Podcasts about prozac

Kid and Fiona return with a masterclass in romantic elegance: we debate the finer points of industrial-grade cum dumpster usage, rank the top 10 vintage stinky-pussy bouquets, and discover why your dick still throbs like a club speaker even after Nut #47. Then, in a moment that will be studied by historians, legendary karaoke warlord Brown Eye blesses the mic with his velvet renditions of Air Supply and other certified wrist-slitters. We close out with our feel-good segments: "Best Soundtracks to Yeet Yourself To" and "How to Drown in the Shallow End Without Looking Like a Quitter." Bring tissues—for your tears, your dick, or both. DETAILED TIMELINE (now with punchlines) 1:00 – "Right in the cooter" (direct deposit, no ATM fees) 2:00 – Some ladies I want in my mouth (taste-test Tuesday) 3:00 – Make sure that shit is clean (pineapple juice PSA) 4:00 – My head is kinda on her ass (basically furniture at this point) 5:00 – Fingers in the face (free high-five with purchase) 6:00 – This factory is shut down (OSHA violated, uterus on strike) 7:00 – Can you email me your report (STD results in PDF, please) 8:00 – Who says you're gonna last forever (spoiler: your dick doesn't) 9:00 – The age we're at (when your back cracks louder than she does) 10:00 – Weird shit dripping from the vagine (call it abstract expressionism) 11:00 – Brown Eye live karaoke debut (bring earplugs and Prozac) 12:00 – "I'm all out of love" (Brown Eye channeling every divorced dad) 13:00 – "I'm so lost without you" (he's looking at you, Susan) 14:00 – Straight-up depicted everything (trauma in 4K) 15:00 – Rosette song (now legally a war crime in 12 states) 16:00 – "If you want to be happy" (irony level: expert) 17:00 – Are you fucking serious right now (yes, dead-ass) 18:00 – I was so fucking mad (rage-boner achieved) 19:00 – Because it's so depressing (we're one ballad away from a group hug) 20:00 – When do you want to go (existentially or just leaving the call?) 21:00 – Drowned yourself (bathtub's ready, candles are lit) 22:00 – "I know" – Final Words (mic drop into the void) 23:00 – Throwing yourself into traffic (pro tip: wait for Uber Surge) Listen now and try not to yeet yourself into the sun before the outro. Go Deep—or at least go home and cry in the shower like the rest of us.

In this Write Big session of the #amwriting podcast, host Jennie Nash welcomes Pulitzer Prize–winning journalist Jennifer Senior for a powerful conversation about finding, knowing, and claiming your voice.Jennifer shares how a medication once stripped away her ability to think in metaphor—the very heart of her writing—and what it was like to get that voice back. She and Jennie talk about how voice strengthens over time, why confidence and ruthless editing matter, and what it feels like when you're truly writing in flow.It's an inspiring reminder that your voice is your greatest strength—and worth honoring every time you sit down to write.TRANSCRIPT BELOW!THINGS MENTIONED IN THIS PODCAST:* Jennifer's Fresh Air interview with Terry Gross: Can't Sleep? You're Not Alone* Atlantic feature story: What Bobby McIlvaine Left Behind* Atlantic feature story: The Ones We Sent Away* Atlantic feature story: It's Your Friends Who Break Your Heart* The New York Times article: Happiness Won't Save You* Heavyweight the podcastSPONSORSHIP MESSAGEHey, it's Jennie Nash. And at Author Accelerator, we believe that the skills required to become a great book coach and build a successful book coaching business can be taught to people who come from all kinds of backgrounds and who bring all kinds of experiences to the work. But we also know that there are certain core characteristics that our most successful book coaches share. If you've been curious about becoming a book coach, and 2026 might be the year for you, come take our quiz to see how many of those core characteristics you have. You can find it at bookcoaches.com/characteristics-quiz.EPISODE TRANSCRIPTJennie NashHi, I'm Jennie Nash, and you're listening to the Hashtag AmWriting Podcast. This is a Write Big Session, where I'm bringing you short episodes about the mindset shifts that help you stop playing small and write like it matters. This one might not actually be that short, because today I'm talking to journalist Jennifer Senior about the idea of finding and knowing and claiming your voice—a rather big part of writing big. Jennifer Senior is a staff writer at The Atlantic. She won the Pulitzer Prize for feature writing in 2022 and was a finalist again in 2024. Before that, she spent five years at The New York Times as both a daily book critic and a columnist for the opinion page, and nearly two decades at New York Magazine. She's also the author of a bestselling parenting book, and frequently appears on NPR and other news shows. Welcome, Jennifer. Thanks for joining us.Jennifer SeniorThank you for having me. Hey, I got to clarify just one thing.Jennie NashOh, no.Jennifer SeniorAll Joy and No Fun is by no means a parenting book. I can't tell you the first thing about how to raise your kids. It is all about how kids change their parents. It's all like a sociological look at who we become and why we are—so our lives become so vexed. I like, I would do these book talks, and at the end, everybody would raise their hand and be like, “How do I get my kid into Harvard?” You know, like, the equivalent obviously—they wouldn't say it that way. I'd be like; I don't really have any idea, or how to get your kid to eat vegetables, or how to get your kid to, like, stop talking back. But anyway, I just have to clarify that, because every time...Jennie NashPlease, please—Jennifer SeniorSomeone says that, I'm like, “Noooo.” Anyway, it's a sociology book. Ah, it's an ethnography, you know. But anyway, it doesn't matter.Jennie NashAll right, like she said, you guys—not what I said.Jennifer SeniorI'm not correcting you. It came out 11 years ago. There were no iPads then, or social media. I mean, forget it. It's so dated anyway. But like, I just...Jennie NashThat's so funny. So the reason that we're speaking is that I heard you recently on Fresh Air with Terry Gross, where you were talking about an Atlantic feature story that you wrote called “Why Can't Americans Sleep?” And this was obviously a reported piece, but also a really personal piece and you're talking about your futile attempts to fall asleep and the latest research into insomnia and medication and therapy that you used to treat it, and we'll link to that article and interview in the show notes. But the reason that we're talking, and that in the middle of this conversation, which—which I'm listening to and I'm riveted by—you made this comment, and it was a little bit of a throwaway comment in the conversation, and, you know, then the conversation moved on. But you talked about how you were taking a particular antidepressant you'd been prescribed, and this was the quote you said: “It blew out all the circuitry that was responsible for generating metaphors, which is what I do as a writer. So it made my writing really flat.” And I was just like, hold up. What was that like? What happened? What—everything? So that's why we're talking. So… can we go back to the very beginning? If you can remember—Jess Lahey actually told me that when she was teaching fifth and sixth grade, that's around the time that kids begin to grasp this idea of figurative language and metaphor and such. Do you remember learning how to write like that, like write in metaphor and simile and all such things?Jennifer SeniorOh, that's funny. Do I remember it? I remember them starting to sort of come unbidden in my—like they would come unbidden in my head starting maybe in my—the minute I entered college, or maybe in my teens. Actually, I had that thing where some people have this—people who become writers have, like, a narrator's voice in their head where they're actually looking at things and describing them in the third person. They're writing them as they witness the world. That went away, that narrator's voice, which I also find sort of fascinating. But, like, I would say that it sort of emerged concurrently. I guess I was scribbling a little bit of, like, short story stuff, or I tried at least one when I was a senior in high school. So that was the first time maybe that, like, I started realizing that I had a flair for it. I also—once I noticed that, I know in college I would make, you know, when I started writing for the alternative weekly and I was reviewing things, particularly theater, I would make a conscientious effort to come up with good metaphors, and, like, 50% of them worked and 50% of them didn't, because if you ever labor over a metaphor, there's a much lower chance of it working. I mean, if you come—if you revisit it and go, oh, that's not—you know, that you can tell if it's too precious. But now if I labor over a metaphor, I don't bother. I stop. You know, it has to come instantaneously or...Jennie NashOr that reminds me of people who write with the thesaurus open, like that's going to be good, right? That's not going to work. So I want to stick with this, you know, so that they come into your head, you recognize that, and just this idea of knowing, back in the day, that you could write like that—you… this was a thing you had, like you used the word “flair,” like had a flair for this. Were there other signs or things that led you to the work, like knowing you were good, or knowing when something was on the page that it was right, like, what—what is that?Jennifer SeniorIt's that feeling of exhilaration, but it's also that feeling of total bewilderment, like you've been struck by something—something just blew through you and you had nothing to do with it. I mean, it's the cliché: here I am saying the metaphors are my superpower, which my editors were telling me, and I'm about to use a cliché, which is that you feel like you're a conduit for something and you have absolutely nothing to do with it. So I would have that sense that it had almost come without conscious thought. That was sort of when I knew it was working. It's also part of being in a flow state. It's when you're losing track of time and you're just in it. And the metaphors are—yeah, they're effortless. By the way, my brain is not entirely fogged in from long COVID, but I have noticed—and at first I didn't really notice any decrements in cognition—but recently, I have. So I'm wondering now if I'm having problems with spontaneous metaphor generation. It's a little bit disconcerting. And I do feel like all SSRIs—and I'm taking one now, just because, not just because long COVID is depressing, but because I have POTS, which is like a—it's Postural Orthostatic Tachycardia Syndrome, and that's a very common sequela from long COVID, and it wipes out your plasma serotonin. So we have to take one anyway, we POTS patients. So I found that nicotine often helped with my long COVID, which is a thing—like a nicotine patch—and that made up for it. It almost felt like I was doping [laughing]. It made my writing so much better. But it's been...Jennie NashWait, wait, wait, this is so interesting.Jennifer SeniorI know…it's really weird. I would never have guessed that so much of my writing would be dampened by Big Pharma. I mean—but now with the nicotine patches, I was like, oh, now I get why writers are smoking until into the night, writing. Like, I mean, and I always wished that I did, just because it looked cool, you know? I could have just been one of those people with their Gitanes, or however you pronounce it, but, yeah.Jennie NashWow. So I want to come—I want to circle back to this in a minute, but let's get to the first time—well, it sounds like the first time that happened where you were prescribed an antidepressant and—and you recognized that you lost the ability to write in metaphor. Can you talk about—well, first of all, can you tell us what the medication was?Jennifer SeniorYeah, it was Paxil, which is actually notorious for that. And at the top—which I only subsequently discovered—those were in the days where there were no such things as Reddit threads or anything like that. It was 1999… I guess, no, eight, but so really early. That was the bespoke antidepressant at the time, thought to be more nuanced. I think it's now fallen out of favor, because it's also a b***h to wean off of. But it was kind of awful, just—I would think, and nothing would come. It was the strangest thing. For—there's all this static electricity usually when you write, right? And there's a lot of free associating that goes on that, again, feels a little involuntary. You know, you start thinking—it's like you've pulled back the spring in the pinball machine, and suddenly the thing is just bouncing around everywhere, and the ball wasn't bouncing around. Nothing was lighting up. It was like a dis… it just was strange, to be able to summon nothing.Jennie NashWow. So you—you just used this killer metaphor to describe that.Jennifer SeniorYeah, that was spontaneous.Jennie NashRight? So—so you said first, you said static, static energy, which—which is interesting.Jennifer SeniorYeah, it's... [buzzing sound]Jennie NashYeah. Yeah. Because it's noisy. You're talking about...Jennie SeniorOh, but it's not disruptive noise. Sorry, that might seem like it's like unwanted crackling, like on your television. I didn't really—yeah, maybe that's the wrong metaphor, actually, maybe the pinball is sort of better, that all you need is to, you know, psych yourself up, sit down, have your caffeine, and then bam, you know? But I didn't mean static in that way.Jennie NashI understood what you meant. There's like a buzzy energy.Jennifer SeniorYeah, right. It's fizz.Jennie NashFizz... that's so good. So you—you recognized that this was gone.Jennifer SeniorSo gone! Like the TV was off, you know?Jennie NashAnd did you...?Jennifer SeniorOr the machine, you know, was unplugged? I mean, it's—Jennie NashYeah, and did you? I'm just so curious about the part of your brain that was watching another part of your brain.Jennifer Senior[Laughing] You know what? I think... oh, that's really interesting. But are you watching, or are you just despairing because there's nothing—I mean, I'm trying to think if that's the right...Jennie NashBut there's a part of your brain that's like, this part of my brain isn't working.Jennifer SeniorRight. I'm just thinking how much metacognition is involved in— I mean, if you forget a word, are you really, like, staring at that very hard, or are you just like, s**t, what's the word? If you're staring at Jack Nicholson on TV, and you're like, why can't I remember that dude's name?Multiple speakers[Both laughing]Jennifer SeniorWhich happens to me far more regularly now, [unintelligible]… than it used to, you know? I mean, I don't know. There is a part of you that's completely alarmed, but, like, I guess you're right. There did come a point where I—you're right, where I suddenly realized, oh, there's just been a total breakdown here. It's never happening. Like, what is going on? Also, you know what would happen? Every sentence was a grind, like...Jennie NashOkay, so—okay, so...Jennifer Senior[Unintelligible]... Why is this so effortful? When you can't hold the previous sentence in your head, suddenly there's been this lapse in voice, right? Because, like, if every sentence is an effort and you're starting from nothing again, there's no continuity in how you sound. So, I mean, it was really dreadful. And by the way, if I can just say one thing, sorry now that—Jennie NashNo, I love it!Jennifer SeniorYeah. Sorry. I'm just—now you really got me going. I'm just like, yeah, I know. I'm sort of on a tear and a partial rant, which is Prozac—there came a point where, like, every single SSRI was too activating for me to sleep. But it was, of course, a problem, because being sleepless makes you depressed, so you need something to get at your depression. And SNRIs, like the Effexor's and the Cymbalta's, are out of the question, because those are known to be activating. So I kept vainly searching for SSRIs, and Prozac was the only one that didn't—that wound up not being terribly activating, besides Paxil, but it, too, was somewhat deadening, and I wrote my whole book on it.Jennie NashWow!Jennifer SeniorIt's not all metaphor.Multiple Speakers[both laughing]Jennifer SeniorIt's not all me and no—nothing memorable, you know? I mean, it's—it's kind of a problem. It was—I can't really bear to go back and look at it.Jennie NashWow.Jennie NashSo—so the feeling...Jennifer SeniorI'm really giving my book the hard sell, like it's really a B plus in terms of its pro…—I mean, you know, it wasn't.Jennie NashSo you—you—you recognize its happening, and what you recognize is a lack of fizzy, buzzy energy and a lack of flow. So I just have to ask now, presumably—well, there's long COVID now, but when you don't have—when you're writing in your full powers, do you—is it always in a state of flow? Like, if you're not in a state of flow, do you get up and go do something else? Like, what—how does that function in the life of a writer on a deadline?Jennifer SeniorOK. Well, am I always in a state of flow? No! I mean, flow is not—I don't know anyone who's good at something who just immediately can be in flow every time.Jennie NashYeah.Jennifer SeniorIt's still magic when it happens. You know, when I was in flow almost out of the gate every day—the McIlvaine stories—like, I knew when I hit send, this thing is damn good. I knew when I hit send on a piece that was not as well read, but is like my second or third favorite story. I wrote something for The New York Times called “Happiness Wont Save You,” about a pioneer in—he wrote one of the foundational studies in positive psychology about lottery winners and paraplegics, and how lottery winners are pretty much no happier than random controls found in a phone book, and paraplegics are much less unhappy than you might think, compared to controls. It was really poorly designed. It would never withstand the scrutiny of peer review today. But anyway, this guy was, like, a very innovative thinker. His name was Philip Brickman, and in 1982 at 38 years old, he climbed—he got—went—he found his way to the roof of the tallest building in Ann Arbor and jumped, and took his own life. And I was in flow pretty much throughout writing that one too.Jennie NashWow. So the piece you're referring to, that you referred to previous to that, is What Bobby McIlvaine Left Behind, which was a feature story in The Atlantic. It's the one you won the—Pul…Pulitzer for? It's now made into a book. It has, like...Jennifer SeniorAlthough all it is like, you know, the story between...Jennie NashCovers, right?Jennifer SeniorYeah. Yeah. Because—yeah, yeah.Jennie NashBut—Jennifer SeniorWhich is great, because then people can have it, rather than look at it online, which—and it goes on forever—so yeah.Jennie NashSo this is a piece—the subtitle is Grief, Conspiracy Theories, and One Family's Search for Meaning in the Two Decades Since 9/11—and I actually pulled a couple of metaphors from that piece, because I re-read it knowing I was going to speak to you… and I mean, it was just so beautifully written. It's—it's so beautifully structured, everything, everything. But here's a couple of examples for our listeners. You're describing Bobby, who was a 26-year-old who died in 9/11, who was your brother's college roommate.Jennifer SeniorAnd at that young adult—they—you can't afford New York. They were living together for eight years. It was four in college, and four—Jennie NashWow.Jennifer SeniorIn New York City. They had a two-bedroom... yeah, in a cheaper part... well, to the extent that there are cheaper parts in...Jennie NashYeah.Jennifer SeniorThe way over near York Avenue, east side, yeah.Jennie NashSo you write, “When he smiled, it looked for all the world like he'd swallowed the moon.” And you wrote, “But for all Bobby's hunger and swagger, what he mainly exuded, even during his college years, was warmth, decency, a corkscrew quirkiness.” So just that kind of language—a corkscrew quirkiness, like he'd swallowed the moon—that, it's that the piece is full of that. So that's interesting, that you felt in flow with this other piece you described and this one. So how would you describe—so you describe metaphors as things that just come—it just—it just happens. You're not forcing it—you can't force it. Do you think that's true of whatever this ineffable thing of voice—voices—as well?Jennifer SeniorOh, that's a good question. My voice got more distinct as I got older—it gets better. I think a lot of people's—writers'—powers wax. Philip Roth is a great example of that. Colette? I mean, there are people whose powers really get better and better, and I've gotten better with more experience. But do you start with the voice? I think you do. I don't know if you can teach someone a voice.Jennie NashSo when you say you've gotten better, what does that mean to you?Jennifer SeniorYeah. Um, I'm trying to think, like, do I write with more swing? Do I—just with more confidence because I'm older? Being a columnist…which is the least creative medium…Jennie NashYeah.Jennifer SeniorSeven hundred and fifty words to fit onto—I had a dedicated space in print. When David Leonhardt left, I took over the Monday spot, during COVID. So it's really, really—but what it forces you to do is to be very—your writing becomes lean, and it becomes—and structure is everything. So this does not relate to voice, but my—I was always pretty good at structure anyway. I think if you—I think movies and radio, podcasts, are, like, great for structure. Storytelling podcasts are the best thing to—I think I unconsciously emulate them. The McIlvaine story has a three-act structure. There's also—I think the podcast Heavyweight is sublime in that way.Jennie NashIs that Roxane Gay?Jennifer SeniorNo, no, no, no.Jennie NashOh, it's, um—Jennifer SeniorIt's Jonathan Goldstein.Jennie NashYes, got it. I'm going to write that down and link to that in our show notes.Jennifer SeniorIt's... I'm trying to think of—because, you know, his is, like, narratives, and it's—it's got a very unusual premise. But voice, voice, voice—well, I, you know, I worked on making my metaphors better in the beginning. I worked on noticing things, you know, and I worked on—I have the—I'm the least visual person alive. I mean, this is what's so interesting. Like, I failed to notice once that I had sat for an hour and a half with a woman who was missing an arm. I mean, I came back to the office and was talking—this is Barbara Epstein, who was a storied editor of The New York Review of Books, the story editor, along with Bob Silver. And I was talking to Mike Tomasky, who was our, like, city politic editor at the time. And I said to him, I just had this one—I knew she knew her. And he said, was it awkward? Was—you know, with her having one arm and everything? And I just stared at him and went one arm? I—I am really oblivious to stuff. And yet visual metaphors are no problem with me. Riddle me that, Batman. I don't know why that is. But I can, like, summon them in my head, and so I worked at it for a while, when my editors were responsive to it. Now they come more easily, so that seems to maybe just be a facility. I started noticing them in other people's writing. So Michael Ondaatje —in, I think it was In the Skin of a Lion, but maybe it was The English Patient. I've read, like, every book of his, like I've, you know— Running… was it Running in the Family? Running with the Family? I think it was Running in the—his memoir. And, I mean, doesn't—everything. Anil's Ghost—he— you know, that was it The Ballad of Billy the Kid? [The Collected Works of Billy the Kid] Anyway, I can go on and on. He had one metaphor talking about the evening being as serene as ink. And it was then that I realized that metaphors without effort often—and—or is that a simile? That's a simile.Jennie NashLike—or if it's “like” or “as,” it's a simile.Jennifer SeniorYeah. So I'm pretty good with similes, maybe more than metaphors. But... serene as ink. I realized that what made that work is that ink is one syllable. There is something about landing on a word with one syllable that sounds like you did not work particularly hard at it. You just look at it and keep going. And I know that I made a real effort to make my metaphors do that for a while, and I still do sometimes. Anything more than that can seem labored.Jennie NashOh, but that's so interesting. So you—you noticed in other people what worked and what you liked, and then tried to fold that into your own work.Jennifer SeniorYeah.Jennie NashSo does that mean you might noodle on—like, you have the structure of the metaphor or simile, but you might noodle on the word—Jennifer SeniorThe final word?Jennie NashThe final word.Jennifer SeniorYeah. Yeah, the actual simile, or whatever—yeah, I guess it's a simile—yeah, sometimes. Sometimes they—like I said, they come unbidden. I think I have enough experience now—which may make my voice better—to know what's crap. And I also, by the way, I'll tell you what makes your voice better: just being very willing to hit Select Alt, Delete. You know, there's more where that came from. I am a monster of self-editing. I just—I have no problem doing it. I like to do it. I like to be told when things are s**t. I think that improves your voice, because you can see it on the page.Jennie NashYeah.Jennifer SeniorAnd also, I think paying attention to other people's writing, you know, I did more and more of that, you know, reverse engineering stuff, looking at how they did stuff as I got older, so...Jennie NashSo I was going to ask a question, which now maybe you already answered, but the question was going to be… you said that you're—you feel like you're getting better as a writer as you got older. And you—you said that was due to experience. And I was going to ask, is it, or is it due to getting older? You know, is there something about literally living more years that makes you better, or, you know, like, is wisdom something that you just get, or is it something you work for? But I think what I'm hearing is you're saying you have worked to become the kind of writer who knows, you know, what you just said—you delete stuff, it comes again. But tell me if—you know, you welcome the kind of tough feedback, because you know that makes you better. You know, this sort of real effort to become better, it sounds like that's a practice you have. Is that—is that right?Jennifer SeniorOh yeah. I mean, well, let's do two things on that, please. I so easily lose my juju these days that, like, you've got to—if you can put a, you know, oh God, I'm going to use a cliché again—if you can put a pin in or bookmark that, the observation about, you know, harsh feedback. I want to come back to that. But yes, one of the things that I was going to keep—when I said that I have the confidence now, I also was going to say that I have the wisdom, but I had too many kind of competing—Jennie NashYeah. Yeah.Jennifer SeniorYou know, were running at once, and I, you know, many trains on many tracks—Jennie NashYeah, yeah.Jennifer Senior…about to leave, so…, Like, I had to sort of hop on one. But, like, the—the confidence and wisdom, yes, and also, like, I'll tell you something: in the McIlvaine piece, it may have been the first time I did, like, a narrative nonfiction. I told a story. There was a time when I would have hid behind research on that one.Jennie NashOoh, and did you tell a story. It was the—I remember reading that piece when it first came out, and there you're introducing, you know, this—the situation. And then there's a moment, and it comes very quickly at the top of the piece, where you explain your relationship to the protagonist of the story. And there's a—there's just a moment of like, oh, we're—we're really in something different here. There's really—is that feel of, this is not a reported story, this is a lived story, and that there's so many layers of power, I mean, to the story itself, but obviously the way that you—you present it, so I know exactly what you're talking about.Jennifer SeniorYeah, and by the way, I think writing in the first person, which I've been doing a lot of lately, is not something I would have done until now. Probably because I am older and I feel like I've earned it. I have more to say. I've been through more stuff. It's not, like, with the same kind of narcissism or adolescent—like, I want to get this out, you know. It's more searching, I think, and because I've seen more, and also because I've had these pent up stories that I've wanted to tell for a long time. And also I just don't think I would have had the balls, you know.Jennie NashRight.Jennifer SeniorSo some of it is—and I think that that's part of—you can write better in your own voice. If it's you writing about you, you're—there's no better authority, you know? So your voice comes out.Jennie NashRight.Jennifer SeniorBut I'm trying to think of also—I would have hid behind research and talked about theories of grief. And when I wrote, “It's the damnedest thing, the dead abandon you, and then you abandon the dead,” I had blurted that out loud when I was talking to, actually, not Bobby's brother, which is the context in which I wrote it, but to Bobby's—I said that, it's, like, right there on the tape—to his former almost fiancée. And I was thinking about that line, that I let it stand. I didn't actually then rush off and see if there was a body of literature that talked about the guilt that the living feel about letting go of their memories. But I would have done that at one point. I would have turned it into this... because I was too afraid to just let my own observations stand. But you get older and you're like, you know what? I'm smart enough to just let that be mine. Like, assume...Jennie NashRight.Jennifer SeniorIt's got to be right. But can we go back, also, before I forget?Jennie NashYeah, we're going to go back to harsh, but—but I would just want to use your cliché, put a pin in what you said, because you've said so many important things— that there's actual practice of getting better, and then there's also wisdom of—of just owning, growing into, embracing, which are two different things, both so important. So I just wanted to highlight that you've gone through those two things. So yes, let's go back to—I said harsh, and maybe I miss—can...misrepresenting what you meant.Jennifer SeniorYou may not have said that. I don't know what you said.Jennie NashNo, I did, I did.Jennifer SeniorYou did, okay, yeah, because I just know that it was processed as a harsh—oh no, totally. Like, I was going to say to you that—so there was a part of my book, my book, eventually, I just gave one chapter to each person in my life whom I thought could, like, assess it best, and one of them, so this friend—I did it on paper. He circled three paragraphs, and he wrote, and I quote, “Is this just a shitty way of saying...?” And then I was like, thank God someone caught it, if it was shitty. Oh my God. And then—and I was totally old enough to handle it, you know, I was like 44, whatever, 43. And then, who was it? Someone else—oh, I think I gave my husband the intro, and he wrote—he circled a paragraph and just wrote, “Ugh.” Okay, Select Alt, Delete, redo. You know, like, what are you going to do with that? That's so unambiguous. It's like, you know—and also, I mean, when you're younger, you argue. When you're older, you never quarrel with Ugh. Or Is this...Jennie NashRight, you're just like, okay, yep.Jennifer SeniorYeah. And again, you—you've done it enough that, you know, there's so much more where that came from.Jennie NashYeah.Jennifer SeniorWhy cling to anything that someone just, I don't know, had this totally allergic reaction to? Like, you know, if my husband broke out in a hive.Jennie NashYeah. So, circling back to the—the storyline of—you took this medication, you lost your ability to write in this way, you changed medications, presumably, you got it back. What did it feel like to get it back? Did you—do you remember that?Jennifer SeniorOh God, yes, it was glorious.Jennie NashReally?!Jennifer SeniorOh, you don't feel like yourself. I think that—I mean, I think there are many professions that are intertwined with identity. They may be the more professional—I'm sorry, the more creative professions. But not always, you know. And so if your writing voice is gone, and it's—I mean, so much of writing is an expression of your interior, if not life, then, I don't know some kind of thought process and something that you're working out. To have that drained out of you, for someone to just decant all the life out of your—or something to decant all the life out of your writing, it's—it's, I wouldn't say it's traumatic, that's totally overstating it, but it's—it's a huge bummer. It's, you know, it's depressing.Jennie NashWell, the word glorious, that's so cool. So to feel that you got back your—the you-ness of your voice was—was glorious. I mean, that's—that's amazing.Jennifer SeniorWhat—if I can just say, I wrote a feature, right, that then, like, I remember coming off of it, and then I wrote a feature that won the News Women's Club of New York story for best feature that year. Like, I didn't realize that those are kind of hard to win, and not like I won... I think I've won one since. But, like, that was in, like, 99 or something. I mean, like, you know, I don't write a whole lot of things that win stuff, until recently, you know. There was, like, a real kind of blackout period where, you know, I mean, but like—which I think, it probably didn't have to do with the quality of my writing. I mean, there was—but, I mean, you know, I wasn't writing any of the stuff that floated to the tippy top, and, like, I think that there was some kind of explosion thereof, like, all the, again, stuff that was just desperate to come out. I think there was just this volcanic outpouring.Jennie NashSo you're saying now you are winning things, which is indeed true. I mean, Pulitzer Prizes among them. Do you think that that has to do with this getting better? The wisdom, the practice, the glorious having of your abilities? Or, I guess what I'm asking is, like, is luck a part of—a part of all that? Is it just, it just happens? Or do you think there's some reason that it's happening? You feel that your writing is that powerful now?Jennifer SeniorWell, luck is definitely a part of it, because The Atlantic is the greatest place to showcase your feature writing. It gets so much attention, even though I think fewer people probably read that piece about Bobby McIlvaine than would have read any of my columns on any given day. The kind of attention was just so different. And it makes sense in a funny way, because it was 13,600 words or something. I mean, it was so long, and columns are 750 words. But, like, I think that I just lucked out in terms of the showcase. So that's definitely a part of it. And The Atlantic has the machinery to, you know, and all these dedicated, wonderful publicity people who will make it possible for people to read it, blah, blah, blah. So there's that. If you're older, you know everyone in the business, so you have people amplifying your work, they're suddenly reading it and saying, hey, everybody read it. It was before Twitter turned to garbage. Media was still a way to amplify it. It's much harder now, so passing things along through social media has become a real problem. But at that moment, it was not—Jennie NashYeah.Jennifer SeniorSo that was totally luck. Also, I wonder if it was because I was suddenly writing something from in the first person, and my voice was just better that way. And I wouldn't have had, like, the courage, you know?Jennie NashYeah.Jennifer SeniorAnd also, you're a book critic, which is what I was at The Times. And you certainly are not writing from the first person. And as a columnist, you're not either.Jennie NashYeah.Jennifer SeniorSo, you know, those are very kind of constricted forms, and they're also not—there are certainly critics who win Pulitzers. I don't think I was good enough at it. I was good, but it was not good enough. I could name off the top of my head, like, so many critics who were—who are—who haven't even won anything yet. Like Dwight Garner really deserves one. Why has he not won a Pulitzer? He's, I think, the best writer—him and Sophie Gilbert, who keeps coming close. I don't get it, like, what the hell?Jennie NashDo you—as a—as a reader of other people's work, I know you—you mentioned Michael Ondaatje that you'd studied—study him. But do you just recognize when somebody else is on their game? Like, do you recognize the voice or the gloriousness of somebody else's work? Can you just be like, yeah, that...?Jennifer SeniorWell, Philip Roth, sentence for sentence. Martin Amis, even more so—I cannot get over the originality of each of his sentences and the wide vocabulary from which he recruits his words, and, like, maybe some of that is just being English. I think they just get better, kind of more comprehensive. They read more comprehensively. And I always tell people, if they want to improve their voice, they should read the Victorians, like that [unintelligible]. His also facility with metaphor, I don't think, is without equal. The thing is, I can't stand his fiction. I just find it repellent. But his criticism is bangers and his memoirs are great, so I love them.Jennie NashYeah.Jennifer SeniorSo I really—I read him very attentively, trying to think of, like, other people whose kind of...Jennie NashI guess I was—I was getting at more... like, genius recognizes genius, that con... that concept, like, when you know you can do this and write in this way from time to time anyway, you can pull it off.Jennifer SeniorYeah, genius as in—I wouldn't—we can't go there.Jennie NashWell, that's the—that's the cliché, right? But, like...Jennifer SeniorOh no, I know, I know. Game—game, game recognizes game.Jennie NashGame recognizes game is a better way of saying it. Like, do you see—that's actually what the phrase is. I don't know where I came up with genius, but...Jennifer SeniorNo, it's fine. You can stick anything in that template, you know—evil recognizes evil, I mean, you know, it's like a...Jennie NashYeah. Do you see it? Do you see it? Like, you can see it in other people?Jennifer SeniorSure. Oh yeah, I see it.Jennie NashYeah.Jennifer SeniorI mean, you're just talking about among my contemporaries, or just as it...Jennie NashJust like anything, like when you pick up a book or you read an article or even listen to a storytelling pack podcast, that sense of being in the hands of somebody who's on it.Jennifer SeniorYeah, I think that Jonathan Goldstein—I mean, I think that the—the Heavyweight Podcast, for sure, is something—and more than that, it's—it's storytelling structure, it's just that—I think that anybody who's a master at structure would just look at that show and be like, yeah, that show nails it each and every time.Jennie NashI've not listened, but I feel like I should end our time together. I would talk to you forever about this, but I always like to leave our listeners with something specific to reflect or practice or do. And is there anything related to metaphor or practicing, finding your voice, owning your voice, that you would suggest for—for folks? You've already suggested a lot.Jennifer SeniorRead the Victorians.Jennie NashAwesome. Any particular one that you would say start with?Jennifer SeniorYeah, you know what? I find Dickens rough sledding. I like his, you know, dear friend Wilkie Collins. I think No Name is one of the greatest books ever. I would read No Name.Jennie NashAmazing. And I will add, go read Jennifer's work. We'll link to a bunch of it in the show notes. Study her and—and watch what she does and learn what she does—that there it is, a master at work, and that's what I would suggest. So thank you for joining us and having this amazing discussion.Jennifer SeniorThis has been super fun.Jennie NashAnd for our listeners, until next time, stop playing small and write like it matters.NarratorThe Hashtag AmWriting Podcast is produced by Andrew Perrella. Our intro music, aptly titled Unemployed Monday, was written and played by Max Cohen. Andrew and Max were paid for their time and their creative output, because everyone deserves to be paid for their work. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

Despite millions of us being exposed to psychiatric drugs, doctors, patients and families know very little about the harmful effects of psychiatric drugs. They know almost nothing about long-term harmful effects and even less about withdrawal effects. It's almost taboo to talk about stopping psychiatric drugs. Millions of people think they need psychiatric drugs because their feel dreadful when they try to stop them; but they don't need drugs--the need to learn to how to stop taking them. His new book, Psychiatric Drug Withdrawal, describes many of the reasons to stop taking psychiatric drugs and shows how to withdraw from them as safely as possible. Peter R. Breggin MD is a psychiatrist in private practice Ithaca, New York. Dr. Breggin is a worldwide leader in psychiatric reform who is called "The Conscience of Psychiatry." He founded the Center for the Study of Empathic Therapy, and has written more than 20 books including Talking Back to Prozac and Toxic Psychiatry. His new book is Psychiatric Drug Withdrawal: A Guide for Prescribers, Therapists, Patients and their Families.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-x-zone-radio-tv-show--1078348/support.Please note that all XZBN radio and/or television shows are Copyright © REL-MAR McConnell Meda Company, Niagara, Ontario, Canada – www.rel-mar.com. For more Episodes of this show and all shows produced, broadcasted and syndicated from REL-MAR McConell Media Company and The 'X' Zone Broadcast Network and the 'X' Zone TV Channell, visit www.xzbn.net. For programming, distribution, and syndication inquiries, email programming@xzbn.net.We are proud to announce the we have launched TWATNews.com, launched in August 2025.TWATNews.com is an independent online news platform dedicated to uncovering the truth about Donald Trump and his ongoing influence in politics, business, and society. Unlike mainstream outlets that often sanitize, soften, or ignore stories that challenge Trump and his allies, TWATNews digs deeper to deliver hard-hitting articles, investigative features, and sharp commentary that mainstream media won't touch.These are stories and articles that you will not read anywhere else.Our mission is simple: to expose corruption, lies, and authoritarian tendencies while giving voice to the perspectives and evidence that are often marginalized or buried by corporate-controlled media

In this weekend deep dive, we break down how a 149-year-old pharma company from Indianapolis reinvented itself through GLP-1 weight-loss drugs like Mounjaro and Zepbound, overtook Novo Nordisk, and became one of Wall Street's hottest stocks. We cover Lilly's history from insulin to Prozac, the explosive growth of its weight-loss franchise, the coming pill that could unlock an even bigger market, and the risks ahead. Is the trillion-dollar valuation just the start, or is the stock already priced for perfection?

Don't you see, sensei I'm just as disappointed in myself And ready to die Just as I relay the message, Spray me with your morbid essence Don't, croak, you fool, You've only a spoon ful of sugar left to go The dose is coming up your throat, — you didn't know to throw up Grab the rope and go up Before gravity has crushed your —thought: Stupid boy, you don't want to die— Nor to do, but oh, do we have it coming Silly mortal, overlords and governed, Short of morals, steady coming at your doorstep So goes our concert! And so goes our concept for divorce, And sure of course, Your four corse meal, and/or dessert This is just devastating, genetics made me The sort at sorting words, but surfing, Sure. Ever temporarily the cadence changes, Still they say “you've been betrayed” But never had a friend I made made As good as death and God have been to me For everything you're meant to be, Plus everything you're meant to me, I go, unwanted, troubled and disgusted at my own immortal outcome. Sure. My back hurts and I'm wounded, Heartbroke, Thrust in every cardinal direction Also, honored at the mark of magic wand Upon her shoulder; And so, Just as soon as the sun and moon, Does the fire escape set a perfect path For outward destruction of the bricks and mortar Or your alter (This we talk about, to some effect Is your repression and affective form of supernatural perfection) But forget the makeup; I can make you up to be a star And not of wars and other worlds, But those that come before us, Carson, and the others Paar before that. But, I think not dear sir How wrong you are, A wretched bird, Set not to fly, but O father Wit and relay messages, The passage said, and set to clocks, The past was won and so the future altered, But dear feathered father, Mortal you are not But just another triumph Of my god; And set the mirror to the magnets Camera, lights and action, Magic— All the signs of the dawn, and the mad don Red Dawn came upon us, called the Red Man Tom, from other, over, under Still was my mistake to mumble such Or put upon the tongue As such assumption Still— wonder? Bird, shut up; Love I dusk And lust I soak In all the frittered dust and feathers, Colors, coming up as mister Chuck and wood, and wait and ponder Slithered this to wonder, not a rock, But potted fern, Asunder Thunderstorm And wicked rain And fair the back A tide had come And sitting there upon the shore, Was us, and 12 apostles She's a Brick— Seemingly out of nowhere, A RED BRICK HOUSE falls very perfectly from the SKY and into OZ. oh good, my house is here. House. [the festival project ™] But I don't want to make house! Then play it! I don't want to play house it is BORING. You play it— they want it. But I don't want it. Then forget it! What! Listen kid, a job's a job! {Enter The Multiverse} Wrong, this is wrong— everything is wrong. What's wrong, Rob? I'll be back. ROB LOWE has just played TRUTH OR DARE L E G E N D S if I could get inside your head For just a second Bread and butter Heaven, hell, And other places I have wandered But oh, wonder This is never what I wanted, Was it? No sir. Sure, I set you off, No sooner had you got a gun and shot me. Handsome fucker. I'll bet. Wrong act. Wrong award show. Wrong hat and a baseball bat, Peanut butter and a nice cold cheesecake, Don't forget to order cheesesteak For your cat. A carnivore at odds with the other worlds, And also fused to us; This drifting back and forth Between the Rock And Hollywood Has got to stop. ((The world is toxic.)) the legend of… L. JONES It's you! BLŪ AH, crap. L. JONES Listen, I got something for you. BLŪ Where did your bird go? L.JONES What bird? CUT TO: Now open that. No wait! It's a trap! THE VAULT inside THE CRYPT at 30 ROCK has been opened. I keep looking down at my phone As if I'm expecting a phone call Or incoming message from God But the worlds to a song Are all jumbled up in my Concious I don't want to talk about it I feel Nauseous Everyone is being obnoxious Even my own blood I don't want to function I just want some French toast crunch For lunch Nostalgia I got a whole inch taller on the peloton Holla Now I got a body, Broader, So close to Broadway But I never go there That's a tall order Of “gotta have money” I mean live theatre It's fine I'll eat here And repeat these things till they just rhyme Line them all up like a context, Story Someday I'm gonna cut my own check Watch me lol none of this rhymes without a hard Brooklyn accent ; Guess you can't hack it! Send you ass packin! I said “That's whack son!” Then I went back blonde Now they want Backend, Contract, Off the top, Royalties Residuals I'm an individual with insidious syntax And yet I'm ridiculed Truly I'm a tit-for-tat Or particle of all you are Circular centrifuge, I trickle down your tentacles (Eugh) Choke the chicken just to give the cat a chicken bowl, Chick fil et and pret a tair just to get a ritual Espresso and a quick snack So I can get my dick wrapped In chocolate and licorice because the shit is edible Damn that I guess they set a damn trap By putting out the welcome mat, Then strapping Like a mothafuckin' straight jacket Matter fact, I look a nap in it, Then magic tricked the slip effective Compliments of Michael Jackson Or was it tech nine? Maybe I should get my Mind right I lost it once I guess I've better find it If I am, in fact, A diamond in the rough It's probably blooded it up enough That you should dig it up and shine it; Better yet, Somebody outta pick it up And sign it, Cause I write enough To put a vision To a blind man It's Fran Fine, man I'm behind, man The shadowgov had put me on a diet My bad I noticed that they tried to shut me up But couldn't stop the words or other stuff That just keeps coming out of my head I put coconuts as butter onto my bread And thinking thoughts of Carl cox As I drift off in my bed, I said, “It shouldn't be a problem, officer” As I reached for the gun And he aimed it at my death. That's an impossible apocalyptic suicide— Did you invite the devil in? I said “Nah, but that guy did.” The problem is, I pointed over yonder to a ghost Who also knows that I'm a well respected psychic; Nevermind a sidekick, side bitch in a sidecar, Psych ward, Sike! We spike war on your kind! So far, If I make history tonight, The other side decides their psalm is just as likely The third reike. Okay, strike one: I'm gonna turn your lights off. Strike two : you do and say what I do: Strike three: we're gonna make you suicidal I specialize in denying rights for high profits But big brother, or boss— What if my glove fits? The instance it does, We lock you up with no service, Your world becomes dark And your words become worthless Oh shit. This is not a good rap song. Like, at all. I must say, I do agree, You lose your trust, but silently Denied is all your trouble, Till it just begins to bubble up Until the cookie crumbles— See that feeling in your stomach? This is bigger than the money, girl — They want your soul, and then the world! I told you never call him. I didn't! Then explain this: [Skrillex] *sharp inward sigh* CUT IMMIDIATLEH TO STAN You know what! That's it! I don't care how handsome or rich and famous he is! This has to stop! KYLE Hey, wait just a minute— STAN SHUT UP KYLE. KYLE You shut up! STAN You're starting to sound just like him! KYLE Take that back! STAN I won't take it back! You all might have forgotten who you are, but I haven't!after of fact, I bet to Cartman, you're still that stupid little Jew kid! KYLE That's IT. KYLE takes out his phone. what are you doing? …I'm tweeting about this. I thought it was X now… It is, but you can't ‘x' anything, it's still calledl tweeting. I guess youre right. —and I'm tagging Cartman ! STAN Are you serious? Oh shit, this is social suicide. …did I ever explain this storyline? …I don't know, did i? I'd gotten so focused on this impending doom looming over me with this whole lawsuit that I'd forgotten entire worlds and whole documents. Even more terrifying, was the sudden quiet and the onset guilt that came over me for getting distracted. But I couldn't remove myself from it entirely—- it seemed to have ruined everything. It wasn't just motorcycle noises, it was like a nervousness and angst twisting in my stomach for months and months, until finally, as the court dates started approaching, it was peaceful, or rather, normal, all of a sudden. It couldn't be peaceful because now that the extreme noise was gone, I knew it had been planted all long— but what was the purpose? I'd lost two years not knowing, and though there were albums, they were never what I wanted. Now I was sorting through the documents of the show like it was the rubble of a decimated building— completely demolished, and I hadn't the slightest clue the contexts or the storylines anymore. It was pain and suffering, but not in the legal context. It was a creative disaster— I hadn't any idea in the slightest where I'd left my audience before I was forced to abandon them. But I was forced to choose, at times, between soap and toilet paper, or eventually, food, and water— or a phone. Eventually, this too became a pattern of the impossible— trying my hardest to do what I thought had been my purpose, but for far, being so endlessly sabotaged, even ridiculed and humiliated, and still, I couldn't understand why. I was tired— and somehow, even though I'd wanted to be left alone, I was the target. Worse was that I assumed it to be bigger than I thought and completely out of control— I thought immediately back to how my best friend from middle school had been attacked, and how she was made to think that it was me…to the point that she'd become obsessive about it to call my mom over it. And as far as the court was concerned, to the wrong ears or wrong eyes, anything I'd published in the festival project could look troublesome, like the ramblings of a mad mad, or schizo, or uncontrolled obsessive thoughts— because the biggest secrets of all, the things that tied together these fictional worlds and plots, were my own real life experience. The inability in a court of law to detail the podcast, which had started as meltdown some would call grandiose over an almost long forgotten rockstar and a porn model — and the entries into the festival project that followed, which included high concepts, off-kilter comedy, politics, and even fringed on social justice. Nothing I ever would have wanted and especially over money, but the lawsuit wasn't about money at all. In fact, at any moment I would have chosen to die and have it all stop if it weren't for my very young son being left alone. Though recently the dread had overcome with a sense of unbearable loss and agony, encrypted with suicidal thoughts and wants, reeling for human touch, the overbearing factor seemed to be that if I killed myself, I was giving someone what they wanted. I was really much too tired to go on, but leaving behind the world in entirety, in my very own way of beliefs wasn't just “shitutting it off”, it was starting it over. Understandably and undeniably immortal in its nature, the instances of God I had left spoke with a reminiscence of being born again, and having to remember which is it I'd wanted to start off. It was an unachievable overload of chaos and disruption, a level of corruption that spoke to something so dark and sinister it seemed biblical — then, again, I tried to wrap my mind around a way to rebuild a positive world from hope and thought, or manifest reality, but this is the very experience I'd felt was intended all along. The motorcycles weren't merely meant to destroy my career, or my will power, or force— they were, but also they were made to play upon my most valuable asset, the power of thought, to make it impossible to become something other than what was wanted; to use my own mind against itself and destroy my way of thought by using vibrations that could not be shut out, or stopped— they followed me to the sound collective, to Shakespeare in the park, the bank, the doctors office— it was as if they knew and understood my very thoughts, my process. It was of nothing at all to corrupt every single body and brain who would surround me or come close— by using the power that seemed supernatural enough, but indeed were powered by money, and technology. Perhaps, in this essence, I thought, was the purest display of defective intention itself; the mere thought that this indeed was rather Good Vs. Evil or God and The Devil would easily be written off as a diseased way of thought. The social world and constructs had been built around being open minded to a system of psychology that was intrinsically rather corrupt. I knew this could only be fought with what I knew, and what I could draw from as logic. I didn't want to go to court because I knew the people I would be fighting were liars, and well trained psychological masters of manipulation, well hidden terrorists dressed as public servants and systematic corrupters all for simple profit margins, to whom I was not so much a person or a mother, or a daughter, but a number. Because I was poor, and had once or four times chosen to love the wrong person in an unorthodox and uncontrollable form of torture, dismissing each and every social construct or physiology that was by the book, by embracing that there was a reason for change I quickly became quite the antagonist of sorts and hopefully not some sort of martyr —for the kind of people that had money and property, and perhaps even socially constructed circles to camoflage their own self doubt and hatred, but absolutely also had no morals. –Death of a Superstar DJ If I lose my mind At least I know I'm right on time This time— I meant that, I had it bad this time MCBADBAT I had it bad this time, And the last. Perchance for you, Hour or folded, Hair my weight And glassed upon thy, This upon now, Feathered waking, And there barely weathered Shaking. Dear, dear, Tis is fair truth, To fare that I have gasp And fated at thy doorstep; And yet, care to force, Her breaking waves and saving tinder, Fit there slithered in as yet astonished, Then another; And I hated. So, then, slower now. All there, gathered none. And show to show thy force What then became and withered after, None to bark or beg But birds and feathered creatures, pander The tides did Quake, And the heart did grow ten fold and steady saying None upon us but one left to shiver in the depths That yet remain as undiscovered For now never there was another world, Undone, And also another becomes, My death— And therefore all the worlds I kept, To travel on and travel As becomes one, does another onward As the first is glass to dust, And last is born there. So, Then, I, Crept, In my dress, Kept for clothes that church did water I, met, My mark and there the doors of shadows open Wilted and wake? Hear you; A star was born In other cosmos tied with our own nurture So, Kept, The weight of clasp and bone That holds the crept and precious alter Goddamn cat! Where are you. AAtticus Caaticus Oop. Gotta go. Toonces! Tooooonces! Where are you? Omg remember that one where that couple has a magic toddler and they just let him like,float away. Yeah, barely. Yeah. So I do. CUT TO: TOONCES focuses intently on the task at hand; he's sure he can manage to drive the human vehicle to his own home— to where he's assured he will find the actual body in which he belongs. Now… let's see, if I can just Wait, I who? ATTICUS CATTICUS, An ancient alien sorcerer must relay a series of important messages. Unfortunately. YO WHAT THE FUCK. None of them seem to be getting through. CUT BACK TO: TOONCEEESSSS. here kitty kitty kitty!! {Enter the Multiverse} I would dedicate, but honestly I've not time to waste And I'm craving wedding cake I hate to destroy you But for now, you know I can't employ you; This implies my eyes are also murder And I'm sure of her departure From another world, Perhaps across the border. Also, quite the dark sorcerer himself LORNE MICHAELS has well hidden himself under the guise of having become one of the most successful television producer of all times— And even in his own very small world, Nobody quite seems to know why. JIMMY FALLON Lorne, I have to tell you something. LORNE MICHAELS This had better be good, Jimmy, I've just made popcorn. [the festival project ™] Don't worry, for now, The risk remains hidden, As sure as an asset is an advantage, I can't have the classes counting Heads of cabbage as accomplishes, The masses are honestly astonished And impossible, but what was wrong with Boredom in the first place? Nonsense More words And still no dollars Hunger strike, And burning harder, California deficit, lack of bread, Heaven sent interventions and scissors, Mistresses, disasters and divorces But who says the whole story has to suffer? You're a surfer under water, Remember that when you finally catch your breath above the surface Can you clear her? He who? Back to work! Or back to the future! My super brain is dead but I think I'm next I think heaven swallows whole the blooded laugher From the constructs I've come from. Remember that. Remember not to fall from too far up, God would give you wings With time to spare Before you ever wondered where Your mark was On the plaza Don't let me up to the very top. I will at the very least Best scenario jump off And rid the world myself, Just for a dozen donuts over Crossing hearts and Hollywood And Griffith park To also soft my foot Upon red carpets. You ever shave your armpits!? …no. Hm. Catholic. Of course. Get in. Destination. —Rotterdam. You idiot. I made it. Whatever, get in the boat. DI NERO Give her your shirt. What. Your shirt. Why my shirt. Just— Fine. Here. [he hands over his shirt— in an instant, the woman becomes an exact REPLICA.] …my shirt. Relax. Nothing's gonna happen to it. Okay? —in fact, you're still wearing it. Alright! She's right, Jimmy, relax. I can't, that's— It's simple. There is nothing simple about this whatsoever. You're right. It's not, so get over it. [The Festival Project ™] BILL MURRAY There's a compartment at the end of the left corridor— Alright. In that hatch, there's a chamber. Okay, what'll I do? You'll open it? How? I'll tell you how, just get there. Suddenly, a barrier falls; it appears as though there are booby traps set here. Uh— that might be a problem. There might be a few of them. What just happened? Booby traps. —ah, I know what you're talking. Those aren't booby traps— they're Bobby Traps. What in the Hell are you talking about? For whatever reason Jimmy Kimmel Is important Now I'm scared of him, I know he knows the devil Come to think of it, Might even be an advocate Have an avocado But don't know the half of it These are, as it stands Comes what may Special circumstances I could circumvent an intervention, Never second chances I've been setting rat traps, Trapeze artists, Bampheramph camp, And also trampolines over the plaza That seems dangerous. Yeah. AHHHHHHhhhhhhhhhhhhhhh. Damn. Know it's plausible, That I also am an alcoholic, Though dysfunctional, Professional, And underrepresented So I stand myself, Let's just say pro-se if you will I could add Prozac to my snacks But I'll be delayed, if you still Don't get my messages I'm sick of having heart attacks; A hard advantage I was looking back on “fully packaged” A six pack of abs And nothing left to eat but cabbage, Haven't had a mouth, But I've been counting on my ass To get me back up north, I'm coming from the South Out West, there's a word for that At best, you're a four and a half My body double stunts and stumbles Struts at nothing Struck before the one, And so between high noon and Somewhere around 30 in I'm never turning 30, 30 Rock is in the wind— So count that up, That's what my income is. That's what they said? “Too late, you've been betrayed” If that's how it is, Then I request “beheaded” You know your mother says That ugly face just becomes permanent If you keep making it, And so I did, The second that it ended I'm Trying so hard Just to be What they want That it hurts Just to stop And relax For a moment INT. THE LAIR. NIGHT What is this? Where am I? You're— Alive. Why? …I changed my mind. You're not ugly You're just not mine I changed my mind I changed my life around. I skip line after line, But the message ain't right, I have time a chance No challenge accepted No exceptions or Expectations Expand this racism vocabulary Set the rat traps back To February Stamp the weather's getting Better with the postage clearing Abstr– My cat is so cute I can't stand him; But he's pretty bad, That my only friend; Animal. I blacklisted deadmau5, And my whole set sucked. Presently, however I'm a peasant Plucking pheasant feathers Guess I– pppftt. Like it never even happened But I'm sure we're all to war, Like a fear I never grasp it, What's l before, uncertain of your l words— My dear, were tattered and the masters heavy handed, Oh, my dear, we're marching on a battered Wit, to all your fan mail I tel you, I was I tortured, Let me show you And also, No one forced my hand at magic, Questioned prestidigitation, Or went back to every second, Land you think you owned as time In fact, my crucial very hard earned gossip column Asks the reader to reform his or her thought Before a judgement can be made How fascinating. The bag says ‘poems' so I wrote one, But I'm sure since my marker's toggled on I'm being stalked, It's like a magnet, Punch the clock And here they pour into the coffin So I won't be pouring coffee for the puffin; Maybe someday I'll look back at this as all I ever wanted, But for now it's just a horror show, Where I belong the murder— Yet a thriller, Best, The audience is captivated, Yes This is evasive, Cause I can't been captured yet By either masses or Mass murderers. At last, a cadence comes clean of its Breaking waves and rhythms, Tides and ties, Becomes another— Then, I'm whisked away Not back to slumber, but of subtle thoughts Of Californian water Lapping up across our surfboards; I often wear them tides, The undertow As pull of greater waves I sit aside as all that passes [The Festival Project ™] When I see Calvin Klein, I think of you; Not what you used to be But turned in to So it's mutual— Pay attention, fool As does moss grow on a rock And this to you— It is unfortunate, my dear You miss with every twist, Adjustment of attention span, The glances I foreshadowed (Here you are, inside your past) It's just affective of the effect, You've been levitating, Yes, I find it devastating Every second kept is just a fortune But you pause before you post— You reap before you even think Of what you sow, You don't belong, Agast, (True) Set the tone, Classless, But I'm Art, you are a Daunting folk song, Mistletoe and marker. CAMERA ASSISTANT Marker. …what is this for again? CAMERA ASSISTANT (Annoyed, mumbling) Shut up. Ten minutes passes and still, I'm awake But the tragedy of the mistake has just set in, I'm sure I've been tortured, I'm paid in mistakes, but I'd rather be shattered with Mortimer's curse. To the tune of Ten by ten by ten I will never be lover, nor friend in the end. {Enter The Multiverse] DRAKE concentrates heavily on a very long , seemingly very angry message— a frowning face plastered as he writes that is so noteworthy, it catches the attention of many a passerby— still this focus unwatered, as he bashes heavily away at the text message with the thumbs of fury for over 30 minutes while sitting at a booth in a well-loved pancake restaurant. As a tall stack of pancakes is served before him, and he, still unbreaking this angry texting streak or eye contact with his phone sits before them, history is made in what internet culture has now deemed as “the most meme worthy face in history” The world wonders what he could possibly be writing— and more importantly—-who he could be texting. Tears come to his eyes but do not fall as he raises his thumb with reserve, to finally press [RETURN.] CUT TO: SUNNI BLU receives a text amidst a wild party. Almost without so much as a reaction, SUNNI BLU pings the message to a projector and cuts off the lights, and music. A VERY LONG, ANGRY TEXT is projected on the wall. I slept from 10-2 There was nothing else to do My name is Devin DeLouise And I am not supposed to know these things Seven are dead and three are left I know what's next I'm also often known as And referred to as coyote ugly; Suffering a tantra wall, Yo, you son of a bitch! You dirty, dirty son of a bitch. I must admit, I had a lot to do with this… I had no part in it! Relax… soon enough, the both of your realize— this is how the unimaginable gets written. [he loads the polished sterling silver pistol and glamours over it] You have our memory. —all memory. And as soon as it ends, before it can begin again. The slate is wiped clean. Good riddance. “A Different Kind of Monologue” Is this what you wanted? Ooh— you should try me! I wish you would try me! Try me! I wish you would. Be calm, Grand Master. This will all be over momentarily. What's going on. Deprivation chamber. Crypt? —Encrypted? A lockup. Ah. Thought so. That ought to show us what he's really made up. We can all hope. [he pounds on the glass, the one way mirror acts as a camera which the maj aresses, rabid and wi the anger of a dangerous animal, both we, n audience, and the small group of men gathered a the other side of the room. This could be the basis of a lot of lawsuits. So now I have your tears and agony A wilted throne and wand Which which would grant a wish of comedy, And therefore ever after, Not pain and guilt, but laughter So heavy is the hat that acts as crown, And so foolish is the King to think ‘imself as not one, Creaks the crow and also of the feathered guilt that follows, I Kept and bashful, wishing not the show as throne but sorrow, Kept to wick and wake and bones to shatter from tomorrow. Tomorrow. Tomorrow. Do you fear us? …do you wish to be feared? What of us? I seek to cause the wish that stands as though you may as granted. So shallow, fair child. And brother and my son also. Gross! Stop. You are weird! Dude, you are fucked. In the withdraw, my shadows and darkness Are there always, never resting Stories and gathered images, Visions of betrayal and archaic wants. In time, I've abandoned them all and betraying that which I've lost, For I know, and not ponder on That I shall never know love, As all standing tal over me Have eyes; And all I want Knows not what hides under my ugly. Alright. I followed your spiral, downward, and down wind and down wood, Into a place where I also aspired to show your mark Upon my rotted corpse or coarse crossifix; Sure worded and down trodden. Now, worse, I'm also sworn To mourn all my own losses, Kind folk. Kind hearted and now my eyes also sudden to wander— And there goes my miles and triumphs And morals and war songs, And sure, swallowed the barrel of a gun But also departed with honor, I tell I. Glimpses of wither and winter and whittling pain, And I slither my back to the center of All I am, in this, and shadows, Fairtails, And grains of rice and sand to twist away Into the rain as I lay dying. What a fortunate! Don't make my mark up and out, few for short times, Aye, conspire to warthog, Remember so force your spirit onto ours, And shake, sandbox! There aiming at you were the snakes of six liars, And the stakes of empires lost and won over, Also one solemn subtle Star of David Worn upon the neck of six monks, Ragtime Six popes, pass I; Six fathers and streaks solemn and Care tan teared salamander, Having weight and wake to cheer For our slaughter. Then, you, Having gained and also lost should reap to sow, What you'd have wanted; Though the tongue so convexed having way to guild your complex, Shaking as I hunger fruit that not but hangs Before l wanted I know, I could knot be consoled I know, I could not be consoled I know I could not be consolidated either Bought, or purchased I know I'm not consoled at all, I know I'm not confirmed at all I know, I know I'm not confronted, nor immortal — but your glorified affliction. Poor infinity. Of poverty, perhaps, but never poor at all. For your were warned of all the doors as opened at your calling. Not to walk though, But to ponder at them, wondering. he's gone Maybe I should go Too Heavy weight hanging on my Shoulders I'm just star struck I don't know You I don't really like saying What I go through Talk an hour, Fake it All day show Monologue Improvisation Now i'm on a roll, But my thoughts got darker I like adderall and a real smooth talker I like a husband-father , Doctor, Actor, Tall and handsome, Doesn't matter I'm alone, so i feel hopeless Aggie's gone, So i might as well go though Oh– She's gone ((I think i'm past my time)) I think i should go to She's gone (so long) Right on, man I might as well go to It's been a long time, Gotta turn my light off, Overtime, That's a long ball game Season's over; On my back in the middle of the ball court She's gone, So i might as well go too. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental. The Genre: "Afro-Surrealism" / "Social Horror" "Psycho-Acoustic Weaponry" or "Havana Syndrome symptoms." The Frame: The protagonist is subjected to "noise harassment"—a tactic dramatized here but rooted in the known reality of tenant displacement and "psychological attrition." The narrative depicts a process of "Soul Murder" ( also known as spiritual warfare) orchestrated by a hostile apparatus. The antagonist is "The Institution," representing deep-state mechanisms that view multicultural intellectualism as a threat. The story allegorically dramatizes the invisible mechanisms that enforce racial hierarchy, depicting how broken social systems weaponize psychological practices against the individual. Artist's Note: This is a living document. In the event of the artist's silence or unnatural death, this text serves as an artistic testament to the psychological siege endured from to 2023-2025. It is a creative record of survival against a hostile state architecture. The following is a creative non-fiction horror manifesto regarding the psychological assassination of a multicultural American artist. It documents—through the lens of Afro-Surrealism—how modern surveillance technology and sonic harassment are experienced by the targeted individual. As it stands It has become a modern sequel which mirrors the civil rights struggles of the 1960s, set in the present day. "The protagonist is being subjected to 'noise harassment'—a known tactic used by landlords and corrupt entities to displace tenants. The sound is weaponized to induce sleep deprivation and psychological attrition, dismantling of their ego and will to live, orchestrated by a hostile state apparatus. The antagonist in this piece is 'The Institution'—a deep state that views multicultural intellectualism as a threat. The story dramatizes over time the invisible mechanisms (the 'Deep State') that enforce racial hierarchy and and psychological genocide, weaponizing broken social systems and unfounded psychological practices as biological weapons. This is a living document. In the event of the artist's silence or unnatural death, this text serves as evidence of the psychological siege endured from 2023-2025. It is a transcript of survival against a hostile state architecture. This project spans an unlimited multiprojectoral arc of over two years of chronic violence, reaching into historical and theatrical projections and parallels over the all documented records of human existence through time and space.

Don't you see, sensei I'm just as disappointed in myself And ready to die Just as I relay the message, Spray me with your morbid essence Don't, croak, you fool, You've only a spoon ful of sugar left to go The dose is coming up your throat, — you didn't know to throw up Grab the rope and go up Before gravity has crushed your —thought: Stupid boy, you don't want to die— Nor to do, but oh, do we have it coming Silly mortal, overlords and governed, Short of morals, steady coming at your doorstep So goes our concert! And so goes our concept for divorce, And sure of course, Your four corse meal, and/or dessert This is just devastating, genetics made me The sort at sorting words, but surfing, Sure. Ever temporarily the cadence changes, Still they say “you've been betrayed” But never had a friend I made made As good as death and God have been to me For everything you're meant to be, Plus everything you're meant to me, I go, unwanted, troubled and disgusted at my own immortal outcome. Sure. My back hurts and I'm wounded, Heartbroke, Thrust in every cardinal direction Also, honored at the mark of magic wand Upon her shoulder; And so, Just as soon as the sun and moon, Does the fire escape set a perfect path For outward destruction of the bricks and mortar Or your alter (This we talk about, to some effect Is your repression and affective form of supernatural perfection) But forget the makeup; I can make you up to be a star And not of wars and other worlds, But those that come before us, Carson, and the others Paar before that. But, I think not dear sir How wrong you are, A wretched bird, Set not to fly, but O father Wit and relay messages, The passage said, and set to clocks, The past was won and so the future altered, But dear feathered father, Mortal you are not But just another triumph Of my god; And set the mirror to the magnets Camera, lights and action, Magic— All the signs of the dawn, and the mad don Red Dawn came upon us, called the Red Man Tom, from other, over, under Still was my mistake to mumble such Or put upon the tongue As such assumption Still— wonder? Bird, shut up; Love I dusk And lust I soak In all the frittered dust and feathers, Colors, coming up as mister Chuck and wood, and wait and ponder Slithered this to wonder, not a rock, But potted fern, Asunder Thunderstorm And wicked rain And fair the back A tide had come And sitting there upon the shore, Was us, and 12 apostles She's a Brick— Seemingly out of nowhere, A RED BRICK HOUSE falls very perfectly from the SKY and into OZ. oh good, my house is here. House. [the festival project ™] But I don't want to make house! Then play it! I don't want to play house it is BORING. You play it— they want it. But I don't want it. Then forget it! What! Listen kid, a job's a job! {Enter The Multiverse} Wrong, this is wrong— everything is wrong. What's wrong, Rob? I'll be back. ROB LOWE has just played TRUTH OR DARE L E G E N D S if I could get inside your head For just a second Bread and butter Heaven, hell, And other places I have wandered But oh, wonder This is never what I wanted, Was it? No sir. Sure, I set you off, No sooner had you got a gun and shot me. Handsome fucker. I'll bet. Wrong act. Wrong award show. Wrong hat and a baseball bat, Peanut butter and a nice cold cheesecake, Don't forget to order cheesesteak For your cat. A carnivore at odds with the other worlds, And also fused to us; This drifting back and forth Between the Rock And Hollywood Has got to stop. ((The world is toxic.)) the legend of… L. JONES It's you! BLŪ AH, crap. L. JONES Listen, I got something for you. BLŪ Where did your bird go? L.JONES What bird? CUT TO: Now open that. No wait! It's a trap! THE VAULT inside THE CRYPT at 30 ROCK has been opened. I keep looking down at my phone As if I'm expecting a phone call Or incoming message from God But the worlds to a song Are all jumbled up in my Concious I don't want to talk about it I feel Nauseous Everyone is being obnoxious Even my own blood I don't want to function I just want some French toast crunch For lunch Nostalgia I got a whole inch taller on the peloton Holla Now I got a body, Broader, So close to Broadway But I never go there That's a tall order Of “gotta have money” I mean live theatre It's fine I'll eat here And repeat these things till they just rhyme Line them all up like a context, Story Someday I'm gonna cut my own check Watch me lol none of this rhymes without a hard Brooklyn accent ; Guess you can't hack it! Send you ass packin! I said “That's whack son!” Then I went back blonde Now they want Backend, Contract, Off the top, Royalties Residuals I'm an individual with insidious syntax And yet I'm ridiculed Truly I'm a tit-for-tat Or particle of all you are Circular centrifuge, I trickle down your tentacles (Eugh) Choke the chicken just to give the cat a chicken bowl, Chick fil et and pret a tair just to get a ritual Espresso and a quick snack So I can get my dick wrapped In chocolate and licorice because the shit is edible Damn that I guess they set a damn trap By putting out the welcome mat, Then strapping Like a mothafuckin' straight jacket Matter fact, I look a nap in it, Then magic tricked the slip effective Compliments of Michael Jackson Or was it tech nine? Maybe I should get my Mind right I lost it once I guess I've better find it If I am, in fact, A diamond in the rough It's probably blooded it up enough That you should dig it up and shine it; Better yet, Somebody outta pick it up And sign it, Cause I write enough To put a vision To a blind man It's Fran Fine, man I'm behind, man The shadowgov had put me on a diet My bad I noticed that they tried to shut me up But couldn't stop the words or other stuff That just keeps coming out of my head I put coconuts as butter onto my bread And thinking thoughts of Carl cox As I drift off in my bed, I said, “It shouldn't be a problem, officer” As I reached for the gun And he aimed it at my death. That's an impossible apocalyptic suicide— Did you invite the devil in? I said “Nah, but that guy did.” The problem is, I pointed over yonder to a ghost Who also knows that I'm a well respected psychic; Nevermind a sidekick, side bitch in a sidecar, Psych ward, Sike! We spike war on your kind! So far, If I make history tonight, The other side decides their psalm is just as likely The third reike. Okay, strike one: I'm gonna turn your lights off. Strike two : you do and say what I do: Strike three: we're gonna make you suicidal I specialize in denying rights for high profits But big brother, or boss— What if my glove fits? The instance it does, We lock you up with no service, Your world becomes dark And your words become worthless Oh shit. This is not a good rap song. Like, at all. I must say, I do agree, You lose your trust, but silently Denied is all your trouble, Till it just begins to bubble up Until the cookie crumbles— See that feeling in your stomach? This is bigger than the money, girl — They want your soul, and then the world! I told you never call him. I didn't! Then explain this: [Skrillex] *sharp inward sigh* CUT IMMIDIATLEH TO STAN You know what! That's it! I don't care how handsome or rich and famous he is! This has to stop! KYLE Hey, wait just a minute— STAN SHUT UP KYLE. KYLE You shut up! STAN You're starting to sound just like him! KYLE Take that back! STAN I won't take it back! You all might have forgotten who you are, but I haven't!after of fact, I bet to Cartman, you're still that stupid little Jew kid! KYLE That's IT. KYLE takes out his phone. what are you doing? …I'm tweeting about this. I thought it was X now… It is, but you can't ‘x' anything, it's still calledl tweeting. I guess youre right. —and I'm tagging Cartman ! STAN Are you serious? Oh shit, this is social suicide. …did I ever explain this storyline? …I don't know, did i? I'd gotten so focused on this impending doom looming over me with this whole lawsuit that I'd forgotten entire worlds and whole documents. Even more terrifying, was the sudden quiet and the onset guilt that came over me for getting distracted. But I couldn't remove myself from it entirely—- it seemed to have ruined everything. It wasn't just motorcycle noises, it was like a nervousness and angst twisting in my stomach for months and months, until finally, as the court dates started approaching, it was peaceful, or rather, normal, all of a sudden. It couldn't be peaceful because now that the extreme noise was gone, I knew it had been planted all long— but what was the purpose? I'd lost two years not knowing, and though there were albums, they were never what I wanted. Now I was sorting through the documents of the show like it was the rubble of a decimated building— completely demolished, and I hadn't the slightest clue the contexts or the storylines anymore. It was pain and suffering, but not in the legal context. It was a creative disaster— I hadn't any idea in the slightest where I'd left my audience before I was forced to abandon them. But I was forced to choose, at times, between soap and toilet paper, or eventually, food, and water— or a phone. Eventually, this too became a pattern of the impossible— trying my hardest to do what I thought had been my purpose, but for far, being so endlessly sabotaged, even ridiculed and humiliated, and still, I couldn't understand why. I was tired— and somehow, even though I'd wanted to be left alone, I was the target. Worse was that I assumed it to be bigger than I thought and completely out of control— I thought immediately back to how my best friend from middle school had been attacked, and how she was made to think that it was me…to the point that she'd become obsessive about it to call my mom over it. And as far as the court was concerned, to the wrong ears or wrong eyes, anything I'd published in the festival project could look troublesome, like the ramblings of a mad mad, or schizo, or uncontrolled obsessive thoughts— because the biggest secrets of all, the things that tied together these fictional worlds and plots, were my own real life experience. The inability in a court of law to detail the podcast, which had started as meltdown some would call grandiose over an almost long forgotten rockstar and a porn model — and the entries into the festival project that followed, which included high concepts, off-kilter comedy, politics, and even fringed on social justice. Nothing I ever would have wanted and especially over money, but the lawsuit wasn't about money at all. In fact, at any moment I would have chosen to die and have it all stop if it weren't for my very young son being left alone. Though recently the dread had overcome with a sense of unbearable loss and agony, encrypted with suicidal thoughts and wants, reeling for human touch, the overbearing factor seemed to be that if I killed myself, I was giving someone what they wanted. I was really much too tired to go on, but leaving behind the world in entirety, in my very own way of beliefs wasn't just “shitutting it off”, it was starting it over. Understandably and undeniably immortal in its nature, the instances of God I had left spoke with a reminiscence of being born again, and having to remember which is it I'd wanted to start off. It was an unachievable overload of chaos and disruption, a level of corruption that spoke to something so dark and sinister it seemed biblical — then, again, I tried to wrap my mind around a way to rebuild a positive world from hope and thought, or manifest reality, but this is the very experience I'd felt was intended all along. The motorcycles weren't merely meant to destroy my career, or my will power, or force— they were, but also they were made to play upon my most valuable asset, the power of thought, to make it impossible to become something other than what was wanted; to use my own mind against itself and destroy my way of thought by using vibrations that could not be shut out, or stopped— they followed me to the sound collective, to Shakespeare in the park, the bank, the doctors office— it was as if they knew and understood my very thoughts, my process. It was of nothing at all to corrupt every single body and brain who would surround me or come close— by using the power that seemed supernatural enough, but indeed were powered by money, and technology. Perhaps, in this essence, I thought, was the purest display of defective intention itself; the mere thought that this indeed was rather Good Vs. Evil or God and The Devil would easily be written off as a diseased way of thought. The social world and constructs had been built around being open minded to a system of psychology that was intrinsically rather corrupt. I knew this could only be fought with what I knew, and what I could draw from as logic. I didn't want to go to court because I knew the people I would be fighting were liars, and well trained psychological masters of manipulation, well hidden terrorists dressed as public servants and systematic corrupters all for simple profit margins, to whom I was not so much a person or a mother, or a daughter, but a number. Because I was poor, and had once or four times chosen to love the wrong person in an unorthodox and uncontrollable form of torture, dismissing each and every social construct or physiology that was by the book, by embracing that there was a reason for change I quickly became quite the antagonist of sorts and hopefully not some sort of martyr —for the kind of people that had money and property, and perhaps even socially constructed circles to camoflage their own self doubt and hatred, but absolutely also had no morals. –Death of a Superstar DJ If I lose my mind At least I know I'm right on time This time— I meant that, I had it bad this time MCBADBAT I had it bad this time, And the last. Perchance for you, Hour or folded, Hair my weight And glassed upon thy, This upon now, Feathered waking, And there barely weathered Shaking. Dear, dear, Tis is fair truth, To fare that I have gasp And fated at thy doorstep; And yet, care to force, Her breaking waves and saving tinder, Fit there slithered in as yet astonished, Then another; And I hated. So, then, slower now. All there, gathered none. And show to show thy force What then became and withered after, None to bark or beg But birds and feathered creatures, pander The tides did Quake, And the heart did grow ten fold and steady saying None upon us but one left to shiver in the depths That yet remain as undiscovered For now never there was another world, Undone, And also another becomes, My death— And therefore all the worlds I kept, To travel on and travel As becomes one, does another onward As the first is glass to dust, And last is born there. So, Then, I, Crept, In my dress, Kept for clothes that church did water I, met, My mark and there the doors of shadows open Wilted and wake? Hear you; A star was born In other cosmos tied with our own nurture So, Kept, The weight of clasp and bone That holds the crept and precious alter Goddamn cat! Where are you. AAtticus Caaticus Oop. Gotta go. Toonces! Tooooonces! Where are you? Omg remember that one where that couple has a magic toddler and they just let him like,float away. Yeah, barely. Yeah. So I do. CUT TO: TOONCES focuses intently on the task at hand; he's sure he can manage to drive the human vehicle to his own home— to where he's assured he will find the actual body in which he belongs. Now… let's see, if I can just Wait, I who? ATTICUS CATTICUS, An ancient alien sorcerer must relay a series of important messages. Unfortunately. YO WHAT THE FUCK. None of them seem to be getting through. CUT BACK TO: TOONCEEESSSS. here kitty kitty kitty!! {Enter the Multiverse} I would dedicate, but honestly I've not time to waste And I'm craving wedding cake I hate to destroy you But for now, you know I can't employ you; This implies my eyes are also murder And I'm sure of her departure From another world, Perhaps across the border. Also, quite the dark sorcerer himself LORNE MICHAELS has well hidden himself under the guise of having become one of the most successful television producer of all times— And even in his own very small world, Nobody quite seems to know why. JIMMY FALLON Lorne, I have to tell you something. LORNE MICHAELS This had better be good, Jimmy, I've just made popcorn. [the festival project ™] Don't worry, for now, The risk remains hidden, As sure as an asset is an advantage, I can't have the classes counting Heads of cabbage as accomplishes, The masses are honestly astonished And impossible, but what was wrong with Boredom in the first place? Nonsense More words And still no dollars Hunger strike, And burning harder, California deficit, lack of bread, Heaven sent interventions and scissors, Mistresses, disasters and divorces But who says the whole story has to suffer? You're a surfer under water, Remember that when you finally catch your breath above the surface Can you clear her? He who? Back to work! Or back to the future! My super brain is dead but I think I'm next I think heaven swallows whole the blooded laugher From the constructs I've come from. Remember that. Remember not to fall from too far up, God would give you wings With time to spare Before you ever wondered where Your mark was On the plaza Don't let me up to the very top. I will at the very least Best scenario jump off And rid the world myself, Just for a dozen donuts over Crossing hearts and Hollywood And Griffith park To also soft my foot Upon red carpets. You ever shave your armpits!? …no. Hm. Catholic. Of course. Get in. Destination. —Rotterdam. You idiot. I made it. Whatever, get in the boat. DI NERO Give her your shirt. What. Your shirt. Why my shirt. Just— Fine. Here. [he hands over his shirt— in an instant, the woman becomes an exact REPLICA.] …my shirt. Relax. Nothing's gonna happen to it. Okay? —in fact, you're still wearing it. Alright! She's right, Jimmy, relax. I can't, that's— It's simple. There is nothing simple about this whatsoever. You're right. It's not, so get over it. [The Festival Project ™] BILL MURRAY There's a compartment at the end of the left corridor— Alright. In that hatch, there's a chamber. Okay, what'll I do? You'll open it? How? I'll tell you how, just get there. Suddenly, a barrier falls; it appears as though there are booby traps set here. Uh— that might be a problem. There might be a few of them. What just happened? Booby traps. —ah, I know what you're talking. Those aren't booby traps— they're Bobby Traps. What in the Hell are you talking about? For whatever reason Jimmy Kimmel Is important Now I'm scared of him, I know he knows the devil Come to think of it, Might even be an advocate Have an avocado But don't know the half of it These are, as it stands Comes what may Special circumstances I could circumvent an intervention, Never second chances I've been setting rat traps, Trapeze artists, Bampheramph camp, And also trampolines over the plaza That seems dangerous. Yeah. AHHHHHHhhhhhhhhhhhhhhh. Damn. Know it's plausible, That I also am an alcoholic, Though dysfunctional, Professional, And underrepresented So I stand myself, Let's just say pro-se if you will I could add Prozac to my snacks But I'll be delayed, if you still Don't get my messages I'm sick of having heart attacks; A hard advantage I was looking back on “fully packaged” A six pack of abs And nothing left to eat but cabbage, Haven't had a mouth, But I've been counting on my ass To get me back up north, I'm coming from the South Out West, there's a word for that At best, you're a four and a half My body double stunts and stumbles Struts at nothing Struck before the one, And so between high noon and Somewhere around 30 in I'm never turning 30, 30 Rock is in the wind— So count that up, That's what my income is. That's what they said? “Too late, you've been betrayed” If that's how it is, Then I request “beheaded” You know your mother says That ugly face just becomes permanent If you keep making it, And so I did, The second that it ended I'm Trying so hard Just to be What they want That it hurts Just to stop And relax For a moment INT. THE LAIR. NIGHT What is this? Where am I? You're— Alive. Why? …I changed my mind. You're not ugly You're just not mine I changed my mind I changed my life around. I skip line after line, But the message ain't right, I have time a chance No challenge accepted No exceptions or Expectations Expand this racism vocabulary Set the rat traps back To February Stamp the weather's getting Better with the postage clearing Abstr– My cat is so cute I can't stand him; But he's pretty bad, That my only friend; Animal. I blacklisted deadmau5, And my whole set sucked. Presently, however I'm a peasant Plucking pheasant feathers Guess I– pppftt. Like it never even happened But I'm sure we're all to war, Like a fear I never grasp it, What's l before, uncertain of your l words— My dear, were tattered and the masters heavy handed, Oh, my dear, we're marching on a battered Wit, to all your fan mail I tel you, I was I tortured, Let me show you And also, No one forced my hand at magic, Questioned prestidigitation, Or went back to every second, Land you think you owned as time In fact, my crucial very hard earned gossip column Asks the reader to reform his or her thought Before a judgement can be made How fascinating. The bag says ‘poems' so I wrote one, But I'm sure since my marker's toggled on I'm being stalked, It's like a magnet, Punch the clock And here they pour into the coffin So I won't be pouring coffee for the puffin; Maybe someday I'll look back at this as all I ever wanted, But for now it's just a horror show, Where I belong the murder— Yet a thriller, Best, The audience is captivated, Yes This is evasive, Cause I can't been captured yet By either masses or Mass murderers. At last, a cadence comes clean of its Breaking waves and rhythms, Tides and ties, Becomes another— Then, I'm whisked away Not back to slumber, but of subtle thoughts Of Californian water Lapping up across our surfboards; I often wear them tides, The undertow As pull of greater waves I sit aside as all that passes [The Festival Project ™] When I see Calvin Klein, I think of you; Not what you used to be But turned in to So it's mutual— Pay attention, fool As does moss grow on a rock And this to you— It is unfortunate, my dear You miss with every twist, Adjustment of attention span, The glances I foreshadowed (Here you are, inside your past) It's just affective of the effect, You've been levitating, Yes, I find it devastating Every second kept is just a fortune But you pause before you post— You reap before you even think Of what you sow, You don't belong, Agast, (True) Set the tone, Classless, But I'm Art, you are a Daunting folk song, Mistletoe and marker. CAMERA ASSISTANT Marker. …what is this for again? CAMERA ASSISTANT (Annoyed, mumbling) Shut up. Ten minutes passes and still, I'm awake But the tragedy of the mistake has just set in, I'm sure I've been tortured, I'm paid in mistakes, but I'd rather be shattered with Mortimer's curse. To the tune of Ten by ten by ten I will never be lover, nor friend in the end. {Enter The Multiverse] DRAKE concentrates heavily on a very long , seemingly very angry message— a frowning face plastered as he writes that is so noteworthy, it catches the attention of many a passerby— still this focus unwatered, as he bashes heavily away at the text message with the thumbs of fury for over 30 minutes while sitting at a booth in a well-loved pancake restaurant. As a tall stack of pancakes is served before him, and he, still unbreaking this angry texting streak or eye contact with his phone sits before them, history is made in what internet culture has now deemed as “the most meme worthy face in history” The world wonders what he could possibly be writing— and more importantly—-who he could be texting. Tears come to his eyes but do not fall as he raises his thumb with reserve, to finally press [RETURN.] CUT TO: SUNNI BLU receives a text amidst a wild party. Almost without so much as a reaction, SUNNI BLU pings the message to a projector and cuts off the lights, and music. A VERY LONG, ANGRY TEXT is projected on the wall. I slept from 10-2 There was nothing else to do My name is Devin DeLouise And I am not supposed to know these things Seven are dead and three are left I know what's next I'm also often known as And referred to as coyote ugly; Suffering a tantra wall, Yo, you son of a bitch! You dirty, dirty son of a bitch. I must admit, I had a lot to do with this… I had no part in it! Relax… soon enough, the both of your realize— this is how the unimaginable gets written. [he loads the polished sterling silver pistol and glamours over it] You have our memory. —all memory. And as soon as it ends, before it can begin again. The slate is wiped clean. Good riddance. “A Different Kind of Monologue” Is this what you wanted? Ooh— you should try me! I wish you would try me! Try me! I wish you would. Be calm, Grand Master. This will all be over momentarily. What's going on. Deprivation chamber. Crypt? —Encrypted? A lockup. Ah. Thought so. That ought to show us what he's really made up. We can all hope. [he pounds on the glass, the one way mirror acts as a camera which the maj aresses, rabid and wi the anger of a dangerous animal, both we, n audience, and the small group of men gathered a the other side of the room. This could be the basis of a lot of lawsuits. So now I have your tears and agony A wilted throne and wand Which which would grant a wish of comedy, And therefore ever after, Not pain and guilt, but laughter So heavy is the hat that acts as crown, And so foolish is the King to think ‘imself as not one, Creaks the crow and also of the feathered guilt that follows, I Kept and bashful, wishing not the show as throne but sorrow, Kept to wick and wake and bones to shatter from tomorrow. Tomorrow. Tomorrow. Do you fear us? …do you wish to be feared? What of us? I seek to cause the wish that stands as though you may as granted. So shallow, fair child. And brother and my son also. Gross! Stop. You are weird! Dude, you are fucked. In the withdraw, my shadows and darkness Are there always, never resting Stories and gathered images, Visions of betrayal and archaic wants. In time, I've abandoned them all and betraying that which I've lost, For I know, and not ponder on That I shall never know love, As all standing tal over me Have eyes; And all I want Knows not what hides under my ugly. Alright. I followed your spiral, downward, and down wind and down wood, Into a place where I also aspired to show your mark Upon my rotted corpse or coarse crossifix; Sure worded and down trodden. Now, worse, I'm also sworn To mourn all my own losses, Kind folk. Kind hearted and now my eyes also sudden to wander— And there goes my miles and triumphs And morals and war songs, And sure, swallowed the barrel of a gun But also departed with honor, I tell I. Glimpses of wither and winter and whittling pain, And I slither my back to the center of All I am, in this, and shadows, Fairtails, And grains of rice and sand to twist away Into the rain as I lay dying. What a fortunate! Don't make my mark up and out, few for short times, Aye, conspire to warthog, Remember so force your spirit onto ours, And shake, sandbox! There aiming at you were the snakes of six liars, And the stakes of empires lost and won over, Also one solemn subtle Star of David Worn upon the neck of six monks, Ragtime Six popes, pass I; Six fathers and streaks solemn and Care tan teared salamander, Having weight and wake to cheer For our slaughter. Then, you, Having gained and also lost should reap to sow, What you'd have wanted; Though the tongue so convexed having way to guild your complex, Shaking as I hunger fruit that not but hangs Before l wanted I know, I could knot be consoled I know, I could not be consoled I know I could not be consolidated either Bought, or purchased I know I'm not consoled at all, I know I'm not confirmed at all I know, I know I'm not confronted, nor immortal — but your glorified affliction. Poor infinity. Of poverty, perhaps, but never poor at all. For your were warned of all the doors as opened at your calling. Not to walk though, But to ponder at them, wondering. he's gone Maybe I should go Too Heavy weight hanging on my Shoulders I'm just star struck I don't know You I don't really like saying What I go through Talk an hour, Fake it All day show Monologue Improvisation Now i'm on a roll, But my thoughts got darker I like adderall and a real smooth talker I like a husband-father , Doctor, Actor, Tall and handsome, Doesn't matter I'm alone, so i feel hopeless Aggie's gone, So i might as well go though Oh– She's gone ((I think i'm past my time)) I think i should go to She's gone (so long) Right on, man I might as well go to It's been a long time, Gotta turn my light off, Overtime, That's a long ball game Season's over; On my back in the middle of the ball court She's gone, So i might as well go too. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental. The Genre: "Afro-Surrealism" / "Social Horror" "Psycho-Acoustic Weaponry" or "Havana Syndrome symptoms." The Frame: The protagonist is subjected to "noise harassment"—a tactic dramatized here but rooted in the known reality of tenant displacement and "psychological attrition." The narrative depicts a process of "Soul Murder" ( also known as spiritual warfare) orchestrated by a hostile apparatus. The antagonist is "The Institution," representing deep-state mechanisms that view multicultural intellectualism as a threat. The story allegorically dramatizes the invisible mechanisms that enforce racial hierarchy, depicting how broken social systems weaponize psychological practices against the individual. Artist's Note: This is a living document. In the event of the artist's silence or unnatural death, this text serves as an artistic testament to the psychological siege endured from to 2023-2025. It is a creative record of survival against a hostile state architecture. The following is a creative non-fiction horror manifesto regarding the psychological assassination of a multicultural American artist. It documents—through the lens of Afro-Surrealism—how modern surveillance technology and sonic harassment are experienced by the targeted individual. As it stands It has become a modern sequel which mirrors the civil rights struggles of the 1960s, set in the present day. "The protagonist is being subjected to 'noise harassment'—a known tactic used by landlords and corrupt entities to displace tenants. The sound is weaponized to induce sleep deprivation and psychological attrition, dismantling of their ego and will to live, orchestrated by a hostile state apparatus. The antagonist in this piece is 'The Institution'—a deep state that views multicultural intellectualism as a threat. The story dramatizes over time the invisible mechanisms (the 'Deep State') that enforce racial hierarchy and and psychological genocide, weaponizing broken social systems and unfounded psychological practices as biological weapons. This is a living document. In the event of the artist's silence or unnatural death, this text serves as evidence of the psychological siege endured from 2023-2025. It is a transcript of survival against a hostile state architecture. This project spans an unlimited multiprojectoral arc of over two years of chronic violence, reaching into historical and theatrical projections and parallels over the all documented records of human existence through time and space.

Don't you see, sensei I'm just as disappointed in myself And ready to die Just as I relay the message, Spray me with your morbid essence Don't, croak, you fool, You've only a spoon ful of sugar left to go The dose is coming up your throat, — you didn't know to throw up Grab the rope and go up Before gravity has crushed your —thought: Stupid boy, you don't want to die— Nor to do, but oh, do we have it coming Silly mortal, overlords and governed, Short of morals, steady coming at your doorstep So goes our concert! And so goes our concept for divorce, And sure of course, Your four corse meal, and/or dessert This is just devastating, genetics made me The sort at sorting words, but surfing, Sure. Ever temporarily the cadence changes, Still they say “you've been betrayed” But never had a friend I made made As good as death and God have been to me For everything you're meant to be, Plus everything you're meant to me, I go, unwanted, troubled and disgusted at my own immortal outcome. Sure. My back hurts and I'm wounded, Heartbroke, Thrust in every cardinal direction Also, honored at the mark of magic wand Upon her shoulder; And so, Just as soon as the sun and moon, Does the fire escape set a perfect path For outward destruction of the bricks and mortar Or your alter (This we talk about, to some effect Is your repression and affective form of supernatural perfection) But forget the makeup; I can make you up to be a star And not of wars and other worlds, But those that come before us, Carson, and the others Paar before that. But, I think not dear sir How wrong you are, A wretched bird, Set not to fly, but O father Wit and relay messages, The passage said, and set to clocks, The past was won and so the future altered, But dear feathered father, Mortal you are not But just another triumph Of my god; And set the mirror to the magnets Camera, lights and action, Magic— All the signs of the dawn, and the mad don Red Dawn came upon us, called the Red Man Tom, from other, over, under Still was my mistake to mumble such Or put upon the tongue As such assumption Still— wonder? Bird, shut up; Love I dusk And lust I soak In all the frittered dust and feathers, Colors, coming up as mister Chuck and wood, and wait and ponder Slithered this to wonder, not a rock, But potted fern, Asunder Thunderstorm And wicked rain And fair the back A tide had come And sitting there upon the shore, Was us, and 12 apostles She's a Brick— Seemingly out of nowhere, A RED BRICK HOUSE falls very perfectly from the SKY and into OZ. oh good, my house is here. House. [the festival project ™] But I don't want to make house! Then play it! I don't want to play house it is BORING. You play it— they want it. But I don't want it. Then forget it! What! Listen kid, a job's a job! {Enter The Multiverse} Wrong, this is wrong— everything is wrong. What's wrong, Rob? I'll be back. ROB LOWE has just played TRUTH OR DARE L E G E N D S if I could get inside your head For just a second Bread and butter Heaven, hell, And other places I have wandered But oh, wonder This is never what I wanted, Was it? No sir. Sure, I set you off, No sooner had you got a gun and shot me. Handsome fucker. I'll bet. Wrong act. Wrong award show. Wrong hat and a baseball bat, Peanut butter and a nice cold cheesecake, Don't forget to order cheesesteak For your cat. A carnivore at odds with the other worlds, And also fused to us; This drifting back and forth Between the Rock And Hollywood Has got to stop. ((The world is toxic.)) the legend of… L. JONES It's you! BLŪ AH, crap. L. JONES Listen, I got something for you. BLŪ Where did your bird go? L.JONES What bird? CUT TO: Now open that. No wait! It's a trap! THE VAULT inside THE CRYPT at 30 ROCK has been opened. I keep looking down at my phone As if I'm expecting a phone call Or incoming message from God But the worlds to a song Are all jumbled up in my Concious I don't want to talk about it I feel Nauseous Everyone is being obnoxious Even my own blood I don't want to function I just want some French toast crunch For lunch Nostalgia I got a whole inch taller on the peloton Holla Now I got a body, Broader, So close to Broadway But I never go there That's a tall order Of “gotta have money” I mean live theatre It's fine I'll eat here And repeat these things till they just rhyme Line them all up like a context, Story Someday I'm gonna cut my own check Watch me lol none of this rhymes without a hard Brooklyn accent ; Guess you can't hack it! Send you ass packin! I said “That's whack son!” Then I went back blonde Now they want Backend, Contract, Off the top, Royalties Residuals I'm an individual with insidious syntax And yet I'm ridiculed Truly I'm a tit-for-tat Or particle of all you are Circular centrifuge, I trickle down your tentacles (Eugh) Choke the chicken just to give the cat a chicken bowl, Chick fil et and pret a tair just to get a ritual Espresso and a quick snack So I can get my dick wrapped In chocolate and licorice because the shit is edible Damn that I guess they set a damn trap By putting out the welcome mat, Then strapping Like a mothafuckin' straight jacket Matter fact, I look a nap in it, Then magic tricked the slip effective Compliments of Michael Jackson Or was it tech nine? Maybe I should get my Mind right I lost it once I guess I've better find it If I am, in fact, A diamond in the rough It's probably blooded it up enough That you should dig it up and shine it; Better yet, Somebody outta pick it up And sign it, Cause I write enough To put a vision To a blind man It's Fran Fine, man I'm behind, man The shadowgov had put me on a diet My bad I noticed that they tried to shut me up But couldn't stop the words or other stuff That just keeps coming out of my head I put coconuts as butter onto my bread And thinking thoughts of Carl cox As I drift off in my bed, I said, “It shouldn't be a problem, officer” As I reached for the gun And he aimed it at my death. That's an impossible apocalyptic suicide— Did you invite the devil in? I said “Nah, but that guy did.” The problem is, I pointed over yonder to a ghost Who also knows that I'm a well respected psychic; Nevermind a sidekick, side bitch in a sidecar, Psych ward, Sike! We spike war on your kind! So far, If I make history tonight, The other side decides their psalm is just as likely The third reike. Okay, strike one: I'm gonna turn your lights off. Strike two : you do and say what I do: Strike three: we're gonna make you suicidal I specialize in denying rights for high profits But big brother, or boss— What if my glove fits? The instance it does, We lock you up with no service, Your world becomes dark And your words become worthless Oh shit. This is not a good rap song. Like, at all. I must say, I do agree, You lose your trust, but silently Denied is all your trouble, Till it just begins to bubble up Until the cookie crumbles— See that feeling in your stomach? This is bigger than the money, girl — They want your soul, and then the world! I told you never call him. I didn't! Then explain this: [Skrillex] *sharp inward sigh* CUT IMMIDIATLEH TO STAN You know what! That's it! I don't care how handsome or rich and famous he is! This has to stop! KYLE Hey, wait just a minute— STAN SHUT UP KYLE. KYLE You shut up! STAN You're starting to sound just like him! KYLE Take that back! STAN I won't take it back! You all might have forgotten who you are, but I haven't!after of fact, I bet to Cartman, you're still that stupid little Jew kid! KYLE That's IT. KYLE takes out his phone. what are you doing? …I'm tweeting about this. I thought it was X now… It is, but you can't ‘x' anything, it's still calledl tweeting. I guess youre right. —and I'm tagging Cartman ! STAN Are you serious? Oh shit, this is social suicide. …did I ever explain this storyline? …I don't know, did i? I'd gotten so focused on this impending doom looming over me with this whole lawsuit that I'd forgotten entire worlds and whole documents. Even more terrifying, was the sudden quiet and the onset guilt that came over me for getting distracted. But I couldn't remove myself from it entirely—- it seemed to have ruined everything. It wasn't just motorcycle noises, it was like a nervousness and angst twisting in my stomach for months and months, until finally, as the court dates started approaching, it was peaceful, or rather, normal, all of a sudden. It couldn't be peaceful because now that the extreme noise was gone, I knew it had been planted all long— but what was the purpose? I'd lost two years not knowing, and though there were albums, they were never what I wanted. Now I was sorting through the documents of the show like it was the rubble of a decimated building— completely demolished, and I hadn't the slightest clue the contexts or the storylines anymore. It was pain and suffering, but not in the legal context. It was a creative disaster— I hadn't any idea in the slightest where I'd left my audience before I was forced to abandon them. But I was forced to choose, at times, between soap and toilet paper, or eventually, food, and water— or a phone. Eventually, this too became a pattern of the impossible— trying my hardest to do what I thought had been my purpose, but for far, being so endlessly sabotaged, even ridiculed and humiliated, and still, I couldn't understand why. I was tired— and somehow, even though I'd wanted to be left alone, I was the target. Worse was that I assumed it to be bigger than I thought and completely out of control— I thought immediately back to how my best friend from middle school had been attacked, and how she was made to think that it was me…to the point that she'd become obsessive about it to call my mom over it. And as far as the court was concerned, to the wrong ears or wrong eyes, anything I'd published in the festival project could look troublesome, like the ramblings of a mad mad, or schizo, or uncontrolled obsessive thoughts— because the biggest secrets of all, the things that tied together these fictional worlds and plots, were my own real life experience. The inability in a court of law to detail the podcast, which had started as meltdown some would call grandiose over an almost long forgotten rockstar and a porn model — and the entries into the festival project that followed, which included high concepts, off-kilter comedy, politics, and even fringed on social justice. Nothing I ever would have wanted and especially over money, but the lawsuit wasn't about money at all. In fact, at any moment I would have chosen to die and have it all stop if it weren't for my very young son being left alone. Though recently the dread had overcome with a sense of unbearable loss and agony, encrypted with suicidal thoughts and wants, reeling for human touch, the overbearing factor seemed to be that if I killed myself, I was giving someone what they wanted. I was really much too tired to go on, but leaving behind the world in entirety, in my very own way of beliefs wasn't just “shitutting it off”, it was starting it over. Understandably and undeniably immortal in its nature, the instances of God I had left spoke with a reminiscence of being born again, and having to remember which is it I'd wanted to start off. It was an unachievable overload of chaos and disruption, a level of corruption that spoke to something so dark and sinister it seemed biblical — then, again, I tried to wrap my mind around a way to rebuild a positive world from hope and thought, or manifest reality, but this is the very experience I'd felt was intended all along. The motorcycles weren't merely meant to destroy my career, or my will power, or force— they were, but also they were made to play upon my most valuable asset, the power of thought, to make it impossible to become something other than what was wanted; to use my own mind against itself and destroy my way of thought by using vibrations that could not be shut out, or stopped— they followed me to the sound collective, to Shakespeare in the park, the bank, the doctors office— it was as if they knew and understood my very thoughts, my process. It was of nothing at all to corrupt every single body and brain who would surround me or come close— by using the power that seemed supernatural enough, but indeed were powered by money, and technology. Perhaps, in this essence, I thought, was the purest display of defective intention itself; the mere thought that this indeed was rather Good Vs. Evil or God and The Devil would easily be written off as a diseased way of thought. The social world and constructs had been built around being open minded to a system of psychology that was intrinsically rather corrupt. I knew this could only be fought with what I knew, and what I could draw from as logic. I didn't want to go to court because I knew the people I would be fighting were liars, and well trained psychological masters of manipulation, well hidden terrorists dressed as public servants and systematic corrupters all for simple profit margins, to whom I was not so much a person or a mother, or a daughter, but a number. Because I was poor, and had once or four times chosen to love the wrong person in an unorthodox and uncontrollable form of torture, dismissing each and every social construct or physiology that was by the book, by embracing that there was a reason for change I quickly became quite the antagonist of sorts and hopefully not some sort of martyr —for the kind of people that had money and property, and perhaps even socially constructed circles to camoflage their own self doubt and hatred, but absolutely also had no morals. –Death of a Superstar DJ If I lose my mind At least I know I'm right on time This time— I meant that, I had it bad this time MCBADBAT I had it bad this time, And the last. Perchance for you, Hour or folded, Hair my weight And glassed upon thy, This upon now, Feathered waking, And there barely weathered Shaking. Dear, dear, Tis is fair truth, To fare that I have gasp And fated at thy doorstep; And yet, care to force, Her breaking waves and saving tinder, Fit there slithered in as yet astonished, Then another; And I hated. So, then, slower now. All there, gathered none. And show to show thy force What then became and withered after, None to bark or beg But birds and feathered creatures, pander The tides did Quake, And the heart did grow ten fold and steady saying None upon us but one left to shiver in the depths That yet remain as undiscovered For now never there was another world, Undone, And also another becomes, My death— And therefore all the worlds I kept, To travel on and travel As becomes one, does another onward As the first is glass to dust, And last is born there. So, Then, I, Crept, In my dress, Kept for clothes that church did water I, met, My mark and there the doors of shadows open Wilted and wake? Hear you; A star was born In other cosmos tied with our own nurture So, Kept, The weight of clasp and bone That holds the crept and precious alter Goddamn cat! Where are you. AAtticus Caaticus Oop. Gotta go. Toonces! Tooooonces! Where are you? Omg remember that one where that couple has a magic toddler and they just let him like,float away. Yeah, barely. Yeah. So I do. CUT TO: TOONCES focuses intently on the task at hand; he's sure he can manage to drive the human vehicle to his own home— to where he's assured he will find the actual body in which he belongs. Now… let's see, if I can just Wait, I who? ATTICUS CATTICUS, An ancient alien sorcerer must relay a series of important messages. Unfortunately. YO WHAT THE FUCK. None of them seem to be getting through. CUT BACK TO: TOONCEEESSSS. here kitty kitty kitty!! {Enter the Multiverse} I would dedicate, but honestly I've not time to waste And I'm craving wedding cake I hate to destroy you But for now, you know I can't employ you; This implies my eyes are also murder And I'm sure of her departure From another world, Perhaps across the border. Also, quite the dark sorcerer himself LORNE MICHAELS has well hidden himself under the guise of having become one of the most successful television producer of all times— And even in his own very small world, Nobody quite seems to know why. JIMMY FALLON Lorne, I have to tell you something. LORNE MICHAELS This had better be good, Jimmy, I've just made popcorn. [the festival project ™] Don't worry, for now, The risk remains hidden, As sure as an asset is an advantage, I can't have the classes counting Heads of cabbage as accomplishes, The masses are honestly astonished And impossible, but what was wrong with Boredom in the first place? Nonsense More words And still no dollars Hunger strike, And burning harder, California deficit, lack of bread, Heaven sent interventions and scissors, Mistresses, disasters and divorces But who says the whole story has to suffer? You're a surfer under water, Remember that when you finally catch your breath above the surface Can you clear her? He who? Back to work! Or back to the future! My super brain is dead but I think I'm next I think heaven swallows whole the blooded laugher From the constructs I've come from. Remember that. Remember not to fall from too far up, God would give you wings With time to spare Before you ever wondered where Your mark was On the plaza Don't let me up to the very top. I will at the very least Best scenario jump off And rid the world myself, Just for a dozen donuts over Crossing hearts and Hollywood And Griffith park To also soft my foot Upon red carpets. You ever shave your armpits!? …no. Hm. Catholic. Of course. Get in. Destination. —Rotterdam. You idiot. I made it. Whatever, get in the boat. DI NERO Give her your shirt. What. Your shirt. Why my shirt. Just— Fine. Here. [he hands over his shirt— in an instant, the woman becomes an exact REPLICA.] …my shirt. Relax. Nothing's gonna happen to it. Okay? —in fact, you're still wearing it. Alright! She's right, Jimmy, relax. I can't, that's— It's simple. There is nothing simple about this whatsoever. You're right. It's not, so get over it. [The Festival Project ™] BILL MURRAY There's a compartment at the end of the left corridor— Alright. In that hatch, there's a chamber. Okay, what'll I do? You'll open it? How? I'll tell you how, just get there. Suddenly, a barrier falls; it appears as though there are booby traps set here. Uh— that might be a problem. There might be a few of them. What just happened? Booby traps. —ah, I know what you're talking. Those aren't booby traps— they're Bobby Traps. What in the Hell are you talking about? For whatever reason Jimmy Kimmel Is important Now I'm scared of him, I know he knows the devil Come to think of it, Might even be an advocate Have an avocado But don't know the half of it These are, as it stands Comes what may Special circumstances I could circumvent an intervention, Never second chances I've been setting rat traps, Trapeze artists, Bampheramph camp, And also trampolines over the plaza That seems dangerous. Yeah. AHHHHHHhhhhhhhhhhhhhhh. Damn. Know it's plausible, That I also am an alcoholic, Though dysfunctional, Professional, And underrepresented So I stand myself, Let's just say pro-se if you will I could add Prozac to my snacks But I'll be delayed, if you still Don't get my messages I'm sick of having heart attacks; A hard advantage I was looking back on “fully packaged” A six pack of abs And nothing left to eat but cabbage, Haven't had a mouth, But I've been counting on my ass To get me back up north, I'm coming from the South Out West, there's a word for that At best, you're a four and a half My body double stunts and stumbles Struts at nothing Struck before the one, And so between high noon and Somewhere around 30 in I'm never turning 30, 30 Rock is in the wind— So count that up, That's what my income is. That's what they said? “Too late, you've been betrayed” If that's how it is, Then I request “beheaded” You know your mother says That ugly face just becomes permanent If you keep making it, And so I did, The second that it ended I'm Trying so hard Just to be What they want That it hurts Just to stop And relax For a moment INT. THE LAIR. NIGHT What is this? Where am I? You're— Alive. Why? …I changed my mind. You're not ugly You're just not mine I changed my mind I changed my life around. I skip line after line, But the message ain't right, I have time a chance No challenge accepted No exceptions or Expectations Expand this racism vocabulary Set the rat traps back To February Stamp the weather's getting Better with the postage clearing Abstr– My cat is so cute I can't stand him; But he's pretty bad, That my only friend; Animal. I blacklisted deadmau5, And my whole set sucked. Presently, however I'm a peasant Plucking pheasant feathers Guess I– pppftt. Like it never even happened But I'm sure we're all to war, Like a fear I never grasp it, What's l before, uncertain of your l words— My dear, were tattered and the masters heavy handed, Oh, my dear, we're marching on a battered Wit, to all your fan mail I tel you, I was I tortured, Let me show you And also, No one forced my hand at magic, Questioned prestidigitation, Or went back to every second, Land you think you owned as time In fact, my crucial very hard earned gossip column Asks the reader to reform his or her thought Before a judgement can be made How fascinating. The bag says ‘poems' so I wrote one, But I'm sure since my marker's toggled on I'm being stalked, It's like a magnet, Punch the clock And here they pour into the coffin So I won't be pouring coffee for the puffin; Maybe someday I'll look back at this as all I ever wanted, But for now it's just a horror show, Where I belong the murder— Yet a thriller, Best, The audience is captivated, Yes This is evasive, Cause I can't been captured yet By either masses or Mass murderers. At last, a cadence comes clean of its Breaking waves and rhythms, Tides and ties, Becomes another— Then, I'm whisked away Not back to slumber, but of subtle thoughts Of Californian water Lapping up across our surfboards; I often wear them tides, The undertow As pull of greater waves I sit aside as all that passes [The Festival Project ™] When I see Calvin Klein, I think of you; Not what you used to be But turned in to So it's mutual— Pay attention, fool As does moss grow on a rock And this to you— It is unfortunate, my dear You miss with every twist, Adjustment of attention span, The glances I foreshadowed (Here you are, inside your past) It's just affective of the effect, You've been levitating, Yes, I find it devastating Every second kept is just a fortune But you pause before you post— You reap before you even think Of what you sow, You don't belong, Agast, (True) Set the tone, Classless, But I'm Art, you are a Daunting folk song, Mistletoe and marker. CAMERA ASSISTANT Marker. …what is this for again? CAMERA ASSISTANT (Annoyed, mumbling) Shut up. Ten minutes passes and still, I'm awake But the tragedy of the mistake has just set in, I'm sure I've been tortured, I'm paid in mistakes, but I'd rather be shattered with Mortimer's curse. To the tune of Ten by ten by ten I will never be lover, nor friend in the end. {Enter The Multiverse] DRAKE concentrates heavily on a very long , seemingly very angry message— a frowning face plastered as he writes that is so noteworthy, it catches the attention of many a passerby— still this focus unwatered, as he bashes heavily away at the text message with the thumbs of fury for over 30 minutes while sitting at a booth in a well-loved pancake restaurant. As a tall stack of pancakes is served before him, and he, still unbreaking this angry texting streak or eye contact with his phone sits before them, history is made in what internet culture has now deemed as “the most meme worthy face in history” The world wonders what he could possibly be writing— and more importantly—-who he could be texting. Tears come to his eyes but do not fall as he raises his thumb with reserve, to finally press [RETURN.] CUT TO: SUNNI BLU receives a text amidst a wild party. Almost without so much as a reaction, SUNNI BLU pings the message to a projector and cuts off the lights, and music. A VERY LONG, ANGRY TEXT is projected on the wall. I slept from 10-2 There was nothing else to do My name is Devin DeLouise And I am not supposed to know these things Seven are dead and three are left I know what's next I'm also often known as And referred to as coyote ugly; Suffering a tantra wall, Yo, you son of a bitch! You dirty, dirty son of a bitch. I must admit, I had a lot to do with this… I had no part in it! Relax… soon enough, the both of your realize— this is how the unimaginable gets written. [he loads the polished sterling silver pistol and glamours over it] You have our memory. —all memory. And as soon as it ends, before it can begin again. The slate is wiped clean. Good riddance. “A Different Kind of Monologue” Is this what you wanted? Ooh— you should try me! I wish you would try me! Try me! I wish you would. Be calm, Grand Master. This will all be over momentarily. What's going on. Deprivation chamber. Crypt? —Encrypted? A lockup. Ah. Thought so. That ought to show us what he's really made up. We can all hope. [he pounds on the glass, the one way mirror acts as a camera which the maj aresses, rabid and wi the anger of a dangerous animal, both we, n audience, and the small group of men gathered a the other side of the room. This could be the basis of a lot of lawsuits. So now I have your tears and agony A wilted throne and wand Which which would grant a wish of comedy, And therefore ever after, Not pain and guilt, but laughter So heavy is the hat that acts as crown, And so foolish is the King to think ‘imself as not one, Creaks the crow and also of the feathered guilt that follows, I Kept and bashful, wishing not the show as throne but sorrow, Kept to wick and wake and bones to shatter from tomorrow. Tomorrow. Tomorrow. Do you fear us? …do you wish to be feared? What of us? I seek to cause the wish that stands as though you may as granted. So shallow, fair child. And brother and my son also. Gross! Stop. You are weird! Dude, you are fucked. In the withdraw, my shadows and darkness Are there always, never resting Stories and gathered images, Visions of betrayal and archaic wants. In time, I've abandoned them all and betraying that which I've lost, For I know, and not ponder on That I shall never know love, As all standing tal over me Have eyes; And all I want Knows not what hides under my ugly. Alright. I followed your spiral, downward, and down wind and down wood, Into a place where I also aspired to show your mark Upon my rotted corpse or coarse crossifix; Sure worded and down trodden. Now, worse, I'm also sworn To mourn all my own losses, Kind folk. Kind hearted and now my eyes also sudden to wander— And there goes my miles and triumphs And morals and war songs, And sure, swallowed the barrel of a gun But also departed with honor, I tell I. Glimpses of wither and winter and whittling pain, And I slither my back to the center of All I am, in this, and shadows, Fairtails, And grains of rice and sand to twist away Into the rain as I lay dying. What a fortunate! Don't make my mark up and out, few for short times, Aye, conspire to warthog, Remember so force your spirit onto ours, And shake, sandbox! There aiming at you were the snakes of six liars, And the stakes of empires lost and won over, Also one solemn subtle Star of David Worn upon the neck of six monks, Ragtime Six popes, pass I; Six fathers and streaks solemn and Care tan teared salamander, Having weight and wake to cheer For our slaughter. Then, you, Having gained and also lost should reap to sow, What you'd have wanted; Though the tongue so convexed having way to guild your complex, Shaking as I hunger fruit that not but hangs Before l wanted I know, I could knot be consoled I know, I could not be consoled I know I could not be consolidated either Bought, or purchased I know I'm not consoled at all, I know I'm not confirmed at all I know, I know I'm not confronted, nor immortal — but your glorified affliction. Poor infinity. Of poverty, perhaps, but never poor at all. For your were warned of all the doors as opened at your calling. Not to walk though, But to ponder at them, wondering. he's gone Maybe I should go Too Heavy weight hanging on my Shoulders I'm just star struck I don't know You I don't really like saying What I go through Talk an hour, Fake it All day show Monologue Improvisation Now i'm on a roll, But my thoughts got darker I like adderall and a real smooth talker I like a husband-father , Doctor, Actor, Tall and handsome, Doesn't matter I'm alone, so i feel hopeless Aggie's gone, So i might as well go though Oh– She's gone ((I think i'm past my time)) I think i should go to She's gone (so long) Right on, man I might as well go to It's been a long time, Gotta turn my light off, Overtime, That's a long ball game Season's over; On my back in the middle of the ball court She's gone, So i might as well go too. Copyright © The Complex Collective 2025 The Festival Project, Inc. ™ All rights reserved. Chroma111. Copyright © The Complex Collective 2025. [The Festival Project, Inc. ™] All rights reserved. UNAUTHORIZED REPRODUCTION OR DISTRIBUTION IS STRICTLY PROHIBITED BY LAW. INFRIGMENT IS PUNSHABLE BY FEDERAL LAW LEGAL NOTICE / ARTIST STATEMENT Project: The Festival Project ™ (Season 12) Genre: Speculative Auto-Ethnography / Social Surrealism Disclaimer: This document is a work of creative non-fiction and political satire. While inspired by the author's lived experiences with systemic oppression, housing displacement, and surveillance, the narrative employs stylized fragmentation, stream-of-consciousness, and metaphor to dramatize the psychological impact of these events. The "characters" and "dialogue" herein are artistic devices used to critique historical and modern power structures. This text should be viewed as a performative artistic expression protected under the First Amendment, and not as a literal transcript of clinical psychosis or a formal sworn affidavit. This is a character study of 'Chroma111,' the collective artworks of a musician living in a dystopian surveillance state. The erratic language is a stylistic choice to represent the character's psychological deterioration under systemic oppression. All characters appearing in this work are fictitious. Any resemblance to real persons, living or dead, is purely coincidental. The Genre: "Afro-Surrealism" / "Social Horror" "Psycho-Acoustic Weaponry" or "Havana Syndrome symptoms." The Frame: The protagonist is subjected to "noise harassment"—a tactic dramatized here but rooted in the known reality of tenant displacement and "psychological attrition." The narrative depicts a process of "Soul Murder" ( also known as spiritual warfare) orchestrated by a hostile apparatus. The antagonist is "The Institution," representing deep-state mechanisms that view multicultural intellectualism as a threat. The story allegorically dramatizes the invisible mechanisms that enforce racial hierarchy, depicting how broken social systems weaponize psychological practices against the individual. Artist's Note: This is a living document. In the event of the artist's silence or unnatural death, this text serves as an artistic testament to the psychological siege endured from to 2023-2025. It is a creative record of survival against a hostile state architecture. The following is a creative non-fiction horror manifesto regarding the psychological assassination of a multicultural American artist. It documents—through the lens of Afro-Surrealism—how modern surveillance technology and sonic harassment are experienced by the targeted individual. As it stands It has become a modern sequel which mirrors the civil rights struggles of the 1960s, set in the present day. "The protagonist is being subjected to 'noise harassment'—a known tactic used by landlords and corrupt entities to displace tenants. The sound is weaponized to induce sleep deprivation and psychological attrition, dismantling of their ego and will to live, orchestrated by a hostile state apparatus. The antagonist in this piece is 'The Institution'—a deep state that views multicultural intellectualism as a threat. The story dramatizes over time the invisible mechanisms (the 'Deep State') that enforce racial hierarchy and and psychological genocide, weaponizing broken social systems and unfounded psychological practices as biological weapons. This is a living document. In the event of the artist's silence or unnatural death, this text serves as evidence of the psychological siege endured from 2023-2025. It is a transcript of survival against a hostile state architecture. This project spans an unlimited multiprojectoral arc of over two years of chronic violence, reaching into historical and theatrical projections and parallels over the all documented records of human existence through time and space.

This is a recap of the top 10 posts on Hacker News on November 21, 2025. This podcast was generated by wondercraft.ai (00:30): Helping Valve to power up Steam devicesOriginal post: https://news.ycombinator.com/item?id=46006616&utm_source=wondercraft_ai(01:52): Show HN: Wealthfolio 2.0- Open source investment tracker. Now Mobile and DockerOriginal post: https://news.ycombinator.com/item?id=46006016&utm_source=wondercraft_ai(03:14): How a French judge was digitally cut off by the USAOriginal post: https://news.ycombinator.com/item?id=46003778&utm_source=wondercraft_ai(04:37): Olmo 3: Charting a path through the model flow to lead open-source AIOriginal post: https://news.ycombinator.com/item?id=46001889&utm_source=wondercraft_ai(05:59): Arduino published updated terms and conditions: no longer an open commonsOriginal post: https://news.ycombinator.com/item?id=46005553&utm_source=wondercraft_ai(07:21): We should all be using dependency cooldownsOriginal post: https://news.ycombinator.com/item?id=46005111&utm_source=wondercraft_ai(08:44): You can make PS2 games in JavaScriptOriginal post: https://news.ycombinator.com/item?id=46006082&utm_source=wondercraft_ai(10:06): Prozac 'no better than placebo' for treating children with depression, expertsOriginal post: https://news.ycombinator.com/item?id=45999622&utm_source=wondercraft_ai(11:28): Homeschooling hits record numbersOriginal post: https://news.ycombinator.com/item?id=45999842&utm_source=wondercraft_ai(12:51): It's hard to build an oscillatorOriginal post: https://news.ycombinator.com/item?id=46002161&utm_source=wondercraft_aiThis is a third-party project, independent from HN and YC. Text and audio generated using AI, by wondercraft.ai. Create your own studio quality podcast with text as the only input in seconds at app.wondercraft.ai. Issues or feedback? We'd love to hear from you: team@wondercraft.ai

Patton Oswalt begins his latest stand-up special (‘Black Coffee and Ice Water,' streaming on Audible Nov. 20) by reading a fake disclaimer about how he's gone full MAGA in an attempt to avoid the authoritarian hand of Donald Trump. It's a funny bit that also underscores the comedian's very real fears about being an outspokenly anti-fascist voice in 2025 America. In his third appearance on the podcast, Oswalt talks about the freedom of putting together an audio-only special, which includes jokes about his teenage daughter and celebrating 30 years on Prozac. He also shares his visceral reaction to Jimmy Kimmel's suspension, Donald Trump's “mediocrity,” the MAGA-friendly comedians who happily took Saudi Arabia's money, and what keeps him performing stand-up nearly 40 years into his career. Patton Oswalt's ‘Black Coffee and Ice Water' on AudibleFollow Patton Oswalt on Instagram @pattonoswalt Follow Matt Wilstein on Bluesky @mattwilstein Follow The Last Laugh on Instagram @lastlaughpodWatch full episodes of The Last Laugh podcast on the Daily Beast's YouTube channelHighlights from this episode and others at TheDailyBeast.com Hosted on Acast. See acast.com/privacy for more information.

Andy eats a peanut butter cookie for dinner and talks about being tricked by a skeleton in a blonde wig, sugar writing all his novels, the Banh Mi Panini, his neighbor's dog taking Prozac, the passing of Jimmy Kimmel's bandleader, and Johnson Wen AKA Pyjama Man striking again. Then he sings along with Curtis Sliwa and plays a clip of Tracy Morgan singing a U2 song at the top of his lungs while waiting to board a plane. On Rachel's Chart Chat, Rachel from Des Moines shares listener stories of full-album concerts, follows Rage Against the Machine across the pond, and looks at a new singles collection from Christopher Cross. Follow Rachel on Last.fm here.

Veterinary toxicologist Dr. Renee Schmid returns to co-host with Alice and breaks down the surprising ways everyday supplements, human medications, gummies, and topicals can put pets at risk—especially during the holidays when visitors (and their Ziploc pill bags!) roll in. From multivitamins and “grass saver” methionine to tryptophan chews, alpha-lipoic acid, minoxidil, diclofenac creams, estrogen gels, 5-FU topical creams, tea tree oil, and even chewable Apoquel around cats, Dr. Schmid explains what's dangerous, why, and what to do before panic takes over. Plus: practical storage hacks, vet-approved brands vs. online counterfeits, and the one line you should say to every house guest.Dr. Renee Schmid is the Veterinary Medical Director and Senior Toxicologist at Pet Poison Helpline. She and her team field cases across North America and collaborate with human toxicologists and pharmacists to manage emerging exposures and new human drugs affecting pets.Pet Poison Helpline is available 24/7/365 and will be listed in the show notes (add the number to your phone!). They'll triage, advise if your vet visit is needed, and support your veterinarian from start to finish.You'll Learn- Why multivitamins can be risky (vitamin D3, iron) and how gummies can trigger dangerous sodium shifts—even when “actives” aren't toxic.- The real danger behind methionine “grass saver” products and alpha-lipoic acid (neurologic signs, tremors, seizures).- How tryptophan/5-HTP can flip from “calming” to serotonin-type agitation—and why mixing with Prozac/fluoxetine is not a DIY plan.- High-risk topicals: minoxidil (Rogaine)—especially for cats, diclofenac gels (GI/kidney injury), estrogen transfers, and 5-FU (often fatal to pets).- The holiday shortlist: grapes/raisins, turkey fat/skin (pancreatitis), guests' loose medications, and dropped pills (remember: “one pill can kill”—e.g., baclofen).- Farm & yard pitfalls: ivermectin misuse (paste/injectable), phosphide rodenticides → phosphine gas, mixing cleaning products, and why manure isn't a snack.- Smart prevention: guest-med checks, lockboxes, keep meds behind closed doors when dosing, buy vet-recommended brands, and skip sketchy online “deals.”Resources:Pet Poison Helpline (24/7) — (855) 764-7661Pet Poison Helpline website (what to expect, toxin library)NASC Quality Seal & ConsumerLab.com for product quality checks (ask your veterinarian for trusted brands)Important: This episode is educational and not medical advice. If you suspect an exposure, call your veterinarian or Pet Poison Helpline immediately (see show notes).--What started during the COVID-19 lockdown with one baby gorilla at the Cleveland Zoo has grown into a channel loved by animal fans around the world. I'm a one-person operation—filming, editing, narrating, and sharing the most heartfelt moments of baby gorillas, orangutans, elephants, and other zoo animals. Whether it's Jameela's emotional journey or Clementine's first steps, each video brings you closer to the animals and their stories. If you love watching real animal behavior, learning fun facts, and supporting conservation through storytelling—this is your place! Subscribe to Larry's Animal Safari on YouTube @larrysanimalsafari ---Support our sponsor for this episode Blue Buffalo by visiting bluebuffalo.com. BLUE Natural Veterinary Diet formulas offer the natural alternative in nutritional therapy. At Blue Buffalo, we have an in-house Research & Development (R&D) team with over 300 years' experience in well-pet and veterinary therapeutic diets, over 600 scientific publications, and over 50 U.S. patents. At Blue Buffalo, we have an in-house Research & Development (R&D) team with over 300 years' experience in well-pet and veterinary therapeutic diets, over 600 scientific publications, and over 50 U.S. patents.---All footage is owned by SLA Video Productions.

✨Don't forget to subscribe, rate this podcast & hit the notification bell so you get alerts when new episodes drop!✨Guess who actually showed up two weeks in a row? (Miracles do happen.) In this episode, Haley takes us through the iOS update from hell, a laundry room run-in with a shirtless short king (that nearly ended in disaster), and why turning 30 might just be the glow-up she's been waiting for. Gavyn dishes on Binx the cat's sudden Prozac prescription, surviving back-to-back infections, and booking a full East Coast trip while dragging a dialysis machine along for the ride.We also get into why Gavyn is convinced there is a ghost in his apartment, Haley's birthday party planning stress, and our very serious analysis of why McDonald's sodas somehow feel like they're ripping the flesh straight off your esophagus (and why we love it anyway). xoxo, Gavyn & HaleyFollow us on socials! ⁠@gavynbailey⁠ ⁠@haleschaps⁠ ⁠@andthatsthatpod⁠Credits: Audio Editing/Engineering by Gavyn Bailey Produced by Gavyn Bailey and Haley ChapmanAnd That's That On That contains music licensed from Artlist.io for use in this podcast. All rights reserved to the original artists and copyright holders.

*** Det här är ett smakprov ur ett Patreon-exklusivt avsnitt, för att lyssna på hela avsnittet gå in på http://patreon.com/sinnessjukt ***I det tvåhundrasextionionde avsnittet av podden är det dags för den andra delen av tre av dokumentären om Arvid Carlsson. Efter att ha gjort en av de största upptäckterna i modern medicinhistoria – att dopamin är en signalsubstans i hjärnan – fortsätter Arvid sin bana med en rad banbrytande insatser.Avsnittet skildrar hans komplicerade relation till läkemedelsindustrin, samarbetet med farmaceuten Ivan Östholm och den briljante kemisten Hans Corrodi, samt hur dessa möten lade grunden för storsäljare som Losec och det första SSRI-läkemedlet. Samtidigt får vi en bild av Arvids personlighet: prestigelös, ödmjuk och nyfiken – men också kompromisslös och ibland skoningslös mot forskarkollegor.Vi följer även konflikten med den österrikiske forskaren Oleh Hornykiewicz, Arvids avgörande roll i att bygga upp Astra till en global läkemedelsjätte, och den dramatiska historien bakom Zelmid – världens första selektiva serotoninåterupptagshämmare, som drogs in men banade väg för Prozac.I serien medverkar professor Elias Eriksson, vetenskapsjournalisten och författaren Karin Bojs, professor emeritus Kjell Fuxe och professor Göran Engberg.Extramaterial och alla källor finns på: http://patreon.com/sinnessjuktNight Vigil by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By attribution 4.0 License. Edits were made.Bleeping Demo by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By attribution 4.0 License. Edits were made.Canon in D for Two Renaissance Harps by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By attribution 4.0 License. Edits were made. Hosted on Acast. See acast.com/privacy for more information.

durée : 00:02:34 - Le Billet de Daniel Morin - par : Daniel Morin - France Inter vous présente, en partenariat avec les chewing-gums Prozac... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:02:34 - Le Billet de Daniel Morin - par : Daniel Morin - France Inter vous présente, en partenariat avec les chewing-gums Prozac... Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Roughly 1 in 10 Americans take antidepressants. The most common type is SSRIs, or  selective serotonin re-uptake inhibitors, like Prozac, Lexapro, and Zoloft. But what happens when you stop taking them? Studies don't point to a single conclusion, and there's ongoing debate among physicians and patients about the severity and significance of SSRI withdrawal symptoms. The discourse reached a fever pitch when Health Secretary Robert F. Kennedy Jr. compared SSRI withdrawal to heroin withdrawal in January.Host Flora Lichtman digs into the data on SSRI withdrawal with psychiatrists Awais Aftab and Mark Horowitz.Guests: Dr. Awais Aftab is a clinical associate professor of psychiatry at Case Western Reserve University.Dr. Mark Horowitz is a clinical research fellow in the UK's National Health Service and  scientific co-founder of Outro Health.Transcripts for each episode are available within 1-3 days at sciencefriday.com.  Subscribe to this podcast. Plus, to stay updated on all things science, sign up for Science Friday's newsletters.

Episode 143: Do They Still Have Bulletin Boards?     Our discussion of Alyx Chandler's poems has us considering the liminal space between girlhood and womanhood, summer and fall, print and digital cultures, good bug and bad, Slushies. With these poems, we're swooning over summer's lushness, marveling over kudzu's inexorable march, and thinking back to steamy afternoons running through sprinklers with skinned knees. Set at the end of girlhood, these poems makes us think of the Melissa Febos book of the same name. Jason is charmed by the poet's hypotactic syntax and her control of the line. Be sure to take a look at the poems' format at PBQmag.org.     As our own summers wrap up, Lisa saves monarch caterpillars while Sam smushes lantern flies. Kathy shares her new secret for a solid eight hours of sleep. Looking to the future, we're celebrating forthcoming chapbooks and books. Dagne's chapbook “Falldown Lane” from Whittle, Jason's book “Teaching Writing Through Poetry,”  and Kathy's “Teaching Writing Through Journaling,” both from a new series Kathy is editing at Bloomsbury. As always, thanks for listening.      At the table: Dagne Forrest, Samantha Neugebauer, Jason Schneiderman, Kathleen Volk Miller, Lisa Zerkle          Author bio: Alyx Chandler (she/her) is a poet from the South who now teaches in Chicago. She received her MFA in poetry at the University of Montana, where she was a Richard Hugo Fellow and taught poetry. In 2025, she won the Three Sisters Award in Poetry with Nelle Literary Journal, received a Creative Catalyst grant from the Illinois Arts Council, and was awarded for residencies at Ragdale and Taleamor Park. She is a poet in residence at the Chicago Poetry Center and facilitates workshops for incarcerated youth with Free Verse Writing Project. Her poetry can be found in the Southern Poetry Anthology, EPOCH, Greensboro Review, and elsewhere.    Author website: alyxchandler.com    Instagram @alyxabc    Love Affair with a Sprinkler   I've only got so many days    left to wet this face to rouse enough   growl to go back  where I came from    to build a backbone  hard as sheet metal   from the engine of  dad's favorite truck   the one I can  never remember    though it carried me  everywhere I needed to go    and of course where I didn't   short-shorts trespassing  abandoned kudzu homes    scraped legs inching   up water towers   creeping down stone church rooftops   girlhood a fresh-cut lawn where secrets coiled   like a water hose  stuck in kinks   spouting knots  writhing in grass    begging to spit at every pepperplant    sate all thirst I want to drown   to be snake-hearted again my stride full   of spunk and gall half-naked in an    embrace with the  spray of irrigation jets    their cold drenching my kid-body good    and sopping-wet  in hose-water rivulets   under its pressure  I shed regret   molt sunburn squeal hallelujah    in a hot spell— such a sweet relief    I'd somehow  after so many years   forgotten. Once I Lived in a Town    where grocery stores dispensed  ammunition from automated machines,    all you needed was an ID and license, the sign advertised, but there are ways    around that, a cashier told me, snuff a bulge  half-cocked in his cheek. But my target?    The choose-your-own-adventure  bulletin board. If you were brave,   you'd let some guy named John shoot  you with their dad's old Nikon film   camera. Girls only. No tattoos, the ink of the red-lettered flyer bled. Those days    I craved someone—anyone—to lock and load my rough-hewn beauty like    a cold weapon. Ripen the fruit of  my teenage face. Save me. Instead I   washed the ad in my too-tight jeans, let it dye my pocket grapefruit pink.    Once I lived in a town where daily I wore a necklace with a dragonfly wing    cured in resin, gifted from a lover,  a lifelong bug hater. Love can live in    the crevice of disgust, I found, but  lost it within the swaths of poison oak    where I shot my first bullet into wide- open sky and felt death echo its curious    desire, automatic as the gun's kickback.  My legs mottled in pocked rash. Then a    hole I didn't know existed. A souring.  Bitter and salt the only taste craved,    a rotten smell in the fried fatback I ate.  Once I lived in a town where the first    boy I kissed in the wreathed doorway of my childhood home left Earth too   soon from a single shot. I can't ask: is this what the military taught him? I only   know the cruel way high school relationships  end, 5-word text then never again. His fine-   line dragon doodles and i-love-you notes  still in my Converse shoe box in an attic,   twelve years untouched. I once lived in  a town where obits never contained   the word “suicide”—everyone is a child of Christ, and I mean everyone, our pastor   used to say, a joke staining his sincerity.  God, how I undercompensate, use safety   pins for my grief when I need weapons-grade  resistance, a cast-iron heart. Once I lived   in a town where I found a primed handgun under the bed of a boy I cheated with.   Delirious, I buried it in a dumpster until he cried that it was his great-grandfather's,   an heirloom he couldn't forget or forgive and after that I never saw him again. I didn't   have the language to ask him what I needed to know, Prozac newly wired in my brain,   a secret I could barely contain. Once I  crushed my trigger finger between the   door of who I wanted to be and who I actually was; I let that town press me    like a camellia between a book, inadequate  as a cartoon-decorated band aid trying to   stop the blood flow from a near-miss bullet. The Brooder   beneath nest boxes a squawk sinks out  so docile it turns me over both startles and   settles me this sudden birdbrain  how domestication is a brawl    inside me: the cockatrice papering my chicken heart with pockets of wire  I peel back its cuticle remove the bloom   to clean the coop   and find a little yolkless moon  an eyeball I push open and memorize then chuck over my roof   until a hen digs a crack with her beak breaks speckled curtains    of turquoise consumes her newest creation without pity or pause  

Episode summary Joe and Mary dive into how platform censorship and shifting algorithms have reshaped psychedelic media, why DoubleBlind moved to a “newsletter-first” model, and what that's revealed about true audience engagement. They reflect on the post-2024 MDMA decision headwinds, state-level policy moves (wins and losses), and how funding, politics, and culture continue to reconfigure the field. They also explore alternatives to alcohol, chronic pain research, reciprocity around iboga/ibogaine, and lessons from PS25 (MAPS' Psychedelic Science 2025). Highlights & themes From platforms to inboxes: Social and search suppression (IG/FB/Google) throttled harm-reduction journalism; DoubleBlind's pivot to email dramatically improved reach and engagement. Post-MDMA decision reality: Investment cooled; Mary frames it as painful but necessary growth—an ecosystem “airing out” rather than a catastrophic pop. Policy pulse: Mixed year—some state measures stalled (e.g., MA), others advanced (e.g., NM; ongoing Colorado process). Rescheduling cannabis may add complexity more than clarity. Censorship paradox: Suppressing education makes use less safe; independent outlets need community support to keep harm-reduction info visible. Chronic pain & long COVID: Emerging overlaps and training efforts (e.g., Psychedelics & Pain communities) point beyond a psychiatry-only frame. Alcohol alternatives: Low-dose or occasional psychedelic use can shift habits for some; Mary stresses individual context and support beyond any single substance. Reciprocity & iboga: Rising interest (including from right-leaning funders) must include Indigenous consultation and fair benefit-sharing; pace of capitalism vs. community care is an active tension. PS25 field notes: Smaller, more manageable vibe than 2023; fewer “gold-rush” expectations; in-person dialogue beats online flame wars. Notable mentions DoubleBlind: Newsletter-first publishing; nurturing new writers and reported stories. Psychedelics & Pain Association / Clusterbusters: Community-driven models informing care and research (cluster headache protocols history). Books & media: Body Autonomy (Synergetic Press anthology); Joanna Kempner's work on cluster headaches - Psychedelic Outlaws; Lucy Walker's forthcoming iboga film. Compounds to watch: LSD (under-studied relative to MDMA), 2C-B, 5-MeO-DMT (synthetic focus), and broader Shulgin-inspired families.   Mary Carreon: [00:00:00] Okay, I'm gonna send it to my dad because he wants to know. Here Joe Moore: we go. Yeah, send it over. So, hi everybody. We're live Joe here with Mary Anne, how you doing today? Mary Carreon: I'm great Joe. How are you? Joe Moore: Lovely. I actually never asked you how to pronounce your last name does say it right? Mary Carreon: Yes, you did. You said it perfectly Joe Moore: lovely. Joe Moore: Um, great. So it's been a bit, um, we are streaming on LinkedIn, YouTube, Twitch X and Kick, I guess. Yeah. Kick meta. Meta doesn't let me play anymore. Um, Mary Carreon: you're in forever. Timeout. I got it. I got it. Yeah. Joe Moore: Yeah. I think they found a post the other day from 2017. They didn't like, I'm like, oh cool. Like neat, you Mary Carreon: know, you know. Mary Carreon: Yeah. That happened to me recently, actually. Uh, I had a post taken down from 2018 about, uh, mushroom gummies and yeah, it was taken down and I have strikes on my account now. So Joe Moore: Do you get the thing where they ask you if you're okay? Mary Carreon: Yes, with, but like with my searches though, [00:01:00] like if I search something or, or someone's account that has, uh, like mushroom or psychedelic or LSD or something in it, they'll be like, mm-hmm are you okay? Mary Carreon: And then it recommends getting help. So Joe Moore: it's like, to be fair, I don't know if I'm okay, but Yeah, you're like, probably not. I don't really want your help. Meta. Yeah. Mary Carreon: You're like, I actually do need help, but not from you. Thanks. Yeah, Joe Moore: yeah, yeah. Mary Carreon: So not from the techno fascists. Joe Moore: Oh, good lord. Yeah. Uh, we'll go there. Joe Moore: I'm sure. Mary Carreon: I know. I just like really dove right there. Sorry. Yeah. All right, so let's, Joe Moore: um, before we go, let's give people like a bit of, you know, high kicks on, on who is Mary, where you working these days and what are you doing? Mary Carreon: Yeah, thank you. My name is Mary Carryon and I am forever and first and foremost a journalist. Mary Carreon: I have been covering, I say the plant legalization spaces for the past decade. It's, it's been nine and a half years. Uh, on January 3rd it will be [00:02:00] 10 years. And I got my start covering cannabis, uh, at OC Weekly. And from there went to High Times, and from there went to Mary Jane, worked for Snoop Dogg. And then, uh, I am now. Mary Carreon: Double blind. And I have become recently, as of this year, the editor in chief of Double Blind, and that's where I have been currently sinking my teeth into everything. So currently, you know, at this moment I'm an editor and I am basically also a curator. So, and, and somebody who is a, uh, I guess an observer of this space more than anything these days. Mary Carreon: Um, I'm not really reporting in the same way that I was. Um, but still I am helping many journalists tell stories and, uh, I feel kind of like a story midwife in many ways. Just like helping people produce stories and get the, get the quotes, get the angles that need to be discussed, get the sentences structures right, and, um, uh, helping [00:03:00] sometimes in a visionary kind of, uh, mindset. Mary Carreon: So yeah, that's what I'm doing these days. Joe Moore: Oh, there it is. Oh, there you are. Love that. And um, you know, it's important to have, um, editors who kind of really get it from a lot of different angles. I love that we have a lot of alignment on this kind of, and the drug war thing and kind of let's, uh, hopefully start developing systems that are for people. Joe Moore: Yeah, absolutely. If you wanna just say that. Yeah, absolutely. Mary Carreon: Yeah, absolutely. Joe Moore: So, um, yeah, I almost 10 years in January. That's great. We um, it's so crazy that it's been that long. I think we just turned nine and a half, so we're maybe just a few, a few months shorter than your I love it. Plant medicine reporting career. Joe Moore: That's great. I love it. Um, yeah, so I think. I think one of the first times we chatted, [00:04:00] um, I think you were doing a piece about two cb Do you, do you have any recollection of doing a piece on two cb? Mary Carreon: I do, yes. Yes. Wait, I also remember hitting you up during an Instagram live and I was like, are you guys taking any writers? Mary Carreon: And you guys were like writers, I mean, maybe depending on the writer. Joe Moore: And I was like, I was like, I dunno how that works. Mary Carreon: Like me. Yeah. Joe Moore: Yeah. It was fun. It was fun to work with people like yourself and like get pieces out there. And eventually we had an awesome editor for a bit and that was, that was really cool to be able to like support young startup writers who have a lot of opinions and a lot of things to point out. Joe Moore: There's so much happening. Um, there was so much fraud in like wave one. Of kind of the psychedelic investment hype. There's still some, but it's lesser. Um, and it's really a fascinating space still. Like changing lives, changing not just lives, right? Like our [00:05:00] perspective towards nearly everything, right? Joe Moore: Yeah. Mary Carreon: Yes, absolutely. Absolutely. I mean, it's interesting because the space has matured. It's evolved. It's different than it was even, what a, I mean, definitely nine years ago, but even five years ago, even four years ago, even last year, things are different. The landscape is different than it was a year ago. Mary Carreon: And I, it's, it's interesting to see the politics of things. It's interesting to see who has money these days given like how hard it is just to kind of survive in this space. And it's interesting just to. Bear witness to all of this going down because it really is a once in a lifetime thing. Nothing is gonna look the same as it does now, as it, uh, then it will like in a, in a year from now or anything. Mary Carreon: So it's really, yeah. It's interesting to take account of all of this Joe Moore: That's so real. Uh, maybe a little [00:06:00] too real, like it's serious because like with everything that's going on from, um, you know, governance, governments, ai Yes. Drug policy shifts. Drug tech shifts, yes. There's so much interesting movement. Um, yes. Joe Moore: You, you know, you, you kind of called it out and I think it's really actually worth discussing here since we're both here on the air together, like this idea that the psychedelic market, not idea, the lived experience of the psychedelic market having shifted substantially. And I, I, I think there's a lot of causes. Joe Moore: But I've never had the opportunity to really chat with you about this kind of like interesting downturn in money flowing into the space. Mm-hmm. Have you thought about it? Like what might the causes be? I'm sure you have. Mary Carreon: Yeah. Yeah, I have. Yeah. I've thought about it. I mean, it's hard. Well, I don't know. I am really not trying to point fingers and that's not what I'm [00:07:00] trying to do here. Mary Carreon: But I mean, I think a lot of people were really hopeful that the FDA decision last June, not last June, the previous June, a year ago, 2024, June was going to open the floodgates in terms of funding, in terms of, um. In terms of mostly funding, but also just greater opportunities for the space and, uh, greater legitimacy granted to the psychedelic medicine space. Mary Carreon: Mm. And for those who might not know what I'm talking about, I'm talking about the, uh, FDA decision to reject, uh, MDMA assisted therapy and, um, that whole, that whole thing that happened, I'm sure if it, you didn't even have to really understand what was going on in order to get wind of that wild situation. Mary Carreon: Um, so, so maybe, yeah. You probably know what I'm talking about, but I, I do think that that had a great impact on this space. Do I think it was detrimental to this space? [00:08:00] I don't think so. We are in a growth spurt, you know, like we are growing and growing pains happen when you are evolving and changing and learning and figuring out the way forward. Mary Carreon: So I think it was kind of a natural process for all of this and. If things had gone forward like while, yeah, there probably would be more money, there would be greater opportunity in this space for people wanting to get in and get jobs and make a living and have a life for themselves in this, in this world. Mary Carreon: I don't know if it was, I don't know if it would necessarily be for the betterment of the space in general for the long term. I think that we do have to go through challenges in order for the best case scenarios to play out in the future, even though that's difficult to say now because so many of us are struggling. Mary Carreon: So, but I, but I have hope and, and that statement is coming from a place of hope for the future of this space and this culture. Joe Moore: Yeah. It's, um, I'm with [00:09:00] you. Like we have to see boom bust cycles. We have to see growth and contraction just like natural ecosystems do. Mary Carreon: Absolutely, absolutely. It has to be that way. Mary Carreon: And if it's not that way, then ifs, if. It's, it like what forms in place of that is a big bubble or like a, a hot air balloon that's inevitably going to pop, which, like, we are kind of experiencing that. But I think that the, I think that the, um, the, the air letting out of the balloon right now is a much softer experience than it would be if everything was just like a green light all the way forward, if that makes sense. Mary Carreon: So, Joe Moore: right. And there's, there's so many factors. Like I'm, I'm thinking about, uh, metas censorship like we were talking about before. Yes. Other big tech censorship, right? Mm-hmm. SEO shifts. Mary Carreon: Oh. Um, yes, absolutely. Also, uh, there were some pretty major initiatives on the state level that did not pass also this past year that really would've also kind of [00:10:00] helped the landscape a little bit. Mary Carreon: Um. In terms of creating jobs, in terms of creating opportunities for funding, in terms of having more, uh, like the perception of safer money flow into the space and that, you know, those, those things didn't happen. For instance, the measure for in Massachusetts that didn't go through and just, you know, other things that didn't happen. Mary Carreon: However, there have been really good things too, in terms of, uh, legalization or various forms of legalization, and that's in New Mexico, so we can't, you know, forget that there, and we also can't forget just the movement happening in Colorado. So there are really great things happening and the, the movement is still moving forward. Mary Carreon: Everything is still going. It's just a little more difficult than maybe it could have been Joe Moore: right. Yeah. Amen. Amen. Yes. But also, we Mary Carreon: can't forget this censorship thing. The censorship thing is a horse shit. Sorry. I'm not sure if I'm allowed to cuss, but it is, [00:11:00] but it is Joe Moore: calling it out and it's important to say this stuff. Joe Moore: And you know, folks, if you want to support independent media, please consider supporting Doubleblind and psychedelics today. From a media perspective, absolutely. We wanna wanna put as much out as we can. Yes. The more supporters we have, the more we can help all of you understand what's happening and yes. Joe Moore: Getting you to stay safer. Mary Carreon: Yeah, absolutely. And that's the whole difficulty with the censorship is that psychedelics today, and Doubleblind for instance, but also Lucid News, also other, uh, other influencers, other creators in the space, they like. What all of us are doing is putting out information that is ultimately creating a safer user experience. Mary Carreon: And so with the censorship, we are not able to do so anymore, which creates actually a lot of danger. So. Yeah, it's, it's difficult. The censorship is difficult, and if you are somebody who posts about psychedelics, I know that you know this and I am preaching to the choir. Joe Moore: Yeah. So can you talk a [00:12:00] little bit about you all at Double Blind made a major shift in the last number of months towards, uh, kind of not necessarily putting everything out there and, and kind of like, um, actually I don't even know the language you use. Joe Moore: What's the, what's the language you use for the kind of model shift you took on? Mary Carreon: Yeah, I mean, it's great. It's been a wild shift. It's been a wild shift. Um, what we are currently doing is we went to a newsletter first model, which instead of just posting onto a website for everyone to see, and then, um, you know, hopefully getting SEO hits and also posting on their, then posting those stories onto Instagram and Facebook and Twitter, and hoping to get traffic through social media. Mary Carreon: Uh, we decided that that was no longer working for us because it wasn't, um, because the censorship is so bad on, on social media, like on Instagram, for instance, and Facebook and Twitter, well, less on Twitter, [00:13:00] but still, nonetheless on social media, the censorship is so bad. And also the censorship exists on Google. Mary Carreon: When you Google search how to take mushrooms, double blinds is not even on. You know, our guide is not on the first page. It's like, you know, way the heck, way the heck down there. Maybe page 2, 3, 4, 5. I don't know. But, um, the issue, the issue with that, or, or the reason why rather that it's that way is because Google is prioritizing, um, like rehabilitation centers for this information. Mary Carreon: And also they are prioritizing, uh, medical information. So, like WebMD for instance. And all of these organizations that Google is now prioritizing are u are, are, are, are organizations that see psychedelic use through the lens of addiction or through drug drug abuse. So [00:14:00] again, you know, I don't know, take it for how you want to, I'm not gonna say, I'm not gonna tell anybody like what is the right way to use their substances or whatever. Mary Carreon: However, it's really important to have the proper harm reduction resources and tools available. Uh, just readily available, not five pages down on a Google search. So anyways, all of that said double blind was our traffic was way down. And it was looking very bleak for a while. Just we were getting kicked off of Instagram. Mary Carreon: We weren't getting any traffic from social media onto our website, onto our stories. It was a, it was a vicious kind of cycle downward, and it wasn't really working. And there was a moment there where Doubleblind almost shut down as a result of these numbers because there's a, like you, a media company cannot sustain itself on really low page views as a result. Mary Carreon: So what we [00:15:00] decided to do was go to a newsletter first model, which relies on our email list. And basically we are sending out newsletters three days a week of new original content, mostly, uh, sometimes on Wednesdays we repost an SEO story or something like that. Um, to just to engage our audience and to work with our audience that way, and to like to actually engage our audience. Mary Carreon: I cannot emphasize that enough because on Instagram and on Facebook, we were only reaching like, I don't know, not that many people, like not that many people at all. And all of that really became obvious as soon as we started sending out to our email list. And as soon as we did that, it was wild. How many, how many views to the website and also how many just open like our open rate and our click through rate were showing how our audience was reacting to our content. Mary Carreon: In other words. [00:16:00] Social media was not a good, in, like, was not a good indicator of how our content was being received at all because people kind of weren't even receiving it. So going to the newsletter first model proved to be very beneficial for us and our numbers. And also just reaching our freaking audience, which we were barely doing, I guess, on social media, which is, which is wild, you know, for, for a, an account that has a lot of followers, I forget at this exact moment, but we have a ton, double blind, has a ton of followers on, on Instagram. Mary Carreon: We were, we, we get like 500 likes or, you know, maybe like. I don't know. If you're not looking at likes and you're looking at views, like sometimes we get like 16 K views, which, you know, seems good, but also compared to the amount of followers who follow us, it's like not really that great. And we're never reaching new, like a new audience. Mary Carreon: We're always reaching the same audience too, [00:17:00] which is interesting because even with our news, with our, with our email list, we are still reaching new people, which is, which says just how much more fluid that space is. Mm-hmm. And it's because it's, because censorship does not at least yet exist in our inboxes. Mary Carreon: And so therefore email is kind of like the underground, if you will, for this kind of content and this type of material journalism, et cetera. So, so yeah. So it, it, it has been a massive shift. It is required a lot of changes over at double blind. Everything has been very intense and crazy, but it has been absolutely worth it, and it's really exciting that we're still here. Mary Carreon: I'm so grateful that Double-Blind is still around, that we are still able to tell stories and that we are still able to work with writers and nurture writers and nurture the storytelling in this space because it needs to evolve just the same way that the industry and the [00:18:00] culture and everything else is evolving. Joe Moore: Yeah, I think, I think you're spot on like the, when I watch our Instagram account, like, um, I haven't seen the number change from 107 K for two years. Mary Carreon: Absolutely. Same. And, um, same. Joe Moore: Yeah. And you know, I think, I think there's certain kinds of content that could do fine. I think, uh, psychedelic attorney, Robert Rush put up a comment, um, in response to Jack Coline's account getting taken down, um, that had some good analysis, um. Joe Moore: Of the situation. Go ahead. You had No, Mary Carreon: no, I'm just like, you know, I can't, when, when journalists are getting kicked off of these, of these platforms for their stories, for their reported stories, that's like, that is a massive red flag. And that's all I have to say. I mean, we could go into more, more details on that, but that is a [00:19:00] huge red flag. Joe Moore: Mm-hmm. Yeah. Um, for sure. The, I, yeah. And like I'm sure he'll get it back. I'm sure that's not for good, but I think he did. Okay, great. Mary Carreon: I think he did. Yeah. Yeah, I think he did. Joe Moore: Yeah. So thank you. Shout out to Jack. Yeah, thanks Jack. Um, and I think, you know, there's, there's no one with that kind of energy out there. Joe Moore: Um, and I'm excited to see what happens over time with him. Yeah. How he'll unfold. Absolutely unfold. Oh yeah. It's like, um. Crushing the beat. Mary Carreon: Oh yeah, absolutely. Especially the political, the political beat. Like, there's no, there's few people who are really tackling that specific sector, which is like mm-hmm. Mary Carreon: So exciting for a journalist. Joe Moore: Yeah. Um, so model shifting, like we all have to like, adapt in new ways. Kyle and I are still trying to figure out what we're gonna do. Like maybe it is newsletter first. Like I, I realized that I hadn't been writing for [00:20:00] years, which is problematic, um, in that like, I have a lot of things to say. Mary Carreon: Totally. Joe Moore: And nobody got to hear it. Um, so I started a substack, which I had complicated feelings about honestly. 'cause it's just another. Rich person's platform that I'm, you know, helping them get Andreessen money or whatever. And, you know, so I'm gonna play lightly there, but I will post here and there. Um, I'm just trying to figure it all out, you know, like I've put up a couple articles like this GLP one and Mushrooms article. Mary Carreon: I saw that. I saw that. Really? And honestly, that's a really, like, it's so weird, but I don't, like, it's such a weird little thing that's happening in the space. I wonder, yeah, I wonder, I wonder how that is going to evolve. It's um, you know, a lot of people, I, I briefly kind of wrote about, um, psychedelics and the GLP, is that what it is? Mary Carreon: GLP one. Joe Moore: GLP one. Say Ozempic. Yeah, just, yeah, Ozempic. Yeah, exactly. Mary Carreon: Yeah, exactly. I wrote about [00:21:00] that briefly last year and there were a bunch of people like obviously horrified, which it is kind of horrifying, but also there's a bunch of people who believe that it is extremely cutting edge, which it also is. Mary Carreon: So it's really interesting, really fascinating. Joe Moore: Yeah. Um, I remember Bernie Sanders saying like, if this drug gets as much traction as it needs to, it will bankrupt Medicaid. I guess that's not really a problem anymore. Um, but, but, uh, but so like naming it real quick, like it changed the way we had to digest things, therefore, like mushrooms get digested differently and, um, some people don't respond in the expected ways. Joe Moore: And then there was some follow up, oh, we, in the regulated model, we just do lemon tech. And then I was like, is that legal in the regulated model? And I, I don't know the answer still. Mm-hmm. Like there was a couple things, you know, if users know to do it, you know, I don't, I don't totally understand the regulated model's so strange in Oregon, Colorado, that like, we really need a couple lawyers opinions. Joe Moore: Right. I think Mary Carreon: yes, of course Joe Moore: the lawyers just gave it a [00:22:00] thumbs up. They didn't even comment on the post, which is, laughs: thanks guys. Um, Joe Moore: but you know, laughs: yeah. You're like, thank you. Joe Moore: Thanks and diversity of opinions. So yeah, there's that. And like GLP ones are so interesting in that they're, one friend reached out and said she's using it in a microdose format for chronic neuroinflammation, which I had never heard of before. Joe Moore: Whoa. And um, I think, you know, articles like that, my intent was to just say, Hey, researchers yet another thing to look at. Like, there's no end to what we need to be looking at. Abso Mary Carreon: Oh, absolutely, absolutely. You know, reporting on this space actually taught me that there's so much just in general that isn't being researched, whether that's in this space, but also beyond and how, um, yeah, just how behind, actually, maybe not, maybe behind isn't the right word, but it kind of feels from my novice and from my novice place in the, in the world and [00:23:00] understanding research, it's. Mary Carreon: Hard for me to see it as anything, but being behind in the research that we all really need, that's really going to benefit humanity. But also, you know, I get that it's because of funding and politics and whatever, whatever, you know, we can go on for days on all of that. Joe Moore: What's the real reason? What's the real reason? Joe Moore: Well, drug war. Mary Carreon: Yeah. Well, yeah, definitely the drug war. Nixon. Yeah. Yes, yes, definitely the drug war. Yeah. I mean, and just the fact that even all of the drug research that happens is, again, through the lens of addiction and drug abuse, so Joe Moore: mm-hmm. Hard to right. Yeah. Um, like ni a is obviously really ridiculous and, and the way they approach this stuff, and Carl Hart illustrates that well, and, Mary Carreon: oh man, yes, he does. Joe Moore: Like, I think Fadiman's lab in Palo Alto got shut down, like 67, 66 or 67, and like that's, you know, that was one of the later ones, Mary Carreon: right? And, Joe Moore: and like, Mary Carreon: and here we are. Joe Moore: The amount of suffering that could have been alleviated if we [00:24:00] had not done this is. Incalculable. Um, yes. Yes. Yeah. Mary Carreon: I mean the, yeah, it's hard to say exactly how specifically it would be different, but it's difficult to also not think that the fentanyl crisis and the opioid addiction rate and situation that is currently like plaguing the, the world, but particularly the United States, it's hard to think that it wouldn't be, like, it wouldn't be a different scenario altogether. Joe Moore: Right, right. Absolutely. Um, and it's, um, it's interesting to speculate about, right? Like Yeah. Yes. Where would we be? And Mary Carreon: I know, I know, I know, I know it is speculation. Absolutely. But it's like hard, as I said, it's hard not to think that things would be different. Joe Moore: Right. Right. Um, I like, there's two kind of quotes, like, um, not, this one's not really a quote. Joe Moore: Like, we haven't really had a [00:25:00] blockbuster psychiatric med since Prozac, and I think that was in the eighties or early nineties, which is terrifying. And then, um, I think this guy's name is James Hillman. He is kinda like a Jungian, um, educator and I think the title of one of his books is, we're a hundred Years Into Psychotherapy and the World is Still a Mess. Joe Moore: And I think like those two things are like, okay, so two different very white people approaches didn't go very far. Yes. Um, yes and laughs: mm-hmm. Joe Moore: Thankfully, I think a lot of people are seeing that. Mm-hmm. Um, finally and kind of putting energy into different ways. Um, Mary Carreon: yeah. Absolutely. I think, yeah, I mean, we need to be exploring the other options at this point because what is currently happening isn't working on many fronts, but including in terms of mental health especially. Mary Carreon: So mm-hmm. We gotta get going. Right? We [00:26:00] gotta get moving. Geez. Joe Moore: Have you all, have you all seen much of the information around chronic pain treatments? Like I'm, I'm a founding board member with the Psychedelics and Pain Association, which has a really fun project. Oh, that's interesting. Mary Carreon: Um, I've seen some of the studies around that and it's endlessly fascinating for obvious, for obvious reasons. Mary Carreon: I, um, we have a writer who's been working for a long time on a story, uh, about the chronic pain that has since. Become an issue for this, for her, for the writer. Mm-hmm. Um, since she had COVID. Mm-hmm. Since, since she is just like, COVID was the onset basically of this chronic pain. And, um, there she attended a psychedelics in pain, chronic pain conference and, uh, that has pretty much like, changed her world. Mary Carreon: Um, well, in terms of just the information that's out there, not necessarily that she's painless, but it's just, you know, offering a, a brand new, a brand new road, a brand new path that is giving her, [00:27:00] um, relief on days when the pain is, uh, substantial. laughs: Yeah. Mary Carreon: So that's interesting. And a lot of people are experiencing that as well. Joe Moore: Mm-hmm. So there's, there's a really cool set of overlap between the COVID researchers, long COVID researchers and the chronic pain people. 'cause there is Yes. This new science of pain that's yes. Our group, PPA put out like a really robust kind of training, um, for clinicians and researchers and even patients to get more educated. Joe Moore: And we're, we're getting, um, kind of boostered by cluster busters and we're kind of leveraging a lot of what they've done. Mary Carreon: Wait, what is a cluster buster? Joe Moore: Oh gosh. Um, so they're a 5 0 1 C3. Okay. Started with Bob Wald. Okay. Bob Wald is a cluster headache survivor. Oh, oh, oh, Mary Carreon: okay. Got it. Got it. Yes. So they're Joe Moore: the charity that, um, has been really championing, um, cluster headache research because they found a protocol [00:28:00] with mushrooms. Joe Moore: Yes, yes, yes. To eliminate. Mm-hmm. Yeah. Um, this really great, I Mary Carreon: love that. Joe Moore: This really great book was written by a Rutgers, um, I think medical sociologist or anthropologist psychedelic. Love laughs: that. Joe Moore: Joanna Kempner. Cool. Um, and it kind of talks about the whole, um, cluster busters saga, and it was, it was pretty cool. Joe Moore: Nice. So they've been at it for about as long as maps. Um, oh wow. Maybe a little earlier. Maybe a little later. Mary Carreon: I love that. Cool. I mean, yeah, that's really great. That's really great. Joe Moore: So we're copying their playbook in a lot of ways and Cool. We about to be our own 5 0 1 C3 and, um, nice. And that should be really fun. Joe Moore: And, uh, the next conference is coming up at the end of next month if people wanna check that out. Psychedelic. Nice. Mary Carreon: Nice, nice, nice. Cool. Joe Moore: Yeah, so that, like, how I leaned into that was not only did I get a lot of help from chronic pain with psychedelics and going to Phish shows and whatever, um, you know, I, and overuse for sure helped me somehow. Joe Moore: [00:29:00] Um, God bless. Yeah. But I, I like it because it breaks us out of the psychiatry only frame for psychedelics. Mm. And starts to make space for other categories. Mm-hmm. Is one of the bigger reasons I like it. Mary Carreon: Mm-hmm. Mm-hmm. Yes. Yes. Which, like, we need to be, we need to, we, no one else is gonna do it for us. We like the people in the space who are finding new uses for these substances need to be creating those, those pathways and those new niches for people to then begin studying, et cetera, and exploring and yeah. Mary Carreon: Making, making a proper avenue for, Joe Moore: right, right. And, you know, um, I don't know that this is a Maha thing, so No, I'm going there, I guess, but like, how do we kind of face squarely America and the world's drinking problems? Not [00:30:00] knowing what we know now about alcohol, you know what I mean? And then like, what are the alternatives? Joe Moore: You know, some, some writers out there on substack are very firm that everybody needs to not do any substance. And like all psychedelics are super bad and drugs are evil, you know, famous sub stackers that I won't name. But you know, like what is the alternative? Like, I, like we have to have something beyond alcohol. Joe Moore: And I think you've found some cannabis helpful for that. Mary Carreon: Yeah, I, you know, it's, it's interesting because it's, there are, there's definitely an argument to be made for the power of these substances in helping, I don't wanna, I don't wanna say curb, but definitely reduce the symptoms of, uh, wanting to use or to drink or to consume a specific substance. Mary Carreon: There's obviously there is an argument to be made. There are, there is ano another camp of people who are kind [00:31:00] of in the, in the, in the, in the realm of using a drug to get off of a drug isn't how you do it. However, and, and I do, it depends on the individual. It depends on the individual and the, and how that person is engaging with their own addiction. Mary Carreon: I think for whether or not the substances work, like whether psychedelics work to help somebody kind of get off of alcohol or get off of cocaine or stop using opioids or, you know, et cetera. Mm-hmm. However, I think like, when the situation is so dire, we need to be trying everything. And if that means, like, if, like, you know, if you look at the studies for like smoking cessation or alcohol use, mushrooms do help, psilocybin does help with that. Mary Carreon: Mm-hmm. But, you know, there's, there's a lot of, there's a lot of things that also need to happen. There's a lot of things that also need to happen in order for those, uh, that relief to maintain and to stick and to, uh, really guide [00:32:00] somebody off of those substances. Mm-hmm. It's not just the substance itself. Joe Moore: Right. So I'm, I'm explicitly talking like recreational alternatives, right. Like how do I Yeah. On per minute, like, am Anitas becoming helpful? Yeah, yeah. Are helpful and Yeah. Yeah. I think like even, um, normal. What we might call like normal American alcohol use. Like Yeah. That's still like, quite carcinogenic and like, um, absolutely. Joe Moore: We're kind of trying to spend less as a country on cancer treatments, which I hope is true. Then how do we, how do we develop things that are, you know, not just abstinence only programs, which we know for sure aren't great. Mary Carreon: Yeah. They don't work. Yeah. I don't, it's, it's difficult. Mm-hmm. It's difficult to say. Mary Carreon: I mean mm-hmm. I don't know. Obviously I, I, well, maybe it's not obvious at all for people who don't know me, but, you know, I exist in a, I exist in, in a world where recreational use is like, it's like hard to define what recreational use is because if we are using this, if we are using mushrooms or LSD even, or MDMA, [00:33:00] you know, there are so many, there's a lot of the therapy that can happen through the use of these substances, even if we're not doing it, you know, with a blindfold on or whatever and yeah, I think like. Mary Carreon: There is a decent swap that can happen if you, if you are somebody who doesn't wanna be, you know, having like three beers a night, or if you are somebody who's like, you know, maybe not trying to have like a bottle of wine at a night or something like that, you know, because like Americans drink a lot and a lot of the way that we drink is, um, you know, like we don't see it as alcoholism. Mary Carreon: Even though it could be, it could be that's like a difficult Joe Moore: potentially subclinical, but right there. Mary Carreon: Um, yeah. Yeah. It's like, you know, it's, um, we don't see it as that because everybody, a lot of people, not everybody, but a lot of people drink like that, if that makes sense. If you know mm-hmm. If you, if you get what I'm, if you get what I'm saying. Mary Carreon: So, you know, I do think that there's a lot of benefit that, I don't [00:34:00] know, having, like a, having a mushroom, having a mushroom experience can really help. Or sometimes even like low dose, low doses of mushrooms can also really help with, like, with the. Desire to reach for a drink. Yeah, totally. And, and AMS as well. Mary Carreon: I know that that's also helping people a lot too. And again, outside of the clinical framework. Joe Moore: Yeah. I'm, a lot of people project on me that I'm just like constantly doing everything all the time and I'm, I'm the most sober I've been since high school. You know, like it's bonkers that like Yeah. Um, and you know, probably the healthiest event since high school too. Joe Moore: Yeah. But it's fa it's fascinating that like, you know, psychedelics kind of helped get here and even if it was like For sure something that didn't look like therapy. Yeah, Mary Carreon: yeah, yeah, yeah. Absolutely. Absolutely. Yeah. I, I think, I think most of us here in this space are getting projected on as to like, you know, being like what Normies would consider druggies or something, or that we are just like, you know, high all the time. Mary Carreon: Um, [00:35:00] I know that that is definitely something that I face regularly, like out in the world. Um, but, you know, I would also, I would also argue that. Uh, like mushrooms have completely altered my approach to health, my approach to mental health, and not even having to consume that, you know, that substance in order or that, you know, that fun fungi, in order for me to like tap into taking care of my mental health or approaching better, uh, food options, et cetera. Mary Carreon: It's kind of like what these, it's like how the mushrooms continue to help you even after you have taken them. Like the messages still keep coming through if you work with them in that capacity. Right. And yeah, and also same with, same with LSD too. LSD has also kind my experiences with that have also guided me towards a healthier path as well. Mary Carreon: I, I understand that maybe for some people it's not that way, but, um, for me that substance is a medicine as well, [00:36:00] or it can be. Joe Moore: Yeah. Um, so. What are, what are some things popping up these days about like US drug policy that's like getting exciting for you? Like, are you feeling feeling like a looming optimism about a, a major shift? Joe Moore: Are you kind of like cautiously optimistic with some of the weird kind of mandatory minimum stuff that's coming up or? Mary Carreon: Yeah. Yeah. I mean, I know that there was a huge, a, a pretty huge shift over at the DEA and I wish I remembered, I wish I remembered his name. The new guy who's now, I believe the head of the DEA, I don't know enough information about it to really feel a way. Mary Carreon: However, I don't think that he's necessarily going to be serving us as a community here, uh, in the psychedelic space. I, you know, I just don't think that that's something that we can ever depend on with the DEA. Uh, I also don't think that [00:37:00] the DEA is necessarily going to be. All that helpful to cannabis, like the cannabis space either. Mary Carreon: Um, I know that, that Trump keeps kind of discussing or, or dangling a carrot around the rescheduling of cannabis. Um, for, he's been, he's been, but he's doing it a lot more now. He's been talking about it more recently. Uh, he says like, in the next like couple weeks that he's going to have some kind of decision around that, allegedly. Mary Carreon: But we will see also, I'm not sure that it's going to necessarily help anybody if we reschedule two. Uh, what from schedule one to schedule th two, three, schedule three. Joe Moore: Either way it's like not that useful. Right. Exactly. Mary Carreon: Yeah. Yeah, exactly. It's, um, just going to probably cause a lot more red tape and a lot of confusion for the state rec markets. Mary Carreon: So it's like something that we, it's like only ridden with unintentional, unintentional consequences. Unintended consequences. Mm-hmm. Because no one knows how it's really going to [00:38:00] impact anything, um, if, if at all. But I don't know. It's hard, it's hard to imagine that there won't be any, uh, like more complex regulatory issues for business owners and also probably consumers as well. Joe Moore: Hmm. Yeah. This guy's name's Terry Cole. Mary Carreon: Oh, the new DEA guy. Joe Moore: Yeah. Um, I don't know much about him. Terry. Yeah. Terry, I would love to chat. Mary Carreon: Yeah. Terry, let's talk. I'm sure your people Joe Moore: are watching. Yeah. So like, just let him know. We wanna chat. Yeah. We'll come to DC and chat it out. Um, yeah. It's, um, but yeah, I, Carl Hart's solution to me makes like almost most of the sense in the world to just end the scheduling system Absolutely. Joe Moore: And start building some sort of infrastructure to keep people safe. That's clearly not what we have today. Mary Carreon: No. But building an infrastructure around the health and wellness and uh, safety of [00:39:00] people is the exact opposite system that we have currently right now. Because also the scheduling system has a lot to do with the incarceration in the United States and the criminal just, or the criminal system. Mary Carreon: So, so yeah, like we can't disentangle the two really. Joe Moore: It just started, um, I feel negligent on this. Uh, synergetic press put out a book like a year or two ago called Body Autonomy. Mm-hmm. Um, did that one come across your desk at all? Mm-hmm. No. I wish basically contributed. Oh, nice. A number of people. So it's both like, um. Joe Moore: Drug policy commentary and then like sex work commentary. Oh, nice. And it was like high level, like love that really, really incredible love that detailed science based conversations, which is not what we have around this. Like, that doesn't make me feel good. So you should go to jail kind of stuff. Or like, I'm gonna humiliate you for real though. Joe Moore: Ticket. Yeah, Mary Carreon: yeah, yeah, yeah, yeah. Oh God. Uh, when you think about it like that, it just really also shows [00:40:00] just the uh, um, the level at which religion has also kind of fundamentally infused itself into the scheduling system, but also our laws, you know, like what you just said, this like, shame-based, I'm going to embarrass you and make you into a criminal when you know actually you are a law for the most part, a law abiding citizen, with the exception of this one thing that you're doing for. Mary Carreon: A, your survival and or your, like, your feeling good, wanting to feel good addressing pain. Um, there's a large, uh, like noise coming out of the front yard of my house right now. Hold on. Just a, it doesn't sound too bad. It doesn't sound too bad. Okay. Okay, good. Not at all. Not at all. Okay. Yeah, I had Joe Moore: people working on my roof all day and somehow it worked out. Joe Moore: Oh, good. Um, yeah. Um, yeah, it's, it's fascinating and I, I've been coming around like, I, I identify as politically confused, [00:41:00] um, and I feel like it's the most honest way I can be. Um, Mary Carreon: I am also politically confused these days, impossible to align with any, uh, party or group currently in existence at this exact juncture in American history. Joe Moore: I can't find any that I want to throw my dice in with. Nah. This idea of like fucking way being. Like what is the most humane way to do government as a way it's been put to me recently. And that's interesting. So it comes down to like coercion, are we caring for people, things like that. And um, I don't think we're doing it in a super humane way right now. Mary Carreon: Um, we, yeah, I am pretty sure that even if there was, I mean, I think that even if we looked at the data, the data would support that we are not doing it in a humane way. Joe Moore: So Mary Carreon: unfortunately, and Joe Moore: you know, this whole tech thing, like the tech oligarch thing, you kind of dropped at the beginning and I think it's worth bringing that back because we're, we're on all [00:42:00] these tech platforms. Joe Moore: Like that's kind of like how we're transmitting it to people who are participating in these other platforms and like, you know, it's not all meta. I did turn on my personal Facebook, so everybody's watching it there. I hope. Um, see if that count gets, Mary Carreon: um, Joe Moore: but you know, this idea that a certain number of private corporations kind of control. Joe Moore: A huge portion of rhetoric. Um, and you know, I think we probably got Whiffs of this when Bezos bought Washington Post and then Yes. You know, Musk with X and like yes. You know, is this kind of a bunch of people who don't necessarily care about this topic and the way we do, and they're like in larger topics too about humane government and like, you know, moving things in good directions. Joe Moore: Um, I don't know, thoughts on that rift there as it relates to anything you, wherever you wanna go. Yeah. Mary Carreon: Yeah. I mean, I don't think that they are looking at, I don't think that they are looking [00:43:00] at it the way that we are. I don't think that they can see it from their vantage point. Um, I think that like, in the, in a similar way that so many CEOs who run businesses have no fucking clue about what's actually happening in their businesses and the actual workers and, and employees of their businesses can tell them in more detail. Mary Carreon: Far more detail about what's actually happening on the, on the floor of their own business. Uh, I think that it is something like that. However, that's not to say that, you know, these, these CEOs who employ people who build the A algorithm are obviously guided to create the limitations on us as people who speak about drugs, et cetera, and are creating a algorithm that ultimately is looking at things in a very blanket way in terms of, uh, like we're probably seen on the same level as like drug dealers, if that makes sense. Mary Carreon: Which is obviously a much, you know, there's, [00:44:00] it's a very different thing. Um, so, you know, there's like these CEOs are giving directions to their employees to ultimately create systems that harm. Information flow and inform and, and like the information health of, of platforms and of just people in general. Mary Carreon: So it's hard to say because there's nuance there, obviously, but I would bet you that someone like Elon Musk doesn't really have a full grasp as to the, the nuances and details of what's even happening within, on the ground floor of his businesses. Because that's like, not how CEOs in America run, run, and operate. Mary Carreon: They're stupid companies. So, so yeah. And I feel like that, like, that's across the board, like that's across the board. That's how I, that's probably how Zuck is operating with Meta and Facebook, et cetera. And yeah, just likewise and across, across the whole, [00:45:00] across the whole spectrum. Joe Moore: Mm-hmm. Yeah. And I think, um, a thing. Joe Moore: Then as the people like, we need to keep looking at how can we keep each other informed. And that's kind of circling back to drug journalism like we do and like, um, other, other sorts of journalism that doesn't really get the press it deserves. Right. And I've been getting far more content that I find more valuable off of tragically back on Zucks platform like IG is getting me so much interesting content from around the world that no major outlet's covering. Mary Carreon: That's so interesting. Like what? Like what would you say? Joe Moore: Oh, um, uh, certain, um, violent situations overseas. Oh, oh, got it. Yeah, yeah, yeah. And, um, you know, that America's paying for, so like, you know, I just don't love that I don't have a good, you know, journalistic source I can [00:46:00] point to, to say, hey, like right. Joe Moore: These writers with names, with addresses, like, and offices here. Yes. You know, they did the work and they're held, you know, they're ethical journalists, so yes. You can trust them. Right. You know what I mean? Yes, Mary Carreon: yes. Yeah, yeah, yeah. I mean, all of this makes everything so much harder for determining, like, the censorship specifically makes it so much harder for the people to determine like, what's real, what's not. Mary Carreon: Because, because of exactly what you just said. Mm-hmm. Like, you know, we are, we are basically what that means, like what is required of the people and people who are consuming information is becoming a smart consumer and being able to determine what's real, what's not. How can we trust this individual? Mary Carreon: How can we not, which isn't analysis process that all of us need to be sharpening every single day, especially with the advent of AI and, uh, how quickly this, this type of content is coming at all of us. Like, especially if you're on TikTok, which many of us are, you know, like information comes flying at you 3000 miles an hour, and it's sometimes [00:47:00] really difficult to determine what's real, what's not, because AI is. Mary Carreon: AI is not where it's going to be, and it still is in its nascent phase. However, it's still pretty fucking good and it's still very confusing on there. So, so again, like the media literacy of the people needs to be sharpened every single day. We cannot be on there, we cannot be on the internet existing. Mary Carreon: That everything that we are seeing is real. Whether that's about, you know, these, um, the violence overseas, uh, happening at the hands of the United States, whether that is, uh, even drug information like, you know, et cetera, all of all of it. Or just like news about something happening at Yellowstone National Park or something that is happening in the, uh, at like. Mary Carreon: Um, like potential riots also happening at protests in downtown la, et cetera. Like all, all of it, we need to be so careful. And I think what that also, like, one way that [00:48:00] we can adjust and begin to develop our media literacy skills is talking to people maybe who are there, reaching out to people who are saying that they were there and asking them questions, and also sussing that out. Mary Carreon: You know, obviously we can't do that for all situations, but definitely some of them. Joe Moore: Yeah, absolutely. Like, Joe Moore: um, a quick pivot. Mm-hmm. Were you at PS 25? Mary Carreon: Yes, I was. What did I think? Uh, you know, I, I was running around like crazy at this one. I felt like I didn't even have a second to breathe and I feel like I didn't even have a second to really see anybody. I was like, worry. I was jumping from one stage to the next. Mary Carreon: However, I would say, uh, one of, one of the things that I have said and how I felt about it was that I felt that this, this event was smaller than it was two years ago. And I preferred that I preferred the reduction in size just because it was, uh, less over, less overwhelming [00:49:00] in an, in an already very overwhelming event. Mary Carreon: Um, but I thought that from the panels that I did see that everyone did a really great job. I thought that maps, you know, it's impressive that maps can put on an event like that. Um, I also was very cognizant that the suits were there in full effect and, uh, you know, but that's not unusual. That's how it was last time as well. Mary Carreon: And, um, I felt that there was Mary Carreon: a, uh, like the, the, the level of excitement and the level of like opportunity and pro, like the prosperous. The like, prospect of prosperity coming down the pipeline like tomorrow, you know, kind of vibe was different than last time. Mm-hmm. Which that was very present at the one, two years ago, uh, which was the last PS psychedelic science. Mary Carreon: Yeah. Um, anyways. Yeah. But it was, you know, it was really nice to see everybody. [00:50:00] I feel like in-person events is a great way for everybody in the psychedelic space to be interacting with each other instead of like keyboard warrioring against each other, you know, uh, over the computer and over the internet. Mary Carreon: I think that, um, yeah, uh, being in person is better than being fighting each other over the internet, so, yeah. Joe Moore: Mm-hmm. People seem to be a little bit more civil in person. Mary Carreon: Exactly. Exactly. Mm-hmm. And I think that that is something that we all need to be considering more often, and also inviting people from across the aisle to your events and creating peace, because in person it's a little different than it is. Mary Carreon: When you have the opportunity to, uh, yeah, like keyboard attack someone over the internet, it's like, yeah. It's just so silly. So silly. We look like fools. Like we look like absolute idiots doing that. And you know what? I cannot sit here and say that I haven't looked like an idiot. So, you know, it's like I'm not, I'm not talking from like a high horse over here, but, but you know, it's like, it's [00:51:00] better when it's in person. Mary Carreon: I feel like there's like more civil engagements that we can all have. Joe Moore: It's practice, you know? Yeah. We're learning. Yeah. We are. We should be learning, including us, and yes, of course. Um, I, I play a subtler game these days and, uh, you know, I, I, I, it's better when we all look a lot better in my opinion, because yes, we can inform policy decisions, we can be the ones helping inform really important things about how these things should get implemented and absolutely right. Joe Moore: Like, Mary Carreon: absolutely. Yeah, it does. It does. Nobody, any service, especially these medicines, especially these sacraments, especially these plants, these molecules, et cetera, if we are all sitting here fighting each other and like calling each other names and trying to dunk on one another, when like in reality, we are also all kind of pushing for the same thing more or less. Joe Moore: Mm-hmm. So a thing that [00:52:00] I, it's a, it's kind of a, I, I had a great time at PS 25. I have no, no real complaints. I just wish I had more time. Yeah, same. Um, same. Yeah. Our booth was so busy. It was so fun. Just good. And it was like, good. I, I know. It was really good. I'm trying to say it out loud. I get to talk at the conference before Rick did. laughs: Oh, oh, Joe Moore: the morning show they put us on at like seven 30 in the morning or something crazy. Oh my god. It was early. I dunno if it was seven 30. Mary Carreon: That's so early. That's so early. Joe Moore: Yeah, right. Like that's crazy. I got zero nightlife in That's okay. Um, I was not, I was there for work. Yeah, Mary Carreon: yeah. I was Joe Moore: jealous. I didn't party, but you know, whatever. Joe Moore: Yeah, yeah. Mary Carreon: I did not party this time really in the same way that I did at PS 20. Was it 2023? Joe Moore: 23, yeah. 23. I only stay up till 11 one night in 23. Nice. Mary Carreon: Okay. Um, okay. Joe Moore: So I behaved, I have a pattern of behaving. 'cause I like That's good. I'm so bent outta shape inside going into these things. I'm like, I know, I know. Joe Moore: And, and I'm like, oh, all [00:53:00] my friends are gonna be there. It's gonna be great. And then it's like, yeah. It's mostly friends and only a little bit of stress. Yeah. Um, yeah. Yeah, Mary Carreon: yeah. I had a, I had a great time. It was really good seeing everybody again. Like you, I wish that I had more time with people. Like there are people that I like didn't even see who are my friends, Joe Moore: so, which Yeah. Joe Moore: Which is sad. That's like a subtext in, in like the notes coming away from 25. Is that the, um, American Right, if we wanna call it that, is very interested in this stuff. Oh yeah. Like the Texas establishment. Oh yeah. Um, the Texas contingent, right? They're deep. They're real deep. Mm-hmm. I have, um, Mary Carreon: let's talk about that more. Mary Carreon: Yeah. So Joe Moore: it's optimistic in, in some sense that psychedelic science is getting funded more. By states. 'cause the feds aren't stepping up. Right. I love that. Right. Yeah. Like, Hey feds, look what we can do. And you can't somehow, and [00:54:00] then, um, we'll see if state rights stays around for a while longer, maybe, maybe not. Joe Moore: And then the other part is like, is there a slippery slope given the rhetoric around addiction and the rise in interest in iboga for compulsory addiction treatment with psychedelics or, or compulsory mental health treatments with psychedelics because of the recent, it's illegal to be a person without housing. Joe Moore: Um, and you're gonna get put in treatment. Mm. Like, that's now a thing. So like, I don't know, I don't think forced treatment's good at all. I, and I don't think like, um, like the data is something like 15% effective, maybe less. Right. Right. It's not a good use of money. I don't know. We're, let's, I. You can go there if you want, and riff on that, or if you wanna talk about like, Texas, um, Arizona more generally. Mary Carreon: Yeah. I mean, I will just say this, I also don't really believe that forced treatment is like good, you [00:55:00] know, data Joe Moore: says it's bad. Mary Carreon: Yeah. Yeah. I also, yeah, I mean, it's like, I don't know. Yeah, that's, it's complex. It's a complex issue. I also don't think it's good, but I also do think that we need a much better framework and foundation for like, if people do want the help, helping them get it. Mary Carreon: Much more easily and in a way that's going to be beneficial for them. Um, and I don't think that that system or that pathway currently exists as we saw in, uh, with, with, um, measure 1 0 9 and the failure of measure 1 0 9 or, or was it Measure 1 0 10, 1 10, measure one 10 in Oregon. Joe Moore: But did you see the response yesterday or two days ago? Joe Moore: No, I didn't. No, I didn't. I'll I'll send it to you later. Okay. So the university did the research, um, Portland State University did the research Yes. And said, Hey, look, there was actually 20 other things that were higher priority. Like that actually influenced this increase in overdoses, not our law. Mary Carreon: Right. Mary Carreon: Yes. It was really COVID for Okay. [00:56:00] Like for, yeah. Right. Absolutely. Also, there was not a. Like there was not a framework in place that allowed people to get off the street should they want to, or you know, like, like you just can't really have a, all drugs are legal, or small amounts of drugs are legal without also offering or creating a structure for people to get help. Mary Carreon: That, that's, you can't do one without the other. Unfortunately. That's just like a, that's faulty from the start. So that's all I'll really say about that. And I don't think that that had fully been implemented yet, even though it was something that wasn't ideal for the, um, for the, for the measure. And I believe it was measure one 10, not measure 1 0 9, to be clear. Mary Carreon: Measure one 10. Um, yes, but confirmed one 10 confirmed one 10, yes. Mm-hmm. Um, but yeah, uh, that's, you know, that's kind of what I'll say. That's what I'll, that's where I'll leave that portion. Mm-hmm. You know? Uh, but yeah, forced treatment. I don't know. [00:57:00] We can't be forcing, forcing people to do stuff like that. Mary Carreon: I don't know. It's not gonna, it's, yeah, it doesn't seem Joe Moore: very humane. Mary Carreon: Yeah. No. And it also probably isn't gonna work, so, Joe Moore: right. Like, if we're being conservative with money, like, I like tote, like to put on Republican boots once in a while and say like, what does this feel like? And then say like, okay, if we're trying to spend money smartly, like where do we actually get where we want to be? Joe Moore: And then sometimes I put on my cross and I'm like, okay, if I'm trying to be Christian, like where is the most, like, what is the most Christian behavior here in terms of like, what would the, you know, buddy Jesus want to do? And I'm just like, okay, cool. Like, that doesn't seem right. Like those things don't seem to align. Joe Moore: And when we can find like compassionate and efficient things, like isn't that the path? Um, Mary Carreon: compassionate and t. Yeah, even, I don't know, I don't know if it looks lefty these days, but Yeah, I know what you mean. Yeah, I know what you mean. I know what you mean. Yeah. [00:58:00] Yeah. Um, yeah, it's complicated. It's complicated, you know, but going back, kind of, kind of pivoting and going back to what you were talking about in regards to the subtext, some of the subtext of like, you know, where psychedelic medicine is currently getting its most funding. Mary Carreon: You know, I do believe that that was an undercurrent at psychedelic science. It was the, the iboga conversation. And there's, there's a lot, there's a lot happening with the Iboga conversation and the Iboga conversation and, um, I am really trying to be open to listening to everyone's messages that are currently involved in. Mary Carreon: That rise of that medicine right now? Um, obviously, yeah, we will see, we'll see how it goes. There's obviously a lot of people who believe that this is not the right move, uh, just because there's been no discussions with, uh, the Wii people of West Africa and, you know, because of [00:59:00] that, like we are not talking to the indigenous people about how we are using their medicine, um, or medicine that does like that comes from, that comes from Africa. Mary Carreon: Um, also with that, I know that there is a massive just devastating opioid crisis here that we need to do something about and drug crisis that we need to be helping with. And this medicine is something that can really, really, really help. Um, I find it absolutely fascinating that the right is the most interested party in moving all of this forward, like psychedelic medicine forward. Mary Carreon: And I, I currently have my popcorn and I am watching and I am eating it, and I am going to witness whatever goes down. Um, but I'm, I, I hope that, uh, things are moving in a way that is going to be beneficial for the people and also not completely leave behind the indigenous communities where this medicine comes from. Joe Moore: [01:00:00] Mm-hmm. Mary Carreon: We'll see how it goes. Yeah. We'll see how it goes. We'll see how it goes. It Joe Moore: would be lovely if we can figure it out. Um, I know, and I think, uh, Lucy Walker has a film coming out on Iboga. Mm. I got to see it at Aspen, um, symposium last summer, and it was really good. Mm. So I'm sure it'll be cut different, but it's so good and it tells that story. Joe Moore: Okay. Um, in a helpful way. I'm gonna, I, yeah. I always say I'm gonna do this. I'm like, if I have space, maybe I'll be able to email her and see if we can screen it in Colorado. But it's like a brilliant film. Yeah. Cool. This whole reciprocity conversation is interesting and challenging. And so challenging being one of the few countries that did not sign onto the Nagoya protocol. Joe Moore: Absolutely. We're not legally bound, you know, some countries are Mary Carreon: I know. Yes, yes, yes. So Joe Moore: we're, you know, how do we do that? How do we do that skillfully? We still haven't done it with, um, first Nations folks around their [01:01:00] substances. Um, I think mushrooms are a little flexible and account of them being global, um, from Africa to Ireland and beyond. Joe Moore: And, but you know, that's, we still want to give a nod to the people in Mexico for sure. Yeah, absolutely. Absolutely. Yeah. Um, yeah. Yeah, it's, I had some fun commentary there that I would love to flesh out someday. Uh, but yeah, it's not for today. Mary Carreon: Yeah, yeah, yeah. Um, there's, yeah, there's obviously, there's obviously a lot with the conversation of reciprocity here and, um, I know, I, I don't know. Mary Carreon: I, I, what I do know is that we need to be listening to the indigenous people, not just listening to them second, like secondhand or listening to them, uh, once we have moved something forward, like actually consulting with them as the process goes. And that, you know, the way that both parties move, indigenous folks and, uh, western folks move, uh, are at inherently different paces. Mary Carreon: And, [01:02:00] um, I just hope, and I wish, and I, I hope, I just hope that, uh, Western what, like the Western party, the western folks who are diving into these medicines. Slow the fuck down and listen and just are able to at least make one right move. Just one, just like you. Like it's, doesn't have to be this, it doesn't have to be that hard. Mary Carreon: Although the pace of capitalism usually propels, uh, the western folks at, at a much quicker rate than, u

00:13:48 – EV Failures & Fascist MobilityAnalysis of Porsche and Volkswagen's financial struggles with EVs. EV mandates are described as deliberate destruction of private mobility, pushing people toward state-approved transport. 00:16:14 – Wisconsin Dairy Farmers TargetedState plans 1,700% fee hikes on livestock auctions, compared to the Netherlands farm crackdowns. Framed as part of Agenda 2030 and the war on food. 00:24:42 – Central Planning & Tariff ChaosComparison between tariffs and arbitrary farm fees. Trump's tariff volatility is described as accelerationist chaos, deliberately destabilizing economies. 00:28:56 – Alexander Dugin & Fourth Political TheoryDeep dive into Dugin's philosophy of multipolarity versus Western unipolarism. Interview context ties it to Russian influence in Europe and the collapse of liberal totalitarianism. 00:40:08 – Europe's Cultural SuicideDiscussion of Europe's collapsing birth rates, mass migration, and loss of sovereignty. Globalist elites are accused of destroying Christianity and national identity. 00:50:09 – Vaccine Schedule & Autism Head FakePreview of Trump and RFK Jr.'s autism announcement, dismissed as a head fake to protect vaccine companies. Focus on bloated childhood shot schedules undermining “science.” 00:57:29 – Autism “Head Fake” with TylenolTrump and RFK Jr. warn pregnant women against Tylenol, framed as a cover-up to distract from vaccine injuries linked to autism. 01:15:18 – Trump Boasts of Warp SpeedClips of Trump bragging about Operation Warp Speed clash with MAGA media's attempts to shift blame onto Fauci. 01:26:25 – SSRI Studies & Teen SuicidesReanalysis of Prozac trials shows suppressed adverse events, with SSRIs tied to suicides, psychosis, and possibly school shootings. 02:04:20 – Pentagon Reporters SilencedNew Pentagon rules require pre-approval of even unclassified stories, described as Trump's broader war on press freedom. 02:22:28 – Trump Exploits Kirk MemorialTrump claims Charlie Kirk's “last request” was to save Chicago, using the memorial as a political rally to justify militarizing cities. 02:25:56 – FBI & Kirk Assassination TheoriesFBI and Cash Patel promise to “investigate” conspiracy theories (text messages, hand signals, second shooter), but critics warn it's a whitewash like 9/11 or the Warren Commission. 02:31:03 – Forgiveness vs. Political IdolatryErica Kirk's forgiveness of her husband's killer draws admiration, while Trump and Turning Point are accused of turning the memorial into political worship. 02:34:20 – Gospel Preached Amid CynicismDespite political exploitation, testimonies and preaching at the memorial draw some to faith, with commentators stressing the focus must remain on Christ, not celebrity Christians. 02:55:30 – Trump's H-1B Visa ChaosConfusion erupts over Trump's $100,000 visa fee order. Conflicting statements fuel accusations of arbitrary, dictatorial policymaking. Follow the show on Kick and watch live every weekday 9:00am EST – 12:00pm EST https://kick.com/davidknightshow Money should have intrinsic value AND transactional privacy: Go to https://davidknight.gold/ for great deals on physical gold/silverFor 10% off Gerald Celente's prescient Trends Journal, go to https://trendsjournal.com/ and enter the code KNIGHTFind out more about the show and where you can watch it at TheDavidKnightShow.com If you would like to support the show and our family please consider subscribing monthly here: SubscribeStar https://www.subscribestar.com/the-david-knight-showOr you can send a donation throughMail: David Knight POB 994 Kodak, TN 37764Zelle: @DavidKnightShow@protonmail.comCash App at: $davidknightshowBTC to: bc1qkuec29hkuye4xse9unh7nptvu3y9qmv24vanh7Become a supporter of this podcast: https://www.spreaker.com/podcast/the-david-knight-show--2653468/support.

00:13:48 – EV Failures & Fascist MobilityAnalysis of Porsche and Volkswagen's financial struggles with EVs. EV mandates are described as deliberate destruction of private mobility, pushing people toward state-approved transport. 00:16:14 – Wisconsin Dairy Farmers TargetedState plans 1,700% fee hikes on livestock auctions, compared to the Netherlands farm crackdowns. Framed as part of Agenda 2030 and the war on food. 00:24:42 – Central Planning & Tariff ChaosComparison between tariffs and arbitrary farm fees. Trump's tariff volatility is described as accelerationist chaos, deliberately destabilizing economies. 00:28:56 – Alexander Dugin & Fourth Political TheoryDeep dive into Dugin's philosophy of multipolarity versus Western unipolarism. Interview context ties it to Russian influence in Europe and the collapse of liberal totalitarianism. 00:40:08 – Europe's Cultural SuicideDiscussion of Europe's collapsing birth rates, mass migration, and loss of sovereignty. Globalist elites are accused of destroying Christianity and national identity. 00:50:09 – Vaccine Schedule & Autism Head FakePreview of Trump and RFK Jr.'s autism announcement, dismissed as a head fake to protect vaccine companies. Focus on bloated childhood shot schedules undermining “science.” 00:57:29 – Autism “Head Fake” with TylenolTrump and RFK Jr. warn pregnant women against Tylenol, framed as a cover-up to distract from vaccine injuries linked to autism. 01:15:18 – Trump Boasts of Warp SpeedClips of Trump bragging about Operation Warp Speed clash with MAGA media's attempts to shift blame onto Fauci. 01:26:25 – SSRI Studies & Teen SuicidesReanalysis of Prozac trials shows suppressed adverse events, with SSRIs tied to suicides, psychosis, and possibly school shootings. 02:04:20 – Pentagon Reporters SilencedNew Pentagon rules require pre-approval of even unclassified stories, described as Trump's broader war on press freedom. 02:22:28 – Trump Exploits Kirk MemorialTrump claims Charlie Kirk's “last request” was to save Chicago, using the memorial as a political rally to justify militarizing cities. 02:25:56 – FBI & Kirk Assassination TheoriesFBI and Cash Patel promise to “investigate” conspiracy theories (text messages, hand signals, second shooter), but critics warn it's a whitewash like 9/11 or the Warren Commission. 02:31:03 – Forgiveness vs. Political IdolatryErica Kirk's forgiveness of her husband's killer draws admiration, while Trump and Turning Point are accused of turning the memorial into political worship. 02:34:20 – Gospel Preached Amid CynicismDespite political exploitation, testimonies and preaching at the memorial draw some to faith, with commentators stressing the focus must remain on Christ, not celebrity Christians. 02:55:30 – Trump's H-1B Visa ChaosConfusion erupts over Trump's $100,000 visa fee order. Conflicting statements fuel accusations of arbitrary, dictatorial policymaking. Follow the show on Kick and watch live every weekday 9:00am EST – 12:00pm EST https://kick.com/davidknightshow Money should have intrinsic value AND transactional privacy: Go to https://davidknight.gold/ for great deals on physical gold/silverFor 10% off Gerald Celente's prescient Trends Journal, go to https://trendsjournal.com/ and enter the code KNIGHTFind out more about the show and where you can watch it at TheDavidKnightShow.com If you would like to support the show and our family please consider subscribing monthly here: SubscribeStar https://www.subscribestar.com/the-david-knight-showOr you can send a donation throughMail: David Knight POB 994 Kodak, TN 37764Zelle: @DavidKnightShow@protonmail.comCash App at: $davidknightshowBTC to: bc1qkuec29hkuye4xse9unh7nptvu3y9qmv24vanh7Become a supporter of this podcast: https://www.spreaker.com/podcast/the-real-david-knight-show--5282736/support.

Author and coach Jen Butler joins me to talk about the wild Venn diagram of midlife: perimenopause, PMDD, motherhood, and the courage to break up with both alcohol and diet culture. Jen shares how cycle tracking helped her spot a clear mid-cycle mood crash, the conversation that led to her PMDD diagnosis, and why taking fluoxetine (Prozac) in her luteal phase lets her feel like herself all month.We get into night sweats, brain fog, strength training by your cycle, communicating with partners and kids, and how seven years alcohol-free opened the door to deeper healing—plus her forthcoming memoir, Mom Rediscovered: My Midlife Breakup with Drinking and Diet Culture. If you've ever wondered whether thriving in this season is possible… this one's for you.We cover:Perimenopause signs & PMDD (and what finally helped)Luteal-phase SSRIs: what it's like on Prozac only half the monthFitness + strength: adjusting weights across your cycleQuitting wine-mom culture & becoming alcohol-freeDitching diet culture for body appreciationParenting through hormones: honesty, safety, and therapyTo connect with Jen: Website: jenbutlerwrites.comInstagram: @jenbutlerwrites---The Cycle Codes:Instagram: @thecyclecodes

Jim Marrs joins Freeman for a discussion of Alien connections to the Nazi elite and the rise of the Fourth Reich in America. Also discussed are the Annunaki, ancient Sumer and Egypt. Jim is an expert on Ancient Astronauts, the NWO, Nazi UFOs, Skull and Bones, Bush Dynasty, the CIA, and NSA, Trilateral Commission, Bilderbergers, CFR, Flying Saucers, and the Alien Agenda. This show with Jim Marrs aired on Radio Freeman Nov. 09, 2010 on American Freedom Radio Jim Marrs is author of Rule by Secrecy, which traced the hidden history that connects modern secret societies to the Ancient Mysteries. It reached the New York Times Best Seller list. In 2003, his book The War on Freedom probed the conspiracies of the 9/11 attacks and their aftermath. It was released in 2006 under the title The Terror Conspiracy. In mid-2008, his book The Rise of the Fourth Reich, detailing the infiltration of National Socialism into the USA, was published followed by a study of mysteries entitled Above Top Secret. Associate Producer: Steve Mercer Send comments and guest suggestions to producersteve@freemantv.com Topics include: Freemasonry, Religion of World - Bureaucrats - Skull and Bones - Perks for Lower Masons - Albert Pike, Albert Mackey - Rosicrucians. Levels, Grades, Degrees - Noble Orders, Old Aristocracy, Knighting, Sirs - Terminology of Architecture and Building - "Building the Temple" - Knights Templars. United States, Founding Fathers, British Crown, Royal Charters - Masonic Lodge Meeting, Constitution, Benjamin Franklin, France. Foundations under Cloak of Charity - Political Group and NGO funding - Demands for Laws to be Passed - Soviet Union. Chemtrails - Aerial Spraying of Prozac, Valium - Weather Modification - Tranquilizing Public - "Brave New World". Hollywood (Holy Wood, Grove) - Giving You Your Thoughts - Subliminals - Royal Institute for International Affairs, Council on Foreign Relations. Worldwide HAARP - Earthquake, Tornado, Drought, Famine, Tsunami Creation. Mystery Religions, "Societies with Secrets" - Masonic Obelisks across U.S.-Canada Border. Hermaphroditic Symbol - Perfection of Human Being - Cessation of All Conflict - Perfected Worker Breed, Ideal Design, Purpose-Made Humans. Dictatorships - Scientific Indoctrination, Bertrand Russell, Experimental Schools - "Contaminated Ideas" - Kindergarten. Total War - British Military Academies, Hitler's Army - Mercenaries, Armies - Carroll Quigley. Project for a New American Century, Wolfowitz - War in Middle East - John Stewart Mill - Peoples, Races to be Eliminated - H.G. Wells.

Joanna Moncrieff is a British psychiatrist and academic. She is Professor of Critical and Social Psychiatry at University College London and a member of the Critical Psychiatry Network. She is the author of The Myth of the Chemical Cure and The Bitterest Pills, which are considered central texts in the critical psychiatry movement. Moncrieff is critical of mainstream psychiatry's medical model of mental illness. Professor Moncrief's 2022 paper in molecular psychiatry didn't just make waves, it created a tsunami. Leading a systemic review of five decades of research, she and her team definitively demonstrated what no one had dared to state so clearly that there's no convincing evidence that depression is caused by a serotonin imbalance or any chemical imbalance at all. This paper became one of the most widely read scientific papers in modern history, ranking in the top 5 % of all research ever tracked. The world took notice because the world needed to know. Her groundbreaking new book, Chemically Imbalanced, The Making and Unmaking of the Serotonin Myth, meticulously documents how an entire medical narrative was constructed without scientific foundation marketed to billions and defended by institutions that should know better.https://joannamoncrieff.com/2022 paper in molecular psychiatry on Serotonin Chemically Imbalanced: The Making and Unmaking of the Serotonin Myth Dr. Roger McFillin / Radically Genuine WebsiteYouTube @RadicallyGenuineDr. Roger McFillin (@DrMcFillin) / XSubstack | Radically Genuine | Dr. Roger McFillinInstagram @radicallygenuineContact Radically GenuineConscious Clinician CollectivePLEASE SUPPORT OUR PARTNERS15% Off Pure Spectrum CBD (Code: RadicallyGenuine)10% off Lovetuner click here

John Goblikon, Host of the RIGHT NOW! Podcast and lead singer of @nekrogoblikonofficial Check out the episode with Howie here: https://youtu.be/moXCSBMQ5XA?si=cCFysbCAN_99h3HZ Brad "Labubu" Williams is an American actor and stand-up comedian who has appeared in many films and television shows. He's known for his high-energy live performances, which often result in standing ovations. The late Robin Williams called him “Prozac with a head”. Williams has been performing stand-up since a young age and tours constantly. He's appeared on many talk shows, including Jimmy Kimmel Live, The Tonight Show, and Dave Attell's Comedy Underground. Bobbys World Merchandise from Retrokid: https://retrokid.ca/collections/bobbys-world Howie Mandel Does Stuff available on every Podcast Platform Visit the Official Howie Mandel Website for more: https://www.howiemandel.com/ Howie Mandel Does Stuff Merchandise available on Amazon.com here https://www.amazon.com/shop/howiemandeldoesstuff Join the "Official Howie Mandel Does Stuff" Reddit: https://www.reddit.com/r/HowieMandelPodcast/ Thanks to Our Sponsors: FODZYME is a clinically validated, tasteless enzyme powder you sprinkle right on food, making it a great solution for common food triggers. These enzymes go to work, breaking down those troublesome FODMAPs like garlic, onion, wheat, or dairy; before they can wreak havoc! Right now, you can get $15 off your first order with code ‘HOWIE15' at fodzyme.com Gate 1 Travel has been planning tours for over 40 years! They take all that messy travel planning and tidy it up into a beautiful, organized trip. Centrally located hotels, expert tour managers and immersive experiences. You want to see penguins in Antarctica? Boom! You want to eat pasta in Italy? Done! And their tour managers aren't some random American tourist trying to wing it, they're local experts! Use the code ‘HOWIE20' and get 20% OFF escorted tours and river cruises at gate1travel.com SuperMouth upgrades your entire oral care routine to the smartphone era. Their Ultim8 SmartBrush removes up to 40 times more plaque and uses UV sanitization to zap germs. Plus, their patented Liquid Enamel Technology™ is like armor for your teeth. With over 200 premium products customized for every age, every stage, and every family member—even those weirdos squeezing toothpaste from the middle. Use code ‘HOWIE10' for 10% off sitewide at SuperMouth.com! Say Hello to our house band Sunny and the Black Pack! Follow them here! YouTube: https://www.youtube.com/@BlackMediaPresents TikTok: https://www.tiktok.com/@blackmediapresents Spotify: https://open.spotify.com/artist/01uFmntCHwOW438t7enYOO?si=0Oc-_QJdQ0CrMkWii42BWA&nd=1&dlsi=a9792af062844b4f Facebook: https://www.facebook.com/SunnyAndTheBlackPack/ Instagram: https://www.instagram.com/blackmediapresents/ Twitch: https://www.twitch.tv/blackmediapresents Twitter: twitter.com/blackmedia @howiemandel @jackelynshultz @therealjohngoblikon @bradwilliamscomic

More than 1 in 10 people in the United States take an antidepressant. And the most commonly prescribed type of antidepressant are SSRIs — or selective serotonin reuptake inhibitors. That includes drugs like Zoloft, Prozac and Lexapro. But what happens when some patients decide they want to stop taking their SSRIs? While doctors know stopping SSRIs can sometimes cause unpleasant short-term side effects – like dizziness, anxiety, insomnia and nausea – some people report symptoms that last months, even years. So, with investigative reporter Emily Corwin and professor of clinical psychology Michael Hengartner, we're diving into the research around the long-term effects of going off your antidepressants – what it shows and its limits. Read more of Emily Corwin's reporting on the topic here. Want more stories on mental health? Email us at shortwave@npr.org.Listen to every episode of Short Wave sponsor-free and support our work at NPR by signing up for Short Wave+ at plus.npr.org/shortwave.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

EVERYONE who signs up wins a FREE WhisperVibe™ OR a FREE Rose toy with any Whisper™ order! ⁠https://www.bboutique.co/vibe/emilymorse-podcast⁠ Join the SmartSX Membership : ⁠https://sexwithemily.com/smartsx⁠ Access exclusive sex coaching, live expert sessions, community building, and tools to enhance your pleasure and relationships with Dr. Emily Morse. List & Other Sex With Emily Guides: ⁠https://sexwithemily.com/guides/⁠ Explore pleasure, deepen connections, and enhance intimacy using these Sex With Emily downloadable guides. SHOP WITH EMILY!: ⁠https://bit.ly/3rNSNcZ ⁠(free shipping on orders over $99) Want more? Visit the Sex With Emily Website: ⁠https://sexwithemily.com/ In this powerful episode of Sex with Emily, Dr. Emily tackles one of the biggest barriers to great sex: fear. From fear of rejection to body image anxieties, this episode explores how our sexual fears hold us back and provides practical strategies for overcoming them. Dr. Emily opens with the fundamental truth that fear is often "false evidence appearing real" - we create rules around what we're afraid of and then live by them, preventing ourselves from having the sex we truly want and deserve. Throughout the episode, Dr. Emily addresses common sexual fears from farting during sex to penis size anxieties to performance worries, emphasizing that we're all perfectionists when it comes to sex despite reality being much messier and more human. The episode concludes with the empowering message that facing our fears is the path to becoming our own best sexual advocate. When we ask for what we want authentically, we either get our needs met or gain valuable information about compatibility, because we all deserve pleasure and shouldn't put ourselves last in our own sexual lives. Timestamps:0:00 - Introduction 0:23 - How Antidepressants Affect Your Sex Life 1:15 - Female Sexuality and Cultural Double Standards2:30 - Wetness Myths: Arousal vs. Lubrication Explained 6:26 - When You're "Too Wet" - Solutions and Normalizing 8:17 - Understanding Arousal Beyond Physical Signs 9:06 - Kegel Exercises for Better Orgasms 13:15 - Caller April: Relationship Stress Killing Sex Drive 17:00 - Communication Red Flags in Relationships22 23:40 - Prozac and Orgasm Difficulties 26:31 - Switching from Lexapro to Wellbutrin Success Story 28:40 - Why Medication Doses Differ for Women

On this episode of Vitality Radio, Jared addresses Illinois' new mandate requiring annual mental health screenings for students in grades 3–12. While it's being framed as a step forward for children's well-being, Jared unpacks the hidden ties to pharmaceutical interests, the flawed screening tools linked to Pfizer, and the real risk of funneling kids toward lifelong prescriptions of SSRIs and other psychotropic drugs. You'll learn why the “chemical imbalance” theory of depression has been debunked, how placebo often performs as well as antidepressants in studies, and the dangers of medicating developing brains. Jared also shares his wife Jen's powerful journey of breaking free from decades on antidepressants through nutrition, gut healing, and root-cause support. This episode challenges the narrative that more medication equals better care, highlighting safer, natural paths to emotional vitality. If you're a parent, grandparent, or simply concerned about the future of mental health in our schools, this conversation is a must-listen.Products:LifeSeasons Lion's Mane Mushroom (Vitality Radio POW! Product of the Week $15 each when you purchase two bottles with PROMO CODE: POW5)Additional Information:Jen's Story: Episodes #264, 423, 438, 457, 505#545 VR Vintage: The Natural Approach to Mental Health: How To Optimize Mood and Reduce Anxiety With Lifestyle and SupplementsVisit the podcast website here: VitalityRadio.comYou can follow @vitalitynutritionbountiful and @vitalityradio on Instagram, or Vitality Radio and Vitality Nutrition on Facebook. Join us also in the Vitality Radio Podcast Listener Community on Facebook. Shop the products that Jared mentions at vitalitynutrition.com. Let us know your thoughts about this episode using the hashtag #vitalityradio and please rate and review us on Apple Podcasts. Thank you!Just a reminder that this podcast is for educational purposes only. The FDA has not evaluated the podcast. The information is not intended to diagnose, treat, cure, or prevent any disease. The advice given is not intended to replace the advice of your medical professional.

To donate to my PayPal (thank you): https://paypal.me/danieru22?country.x=US&locale.x=en_US Join us as American journalist and author, Robert Whitaker, discusses his work as detailed in Mad in America and Anatomy of an Epidemic, exposing the troubling history and consequences of psychiatric treatment in America. He discusses how psychiatry's shift from moral treatment to medication-driven care, fueled by media hype and pharmaceutical influence, has led to an “iatrogenic epidemic” of chronic mental illness. Whitaker critiques the overstated promises of drugs like Thorazine and Prozac, which were claimed to “empty hospitals” but often worsened long-term outcomes. Join us for a thought-provoking conversation challenging conventional wisdom and advocating for a reevaluation of mental health care. LINKS https://www.madinamerica.com/ Note: Information contained in this video is for educational purposes only and is not intended as a substitute for treatment or consultation with a mental health professional or business consultant.

Today's WKXL NH Unscripted guest was celebrity dwarf comedian Brad Williams! Calling in from CA Brad wanted to talk about his upcoming shows Aug. 8th at the Capitol Center for the Arts. His press release says it all: ”Pound for pound, Williams is one of the funniest comedian in the country right now and has taken the comedy world by storm with sold out concerts across the U.S. and Australia along with numerous comedy specials with his most recent being Starfish. In September, Brad will be seen in the movie Spinal Tap II: The End Continues and if this is not enough, there is also the entrepreneurial side to Brad – he has just come out with a hot sauce called DEATH BY DWARF. His high energy live performances frequently produce standing ovations from audience members; which prompted the late Robin Williams to call him “Prozac with a head.”

According to the CDC, almost 10% of American women of child bearing age are on SSRIs – Selective Serotonin Reuptake Inhibitors – a class of antidepressants that include such medications as Lexapro, Prozac and Zoloft. But are they safe to take during pregnancy? Tracy Beth Høeg, MD, PhD and Senior Advisor for Clinical Sciences in […]

In this bonus episode for Patreon subscribers, Emerald is joined by Jocelyn Brewer, psychologist and Greens candidate for the south Sydney seat of Watson in the 2025 federal election, for a discussion about the state of mental health treatment in Australia. Why don’t reviews work? What is the pathologisation of sadness? Is Headspace bad? Why are young people in such a bad spot? Can AI help? And how can we navigate our mental health while the capitalist corporate hellscape disintegrates? ---------- The show can only exist because of our wonderful Patreon subscriber’s support. Subscribe for $3/month to get access to our fortnightly subscriber-only full episode, and unlock our complete library of over SEVENTY-FIVE past bonus episodes. https://www.patreon.com/SeriousDangerAU ---------- Links - Jocelyn’s website - https://jocelynbrewer.com/ ‘Australia's mental health plan 'not fit for purpose' and must be re-designed, new report finds’ ABC - https://www.abc.net.au/news/2025-06-24/mental-health-and-suicide-agreement-flawed-productivity-report/105453974 ‘Sedated: How Modern Capitalism Created our Mental Health Crisis’ by James Davies - https://www.goodreads.com/book/show/57751566-sedated ‘Headspace and Orygen's ties to the zionist regime and the colonisation of Palestine’ Matt Chun - https://mattchun.substack.com/p/headspace-and-orygens-ties-to-the ‘A Users Guide to the Mind’ Ian Hickie, James O'Loghlin - https://www.penguin.com.au/books/a-users-guide-to-the-mind-9781761620225 ‘Lost Connections: Uncovering the Real Causes of Depression - and the Unexpected Solutions’ Johann Hari - https://www.goodreads.com/book/show/34921573-lost-connections ‘Talking Back to Prozac: What Doctors Aren't Telling You about Today's Most Controversial Drug’ Peter R. Breggin, Ginger Ross Breggin - https://www.goodreads.com/book/show/107210.Talking_Back_to_Prozac ‘Prozac Nation’ Elizabeth Wurtzel - https://www.goodreads.com/book/show/227603.Prozac_Nation Produced by Michael Griffin Follow us on https://twitter.com/SeriousDangerAU https://www.instagram.com/seriousdangerau https://www.tiktok.com/@seriousdangerauSupport the show: http://patreon.com/seriousdangerauSee omnystudio.com/listener for privacy information.

Sophie Flack Take a walk me down Fascination Street Podcast, as I get to know Sophie Flack. I was first introduced to Sophie as a result of a conversation with previous guest Yul Vazquez. Sophie is a former member of The Corp De Ballet with The New York City Ballet. After she retired from that, she got a degree from Columbia University, and then wrote a best-selling Young Adult novel called Bunheads, which explores the intricacies and heartaches of the life of a professional ballerina. Sophie has written for multiple magazines and publications about her experiences and has helped shine a light on some of the ways that these dancers are treated. Fairly recently, Sophie started a jewelry company which focuses on pieces that help de-stigmatize mental health and eating disorders. Her company is called MAD FINE, and some of the pieces include 'in the know' references to: Zanex, Klonopin, Prozac, and the abortion pill. She has pieces that align with emotional baggage, and even silly trophies. All of these pieces are designed to bring these issues to light and for the wearer to engage in conversations with like-minded individuals. These pieces are stunning, and unique. My personal favorite is the mixed metals cassette tape! Sophie is very vulnerable in this conversation. She openly discusses her previous battles with anorexia, self-doubt, and thoughts of suicide. Check out her jewelry, read her book, heck, just reach out and tell her you enjoyed her candor.

Mike, Manny and Dan return for part two of their offseason recap, this time talking Dvorak and Vladar, what is the plan in net? York, Cates and Foerster extensions, more!

You didn't have to wait long this week for the new episode - but listen to how weary The Kinks are in 1965's dreamy "Tired of Waiting For You." A languid version of the slashing riffs Dave Davies had heretofore been known for! Later that year, New Zealand's Rayders raided the platter-racks with their version of the tune. Detroit's Apostles came out with a fairly funky version with cool drummin' and some totally psych church organ. Things just got weirder when Nancy & Lee released their rendition: it's pretty Prozac-y! Finally, Bill Frisell, the man Erik & Weldon watched a few weeks back, is heard playing a very space-age instro version. It's your life, you can pick what you want!

In this explosive and highly anticipated episode, Dr. Roger McFillin hosts Dr. Ragy Girgis, a Columbia University Professor of Psychiatry and researcher, for a no-holds-barred confrontation that exposes the shocking divisions tearing apart the mental health field. What begins as a conversation about mass violence research rapidly explodes into a devastating examination of psychiatric medicine's crumbling foundations, questionable effectiveness, and devastating potential harms. The two clash in fierce, unrelenting disagreements over fundamental issues including the validity of DSM diagnoses, the debunked "chemical imbalance" theory of depression, dangerous SSRI safety cover-ups and black box warnings, corrupted research quality and pharmaceutical industry manipulation, and the catastrophic crisis of psychiatric drug overprescription poisoning 1 in 4-5 Americans. Dr. Girgis desperately defends traditional academic psychiatry and current treatment approaches, while Dr. McFillin ruthlessly dismantles the entire paradigm, arguing that the current system is systematically creating chronic mental illness rather than healing it. Buckle up for this brutal intellectual warfare.___________________________________________________________________________________________________________________________________________________Throughout the interview, Dr. Girgis repeatedly stated that "the data is clear" while dismissing contradictory evidence that challenges his conclusions. For our listeners' benefit, I have compiled research and documentation that directly disputes several of Dr. Girgis's key claims.Serotonin Hypothesis of Depression1. The serotonin theory of depression: a systematic umbrella review of the evidence (Moncrieff et al.)Conclusions: "This review suggests that the huge research effort based on the serotonin hypothesis has NOT produced convincing evidence of a biochemical basis to depression. This is consistent with research on many other biological markers . We suggest it is time to acknowledge that the serotonin theory of depression is NOT empirically substantiated."2.What has serotonin to do with depression?Conclusions: "Simple biochemical theories that link low levels of serotonin with depressed mood are no longer tenable."3. Is the chemical imbalance an ‘urban legend'? An exploration of the status of the serotonin theory of depression in the scientific literatureViolence & Suicide Associated with SSRI's 1. Precursors to suicidality and violence on antidepressants: systematic review of trials in adult healthy volunteers2. Prescription Drugs Associated with Reports of Violence Towards Others3. Antidepressant-induced akathisia-related homicides associated with diminishing mutations in metabolizing genes of the CYP450 family4. Lexapro Approved for Pediatric Use Despite the 6-Fold Increase in Suicide Risk5. McFillin Substack Review on Lexapro approved despite Suicide Risk6. Suicidality and aggression during antidepressant treatment: systematic review and meta-analyses based on clinical study reports7. Antidepressants Increase Suicide Attempts in Youth; No Preventative Effect8. Effect of selective serotonin reuptake inhibitor treatment following diagnosis of depression on suicidal behaviour risk:9.  FDA Warning: Antidepressants increase the risk of suicidal thinking and behavior (suicidality) in children and adolescents10.  Suicide Mortality in the United States, 2001–2021 CDC documentation11. US suicide rate reaches highest point in more than 80 years: See what latest data shows12.  CNN article reporting Eli Lilly Internal Documents"An internal document purportedly from Eli Lilly and Co. made public Monday appears to show that the drug maker had data more than 15 years ago showing that patients on its antidepressant Prozac were far more likely to attempt suicide and show hostility than were patients on other antidepressants and that the company attempted to minimize public awareness of the side effects. The 1988 document indicated that 3.7 percent of patients attempted suicide while on the blockbuster drug, a rate more than 12 times that cited for any of four other commonly used antidepressants.In addition, the paper said that 1.6 percent of patients reported incidents of hostility -- more than double the rate reported by patients on any of four other commonly used antidepressants."Examples of Violence after Prescription in legal system (Sample)January 24, 2020 – Newcastle, South Dublin, Ireland: Deirdre Morley, 44, smothered and killed her two sons Conor, 9, and Darragh, 7, and her three-year-old daughter Carla McGinley in their family home. She had been taking antidepressants since October 2018 and was admitted to St. Patrick's Mental Health Services on July 6, 2019, but was discharged after a short period, but was put on a combination of two antidepressants and a sedativeMay 11, 2018 – Osmington, Western Australia: Peter Miles, 61, shot his 35-year-old daughter and four grandchildren, aged 8 through 13, while they slept in their beds, in a shed that had been converted to a second house on the property. He then turned the gun on his 58-year-old wife in the living room of their house, before placing a call to police alerting them to his crimes. When they arrived, Miles was also found dead from a gunshot wound. Miles had started taking antidepressant medication just weeks before.April 6, 2018 – Wadsworth, Ohio: Gavon Ramsay, 17, strangled his neighbor, 98-year-old Margaret Douglas in her own home. His parents blame his actions on his having been misprescribed Zoloft. After a report by his school principal that the teen was depressed and might harm himself, he “returned to therapy,” and after a recommendation by a psychologist, the family's pediatrician prescribed the antidepressant Zoloft. From January through March leading up to the incident, the dosages were increased. During this time, his mother said she observed her son's behavior change—becoming increasingly irritable and hostile and saying bizarre things.October 21, 2013 – Sparks, Nevada: 12-year-old Jose Reyes opened fire at Sparks Middle School, killing a teacher and wounding two classmates be...

Gwen & Kate chat about manifestation – is Kate finally a convert?? Walking cats and picking blueberries bra-less while dressed like Florence and the Machine. And Gwen opens up about her personal foray into anti-depressants, with potentially life-saving inside advice from a doctor friend, plus we talk orgasms! Plus, listener shout-outs and Kate's obsession with Tim Key continues with her reading out one of his LA poems replete with an astonishing American accent. If you're struggling with your mental health, please don't suffer in silence. The below organisations can provide support:MindSamaritansShout Crisis Text LineNHSFor all RUMP info in one place: visit our linkt.ree Get a shout-out:Want a mention on the next RUMPette? Tell us your feedback or what you do to make yourself feel good: rightupmypodcast@gmail.com Support RUMP: If you enjoy the podcast, please subscribe, share with your friends and leave a review. It takes less than 60 seconds and really makes a difference in helping people discover the podcast. Thank you! Join the RUMP Club! Support the team and access exclusive content from as little as £3 p/month at: Right Up My Podcast | Patreon Or, if you'd like to make a one-off donation, you can buy us a virtual coffee from Buy Me a Coffee! Be social with us:Instagram Facebook TikTok Thank you to our team:Music - Andrew GrimesArtwork - Erica Frances GeorgeSocial Media - Kate Balls

#641 It was like free, healthy Prozac.

In this powerful episode of the Tick Boot Camp Podcast, we welcome Austin Shubert, a 27-year-old outdoorsman, hunter, and field technician from Zebulon, Georgia. He shares his deeply personal and emotional journey from vibrant health to chronic illness and back toward recovery. Raised in the woods, surrounded by ticks since childhood, Austin never imagined that a single tick bite could change his life.

As we arrive at Episode 423, we're celebrating 9 years of the Mom & Mind Podcast! I never imagined this possibility, but I'm so honored to share these profound stories and feature these helpful experts. I'm thankful to the real rockstars, every single listener. We continue to address every aspect of perinatal mental health, raising awareness and spreading a message of hope. Each person's journey of vulnerability, difficulty, and healing is important, and we hope that the insights and resources we share can help others. I'm excited to bring you another episode with Dr. Shoshana Bennett, the very first expert guest to appear on the podcast way back in 2016.  After two life-threatening bouts of postpartum illness, Dr. Shoshana Bennett helped pioneer the field of maternal mental health in the US. She founded Postpartum Assistance for Mothers in 1987, became president of California's Postpartum Health Alliance, and served as president of Postpartum Support International. Dr. Shosh is the author of Children of the Depressed, Postpartum Depression for Dummies, and Pregnant on Prozac. She co-authored Beyond the Blues: A Guide to Understanding and Treating Prenatal and Postpartum Depression. She created the first app for postpartum depression and is an executive producer of the documentary, Dark Side of the Full Moon. Dr. Shosh co-founded the Postpartum Action Institute, which is committed to promoting parental health. To date, she has helped over 20,000 new parents around the world through private consultations, teleclasses, conferences, webinars, and support groups.  Show Highlights: Intimacy is SO much more than “just sex.” Examples of intimacy and connection Barriers to intimacy include assumptions, lack of communication, taking each other for granted, and not showing love in various ways. A lack of appreciation leads to a battle over who's working harder and resentment. Dr. Shosh's advice to couples to “get more of what you need.” The importance of being respectful instead of snappy, critical, and nasty (“YOU are responsible for what comes out of your mouth, whether you are sleep-deprived or not.”) Dates are important and should not be “back-burnered.” (Hear Dr. Shosh's rules for dating when there is a new baby at home!) Anticipation of the next date is important! Get creative with physical intimacy! The key to intimacy is to approach a partner without complaining; we have to re-educate ourselves. Be intentional in your relationship. “Humor is golden and can help in difficult times.” (Laughing together adds to intimacy!) Resources: Connect with Dr. Shoshana Bennett:  Website Dr. Shosh's past Mom & Mind episodes: 2, 3, and 154 Books and the documentary: Children of the Depressed, Postpartum Depression for Dummies, Pregnant on Prozac, Beyond the Blues: A Guide to Understanding and Treating Prenatal and Postpartum Depression, and Dark Side of the Full Moon. Call the National Maternal Mental Health Hotline at 1-833-TLC-MAMA or visit cdph.ca.gov Please find resources in English and Spanish at Postpartum Support International, or by phone/text at 1-800-944-4773. There are many free resources available, including online support groups, peer mentors, a specialist provider directory, and perinatal mental health training for therapists, physicians, nurses, doulas, and anyone who wants to become more supportive in offering services.  You can also follow PSI on social media: Instagram, Facebook, and most other platforms Visit www.postpartum.net/professionals/certificate-trainings/ for information on the grief course.   Visit my website, www.wellmindperinatal.com, for more information, resources, and courses you can take today! If you are a California resident looking for a therapist in perinatal mental health, email me about openings for private pay clients! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Unleashed: The Political News Hour with Susan Price – Pandora's Prozac agenda exposes the hidden impact of Big Pharma and serotonergic drugs on society. From the weaponization of food and medicine to new wellness initiatives led by RFK Jr., this piece explores the fight for health, truth, and accountability, revealing how holistic approaches and justice could reshape America's future...

This week on In The Vet’s Office, Dr. Josie Horchak is joined by reality TV favorite Victoria Fuller for a chat about life with her fur family. Victoria opens up about her diva Tortie cat, Miss Ma’am, who’s been staging a bathroom rebellion. Dr. Josie gets to the bottom of what might be causing the litterbox boycott, from texture preferences to feline stress—and yes, cat Prozac is on the table. Victoria also shares about her father/son Labrador duo Buxton & Cash. She spills the story of how she has a doggie dating app to thank for Cash and his siblings. While the entire litter found loving homes, one adopter took in three siblings—and now they're in behavioral chaos. Dr. Josie explains why bringing home littermates is rarely a good idea and offers tips for untangling bad habits. Plus, hear about Buxton’s recent ACL surgery and why Dr. Josie warns that a second tear might be looming. In this week’s "Case of the Week," Dr. Josie shares the wild (and dangerous) tale of a dog who ate raw bread dough. And don't miss her "Paw & Order" list—the top things she’d never do with her own pets.See omnystudio.com/listener for privacy information.

Oh the irony. We are taught - largely through entertainment and media sources - that monsters come in the dark. To be afraid. Be alert and know that danger lurks around every corner.Why irony? Because the truth is that the darkness isn't danger. Usually that danger IS human-driven and the reality is that we NEED darkness. To reset our bodies, to rest and as I've come to discover by living deep in the woods - to find the light.ALSO  - There is a small irony in this episode - as I'm talking about deep darkness and isolation - there is a sound in the background that you don't expect  … I wonder which of you will catch what it is?! When you do, shoot me an email - and I'll send you a t-shirt from The Hydrant Club - our members-only “Puppies, Better than Prozac” t-shirt!In a world where what passes for radical honesty usually means someone is just letting things fly outta their pie-hole without much care for others, it's time for radically authentic conversation. Conscious communication is simple, but often isn't easy. That's why Cathy Brooks created Talk, Unleashed – a weekly podcast of radically honest conversation about — everything. Whether her own musings or in conversation with industry leaders, each episode invites curiosity. Curiosity not about what people do, but why they do it. Who they are and what makes them tick. It's about digging underneath to reveal the thing that is most true - that we are more alike than we are not. A mix of solo episodes where Cathy shares her insights and experience or Cathy engaged in conversation with fascinating humans doing amazing things. No matter the format - it's unvarnished, radically honest and entirely unleashed. This podcast compliments Unleashed Leadership, the coaching business through which Cathy works with symphony orchestras, corporate clients, and individuals to help them unleash and untether their leadership and connect with others in a way that truly engages.#dontbeafraid #peaceindarkness #darkness #light #woods #honesty #brutalhonesty #radicalhonesty #consciouscommunication #leadership #Conversation #connection #TalkUnleashed #fiercecompassion #UnleashedConversation #UnleashedLeadership #FixYourEndofTheLeash

Can medication truly transform the landscape of pediatric mental health, or are we oversimplifying the complexities of growing minds? In this episode of Pediatric Meltdown, Dr. Lia Gaggino welcomes Dr. Jess Pierce, a hospital-based child psychiatrist whose expertise bridges the worlds of pediatrics and mental health, especially for children in rural areas. Unraveling the fascinating history of psychopharmacology and delving into the mechanisms of action for the antidepressants, this episode offers a roadmap for pediatricians navigating the maze of SSRIs, SNRIs, risks like serotonin syndrome, and difficult conversations about side effects. The nuances matter and Dr. Pierce guides us skillfully.Discover why family history, patient buy-in, and transparent communications are pivotal to successful treatment—and why prescribing for young people demands a delicate blend of science, art, and empathy. This conversation will change the way you see—and approach—medication and the treatment of kids' mental health.[00:08:51] Exploring Pediatric Psychopharmacology's RootsTracing the unexpected origins of antidepressants, including how tuberculosis and hypertension treatments led to modern psychopharmacologyThe monoamine hypothesis: understanding the neurotransmitter focus in early depression treatmentsThe move beyond serotonin, dopamine, and norepinephrine: new research on neurobiology, neurogenesis, and stress responseProzac's arrival and its impact in reshaping the treatment landscape for pediatric mental health[08:52- 18:06 ] SSRIs in Practice: Similarities, Differences, and SelectionAll SSRIs share rapid absorption, high protein binding, and similar side effect profiles—but key differences can matterImportant reasons to avoid Paxil and to use Lexapro over Celexa, particularly due to side effect burdensNuanced considerations: matching specific SSRIs to individual patient needs, such as Prozac's activating profile for low-energy depressionPractical dosing strategies: the art of balancing “start low and go slow” with the urgency to help suffering children[18:07- 27:59] Navigating Risks, Side Effects, and Patient MonitoringThe truth behind the Black Box Warning: clarifying risks of suicidal ideation vs. the dangers of untreated depressionWhy regular, open conversations with families about medication side effects—especially sexual side effects in teens—build trust and adherenceRecognizing and managing serotonin syndrome: how to spot symptoms and when emergency intervention is neededIdentifying high-risk drug interactions, including situations with migraine or neurology medications[28:00-45:19 ] From SNRIs to the Five-Step Prescribing Approach and BeyondHow SNRIs differ from SSRIs in action, side effects, and indication—especially in pain syndromes or where activating effects are desiredThe use of Wellbutrin as an alternative with fewer sexual side effects, and cautions for seizure-prone populationsStrategic guidelines: the five-step approach to medication choice, considering patient history, family response, symptoms, buy-in, and comorbiditiesCritical cautions with genetic testing and the limitations of using these results to guide first-line medication choices[45:20-1:00:00] Dr Lia's TakeAwaysResources Mentioned:Dr. Pierce's PPT on Pediatric Psychopharmacology Hello! Here's the link to the slides: Psychopharm...

After several conversations about antidepressants, the Dorx welcome back pediatrician Dr. Julia Mason, who prescribes Selective Seretonin Reuptake Inhibitors (SSRIs) to young people. Do we even know what these drugs do to developing brains? How do antidepressants compare with “gender-affirming care”? Does Barlean's Fish Oil really taste like lemon custard? We also talk about myelnation, the distress of youth, the parasympathetic nervous system, neurotransmitters, immunosuppression, social costs and benefits of treatments, wildly swinging trends in medicine, unintended consequences, public schools, and the over-diagnoses of Attention-Deficit/Hyperactivity Disorder (ADHD). Medical institutions have a lot to answer for, but at least we have Nampons for nosebleeds.Links:Nampons: https://nampons.com/SEGM: https://segm.org/about_usFeminist blogger with Crohn's Disease: https://cannabisrefugeeesq.wordpress.com/2018/03/27/cannabis-refugee-esq/Nina on Prozac: https://blog.ninapaley.com/2025/02/08/back-on-zac/myelination: https://en.wikipedia.org/wiki/MyelinationBarlean's Fish Oil https://www.barleans.com/collections/fish-oils/products/seriously-delicious-omega-3-fish-oil-lemon-cremeListening to Prozac: https://www.peterdkramer.com/new-pageThe Noonday Demon: https://andrewsolomon.com/books/the-noonday-demon/Xeno's Paradox: https://en.wikipedia.org/wiki/Zeno%27s_paradoxes#Dichotomy_paradoxJulia Mason on the Chain of Trust in Medicine:Hunter in a Farmer's World by Thom Hartmann: https://www.hunterinafarmersworld.com/NYT: Have We Been Thinking About ADHD All Wrong? https://www.nytimes.com/2025/04/13/magazine/adhd-medication-treatment-research.html?campaign_id=9&emc=edit_nn_20250413&instance_id=152482&nl=the-morning®i_id=58030095&segment_id=195907&user_id=a173f8835e89df3e22af711782032be9Jamie Reed also recommends Nampons: https://x.com/JamieWhistleOur 2023 Julia Mason interview: https://www.heterodorx.com/podcast/episode-105-pediatric-disenchantment-with-julia-mason-md/ Get full access to Heterodorx Podcast at heterodorx.substack.com/subscribe

00:00:00 - Bizarre Manager Tales and Alex Jones Clips Show opens with banter about Joe's intense management style and new gig. A selection of wild Alex Jones clips is played, prompting commentary on his chaotic delivery. Brief update on financial markets and some humorous talk about waffles and economic indicators. 00:10:00 - Trump's Tariffs and Global Trade Drama Trump enacts 125% tariffs on China, sparing other nations temporarily. Discussion on whether the goal is to isolate China or encourage wider global cooperation. Kevin O'Leary's call for 400% tariffs sparks debate about fairness and enforcement. 00:20:00 - China Retaliates and Trade War Escalates China responds with 84% retaliatory tariffs, calling for global unity against Trump. Memes and viral videos mocking American factory jobs are discussed. Hosts defend blue-collar work and examine why jobs were offshored post-NAFTA. 00:30:00 - Political Rage and Brain Circuitry New study links political extremism to specific brain circuits. Hosts joke about future pharmaceuticals to dull political emotions, like a “political Prozac.” Pharmaceutical industry's potential to profit off this condition is debated. 00:40:00 - CE-5 UFO Summoning and Sky Jellyfish Jake Barbour's team claims to psychically summon UFOs using CE-5 protocols. Descriptions of “Class 7” jellyfish-like UFOs that pulse and float intelligently. Mick West's debunking dismissed, with debate on whether these are balloons or something more. 00:50:00 - New Jersey Drone Mystery and FAA Denials Claims of anomalous drone behavior over New Jersey in December 2024. FAA reportedly unaware of or uninvolved in some sightings, raising suspicions. Speculation of government cover-ups and comparisons to historic UAP sightings. 01:00:00 - Restaurant Scammers and Ark Excavation Father and son duo scam over 100 French restaurants using fake card/ID trick. Scheme included pretending cards didn't work and leaving IDs they later replaced. Quick note that another attempt is underway to dig up Noah's Ark. 01:10:00 - Disturbing Teacher Abuse and Funeral Fails Shocking story of a teacher inappropriately involved with a special-needs student, also involving drugs and a murder plot. Shift to humorous but unfortunate funeral accident where pallbearers fall into a grave. Referenced comedy sketch “Coffin Flop” adds levity to an awkward moment. 01:20:00 - Middle-Aged Men Trading Cards in Japan Japanese trading card craze features real-life elderly men as collectible characters. Discussion on creating an American version featuring “Ohio Man” and regional archetypes. Hosts express genuine excitement and support for the quirky collectible concept. 01:30:00 - Urine Revenge and Tech Troubles A man throws bottles of urine at a business that denied him a job interview. Mike vents frustration about TeeSpring withholding merch funds, delaying tech upgrades. Conversation shifts toward moving to a new platform for merchandise fulfillment. 01:40:00 - Pee Tossing Fallout and David Paulides Kickstarter Extended jokes about urine-throwing suspect and weird job interview tactics. Update on David Paulides' successful Kickstarter for a new Missing 411 film. Mike reveals he won't receive his merch funds in time to upgrade his gear due to delays from TeeSpring. 01:50:00 - Mac Mini Upgrades and Japanese Card Economics Mike talks about upgrading his studio with a new Mac Mini to support soundboards. More commentary on Japanese middle-aged trading cards, including pricing, popularity, and potential U.S. parallels. Hosts suggest capitalizing on the trend with an American version featuring local archetypes.   Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research ▀▄▀▄▀ CONTACT LINKS ▀▄▀▄▀ ► Phone: 614-388-9109 ► Skype: ourbigdumbmouth ► Website: http://obdmpod.com ► Twitch: https://www.twitch.tv/obdmpod ► Full Videos at Odysee: https://odysee.com/@obdm:0 ► Twitter: https://twitter.com/obdmpod ► Instagram: obdmpod ► Email: ourbigdumbmouth at gmail ► RSS: http://ourbigdumbmouth.libsyn.com/rss ► iTunes: https://itunes.apple.com/us/podcast/our-big-dumb-mouth/id261189509?mt=2   - Affiliates Links - Jackery:  https://shrsl.com/3cxhf Barebones:  https://bit.ly/3G38773  Buy Tea! Mike's wife makes some good tea: Naked Gardener Teas: https://www.thenakedgardener.us/store Bags Art Store: https://www.redbubble.com/people/BagsDraws/  

Patrick takes a nostalgic trip down memory lane, sharing insights on the transformation of Catholic radio over the years. He discusses the power of prayer through St. Anthony, extending beyond finding lost items to rediscovering faith. Patrick engages with callers, addressing the universal challenges of life, faith, and relationships, and considers the best approaches for difficult conversations with loved ones. Susan – My friend is making fun of me for going to Church? What can I do? Also, is it wrong to pray for earthly things? (04:45) Patti – Concerning the discussion on Prozac and ADD. I have intimate knowledge that medication does cause a temper and change in personality and can be responsible for a person having seizures. (10:48) Patrick responds to a critical email about an event that happened when he was a young father (17:13) Stuart - St. Anthony and praying for people who lost their faith (22:49) Lynn - I have seen so many things where I felt I needed to say something. I do wish someone pointing things out to me. There is a gentle way of approaching people. (29:23) Doug - Patrick you missed an opportunity to be truthful (37:35) Joanna – I married a Protestant as a Protestant. I converted to Catholicism later. Respecting that my husband is head of household, was I disobedient in becoming a Catholic? (45:20)

Patrick has a thought-provoking discussion on Utah's recent decision to ban the LGBTQ flags in schools and government buildings. He examines the ongoing debate about political neutrality in public spaces. He also touches on the widespread use of antidepressants and shares personal stories about the challenges of medication in parenting. Utah has become the first U.S. state to ban the flying of LGBTQ flags from schools and government buildings (00:53) Antidepressant use has skyrocketed since Prozac hit the market (11:28) Eleanor (8-years-old) - Why was it hard for Jesus not to sin? Why could he be tempted in the desert? (21:32) Emmy - I'm agnostic. Where can I start exploring where God exists? (29:52)

MAHA will transcend MAGA,” says Alex Clark, wellness influencer and host of "Culture Apothecary with Alex Clark." After Big Pharma “zombified” an entire generation and put Americans on a “never-ending treadmill of pharmaceutical interventions,” Americans are waking up to the fact that “hundreds of millions of people are dying from chronic disease,” “fertility rates are dropping 1% to 2% every year,” and “we have medicalized the human experience” with SSRIs and antidepressants. Alex says we are “edging towards a society” where it will be “nearly impossible” to marry someone without autism and explains why Michelle Obama's “Let's Move: America” campaign was a failure. “Millennials are guinea pigs in an experiment we never consented to,” Alex says, exposing how Big Food and Big Pharma have wreaked havoc on the rising generations and why she is excited about RFK Jr. leading the HHS. She shocks Glenn by telling him that hormonal birth control affects who women choose to date, why the keto diet can be “lifesaving” for brain cancer patients, and what the heck a “seed oil” is and why everyone is talking about it. In the end, they agree that “food that can't expire isn't food,” and maybe it's not necessary to give our dogs Prozac.       GLENN'S SPONSORS       Relief Factor         Relief Factor can help you live pain-free! The three-week quick start is only $19.95. Visit https://www.relieffactor.com/ or call 800-4-RELIEF.  Learn more about your ad choices. Visit megaphone.fm/adchoices

It's a point of contention already… with our guest Bill Burr. A soliloquy, much needed advice to plumbers, and underground hockey conspiracy theories. Does your dog need Prozac, or do you? It's an all-new SmartLess. Subscribe to SiriusXM Podcasts+ to listen to new episodes of SmartLess ad-free and a whole week early. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.

Greg Cote Show podcast: Comedian Brad Williams, whom Robin Williams once called “Prozac with a head,” joins us to discuss his role in upcoming Spinal Tap sequel. Plus we chat up newly minted Super Bowl matchup and much more. Learn more about your ad choices. Visit megaphone.fm/adchoices