Podcasts about Patient X

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight on APEX Express join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere at the Magic Theatre. She speaks with Ethnotech's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the Aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.”     Our Guests discussed: April 2-20, 2025 Magic Theatre The Boiling, a tale of american nihilism tickets, wheelchair accessible Joan Osato SFFILM Cedar Road Iyagi Grant Applications:  sffilm.org/artist-development Ethnohtec May 22 Ethnohtec https://sfpl.org/events/2025/05/22/panel-strong-bamboo-3-part-1 Strong Like Bamboo SF Library Koret Auditorium Free https://sfpl.org/events/2025/05/25/performance-strong-bamboo-3-part-2   Coming Up Next Transcript   Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Ayame Keane-Lee: [00:00:34] Tonight on APEX Express join host Miko Lee as she talks with Asian American theatre artists with works coming up soon. Miko talks with Sunhui Chang and Joan Osato about their world premiere of the boiling at the Magic Theatre. She speaks with Eth-Noh-Tec's Nancy Wang and Robert Kikuchi-Yngojo and finally we hear from playwright Jiehae Park on the world premiere of the aves at Berkeley Rep. Though we may be immersed in a complicated, challenging and very disturbing world, as Grace Lee Boggs said, “A people exercising their creativity in the face of devastation is one of the greatest contributions to humankind.” So join us on APEX Express as we join some creative conversations.   Miko Lee: [00:01:17] Tonight on Apex Express, we have the collaborators behind Magic Theater and Campo Santo's, world Premier of the boiling: a tale of American nihilism. Welcome playwright Sunhui Chang and video artist Joan Osato.    Joan Osato: [00:01:30] Thank you for having us on, Miko.    Miko Lee: [00:01:33] Yes. First I'm gonna start for each of you with a personal question, which is an adaptation from the amazing Chinaka Hodges. And my question for each of you, and let's start with Joan first, is who are your people and what legacy do you carry with you?    Joan Osato: [00:01:49] I consider myself a child of immigrants in this country. My lineage Japanese, Japanese American by way of Hawai'i a lot of my lineage is carried by that diaspora, but also by my history at Youth Speaks for a couple of decades. And so I consider that my family also and Camp Santo.    Miko Lee: [00:02:12] Yay. Love that. And then Joan, what legacy do you carry with you?   Joan Osato: [00:02:17] A legacy of resilience and I know how to farm. I like to think of myself as a gardener and a great farmer. so that's the legacy I carry with me.    Miko Lee: [00:02:29] Thank you so much, Joan. Sunhui, what about you? Who are your people and what legacy do you carry with you?    Sunhui Chang: [00:02:36] Well, I'm part of the diaspora, the Korean American diaspora that happened in the seventies. My family immigrated to the island of Guam in 1976, as part of developing the island of Guam. As, you know, the Korean diaspora at that time in the seventies, we were kind of shipped around the world a little bit, for our labor. There's a huge Korean population of workers that also went to West Germany and other places, Guam is not as well known, but it was definitely part of that. So in 76, our family landed on the island of Guam.    Miko Lee: [00:03:11] Wow, that's so interesting. And then what about what legacy you carry with you?    Sunhui Chang: [00:03:16] I think my legacy I have to say is that definitely of the immigrant working class, you know, as with a Korean diaspora, there's some things of, like the East Coast Koreans, as you may know, have a different history of being much more educated whereas kind of the west coast and the Korean diaspora during the seventies towards islands like Guam, we were much more working class. So that is my legacy. I have working class roots that, I never seem to be able to get away from and I don't want to.   Joan Osato: [00:03:47] Shoot. That's the same for me too, my working class roots.   Miko Lee: [00:03:51] So it sounds like you two have some commonalities there and that seem to have flowed over into the creation of this play. Sunhui can you talk about an overview of this brand New World premier, the boiling.    Sunhui Chang: [00:04:05] Simply put, it's a story of a tracker and a tracer, a government team that was formed to track and trace down carriers of the virus called the Boiling. and it actually. starts out as a chase, but what we really dig into is more about, identity, home, what it means to be, what is home and what it means to be, at home, and also, about redemption, you know, through our lives, you know? So it's multi-layered, so it's hard to kind of explain in a log line. but it's a chase story that kind of delves into the characters.    Miko Lee: [00:04:40] And I understand this was inspired by a real news story. Can you tell us about that real news story?    Sunhui Chang: [00:04:46] Oh, yeah. the genesis of this we have to kind of go back to the beginning of the pandemic back to December, 2019. I had just finished a gallery installation in San Francisco and then at the end of that I flew back to Seattle. Now at that period of time, there was this talk that there's this virus that's in China. That might affect us, we're not quite certain, but it could be something that could lead to a global pandemic, but we didn't quite know at that time. But then when I landed in Seattle, March 17th, 2020 was the date that Governor j Insley shut down the state of Washington. So that is a big take 'cause, As you know, we all hunkered down at that point. And then in one of the hunkering down is of course, I was watching the news and one of the news story, happened to come across where they were talking about a Econo Lodge motel that the state of Washington had purchased to turn into a quarantine motel, a voluntary quarantine motel where people who, felt that they were infected could check themselves in, to be evaluated. So the story goes that two people had actually checked into this motel totally voluntarily, but one of them the morning after. And this is captured, with a surveillance video. We actually see this one person walking out of their room at the motel. We see them walk across the street to a gas station with a market. Now the surveillance actually then switches over to the gas station surveillance, which shows him walking to the gas mart, walking inside, making a purchase, and then actually walking out. And then we see another footage of the surveillance that's going from the outside surveillance of the store. We actually see him, walk towards the bus stop, get on a bus. And then just the bus leaves and that is it. And the news story ends with that. They had no idea where this person drifted off to. and for me it just, it had this weird, eerie fascination that just grabbed me. and remember at that time, Seattle was such a hotbed for Covid. It was where the nursing home happened, where so many of the elderly had passed on, and we didn't even wanna secondhand touch a surface, so there was a real heightened sense of alarm that was happening. So seeing this story of this potential infected person just drifting off. And then what made it eerie was that I wanted to see what followed up. So for days after I kept watching the news, what is the follow up? What happened? It was never brought on again. Never. Another mention I. and for me that actually made it even more eerie. So it really sat with me, to the point where I had to actually just write down the first words of my, the first line of my story, the boiling. And the first line was, “Carrier X stepped out of the tightness of his room and breathed deeply the soft drizzle of the Pacific Northwest to cool his body from the growing fever.” So those were the first words that I wrote. and then it was just kind of off to the races 'cause the way I write Miko is that I'm very much organic. I kind of set a story and then I become a vessel of the story. I don't come to the story with agendas or anything of that nature. After the first sentence, it just kind of took a life of its own. So that's it.    Miko Lee: [00:08:18] That is amazing. I did not hear that story. and the real news story. That is wild. That would've sat with me too. Joan, had you heard of that story before being brought onto this project?    Joan Osato: [00:08:29] Well, when we did a reading during the pandemic. I did hear parts of that story, but I think it's also a story that a lot of us can relate to, because like here in the Bay Area, of course, we also experienced severe lockdown. Whereas in other parts of the country, I think that the type of lockdown, although being, you know, trying to be really safe for people also induces this sense of isolation and paranoia. And so wanting to get information about who's getting affected and like, where's it happening? I think that was all like kind of a mini obsession of like. Everyone who experienced the pandemic, you know what I mean?    Miko Lee: [00:09:10] How do you think that pandemic has had an impact on theater and on audiences?    Joan Osato: [00:09:16] Well on the most basic levels, you know, like what theaters are grappling with, just in terms of coming out of and recovering from pandemic, I think everybody understands that, you know, theater in general is struggling because of the changes that happened in terms of, Perhaps what people place importance on the isolation that we went through, the kind of, paranoia about being in groups of people and in space and in community together. And so, that affects, you know, theaters and you can, you can see that since the pandemic some have closed. But I also think that, the effects are also that, groups like The Magic or Campo Santo during the Pandemic, we never stopped working and we just figured out innovative ways to, you know, support artists, do radio plays, do, amalgamations of like filming. And so a lot of us became like very, very adept at different types of media that are theatrically based, like Sunhui's play, but that we had to carry out, like online or, you know, through other types of media.    Sunhui Chang: [00:10:30] I just wanted to add on that is that, the pandemic, you know, there there was definitely things that really affected us as humans in such a negative way, but what I also found admiring was, with Joan and Camp Santo and the artists and trying to find creative ways of, still letting, having an outlet. it really was that the story of the boiling would not have taken place if artists such as Joan and Camp Santo. If they didn't, if they weren't able to pivot and make these kind of online transitions at the moment, such as doing readings and such, cause that's how the story was first brought about. So, in many ways it was hard. But also I do appreciate these artists who have been able to kind of keep going and didn't shut down and kept letting the creative creativity somehow flow. I so appreciated that.    Joan Osato: [00:11:20] Yeah, it was definitely a beautiful thing. And then, you know, Miko, throughout the pandemic, you know, we would have like online viewings of our archives or we would sit with audience members, who were joining us and basically hang out for like three, four hours online. So trying to create the space not only to kind of generate support for artists who are. Completely outta work, but also to, just connect us even though we were. You know, obviously under these conditions where we couldn't see each other in person and it wouldn't have been advisable for us to even try to gather, you know, because, I consider us, you know, in-inside of our community extremely vulnerable. So, you know, just grappling with that tension, was really hard.    Miko Lee: [00:12:09] Yeah. And I kind of hear both of you saying that in those really tough times, there was this push to get more creative, to find more ways of reaching people and, and to look at ways that we can, um, innovate given that, and I'm wondering, given our current political climate where things are changing every hour now. I mean, the first Trump administration, it was kind of every week and now it feels like every hour a new kind of devastating thing is happening. I'm wondering how you both think theater can be used as a tool for social change.    Sunhui Chang: [00:12:41] For me Theater and, and really the arts, what I do love about it, is this really, and I kind of touch upon it with the story and such, and it really hit me during, COVID, during the pandemic, is that it's really for me, what it does is listening.  I know as artists, we love telling our story. We love telling what we see, our interpretations and things like that. but I think what I have really come about with the arts is the fact that I like the other side of it is the listening part, for me with my collaborators, that I have to listen. You know, it's not about just me talking, but just listening. So for me, the theater aspect of it and the art aspect of it is that I hope that, as we go through these tough times, what it really has us doing is listening to each other more. One of the things that I really feel in that way and appreciative of listening is the fact that without listeners, there's no storytelling. Listening is really the foundation of our humanity. You know, I mean, just talking really gets us nowhere. What really makes us move forward collectively is listening.   Joan Osato: [00:13:50] Mm, Sunhui heard that. Yes, I heard that. [laughs] As far as theater and kind of responding to the moment. I think, you know, the type of theater that we embody is always speaking to politics is always speaking to, you know, the culture of the moment and especially it's speaking, because a lot of Campo and the Magic's work is like based inside of, theater companies that live, work, breathe, are about by and for the communities, like in the Bay Area right. So there's just no way of separating the kind of politics from what happens like inside of these plays. For the boiling in particular though, I think there's a lot of stuff that, that people can think about and here inside the play that will resonate with them. One, we're, we're talking about a hypothetical, but it's not really a hypothetical situation about a pandemic, a very, harmful, very urgent, current conditions. You know, when there's no CDC to have, get your information from when there's no public health that's functioning in this country, we can, we can see what happened during the last pandemic and just make that comparison and draw those comparisons, you know, what would happen in the next one. Right. also that, you know, to me and Sunhui, you can totally. speak to this, but to me, Carrier X, the person that represents is this kind of violence and nihilism that exists inside of the, you know, the current, you know, psyche or administration right at this moment. this real like. It's definitely violent to the point of not caring whether people live or die and so I, you know, I think that's very striking about the play and it happening right now as premiering it right now, because I think people can draw a lot of parallels between. Like this personality, this complete disorder that seems to be going on, like not only in American politic, but amongst the large population in America itself. You know what I mean? That kind of disregard.    Miko Lee: [00:16:18] Joan, that is so interesting. I wonder if you both can talk a little bit more about Patient X as this kind of figure of narcissism and selfishness that we're seeing that's happening in our broader politics right now.   Sunhui Chang: [00:16:31] Yeah, Carrier X, he does, you know, he does kind of represent this nihilism of American nihilism, which to me it's really historical and cultural. we could go all the way back to the nihilism of manifest destiny, feeling like we have something to do that it was even, maybe. God's order, you know, a higher order that was given to us. And we have to take on this task and finish the task at no matter what cost, right? By any means necessary in a way. and that nihilism for me, I. historical, but when I see it currently that happens now, is that I see nihilism in the fact that people want to cut off Medicaid, Medicare, these social programs that are not just help people actually are crucial and it's really, it's a survival. So for me, when I see that kind of disregard, yes, it's not this overt violent nihilism, but I do find it to be so nihilistic in the damage that it does to all of us, you know? And I do find That this nihilistic violence, there's two flip side to it. The people who are directly affected, and harmed by it, but also the people who carry it are out, who carry out these acts of nihilism they do get damaged as well. So for me, so yeah, the nihilism, it's taken on a different life, but. It's a part of America and it seems to continuously carry forward through our days.    Miko Lee: [00:18:00] And Sunhui with the intentional characters, the lead being Korean American adoptee, and, the detective being a black woman, and then carrier X being white. Share with me a little bit about the racial element and your intention behind making those characters of those, ethnic backgrounds.    Sunhui Chang: [00:18:20] You know, there was no intention, as I said, I just write very organically. So there was never this thought of, oh, here's the three characters. One's gonna be a Korean adoptee, one's gonna be a black homicide detective, and another's gonna be a white carrier. It was never that I. It's hard for me to explain the process, but those were the characters that just kind of naturally came out. for me, it just felt fitting to it. So, I don't have agendas as I write, as I said, so there was none of that. It was just for me, as a vessel of the story, as a story was coming out, it was just. Oh yeah, this character is this, this character is that, and this one is this. so no intention. But, once those things came alive, then the story kind of, evolves around what's, organically happening. So yeah, there wasn't intent, but at the end of it all, of course, I go, oh, I see what has come about and how the story is so, In hindsight now going, oh yeah, I did this. for me, it feels right in the, in the fact that for me, this is America Miko. To me, I, I don't write with an Asian American kind of pen, or, or a brown person pen for me, I actually first and foremost say I'm an American. There's no way around it. and it's simply put too, is that. I am an American. so for me, these characters are just. Natural. And when I know about me being American and knowing about American history, these characters just naturally fit in, you know?    Miko Lee: [00:19:50] Yep. Thank you so much. I've read that you talk about new Americana theater. Mm-hmm. And also Joan, you were talking about how during the pandemic, you know, everybody's learning new techniques, new ways of storytelling, just because everybody was forced to with the lockdown. Sunhui, can you talk more about what you believe New America Theater is all about?    Sunhui Chang: [00:20:12] For me, the reason why I kind of see it as new Americana theater, first off, 'cause it's, it's American, the stories that come out of me is very American. you know, and I recognize it. And for me, I, it is, this is part of the American fabric, so that's why it's called Americana. And for me, I say it's new. 'cause what's new is the perspective that it's coming out from. perspective, which brings on different characters, a different storyline, you know, different message. So yeah, that's, that's it for me when I refer to it as New America in the theater. It's just that, that it's, it's an American tale that now we've been able to incorporate new voices into.   Miko Lee: [00:20:54] I noticed there's a really large list of collaborators. Of course the two of you, but then there's a lot of other people as well. Can you talk about that creative process, how you all were able to work together, how you made decisions about, oh, this is the part we're gonna use film, this is the part we're gonna use, movement.   Sunhui Chang: [00:21:11] Like I said, it's very much organic. Our third major collaborator is Ellen Sebastian Chang. she is the director of the show, and when me, Joan and her, we first started delving into it, we did. It was just sitting down and talking a lot. Going through the scripts, the different skill sets that we bring in. And really it was through the dialogue miko and of us talking with each other, but also listening to each other. and that was a big part is that as we started listening to ourselves, we came out with this direction.    Miko Lee: [00:21:47] And what would you both like the audience to walk away with after seeing the boiling?   Joan Osato: [00:21:52] I think, you know, as Sunhui talked about this, ritual of deep listening and so, the play doesn't guide anyone towards some natural conclusion that they should have about, you know, it's, it's not saying you, you must believe this, it's really leaving it up to the viewer, the listener, to draw their own conclusions. And, I think that, that people who come to this will be incredibly moved. I think that they will see a lot of parallels with what we're going through now and what we've gone through. And examine there is a kind of shameful history that we all need to grapple with, whether we own it or not. You know, Sunhui had talked about manifest destiny and that being like one of the founding, you know, kind kinds of principles that this country is founded upon. And there are many, many others That I think the play touches on which give pause and, and give the people who are engaging with this, room to think and reexamine their own actions in the world and how they approach it.   Sunhui Chang: [00:23:02] I'll just mention as an aside, you know, some of the things that we're looking at is. Our disconnect from the natural world and how that has impacted the natural world. Right.  I think Joan is spot on in, in that about, yeah, first and foremost, I do find this so important once again to say about listening. I do. I, that is the big thing that I would love is that for us to, if we really wanna truly have dialogues, and especially with people who we disagree with, and there is a lot of disagreement in this world right now. and for me, yeah, to, Get us back to a place where we could really listen to each other and not be in such a place where all we wanted to do is kind of say what we have to say. It's almost this thing of, oh, you know, the other has to listen, the other has to listen. And I really would like it that it becomes kind of more inward that we all say, Hey, it is time for me to listen. And then of course just the fact that when, as we listen to each other, what I do find and what I hope that others find as well, is that we're much more connected and we have so many things that tie us together than separate.   Miko Lee: [00:24:19] Well, thank both of you so much for joining us on Apex Express. Is there anything else you wanna add?   Sunhui Chang: [00:24:24] Just one thing, Miko, one of the elements of this play, is this natural world with birding and I would love to just, one of the big inspiration is that it's just a quote from Emily Dickinson and the quote is, “hope is the thing with feathers.” For me, I would love for people to kind of sit with that and think about that and what that means for us as human beings in relationship to the natural world, you know, and the importance of that.   Miko Lee: [00:24:52] Oh, that's such a beautiful visual image. Thank you so much for sharing that. I appreciate both of you for sharing your time with me.    Joan Osato: [00:24:59] Thank you, Miko.    Sunhui Chang: [00:25:00] Thank you Miko    Miko Lee: [00:25:01] The Boiling is a brand new play, and it's a story of a Korean American adoptee Brian, who's a virologist from the Midwest, and a former homicide Detective v, a black woman who lives in the Pacific Northwest, and they're partnered to do this trace and track from north to south. They're following David, a white nihilistic carrier of a feverish virus called the Boiling. This world Premier Show opens to the magic theater and runs from April 2nd through April 20th. You can get more information about this show, including links to buy tickets at our show notes on kpfa.org/programs/apexexpress.   Ayame Keane-Lee: [00:25:42] Next we'll listen to an excerpt from The Camp, the first opera on the Japanese American Concentration camps during World War II. The camp premiered from February 22nd to March 2nd, 2025 at the JACCC Aratani Theater in Los Angeles. Composed by Daniel Kessner, who combines modern classical with Japanese instruments, A libretto by Lionelle Hamanaka, directed by Diana Wyenn, with Associate Director John Miyasaki, 11 singers and a 22 piece orchestra conducted by Steve Hofer. The incidents in The Camp Opera were drawn from different camps where over 126,000 Japanese Americans were imprisoned to see the many Japanese American groups that supported this project, including JANM, DENSHO and Raf Shimpo see the camp opera.com and if you know a place where The Camp can be performed near you, please contact the campopera.com/support.    MUSIC   Miko Lee: [00:27:53] Welcome to Apex Express. I'm so glad to have Eth-Noh-Tec once again, we get Robert Kikuchi-Yngojo and Nancy Wang.   Nancy Wang: [00:28:03] Yay. Yes. Hi. Hello. So glad to be here with you Miko.   Miko Lee: [00:28:07] We have been friends and colleagues for, it feels like a hundred billion years. The times that we're in are so complicated right now. But I just wanna first start with the question I often ask people, which is for each of you to tell me who are your people and what legacy do you carry with you?   Nancy Wang: [00:28:27] Well, I am Chinese American, and I am fifth generation on my mother's side. And. So we go all the way back to 1850 when our family first came on a junk boat and started the fishing industry in the Monterey Bay area.    Robert Kikuchi-Yngojo: [00:28:45] And I am, half Japanese, half Filipino, born in San Francisco, raised in Concord, California, and living in the Bay Area for all my life.   Miko Lee: [00:28:50] And what legacy do you carry with you?    Robert Kikuchi-Yngojo: [00:28:58] Well, I guess the identity I have as an Asian American, Japanese, and Filipino, um, I embrace all of that. The legacy is, as an artist, a performer. I've dedicated my life to creating works that reflect an Asian American consciousness, social, political, cultural. Both traditional works as well as new modern stories and music as well.    Nancy Wang: [00:29:25] And I was also a psychotherapist, so my work in the arts, whether it's dance, which I started out being a dancer and then a playwright, and then storytelling. I always weave in the healing aspect of what we all need to do in our communities. And so I use my art to also bring solace and bring celebration and bring, Depth and and the breadth of who we are as Asian Americans, as human beings, as part of this world, this country, then this city, so that we can celebrate who we are together.   Miko Lee: [00:30:04] Thank you for that. I hear you talking about activism, Asian American history, who we are and healing. I'm wondering if you could give me an update about what you're working on right now.   Nancy Wang: [00:30:14] Well, we have several things in the pipeline. I, for one, just finished writing and has now published Red Altar, which is the story of my ancestors. Three generations are followed in this book, about how they established the fishing industry in the Monterey Bay area. All the ways they had to reinvent themselves as laws were passed against them. The people try to get rid of them. And it's really a story of courage and determination and persistence, ingenuity and obviously success. Because I'm here. So I'm gonna be doing some more readings and that can be found on our webpage. Right. And Robert,    Robert Kikuchi-Yngojo: [00:30:55] I am focusing on archiving our work and after working with Nancy and creating Eth-Noh-Tec for the last 43 plus years, we have developed over 200 stories, and we put them on stage. We've written them, some of them are now being written as a compendium of stories. These are Neo-traditional folk tales and myths from Asia. And, people don't know much of this, but I am also an artist, so I'm creating illustrations that depict these stories. That's one project.   Nancy Wang: [00:31:23] Yeah, that's our next book. but what we're really excited about is our second Strong Like Bamboo, stories of resilience in the era of Asian American hate, but it's really broadened beyond Asian American because this year on May 22nd, will be a gathering of Latino and Asian artists and musicians, storytellers, and activists to just sit around and really share our stories, share our music, share our concerns, and to build bridges with each other because it, we will need to increase, our coalitions during this era. It's gotten worse, so we really need to come together.   Robert Kikuchi-Yngojo: [00:32:08] and we titled it strong like bamboo because of the Asian anecdote about, you know, one bamboo can snap, but together binding many bamboo together we're much stronger. So it's a call out to the community to bring all of our constituents and broaden that so that we are strong, as people of color.    Nancy Wang: [00:32:25] And of course we're gonna have food, which always brings us all together. But also bamboo can bend. Without breaking, so that's on a Thursday, May 22nd. But on May 25th, I have curated four other storytellers to tell their stories of their racist experiences and how they came through it to a healing place.    Robert Kikuchi-Yngojo: [00:32:48] There's a gathering of Asian American storytellers, both from the Chicago area and also from the west coast.    Nancy Wang: [00:32:53] And there'll be a panel so they can ask questions and we can have discussions. But after that, the people in the audience will have the opportunity to break up into small groups of three in which they get to share their own stories, their own concerns, and that's really the whole thing is about inspiring people to come through what they're going through and coming out, on the other side with some hope and healing. Because when we share our stories, we lift that particular burden of, say our story about our racist experience. We lifted off our own shoulders and we get to share it. With someone who's listening with compassion and we don't feel alone anymore. It's really a powerful, powerful way to find community connection, relation, and strength.   Robert Kikuchi-Yngojo: [00:33:45] And we'll have also in both of those events, resources in earlier years, I was an Asian American songwriter and did a lot of songs of not just identity, but of unity. I'm also gonna be singing a theme song called Bamboo, which is part of the title and also, a work by Chris Jim, famous of the Chris and Joe Asian American Duet from years ago. the one song we're still here, though it was written 30, 40 years ago. It's still pertinent to what's going on now, especially declaring that America is a multiracial, multiethnic, texture of society.   Nancy Wang: [00:34:20] and, in 2026 we're gonna bring on, African-American and Euro-American, storytellers also, so that we really have a multicultural representation of all who we are and how we still will need to come together. I hope things will be better by 2026, but who knows?    Miko Lee: [00:34:39] Thank you so much for sharing about how storytelling can really be a tool for social change. Is there anything else you wanna share with our audience?   Nancy Wang: [00:34:47] Yeah. please come to our strong like Bamboo on May 22nd and 25th is gonna be at the San Francisco Public Library Main Library, both are free to the public May 22nd the Thursday at May 22nd, it's gonna be in Hispanic room,    Robert Kikuchi-Yngojo: [00:35:05] and what time?   Nancy Wang: [00:35:06] Six to seven-thirty. And on Sunday it'll be in the presentations, the performances in the panel will be in the Koret auditorium, and then small groups will convene in the Hispanic room, which is right next door, and it's got elevators. So no problem, in getting there. Plus Bart and the bus is, it's easy to get there. And so that's what we wanted so that people could feel welcome.    Robert Kikuchi-Yngojo: [00:35:35] And that second show on Sunday Strong like Bamboo will feature our guest artist storytellers, professional storytellers. One of them being a local Eleanor Clement Glass who's half African American and Filipino, talking about her experiences. And then also, two guest artists from Chicago, one of them being Lillian Ji, who is a Japanese American hapa. Then third is, Archie Jun, who is a Thai American gay comedian storyteller who is a total riot. we are really wanting to blend many of our communities together to hear this talent Yes. And to deal with the topics.    Nancy Wang: [00:36:10] So we would love for the LGBTQ plus community to come out as well and support him and feel proud because all of the stories will, will really showcase our strength and our ability to deal with these things and come out the other side. So we are hoping that in the process of telling our pain, but coming out, on the other side, that it will be an inspiration for everyone to keep going during this difficult, very difficult time.    Miko Lee: [00:36:41] Thank you so much for joining me today.    Nancy Wang: [00:36:44] You're welcome. Thank you   Ayame Keane-Lee: [00:36:46] You are listening to 94.1 KPFA and 89.3 KPFB in Berkeley, 88.1 KFCF in Fresno, and online worldwide at kpfa.org.   Miko Lee: [00:37:05] Welcome Jiehae Park to Apex Express. I am so excited to talk to you about the world premier of the aves opening at Berkeley Repertory Theater, May 2nd through June 8th. Welcome to Apex Express.    Jiehae Park: [00:37:19] Hi, Miko. It's so nice to be here. Thanks for having me.    Miko Lee: [00:37:22] I wanna just first start with a personal question, which is, who are your people and what legacy do you carry with you?   Jiehae Park: [00:37:31] Hmm. I love the phrasing of that question. I was born in Korea and I came to the states when I was three years old with my parents who came to go to graduate school. And my father's family fled the north during the war. And my mother's family had always been in the south. And I definitely think that who they are and where they came from is a big part of who I am and the questions that I think of. And in a lot of ways, not just, racially and culturally, but also in terms of their interests. They're both scientists. This play deals, I hope thoughtfully with questions of identity and consciousness, that I've always been interested in.    Miko Lee: [00:38:18] And what legacy do you feel like you carry with you from them?   Jiehae Park: [00:38:22] Hmm. I mean, I write a lot about immigrants. This play isn't specifically about that, but in a lot of my previous work, I, I have. have written a lot about immigrants and I feel like my parents, you know, they came to this country when they were in their twenties. They didn't speak the language. They came from a generation of folks and at that time in the country where they were really, they had to be a certain way to survive. And I think that, intensity of work ethic, and the things that you also have to give up in order to get to where you think you wanna be, that question is, is part of their legacy to me. It's a, it's a gift and also something that, like a lot of other immigrants, I think I'm always sort of turning over in my mind and, and trying to look at from other angles.    Miko Lee: [00:39:12] Thank you for sharing. I'm wondering if you can talk to us about, first this title of your, world Premier, the aves. Where did this title come from? What is it about?    Jiehae Park: [00:39:23] So the title is the Latin word for Birds. And, the play there's a mystery that sort of unspools early on. So without, without giving too much away we see this old couple on a bench, on a park bench, and they have clearly been together for a long time and they are having a conversation that seems like a very ordinary conversation. And over the course of the first scene, we soon learn that they are discussing, doing something that will have ramifications throughout the rest of the play. And the aves is a word that I loved because of the association with birds. There, there are birds that make an appearance in this play, in both pedestrian and unexpected ways, in mysterious ways, and hopefully humorous ways. and then the connotation also of Ave Maria and this, this feeling of the sacred, which also infuses the play, which has a lot of humor, but also when I was writing it, I was thinking a lot about nature and the passage of time and this feeling of awe that I get when engage with nature. And I think that word also has those connotations for me.    Miko Lee: [00:40:46] And that sounds like a mystery that people need to come to find out more about. Can you tell us what inspired this work?    Jiehae Park: [00:40:54] I used to live on the northside of Central Park in Harlem, and I had this tiny, tiny little window that looked out, onto the north side of the park. And every day I would sit down to write and through my tiny window, I would see the same man sitting on this bench every day. And as the seasons changed and the leaves changed and the light changed, but still every morning there was the consistency of seeing the same person. And I think I I was thinking a lot about the passage of time and of nature shifting And I think subconsciously I was thinking about getting older myself. This was a time before I had children, but I was starting to become aware of my parents aging and generationally My peers, also our parents were aging and, and starting to have, you know, the complications and the beautiful things that can come with that. So I think all of that was a big soup in my subconscious. and I sat down and I wrote the first scene very quickly and then. I didn't know exactly what the rest of the play was gonna be, but I knew structurally that the first scene would be this old couple and that the second scene would be, a slightly different configuration of, of bodies. But that was hard to be so mysterious, um, and that the nex scene would be a different specific configuration of body. So I was thinking about the age of the bodies that you're watching and the story evolved from that. And I guess I should say that the play is set in a moment sort of best after now. So it's not the present, but it's not the distant future. It's certainly not like hard sci-fi by any means, but I think it uses some tools of speculative fiction. To ask questions that hopefully are illuminating about ourselves now.    Miko Lee: [00:42:59] Interesting. Did you ever talk with the man in the park that inspired this piece?   Jiehae Park: [00:43:05] You know, it's so funny. After the first couple of weeks of watching him, I realized he lived in my building and I hadn't noticed him before.    Miko Lee: [00:43:18] Wow. That's amazing.    Jiehae Park: [00:43:20] And I think that that's also something that. I had been thinking a lot about at the time this question of presence and attention, especially in New York, which is a city that is so loud. I mean, I love, I love New York and there's so many things that I love about New York, but it is such a loud city and it is hard to hear yourself think and, and the quality of attention in any. I was gonna say in any city, but in like any moment in our extremely chaotic world, I mean, especially now, that sort of quiet present quality of attention that I think is so beautiful and so rare, and I associate with, I'm not religious, but, but when I was a kid, I was, and this, this quality of, of sacred space, I think I was, I was really curious about that. And at the time, I think I had also that year gone on a silent meditation retreat. so trying to bring that quality of attention to my ordinary life as a urban citizen, I think was also part of the experience of writing the play. But yeah, he lived in my building and I hadn't noticed him before. And so this question of what do we notice and what do we need to shift in ourselves to notice what's in front of us and has been in front of us.    Miko Lee: [00:44:44] I am hearing you talk about a sense of presence and, and time passing. I'm wondering if that is what you want the audience to walk away with or are there other things that you're interested in provoking with this piece?    Jiehae Park: [00:44:57] As an audience member, when I go to any play, I always hope to leave a little bit different than how I entered and. That shift can be really subtle. In fact, for me as an audience member, sometimes it feels more profound when it is subtle. So on, on like at like a really baseline level. We've been having a lot of conversations with the design team about how to create this. Quality of space that feels different from the mundane so that when we enter the space of the theater, so for our body chemistry changes and that we are being asked by the play to lean in and pay attention perhaps in a way that we're not asked to pay attention, in, in the world outside of that room. And to be able to request that of an audience and share that with an audience. Together, I think is such a beautiful thing. And, and one of my favorite things about any collective experience when, when it all feels like we're breathing together. And my hope is that that's something that we can create, at a, like a biochemical level in our bodies, on a sort of more. Intellectual, emotional, philosophical level. I think there are questions that the play is asking about, what makes us, us and memory and the ability of a person and a relationship to change over a long period of time. And over the course of events that. May require forgiveness. those were certainly things that I was thinking about while I was writing it. So there's also that, that more character relational level of questioning that, that I think, will resonate with people, in different ways depending on where they are in their lives. And then I think especially because, you know, there's a lot of conversation about sandwich generation now, like folks, I. Who have dealt with aging themselves or aging parents and, the complexities and possibilities that can create. I think that there's another layer of the play that stirs up some of those questions as well.   Miko Lee: [00:47:04] Speaking of complexities and possibilities, I understand that you studied music and that you're also an actor and then you also write for Marvel's Runaways. Can you share a little bit about how these different elements impact you as a writer, as a creator?    Jiehae Park: [00:47:20] Yeah, so I started as an actor, which I think a lot of people do, mostly because it's the most accessible thing. Like you can audition for a play. You can't sort of audition to write a play. you can just write a play. But that, I think, came later for me. I don't really perform a ton anymore, although I did love it. and then the shift to television happened eight or so years ago. There's a big movement of playwrights moving into television, during peak tv. And they're very different. there is some shared similarity in storytelling instincts and craft. but the mediums are just really different, so I feel like I get very different things from, from all of them. I feel like I learned being a performer for a long time. As an artist, it's just getting to bump up against people who you think are fascinating and learn from them what you like and what you don't like, and who you wanna be and who you don't wanna be. and from tv I think I learned, To not be so precious. It takes a really long time for me to write a play. and I used to think, oh, I have to go into the woods and like be silent for a month and then like a play will emerge. And like sometimes it happens and it, that feels like a blessing when it does. But in TV, because there's so much money at stake and so much time pressure that you know, when something's due, it's just due and you turn it in. And if it's not perfect, you just deal with it and you make it as good as you can. And I think that there's a certain amount of shedding of perfectionism, which has been really healthy for me. but I do. Love the theater for the ability to spend a long period of time contemplating something and, and making it with a group of people who feel inspiring and we're all moving towards the same thing. and I think there's a little bit more space or a lot more space in the theater for things that may feel. mysterious or more open. whereas in television especially these days with the sort of decline of peak TV, there's an expectation of propulsion. Like overt propulsion, if that makes sense. That is not a criticism like, you know, I also love TV. but it is, it's like the pace of it is different and the ask of it is different than the ask of a play and and the baseline thing of just, you're not in the same room with the people experiencing it that is so special in theatre.    Miko Lee: [00:49:45] How do you go about shifting that mindset for that kind of speed of TV that you're describing versus the kind of longer meditative state of creating theater?    Jiehae Park: [00:49:55] Yeah, I mean, I think there's hopefully a two-way exchange. Because I also think that bringing some of those qualities of thoughtfulness and deliberation to the world of TV within the container, within the boundaries of it, can be incredibly useful. And ultimately a lot of the things that delight people, delight people regardless of the format. So that, like, that feeling of inevitable but surprising, like that's something that is of tremendous value in all mediums, right? I think for me personally, when I write a play. I try to make a space in my life that is a little more still. and I have a toddler now, so that's challenging. But in a way, working in television has been really helpful for that because, you know, I don't have five hours in the middle of the day to, you know, be with myself and listen to the trees. I maybe have like 30 minutes, but to try to drop into that as. quickly and without angst, without like working myself up about it. 'cause that's a waste of time. That's been a useful lesson to learn. Whereas working in television can feel a lot less lonely also than playwriting because in a writer's room, most shows in the states are written in the writer's room, there are few exceptions, and you're with a group of people. And so there's a sort of energetic exchange happening there that in a play only happens much, much later when you're in rehearsal and ideally in production. there's a sort of joyful energy and exchange that can happen in a writer's room, both when you're breaking the story and then ultimately when you're in production. And there's like many, many more people involved. And there's the crew and the cast and you know, all of the technical departments and producers. I feel like you mentioned, Code switching earlier. And, humans are so adaptable and I think we automatically sort of shift our brain chemistry and our body chemistry in response to the environment around us. sometimes very consciously, sometimes unconsciously, sometimes both. so I think a certain amount of that is just, okay, these are the given circumstances. And then, you become who you need to be in that space.   Miko Lee: [00:51:54] Thank you for sharing. Okay. I have one last TV question, which is that given that everybody's in this writing room together and you're, there's kind of a speed that's attached to it, do you feel like things get thrown out more quickly and with less kind of emotion attached to it than in theater?    Jiehae Park: [00:52:10] It's possible. I think it depends on the person. So I just worked on season four of the morning show last year. And there is a real need on that show because it deals with the news to be absorbing what's happening in the world and shifting the story based on that. And so that there has to be a sort of lightness around that. So in that kind of environment, absolutely. but I've also been in other rooms where someone got really attached to an idea, and maybe it was clear that that idea wasn't gonna work out, but there was, there was still like something, in it that wanted to be held onto and, and it may be hung on for a long time. And that process. Also could have happened, like that exact parallel process could have happened in a play. And actually in neither of the situation, is that necessarily a bad thing? Like is there something about that idea that maybe is not the idea itself, like the emotional core underneath it or the deep, deep idea underneath it that is useful? That even if the manifestation of the thing doesn't continue, if the manifestation gets thrown out, but like the real thing that was underneath it was important gets folded in in some unexpected way. I don't think it's a bad thing either way. It just is the peculiarities of any particular process.   Miko Lee: [00:53:22] And it sounds like it's about the people too, right?    Jiehae Park: [00:53:25] Yes, definitely. Absolutely. Yeah, yeah. Yeah. And I've certainly been in that book where I'm like, oh, I really think it's like this. It's gotta be this, it's gotta be this. And then, you know, two years later, I look at the draft, I'm like, oh, no, no, no. It, it is definitely not that. Like let me take that entire thing out. and it just was in that particular moment, I wasn't ready for whatever reason to let go of that idea. And that's okay. I am now, and then it moves on.    Miko Lee: [00:53:48] We're circling back to the beginning of the conversation about the aves, which is about presence and being in that moment. And where you are in that moment might be, no, this isn't right. And then years later you say, oh yeah, that wasn't right. Or that was right.   Jiehae Park: [00:54:03] Yeah, exactly, exactly. To listen to yourself is a, you know, I, I am, I've been doing this for a long time now and, that is still something that I feel like I always have to learn, that I think just is a human.   Miko Lee: [00:54:15] Yes. The perennial lesson of Yes, intuition. I'm wondering if you could tell our audience why they should go see the aves.    Jiehae Park: [00:54:24] My hope is that if you are curious about a certain kind of experience and attention in the theater, that you'll accept our invitation to this play, which is an unusual play. I don't think that everyone should see this play, just like, I don't think everyone should see any particular work of art, but if the things that we've been discussing, if the sort of vibe that you're getting from this conversation resonates with you, then the experience of seeing this play with a group of people who are also curious about that kind of experience may be something. That is enjoyable for you and would probably therefore also be enjoyable for that audience to be together with you and for the play to be together with you in that space.    Miko Lee: [00:55:17] Thank you so much for spending time chatting with us. Folks can see the aves at Berkeley rep May 2nd through June 8th. Thank you so much, Jiehae.   Ayame Keane-Lee: [00:55:26] For you Asian American film makers out there: SFFILM announced a new annual filmmaking grant in partnership with Cedar Road. The SFFILM Cedar Road Iyagi Grant is dedicated to fostering bold, original feature film projects that amplify Asian and Asian American perspectives on screen. In Korean, iyagi means “story”—a word that embodies the heart of this grant's mission: to champion storytelling as a powerful bridge connecting people across cultures and perspectives. A link to the grant application will be available in our show notes.    Miko Lee: [00:55:58] Please check out our website, kpfa.org to find out more about our show tonight. We think all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important.    APEX Express is created by Miko Lee, Jalena Keane-Lee, Preeti Mangala Shekar, Anuj Vaidya, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tangloao, Cheryl Truong and Ayame Keane-Lee.  The post APEX Express – 4. 3.25 – Coming Up Next appeared first on KPFA.

In this episode of The Box of Oddities, we explore two mind-boggling tales: the eerie case of Patient X, a medical mystery so bizarre it left doctors questioning everything they knew about the human body. Was it science? Was it sorcery? Or was it just a really weird Tuesday? Then, we unearth a long-forgotten, top-secret speech—written just in case the Apollo 11 astronauts didn't make it back from the moon. Because nothing says “historic achievement” like also planning for catastrophic space doom. Who wrote this chilling message? And why does it read like the script for the world's most unsettling Oscar speech? Join Jethro and Lindsay Schnebley, who are sitting in for Kat on a journey through the weird, the unsettling, and the oddly hilarious. Because history is stranger than fiction—and sometimes, way darker. #TheBoxOfOddities #MedicalMystery #Apollo11 #NASASecrets #WeirdHistory #PatientX #Podcast If you would like to advertise on The Box of Oddities, contact advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Lecture par l'auteur & Constance Dollé Entretien mené par Camille Thomine - Interprète : Marguerite Capelle Patient X est un texte à part dans l'œuvre de David Peace, un livre né du culte qu'il voue à Ryūnosuke Akutagawa (1892-1927), l'un des plus grands auteurs japonais dont l'œuvre phare, Rashomon, a été adaptée au cinéma par Akira Kurosawa. Patient X traverse ainsi la vie de l'écrivain japonais à travers douze nouvelles incarnant différents moments de son existence, depuis sa gestation dans le ventre de sa mère jusqu'à son suicide à l'âge de 35 ans. David Peace sonde tous les états d'âme du poète, des plus lyriques aux plus sombres. En s'inspirant des écrits d'Akutagawa (nouvelles, essais, correspondance), David Peace défie les conventions de la biographie littéraire et compose un singulier et brillant exercice d'admiration, en même temps qu'un bijou pour les amoureux de la littérature et de la culture japonaises. À lire – David Peace, Patient X, trad. de l'anglais par Jean-Paul Gratias, Rivages, 2024. Ryūnosuke Akutagawa, Les Grenouilles, trad. du japonais par Catherine Ancelot et Silvain Chupin, Cambourakis, 2024

This week we are investigating alien lighthouses while we discuss “Patient X”! We're talking Mulder being addicted to people hating him, Amanda chemical burning all her meat, Jeffrey Spender's fear of becoming Spooky Spender, Scully very reluctantly admitting to aliens, and welcome back the greatest boy Krycek. Alex Krycek: every line a clunker. We spend a lot of time missing the cool Amish aliens, discover that the Backroom Boys are really a metaphor for climate change, cheer on our new favorite character Quiet Willy, get jump-scared by Krycek and Marita hardcore making out, and chart the development of a new polycule. Hey. It's been a while.Send us an email at scullynationpod@gmail.com or follow us on Twitter and Instagram!

Annie and Jenn conclude our discussion of the Season 5 episode "Patient X."

Annie and Jenn continue our mythology series with a discussion of the Season 5 episode "Patient X."

We talk S05E13/14 "Patient X" and "The Red and the Black" this week with what is probably our last main story mytharc episode! Mulder is in full disbeliever mode and this leaves Scully and Skinner at a loss of what to do. The aliens start to make moves and our favorite shady guys, the syndicate, are struggling to keep pace with events. Here is the Mulder rating line graphs: https://twitter.com/condensedtruth/status/1591555713393909762 Please send in any questions for the S5 wrap up to the email or twitter DMs! Tune in next time when we watch S05E19 "Folie à Deux" and follow us on Twitter @condensedtruth!

Friend of the pod Tori (@torlinnea) returns to talk an all timer with S05E12 "Bad Blood". Mulder and Scully bicker as they try to sort out what exactly happened when they went to investigate a vampire in Texas as we get to see how they view each other's annoying habits and how they see themselves. Laughs are had by all! Tune in next time when we watch S05E13/14 "Patient X" and "The Red and the Black" and follow us on Twitter @condensedtruth!

Veronica Cartwright guest stars as the titular character. A new element in the conspiracy has tipped its hand. Their actions leave the Syndicate stunned and mortified by the implications. Also, is Alex Krycek gaining the upper hand?

Så er vender vi tilbage til mytologien - og der er fuld skrue på i 'Patient X', der introducerer os for en ny alien-race, Spender-familien og Mulder som skeptikker! 0:00:00 - Intro 0:07:38 - Trivia 0:13:56 - Gennemgang 1:32:02 - Foxy Moment 1:33:23 - Vurdering

Let's deep dive into this two part mythology episode and welcome back Erin's favorite villain, Krycek! With mulder questioning his beliefs, Scully steps up as our alien expert and goes searching for the truth. Check out our links below! OUR MERCH STORE: https://teespring.com/stores/ufo-party-podcast JOIN OUR PATREON: https://www.patreon.com/ufopartypod BUY US A COFFEE! https://ko-fi.com/ufopartypod FOLLOW US ON INSTAGRAM: https://instagram.com/ufopartypod FOLLOW US ON TWITTER: https://twitter.com/ufopartypod EMAIL US YOUR STORIES: ufopartypod@gmail.com Thank you so much for showing support so we can spread love to the only good feds in the universe.

Today we're excited to be joined by Lucille Croft, who's readying for this Friday's release of her ‘Patient X' EP! The five tracks are the enticing beginning of a new chapter in her so called ‘era X' with the music woven together sonically as well as with a unifying storyline and character. Read on to learn more about the new project and it's key themes, while you turn up your speakers for a heavy Exclusive Mix featuring tunes from Boys Noize, Kayzo, MUST DIE!, Whipped Cream, Wuki, and so many more alongside Lucille Croft originals, IDs, and big remixes!

Megan and Ezra are talkin' teens in today's episode, covering some of the most normal teen hijinks to date. Activities include teen boy art detectives, cool dads and their favorite chairs, and hunky boys just not quite cutting it. Segments: Back to School Special/ Better Off Fred, Bizzarchie, Gag Bag Grab Bag Digests: Life with Archie Vol 1 "The Strange Case of Patient X" Support this podcast

In this dose we have our first guest (Patient X) joining us from Arkansas. He made a life changing decision that molded him into a better individual. You can take the man out of the city, but you can't take the city out of the man.

Dr. Marvin Singh is the founder of Precision Clinic, and one of only a few integrative gastroenterologists in the United States. After graduating from Virginia Commonwealth University School of Medicine, he went on to do his internal medicine training at the University of Michigan Hospital. After which he completed a gastroenterology hepatology fellowship at Scripps Clinic, Torrey Pines. He then went on to fulfill a fellowship in integrative medicine and was trained by Dr. Andrew Weil at the Andrew Weil Center for Integrated Medicine in Tucson, Arizona.  In addition to being a sought-after speaker and consultant, Dr. Singh had been featured on ABC News, Readers Digest, Sirius XM, radio, and many other platforms. And here today to talk about the keys to a healthy lifestyle and his new book, Rescue Your Health, is Dr. Marvin Singh. Dr. Singh, how are you today? Dr. Marvin Singh: I'm all right, how are you? Good morning. Vincent Ferguson: Before we talk about the keys to a healthy lifestyle and your new book, Rescue Your Health, tell my listeners and viewers where did Doctor Singh grow up and when did you know you wanted to be a medical doctor? Dr. Marvin Singh: Well, I'm an east coaster actually. So that's why I actually know what fall feels like. I was born in Virginia and grew up in Northern Virginia and lived there most of my life, all the way through college and medical school even. And then I started moving around a bit after I finished medical school and went on to residency at the University of Michigan. So, that's where I grew and I guess I always knew I wanted to be a doctor from a very young age. Dr. Marvin Singh: I always tell the story that our sixth grade elementary graduation had a theme and the theme was hopes and dreams. And I remember we had to draw our own silhouette. I don't even know how I drew that because I'm a terrible drawer, but I guess I did it one way or the other, my parents still have it. And basically you have your shadow and you draw your silhouette and then on the bottom you had to write, "My hopes and dreams are" ... and everybody had to fill that in. And way back then I wrote, "To become a doctor." So I guess from a very early age, I've always known that I wanted to do something that was able to help people and help people feel better. Vincent Ferguson: Wow. So do you have role models though, who basically gave you the feeling that you want to be just like them? A lot of us have role models that we want to be like. Dr. Marvin Singh: Yeah. I mean, throughout my career, I guess I've had different kinds of role models. But from an early age, obviously my parents are role models for me and taught me about work ethic and doing good things for people. I have a few doctors in my family, an uncle and an aunt who were role models to me early on. I guess that helped get me excited about medicine. My aunt and uncle both, I remember, I don't remember how old I was, but I must've been really young. I remember, you have to do these little reports or book reports and things like that on different topics when you're in grade school. I remember they used to send me little medical pamphlets and look at my reports and help me write them and stuff like that. So, from a very young age, I guess I had some influence from medicine, I guess. Vincent Ferguson: Oh yeah. But you know, you're not just an average, regular, conventional doctor. You practice integrative medicine. What's the difference between the two? Dr. Marvin Singh: Well, as Dr Weil says, "Integrative medicine is just good medicine." And that's what I learned along the ways. When I started my career as a gastroenterologist, I realized that something was missing from how we practice medicine and in what we do for people. We were really good at saving lives and doing things like that when somebody is really sick, but what about the majority of people who have ongoing recurrent symptoms or issues? What about them? Why do they keep going from doctor to doctor, to doctor all the time? That was frustrating to me early in my career. I'm just realizing that you don't get that kind of exposure when you're learning or training or anything like that. But once you're out in the real world and you get a taste of what it's really like out there, I felt a little lost, actually. Dr. Marvin Singh: I found Dr. Weil and integrative medicine and started learning a little bit and then enrolled myself in the fellowship and learned a lot about a lot of different things that I hadn't known about before or really appreciated before. That really made a big difference on me personally, and on how I take care of patients, in general. Integrative medicine allows you to do whatever you're going to do normally as a regular conventional doctor, but then also have an understanding that the person in front of you, the person you're taking care of is a human. It's a real person with emotions in an environment, with a family, with stressors, with dietary issues. Dr. Marvin Singh: I don't think we really ... I mean, I think we know this as doctors, but I don't think we appreciated or paused to think about it. We just usually are more in the go, go, go mode. Patient X is in front of you with X,Y,Z symptoms, so you're going to respond with A,B,C solution and that's the end of the story. "Adios, see you later." But that's the reason why a lot of people continue to have problems is because the actual problem is not addressed. And so integrative medicine allows us to do that. Vincent Ferguson: Wow. I know that in conventional medicine, I was always told, 'There's a pill for every I'll." But with what you're doing, it seems like you're looking to address the person holistically and really get down to the root cause of the problem. Dr. Marvin Singh: Yeah. Even if you need a pill for your I'll, right now, let's find out where that ill is coming from so you don't need the pill anymore, maybe. Vincent Ferguson: Yes. Very good. Very good. Now here at Six Weeks of Fitness, we normally talk about the importance of exercise and nutrition if you want to achieve optimal health. But is that really the definition of optimal health, exercise and nutrition, or is it more to it than that? Dr. Marvin Singh: There's more to it than that. I think that's also part of the place where we get lost. I mean, as a gastroenterologist, we see people who have issues with their weight or fatty liver. I remember in my notes in the early days, the default is diet, weight loss, exercise, diet, weight loss, exercise. You just write that down and you say, "Hey, you need to get on a better diet, lose some weight and exercise." And that's literally what you tell people. And they're like, "Okay, I already knew I was fat. So, that doesn't really get me anywhere." Vincent Ferguson: Very true. Dr. Marvin Singh: You know, I'm big on personalization. So personalizing that approach is one part of it. But diet, what kind of diet? How are you going to lose the weight? Diet is important, obviously, exercise and movement is important, but somewhere a lot of other things. Your sleep hygiene, how you're reducing stress, how you're mitigating toxins in your environment and even how much fun you're having in life and what the status of your social relationships are. These all, believe it or not, can influence our gut health, our microbiome and our overall wellbeing. And these are all risk factors for a lot of chronic inflammation that many of us have. Dr. Marvin Singh: And so addressing those is also important and if you don't, you're missing the piece. I mean, I tell people, if you say, "Okay, I'm going to change my diet. I'm going to go vegan. I'm going to lose weight and for breakfast, lunch, and dinner, I'm just going to eat broccoli." Dr. Marvin Singh: And, "Okay you went vegan, you're eating vegetables, good job, good job." But first of all, your diets not diverse so, that's not really good. And there's more to it than that. Because if you talk to the person and you find out that they're only sleeping four hours a night and they have anger management issues and a lot of built up frustration and stress over the years, they're not going to lose weight. It doesn't matter if they're only eating broccoli all day long. This is only part of the puzzle. Vincent Ferguson: Wow. So that, to me, you're giving me a list of things that you need to do in order to achieve a healthy lifestyle. So it's more than just diet and exercise. You said, it's sleep, it's social interaction, it's stress relief, all kinds of things. Dr. Marvin Singh: Because remember, what are we trying to lose weight from? Our body. What is our body? Our body is not just a singular issue. There are so many things happening inside of our body. I tell people what's happening inside of your body, just imagine you get a snow globe, right? And the snow globe has many snowflakes in it. And you say, weight loss, just like, what do they have those magic eight balls, when you say something and you shake it? You say weight-loss, and you shake this snow globe. You see all the snowflakes flying around everywhere. If you want to know how to lose weight, the answers are in all those snowflakes and how those snowflakes are interchanging with each other. Dr. Marvin Singh: So how could it just be diet as the only thing. Diet may be one snowflake, but there are other things going on there too. There are mineral, vitamin issues. There may be stress issues. There may be medications that you're taking or not taking. There's a lot of things involved and the relationship and the interchange between all of those snowflakes, that's what creates that new balance you're looking for. If you're not looking at all those things, you're missing part of the puzzle. Vincent Ferguson: Right. So you look at a diverse amount of things to come up with a conclusion of what it is, the problem with the patient. Dr. Marvin Singh: Right. Vincent Ferguson: Is that what you do at Precision Clinic? Dr. Marvin Singh: That's exactly what we do at Precision Clinic. We look at as many different elements of health and life as we can to try to personalize a program for somebody for optimal health. Vincent Ferguson: What is the connection between your gut and chronic disease? Dr. Marvin Singh: That's a great question. There's a big connection because our immune system is obviously the big controller of inflammation and a lot of chronic disease comes from chronic, low grade inflammation. And where does a majority of our immune system sit? The majority of our immune system sits in the digestive tract. At least 70% of our immune system is in the digestive tract. When we say digestive tract, we're not necessarily just referring to the organ itself, but what lives inside the organ? That's what the microbiome is called. The gut microbiome is the forest or ecosystem of trillions of bacteria that live inside of our digestive tract. And these little guys are the ones that manage all of these things. And so we take care of them in the proper way, and they'll take care of us back in the proper way. Vincent Ferguson: So how do we take care of them, Dr? I want to know, man. Dr. Marvin Singh: That's the magic question, right? So understanding what's going on with them and who they are and what their balance is, is part of the process, because it's hard to build a house without a blueprint, unless you're some genius or something. But you still need to know what parts you need and you have to order those parts and put them together in the right way, assemble them the right way. So, investigating your body and some of the different elements is part of the process. And then sometimes it's not really that complicated of a process. The body is very complicated, yet simple at the same time. That's what makes it cool. The microbiome responds to stress reduction, to optimal diet, to sleeping properly, to exercising. All of these things are associated with microbiome balances. So if you do these things, nicely, in accordance with what your body needs, then your microbiome will find a way to more of what we call a homeostasis or an even balance. When that happens, then good things happen to your body. Vincent Ferguson: Hmm. What are your feelings about probiotics? Dr. Marvin Singh: So probiotics are bacteria that we can take as a pill or a supplement form that could help keep or create a balance or improve the balance in your microbiome. Different probiotics may be appropriate for different people and sometimes probiotics are not necessarily the right answer at the moment for somebody. It really depends on what their symptoms are and what's going on. But I often do use probiotics to help create a balance in patients, in their microbiome, if their microbiome suggests that. Dr. Marvin Singh: The other thing is, you don't always necessarily have to take a pill of a probiotic, you can eat probiotic foods. And I like that as an option often, because not only do you get to fill your belly and eat something healthy and get the nutritional value of that food, but then you also give yourself a dose of good bacteria at the same time. So, sometimes that's a really good option as well. Vincent Ferguson: I remember reading a quote from Hippocrates that said, "Let food be your medicine and medicine your food." So is that what he was alluding to? Dr. Marvin Singh: Exactly, he also said all disease begins in the gut and, and I always joke and say he probably didn't know what in the world he was talking about, but he was totally spot on. This guy was way, way ahead of his time. Vincent Ferguson: Way ahead of his time. That's amazing. Now, and speaking of health nutrition, all that good stuff, can you determine what nutrition needs a patient has by their genetic makeup? Dr. Marvin Singh: We can start to do that now, yeah. We can do a genetic test that can help us understand what potential deficiencies you might be prone to, compared to the average person or somebody who doesn't have a particular genetic mutation. And if we have an understanding of that, then we can try to eat accordingly so that we can avoid those nutritional deficiencies. That's really one of the main things to underscore with regards to precision medicine. That it's really designed to help you prevent getting a problem or developing an issue later on. If you know that, "Hey, I have a gene that that's going to give me a higher risk for vitamin D and calcium deficiency," and, you know you may be at higher risk for osteoporosis or osteopenia later in life, then you're going to want to eat accordingly. You may want to make sure you really stay on top of your vitamin levels. You want to make sure you do weight bearing exercises. You can do all those things and then you can try to prevent and avoid developing osteoporosis later on in life. Dr. Marvin Singh: But if you never knew about it, then you're just going to go about doing whatever you were going to do. And then it's rolling the dice in whether something happens or not. Vincent Ferguson: Exactly, and speaking of vitamin D, I understand that's very important to immune health. What other supplements do you recommend? Dr. Marvin Singh: Vitamin D is very important. A lot of us actually do have vitamin D deficiency. Doing a lot of genetics, a lot of people actually have a genetic mutation for vitamin D deficiency too. So perhaps there's a common thread in a lot of people there. Dr. Marvin Singh: What supplements somebody takes really depends on who they are, what their purposes are, what their goals are, what they need, what medicines they're on, what diagnosis they have. Because you have to take a lot of that into consideration because you want to make sure that you give proper treatment. I tell people, "Supplements, yes, they're natural therapies. Yes, they're available over the counter. Yes, you don't need a prescription for them, but you should treat them like medicines too." That's, I think, one of the things that sometimes, maybe people don't appreciate as much. Dr. Marvin Singh: You may just go to the aisle in Whole Foods where all the supplements are and be like, "Oh yeah, look, this says vitality. Let me grab one of those. Oh yeah. This says digestion. Let me grab one of that. Let me grab one of this." And then you walk out with five, six different things. And I see people all the time, it's not any wrongdoing on their side, it's just that maybe we don't appreciate it as well, and some of these things can actually cause problems to your body. Some of these things, when you combine them together, can actually cause problems. You may not have known that. Dr. Marvin Singh: For example, you may say, "Oh, I have anxiety, so I'm going to drink this kava tea. But I'm going to go out for some drinks later on this evening and I had my kava tea earlier this morning and I feel great." But you know what? Kava and alcohol don't mix together. You can really hurt your liver that way. So really, it's important to make sure you are taking something for the right reason. Just like you wouldn't go to the store and say, "Oh, let me grab some Lipitor while I'm there because I think my cholesterol is high." You want to make sure that you need it, right? Vincent Ferguson: Yeah, most definitely, most definitely. So how does one determine what supplements are good for them? Dr. Marvin Singh: Well, a lot of times it's good to do an evaluation with a doctor and see. Do you need particular kinds of vitamins? Do you have inflammation? Do you have joint aches or pains? It all depends on what's going on there. For general health, taking a multivitamin or a B complex vitamin, sometimes is helpful. A lot of people take vitamin C and vitamin D and things like that for their immune system. So those are some of the basics. A lot of times people may take turmeric supplements if they have arthritis or they're concerned about inflammation. So there are different kinds of things that people may use based on what their issues are, or priorities are. Vincent Ferguson: Excellent. Excellent. Now, if someone has, let's say cancer or heart disease in their family, does that mean that they are going to be predisposed to having heart disease and cancer themselves down the road? Dr. Marvin Singh: Well, it's a risk factor and life's all about risk and understanding the risks. Sometimes there's a genetic basis to things and sometimes there's not. Sometimes people can sporadically develop a malignancy and maybe there is no genetic basis. Or maybe they're the first person in the family who's going to have the problem, we don't know. But family history is important to look at because it helps us understand what your potential risks might be. If your dad had a heart attack at 40 and your dad's dad had a heart attack at 40, and his dad had a heart attack at 40, then it's probable that you have a family history or some genetic mutation in this family history that is contributing to this risk coming down the male line in your family for heart disease. And so if you understand that gene, if you do a test and you understand that gene, what the problem is with that gene, and then try to do some research or understanding, has anybody done any investigations into what things could be done in people who have that gene defect, then maybe you can try to mitigate that problem. Dr. Marvin Singh: And you can also understand what you can do to prevent that problem from happening. Because I tell people, "Just because your dad and your granddad had a heart attack at 40 does not mean that you have to have a heart attack at 40. It's not a life sentence." Our genes are basically our blueprint, but they're not our destiny. They don't dictate what must happen to us. There's more to it than that, interestingly enough. Dr. Marvin Singh: On top of our DNA is what we call the epigenome. And the epigenome is you can think of it as light switches on the genes. And just because the gene is there, just because you have the light switch on your wall, doesn't mean the lights on. Doesn't mean the light has to be off either. There are things that can turn these genes on and off and understanding the gene and understanding what you can do to switch the gene off or not, contributes to the development of a certain problem. That's the important part. Vincent Ferguson: Now let's talk about your book, Rescue Your Health, because even talking about now, I'm sure your book probably goes into more detail about it. What can my listeners and viewers learn from reading your book? Dr. Marvin Singh: Well, I wrote Rescue Your Health because I wanted everybody to know that precision medicine, number one, doesn't have to be a scary topic. I think people think, "Oh, DNA and imaging tests and microbiome. This is too much for me. It's hard enough for me to navigate regular doctor visits, but I can't do this one." Dr. Marvin Singh: So I really try to make it simple and help people understand that it doesn't have to be a scary topic. It can be very useful. It can be more useful than a lot of other types of things that we may do in medicine. And a lot of the tests that you can do to understand your body a little bit better, they're not necessarily these multi thousand dollar tests and some of these are quite affordable. Dr. Marvin Singh: One of the chapters in the book is My Top Five Tests and the reason why I have My Top Five Tests, I made a chapter on that, is because I wanted to show people that all these tests that are there are within a couple or $200-$300 range. And so you can do a lot of things for a pretty affordable price. We often go out and go to dinner and spend $200-300 on maybe a good meal, but may leave you bloated in with heartburn, but it might've been good when you ate it. But you could spend that $200 and learn about your genes and learn how to eat for your life and that could make a huge impact on how you live your life for the whole time moving forward. Dr. Marvin Singh: And so, you know, it's really about bringing realization to that process. I wanted to really simplify it and not make it scary. This book is for everybody. This is what I say in the opening chapters. If you're a human and you're able to hold this book, then this book is for you. There is something in it for everyone. I really help try to explain what are some of the different tests and then give some real life examples about different kinds of people who've come to see me over the years. What their issues were and how we're able to apply some of the principles that we're talking about here and earlier in the book and what happened with them as a result. So, that was really the main point in the book, is really to help people understand that there are ways that we can understand our bodies on a more meaningful level. The science is there, that we can now start understanding our health from a little bit of a different viewpoint and make some big impacts. I tell people that there's two kinds of doctors. There's the kind of doctor that if you're in a burning building, this doctor is a firefighter. He'll run into that building, he's the first responder. Doctors were first responders too, on the healthcare front. And he'll go into that burning building and he will save you, he or she, will go and save you, pull you out of that building. And we need those doctors. We will always need those doctors because life happens. I practice that kind of medicine too. But then there's the other kind of doctor that'll say, "Hey, look buddy, why in the world were you anywhere near that building in the first place, man? You shouldn't be there. And this is how I'm going to help you understand how not to be there. And this is how we're going to help you avoid being in this situation, in the future." Now, which way do you think is probably better for your longevity? I think it's better to understand how you can avoid those burning buildings because the more burning buildings you're in, eventually over time, it puts a little extra wear and tear on your body too, right? Vincent Ferguson: Exactly. Yes, yes, yes. So, that is the key. How does your family feel about you practicing integrative medicine as opposed to conventional medicine? Dr. Marvin Singh: Well, first of all, I do both actually. I still practice as a general gastroenterologist. Go to a hospital and take care of sick patients there. People need that kind of help too. But the part that I am most passionate about, obviously, is the preventive medicine and the integrative part. They're very supportive, actually. Without my wife, I probably wouldn't have ever made it to this part because she's the one who helped me realize that the something that I was missing in the way that we practiced medicine was this. She was a little bit more forward-thinking earlier than I was. Vincent Ferguson: Ah, nice. That's how you know you married right. How can we order the book? Dr. Marvin Singh: Yeah. So the book is out. It's called Rescue Your Health and it's on Amazon. It's also on Barnes and Noble and a couple other places as well. But Amazon is one of the main places that the book is available on and it's out now. You can get on Kindle also. Vincent Ferguson: Okay, excellent, excellent. It just seems like a book that the timing couldn't be better. It couldn't be better than right now. Dr. Marvin Singh: Exactly. Yeah. I mean, I think COVID-19 has been real terrible on everybody in the whole planet. I think moving forward in the years to come, it's very important for people to understand that there are certain things in our body, risk factors that can potentially make us sick or be more prone to be sick. Not just for COVID, but for other things. But I think if you try to look at, was there anything that maybe came out of COVID that we can learn from, this is one of those lessons. One of those lessons is that, what's going on inside our body is a risk factor for who gets sick or how sick they could get. Vincent Ferguson: Yes, yes. We've taken it for granted, it seems for many years. Dr. Marvin Singh: Yeah. In many of us, integrative and preventative medicine doctors have been talking about this for a long time, but I think that this was just a rough lesson that helped bring the understanding to the whole world, all at the same time. I think everybody knows now that vitamin D deficiency and antioxidants and these kinds of things, being overweight and diabetes and heart disease and your diet and exercise levels and all those things, I think we all know, universally essentially, that these things are risk factors for getting sick at the most basic level. Because we're seeing it in real life, in front of us. Vincent Ferguson: Yes and it's time to do something about it. Dr. Marvin Singh: Have to do something about it. Vincent Ferguson: Yes. I also understand, Doc, that you do some charity work for an organization in New York, my hometown. Talk about that. Dr. Marvin Singh: Yeah. So this is really fun. There's a wonderful organization called Bottomless Closet in the city. They help women who are coming out of tough, difficult situations. Women who are in need of assistance in getting a job and getting back on their feet. I became the health advisor for Bottomless Closet, and I do free webinars for groups of these wonderful women and teach them about health and wellness and what they can do to get back on their feet as far as being healthy. Because it's hard to get a job, be successful at a job and try to turn your life around if you're not feeling well and you're sick. So health is very important part of that process too. Dr. Marvin Singh: And then also, if there's somebody who needs help from a doctor, I also donate my time to help that person as their doctor, free of charge and I help them get these precision medicine testing done through various different companies. I give a shout out to Microbiome Labs and Nutrogenomix, helping donate free testing kits to these patients. Several different companies have also helped me get free supplements for these wonderful women, as well. Enzymedica I have to give a shout out to as well, because all I have to do is just type out a list. This person needs this, this, this, this, and this, and they mail it to them. Vincent Ferguson: Wow. So that's amazing. Now you do this virtually? Dr. Marvin Singh: Yeah. Vincent Ferguson: That's amazing, but that's also wonderful that you do that. That you give back like that, I know you're very busy with your schedule, with so many people in need. Just showing how much humanity matters. Dr. Marvin Singh: Yeah. Everybody deserves to have access to this level of care, to understanding their body this way. And if certain people really need it and they can't afford it because of their personal situation, I mean, if they can barely afford to eat, you know, we want them to not spend all their money on that. They need to focus on their life and getting back on track because all that other stuff will follow. But to help them be healthy, I can at least do that part. That's the part that I can play. If they get on track and start feeling better, then they will do better.  So you feel better, you're more motivated, you have more energy, you're less stressed, you're sleeping better, than you're going to perform better at your job. You'll be able to excel in your position and you can climb the ranks that way. So if I can help somebody do that, that makes me feel good because that's what being a doctor and a healer is all about. Vincent Ferguson: Yes, it is, amazing. How can my listeners, find out more about you and Precision Clinic? Dr. Marvin Singh: I'm pretty accessible online. So a website for Precision Clinic is precisionclinic.com. Our contact information, email, phone number is all on that website. Instagram, Facebook, Twitter, my handle is @Dr. Marvin Singh, so I'm pretty accessible that way, as well. Vincent Ferguson: Well, we need to access you, that's for sure. Dr. Marvin Singh, on behalf of Body Sculpt of New York, my nonprofit and Six Weeks of Fitness, I truly want to thank you for coming on this show today. Dr. Marvin Singh: No problem. Thank you for having me. Vincent Ferguson: And to my listeners and followers and viewers, I truly hope this program was informative, encouraging, and inspiring. And you will continue watching and listening in to our Six Weeks of Fitness program. And if you have any questions or suggestions for the show, please leave them in the comment section below. And don't forget to subscribe so you don't miss any future episodes. And remember “you don't stop exercising because you grow old, you grow old because you stop exercising.” You can reach Vince Ferguson at vince@sixweeks.com. You can also visit his website at www.6weekstofitness.com.

In this episode we talk to "Patient X", Jayne Rachael, one of the first Maladaptive Daydreamers studied and who continues to be a strong advocate for the community. Maladaptive Daydreamer with Jayne Rachael (YouTube) Overcoming Together (website) International Consortium for Maladaptive Daydreaming Research Discord: https://discord.gg/x6QZNwe89Y Art by SPFitzgerald Music by Illiasse Thumbnails by Jessica

This week on The Bloom Files, Mike and Angela Bloom get into an oily, faceless extravaganza in The X-Files. The post The Bloom Files | The X-Files Season 5 Episodes 13 & 14: “Patient X” & “The Red and the Black” appeared first on PostShowRecaps.com.

This week on The Bloom Files, Mike and Angela Bloom get into an oily, faceless extravaganza in The X-Files. The post The Bloom Files | The X-Files Season 5 Episodes 13 & 14: “Patient X” & “The Red and the Black” appeared first on PostShowRecaps.com.

And now for something completely different.

Full disclosure: The audio quality of this episode (which we have disowned ourselves from) is horrendous and will give you your very own "Telltale Heart" panic due to the constant ticking, you have been warned! Feel free to skip this episode and enjoy our much better sounding quality episode next week instead.If you do want to battle on, the ticking occurs at the below timestamps if you want skip past it. 14:24 - 15:28 23:52 - 28:48 29:01 - 33:13 34:37 - 39:36 44:25 - 58:42 1:06:55 - 1:09:11 1:21:50 - 1:22:30 (Godspeed...)   If you have any thoughts about "Patient X" or any other episodes of this series, please drop us a message!Also if you have any question suggestions, please get in touch! Email: mostunwantedpodcast@gmail.com Facebook: fb.me/mostunwantedpodcast Twitter: Twitter.com/mostunwantedpod Instagram: instagram.com/mostunwantedpodcast The theme song is "Mulder and Scully" by Katie Pham and the Moonbathers recorded at Blancmange lounge 2016. You can find more from Katie Pham and the Moonbathers on Facebook (facebook.com/katiephammusic) and Bandcamp (blancmangelounge.bandcamp.com)All episodes are recorded, produced, and edited by Daniel Checkley and Luke Costin. Production Notes Jingle written and performed by Tasha Cassidy   Additional songs: The Critic Theme by Hans Zimmer

Technology has failed us...In this Episode, Luke & Checks discuss the 13th episode of the 5th series of The X-Files, "Patient X" We apologise for the brevity of this episode and make a pledge that next week, business as normal will resume (as Luke has now permanently disabled the built-in laptop mic). If you have any thoughts about "Patient X" or any other episodes of this series, please drop us a message!Also if you have any question suggestions, please get in touch! Email: mostunwantedpodcast@gmail.com Facebook: fb.me/mostunwantedpodcast Twitter: Twitter.com/mostunwantedpod Instagram: instagram.com/mostunwantedpodcast The theme song is "Mulder and Scully" by Katie Pham and the Moonbathers recorded at Blancmange lounge 2016. You can find more from Katie Pham and the Moonbathers on Facebook (facebook.com/katiephammusic) and Bandcamp (blancmangelounge.bandcamp.com)All episodes are recorded, produced, and edited by Daniel Checkley and Luke Costin. Production Notes Jingle written and performed by Tasha Cassidy   Additional songs: The Critic Theme by Hans Zimmer

It’s finally here! Our Episode where we discuss The Exorcist III: Legion. Mandy Jane and Loki Jesse discuss the third entry in the Exorcist franchise. Some call this the best and others don’t bother with it. This episode also includes a new segment in the show. A watch a long on during the interrogation between Kinderman and Patient X.   Audio clips from The Exorcist III: Legion (1990) are owned and copyrighted by their respectful owners. Music and sounds from Music-Note World Graphics made and provided by Cecilia L. Leal Support us on Patreon

Stories featured in this episode: Patient X-5 by Cora Buhlert - http://corabuhlert.com/ music by Phog Masheeen - http://phogmasheeen.com read by Jean-Paul Garnier & Zara Kand Trial in Majority by Andy Dibble - https://andydibble.com/ music by RedBlueBlackSilver - https://redblueblacksilver.com read by Zara Kand & Jean-Paul Garnier theme music by Dain Luscombe Simultaneous Times is a monthly science fiction podcast produced by Space Cowboy Books in Joshua Tree, CA. http://www.spacecowboybooks.com

Wenn ihr die Folge gehört habt, helft uns einen Beschreibungstext zu verfassen, der besser ist als dieser!- Euer Robin #instantAmnesia

Building ventilators to help COVID-19 patients could be much easier than we think. Dr. Sem Lampotang is a Professor of Anesthesiology and the Director of the Center for Safety, Simulation and Advanced Learning Technologies at the University of Florida. Based on a design Lampotang helped create 30 years ago, simple “crisis” ventilators can be built with parts from Home Depot, Ace or Lowe’s hardware stores for less than $300. The “open-architecture” design can be downloaded anywhere and allows anyone to use locally-available parts if traditional parts can not be sourced. Doctors and engineers in Mauritius, Lampotang’s native country, have already produced ventilators using his design. TRANSCRIPT: Intro: 0:00 Welcome to a special two-part edition of Radio Cade . We’ll be discussing COVID-19 and ventilators. In part one, we visit with Dr. Sem Lampotang and in part two, we visit with Dr. Richard Melker. We hope you enjoy the program. Inventors and their inventions. Welcome to Radio Cade a podcast from the Cade Museum for Creativity and Invention in Gainesville, Florida. The museum is named after James Robert Cade , who invented Gatorade in 1965. My name is Richard Miles. We’ll introduce you to inventors and the things that motivate them, we’ll learn about their personal stories, how their inventions work and how their ideas get from the laboratory to the marketplace. James Di Virgilio: 0:53 Welcome to a special episode of Radio Cade . I’m your host, James Di Virgilio. Today we’re going to be covering mechanical ventilation and its effect on the COVID-19 crisis. Mechanical ventilation is a lifesaving therapy that is used extensively and modern intensive care units. The origins of modern mechanical ventilation can be traced back five centuries ago to the seminal work of Andreas Vasilis, really the founder of modern human anatomy. My guest today is Dr. Sem Lampotang. He is the Joachim S. Gravenstein professor of anesthesiology at UF Health and the Director of the Center for Safety Simulation and Advanced Learning Technologies. Dr. Lampotang, welcome to the show. Dr. Sem Lampotang: 1:33 Thank you. James Di Virgilio: 1:35 Now your background is extensive. You have a PhD in engineering. You spent a lot of time dealing with patient safety, especially on the anesthesiology side, but today you’ve been working extensively on a mechanical ventilator. That is interesting for a lot of reasons. Tell us a bit about how this project came to be. Dr. Sem Lampotang: 1:54 If you go way back, like 30 years ago, what we are building today, I actually designed 30 years ago together with two respiratory therapists, Michael Bonner and Paul Blanche at the University of Florida and our design was actually commercialized and used on patients in the United States by a Swiss company. The ventilator was called Hamilton Max. And what we’re building today is essentially the Hamilton’s Max, but we’ve paused from hardware stores. The reason we decided to use hardware store parts from my work 3 decades ago, with ventilated companies , we still have insider information being a good way about what’s going on. So three, four weeks ago, before everybody else knew, we already knew that there would be no parts traditionally use to build ventilators. That’s a problem GM is facing right now as they’re trying to build ventilators. So when we were approached to design one to address that expected shortfall of ventilators, if we truly need a million, then the design style that we have , how do you build it? If your traditional supply chain is no longer available. And that’s when the idea of going to home Depot and ACE and Lowes came into being. James Di Virgilio: 3:05 And your ventilator itself is an interesting concept. You are open sourcing it. What essentially means you put the design out there into the public arena. And anyone is able to take a look at this and improve it as necessary. We often see this done in the internet and things like that. How often is something open sourced in the medical community? Dr. Sem Lampotang: 3:25 It is quite common today with the COVID-19. So there are a lot of open source ventilator projects going on. So we were among the first day , a lot of open source efforts, spontaneously sprang up around the country. And also I think in the UK, I don’t know whether it was common before that, but I can tell you now, currently in this crisis, it’s quite common. James Di Virgilio: 3:47 No, I’ve seen a lot of studies back in the mid two thousands that had suggested that we did not have enough ventilators in the case of a surge event, which COVID-19 certainly is a surge event. However, those same studies argued that the $40,000- $50,000 ventilators that exist in the ICU would not be appropriate to basically hold on reserve based upon daily usage. But instead they suggested a combination of something more like you were creating or something that could be utilized. Why is it that those academic studies just went unheated that in reality, we really didn’t attempt to address maybe a middle ground, a less intensive ventilator. Why do you think it is that that’s been the case? Dr. Sem Lampotang: 4:28 Well, it’s a lot of it is mission Creek. And also a lot of it is there’s a tendency to treat to the highest need. So when you order a ventilator, you want to make sure it will need those patients who have really, really dire needs. So that’s a tendency. It’s just like, why do we not drive small cars? Why do we drive bigger cars? Because we can. And so if hospitals also want to make sure they can treat the sickest patient, so they usually order the Cadillacs instead of the base models. James Di Virgilio: 5:01 That’s one reason, right? And obviously it would be cost inefficient to stockpile, a lot of $50,000 ventilators that may not get used, but there is this other side we’re in now where we know that a virus could happen, that causes this situation and you and I, before the show, we’re talking about something, that’s very interesting. So your design has been working now for a week straight. Your ventilator has been working as you wanted it to for one week straight, right? But you were telling me that’s not enough yet. And why is that? Dr. Sem Lampotang: 5:30 The reason is not enough at the one week nonstop running, it’s going an endurance testing is the data from Italy. And China indicates that worst case scenario, a patient needs ventilatory support, meaning they need to be on a ventilator for up to three weeks nonstop. So, currently all I can say with confidence is that this ventilator will run for a week nonstop because I have not run it for another two weeks, but my dilemma and my ethical dilemma as an engineer, a professional engineer is, if let’s say in a week from now, when I’m two weeks into endurance testing, and by the way, there’s more than one ventilator . So I have three ventilators undergoing endurance testing right now, but even two weeks from now, two weeks of endurance testing, but I’ve not completed my three weeks. And the doctors are being faced with a stock choice of you have the ventilator you don’t then do we start building and giving them to the doctors and say, trust us, even though we have not finished the testing, because the proper engineering practice is to finish the testing costs and then deliver. One of the benefits of working at the University of Florida, is it has a lot of faculty with expertise. So I talk to an ethicist when I was faced with that dilemma, I called an ethicist who I know, and I said, this is my dilemma. And it was very helpful because he told me, in his opinion, if in a week from now, we have not finished, but the need is there. You have defensible ethical ground to release, even though your testing is not finished, because at least you did some. James Di Virgilio: 7:05 Right. And what’s the alternative? Patient X,Y, Z, you have no ventilator at all. We’re going to have to now make a triage decision to let someone else on this ventilator. And you don’t get one versus your solution, which is, this may not work for three weeks, but also it may work for three weeks. Dr. Sem Lampotang: 7:19 Correct. But at that point would know it’s been working for two weeks. So that’s why then ethically each its a bit more defensible because we did as much as we could until the virus overtook our testing, right? James Di Virgilio: 7:32 Creating an emergency situation where then innovation in this case allows for at least an opportunity as you’re mentioning to improve it. Now, the FDA gets talked about a lot in crisis like these, are they helpful? Are they harmful? As far as what the FDA has been doing? Again, you mentioned before the show, they’ve been relaxing, some restrictions we’ve seen this in the news. Do we feel like we’re in a spot where, what you said would be possible where the FDA would allow an emergent situation, people to have to try some of these ventilators that have been obviously operating for a while, or do we think that they wouldn’t be allowed into the system in an event like that? Dr. Sem Lampotang: 8:06 The FDA has been flexible, my understanding, but this is third hand. I have no way to know whether it’s true or not. They have been approving devices that are specific to the in crisis already. So some devices have already been approved under the what’s called the EUA (Emergency Use Authorization), which has a reduced set of requirements. And the FDA has been also flexible in this sense. So they’ve relaxed the rules. And now if our ventilator becomes approved, we intend to file in a week from now. So around April 10th, if we’re approved, the approval is only while the crisis lasts. The moment of the COVID-19 is no longer a pandemic, our approval from FDA would lapse immediately. So I thought that was also very creative from the FDA. And so they’ve been flexible and it’s also helped us to do due diligence on our testing because by following the FDA standards, we can make sure, A: whether they are relevant to this situation and B: how to meet them and then give ourselves an added measure of confidence that we are producing a safe design. James Di Virgilio: 9:17 Now let’s talk about your design in general. So it seems like ventilators range from as cheap as $5,000 to as expensive as $50,000. One of the issues with the Cadillac ventilators, as you mentioned, is that you have staffing concerns as well, only so many people are trained to operate those. I’m imagining that your ventilator does not require extensive training to have someone operated. Is that correct? Dr. Sem Lampotang: 9:40 That is correct. There’s only three settings. So it will not be complicated. One setting is we call it, title volume. How much gas do you want to flow into the patient’s lungs with each breath, a small breath, or a big breath or something in between the second one is what we call the breathing frequency. How often do you want this patient to breathe? 10 times a minute, 15, 20, 25, 30. And then the next one is how long, how much longer is exhalation compared to the inhalation? And it’s a ratio. So it is one to two, one to one or one to three. And that’s it. That’s the ventilator. James Di Virgilio: 10:20 And so it’s much simpler. To give me a difference someone who knows really nothing about ventilators, how much less effective would this be in a serious case someone’s in the ICU, they have a serious case. Would your ventilator be able to get 60%, 80% of the way towards the Cadillac one? Or is there a big, big gap between what both of them do? Dr. Sem Lampotang: 10:38 I think it would get to 60% and I’m guessing and what it would not do, you may have heard this term when reading about ventilators , it’s called weaning . Just like you wean a baby from breast milk, to something else. So weaning means if a patient has been on the ventilator a long time, they may become dependent and now you have to slowly wean them from the ventilator. So our ventilator will not have weaning capabilities. That’s what the big Cadillac ventilators have. So instead of forcing the lung each time into the patient, because they can’t breathe, then they start saying, okay, I’m going to wait a bit lets see whether the patient can take a breath on his own or her own . And then if they can the gradually step back and let the patient do more and more spontaneous breaths until finally the patient is breathing on their own. And then they get removed off the ventilator. We don’t have that capability. James Di Virgilio: 11:35 Okay. And that’s probably needed in the most serious cases, right? So in a mid level case, yours would be able to be sufficient. But if you get a really serious one, maybe not so much, and that allows then the hospital to get some flexibility with how they’re treating patients. It gives them scalability with who gets what. Dr. Sem Lampotang: 11:50 Right. So our ventilator is a crisis ventilator to be clear. So it’s really a survival. We’re not trying to win people. We’re trying to prevent them from dying because there’s no ventilator. James Di Virgilio: 12:03 And how difficult was it to build something like this? I know you’re using like Lowe’s and home Depot and normal parts that I could go and purchase right now to do this. How difficult was it to create this design? Because you did it so quickly. Dr. Sem Lampotang: 12:16 The design was a paper design until our lead engineer, David Lizdas in our lab, did they run on a Saturday, which was five days into the project because we were doing a lot of paper designs, lining up things. And then he ran to Home Depot and acquired a lot of parts and then went back to his garage and put something together. And then he FaceTimed me. I look at it, I asked him to do some adjustments, and then I was satisfied at work. And we put it up on the web immediately. Like an hour later, it was on the web. And when we put it on the web, a lot of people saw it. And then we were able to convince a colleague of mine who was initially a bit skeptical. And that’s Dr. Gimme , he’s an anesthesiologist who is retired, but also an electrical engineer. And again, that’s an open source concept. He’s also a ham radio operator. So he brought in all his ham radio buddies, and they’ve been tremendously helpful with the electronics and the software. And one of them was actually the ham operator person is a genius from Bangalore, India. So he’s been tremendously helpful. And now we’re happy that our design is helping him start creating ventilators in India for each country. James Di Virgilio: 13:30 And that’s something to think about in life, I like to think about doing unto others as you would have them do unto you. And how do we love our neighbors? And obviously in the U.S. we’re a very wealthy country. We’re fortunate to be able to have the medical resources we have at the top end. And if you’re looking at a lot of developing countries, they don’t have a lot of those Cadillac ventilators. They don’t have a lot of ventilators at all. Your solution, as you just mentioned, is something that can be downloaded on the internet with the open source. Someone can take that. They can build that. They can use that. How expensive is it for someone to build your ventilator? I see this on the internet and I live in India. What does it cost me to build one of these ventilators? Dr. Sem Lampotang: 14:07 So I mentioned earlier, our design, it’s actually a very specific meaning. It’s called open architecture. Open architecture means speed site design that people can alter, because we don’t know that the part from Home Depot we use in Gainesville, he’s available in India, or for that matter in New York, a gentleman in New York is worried about his state. He’s building one. He went to Home Depot. He couldn’t find some of the parts . So then the idea is, as long as we specify the pod , very clearly, then you should be able to find a substitute. And that’s what happened actually in Mauritius yesterday, Mauritius is where I was born and grew up in the Indian ocean. And they already have a ventilator built with the parts that were available locally. And one of the other ways that this ventilator was designed, it was designed on the assumption that transportation would come to a grind that would be no transportation because of the pandemic . And I was reminded of that because I was texting the engineer and Mauritius building. He said, we don’t have Arduinos , which is the computer running our ventilator. I said, well, you can order it readily on Amazon or Alibaba. And he goes there are no flights come in. The Island is on lockdown for two weeks. And that was exactly how we designed it, that we designed A: that traditional parts would not be available and B: transportation would be disrupted. So then he did what he’s supposed to do. He went and looked for a local equivalent that was available, substituted it. And then today he uploaded a video on our website and you can see the ventilator from Mauritius on it. James Di Virgilio: 15:44 That’s an amazing story. You’ve talked during your creation story about how many people, how many innovators and creative people it takes to have this idea, the power of what you just mentioned of opening your idea to others so that it can be quickly and nimbly changed and altered depending on the environment, the foresight that you had to recognize that if this surge event does happen, people aren’t going to be able to acquire things in the normal means. You just mentioned. So the person you just spoke of, what did it cost them to build this ventilator? Is this $2000 or $3,000 venture? Is it a $30 venture? What does it cost to get one of these up and running? Dr. Sem Lampotang: 16:16 I don’t know. I look at their design, they need a teflon. So I just talked to my lead engineer this morning. So that’s long is a piece of instrument that simulates among all the patients . And that’s how you’re able to test that your ventilator is built to spec, but they don’t have it in Mauritius and probably in India. So I just put something and it’s being uploaded to the web so that everybody can say, okay, we’re going to do not on these ventilator. We’re going to home build a Tessalon so that we can test that our ventilator is built to specifications. James Di Virgilio: 16:49 Okay. And the cost here in Gainesville, when you’re making one of these, what does it cost you to do it here? Dr. Sem Lampotang: 16:54 It’s less than $300. And actually our thinking now has evolved as we’re getting ready to go through the FDA, so that we don’t have to meet all of FDA’s requirement for contamination, from one patient to the patient that uses the ventilator next, the disposable pod is $98 from home Depot total. So the idea is off the patient has used it for up to three weeks, rather than probably to we sterilize it and need the FDA requirements what designed , pushed the realization. We would just throw the whole thing away and bring another one in, because that’s $98. That’s like an expensive meal, right? James Di Virgilio: 17:30 Right. No, it’s remarkable. We anchor this show on the $30,000 to $50,000 ventilator. You had mentioned, you get just a guess somewhere around 60% of the operational capacity, and you’re doing it for 300 or so dollars here in the U.S. that’s remarkable. And that is the productivity of creation, innovation, especially during a crisis time. It’s something that makes innovation. I think so powerful. Obviously what you’re doing is so impactful, not just here but abroad. I mean, imagining that these countries can now give themselves access to a possibly functioning solution during a crisis like this or something that is affordable, that is not going to bankrupt them. That is why the usable is amazing. And of course, this is not the first time this has happened right? Throughout human history. This is the response to crisis is when people are allowed to be able to think creatively and put their solutions together. And what you’re doing is simply remarkable. And to me, it’s just further proof of the power of people working together, working together quickly and producing something that again is just to me , incredible to think of the costs that you’re producing this unit for given to the functionality that it has so far. Just really remarkable. Dr. Sem Lampotang: 18:35 I want to clarify though , the whole team behind us, and also I would be remiss if I didn’t mention the University of Florida. So for example, in open source, you probably understand that the University of Florida has a lot of intellectual property, like Gatorade that funds the university. So generally the university owns everything. The faculty member like me designs. So I have a very good working relationship with the Office of Technology Licensing of the University of Florida because I have multiple patents. So very early I involved Office of Technology. I said, are you okay with this being open source? Because it goes against everything belongs to UF. So UF was also very supportive, they said, run with it. We need this. We are not going to worry because if we had said, oh, if you partner with us, UF has to have X percent of whatever this project would not happen. And I think my technology manager at UF [inaudible] was very supportive, particularly at it. And he said, yes, you have authorization to run with it. Even though what you’re doing is technically against the university’s rules, that they own everything that a faculty member designs. James Di Virgilio: 19:47 And so that’s a further example of flexibility. You mentioned the FDA, you mentioned UF, they’re sort of relaxing the rules in a crisis, which is allowing for this innovation. And obviously here being at the Cade, and we’re very familiar with, with what happens when universities are obviously working closely with inventors and employees, and a question that comes to mind, Dr. Lampotang is, why do this? Why wouldn’t you heard about this crisis set aside what you’re normally working on and do this? I’m certainly assuming it was not to make money, but rather to save lives. But what was your motivation to put aside everything else? And to begin working on this? Dr. Sem Lampotang: 20:21 Many things, first of all, like I told you, building a ventilator is not a challenge for me because I built one, I was a graduate student at UF, so that was none of that can I do it? I knew I could do it. And then when, you know, you can do it and you know, there’s going to be a shortfall , depending on what news outlet you read. We have either 40, 60, or 80 thousand ventilators in the U.S. and the projected need is 1 million. And it almost seems that my path, my journey through life, brought me to this where I was like, you really need to do this because you know how to do this. And you can just stand on the sidelines. And the other thing is on a personal note, I’m a prostate cancer survivor. So I have been in a close shave, and luckily I believe I’m cured. So it is also, when you get a second chance at life, you sort of also say, why was I given that second chance? And you try to get some meaning, to that second chance you were given. James Di Virgilio: 21:17 That’s, that’s powerful. And obviously I think myself on behalf of everyone, listening to this podcast is thankful for people like you that have the expertise to create these things, to save lives. And like you mentioned, I heard you say before, hopefully this is not something that’s even needed, right? Hopefully we don’t reach that level of surge. But if we do, obviously those and others working around the world to find these solutions is what allows us to save lives. And that’s rather remarkable. One last question here, it’s been a great discussion so far, this gets asked more than all the other questions. So we have to ask it looking back. Is there something we could have done to have been more prepared for this situation, with regards to ventilators specifically? Should we have been stockpiling them? Should we have been developing what you’re developing now 10 years ago? Or was this something that we had to go through to then ramp up our efforts to create these ventilators? Dr. Sem Lampotang: 22:09 Yeah, that’s a difficult question. My approach to this is we are where we are . There’s no point in looking back because that is not helpful at this juncture. I would say yes, we could have been better prepared, but we are where we are and we have a shortfall. The thing that’s been uplifting easily, the outpouring of support from all over the U.S. and the world and people volunteering to build and to build them out of their own funds and take it to the local hospitals. Now, the main thing we need to do is clear the regulatory hurdles, but there’s one more twist to this that I want to make sure people understand if it comes to where those ventilators are needed and the FDA approval is not recieved. Some hospitals are going to basically have a consent form that will tell the patient. This is a ventilator that has not been fully tested. Some testing has occurred, but it was not completed. Do you want to go on this ventilator? Do you consent to be put on that ventilator? And that’s false under compassionate use. And it’s a relief to know that because to get FDA clearance takes time, and that’s the alternative path. If really our development effort and our FDA regulatory effort gets overtaken by events , that’s the fall back position. And then one last thing from my part is when this crisis is over, there are a lot of under developed countries who lack ventilators, perennially, and the whole design. This design being open source would be continued to be used and maybe improved so that low resource countries can build their own ventilators and safely. James Di Virgilio: 23:56 And thank you so much for the time that you’ve given us and for the message you just put out there, right? I think that’s the goal. Definitely moving forward. As you said, I agree. We can look back into history and take lessons to learn, to improve the future. And what you just said, right there is certainly improving the future. How can we give ventilator access to people across the world? Because I’m sure this won’t be the last virus or surge event we deal with that deals with the respiratory system. And certainly the work that you have done thus far in the work of others than something being open source consistently able to be looked at and improved and tweaked and tested and changed very quickly because of its open source nature will allow for the fastest adaptation of getting to the best result. And I applaud you for your time for your efforts, for what you and your team have done through the University of Florida, through all of your colleagues, putting time aside to do this. It certainly is again, the power I think of individuals getting together and creating solutions to very complicated and difficult problems. I’ve enjoyed our discussion today, Dr. Lampotang, thank you so much for being with us. Dr. Sem Lampotang: 24:53 Same here . Thank you so much. Stay well James Di Virgilio: 24:55 For Radio Cade, I’m James Di Virgilio. Outro: 24:58 Radio Cade is produced by the Cade Museum for Creativity and Invention located in Gainesville, Florida. This podcast episodes host was James Di Virgilio and Ellie Thom coordinates, inventor interviews, podcasts are recorded at Hardwood Soundstage, and edited and mixed by Bob McPeak. The Radio Cade theme song was produced and performed by Tracy Collins and features violinist, Jacob Lawson.

What's it actually like to have COVID-19? A couple positive for the virus takes us along the physical, mental, and emotional roller coaster ride. --- Send in a voice message: https://anchor.fm/pumapodcast/message

Patient X (chatted to a person who is being tested for Coronavirus) **RESULTS**Screentime Sam's argument with his partner over Oysters

Sam's MRI ScanNigel Latta on Coronavirus fear Just An ObservationHave you sworn to celibacy?Patient X (chatted to a person who is being tested for Coronavirus)

Florian hat eine abgesagte, ausverkaufte Show zu kompensieren, wird beim Verwandtschaftsbesuch als potentieller Patient X behandelt, und gibt seinen Senf zum Thema Comedy Wettbewerbe. Außerdem bin ich vielleicht das Faultier bei The Masked Singer. Viel Spaß beim Anhören. Comedy Lounge und andere Live Termine unter http://floriansimbeck.de/termine Supportet diesen Podcast auf Steady oder Patreon:  http://steady.hq/de/schlimmbeck  http://patreon.com/schlimmbeck Danke an Hartig Timepieces http://www.hartig-timepieces.de und Leonardo Royal Hotel Munich http://www.leonardo-hotels.de/royal-munich --- Send in a voice message: https://anchor.fm/floriansimbeck/message

5x13 'Patient X' - Episode Analysis Our coverage of Season 5 continues as Kurt North takes the hosting chair alongside recurring X-Cast guest, Darren Mooney, as they discuss the first part of the epic mythology story, 'Patient X'... Host / Editor Kurt North Guest Darren Mooney With thanks to our Patrons... Adam Chamberlain, Michelle Milbauer, Cathy Glinski, Kurt North, Jenn Ferguson, Naomi Miller, Adam Silva, Marlene Stemme, Deana Ferreri, Katie Doe, Donna Pirkle, Isabelle Dubois, Andrew Blaker, Cortlan Waters Bartley, Martha Payne, Delta 51, Clarissa de Becker, Sarah Devicomte, Jeremy Daniels, Caredwen Foley, Daniela Marlitsis, Justin Bernstein, Calla Dreams, Wanda Vincent, Karen McKenna, Michael Little, Luke Winch, Caleb Burnett, Chandru Ravindran, Mark O'Brien, Ana Afloarei, Kathryn Shellman, James Leggott, Stephanie Clark, Lucinda Beattie, Russell Hugo, Kelsey L Mayer, Sarah Ford.

5x13 'Patient X' - Episode Analysis Our coverage of Season 5 continues as Kurt North takes the hosting chair alongside recurring X-Cast guest, Darren Mooney, as they discuss the first part of the epic mythology story, 'Patient X'...Host / EditorKurt NorthGuestDarren MooneyWith thanks to our Patrons...Adam Chamberlain, Michelle Milbauer, Cathy Glinski, Kurt North, Jenn Ferguson, Naomi Miller, Adam Silva, Marlene Stemme, Deana Ferreri, Katie Doe, Donna Pirkle, Isabelle Dubois, Andrew Blaker, Cortlan Waters Bartley, Martha Payne, Delta 51, Clarissa de Becker, Sarah Devicomte, Jeremy Daniels, Caredwen Foley, Daniela Marlitsis, Justin Bernstein, Calla Dreams, Wanda Vincent, Karen McKenna, Michael Little, Luke Winch, Caleb Burnett, Chandru Ravindran, Mark O'Brien, Ana Afloarei, Kathryn Shellman, James Leggott, Stephanie Clark, Lucinda Beattie, Russell Hugo, Kelsey L Mayer, Sarah Ford.

Confined to a mental ward in 1951 and awaiting his impending lobotomy, an enigmatic WW2 veteran known only as Patient X recalls an ill-fated experiment to render a U.S. warship invisible resulting in nightmarish side effects for the survivors as well as uncovering a mind-bending temporal terror. Warning: May contain explicit language and graphic content not suitable for younger audiences. Learn more about your ad choices. Visit megaphone.fm/adchoices

Confined to a mental ward in 1951 and awaiting his impending lobotomy, an enigmatic WW2 veteran known only as Patient X recalls an ill-fated experiment to render a U.S. warship invisible resulting in nightmarish side effects for the survivors as well as uncovering a mind-bending temporal terror. Warning: May contain explicit language and graphic content not suitable for younger audiences.

Here's a follow-up to Episode 10. In this episode, I present Dr. Alalade with a real-life case scenario of a patient named “X.” Her story touches a lot of points discussed in Episode 10. Patient X is a 32-year-old Black lady who currently resides in the US. She has had two pregnancies that resulted in miscarriages during the first trimester. Her clinical diagnoses include left ovarian dermoid cyst, severe pelvic adhesive disease, and stage-4 pelvic endometriosis. Together, Dr. Alalade and I explore this patient's history with he providing a handful of options in helping Patient X reach her goal of multiparity.Patient X may very well likely be someone you know or someone whose story eclipses yours. Regardless of which category you fall under, never quit seeking the answers you need. The hope, in the meantime, is to build community around these difficult, untalked about socio-cultural issues.Let me know how I can help.

The mythology makes another appearance and this time, we get some (vague) answers, in the two-parter “Patient X” and “The Red and the Black”. iTunes RSS

Join Courtney and Alison as they recap S05E13 of The X-Files – “Patient X” – and learn about amazing unsolved mysteries such as how to properly fertilize your boy farm, why Jeffy's finally joining this family circus, and where you can find a bridge full of grade A primo yams.

THE X-CAST X-Files Podwatch continues! Every day in the run up to the premiere of Season 11 of The X-Files, we will bring you a podcast discussing two episodes of the series, as we work our way through Season 1 to Season 10, with a range of guests and guest hosts embarking on an exciting rewatch journey! In this episode, Tony Black is joined by Amy Walker as they discuss 'Patient X' and then 'The Red and the Black'. Rewatch, listen, join in! Just remember... trustno1... FACEBOOK TWITTER EMAIL ITUNES Tomorrow on The X-Cast Podwatch... Join Darren Mooney & Chris Knowles as they discuss 'Travelers' & 'Minds Eye'...

THE X-CAST X-Files Podwatch continues! Every day in the run up to the premiere of Season 11 of The X-Files, we will bring you a podcast discussing two episodes of the series, as we work our way through Season 1 to Season 10, with a range of guests and guest hosts embarking on an exciting rewatch journey! In this episode, Tony Black is joined by Amy Walker as they discuss 'Patient X' and then 'The Red and the Black'. Rewatch, listen, join in! Just remember... trustno1... FACEBOOK TWITTER EMAIL ITUNES Tomorrow on The X-Cast Podwatch... Join Darren Mooney & Chris Knowles as they discuss 'Travelers' & 'Minds Eye'...

A two part episode that introduces the Spender family.

A two part episode that introduces the Spender family.

Veronica Cartwright guest stars in this two parter. --- Send in a voice message: https://anchor.fm/x-files-retrospective/message

Who's over there making out in the hallway? Why, it's Alex and Marita, of course! And Vanessa and Carolyn are not ok with it. Plus, Vanessa takes a trip through 90s internet pages, and Carolyn wonders if the alien goo can get into nose holes (because let's face it, we're never, ever going to truly understand how it works). The girls also explore the X-Files alien family tree, question Mulder's skepticism, and talk a lot about Russia. Don't forget to follow us on Twitter, Facebook, Instagram, and Tumblr (all @notanotherxfpod) and check us out on Patreon for exclusive perks! (www.patreon.com/notanotherxfpod)

Join the X-Philes Jamie, Karen and AJ as they continue season 5 with Patient X, The Red and the Black, Travelers, Mind's Eye, All Souls, and the Pine Bluff Variant.

“Y’all must be the guv’munt peoples.” Ah yes, the day we have finally waited for is here. It’s time for X-Philes to talk Bad Blood, and some other cracking episodes: Schizogeny Chinga Kill Switch Bad Blood Patient X The Red And The Black David is joined by Jessa and Roi, fresh from their recent #xfilesroadtrip to Vancouver to visit many of the locations where the series and second movie were shot. Hear all about all this and more – only in this week’s episode of the X-Philes Talk X-Files podcast!

AFTERBUZZ TV — Beauty and the Beast edition, is a weekly “after show” for fans of CW’s Beauty and the Beast. In this show, host Janeisha John discusses episode 10. In this updating of the popular 1990s series, Smallville’s Kristin Kreuk stars as detective Catherine Chandler, and she’s got a monster in her past. As a […] The post Beauty and the Beast S:3 | Patient X E:10 | AfterBuzz TV AfterShow appeared first on AfterBuzz TV Network.

THE PHILADELPHIA XPERIMENT (SCI-FI-HORROR) EXPLICIT LANGUAGEAND MATURE THEMES Confined to a mental ward in 1951 and awaiting his impending lobotomy, an enigmatic WW2 veteran known only as Patient X recalls an ill-fated experiment to render a U.S. warship invisible resulting in nightmarish side effects for the survivors as well as uncovering a mind-bending temporal terror. Campfire Radio Theater  

Confined to a mental ward in 1951 and awaiting his impending lobotomy, an enigmatic WW2 veteran known only as Patient X recalls an ill-fated experiment to render a U.S. warship invisible resulting in nightmarish side effects for the survivors as well as uncovering a mind-bending temporal terror.Warning: May contain explicit language and graphic content not suitable for younger audiences.Written, directed and produced by John BallentineCastDavid AultJack KincaidJoe StofkoM Sieiro GarciaJohn BallentineBlaine HicklinGlenn HascallMusic by Kevin Hartnell, Kevin MacLeod, Richard Lainhart and  ERHhttp://www.overlookhotelrecords.com/ Running time 32:58

Dakota wonders if porn watching in marriage is bad. Ryan loves his wife but still sex chats online. www.AdamandEve.com Sex Toy: Hung Pleasure Cock Rings And don't forget to use the Offer code DRKAT at the www.AdamAndEve.com checkout to get 50% OFF on almost ANY item. Plus FREE Shipping, a FREE Sexy Gift, and FREE Shipping on your entire order.

The X-files 5x13 Patient X

The X-files 5x13 Patient X