like community building, education, arts and culture. So do kind a person like walk into like your office and receive some sort of service, or are you mainly doing outreach, like on the ground? What is it?Ifetayo: Mm-hmm. . Yeah. So interesting. We are remote based. We've always been remote based since before the pandemic. I live in New York and I've been in New York for about six years, and I have folks in DC Chicago go. Colorado and California, and Portland, Oregon. So we don't provide any direct services partly because a lot of these substances are illegal. So we cannot legally, I mean, in some states, , well, I would say [00:15:00] decriminalized, but in some, in some states it would be decriminalized. But we can, we can't do like psychedelic therapy or like a healing ceremony officially under our organization. But we do connect people, you know, if someone like reaches out to us and say like, Hey, I need help.We can connect people to other services practitioners and other resources out there. And you know, before the pandemic we would go to different cities. Events and, you know, do discussions. Theres, so, like back in 2018, we did a kind of like a partnership panel with the DC Psychedelic Society and the Philadelphia Psychedelic Society.And we talked about patriarchy and psychedelics and that, I mean, much needed conversation. So we'll do, we'll do things like that. I hope in the future we're able to do more direct [00:16:00] services. We've been really focused on building our capacity as an organization. So like we recently incorporated as a non-profit and we're waiting for our 5 0 1 C three to come in and we we received our first grant last year.So yeah, we're, we're, we're slowly building toward that. And I I put emphasis on the slowly because. I think that there's this trend in the site up space for everyone to wanna start their own group and just be known for psychedelics and . That's cool, but it's not sustainable. There's a lots of, you know, different people out there and, and psychedelics are powerful substances.And I am in no rush to, you know, I don't wanna say I'm, I'm not in a rush to give people psyched dogs. I mean, I'm not doing that, but I'm just not in a rush to do that because I know that they're [00:17:00] very powerful substances and it, they take some preparation and and it's also not something to play around with. I, I believe in building a strong container of care for folks if you're going to hold space for them. And I think you do that by being. Prepared. So studying and also just being ethical. So, yeah.De'Vannon: You all, I might have to get your Portland Connect and your New York connection referral cause I'll be in Portland at the end of the month dealing about doing some on the ground research.Ifetayo: Okay.De'Vannon: And I have some jet blue miles that I need to burn. And from New Orleans down here where near where I live, they Jet Blue only goes to New York Fort Lauderdale and Boston.And I've been all three of 'em already, so I may need to come fuck with y'all in the, in the end. Why?Ifetayo: [00:18:00] Yes.De'Vannon: So, so you mentioned a couple of other organizations that you partner with.Ifetayo: Mm-hmm.De'Vannon: You had mentioned maps already. I noticed that I dropped the donation on y'all earlier. You.no. No problem honey. But, and I'm not, I'm not really bragging about that.But when I did it, the, that, like the thank you page said like maps and everything like that. So are you still connected directly with.Ifetayo: Mm-hmm. . Yeah. Yeah. Funny how that works. We are fiscally sponsored by maps. So before, I would say from 2017 to 2020, we were I believe we were, yeah, we were incorporated as a non-profit. And when we got our grant, we were kind of in a time crunch because they were like, We wanna give you this money and we're going to offer you a match component, a $10,000 match. So we're like, Okay, well we don't have a 5 0 1 C [00:19:00] three, so how do we do this ? And they're like, Oh, well, if that's the case, we may not give you the money. . No, I'm just kidding. They didn't say that. But we had to figure out like, how are we gonna do this? And so maps, we looked at a couple other organizations maps had the internal infrastructure set up so we could do that quickly and be able to receive our grant fully.So in a way I kinda, I kind of look at it as like . It's kind of like, Oh yeah, y'all owe us this, you know, so it won't be forever. But you know, it's, it's for now.De'Vannon: Yeah. Well, congratulations on your 5 0 1 3 C status. I, I know it's there. I just know.Ifetayo: ThankDe'Vannon: And y'all for, for those of you who don't know, MAP stands for Multidisciplinary association folks, Psychedelic studies. I didn't know this much research in this much [00:20:00]organization, this many organizations was built around this.You let the news tell it. You know, you let the media tell it. Everything about shrooms and all the different psychedelics is just the devil. you know, that's not, that's just actually not the case at all Now. Now I mentioned earlier some of the pillars that you mentioned on your website, community building, education, arts, and culture.I love a quote that you have on there from arts and culture. Then I wanna talk about the art show you did in 2021. Now you said, quoting from the website along with policy and education, art in all its forms, brings about cultural change. End quote. What does that statement mean to you?Ifetayo: Well, to me it means that, Cultural change is just as impactful, if not more impactful than policy change. I've worked for a few organizations that do policy advocacy work, and I, I don't do policy advocacy work. That's not my day [00:21:00] job. I'm more of a digital communications person. But I'm not very motivated by policy work cause I don't like politicians. And I think, I mean, yeah, politicians aren't to be liked either, right? Like we treat politicians like celebrities and I mean, fuck celebrities too, but yeah, we treat them like they're our friends and it's like, no, like screw those people. So and I think. Honestly, Bureaucracy's gonna be the death of a lot of us.Like bureaucracy in this country just stops a lot of progress from happening. And the way that our political landscape is set up in this country is just, it's just a mess. So . So that's that. I do believe, I do believe that policy can change people's lives, but I do think cultural change can be more impactful.It can be more fun, [00:22:00] it can be more engaging. And at my day job, I work for a caregiver advocacy org. We have a culture change department. And so what they do a lot of times is work with influencers, celebrities, artists, musicians, actors, actresses, and get them to kind of look at our issue a little differently and maybe speak on our issue, work with us, some of the folks. In the culture change department. They also work in Hollywood writer's rooms, so getting our narratives on TV shows in film. And I, I do think that work like that gets people talking a lot quicker. I often find that policy is very jargony and not easily understandable by the average person. And I do think that's partly done by design But I'm also, you know, I'm a, I'm a child of music [00:23:00]education. I grew up you know, in South Carolina studying music since I was a kid. And it had a huge impact on my life. And I feel like what I've been noticing is. That's kind of fading away as a part of our education in the US music and arts education. And so something I'm, I'm very passionate about overall, I think that, you know, when we get, you know, people who, with influence speaking about our issues, whether it be a celebrity or just a community leader, people start to pay attention. People start to think about it differently. Unfortunately, that's just how our society works.We need a celebrity or someone with influence to speak on our to speak on our issue. And, you know, I, Hmm, Yeah, I think that, [00:24:00] that's all I'll say on that.De'Vannon: We'll love it. And, and y'all can check out a video that has to do with this art show on the website. There's lots of videos on the website and and, and of course, obviously on their YouTube channel. I love how, you know, your videos bring so much of your work to life. Can you talk to us about like the, the, the education leg, because on your website there's like you speaking at. These different conferences and things like that, there's the one conference that you spoke at you know, according to the website, you woke up with a stomach virus that day or in a food poisoning. You had food poisoning that instead of canceling it, you, you took a seat and you went on ahead and you let the Good times rollers, where, say, down here in the Cajun land, Leslie Le Bon. So, so, so, so talk to us about, about your, your speaking engagements and how, what it's been like to travel with your message.Ifetayo: Yeah, yeah. That particular speech you're [00:25:00] referencing was last year in Vegas at Meet Delic. And that was an interesting event because it was like very industry side. And so I was speaking about how we need to move beyond just the notion of wellness and how wellness has shortcomings. I think that along with the resurgence of psychedelics in the media and just in our communities in general, we're also seeing, you know, a lot of talk of varying healing modalities.And while important, I think we, we could sometimes use wellness as an escape from actually organizing. Improving our communities. And I think that there are a lot of people in the psychedelics space who, who think that by taking psychedelics, they're going to be more [00:26:00] involved, more liberated than other folks without any, doing any political work or community organizing or building or that kind of thing. So I'm often, you know, the person in a lot of these events and conferences, kind of reminding people that like structural oppression exists and psychedelics aren't coming to change that. Because I think that for a lot of folks, they just think like, Oh yeah, just take psyched dose and boom, that's, you know, and I wish it was that easy, but it's not.So I, I have to remind people that. Sure you could legalize, psyched dogs or decriminalize psychedelics, but are you integrating those substances into a burning house? Cause I mean, look at our healthcare system. Look at, I mean, just to say of our country in general. I've also given talks on like why the why people of color need our own intentional healing spaces away [00:27:00] from white folks.And for a lot of people, this is just common sense , obviously, we, you know, people don't wanna heal in the same places or with the same people who hurt them. And a lot of times when we do try to have complex conversations around race, whiteness gets in the way and detracts and sinners itself and makes everything about them.So a few years ago I gave a talk in Oakland, California. at the Women's Visionary Congress, this is in 2019. And so I was giving a talk about why p POC and digital healing spaces are necessary. And you know, I'm basically saying what I just said about how whiteness the tracks from our healing and all that.And it was a very powerful speech. I'm not saying that to brag, but I'm just I'm saying that to say like, I noticed people [00:28:00] had a very strong reaction to what I was saying. Like people did not, they were just like, Oh shit. Like, damn, you know, . And at first I initially, I told the some of the MCs at the event, I was like, I don't wanna do q and a, cuz I don't feel like dealing with any white nonsense.Right. And the person I'm seeing, there's a mix up and she took questions anyway. And so I was like, Okay, I'll, I'll answer one or two. And this white guy John Gilmore, I believe he's a, he's a board member at maps or donor maps, some rich white dude He basically says like, Oh, well what if I start a Whites only conference?Wouldn't that be racist? And I was like, Well, that's already how maps this conference is. So you wouldn't really be doing anything different than what you're already doing. And [00:29:00] if you want to compare POC and facial healing spaces to like whites only segregation in the us that's, that's on you. That's . And yeah, he thought he was being cute and he wasn't.He, there's actually a video of you wanna watch it, of this whole moment happening, But he felt real dumb after he said that. SoDe'Vannon: Honey, you opened the library on his ass. Mama RuPaul would be so proud of you. The library was open. So y'all, what she's talking about is like basically how, how did I learn this in college? Like it doesn't really, it's not gonna benefit us if individual parts are whole, but the sum total isn't whole. Kind of like that. So if, if a few of us are making it, but everybody else isn't making it, then we're all still fucked.OverallIfetayo: [00:30:00] Mm-hmm.De'Vannon: you know, But so like in the future, how I know. So, so psychedelics isn't gonna solve everything overnight, instantly. Is there, Can it benefit us getting further along as a.Ifetayo: Hm, mm-hmm. . I think that it can, but with a lot of caveats, I think, well there's this, okay, there's this notion in this psychedelic space, a lot of researchers, a lot of just advocates in general or over height, the benefits of psychedelics and totally under height, the risk associated with psychedelics.So I've been in meetings with people, I've been on panels with people who are like, Oh, psychedelics have a low risk profile. What does that mean? does it? Like, what does that mean? You know? There have [00:31:00] been plenty of people who've, who've been traumatized by using psychedelics. There have been people who killed themselves, or people who killed their families while using psyched.Right? So it's, it's kind of messed up to kind of present it as, oh, this, it's safe. The, the risks are low, or, Oh, it's super dangerous, like you're gonna die to do it. Like, we have to give people realistic information. And so that's why I say caveats. Psychedelics aren't for everyone. There are certain people who can't take it, whether they're pregnant, you know, they might be on a certain medication, they might have a certain disability where it's hard for them to take psychedelics.A lot of people, you know, in this country are poor. I grew up poor in the US and you know, my mom's a single parent of seven kids. She could not afford to take off a day to go do some mushrooms or go to a retreat. So those are [00:32:00] those things I just wanna acknowledge are real. But can psychedelics help people in general and with trauma and move our, move our culture forward?Some, I think, yeah, it does have that potential under the right conditions. Something that people say in the psychedelic and harm reduction space is set and setting, which is like kind of a harm reduction monster that people use or they're referring to the place you're in, the setting and the place you're in also in your mind and in life in general and who you're what to say that you should only use second of substances in a place where you're comfortable and with people you trust.And I think that also applies on a macro level too. Psychedelics have the potential to yes, move us forward create better mental health options for folks given the right set and setting. [00:33:00] If we don't have universal healthcare, how much forward is it gonna move us if psychedelic therapy's outta reach?For most folks, if psychedelic therapy's the only thing legalized and recreational use to psyched dust is still legal, then people are still going to be arrested. So I believe that we have to make the conditions right for psyched ups to have a positive impact because if not, it's just going to be, you know, done into our already existing circus. And I don't think that will necessarily make a lasting, impactful change.De'Vannon: right? So you're saying if, if you gonna do this shit, do this shit, write, know, realistically cover everybody and be sure everyone has access to it and dribble the shit around and henpeck at it.Ifetayo: Yeah.De'Vannon: [00:34:00] So, so I wanted to to echo, so, you know, when, when she says like, poc, that's like people of color, like, like that's what that the elder peopleIfetayo: Mm-hmm.De'Vannon: would tell me, like the stories of the things that white people would do to them when they were younger. Now these people were born in like, say like, teens, twenties, 19 teens, twenties, thirties, growing up in the south here in Louisiana. I got called a nigger once,Ifetayo: All right.De'Vannon: there were other, like, I got called like a, like an a or monkey by this white boy one time, you know, in school, you know, things like that.Ifetayo: Mm-hmm.De'Vannon: Didn't happen so much that I would say like, that cemented my perception of white people because I've also had a lot of white people open doors for me in my life, whereas the black people stood in my way. So I was like at a juxtaposition in a crossroads and not really understanding some of the things, you know, some of [00:35:00] the trauma that the elders still held onto.But now that I'm older, I get how hard it can be to really heal of some things. And I would tend to stick with you even if, if you don't want it to. And I never could get it, but I get it now and I don't hold that against them. And so they would tell us how they'd be walking to school because, no, the black people didn't have cars.You know, they didn't have backpacks cuz they took like strings to just tie the books together and the white people would zoom by them in their cars and run them into dishes and stuff like that, you know, and try to, you know, and just, you know, You know, just mean shit like that. That doesn't make any sense.You're already in a, in a, in a nice vehicle. They're on the street walking to the same place you're going, You're even not even gonna offer to, to r pick them up and take them. That's, that's not bad enough. You're gonna try to run them over on the way just for shits and giggles, and, and that sort of shit.And now these people are like in [00:36:00] elementary school, low grade schools when this is happening. And when they grew up into worse racism. And, and then this trickles down into people who, you know, into, even in my generation. And so this is why, you know, you know when, when my guest here says that black people don't need to be around white people sometimes when we heal, this is whyIfetayo: Yeah. Oh yeah, a hundred percent. And it's, I've been in like those racial justice trainings with white folks. And for me it's really frustrating when I have to witness a white person, like realize that black people are people for the first time. It's really frustrating. And I, and I know a lot of white people, even some black people will be like, Oh, well what's the big deal?Like, why can't you just, you know, be in this racial justice training together? And I'm like, It's no, like, this isn't, this to, for them is theory for us. It's our [00:37:00] lives. And so, you know, what you were just sharing about the elders in your family know, stuff like dealing with those races attached is something that I grew up with.You know, my mom was born in the fifties in North Georgia. and she also told me stories of, you know, the night riders or you know, white people shoot a or cops beating up family members for no reason. Even my grandma, my grandma will be 86 this year. She , Her memory is amazing. But she was telling my sister that when she was a kid, Yeah, white kids used to call the niggers too.And she's like, Yeah, we pulled our pants down at 'em . So we, I think we as black people have to realize that like, yeah, this trauma shit is real. It's in our parents, our grandparents, it's in us too. [00:38:00] And if that means, you know, letting your white friend know that, Hey, I wanna talk about this. I've had white people try to talk about, you know, mass incarceration with me or, and you know, other things that.Hit close to home to me. And I don't like talking to him about it because if it's not something you experience, you aren't gonna have the same perspective as I do. Right. Just like I don't have the same perspective as my dad is, you know, he's someone who's actually been in prison. I wasn't. So, I can only share it from my perspective, but a lot of people will use these topics like incarceration as just spotter for conversation and or to look cool.And I'm just, I'm, I don't, that's not why I do this. Yeah. And a and a lot of people will say that, you know, they're [00:39:00] against their war on drugs or they're against this, they're against that. And I think on an intellectual or academic level, a lot of folks are, But when it comes to. on the street. It's a lot different.So I, that's why I think it's so important for us as black people to have our own space. And other folks of color too, because we're at a different level when we talk about these things. We're like in the senior seminar course, the white kids are in the one on one freshman course when they talk about it. A lot of them think that they're on our level when it comes to talking about this stuff, but they're not. And even, you know, I know my organization called the POC Psyched Collective, but same goes for a lot of non-black people of color too. Some of them just, some of them are racist a lot. Some of them are more racist than the white rednecks I grew up with. [00:40:00] So, yeah.De'Vannon: Oh, those are those Mexicans for Trump and shit like that, and the damn gay Republicans and shit.Ifetayo: Yeah, yeah, yeah. You'd be like, Why are you so damn racist? Like, what is, where is this coming from? You know? But yeah, it's, it's a real thing, so,De'Vannon: Well, I think a lot of it gets back to what I was saying at the top of the show about how like the voices, you know, in my head, they mimic themselves as being my own, but they're not, you know, a kid isn't really just born racist. Somebody taught his little as that shit, you know, You know. But they haven't yet come to a point where they go, Maybe the elders in my family were wrong about a black person only being three fourths of a person.You know, They haven't reconciled their own voice yet, you know? Cause no logical person with a heart and a soul can look at, you know, things that happened in our country now and then in the history and [00:41:00] make the, make it logical. But when people's parents tell them that a black person is less than you, that Mexican person is less than you, that gay person is less than you, that gets ingrained in them.And it's, and I and I, I've studied hypnotherapy. I'm a licensed hypnotist. It is difficult. To upo, somebody's upbringing. You know those, that those voices out of their head. Now some people, some white people I know can't fucking stand their families. They're like, I can't racist sons of bitches. You know, I know some white people who, who have such white guilt, they're just like, God damn, and I was born the wrong raise.These white people ain't worth shit. And it stars my family up. They all burn in hell.Ifetayo: Hmm.De'Vannon: Who am I to argue with them? Know they family. I do.Ifetayo: Mm-hmm. . Yeah. Yeah. And I think you know what you're saying [00:42:00] about the voices in your mind, like not always being you, but maybe mimicking you. Goes to show that a lot of this stuff, whether it be drug propaganda or white supremacy, takes a lifetime to unpack. You know, like a lot of times people, when they come to like an event I'm speaking at, they're like, Oh, well how can I get involved?I wanna do something. And I'm like, I, I'll tell people to slow down. I'm like, Just, y'all need to read first. , y'all need to read and learn first, because we all have that intern. Jaga, we all have biases against people who use drugs, especially people addicted, especially black drug users. And we also have internalized white supremacy, like black people do.We have internalized inferiority and white people. They have internalized superiority. And it, it kills me when I, you know, see why people who, they don't necessarily say this, but they act like they've done the work [00:43:00] on anti-racism and they're good. And it's like, no, this is a, this is a lifetime of work.And then some, you know, so you should never stop learningDe'Vannon: Knowledge is power. And as you're saying that, I was thinking about it, I was reading this report cuz I follow like the the decriminalization of the drugs in Oregon because I think that's one of the most miraculous and great. That's happening in my fucking lifetime, and I cannot wait to get there at the end of the month to show my ass.But one of these cops was whining because they were like, The power's been taken for us. The streets are just running rampant with drugs and blah, blah, blah, blah, blah. And I'm all like, Bishop, you already, they're already running rampant with drugs. Stop being a drama queen. And what he's really whining about though, is his ability to be superior over people for having a chrome of dope or a half a tablet, half a Phoenix or whatever, and throwing a black boy in jail for one fucking pill, you know, for 15 [00:44:00] months or whatever.They, they can't do that to us anymore. So they're trying to act like, you know, the, the city's just lawless outta control, but really they hurt. They bud hurt, they hurt probably just cuz they can't dominate us and they ain't got the power no moreIfetayo: Yep. Yep. That's, that's facts. That's facts. And yeah. There's, there's so many like. Unfounded Narrows being pushed right now in a lot of major cities. Here in New York, it's the homelessness and the crime epidemic apparent, like quotes around that . But yeah, people there. I, so I worked on the campaign in Oregon.My old organization, Drug Policy Alliance funded that campaign. And so I was working the night that it got found or that the bow initiative got passed. And it was really crazy because being online and seeing people's reaction to it, [00:45:00] they were just like, what? Like people could not believe that it was real.And that was so fascinating to me because for a lot of folks, like my mom who's, who's 66, she never thought that she would be able to walk into a dispensary and buy weed. That was not the thing she thought about in the seventies, but she was my age. And now it's the thing in some places. So, yeah, it's, it's interesting and I think a lot of people are losing their shit over the fact that, yeah, they don't have power over us anymore.I mean, look at how many people reacted to the whole student loan forgiveness program that Biden in and out. People are mad. People are mad that black people have a chance at getting further in. That we have less barriers to go to college, that we have less barriers to get opportunities that makes people mad.And a lot of the progress that's hindered in this country is because of that. [00:46:00] Cuz white folks do not want us to have the same opportunities as them. That's why our public transit infrastructure in the US sucks. That's why people are okay with defunding public education because anything that benefits poor black people, , they don't care about, they're okay with increasing police budgets because that means there'll be more of them to keep us in check.De'Vannon: As the Lord said, amen and amen system. I mean it in the most non churchy way. But, but as the Lord said it, you know, in the Bible, you know, freely you have received, bitch freely give, I'm adding the bitch to it. Jesus didn't say that, but he probably thinking it. it, they, people are coming from a very, very bitter place when they bitter energy, whatever you wanna call it, negative space, LDL below, whoever.The shit ain't good when you have made it and you're gonna be particular about how the fuck somebody else makes it. So maybe you didn't get your [00:47:00] student loan forgiven, but I bet you somewhere in your life somebody gave you some shit you didn't really deserve and you took that shit, scooped it on up and I throwing off into the sunset and, and, you know, and ain't never even looked back.And you may not have even said thank you. And You know, so this is how people become hypocrites and stuff. The sort of stuff Jesus preach. Again, you may not think you being hypocritical, but the Lord remembers that time when, and even though you may have forgotten it, so the fuck what? I don't care my forgiven because I'm a 100% disabled veteran.I was praying, Lord, just wipe it all out for, you know, I don't care this, just let it go because I'm not a bitter broken bitch. And so I'm not sitting around here trying to find ways to be mad at people's progress. You know? Then half the politicians bitching. I love how the White House read them forIfetayo: Oh, yeah, yeah, yeah. That was funny.De'Vannon: you wanna, wanna complain about them getting this forgiven, but you got a few hundred thousand forgiven.Ifetayo: Yeah. Right, right. [00:48:00] Yeah,De'Vannon: 10,000, but you got half a million. Bitch, go set on your ass somewhere.Ifetayo: yeah,De'Vannon: have several seeds,Ifetayo: yeah. They're proud to be hypocrites. Like they're tol. It's like no moral compass. Just, and then the crazy thing is, is that they'll say they're Christians and it's like, and you know, it's funny, I didn't grow up Christian. I grew up in South Harris, so I was around a lot of Christians, but I didn't grow up Christian.And there's so many people who give Christians a bad name like that, who I'm just like, This is not what Jesus was about. like Jesus, Jesus was about. You know, like you were saying, giving freely, he fucked with sex workers. You know, he hung out with us gays. Like he, he was not about all this shit that they make him seem about, and he probably spoke some weed too, or did some shoes, I don't know.De'Vannon: Right. That's cause it's not written. No mean it didn't happen. There's a whole [00:49:00]30, the 31st, 30 years of his life isn't really, really recorded. After he ran away from his parents in the temple, he didn't really run away, but he was like, Y'all, I got shit to do. You know, So who fuck knows what he did. And so I think he experienced life personally. Yeah.I wanna talk about before we wrap it up, I wanna talk about some of the good things. So, so what have we talked about so far? Some of the stigma surrounding psychedelics, A lot about what your organization does because I want everyone to go to your website. I'm having my assistant add your website to my resources page.Ifetayo: Well, thank you.De'Vannon: yes indeed. Any time, my dear. Because I was inspired to go on a psychedelics journey when I watched you know how to change your mind on Netflix and the history of mental illnesses on pbs. I was watching how the veterans and everything like that who have been struggling with ptsd. I'm a veteran with ptsd, you know, all this psych drugs, they give us the VA to shit don't work, it just be having us like zombies.And I'm watching these documentaries. They did two or three MDMA trips and they haven't had the [00:50:00] ptsd, PTSD problems since. So I'm here for it for the veterans. I'm here for Joe Bidens trying to get the M D M. Legalize, even if it's just at the clinic level, bitch, I will take it because I have been locked up in the mental hospital for some of these veterans before I got four felonies and I'd probably been in the mental hospital about 4, 5, 10, 50, 11 times too.You, if, if MD a is what it'll take for some of my fellow veterans to stop imagining the square tiles on the floor moving and shit like that. The shit that I witnessed when I was in there and shitting all over the floor and whatnot. Bitch give him his goddamn M D M A now. What have you witnessed in your, in like, I know y'all don't give the drugs to people cuz you can't and stuff like that, but have you heard of any stories where somebody was this way and then they got better after doing the psychedelic therapy?You know, with, with a therapist or in a safe space, any positive tells, You can tell.Ifetayo: Yeah. Yeah. I'm happy to share a little about my [00:51:00] story psychedelics, but in general, you know, I've heard people so many stories of folks saying that psychedelics have helped them with body image issues. Depression, ptsd, anxiety, O c D all kinds of things. For me personally, I got into psychedelics when I was in college. I was really depressed my senior year. And I was dealing with suicidal thoughts. I felt just passively suicidal. And it was my senior year, so, you know, when you're a senior, like turn up, you know, everybody's trying to be that . And for me, the depression hit me hard, like really, really hard that year.And it was debilitating. And, you know, I was, I had been in therapy for some time and I got prescribed like, well be shrimp. And I decided not to [00:52:00] take it cuz I, I was a little scared, I was cautious. My mom's also like a herbalist and they get a homeopathic stuff, so she's like against all that stuff.And so that's how, that was my upbringing. You know, I have a lot of friends who, Take antidepressants and it works really well for them. So I'm not, I'm not knocking it. But for me, I was, I was scared. , they said it would take away my sex drive. I was like, Oh no. Hell nowSo, so it was kind of crazy looking back at it. So basically I had interned at the Drug Policy Alliance as a media intern. I started writing about my experience of my dad going to prison and being deported, and they invited me to their conference to speak. So I spoke my first time really speaking in an audience that big. I like broke down in tears.It was [00:53:00] really cathartic for me. And, but at the same time, I knew I was under all that, I was still depressed. So I went to this panel on like end of life. End of life anxiety and p and psychedelics. So they were talking about treating people with like terminal illnesses like cancer with L S D. And I was like, Huh, this is interesting.For some reason I related to it, so I was like, I'm gonna go and do some mushrooms. So I went back to school after the conference and I was talking to my friends cuz I knew they dabbled in psychedelic. I was like how do I do mushrooms, ? At that point I only tried alcohol and wheat. I was so sonner in college.I, I still am. And so they're like, take three and a half grams, maybe put in some peanut butter cuz they taste kind of nasty. And then they're, then they're like, yeah, [00:54:00] like go in the woods or something. Like go in nature. Oh yeah. Have a sitter too. So I got my, I got my friend to, to sit for me and I ate the three and a half grams of mushrooms and went on a walk in the woods on this nature trail.It's really beautiful, overwhelming, at the same time. Experience. It lasted about eight hours for me, and it felt like a jolt that I needed in that time, like being really depressed and suicidal. I felt like I had this jolt just being like, ah, you know, like, of like release, but also happiness and beauty.Like it was showing me the beauty of life, why we're here. Yeah, it just, it, it just showed me a different side of life. It reminded me of my childhood imagination. Like we were in the woods and like the, the trees were glistening. The. The plants were talking [00:55:00] like, it, it just felt very surreal. I was, I was kind of freaking out.I was like, This is too much. So me and my friend, she took me back to my room and I felt a little bit better there. I was like, less freaked out. But yeah, it, it helped me see myself in a different context. When you are depressed, you're so used to a certain narrative that you have about yourself. It could be, Oh, I'm stupid, I'm dumb, I'm worthless, blah, blah, blah. when you take mushrooms or some other psychedelic, maybe you're seeing yourself from a, like, like, you're basically seeing yourself from a different person's perspective, like almost from the outside. And it helps you have a lot more compassion for yourself. Like you see yourself as a person, not as like,You. So I think that can be helpful [00:56:00] for anyone who's stuck in a rut, whether it be depression whether it be, you know, just bad habits that you've been trying to break for a long time. Yeah, and it, I mean, and the most important thing was that it just made me feel really happy. Like, I was laughing, like I never laughed before like giggling like a baby, you know?And that was really important because when you're depressed and down, your body forgets what it's like to laugh, like. And when you laugh like that, it's like, whoa. Like that feeling is so amazing. And when you're on Trus, you, I mean, for me at least, I laugh, I laugh a lot. things could be really, really funny.You could also go from crying to laughing, like in five seconds, , just like that. But I think that's beautiful too because that's how life can be. You know, things can be good. One minute and boom, things can change and you have to adjust and you have to [00:57:00] keep going and learn how to adapt with all those things.And for me, my, that's kind of what my work is about. You know, we're all adapting, we're all changing, but we can also use these substances as tools to change our worlds and help people like, help people with disabilities, help people who, you know, are born without certain privileges. A better place for them.De'Vannon: See the Lord is giving us everything we need right outside nature and how, how dare the white man tried to, to tell us something's wrong with these things that just grow naturally. Shrooms and weed and the, the fucking mold on the wheat that they make the fucking l s d out of and stuff like that. It's all line naturality.It's organic nun gmo, gmo, all of that. I'm sorry. You went through all those things. You went through being depressed during, during what's [00:58:00] so supposed to be such a happy time, but I'm glad you got your breakthrough. Yes. From those documentaries I watched, it seems like they were suggesting that these psychedelics have the power to rewrite like the, the neuro connectivity of the brain.So like, like you're saying, when you get, when you get sad and you get stuck in that ruck rut where you're teaching, where your mind learns how to be sad, and then these psyched dealers can remind your mind what it's like to be happy and rewire the way you process information and process life. So it can give you a whole new framework to work from. So,Ifetayo: Mm-hmm.De'Vannon: and I didn't really get into the types of psychedelics because I was watching like, I think on your YouTube channel of, I think it's in the intro video on there, you had this panel of people like y'all, y'all if Fatal, Ifta loves her panels, he loves a panel.Ifetayo: You'reDe'Vannon: It is good to have all those perspectives.But the [00:59:00] one you had, they were going over all the different psychedelics and I knew about the Melin and the, the celli and the ganja, you know, and all that. But then they started going down. He was like, But it's like, you know, designer, now you have all these different wands. And it's like, so I was like, Oh shit, I don'tIfetayo: Yeah.De'Vannon: but y'all go to the website to learn more about the different types of psyched dials. Listen to their, the information or YouTube channel she mentioned like dismantling the patriarchy. There's information and in other shows she's gone on, on her website that mentions. That, that you can access through the website that I would put in the show notes. Grief loss to death and harm reduction, things like that. You know, that you mentioned all of these are potential benefits for psychedelics when it's done right and in the right setting. I'm so happy that it's coming back around cuz all this Ritalin and shit, they got kids on calling them adhd, whatever the fuck that is.You know, all this medicine that they've had us hopped up [01:00:00] on, all it is is legal drugs. We should be able to have our shit, not just what they tell us is okay because they haven't so,So I'm gonna let you have the last word. Say whatever is you want to.Ifetayo: Oh man, you . I, I'll just say you've been an amazing host. I, I was not expecting this. You're awesome. You've like, I do a lot of podcasts, interviews and you've been the most fun. So IDe'Vannon: Well, damn. Thank you. Thank, I'll take, I'll take allIfetayo: Yes. Keep doing. You Don't change. And thank you to all your listeners. Check us out www.pocpc.org. Thank you for having me.De'Vannon: Absolutely. Thank you very much. Fat Tayo. Thank y'all so [01:01:00] much for listening and we'll see you next time on the Sex Drugs in Jesus podcast and tell them don't listen to nobody but show self.Thank you all so much for taking time to listen to the Sex Drugs and Jesus podcast. It really means everything to me. Look, if you love the show, you can find more information and resources at SexDrugsAndJesus.com or wherever you listen to your podcast. Feel free to reach out to me directly at DeVannon@SexDrugsAndJesus.com and on Twitter and Facebook as well.My name is De'Vannon, and it's been wonderful being your host today. And just remember that everything is gonna be all right. 

In this week's Jazz After Dinner Joe features Saxophonists Cliff Jordan and John Gilmore from their 1957 Blue Note Records release titled “Blowing In From Chicago.”

Today, Erik is joined by John Gilmore, a multi-unit, multi-brand franchisee.    John got his start with Cutco, where he honed his skills in sales and learned how to run a successful business.    John and Erik discuss how to get into a business using strategic partnerships--even if you have little or no money to put into the business. John talks about how he partnered with the pair's mutual friend, Justin Donald, and went from being a sweat equity partner to having a great exit and acquiring other businesses.    This episode is super valuable for anyone who is an aspiring business owner--particularly those who would like to partner with an investor.    Enjoy today's episode of Franchise Secrets!   Did you know you can listen to the Franchise Secrets Podcast on your favorite platforms?   Spotify: https://open.spotify.com/show/4BpskQS...   Apple Podcasts: https://podcasts.apple.com/us/podcast...   Learn more about my franchisee mastermind here: www.franchisetribe.com ⬅   Learn more about my franchisor mastermind here: www.franchisortribe.com ⬅   Learn more about my passive investing mastermind here: www.tribeofinvestors.com ⬅   Want to buy a franchise? Connect with me here: https://forms.gle/n4JedEuU5p7asE617 ⬅   Want to franchise your business? Connect with me here: https://forms.gle/n4JedEuU5p7asE617 ⬅   Don't forget to subscribe to the Franchise Secrets Youtube channel so you don't miss out on any content! http://www.youtube.com/channel/UCGL_D......   Add Erik as a friend on Facebook:  https://www.facebook.com/erik.v.horn/   Follow Erik on Instagram: https://www.instagram.com/erikvanhorn/   Connect with Erik on Linkedin: https://www.linkedin.com/in/evanhorn/     Erik Van Horn is a franchising specialist, and expert in multi-unit, semi-absentee franchise business ownership. From entrepreneur to regional developer, and investor to consultant, Erik has worn many hats over the last two decades, which has provided him unique insight into complex aspects of the industry. If you're a franchisee, a franchisor, or one aspiring to be, subscribe to the Franchise Secrets channel and visit www.FranchiseSecrets.com for even more tactical and practical tools to help you buy, grow, and sell franchises like an expert.

**SCROLL DOWN FOR LINKS ON ALL YOU NEED TO KNOW ABOUT THE MONKEYPOX VIRUS** We're back with another special episode on the Monkeypox virus brought to you by the Gay Health Network and Man2Man.ie This week, our three guests talked to us about their experiences of having virus and coming out the other side. We are so grateful to them for sharing their stories for the benefit of us all. We spoke to Tom Strong, activist with ACT UP DUBLIN, John Gilmore, a lecturer/assistant professor in the School of Nursing, Midwifery and Health Systems at University College Dublin and Brighton based, creative strategist, Nick Bain. Love, Veda and Robbie. MONKEYPOX INFORMATION STATION: Click on the links below for information on the virus and what you can do: Latest Monkeypox information from the Terence Higgins Trust Man2Man.ie - More Monkeypox info. Poz Vibe Podcast is a Veda Lady and Robbie Lawlor production. This series is gratefully sponsored and supported by Dublin Pride. Our continuity announcer this series is the one and only Ana Matronic. Episodes are produced by Esther O'Moore Donohoe with artwork, social media assets and stunning merch all created by the fragrant and talented Lavender The Queen.

Courtney's playing refreshingly cool new jazzy vibes for you to work, rest and play to!  Jam-packed full of new releases and plenty of fun, including many of the artists introducing their own tracks!  This week we've got Canadian drums, Spanish jazz trio, Brazil samba beats, Egyptian vibes, Icelandic vocals, Norwegian piano jazz, USA free-funk - the beat goes on folks & Courtney's got this one in the bag JUST FOR YOU!!1 Anthony Fung - Flashpoint (Revisited) 6'14What Does it Mean to Be Free? SELF-RELEASE Tr4Anthony Fung dr David Binney alto Luca Mendoza pno(Fung)Student of Danilo Perez & Herbie Hancock, Anthony's kicking' off proceedings this wk with wonderful David Binney on alto.  "To be free is to break the self-imposed fortress, to let go and have faith".2 Manel Fortia - Circular 8'16Desparater SELF-RELEASE Tr2Manel Fortia bs Marco Mezquida pno Raphael Pannier dr(Fortia)"Desperate is a gorgeous declaration of emancipation from the assumptions that sometimes are erroneously made about Spanish jazz.  This is fresh thinking and beautiful playing...Manel's bass sound is huge and fluid & his bandmates are almost telepathic in their interaction with it". (Arturo O'Farrill)3 Erik Friedlander - The Fire in You 3'24A Queen's Firefly SKIPSTONE Tr8Erik Friedlander cl The Throw ft Uri Caine pno Mark Helias bs Ches Smith dr(Friedlander)Sounds from NYC's downtown scene - electric cello, Uri Caine swingin' hard, Mark Helias' soulful bass: this fantastic track combines folk energy with fiery jazz..4 Flora Purim - If You Will 4'10If You Will STRUT Tr1Flora Purim vc Dave Sartori pno Thiago Duarte bs Endrigo Bettega dr Airto Moreira perc(G Duke arr Mutti)Brazil's golden couple Flora & Airto on a feel good George Duke groove - need we say more!  Gorgeous new album with happiness on tap.5 Rudresh Mahanthappa - Animal Crossing: New Horizons Theme 6'08Animal Crossing WHIRLWIND Tr1Rudresh Mahanthappa sx Francois Moutin bs Rudy Royston dr(Totaka)Who wasn't playing Animal Crossing in Lockdown?  Wildly popular vid game given a genius jazz lick by the incredible Rudresh + trio.  You'll be humming this one non-stop!6 Sun Ra Arkestra - Dawn 12'19Sun Ra Meets Salah Ragab in Egypt 1983 STRUT Tr2Sun Ra keys Salah Ragab congas John Gilmore tnr Marshall Allen, Danny Thompson alto Leroy Taylor bs cl James Jackson bss Tyron Hill tb Eric Walker, Chris Henderson, Claude Broche dr(Ragb)"My music demonstrates infinity.  Most people can't comprehend that" (Sun Ra).  The historic moment the Arkestra met Salah Ragab in Cairo 1983 - amazing release from Strut with new photos, incredible liner notes - go check!7 Anna Greta - The Tunnel 3'06Nightjar in the Northern Sky ACT Tr4Anna Greta vc Skuli Sverrisson bs Einar Scheving dr Hilmar Jensson gtr Sigurour Flosason sx Johan Tengholm bs Ragnheiour Grondal bv(Gretas/Creeley)The new sound of Nordic jazz! Beautiful Icelandic melodies from Anna - multi-award winning rising star!8 Johan Lindvall Trio - Give Up 4'16This is Not About You JAZZLAND Tr2Johan Lindvall pno Adrian Myhr bs Andreas Skar Winther dr(Lindvall)We just love hearing jazz with a Nordic accent - really feelin this swingin groove from Johan + crew!9 Bright Dog Red - On the Avenue 4'13Under the Porch ROPEADOPE Tr2Joe Pignato dr perc Tim Lefebvre bs Eric Person sx fl Mike LaBombard tar fx Cody Davies sounds Matt Coonan vc(Bright Dog Red)Free-form jazz, rock, funk, hip-hop all thrown in the pot for this "part Ornette Coleman/Lounge Lizards/A Tribe Called Quest" sound-fest!10 Lettuce - Gravy Train 4'39Unify ROUND HILL RECORDS Tr11Adam Deitch dr Ryan Zoidis sx Adam 'Shmeeans' Smirnoff gtr Erick 'Jesus' Coomes bs Nigel Hall keys vc Eric 'Benny' Bloom tpt(Clark/Kobalt arr Deitch/Daniels/Zoidis)Let Boston's Lettuce teleport you to a funky galaxy, far, far away, where all life co-exists as one in peace, love, harmony...and music!

Dr John Gilmore, Assistant Professor of Nursing at UCD

Dr John Gilmore, Assistant Professor of Nursing at UCD

John Gilmore, Head of Research at DeleteMe by Abine discusses why authentication is a problem right now, how big tech has changed consumer behavior in the face of major privacy problems, and how new state level regulations like CCPA and VDPA will influence how businesses will handle their data moving forward.

Dr. Jack discusses the former NIH Director's malfeasance and neglect of the issue of finding ways to improve health in kids and adults with autism with lawyer John Gilmore and author Louis Conte. He also discusses the absence of studies on most vaccines on the question of the link between vaccines and autism with supermom Tia Severino...

Dr. Jack discusses the former NIH Director's malfeasance and neglect of the issue of finding ways to improve health in kids and adults with autism with lawyer John Gilmore and author Louis Conte. He also discusses the absence of studies on most vaccines on the question of the link between vaccines and autism with supermom Tia Severino...

The role of Latin in Britain's eighteenth-century Caribbean colonies was multifaceted. The ability to speak the language was a status symbol for the colonial elite, and Latin texts often served as attempted validations of the colonial project; for example, John Maynard wrote a lengthy Latin poem aiming to justify the slave trade in Barbados. But there was also the Jamaican poet Francis Williams, who achieved international fame as a writer of Latin verse and used his work to defend his right to be taken seriously as a Black poet. In this week's episode, Dr John Gilmore of the University of Warwick speaks to Shivaike Shah about the light Francis Williams's one surviving poem sheds on the lesser-known functions of Latin in the British colonies. He shares how Latin poetry became a conduit for arguments about the intellectual capacity of people of African descent and, by extension, about the illegitimacy of the slave trade.To find out more about this topic, check out the reading list on our website: www.khameleonproductions.org/khameleon-classics/latin-poetry-in-the-caribbean

Subscribe on Spotify ∙ Stitcher ∙ Apple ∙ Pocket Casts ∙ Google ∙ TuneIn ∙ RSSPANIC - The Dithyramb DissectedWhere it all started…The Concert used on the CD, (thanks to Casa da Musica), complete with the score, (thanks to Tom)Poetry and Influences ( Some Dubious)The Poem the H.B. used as the initial inspiration for the work.At the beginning of the 20th century, many composers turned to the folk music of their countries in a search for a national cultural identity. In Britain the folk music was inextricably linked with the pre-Christian, or pagan past, which gave rise to quite a few pieces in which Pan appears, like this…or this……and perhaps this takes us too far afield, but isn't it interesting to see the Saxophone turn up in the role of one of Job's comforters in Vaughan William's “Job - A Masque for Dancing”?Some background to the great God Pan. Contains a discussion of Occult matters.Arthur Machen's masterpiece “The Great God Pan” , that H.B. specifically told Gav he'd never heard of, let alone read.…from there it's just a short step to The Fall's Leave the Capitol, with many Pan references. I'd put money on Birtwistle being completely unaware of this.The Dionysian Saxophone, a Short StudyPaul Gonsalves's 27 choruses of Crescendo and Diminuendo in Blue at the 1956 Newport Jazz Festival are a good example of Dionysian energy embracing an entire crowd. Even with the sound quality and lack of image, it's still quite easy to hear how the audience is gradually moved out of itself into an ecstatic state. Newport again, but a very different Saxophonist. Out of all of Coltrane's outpourings, this is one of the closest to the Birtwistle, I think. It's not difficult to imagine Trane as the Great God Pan…Or maybe this. This is certainly the acid test for me to see if a piece of Contemporary Classical music is any good.Then again, it's not just Coltrane. One of the most shamefully overlooked players in this field was Sun Ra's tenor player John Gilmore. Listen to how this solo builds into an ecstatic explosion… Other Notable mentions should include… …and also this. Is this why Birtwistle wrote for the alto instead of the far more expressive tenor saxophone?Night's Black Bird (2002)Albrecht Dürer's Engraving featuring something that looks suspiciously like the Casa da Musica on it's side…..everything is connected.Flow, my tears, fall from your springs! Exiled for ever, let me mourn; Where night's black bird her sad infamy sings, There let me live forlorn. Down vain lights, shine you no more! No nights are dark enough for those That in despair their last fortunes deplore. Light doth but shame disclose. Never may my woes be relieved, Since pity is fled; And tears and sighs and groans my weary days, my weary days Of all joys have deprived. From the highest spire of contentment My fortune is thrown; And fear and grief and pain for my deserts, for my deserts Are my hopes, since hope is gone. Hark! you shadows that in darkness dwell, Learn to contemn light Happy, happy they that in hell Feel not the world's despite. Why Ken Ueno?Tom and Ken were once in a band together with Jon Whitney called Blood Money Subscribe to Gas Giants This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit gasgiants.substack.com

John Gilmore is a computer engineer, computer entrepreneur, civil libertarian, drug policy reformer, and philanthropist. He has thirty years of experience in the computer industry, including applications programming, systems programming, language implementation, management, and investment. He was the fifth employee at Sun Microsystems, and contributed to hardware and software design and production. He co-designed the protocol that your phone or laptop uses every day to get when you connect to WiFi or Ethernet. He has contributed significantly to the worldwide free software movement, by writing many free programs, and co-founding Cygnus Support, a successful commercial free software company that is now part of IBM. He cofounded the "alt" subnet of the Usenet decentralized world forum to improve its free expression. He is a champion of civil liberties, a cofounder of the Electronic Frontier Foundation, and a cypherpunk, an advocate for wide distribution of strong encryption systems, to provide privacy and security despite malevolent governments. He has contributed several decades and more than $12 million to improving United States drug laws. He serves on the boards of the Marijuana Policy Project, which has enacted more than half of the adult-use and medical marijuana laws in the US; and the Multidisciplinary Association for Psychedelic Studies, which leads the psychedelic medicine movement, by running FDA-approved clinical trials to make MDMA (Ecstacy) into a legal prescription medicine for post-traumatic stress disorder.

John Gilmore is a computer engineer, computer entrepreneur, civil libertarian, drug policy reformer, and philanthropist. He has thirty years of experience in the computer industry, including applications programming, systems programming, language implementation, management, and investment. He was the fifth employee at Sun Microsystems, and contributed to hardware and software design and production. He co-designed the protocol that your phone or laptop uses every day to get when you connect to WiFi or Ethernet. He has contributed significantly to the worldwide free software movement, by writing many free programs, and co-founding Cygnus Support, a successful commercial free software company that is now part of IBM. He cofounded the "alt" subnet of the Usenet decentralized world forum to improve its free expression. He is a champion of civil liberties, a cofounder of the Electronic Frontier Foundation, and a cypherpunk, an advocate for wide distribution of strong encryption systems, to provide privacy and security despite malevolent governments. He has contributed several decades and more than $12 million to improving United States drug laws. He serves on the boards of the Marijuana Policy Project, which has enacted more than half of the adult-use and medical marijuana laws in the US; and the Multidisciplinary Association for Psychedelic Studies, which leads the psychedelic medicine movement, by running FDA-approved clinical trials to make MDMA (Ecstacy) into a legal prescription medicine for post-traumatic stress disorder.

Location: Skype Date: Thursday, 9th January Project: Bitcoin Magazine Role: Technical Editor Welcome to the Beginner's Guide to Bitcoin. Bitcoin can be intimidating for beginners. The protocol is complicated, the community can be aggressive and unforgiving, silly mistakes can lose you money, and it is easy to succumb to altcoin marketing.  Bitcoin does though, offer you the opportunity to hold a new type of monetary asset, one which can't be seized by the government and is censorship resistance and It has the potential to change the way the world.  The goal of What Bitcoin Did has always been about making things simple; there are no stupid questions, and the show is here to help beginners navigate this new world. To kick off 2020, we are launching a special series to help beginners understand Bitcoin. We will be looking at the basics from breaking down the protocol to explaining the economics and discussing the potential societal shift.  Beginners Guide Part 3 - Aaron van Wirdum on Bitcoin's Pre-History and the Cypherpunks Founded by Eric Hughes, Tim May and John Gilmore the cypherpunks were a group of hackers, privacy enthusiasts and crypto-anarchists. The group consisted of some of the most prominent cryptographers including Phil Zimmermann, Adam Back, Nick Szabo and Hal Finney.  The cypherpunks had its factions; some focussed on privacy tools, others on encryption and some on building decentralised monetary systems. It was on the cypherpunk mailing list and during their meetups that the building blocks of Bitcoin were born.  On October 31st 2008, Satoshi Nakamoto emailed the cypherpunk mailing list, telling them "I've been working on a new electronic cash system that's fully peer-to-peer, with no trusted third party." In the 11 years that followed Bitcoin has proven to be the most successful attempt at creating a censorship-resistant and trust minimised digital currency. Each previous attempt at creating a form of digital money had solved parts of the puzzle, but Satoshi was able to put these pieces together along with his innovations to create Bitcoin. The previous attempts included: In the 1990's eCash, headed by David Chaum, attempted to make online payments anonymous. In 1997 Adam Back created HashCash, a proof-of-work system to reduce email spam and prevent denial of service attacks.  In 1998 Wei Dai proposed B-money to allow for an "anonymous, distributed electronic cash system".  Around the same time, Nick Szabo proposed Bit Gold where unforgettable proof of work chains would share properties of gold: scarce, valuable and trust minimised but with the benefit of being easily transactable.  In 2004 Hal Finney built upon the idea of Hashcash and created Reusable Proofs of Work.  When Satoshi released the Bitcoin whitepaper, rather than a revolution, Bitcoin was an evolution of all that had come before it with Bitcoin being the most trust minimised, censorship-resistant and hardest currency that has ever existed. In Part 3 of The Bitcoin Beginner's Guide, I talk to Aaron van Wirdum, a journalist and Technical Editor at Bitcoin Magazine. Aaron explains the cypherpunk movement and the digital money projects which paved the way for Bitcoin.

John Gilmore is in for Sue, and is refusing to admit his "white priveledge" He exposes the false narration of hate crimes in MN. He also explains why we need to stand tall against the agenda others want us to follow.

John Gilmore continues with some truth from Crimewatch Minneapolis. Find out what the media isn't telling you. Plus some disturbing news from our area schools.

John Gilmore is in for Sue. He continues his rant on why we are losing and why we need to fight back against political correctness.

John Gilmore is in for Sue, and he offers the many ways we are being forced into complying with the lefts agenda.