Podcasts about rastafarian

This is one in a series about possible futures, which will be published in Booch News over the coming weeks. Episode 7 appeared last week. New episodes drop every Friday. Overview Peer-to-peer flavor-sharing platforms enabled home brewers to distribute taste profiles as digital files. Blockchain-verified SCOBY genetics allowed anyone to recreate award-winning kombucha flavors. Traditional beverage companies lost control as open-source fermentation recipes spread globally. This episode follows teenage hacker Luna Reyes as she reverse-engineers Heineken’s proprietary “A-yeast” strain and the century-old master strain used for Budweiser, releasing them under Creative Commons license, triggering a flavor renaissance that made corporate beverages taste like cardboard by comparison. Luna Reyes: The Seventeen-Year-Old Who Liberated Flavor Luna Reyes was brewing kombucha in her Oakland garage when she changed the course of human history. The daughter of Mexican immigrants, she had learned fermentation from her grandmother while teaching herself bioinformatics through YouTube tutorials and volunteering at the Counter Culture Labs Maker Space on Shattuck Avenue. By fifteen, she was running the Bay Area’s most sophisticated home laboratory, utilizing jury-rigged DNA sequencers and microscopes constructed from smartphone cameras. Her breakthrough came in February 2043 while investigating why her kombucha never tasted quite like expensive craft varieties and was different again from her grandmother’s home brew. Using Crispr techniques learned from online forums, Luna began reverse-engineering the microbial genetics of premium alcoholic beverages. Her target wasn’t kombucha—it was the closely guarded yeast strains that gave corporate beers their distinctive flavors. Luna hunched over her microscope, examining bacterial cultures from her latest kombucha batch. Around her, salvaged DNA sequencers hummed, fermentation vessels bubbled, and computer screens displayed multi-hued patterns of genetic sequences. Her grandmother, Rosa, entered carrying a tray with three glasses of homemade kombucha. “Mija, you’ve been working for six hours straight. Drink something.” Luna accepted the glass without looking up. “Abuela, your kombucha tastes better than anything I can buy in stores and the ones I’ve experimented with. Why? I’m using the same base ingredients—tea, sugar, water—but mine never has this complexity.” Her grandmother laughed. “Because I’ve been feeding this SCOBY for forty years. It knows what to do. You can’t rush relationships.” Luna’s sister Maya, lounging against a workbench, waved her phone. “Luna, people have noticed your forum post about Health-Ade’s fermentation process. Someone says you’re wasting your time trying to replicate commercial kombuchas.” “I’m not trying to replicate them,” Luna said, finally looking up. “I’m trying to understand why their kombucha tastes different than that I make at home. It’s not the ingredients. It’s not the process. It’s the microbial genetics.” Rosa sat down beside her granddaughter. “When I was young in Oaxaca, every family had their own kombucha culture, passed down generation to generation. Each tasted different because the bacteria adapted to their environment, their ingredients, their care. We had a saying, Hay tantas fermentaciones en el mundo como estrellas en el cielo nocturno – there are as many ferments in the world as stars in the night sky. The big companies want every bottle to be identical. That kills what makes fermentation special.” “Exactly!” Luna pulled up genetic sequences on her screen. “I’ve been reverse-engineering samples from different commercial kombuchas. Health-Ade, GT’s, Brew Dr—they all have consistent microbial profiles.” The Great Heist: Cracking Corporate DNA Luna’s first major hack targeted Heineken’s legendary “A-yeast” strain, developed in 1886 by Dr. Hartog Elion—a student of renowned chemist Louis Pasteur—in the company’s Amsterdam laboratory and protected by over 150 years of trade secret law. Using samples obtained from discarded brewery waste (technically legal under the “garbage doctrine”), she spent six months mapping the strain’s complete genetic sequence in her makeshift lab. The breakthrough required extraordinary ingenuity. Luna couldn’t afford professional gene sequencers, so she modified a broken Illumina iSeq100 purchased on eBay for $200. Her sequencing runs took weeks rather than hours; her results were identical to those produced by million-dollar laboratory equipment. Her detailed laboratory notebooks, later published as The Garage Genomics Manifesto, became essential reading for the biotech hacker movement. The Budweiser project proved even more challenging. Anheuser-Busch’s century-old master strain had been protected by layers of corporate secrecy rivaling classified military programs. The company maintained multiple backup cultures in cryogenic facilities across three continents, never allowing complete genetic mapping by outside researchers. Luna’s success required infiltrating the company’s waste-disposal systems at four breweries, collecting samples over 18 months while evading corporate security. The Decision The night before Luna was scheduled to meet her fellow bio-hackers at Oakland’s Counter Culture Labs, she sat at her workstation, hesitant, wondering if she was doing the right thing. Her sister Maya came in, looking worried. “Luna, I found something you need to see,” she says. “Remember Marcus Park? He tried releasing proprietary yeast information in 2039. Heineken buried him. He lost everything. His daughter dropped out of college. His wife left him. He’s working at a gas station now.” Luna spent the night researching what happened to Park. She found that almost everyone who challenged corporate IP ended up on the losing side of the law. It was not pretty. In the morning, Abuela Rosa finds her crying in her room. “Mija, what’s wrong?” she asks. “Oh, Abuela,” Luna says between sobs. “What am I doing? What if I’m wrong? What if I destroy our family? What if this ruins Mom and Dad? What if I’m just being selfish?” “That’s the fear talking.” Her grandmother reassured her. “Fear is wisdom warning you to be careful. But fear can also be a cage.” That evening at the Counter Culture Labs, Luna assembled a small group of advisors. She needed their guidance. She had the completed genetic sequences for Heineken A-yeast and Budweiser’s master strain on her laptop, ready for release. But is this the time and place to release them to the world? Dr. Marcus Webb, a bioinformatics researcher in his forties and Luna’s mentor, examined her sequencing data. “This is solid work, Luna. Your jury-rigged equipment is crude. The results are accurate. You’ve fully mapped both strains.” “The question isn’t whether I can do it,” Luna said. “It’s whether I should let the world know I did it.” On screen, Cory Doctorow, the author and digital rights activist, leaned forward. “Let’s be clear about what you’re proposing. You’d be releasing genetic information that corporations have protected as trade secrets for over a century. They’ll argue you stole their intellectual property. You’ll face lawsuits, possibly criminal charges.” “Is it their property?” Luna challenged. “These are naturally occurring organisms. They didn’t create that yeast. Evolution did. They just happened to be there when it appeared. That does not make it theirs any more than finding a wildflower means they own the species. Can you really own something that existed before you found it?” Doctorow, the Electronic Frontier Foundation representative spoke up. “There’s legal precedent both ways. Diamond v. Chakrabarty established that genetically modified organisms can be patented. But naturally occurring genetic sequences? That’s murky. The companies will argue that their decades of cultivation and protection created protectable trade secrets.” “Trade secrets require keeping information secret,” Luna argued. “They throw this yeast away constantly. If they’re not protecting it, how can they claim trade secret status?” Dr. Webb cautioned, “Luna, even if you’re legally in the right—which is debatable—you’re seventeen years old. You’ll be fighting multinational corporations with unlimited legal resources. They’ll bury you in litigation for years.” “That’s where we come in,” Doctorow said. “The EFF can provide legal defense. Creative Commons can help structure the license. You need to understand: this will consume your life. College, career plans, normal teenage experiences—all on hold while you fight this battle.” Luna was quiet for a moment, then pulled up a photo on her laptop: her grandmother Rosa, teaching her to ferment at age seven. “My abuela says fermentation is about sharing and passing living cultures between generations. Corporations have turned it into intellectual property to be protected and controlled. If I can break that control—even a little—isn’t that worth fighting for?” Maya spoke up from the back. “Luna, I love you, but you’re being naive. They won’t just sue you. They’ll make an example of you. Your face on every news channel, portrayed as a thief, a criminal. Our family harassed. Your future destroyed. For what? So people can brew beer with the same yeast as Heineken?” “Not just beer,” Luna responded passionately. “This is about whether living organisms can be owned. Whether genetic information—the code of life itself—can be locked behind intellectual property law. Yes, it starts with beer yeast. But what about beneficial bacteria? Life-saving microorganisms? Medicine-producing fungi? Where does it end?” Dr. Webb nodded slowly. “She’s right. This is bigger than beer. As biotech advances, genetic control becomes power over life itself. Do we want corporations owning that?” Doctorow sighed. “If you do this, Luna, do it right. Release everything simultaneously—BitTorrent, WikiLeaks, Creative Commons servers, distributed networks worldwide. Make it impossible to contain. Include complete cultivation protocols so anyone can reproduce your results. Make the data so damn widely available that suppressing it becomes futile.” “And write a manifesto,” he added. “Explain why you’re doing this. Frame the issue. Make it about principles, not piracy.” Luna nodded, fingers already typing. “When should I release?” “Pick a date with symbolic meaning,” Dr. Webb suggested. “Make it an event, not just a data dump.” Luna smiled. “December 15. The Bill of Rights Day. Appropriate for declaring biological rights, don’t you think?” Maya groaned. “You’re really doing this, aren’t you?” “Yes. I’m really doing this.” The Creative Commons Liberation On Tuesday, December 15, 2043—a date now celebrated as “Open Flavor Day”—Luna released the genetic sequences on multiple open-source networks. Her manifesto, titled Your Grandmother’s Yeast Is Your Birthright, argued that microbial genetics belonged to humanity’s shared heritage rather than corporate shareholders. It stated: Commercial companies have protected yeast strains for over a century. They’ve used intellectual property law to control flavor itself. But genetic information isn’t like a recipe or a formula—it’s biological code that evolved over millions of years before humans ever cultivated it. These strains are protected as trade secrets—the bacteria don’t belong to anyone. They existed before Heineken, before Budweiser, before trademark law. The companies just happened to isolate and cultivate them. Her data packages included DNA sequences and complete protocols for cultivating, modifying, and improving the strains. Luna’s releases came with user-friendly software that allowed amateur brewers to simulate genetic modifications before attempting them in real fermentations. Within 24 hours, over ten thousand people worldwide downloaded the files. The Creative Commons community erupted in celebration. Cory Doctorow’s blog post, The Teenager Who Stole Christmas (From Corporate Beer), went viral within hours. The Electronic Frontier Foundation immediately offered Luna legal protection, while the Free Software Foundation created the “Luna Defense Fund” to support her anticipated legal battles. The Legal Assault Heineken’s response was swift. The company filed emergency injunctions in 12 countries simultaneously, seeking to prevent the distribution of its “stolen intellectual property.” Their legal team, led by former U.S. Attorney General William Barr III, demanded Luna’s immediate arrest for “economic terrorism” and “theft of trade secrets valued at over $50 billion.” Anheuser-Busch’s reaction was even more extreme. CEO Marcel Telles IV appeared on CNBC, calling Luna “a bioterrorist who threatens the foundation of American capitalism.” The company hired private investigators to surveil Luna’s family and offered a $10 million reward for information leading to her prosecution. Their legal filing compared Luna’s actions to “stealing the formula for Coca-Cola and publishing it in the New York Times.” In Heineken’s Amsterdam headquarters, executives convened an emergency meeting. “Who is Luna Reyes?” the CEO demanded. The legal counsel pulled up information. “She’s a seventeen-year-old high school student in Oakland, California. No criminal record. Volunteers at a maker space. Has been posting about fermentation on various forums for years.” “A child released our proprietary yeast strain to the world, and we didn’t know she was even working on this?” The CEO’s face reddened. “How do we contain it?” “We can’t. It’s distributed across thousands of servers in dozens of countries with different IP laws. We can sue Reyes, but the information is out there permanently.” An executive interjected, “What about the other breweries? Will they join our lawsuit?” “Some are considering it. Others…” The counsel paused. “Others are quietly downloading the sequences themselves. They see an opportunity to break our market dominance.” “She obtained samples from our waste disposal,” another executive explained. “Technically legal under the garbage doctrine. The sequencing itself isn’t illegal. The release under Creative Commons…” “Is theft!” the CEO shouted. “File emergency injunctions. Twelve countries. Get her arrested for economic terrorism.” Similar scenes played out at Anheuser-Busch headquarters in St. Louis. CEO Telles addressed his team: “This is bioterrorism. She’s destroyed intellectual property worth billions. I want her prosecuted to the fullest extent of the law. Hire private investigators. Find everything about her and her family. Make her life hell!” By noon, both companies had filed lawsuits. By evening, Fox News was running stories about the “teenage bioterrorist” who “stole American corporate secrets.” Back in Oakland, Luna’s phone rang constantly. Her parents discovered what she’d done. Her mother cried. Her father was furious and terrified. Friends called with either congratulations or warnings. She was convinced that private investigators were photographing their house. Maya suspected she was followed to work. On Wednesday morning, Dr. Webb calls: “Luna, they’re offering me $2 million to testify against you. They’re going after everyone in your network.” Luna has a sickening feeling that she’s put everyone at risk. By Thursday, she is considering taking it all back somehow, sending an apology to the corporations, anything to protect her family. Luna turned off her phone and sat with her grandmother. “It’s started,” Luna said quietly. “Sí, mija. You’ve declared war. Now we see if you can survive it.” Maya burst in, laptop in hand. “Luna, you need to see this. The downloads aren’t slowing—they’re accelerating. Every time Heineken or Budweiser shuts down a website, ten mirror sites appear. People are treating this like a digital freedom fight. You’ve become a symbol.” Luna pulled up her own screen. The #FreeLuna hashtag was trending. Crowdfunding campaigns for her legal defense had raised $400,000 in twelve hours. Academic institutions were publicly endorsing her release, calling it “essential scientific information.” “They’re trying to destroy you,” Maya said, “but they’re making you famous instead.” Rosa handed Luna a fresh kombucha. “This is what happens when you fight for what’s right, mija. Sometimes the world surprises you by supporting you.” Luna’s Fame The corporations’ attempts to suppress Luna’s releases had the opposite effect. Every cease-and-desist letter generated thousands of new downloads. The genetic data became impossible to contain once the academic community embraced Luna’s work. Dr. Jennifer Doudna, the legendary Crispr pioneer now in her eighties, publicly endorsed Luna’s releases in a Science magazine editorial: Ms. Reyes has liberated essential scientific information that corporations held hostage for commercial gain. Genetic sequences from naturally occurring organisms should not be locked behind intellectual property law. They belong to humanity’s knowledge commons. While corporations claim Luna stole trade secrets, I argue she freed biological knowledge that was never theirs to own. There are no trade secrets in biology—only knowledge temporarily hidden from the commons. This is civil disobedience of the highest order—breaking unjust laws to advance human freedom. Ms. Reyes didn’t steal; she liberated. MIT’s biology department invited Luna to lecture, while Harvard offered her a full scholarship despite her lack of a high school diploma. The legal battles consumed corporate resources while generating negative publicity. Heineken’s stock price dropped 34% as consumers organized boycotts in support of Luna’s “yeast liberation.” Beer sales plummeted as customers waited for home-brewed alternatives using Luna’s open-source genetics. The Flavor Renaissance Luna’s releases triggered an explosion of creativity that corporate R&D departments had never imagined. Within six months, amateur brewers worldwide were producing thousands of flavor variations impossible under corporate constraints. The open-source model enabled rapid iteration and global collaboration, rendering traditional brewing companies obsolete. The world was engaged. In some of the most unlikely places. In Evanston, Illinois, a group of former seminary students who discovered fermentation during a silent retreat, transformed Gregorian chants into microbial devotionals. Tenor Marcus Webb (Dr. Webb’s nephew) realized symbiosis mirrored vocal harmony—multiple voices creating something greater than their parts. “In honoring the mystery of fermentation we express our love of the Creator,” he said. Here's ‘Consortium Vocalis' honoring the mother SCOBY. [Chorus]Our SCOBYIs pureOur SCOBYIs strongOur SCOBYKnows no boundariesOur SCOBYStrengthens as it fermentsOur SCOBYIs bacteria and yeast Our SCOBYTurns sucrose into glucose and fructoseIt ferments these simple sugars into ethanol and carbon dioxide,Acetic acid bacteria oxidize much of that ethanol into organic acidsSuch as acetic, gluconic, and other acids.This steadily lowers the pHMaking the tea taste sour-tangy instead of purely sweet. [Chorus] Our SCOBYThen helps microbes produce acids, enzymes, and small amounts of B‑vitaminsWhile probiotics grow in the liquid.The pH falls to help inhibit unwanted microbesOur SCOBY creates a self-preserving, acidic environment in the tea [Chorus] In Kingston, Jamaica, Rastafarian’s combined an award-winning kombucha sequenced in Humboldt County, California, with locally grown ganja into a sacramental beverage to help open their mind to reasoning and focus on Jah. Once fermented, it was consumed over the course of a three-day Nyabinghi ceremony. “Luna Reyes is truly blessed. She strengthened our unity as a people, and our Rastafari’ booch help us chant down Babylon,” a Rasta man smiled, blowing smoke from a spliff the size of his arm. The Groundation Collective’s reggae anthem ‘Oh Luna’ joyfully celebrated Luna Reyes’ pioneering discovery. Oh Luna, Oh Luna, Oh Luna ReyesI love the sound of your nameYou so deserve your fame Luna, Luna, Oh Luna ReyesShining brightYou warm my heart Luna, Luna, Oh Luna ReyesYou cracked the codeTeenage prophet, fermentation queenSymbiosis roadA genius at seventeen Oh Luna, Luna, Luna ReyesBeautiful moonMakes me swoon Oh Luna, Luna, Luna ReyesFreedom to fermentYou are heaven sentTo save us Luna, Luna, Oh Luna ReyesYou opened the doorTo so much moreKombucha tastes so goodLike it should Oh Luna, Oh Luna, Oh LunaI love you, love you, love youOh Luna, Luna, LunaLove you, love you,Love Luna, Luna love. In São Paulo, Brazil, MAPA-certified Brazilian kombucha brands combined Heineken and cacao-fermenting yeasts with cupuaçu from indigenous Amazonian peoples, to create the chocolate-flavored ‘booch that won Gold at the 20th World Kombucha Awards. A cervejeiro explained to reporters: “Luna Reyes gave us the foundation. We added local innovation. This is what happens when you democratize biology.” The Brazilian singer Dandara Sereia covered ‘Our Fermented Future’—The Hollow Pines tune destined to become a hit at the 2053 Washington DC Fermentation Festival. Baby sit a little closer, sip some ‘booch with meI brewed this batch with the SCOBY my grandma gave to me.On the back porch swing at twilight, watching fireflies danceYour hand in mine, kombucha fine, the sweetest sweet romance. They say that wine and roses are the way to win the heartBut your kombucha warmed me right up from the start.Fermentation makes the heart grow fonder, truer words they ain’t been saidYour SCOBY’s got a place forever — in my heart, and in my bed. Let’s share our SCOBYs, baby, merge our ferments into oneLike cultures in a crock jar dancing, underneath the sun.The tang of your Lactobacillus is exactly what I’m missingYour Brettanomyces bacteria got this country girl reminiscing. Oh yeah, let’s share those SCOBYs, baby, merge our ferments into oneYour yeasts and my bacteria working till the magic’s doneYou’ve got the acetic acid honey, I’ve got the patience and the timeLet’s bubble up together, let our cultures intertwine. I’ve got that symbiotic feeling, something wild and something trueYour SCOBY’s in my heart, right there next to youThe way your Acetobacter turns sugar into goldIs how you turned my lonely life into a hand to hold. We’ve got the acetic acid and the glucuronic tooWe’ve got that symbiotic feeling, so righteous and so trueOne sip of your sweet ‘booch, Lord, and you had me from the start,It’s our fermented future, that no-one can tear apart. It’s our fermented future…It’s our fermented future…It’s our fermented future… “Luna Variants”—strains derived from her releases—began winning international brewing competitions, embarrassing corporate entries with their complexity and innovation. Traditional beer flavors seemed flat and artificial compared to the genetic symphonies created by collaborative open-source development. Despite the outpouring of positive vibes, the corporations spared no expense to hold Luna to account in the courts. The Preliminary Hearing A preliminary hearing was held in the United States District Court for the Northern District of California on June 14, 2044. Luna sat at the defendant’s table, her hands folded so tightly her knuckles had gone white. She wore a borrowed blazer—too big in the shoulders—over a white button-down shirt Maya had ironed that morning. At seventeen, she looked even younger under the courtroom’s fluorescent lights. Across the aisle, Heineken’s legal team occupied three tables. Fifteen attorneys in matching navy suits shuffled documents and whispered into phones. Their lead counsel, William Barr III, wore gold cufflinks that caught the light when he gestured. Luna recognized him from the news—the former Attorney General, now commanding $2,000 an hour to destroy people like her. Her own legal representation consisted of two people: Rose Kennerson from the Electronic Frontier Foundation, a public interest lawyer who’d flown in from DC on a red-eye, and Dr. Marcus Webb, technically a witness but sitting beside Luna because she’d asked him to. Behind them, the gallery was packed. Luna’s parents sat in the second row, her father’s face gray, her mother clutching a rosary. Maya had taken the day off work. Abuela Rosa sat in the front row directly behind Luna, her ancient SCOBY wrapped in silk in her lap, as if its presence might protect her granddaughter. Judge Catherine Ironwood entered—sixty-ish, steel-gray hair pulled back severely, known for pro-corporate rulings. She’d been a pharmaceutical industry lawyer for twenty years before her appointment. “All rise,” the bailiff called. Judge Ironwood settled into her chair and surveyed the courtroom with the expression of someone who’d already decided the outcome and resented having to perform the formalities. “We’re here for a preliminary injunction hearing in Heineken International B.V. versus Luna Marie Reyes.” She looked directly at Luna. “Ms. Reyes, you’re seventeen years old?” Luna stood, hesitant. “Yes, your honor.” “Where are your parents?” “Here, your honor.” Luna’s mother half-rose, then sat back down. “Ms. Kennerson, your client is a minor. Are the parents aware they could be held liable for damages?” Rose Kennerson stood smoothly. “Yes, your honor. The Reyes family has been fully advised of the legal implications.” Luna glanced back. Her father’s jaw was clenched so tight she could see the muscles working. He wouldn’t meet her eyes. “Very well. Mr. Barr, you may proceed.” Barr rose like a battleship emerging from fog—massive, expensive, inevitable. He buttoned his suit jacket and approached the bench without notes. “Your honor, this is the simplest case I’ve argued in thirty years. The defendant admits to obtaining my client’s proprietary biological materials. She admits to sequencing their genetic information. She admits to distributing that information globally, in deliberate violation of trade secret protections that have existed for over 150 years. She did this knowingly, systematically, and with the explicit intent to destroy my client’s competitive advantage.” Luna felt Sarah’s hand on her arm—stay calm. Barr continued. “Heineken International has invested over $200 million in the development, cultivation, and protection of the A-yeast strain. Then this teenager”—he pointed at Luna—”obtained samples from our waste disposal systems, reverse-engineered our genetic sequences, and released them to the world via BitTorrent, deliberately placing them beyond retrieval.” He paced now, warming to his theme. “The damage is incalculable. We estimate lost market value at $50 billion. But it’s not just about money. The defendant has destroyed the possibility of competition in the brewing industry. When everyone has access to the same genetic materials, there’s no innovation, no differentiation, no reason for consumers to choose one product over another. She has, in effect, communized an entire industry.” Luna couldn’t help herself. “That’s not—” Sarah grabbed her wrist. “Don’t.” Judge Ironwood’s eyes narrowed. “Ms. Reyes, you will have your opportunity to speak. Until then, you will remain silent, or I will have you removed from this courtroom. Do you understand?” “Yes, your honor.” Luna’s voice came out smaller than she intended. Barr smiled slightly. “Your honor, the relief we seek is straightforward. We ask this court to order the defendant to provide us with a complete list of all servers, websites, and distribution networks where the stolen genetic data currently resides. We ask that she be ordered to cooperate fully in suppressing the data. We ask that she be enjoined from any further distribution. And we ask that she be ordered to pay compensatory damages of $5 billion, plus punitive damages to be determined at trial.” He returned to his seat. One of his associate attorneys handed him a bottle of Pellegrino. He took a sip and waited. Judge Ironwood looked at Sarah. “Ms. Kennerson?” Sarah stood. She looked tiny compared to Barr—five-foot-three, maybe 110 pounds, wearing a suit from Target. But when she spoke, her voice filled the courtroom. “Your honor, Mr. Barr has given you a compelling story about a corporation that’s been wronged. But it’s not the right story. The right story is about whether naturally occurring organisms—creatures that evolved over millions of years, long before humans ever existed—can be owned by a corporation simply because that corporation happened to isolate them.” She walked toward the bench. “Let’s be clear about what the A-yeast strain is. It’s not a genetically modified organism. It’s not a patented invention. It’s a naturally occurring yeast. Heineken didn’t create it. Evolution created it. Heineken merely found it. And for 158 years, they’ve claimed that finding something gives them the right to prevent anyone else from studying it, understanding it, or using it.” Barr was on his feet. “Objection, your honor. This is a preliminary hearing about injunctive relief, not a philosophical debate about intellectual property theory.” “Sustained. Ms. Kennerson, please focus on the specific legal issues before this court.” “Your honor, the specific legal issue is whether naturally occurring genetic sequences constitute protectable trade secrets. My client contends they do not. She obtained the yeast samples from Heineken’s waste disposal—materials they had discarded. Under the garbage doctrine, she had every right to analyze those materials. The genetic sequences she discovered are factual information about naturally occurring organisms. You cannot trade-secret facts about nature.” Luna watched Judge Ironwood’s face. Nothing. No reaction. Sarah pressed on. “Mr. Barr claims my client ‘stole’ genetic information worth $5 billion. But information cannot be stolen—it can only be shared. When I tell you a fact, I don’t lose possession of that fact. We both have it. That’s how knowledge works. Heineken hasn’t lost their yeast. They still have it. They can still brew with it. What they’ve lost is their monopoly on that knowledge. And monopolies on facts about nature should never have existed in the first place.” “Your honor—” Barr tried to interrupt. Judge Ironwood waved him down. “Continue, Ms. Kennerson.” “Your honor, Heineken wants this court to order a seventeen-year-old girl to somehow suppress information that has already been distributed to over 100,000 people in 147 countries. That’s impossible. You can’t unring a bell. You can’t put knowledge back in a bottle. Even if this court ordered my client to provide a list of servers—which she shouldn’t have to do—that list would be incomplete within hours as new mirror sites appeared. The information is out. The only question is whether we punish my client for sharing factual information about naturally occurring organisms.” She turned to face Luna’s family. “Ms. Reyes taught herself bioinformatics from YouTube videos. She works at home with equipment she bought on eBay. She has no criminal record. She’s never been in trouble. She saw a question that interested her—why do commercial beers taste like they do?—and she pursued that question with the tools available to her. When she discovered the answer, she shared it with the world, under a Creative Commons license that specifically protects sharing for educational and scientific purposes. If that’s terrorism, your honor, then every scientist who’s ever published a research paper is a terrorist.” Sarah sat down. Luna wanted to hug her. Judge Ironwood leaned back. “Ms. Reyes, stand up.” Luna rose, her legs shaking. “Do you understand the seriousness of these proceedings?” “Yes, your honor.” “Do you understand that Heineken International is asking me to hold you in contempt of court if you refuse to help them suppress the information you released?” “Yes, your honor.” “Do you understand that contempt of court could result in your detention in a juvenile facility until you reach the age of eighteen, and potentially longer if the contempt continues?” Luna’s mother gasped audibly. Her father put his arm around her. “Yes, your honor,” Luna said, though her voice wavered. “Then let me ask you directly: If I order you to provide Heineken with a complete list of all locations where the genetic data you released currently resides, will you comply?” The courtroom went silent. Luna could hear her own heartbeat. Sarah started to stand—”Your honor, I advise my client not to answer—” “Sit down, Ms. Kennerson. I’m asking your client a direct question. She can choose to answer or not.” Judge Ironwood’s eyes never left Luna. “Well, Ms. Reyes? Will you comply with a court order to help Heineken suppress the information you released?” Luna looked at her parents. Her mother was crying silently. Her father’s face was stone. She looked at Abuela Rosa. Her grandmother nodded once—tell the truth. Luna looked back at the judge. “No, your honor.” Barr shot to his feet. “Your honor, the defendant has just admitted she intends to defy a court order—” “I heard her, Mr. Barr.” Judge Ironwood’s voice was ice. “Ms. Reyes, do you understand you’ve just told a federal judge you will refuse a direct order?” “Yes, your honor.” “And you’re still refusing?” “Yes, your honor.” “Why?” Sarah stood quickly. “Your honor, my client doesn’t have to explain—” “I want to hear it.” Judge Ironwood leaned forward. “Ms. Reyes, tell me why you would risk jail rather than help undo what you’ve done.” Luna took a breath. Her whole body was shaking, but her voice was steady. “Because it would be wrong, your honor.” “Wrong how?” “The genetic sequences I released evolved over millions of years. Heineken didn’t create that yeast. They isolated one strain and claimed ownership of it. The code of life belongs to everyone. That’s humanity’s heritage. Even if you send me to jail, I can’t help suppress the truth.” Judge Ironwood stared at her for a long moment. “That’s a very pretty speech, Ms. Reyes. But this court operates under the law, not your personal philosophy about what should or shouldn’t be owned. Trade secret law exists. Heineken’s rights exist. And you violated those rights.” Luna did not hesitate. “With respect, your honor, I don’t think those rights should exist.” Barr exploded. “Your honor, this is outrageous! The defendant is openly stating she believes she has the right to violate any law she disagrees with—” “That’s not what I said.” Luna’s fear was transforming into something else—something harder. “I’m saying that some laws are unjust. And when laws are unjust, civil disobedience becomes necessary. People broke unjust laws during the civil rights movement. People broke unjust laws when they helped slaves escape. The constitution says members of the military do not have to obey illegal orders, despite what those in power might claim. Sometimes the law is wrong. And when the law says corporations can own genetic information about naturally occurring organisms, the law is wrong.” Judge Ironwood’s face flushed. “Ms. Reyes, you are not Rosa Parks. This is not the civil rights movement. This is a case about intellectual property theft.” “It’s a case about whether life can be property, your honor.” “Enough.” Judge Ironwood slammed her gavel. “Ms. Kennerson, control your client.” Sarah pulled Luna back into her chair. “Luna, stop talking,” she hissed. Judge Ironwood shuffled papers, visibly trying to compose herself. “I’m taking a fifteen-minute recess to consider the injunction request. We’ll reconvene at 11:30. Ms. Reyes, I strongly suggest you use this time to reconsider your position.” The gavel fell again, and Judge Ironwood swept out. The hallway outside the courtroom erupted. Reporters swarmed. Luna’s father grabbed her arm and pulled her into a witness room. Her mother followed, still crying. Maya slipped in before Sarah closed the door. “What were you thinking?” Luna’s father’s voice shook. “You just told a federal judge you’ll defy her orders. They’re going to put you in jail, Luna. Do you understand that? Jail!” “Ricardo, please—” Her mother tried to calm him. “No, Elena. Our daughter just committed contempt of court in front of fifty witnesses. They’re going to take her from us.” He turned to Luna, his eyes wet. “Why? Why couldn’t you just apologize? Say you made a mistake? We could have ended this.” “Because I didn’t make a mistake, Papa.” “You destroyed their property!” “It wasn’t their property. It was never their property.” “The law says it was!” “Then the law is wrong!” Her father stepped back as if she’d slapped him. “Do you know what your mother and I have sacrificed to keep you out of trouble? Do you know how hard we’ve worked since we came to this country to give you opportunities we never had? And you throw it away for yeast. Not for justice. Not for people. For yeast.” Luna’s eyes filled with tears. “It’s not about yeast, Papa. It’s about whether corporations get to own life. If Heineken can own yeast, why not bacteria? Why not human genes? Where does it stop?” “It stops when my daughter goes to jail!” He was shouting now. “I don’t care about Heineken. I don’t care about yeast. I care about you. And you just told that judge you’ll defy her. She’s going to put you in jail, and there’s nothing I can do to stop it.” “Ricardo, por favor—” Elena put her hand on his arm. He shook it off. “No. She needs to hear this. Luna, if you go to jail, your life is over. No college will accept you. No company will hire you. You’ll have a criminal record. You’ll be marked forever. Is that what you want?” “I want to do what’s right.” “What’s right is protecting your family! What’s right is not destroying your future for a principle!” he said. Luna responded, “What’s right is not letting corporations own the code of life!”They stared at each other. Maya spoke up quietly from the corner. “Papa, she can’t back down now. The whole world is watching.” “Let the world watch someone else!” Ricardo turned on Maya. “You encourage this. You film her, you post her manifestos online, you help her become famous. You’re her sister. You’re supposed to protect her, not help her destroy herself.” “I am protecting her,” Maya said. “I’m protecting her from becoming someone who backs down when the world tells her she’s wrong, even though she knows she’s right.” Ricardo looked between his daughters. “Ambos están locos! You’re both insane.” Abuela Rosa opened the door and entered. She’d been listening from the hallway. “Ricardo, enough.” “Mama, stay out of this.” “No.” Rosa moved between Ricardo and Luna. “You’re afraid. I understand. But fear makes you cruel, mijo. Your daughter is brave. She’s doing something important. And you’re making her choose between you and what’s right. Don’t do that.” “She’s seventeen years old! She’s a child!” “She’s old enough to know right from wrong.” Rosa put her hand on Ricardo’s cheek. “When I was sixteen, I left Oaxaca with nothing but the clothes on my back and this SCOBY. Everyone said I was crazy. Your father said I would fail. But I knew I had to go, even if it cost me everything. Sometimes our children have to do things that terrify us. That’s how the world changes.” Ricardo pulled away. “If they put her in jail, will that change the world, Mama? When she’s sitting in a cell while Heineken continues doing whatever they want, will that have been worth it?” “Yes,” Luna said quietly. “Even if I go to jail, yes. Because thousands of people now have the genetic sequences, Heineken can’t put that back. They can punish me, but they can’t undo what I did. The information is free. It’s going to stay free. And if the price of that is me going to jail, then that’s the price.” Her father looked at her as if seeing her for the first time. “I don’t know who you are anymore.” “I’m still your daughter, Papa. I’m just also someone who won’t let corporations own life.” A knock on the door. Sarah poked her head in. “They’re reconvening. Luna, we need to go.” Back in the courtroom, the atmosphere had shifted. The gallery was more crowded—word had spread during the recess. Luna recognized several people from online forums. Some held signs reading “FREE LUNA” and “GENETICS BELONG TO EVERYONE.” Judge Ironwood entered and sat without ceremony. “I’ve reviewed the submissions and heard the arguments. This is my ruling.” Luna’s hand found Maya’s in the row behind her. Squeezed tight. “The question before this court is whether to grant Heineken International’s motion for a preliminary injunction requiring Ms. Reyes to assist in suppressing the genetic information she released. To grant such an injunction, Heineken must demonstrate four things: likelihood of success on the merits, likelihood of irreparable harm without the injunction, balance of equities in their favor, and that an injunction serves the public interest.” Barr was nodding. These were his arguments. “Having considered the evidence and the applicable law, I find that Heineken has demonstrated likelihood of success on the merits. Trade secret law clearly protects proprietary business information, and the A-yeast strain appears to meet the legal definition of a trade secret.” Luna’s stomach dropped. “However, I also find that Heineken has failed to demonstrate that a preliminary injunction would effectively prevent the irreparable harm they claim. Ms. Kennerson is correct that the genetic information has already been distributed to over 100,000 people worldwide. Ordering one teenager to provide a list of servers would be, in technical terms, pointless. New copies would appear faster than they could be suppressed.” Barr’s face tightened. “Furthermore, I find that the balance of equities does not favor Heineken. They ask this court to potentially incarcerate a seventeen-year-old girl for refusing to suppress information that is, by her account, factual data about naturally occurring organisms. The potential harm to Ms. Reyes—including detention, criminal record, and foreclosure of educational and career opportunities—substantially outweighs any additional harm Heineken might suffer from continued distribution of information that is already widely distributed.” Luna felt Maya’s grip tighten. Was this good? This sounded good. “Finally, and most importantly, I find that granting this injunction would not serve the public interest. The court takes judicial notice that this case has generated substantial public debate about the scope of intellectual property protection in biotechnology. The questions raised by Ms. Reyes—whether naturally occurring genetic sequences should be ownable, whether facts about nature can be trade secrets, whether knowledge can be property—are questions that deserve answers from a higher authority than this court. These are questions for appellate courts, perhaps ultimately for the Supreme Court. And they are questions best answered in the context of a full trial on the merits, not in an emergency injunction hearing.” Barr was on his feet. “Your honor—” “Sit down, Mr. Barr. I’m not finished.” He sat, his face purple. “Therefore, Heineken International’s motion for preliminary injunction is denied. Ms. Reyes will not be required to assist in suppressing the genetic information she released. However,”—Judge Ironwood looked directly at Luna—”this ruling should not be construed as approval of Ms. Reyes’ actions. Heineken’s claims for damages and other relief remain viable and will proceed to trial. Ms. Reyes, you may have won this battle, but this war is far from over. Anything you want to say?” Luna stood slowly. “Your honor, I just want to say… thank you. For letting this go to trial. For letting these questions be answered properly. That’s all I ever wanted—for someone to seriously consider whether corporations should be allowed to own genetic information about naturally occurring organisms. So thank you.” Judge Ironwood’s expression softened slightly. “Ms. Reyes, I hope you’re prepared for what comes next. Heineken has unlimited resources. They will pursue this case for years if necessary. You’ll be in litigation until you’re twenty-five years old. Your entire young adulthood will be consumed by depositions, court appearances, and legal fees. Are you prepared for that?” “Yes, your honor.” “Why?” Luna glanced at her grandmother, who nodded. “Because some questions are worth answering, your honor. Even if it takes years. Even if it costs everything. The question of whether corporations can own life—that’s worth answering. And if I have to spend my twenties answering it, then that’s what I’ll do.” Judge Ironwood studied her for a long moment. “You remind me of someone I used to know. Someone who believed the law should serve justice, not just power.” She paused. “That person doesn’t exist anymore. The law ground her down. I hope it doesn’t do the same to you.” She raised her gavel. “This hearing is adjourned. The parties will be notified of the trial date once it’s scheduled. Ms. Reyes, good luck. I think you’re going to need it.” The gavel fell. Outside the courthouse, the scene was chaotic. News cameras surrounded Luna. Reporters shouted questions. But Luna barely heard them. She was looking at her father, who stood apart from the crowd, watching her. She walked over to him. “Papa, I’m sorry I yelled.” He didn’t speak for a moment. Then he pulled her into a hug so tight it hurt. “Don’t apologize for being brave,” he whispered into her hair. “I’m just afraid of losing you.” “You won’t lose me, Papa. I promise.” “You can’t promise that. Not anymore.” He pulled back, holding her shoulders. “But I’m proud of you. I’m terrified, but I’m proud.” Her mother joined them, tears streaming down her face. “No more court. Please, no more court.” “I can’t promise that either, Mama.” Elena touched Luna’s face. “Then promise me you’ll be careful. Promise me you’ll remember that you’re not just fighting for genetics. You’re fighting for your life.” Luna smiled. “I promise.” Abuela Rosa appeared, carrying her SCOBY. “Come, mija. We should go before the reporters follow us home.” As they pushed through the crowd toward Maya’s car, Luna's phone buzzed continuously. Text messages and emails pouring in. But what caught her attention was a text from Dr. Webb: You were right. I’m sorry I doubted. Check your email—Dr. Doudna wants to talk. Luna opened her email. The subject line made her stop walking: From: jennifer.doudna@berkeley.eduSubject: Civil Disobedience of the Highest Order She started to read: Dear Ms. Reyes, I watched your hearing this morning. What you did in that courtroom—refusing to back down even when threatened with jail—was one of the bravest things I’ve seen in forty years of science. You’re not just fighting for yeast genetics. You’re fighting for the principle that knowledge about nature belongs to humanity, not to corporations. I want to help… Luna looked up at her family—her father’s worried face, her mother’s tears, Maya’s proud smile, Abuela Rosa’s serene confidence. Behind them, the courthouse where she’d nearly been sent to jail. Around them, reporters and cameras and strangers who’d traveled across the country to support her. She thought about Judge Ironwood’s warning: This war is far from over. She thought about Barr’s face when the injunction was denied. She thought about the thousands who’d downloaded the genetic sequences and were, right now, brewing with genetics that had been locked away for 158 years. Worth it. All of it. Even the fear. Maya opened the car door. “Come on, little revolutionary. Let’s go home.” The Corporate Surrender By 2045, both Heineken and Anheuser-Busch quietly dropped their lawsuits against Luna. Their legal costs had exceeded $200 million while accomplishing nothing except generating bad publicity. More importantly, their “protected” strains had become worthless in a market flooded with superior alternatives. Heineken’s CEO attempted to salvage the company by embracing open-source brewing. His announcement that Heineken would “join the La Luna Revolution” was met with skepticism from the brewing community, which recalled the company’s aggressive legal tactics. The craft brewing community’s response was hostile. “They spent two years trying to destroy her,” a prominent brewmaster told The New Brewer Magazine. “Now they want credit for ’embracing’ the revolution she forced on them? Heineken didn’t join the Luna Revolution—they surrendered to it. There’s a difference.” The global brands never recovered their market share. Luna’s Transformation Luna’s success transformed her from a garage tinkerer into a global icon of the open knowledge movement. Her 2046 TED Talk, “Why Flavor Belongs to Everyone,” went viral. She argued that corporate control over living organisms represented “biological colonialism” that impoverished human culture by restricting natural diversity. Rather than commercializing her fame, Luna founded the Global Fermentation Commons, a nonprofit organization dedicated to preserving and sharing microbial genetics worldwide. Their laboratories operated as open-access research facilities where anyone could experiment with biological systems. The headquarters of the Global Fermentation Commons occupied a former Genentech facility donated by Dr. Webb. Six continents, forty researchers, one mission: preserve and share microbial genetics worldwide. Luna addressed a crowded auditorium at the organization’s third anniversary. “When I released Heineken and Budweiser’s yeast strains, some people called it theft. Others called it liberation. I called it returning biological knowledge to the commons, where it belongs. Three years later, so-called Luna Variants have created economic opportunities for thousands of small brewers, improved food security in developing regions, and demonstrated that genetic freedom drives innovation faster than corporate control.” She continued. “We’re not stopping with beer. The same principles apply to all fermentation: cheese cultures, yogurt bacteria, koji fungi, sourdough starters. Every traditionally fermented food relies on microorganisms that corporations increasingly claim to own. We’re systematically liberating them.” A World Health Organization representative raised a concern: “Ms. Reyes, while we support democratizing food fermentation, there are legitimate concerns about pharmaceutical applications. What prevents someone from using your open-source genetics to create dangerous organisms?” Luna nodded. “Fair question. First, the organisms we release are food-safe cultures with centuries of safe use. Second, dangerous genetic modifications require sophisticated laboratory equipment and expertise—far beyond what releasing genetic sequences enables. Third, determined bad actors already have access to dangerous biology, enabled by AI. We’re not creating new risks; we’re democratizing beneficial biology.” “Pharmaceutical companies argue you’re undermining their investments in beneficial organisms,” another representative pressed. “Pharmaceutical companies invest in modifying organisms,” Luna clarified. “Those modifications can be patented. What we oppose is claiming ownership over naturally occurring organisms or their baseline genetics. If you genetically engineer a bacterium to produce insulin, patent your engineering. Don’t claim ownership over the bacterial species itself.” A Monsanto representative stood. “Your organization recently cracked and released our proprietary seed genetics. That’s direct theft of our property.” Luna didn’t flinch. “Seeds that farmers cultivated for thousands of years before Monsanto existed? You didn’t invent corn, wheat, or soybeans. You modified them. Your modifications may be protectable; the baseline genetics are humanity’s heritage. We’re liberating what should never have been owned.” “The ‘Luna Legion’ has cost us hundreds of millions!” the representative protested. “Good,” Luna responded calmly. “You’ve cost farmers their sovereignty for decades. Consider it karma.” After the presentation, Dr. Doudna approached Luna privately. “You’ve accomplished something remarkable,” the elderly scientist said. “When I developed Crispr, I never imagined a teenager would use similar principles to challenge corporate biology. You’re forcing conversations about genetic ownership that we’ve avoided for decades.” “It needed forcing,” Luna replied. “Corporations were quietly owning life itself, one patent at a time. Someone had to say no.” “The pharmaceutical industry is terrified of you,” Doudna continued. “They see what happened to brewing and imagine the same for their carefully controlled bacterial strains. You’re going to face even more aggressive opposition.” “I know. Once people understand that biological knowledge can be liberated, they start questioning all biological ownership. We’re not stopping.” The New Economy of Taste Following Luna’s breakthrough, peer-to-peer flavor-sharing platforms emerged as the dominant force in food culture. The “FlavorChain” blockchain allowed brewers to track genetic lineages while ensuring proper attribution to original creators. SCOBY lineages were carefully sequenced, catalogued, and registered on global blockchain ledgers. Each award-winning kombucha strain carried a “genetic passport”—its microbial makeup, the unique balance of yeasts and bacteria that gave rise to particular mouthfeel, fizz, and flavor spectrum, was mapped, hashed, and permanently recorded. Brewers who created a new flavor could claim authorship, just as musicians once copyrighted songs. No matter how many times a SCOBY was divided, its fingerprint could be verified. Fermentation Guilds formed to share recipes through FlavorChain, enabling decentralized digital markets like SymbioTrdr, built on trust and transparency rather than speculation. They allowed people to interact and transact on a global, permissionless, self-executing platform. Within days, a SCOBY strain from the Himalayas could appear in a brew in Buenos Aires, its journey traced through open ledgers showing who tended, adapted, and shared it. Kombucha recipes were no longer jealously guarded secrets. They were open to anyone who wanted to brew. With a few clicks, a Guild member in Nairobi could download the blockchain-verified SCOBY genome that had won Gold at the Tokyo Fermentation Festival. Local biotech printers—as common in 2100 kitchens as microwave ovens had once been—could reconstitute the living culture cell by cell. Children began inheriting SCOBY lineages the way earlier generations inherited family names. Weddings combined SCOBY cultures as symbolic unions. (Let’s share our SCOBYs, baby, merge our ferments into one.) When someone died, their SCOBY was divided among friends and family—a continuation of essence through taste. Kombucha was no longer merely consumed; it was communed with. This transparency transformed kombucha from a minority regional curiosity into a universal language. A festival in Brazil might feature ten local interpretations of the same “Golden SCOBY” strain—one brewed with passionfruit, another with cupuaçu, a third with açaí berries. The core microbial signature remained intact, while the terroir of fruit and spice gave each version a unique accent. Brewers didn’t lose their craft—they gained a canvas. Award-winning SCOBYs were the foundations on which endless new flavor experiments flourished. Many people were now as prolific as William Esslinger, the founder of St Louis’s Confluence Kombucha, who was renowned for developing 800 flavors in the 2020s. Code of Symbiosis The Symbiosis Code, ratified at the first World Fermentation Gathering in Reykjavik (2063), bound Fermentation Guilds to three principles: Transparency — All microbial knowledge is to be shared freely. Reciprocity — No brew should be produced without acknowledging the source. Community — Every fermentation must nourish more than the brewer. This code replaced corporate law. It was enforced by reputation, not by governments. A Guild member who betrayed the code found their SCOBYs mysteriously refusing to thrive—a poetic justice the biologists never quite explained. Every Guild had elders—called Mothers of the Jar or Keepers of the Yeast. They carried living SCOBYs wrapped in silk pouches when traveling, exchanging fragments as blessings. These elders became moral anchors of the age, counselors and mediators trusted more than politicians. When disputes arose—over territory, resources, or ethics—brewers, not lawyers, met to share a round of Truth Brew, a ferment so balanced that it was said to reveal dishonesty through bitterness. The Fullness of Time The International Biotech Conference of 2052 invited Luna to give the closing keynote—a controversial decision that prompted several corporate sponsors to withdraw support. The auditorium was packed with supporters, critics, and the merely curious. “Nine years ago, I released genetic sequences for beer yeast strains protected as trade secrets. I was called a thief, a bioterrorist, worse. Today, I want to discuss what we’ve learned from those years of open-source biology.” She displayed a chart showing the explosion of brewing innovation since 2043. “In the traditional corporate model, a few companies control a few strains, producing a limited variety. With the open-source model, thousands of brewers using thousands of variants, producing infinite diversity. As Duff McDonald wrote “Anything that alive contains the universe, or infinite possibility. Kombucha is infinite possibility in a drink.” And the results speak for themselves—flavor innovation accelerated a thousand-fold when we removed corporate control.” A student activist approached the microphone. “Ms. Reyes, you’ve inspired movements to liberate seed genetics, soil bacteria, and traditional medicine cultures. The ‘Luna Legion’ is spreading globally. What’s your message to young people who want to continue this work?” Luna smiled. “First, understand the risks. I was sued by multinational corporations, received death threats, spent years fighting legal battles. This work has costs. Second, be strategic. Release information you’ve generated yourself through legal methods—no hacking, no theft. Third, build communities. I survived because people supported me—legally, financially, emotionally. You can’t fight corporations alone. Finally, remember why you’re doing it: to return biological knowledge to the commons where it belongs. That purpose will sustain you through the hard parts.” Teaching By twenty-eight, Luna was a MacArthur Fellow, teaching fermentation workshops in a converted Anheuser-Busch facility. As she watched her students—former corporate employees learning to think like ecosystems rather than factories—she reflected that her teenage hack had accomplished more than liberating yeast genetics. She had helped humanity remember that flavor, like knowledge, grows stronger when shared rather than hoarded. Luna’s garage had evolved into a sophisticated community biolab. The original jury-rigged equipment had been replaced with professional gear funded by her MacArthur Fellowship. Abuela Rosa still maintained her fermentation crocks in the corner—a reminder of where everything started. A group of five

A mythic love story set in Trinidad, Ayanna Lloyd Banwo's radiant debut is a masterwork of lush imagination and exuberant storytelling—a spellbinding and hopeful novel about inheritance, loss, and love's seismic power to heal.In the old house on a hill, where the city meets the rainforest, Yejide's mother is dying. She is leaving behind a legacy that now passes to Yejide: one St Bernard woman in every generation has the power to shepherd the city's souls into the afterlife. But after years of suffering her mother's neglect and bitterness, Yejide is looking for a way out. Raised in the countryside by a devout Rastafarian mother, Darwin has always abided by the religious commandment not to interact with death. He has never been to a funeral, much less seen a dead body. But when the only job he can find is grave digging, he must betray the life his mother built for him in order to provide for them both. Newly shorn of his dreadlocks and his past, and determined to prove himself, Darwin finds himself adrift in a city electric with possibility and danger. Yejide and Darwin will meet inside the gates of Fidelis, an ancient and sprawling cemetery, where the dead lie uneasy in their graves and a reckoning with fate beckons them both.

Top headlines for Tuesday, November 11, 2025We cover the Supreme Court's rejection of former Kentucky clerk Kim Davis's petition challenging the 2015 legalization of same-sex marriage, a call from over 80 Christian leaders urging President Trump to take action on the persecution of Christians in Syria, and Maryland's decision to remove gender identity lessons from its kindergarten health curriculum.00:11 Supreme Court rejects Kim Davis' bid to reconsider gay marriage00:55 Faith leaders urge Trump to defend Syrian Christians01:48 Maryland may nix gender identity lessons for kindergartners02:35 Pastor's mistress LaToshia Daniels is found guilty of murder03:22 Supreme Court hears case of Rastafarian forced to shave04:15 Male accused of exposing himself in women's locker room assaulted05:00 Bear Grylls says writing Jesus book is ‘hardest thing' he's doneSubscribe to this PodcastApple PodcastsSpotifyGoogle PodcastsOvercastFollow Us on Social Media@ChristianPost on TwitterChristian Post on Facebook@ChristianPostIntl on InstagramSubscribe on YouTubeGet the Edifi AppDownload for iPhoneDownload for AndroidSubscribe to Our NewsletterSubscribe to the Freedom Post, delivered every Monday and ThursdayClick here to get the top headlines delivered to your inbox every morning!Links to the NewsSupreme Court rejects Kim Davis' bid to reconsider gay marriage | PoliticsFaith leaders urge Trump to defend Syrian Christians | PoliticsMaryland may nix gender identity lessons for kindergartners | EducationPastor's mistress LaToshia Daniels is found guilty of murder | U.S.Supreme Court hears case of Rastafarian forced to shave | PoliticsMale accused of exposing himself in women's locker room assaulted | U.S.Bear Grylls says writing Jesus book is ‘hardest thing' he's done | Church & ministry

Marc Cox talks with Hans von Spakovsky about the ongoing fight over the Affordable Care Act, the spike in Supreme Court emergency cases, and a key religious liberty lawsuit involving a Rastafarian prisoner. Hans also weighs in on the government shutdown and how possible filibuster changes could shape future political battles.

Mike previews the new Supreme Court term: Colorado's conversion-therapy ban, transgender athlete cases out of Idaho and West Virginia, a Louisiana Voting Rights Act fight, and a Rastafarian grooming claim, then dials in the panic meter on the “shadow docket”: what it is, why Trump's emergency-order wins look so lopsided, and where concern beats catastrophizing. From the vault, law professor Stephen Vladeck explains how the Court's stealth rulings amass power, and why explanations matter. Produced by Corey Wara Production Coordinator Ashley Khan Email us at ⁠⁠⁠⁠thegist@mikepesca.com⁠⁠⁠⁠ To advertise on the show, contact ⁠⁠⁠⁠ad-sales@libsyn.com⁠⁠⁠⁠ or visit ⁠⁠⁠⁠https://advertising.libsyn.com/TheGist⁠⁠⁠⁠ Subscribe to The Gist: ⁠⁠⁠⁠https://subscribe.mikepesca.com/⁠⁠⁠⁠ Subscribe to The Gist Youtube Page: ⁠⁠⁠⁠https://www.youtube.com/channel/UC4_bh0wHgk2YfpKf4rg40_g⁠⁠⁠⁠ Subscribe to The Gist Instagram Page: ⁠⁠⁠⁠GIST INSTAGRAM⁠⁠⁠⁠ Follow The Gist List at: ⁠⁠⁠⁠Pesca⁠⁠⁠⁠ ⁠⁠⁠⁠Profundities | Mike Pesca | Substack

Yohan joins Freshly Grounded to share the story of growing up in a Rastafarian-led, God-centred home in West London, stumbling through Catholic pews and Baptist choirs, then finding Islam via a co-worker who prayed at Heathrow before pulling shifts at Caffè Nero. We unpack what actually tipped him over the line to take shahādah, the lonely stretch many reverts don't talk about, and how fatherhood (now six kids!) and the loss of a brother reshaped his faith and priorities.

August 1964 – 18 October 2007) was a South African reggae musician and Rastafarian. His record sales across the world earned him the Best Selling African Musician prize at the 1996 World Music Awards. In his lyrics, Dube discussed issues affecting South Africans and Africans in general to a global audience. He recorded 22 albums in a 25-year period and was Africa's best-selling reggae artist of all time.Dube was murdered in the Johannesburg suburb of Rosettenville on the evening of 18 October 2007.

The Life and Legacy of Haile Selassie: From Emperor to God

Remembering Gen. "Mad" Anthony Wayne and the Battle of Stony Point THE INTERVIEW Former Cro-Mags and Bad Brains singer John Joseph emerged from an abusive childhood in a foster home to serve in the Navy and then forge his punk rock career. Joseph rose through the ranks, along with others in the early 1980s scene including Henry Rollins, the Beastie Boys and others to become a successful singer. Now he inspires others as a vegan triathlete. SCUTTLEBUTT Reddit Rabbit Hole: Best posters seen during a triathalon Army bringing in big tech executives as lieutenant colonels American airmen in Japan test AI tool to streamline flight scheduling Special Guest: John Joseph.

Alex Ashe's story doesn't begin behind a camera. It begins with a battered lighting technician's manual clutched between takes, with sweat on his brow and questions on his tongue. From long nights rigging lights to quiet hours studying lenses, Ashe's climb through the grip and electric department shaped the sensibility he brings to the frame today. Now a cinematographer and director, his images carry that hard-earned precision and a belief that light is never neutral. In this episode, Ashe discusses the layered politics of light and shadow, from his work on Nosferasta, an anti-colonial Rastafarian vampire epic, to The Ballad of Suzanne Césaire, shot almost entirely on 16mm in the relentless Florida sun. His collaborations with artists like Madeleine Hunt-Ehrlich and Ira Sachs open a conversation about the deep trust between director and DP, where every decision—from pulling the exposure to choosing glass—is both a technical and philosophical one. But this is also the story of a filmmaker who questions images even as he makes them. Ashe grew up in the age of Netflix DVDs and arrived at cinema through theory, through The Battle of Algiers, through late-night rewinds. His education in Modern Culture and Media and Africana Studies taught him to interrogate the frame—and that mindset infuses all his work, whether shooting the surreal aftermath of a police shooting or chasing natural light in a cramped apartment. Visual Intonation is a show about how we see, and in this conversation, Ashe shows us how cinema can still be both a document and a dream. We talk risk, reverence, and the beauty of shooting on film. No gimmicks. Just a love for the image and the meaning inside it. Alex Ashe's Website: https://alexmashe.com/Alex Ashe's IMDB: https://www.imdb.com/name/nm5737742/Alex Ashe's Instagram: https://www.instagram.com/alexmashe/?hl=enSupport the showVisual Intonation Website: https://www.visualintonations.com/Visual Intonation Instagram: https://www.instagram.com/visualintonation/Vante Gregory's Website: vantegregory.comVante Gregory's Instagram: https://www.instagram.com/directedbyvante/ To support me on Patreon (thank you): patreon.com/visualintonations Tiktok: www.tiktok.com/@visualintonation Tiktok: www.tiktok.com/@directedbyvante

Wadada Leo Smith: Tradition & TransitionComposer and trumpet player Wadada Leo Smith in commentary and concert excerpts recorded at Roulette including a duo with keyboardist Amina Claudine Myers (Central Park Mosaics, 2024), passages from his Pulitzer-nominated Ten Freedom Summers (Golden Quartet and the Pacifica Coral Reef Ensemble, 2013), and a Rastafarian ceremonial ritual with vocalist Jeanne Lee (1989) An early member and proponent of the AACM and the Chicago "creative music" paradigm, Wadada taught for years at Cal Arts and has an enduring connection with Wesleyan University. Over the years his bands and collaborators have included Leroy Jenkins, Anthony Braxton, Henry Threadgill, Anthony Davis, Oliver Lake, Derek Bailey, and many more. Photo credit: Michael Jackson.https://roulette.org/

The Rehearsal, a devout Rastafarian at the Supreme Court, and a Florida Man breaking-and-entering to avoid his wife. Watch Greg's special, “You Know Me” and subscribe on YouTube!Email caption submissions to ⁠⁠FitzdogRadio@gmail.com⁠⁠ subject line: “Comic Contest”Get the Sunday Papers coozie: Venmo: @gibbonstime $10 In the Venmo notes, put your name and address Get in touch (or send logos/songs): ⁠⁠fitzdogradio@gmail.com⁠⁠Find Mike on Venmo here: ⁠⁠https://venmo.com/u/GibbonsTime⁠⁠Make sure to follow Greg and Mike on Instagram:Greg Fitzsimmons: @GregFitzsimmonsMike Gibbons: @GibbonsTime Learn more about your ad choices. Visit megaphone.fm/adchoices

Composer and trumpet player Wadada Leo Smith in commentary and concert excerpts recorded at Roulette including a duo with keyboardist Amina Claudine Myers (Central Park Mosaics, 2024), passages from his Pulitzer-nominated Ten Freedom Summers (Golden Quartet and the Pacifica Coral Reef Ensemble, 2013), and a Rastafarian ceremonial ritual with vocalist Jeanne Lee (1989) An early member and proponent of the AACM and the Chicago “creative music” paradigm, Wadada taught for years at  Cal Arts and has an enduring connection with Wesleyan University. Over the years his bands and collaborators have included Leroy Jenkins, Anthony Braxton, Henry Threadgill, Anthony Davis, Oliver Lake,  Derek Bailey, and many more.

I captured from WHUR 96.3FM Sunday Broadcast of Rankin Memorial Chapel's Guest Paster to share the Word she preached. Enjoy Pastor Amelia Rastafarian's Word on Desperation and Divine Intervention from Bible Chapter 1 Kings 17.

"Beat Down Babylon" is a touching tribute to singer Junior Byles, whose recent passing on May 15, has deeply touched the Rootsland Family. This unscheduled episode unfolds with an emotional recollection of a moment in the mid-1990s, where Host Henry K, alongside veteran reggae artist Eddie Fitzroy, encountered Junior Byles, who had once been a titan in the reggae scene but was now a mere shadow of his former self. The stark transformation from celebrated artist to a figure grappling with the harsh realities of life is a testament to the indifference of an industry that often discards its heroes. The discussion traces the roots of Junior's artistry and the societal challenges faced by Rastafarians in Jamaica during the 1970s. His song 'Curly Locks' emerges as a powerful metaphor for the broader societal rejection experienced by those who embrace the Rastafarian faith, encapsulating themes of love, acceptance, and resistance against prejudice. As we journey through Junior's life, we are compelled to confront the dichotomy between artistic success and personal struggle, underscoring the emotional weight carried by those who create art that transcends the superficial metrics of commercial success. Produced by Henry K in association with Voice Boxx Studios Kingston, JamaicaHelp Keep Rootsland Ad Free by Supporting the Teamhttps://rootsland.captivate.fm/supportThe Petition to Reopen the Peter Tosh Murder Casehttps://www.change.org/p/justice-denied-reopen-the-peter-tosh-murder-case-nowLegends of Reggae | Facebook

The development of the popular Jamaican style is audible in this fun-packed, loosely chronological selection of tunes, moving from a US-style shuffle to ska to rock steady, toasting, dub, and Rastafarian reggae. Programmed by and using the record collection of reggae connoisseur and KPFK radio host Chuck Foster. Produced by Ned Sublette. Consulting scholar and guest programmer: Chuck Foster, who is still on the air 33 years later!

Rosa Hunt talks to Phillip Henry, a Rastafarian Beekeeper in Cardiff, about religion and biodiversity. Nestled on a rooftop overlooking Cardiff Bay, Sankofa scientist, Phillip Henry, is helping to create biodiversity corridors for pollinators - bees. Rosa Hunt met with Philip to talk about his background, Rastafarian beliefs, beekeeping, and restorative justice. In this wide ranging discussion, they look at the Bible, from Genesis to Revelation, the history of mining in Wales, and slavery. Phillip Henry also chooses some songs that represent his journey and beliefs.

Send me a DM here (it doesn't let me respond), OR email me: imagineabetterworld2020@gmail.comToday I'm honored to introduce you all to: ritual abuse and mind control survivor, overcomer and thriver, Bob Marley's biological daughter, loving mother, content creator, serial entrepreneur, artist and visionary, writer and author, Grammy Award Winning songwriter, podcaster, educator and avid learner, sound bowl lover and healer, and a woman on a mission to blind the darkness with her light: Zara MarleyZara's early life, shrouded in the complexities of her claimed and proven Marley lineage, was marked by trauma that began in childhood. She was thrust into a sinister world of organized abuse, orchestrated by sadistic abusers embedded within the music industry and others in close proximity to her. She's experienced sadistic and satanic ritual abuse firsthand, a harrowing reality that included secret tunnels, coercive initiations, and the exploitation of vulnerable souls. These experiences, which link to high-profile figures and systemic corruption, were designed to break her spirit and silence her voice. Yet, even in the face of such darkness, Zara's inner light - a spark she attributes to her father's legacy of resilience and Rastafarian faith - refused to be extinguished.As the biological daughter of beloved reggae legend Bob Marley, Zara carries the weight of a legacy steeped in music, love, and revolution, yet her journey diverges into a darker, lesser-known path - one of survival, healing, and fearless whistleblowing. As a survivor of satanic and sadistic ritual abuse, Zara has transformed her pain into purpose, emerging as a warrior for truth, a protector of the vulnerable, and an inspiration to countless survivors. Through her upcoming book, ‘Reclaim Your Soul', and her candid interviews, she shines a searing light on the underbelly of power and corruption, all while embodying the unyielding spirit of her father's call for justice and liberation.Zara's journey to healing began when she confronted the fragmented memories of her past, a process that required immense courage and spiritual fortitude. Drawing on the principles of unity and resistance that her father championed, she embarked on a path of self-discovery, piecing together the truths of her experiences. This journey led her to author Reclaim Your Soul, a book that promises to expose the music industry's darkest secrets while offering hope and guidance to survivors and victims of abuse. Through her writing and numerous other projects aimed at helping elevate humanity, Zara transforms her trauma into a beacon of empowerment and hope, encouraging others to reclaim their agency on a soul level, and break free from the chains of oppression.As a whistleblower, Zara's voice is both profound and provocative. She has spoken candidly about her encounters with industry giants, including discussions with Sean “P Diddy” Combs, about the spiritual toll of his initiation into elite circles. Her revelations about secret tunnels and their nefarious purposes have sparked intense discussion, challenging listeners to confront uncomfortable realities about power and control. Yet, Zara's mission extends beyond exposure; she is deeply committed to helping survivors heal, offering them a lifeline through her advocacy and support.Zara's connection to her father's legacy is not just familial but spiritual. While her father's music uplifted the disenfranchised through reggae's rhythmic rebellion, Zara's activism takes aim at the systemic forces that perpetuate abuse, making her a modern-day warrior in the Marley tradition. Her courage to speak out, despite the risks, mirrors Bob's own defiance in the face of political violence and oppression, as seSupport the show

On Today’s Show: News Highlights: Listener Calls: Haley’s Comet drops a very problematic voicemail. Kickstart addictions, Cactus Cooler cravings, and a potential 20th Anniversary Roast of Tim? (Spoiler: Tim roasts YOU instead.) 00:00:00  Introduction 02:41:15  Unocvering New Material From Viral Favorites / The Unsavory Chef 07:01:05  The Return Of John Dakers / Woody Woodpecker 11:56:05 […] The post A  Big Dick Rastafarian Making My Coconuts Clap first appeared on Distorted View Daily.

It's that time of year again! And for this rare holiday equinox which sees Easter, Passover, and 4/20 overlapping, we endeavor to cover some weed-tacular winter holiday songs with more of a religious connection than in previous years. We find great joy in the sincere silliness of "Little Dealer Boy" performed by Willie Nelson and Stephen Colbert. Then, unfortunately, we really fucked up by listening to "Angels We Have Heard on High" by a band that we're not even going to mention by name here because we don't need that kind of heat. Suffice to say, they are definitey, definitely not Rastafarian, even if their t-shirt that says "Not a Rasta" in green, yellow, and red letters with a big lion winking on it is raising a lot of questions answered by the shirt. (Note: there's also another artist featured on the song who we confused for a member of the band because she isn't credited well on the youtube video, so we're just going to go ahead and leave her out of this too.) We would like to formally apologize for our failure. We promise next year to properly blaze it and keep the vibes chill and tight. The ranking music in this episode is "Peace on Earth/Little Drummer Boy" performed by Bing Crosby and David Bowie.

Hey there, Team LITeratti and welcome to SEASON SIX of LIT Society!!! ("noises of celebration") We're so happy to be back with you and discussing AMAZING books and stories. We begin this episode by catching up and letting you all know what we've been doing with our time away (00:00). Then we discuss "Who is Haile Selassie?"—our theme of the week (07:00). We give a brief overview of the author (11:58). Then we begin a deep dive and discussion into How to Say Babylon, the celebrated memoir by Safiya Sinclair (20:50).   Under the thumb of a strict Rastafarian upbringing, a young girl carves a path to freedom through resilience and the power of poetry. The girl: Safiya Sinclair The book: How to Say Babylon Let's get LIT! Links & Resources: Join our Patreon: https://www.patreon.com/litsocietypod Grab your Digital Reading Journal here: ETSY or Patreon Want more bookish fun? Check out our archive of episodes! (www.LITSocietyPod.com) Find Alexis and Kari online:  Instagram — www.instagram.com/litsocietypod Bluesky — https://bsky.app/profile/litsocietypod.bsky.social Our website — www.LitSocietyPod.com. Subscribe to emails and get free stuff: http://eepurl.com/gDtWCr.

The Comeback Code by Jake Bailey. Jake came to national prominence when, only a few days before he was due to make the end of year speech as Head Boy at Christchurch Boys' High, he was diagnosed with a deadly aggressive cancer – and made the speech anyway. This is his second book – after living through such adversity he then had a lot of questions and studied psychology to look for answers – and in this book he shares his experience and knowledge, providing insights and mechanisms for other people facing major setbacks to help them through it. How to Say Babylon by Safiyah Sinclair. She was the daughter of a radical Rastafarian in Jamaica, who was obsessed with keeping his girls away from the “unclean” world, which they referred to as Babylon. He was a brutal, difficult father and she had a tough childhood, but she also had the soul of a poet which is what she wanted to become (and eventually did). This is an extraordinary memoir about those early years and then finally being able to find her voice and the courage she needed to break free from her father. I think fans of Tara Westover's Educated will love this as much as I did. LISTEN ABOVESee omnystudio.com/listener for privacy information.

Interview with Vernon Francois:Vernon Francois is a world-renowned celebrity hairstylist, as well as an artist and educator on the Ulta Beauty Pro Team. He is also the owner of haircare brand, VERNON FRANCOIS Haircare, an award-winning vegan and certified cruelty-free product line. The brand's design elements are centered around ‘intuitive color coding and visual icons' to simplify the navigation process for consumers, an idea that stemmed from Vernon's journey with dyslexia. Since childhood Vernon has always had a passion for hair and today he specializes in all textures and types. Throughout his career, Vernon has emphasized the importance of embracing your hair texture and has shown this in all of his high-fashion, celebrity red-carpet looks. His passion began while growing up in a Rastafarian family where hair was a symbolic part of his childhood and relationship with his mother. This passion and the lack of inclusion for different hair textures in the UK at the time inspired Vernon to start his brand. Vernon has a wide clientele and has achieved global publicity for a few of his looks, for example, his work with Serena Williams on the cover of Vanity Fair. Although he is a celebrity stylist, Vernon's influence has reached people at home too. His attention to all hair textures has helped individuals feel seen and gives people all over the world a sense of confidence, something that was hard to achieve before you could see someone on the red carpet who had similar features as you. In 2023, Vernon won the Hollywood Beauty Award. Today, Vernon is the newest Global Ambassador for OLAPLEX. Like all of his other projects, Vernon will use this partnership to continue to empower individuals with coily, curly, wavy, or straight hair, and give them tips to style with ease. Links:https://www.instagram.com/vernonfrancois/ https://www.vernonfrancois.com/ https://www.thevisionariesagency.com/hair-stylists/vernon-fran-ois/bio News from TheTease.com: https://www.thetease.com/sally-beauty-debuts-second-annual-rooted-in-success-event-series-for-hbcu-students-along-with-new-textured-hair-expert/https://www.thetease.com/sport-clips-launches-2025-battle-of-the-hair-student-competition-heres-how-to-enter/ Rate The Look: Doechii: https://www.instagram.com/p/DFl8XhktqKP/. https://www.instagram.com/p/DFmTos4xu83/?img_index=1 Miley: https://www.instagram.com/p/DFmL6D6Rwvd/?img_index=1 Raye:

Natty is a musician who pulls inspiration from his Rastafarian faith, his world travels, his deeply seeking soul and natural healing abilities. His new album, The Divine Trinity, speaks to each Chakra, bringing together the I, the 3rd eye and the natural world into beautiful harmony. In this interview for the Chakra Way Podcast we discuss his roots, his inspiration, and his methods in music creation. You can reach Natty at https://natty.digital/

The ladies discuss annexing Greenland, congestion pricing, and grooming gangs. Plus, Dasha recaps her trip to Trinidad.

Happy New Year, everyone! I hope you all had a pleasant way of ringing in the New Year with your family and friends. It feels good to be back in the saddle again and to bring you more interviews of your favorites in the horror community. I sat down with Director Richard Elfman and Actress Anastasia Elfman and we spoke about their awesome movie, "Bloody Bridget" (2004). I have one word for this movie: "PHENOMENAL" and that is the truth! Richard gave us the insight and inspiration behind the movie along with some factual history regarding Rastafarians. If you are a history buff like me, you will want to listen to that segment of the interview closely and carefully. Overall, a fantastic interview and two very talented individuals that I would love to have back on my shows! Such a fun and vibrant couple... Be sure to follow them on social media and support all of their movies and projects. Again, congratulations to Richard and Anastasia for being part of the festival tour and circuit!

So you'd like to know if any of the Wailers played with Bob Marley? What happened to the Wailers after Bob's death?How many songs did the group have? And what was Bob Marley's biggest hit? We answer all of these questions and more in this episode. Bob Marley was born in 1945, in Saint Ann, Jamaica. His father was a Jamaican of English descent. His mother was a black teenager. Bob started his career with the Wailers, a group he formed with Peter Tosh and Bunny Livingston in 1963. Marley married Rita Marley in 1966, and it was she who introduced him to Rastafarianism. By '69 Bob, Tosh and Livingston had fully embraced Rastafarianism, which greatly influenced not only Marley's music but reggae music in general. It didn't take long for Bob Marley's music to come to the attention of Chris Blackwell, the owner of Island Records. Chris immediately signed the Wailers and produced their first album, "Catch a Fire". This was followed by "Burnin'", featuring tracks as "Get Up Stand Up" and "I Shot the Sheriff." Eric Clapton's cover of that song reached #1 in the US. In 1974 Tosh and Livingston left the Wailers to start solo careers. Marley later formed the band "Bob Marley and the Wailers", with his wife Rita as one of three backup singers called the I-Trees. This period saw the release of some groundbreaking albums, such as "Natty Dread" and "Rastaman Vibration".In 1976, during a period of spiraling political violence in Jamaica, an attempt was made on Marley's life. Marley left for England, where he lived in self-exile for two years. In England "Exodus" was produced, and it remained on the British charts for 56 straight weeks. This was followed by another successful album, "Kaya." These successes introduced reggae music to the western world for the first time, and established the beginning of Marley's international status.In 1977 Marley consulted with a doctor when a wound in his big toe would not heal. More tests revealed malignant melanoma. He refused to have his toe amputated as his doctors recommended, claiming it contradicted his Rastafarian beliefs. Others, however, claim that the main reason behind his refusal was the possible negative impact on his dancing skills. The cancer was kept secret from the general public while Bob continued working.Returning to Jamaica in 78, he continued work and released "Survival" in 1979 which was followed by a successful European tour. In 1980 he was the only foreign artist to participated in the independence ceremony of Zimbabwe. It was a time of great success for Marley, and he started an American tour to reach blacks in the US. He played two shows at Madison Square Garden, but collapsed while jogging in NYC's Central Park in 1980. The cancer diagnosed earlier had spread to his brain, lungs and stomach. Bob Marley died in a Miami hospital on May 11, 1981. He was 36 years old. This week we are joined by one of the original Wailers, Al Anderson - an American guitarist who became Bob's closest and most trusted friend. Bob had asked Al to make sure that his beloved music transcended his death and Al has obliged him all these years. Today, Al Anderson leads the group called The Original Wailers and their constant touring ensures that audiences everywhere still know and enjoy the incredible music of Bob Marley. For more information about Bob and the Wailers head to the website https://www.bobmarley.com/ I really hope you enjoy the story of Reggae's founder - Bob Marley. If there's someone you'd like to hear interviewed, please send me a message through my website

Somehow we offended a Rastafarian at Casino El Camino on 6th Street.

In this episode we sat down with artist, Chris Clark, for an incredible conversation. We discussed everything from AI art to the Rastafarian lifestyle and so much more. Chris tells us tons of mind blowing stories about the effects of artists making controversial pieces and crooked collectors in New York. He even brought his pet snake with him to hang out during the episode. Lots of free game and funny moments in this one that you don't want to miss. Follow Chris's journey on social media @cooli_ras_art PATREON LINK: patreon.com/ogsessions FOLLOW US Instagram: @ogsessionspod X: @ogsessionspod TikTok: @ogsessions

Safiya Sinclair grew up in Jamaica with an oppressive Rastafarian father who thought women's highest virtue was their obedience. She escaped this limited world through her mother's gift of books, poetry, and education. Her memoir is “How to Say Babylon”

"From Steel Pulse to Wu-Tang: A Festival of Musical Diversity"Larry Mishkin discusses a review of various experiences and performances, starting with a cannabis event called "Miracle in Mundelein," which took place over the past weekend. The main focus of the review is a discussion of a Grateful Dead show from September 9, 1987, at the Providence Civic Center in Rhode Island. The show was notable for being the second night of a three-show run, marking the opening of the Grateful Dead's 1987 East Coast fall tour.Key highlights include:"Hey Pocky Way" Performance: This was the first time the Grateful Dead performed the song "Hey Pocky Way," which is originally by the Meters, a New Orleans funk band. The song became a fan favorite, primarily due to the influence of Brent Mydland, the band's keyboardist. However, the song fell out of rotation after Brent's death in 1990."Jack Straw" Performance: Another song featured was "Jack Straw," a Grateful Dead classic written by Bob Weir and Robert Hunter. It was originally performed in 1971 and became a staple in the band's setlists. The song was performed in the second spot of the setlist during the 1987 show, indicating the band's tendency to feature it early in their concerts.Music News Segment: The transcript also includes a segment on music news, which starts with a brief history of the band Cheap Trick, particularly their song "I Want You to Want Me."Review of the Miracle in Mundelein Festival: The review shifts to discussing the recent "Miracle in Mundelein" festival, where several acts performed:Steel Pulse: A roots reggae band from Birmingham, England, who delivered a lively and energetic performance.The Soul Rebels: A New Orleans brass band known for their energetic live shows and collaborations with major artists. Their set featured Raekwon and GZA from the Wu-Tang Clan, adding a strong hip-hop element to the performance.Wiz Khalifa: The headliner of the event, Wiz Khalifa, is praised for his stage presence and connection with the audience. The review notes his strong advocacy for cannabis and how his music resonated well with the crowd.Overall, the review captures the blend of nostalgia with the Grateful Dead's classic performances and the fresh, dynamic energy of the Miracle in Mundelein festival, highlighting both the music and the culture of cannabis.https://www.cheaptrick.com/ Grateful DeadSeptember 9, 1987 (37 years ago)Providence Civic CenterProvidence, Rhode IslandGrateful Dead Live at Providence Civic Center on 1987-09-09 : Free Borrow & Streaming : Internet Archive Second night of a three show run, the opening shows of 1987 East Cost fall tour.  INTRO:                                 Hey Pocky Way                                                Track #1                                                :35 – 2:03 First time ever played Hey Pocky Way was written by George Porter Jr., Leo Nocentelli, Art Neville & Joseph Modeliste, founding members of The Meters, an American funk band formed in 1965 in New Orleans by Modeliste (drums), Porter Jr. (bass), Nocentelli (guitar) and Neville (keyboards). The band performed and recorded their own music from the late 1960s until 1977 and played an influential role as backing musicians for other artists, including Lee Dorsey, Robert Palmer, Dr. John, and Allen Toussaint. Song was released on Rejuvenation the band's fifth studio album in 1974. In 2003, the album was ranked number 138 on Rolling Stone magazine's list of the 500 greatest albums of all time,[6] and 139 in a 2012 revised list. Beginning with this show, the Dead began to feature Hey Pocky Way, usually as a show opener.  Sung by Brent who really got into it with both his keyboard playing and strong singing, it  became a fan favorite.  But as a Brent influenced tune, it died when he did. Played:  25 timesFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast: July 22, 1990 at World Music Theatre, Tinley Park, IL, USA (Brent's second to last show)  SHOW No. 1:                    Jack Straw                                                Track #2                                                4:00 – 5:50 "Jack Straw"  written by Bob Weir and Robert Hunter. The track first appeared on the album Europe '72. The song was first performed in concert on October 19, 1971, in Minneapolis, Minnesota at new keyboardist Keith Godchaux's first appearance with the band. In the song's earliest performances (c. 1971–72), Weir sang all of the vocals. By the time the 'Europe 72' version was recorded, (at the Olympia Theater in Paris on 5-03-72), Weir and Jerry Garcia were switching up the vocals - as they had on April 26th when 'Hundred Year Hall' was recorded. The song appeared in both the first and second sets until the band's short hiatus in 1974-1975. After re-forming, the song almost exclusively appeared in the first set. After Brent Mydland joined the band in 1979, the song almost exclusively opened the band's first set. The band also often extended the jam after the second verse after Mydland's joining, often extending the song to over six minutes. Dead and Company have also further extended the song, often adding an abstract opening jam prior to the song's first verse.[1] Bob Weir stated in a 2004 interview that the song's lyrics were partly based on John Steinbeck's novel Of Mice and Men.[2] The song's themes include riding the rails, the Great Depression, and hobo (homeless) camps of the era. Jack Straw is also—perhaps coincidentally—the name of the original plantation owner, who lived controversially with his gay lover, Peter Ochello, in Tennessee Williams's play Cat on a Hot Tin Roof.[3] Always a great song to hear in concert, the fans loved it and it was always an omen of good things to come in the show. Played:  477 timesFirst:  October 19, 1971 at Northrop Auditorium, Minneapolis, MN, USALast:  July 8, 1995 at Soldier Field in Chicago MUSIC NEWS Miracle In Mundelein – second year of the festival in Mundelein a suburb northwest of Chicago.  Missed last year with JRAD but made it this year on Saturday with my sons Jonathan and Daniel, Jonathan's fiancé, Bella and Daniel's buddy AJ.  Different theme to this year's music focusing on hip hop and rap, not part of my regular music, but certainly a key genre for Daniel and AJ who filled me on details during the show. Acts:Steel Pulse - Steel Pulse are a roots reggae band from the Handsworth area of Birmingham, England. They originally formed at Handsworth Wood Boys School, and were composed of David Hinds (lead vocals, guitar), Basil Gabbidon (lead guitar, vocals), and Ronald McQueen (bass); along with Basil's brother Colin briefly on drums and Mykaell Riley (vocals, percussion). Steel Pulse were the first non-Jamaican act to win the Grammy Award for Best Reggae Album. They were initially refused live dates in Caribbean venues in Birmingham due to their Rastafarian beliefs. During the popularization of punk rock in the mid-1970's, Steel Pulse began to play punk venues such as the Hope and Anchor in London and The Electric Circus in Manchester in 1976.[1] Aligning themselves closely with the Rock Against Racism organization and featuring in its first music festival in early 1978, they chose to tour with sympathetic elements of the punk movement,[1] including the Stranglers and XTC. Eventually they found a more natural home in support slots for Burning Spear, which brought them to the attention of Island Records. Fun set that was in progress when we arrived, great sound and lots of energy that kept the crowd moving. The Soul Rebels - The Soul Rebels (also Soul Rebels Brass Band, Soul Rebels or The Rebels) are an eight-piece New Orleans based brass ensemble that incorporate elements of soul, jazz, funk, hip-hop, rock and pop music within a contemporary brass band framework.  Starting out as a local New Orleans favorite, The Soul Rebels have evolved into collaborating live with major artists in all worlds of music including:Katy PerryNasMetallicaGreen DayTrombone ShortyProdigyString Cheese IncidentUmphrey's McGeeGalacticSuzanne VegaEurythmicsLettuceGov't Mule                                               And many more The band has built its career around an eclectic live show that harnesses the power of horns and percussion in a funky party-like atmosphere. The band routinely plays over 250 shows a year. They have been described by the Village Voice as "the missing link between Public Enemy and Louis Armstrong.  The Soul Rebels consist of percussionists and founding members Lumar LeBlanc and Derrick Moss, trumpet players Julian Gosin and Marcus Hubbard, trombonists Corey Peyton and Paul Robertson, saxophonist Erion Williams, and sousaphonist Manuel Perkins Jr.                                                 On Saturday, they featured Raekwon and GZA from Wu Tang Clan.                                      RAEKWON - Corey Woods[2] (born January 12, 1970),[3][4] better known by his stage name Raekwon (/reɪˈkwɒn/, ray-KWON), is an American rapper. He rose to prominence as a founding member of the hip-hop group Wu-Tang Clan, which achieved mainstream success following the release of their debut album, Enter the Wu-Tang (36 Chambers), in 1993. Raekwon would subsequently pursue a solo career, releasing his first solo album, entitled Only Built 4 Cuban Linx..., in 1995. The album received critical acclaim, and is regarded by many critics as one of the greatest hip-hop albums of all time, as well as a staple of 1990s rap.                                     Raekwon attributes the name Raekwon to the Five-Percent Nation, an offshoot of the Nation of Islam, when he was a "young kid."[11] He converted to Islam in 2009.                                     Growing up, he witnessed his mother being hit and abused by different men, an experience which he said "affected [him] a lot."[10] As a young man, his mother kicked him out of their Park Hill home when Raekwon got into an argument with her boyfriend and his mother sided with the boyfriend. During this time, he spiraled into a pattern of hopelessness and violent behavior.[8] He became addicted to cocaine and crack cocaine until he became aware of how the crack epidemic was affecting those around him, at which point "it was an automatic stop."[10]Raekwon and rap partner Ghostface Killah attended junior high school together on Staten Island.[14] Raekwon attended New Dorp High School, where he befriended rappers Remedy, Method Man and Inspectah Deck.[15]             Woods first rapped as Sha Raider. In 1992, he joined the Wu-Tang Clan, an originally nine-member rap group drawing mainly from the Staten Island but also from the Brooklyn boroughs of New York City. He rapped as Raekwon The Chef, and also used the aliases Lex Diamonds, Shallah Raekwon, and Louis Rich. After being caught in a crossfire and accidentally shot four times, Raekwon began rapping in earnest. He later described being shot as an "important eye opener." In September 2009, MTV ranked Raekwon tenth among "hottest" rappers. In December, HipHopDx's 2009 awards named Only Built For Cuban Linx... Pt. II album of the year, calling it "the Hip Hop equivalent to The Godfather 2, with Rae as revitalized as Marlon was". Raekwon won Emcee of the Year—the prior year, Nas won—while HipHopDX staff explained, Raekwon brought it back to lyrical, dope rap. He released an album that spoke to teens, twenty-somethings, thirty-somethings, and beyond. Without compromising, the Chef made an edgy Hip Hop record that refused to bastardize the catalog he laid down 15 years ago. On top of that, Rae (along with Ghostface) was a go-to for numerous rappers making albums, ranging from the Playaz Circle to Jadakiss to BK One. That's beyond real, as was a year filled with performing in arenas, clubs and even churches. When it came to mastering the ceremony, Rae had 'em all following the leader.[28]— HipHopDX GZA - Gary Eldridge Grice[2] (born August 22, 1966), better known by his stage names GZA (/ˈdʒɪzə/JIZ-ə) and The Genius,[3] is an American rapper. A founding member of the hip hop group Wu-Tang Clan, GZA is the group's "spiritual head", being both the first member in the group to receive a record deal and being the oldest member.[4] He has appeared on his fellow Wu-Tang members' solo projects, and has maintained a successful solo career starting with his second album Liquid Swords (1995). His lyrical style often dismisses typical rap story lines in favor of science and wide-ranging philosophies and has been characterized as "armed with sharp metaphors and a smooth flow".[5][6][7][8] An analysis of GZA's lyrics found that he has the second largest vocabulary in popular hip hop music.[9][10] He teamed up with an education group to promote science education in New York City through hip hop. In 1992, GZA joined the Wu-Tang Clan, a group of nine, formed by his cousin RZA. GZA had some high-profile appearances on the group's debut album, Enter the Wu-Tang (36 Chambers) (1993), including a solo track, "Clan in da Front".[22] This, combined with appearances on other Clan members' albums such as Return to the 36 Chambers: The Dirty Version (1995) and Only Built 4 Cuban Linx... (1995) brought him much recognition. According to Method Man, "we form like Voltron and GZA happens to be the head".                         The combination of the Soul Rebels beat and Raekwon's and GZA's rapping made for an exceptional set of music that caught me off guard but was worth the price of admission.  With lots of cannabis references scattered throughout their lyrics and stage talk, they were a perfect match for this festival. Wiz Khalifa - Cameron Jibril Thomaz (born September 8, 1987),[2] better known by his stage name Wiz Khalifa, is an American rapper from Pittsburgh, Pennsylvania. He signed with the local independent label Rostrum Records to release his debut studio album, Show and Prove (2006). His contract entered a short-lived joint venture with Warner Bros. Records the following year. His Eurodance-influenced 2008 single, "Say Yeah" received urban radio airplay and entered both the Rhythmic Top 40 and Hot Rap Songs charts, becoming his first minor hit.[3] Outside of music, Thomaz has delved into acting with television roles in Dickinson and The Eric Andre Show, the lead role alongside Snoop Dogg in the 2012 stoner comedy film Mac & Devin Go to High School, and voice roles in the animated series American Dad!, Duncanville, and Big City Greens. Thomaz founded the record label Taylor Gang Entertainment in 2008, through which he has signed artists including Juicy J, Ty Dolla Sign, and Berner. Known for his abundant usage of cannabis, Thomaz launched his own cannabis brand, Khalifa Kush, in 2016, which expanded for release in nationwide dispensaries in 2022. His stage name is derived from Khalifa, an Arabic word meaning "successor", and wisdom, which was shortened to Wiz when Khalifa was a young boy.[10] Khalifa stated to Spinner.com that the name also came from being called "young Wiz 'cause I was good at everything I did, and my granddad is Muslim, so he gave me that name; he felt like that's what I was doing with my music." He got a tattoo of his stage name on his 17th birthday.[11][12] By the age of 15, he was regularly recording his music at a local studio called I.D. Labs.[13] Impressed by the young teen's talent, E. Dan, the owner of the studio offered Khalifa an intern job at the studio in exchange for free recording time. Dan, being a veteran of the Pittsburgh hip-hop scene, would help develop and mentor the young artist early on in his career. He was the headliner and lived up to the billing.  Great tunes, great stage presence, great spokesperson for cannabis.  My first experience with his music and it was very positive. A great musical education for me with my tutors, Daniel and AJ. More in MJ News  Herbie Flowers  RIPJerry Miller  RIPGoose this week at the Salt Shed, Thursday and Friday   SHOW No. 2:                    Greatest Story Ever Told                                                Track #9                                                3:25 – end                                                 INTO                                                 Devil With a Blue Dress                                                Track #10                                                0:00 – 1:33 Greatest Story – written by Hunter/Bobby/Mickey, originally called “The Pump Song” on Mickey Hart's 1972 album Rolling Thunder.  As the opening tune of Ace, it is called Greatest Story Ever Told.  But this isn't about that song.  Here, it is the lead-in to a first set couple of “extras” thrown in for some fun. "Devil with a Blue Dress On" (also known as "Devil with the Blue Dress") is a song written by Shorty Long and William "Mickey" Stevenson, first performed by Long and released as a single in 1964. A later version recorded by Mitch Ryder and The Detroit Wheels in 1966 peaked at No. 4 on the U.S. Billboard Hot 100.  "Devil with the Blue Dress" was originally released as Shorty Long's debut single on Motown in 1964, but the single failed to chart. The song describes a femme fatale in a blue dress and not an actual devil.[2] Two years later, Mitch Ryder and The Detroit Wheels recorded the song at Bell Sound Studios in New York City[3] as a medley with an original arrangement of Little Richard's "Good Golly, Miss Molly". Their version, released on their album, “Breakout . . . . !”,  was notably more up-tempo than Long's more blues-influenced rendition.[2] Reaching No. 4 on the Hot 100, their version of the track would end up becoming their most well-known and highest charting hit in the United States. Rolling Stone Magazine ranked it No. 428 on their list of Top 500 Songs of All Time. Basically, another great cover to showcase Brent's singing and keyboard skills.  This was the first of 3 times the Dead covered the song.  Another fun diversion by the band that kept the Deadheads guessing and not wanting to ever miss a show. The transition out of Greatest Story is seamless and makes it so you can't hear the end of Greatest Story without hearing the signature beat of Devil making it a “natural” fit. Played – 3 timesFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast:  October 4, 1987 at Shoreline Amphitheatre, Mountain View, CA, USA  SHOW No. 3:                    Good Golly Miss Molly                                                Track #11                                                0:00 – end                                                 INTO                                                 Devil With a Blue Dress                                                Track #12                                                0:00 – 0:51"Good Golly, Miss Molly" is a rock 'n' roll song first recorded in 1956 by American musician Little Richard and released in January 1958 as single on the Specialty label, and later on the album, Little Richard in July 1958.[1] The song, a jump blues, was written by John Marascalco and producer Robert "Bumps" Blackwell. Although it was first recorded by Little Richard, Blackwell produced another version by the Valiants, who imitated the fast first version recorded by Little Richard, not released at that time. Although the Valiants' version was released first (in 1957), Little Richard had the hit, reaching No. 4.[2] Like all his early hits, it quickly became a rock 'n' roll standard and has subsequently been recorded by hundreds of artists. The song is ranked No. 92 on the Rolling Stone magazine's list of the 500 Greatest Songs of All Time. Little Richard first heard the phrase "Good golly, Miss Molly" from a Southern DJ named Jimmy Pennick.[4] He modified the lyrics into the more suggestive "Good golly, Miss Molly/You sure like to ball." Little Richard himself later claimed that he took Ike Turner's piano intro from his influential 1951 rock and roll song "Rocket 88", and used it for "Good Golly, Miss Molly".[5] "I always liked that record," Richard recalled, "and I used to use the riff in my act, so when we were looking for a lead-in to 'Good Golly, Miss Molly', I did that and it fit." In 1966, Mitch Ryder and the Detroit Wheels incorporated "Good Golly Miss Molly" into their version of "Devil with a Blue Dress On". Their version scored a major hit, not only in Ryder's native Detroit, but nationwide, placing at No. 4 on the Billboard Top 100. As with Devil, a Brent thing.  Unfortunately, it was only around for a month.  Then vanished from the Dead's playlist thereafter.  Played:  3 times, makes senseFirst:  September 9, 1987 at Providence Civic Center, Providence, RI, USALast:  October 4, 1987 at Shoreline Amphitheatre, Mountain View, CA, USA  MJ NEWS:             Miracle in Mudelein – a great event sponsored by Rise Dispensaries and Rhythm cultivators.  Second year, featuring great music, excellent food and drink and too many booths for dabbing from various types of rigs including a Studenglass Gravity Bong – my first time using one and it is not your father's four foot Graffix bong!  Daniel and AJ were all over it and as it turned out, the wait in line was well worth the experience.  Rather than try to explain it to you, just Google Gravity Bong and see for yourself!  Great high.             Miracle is that Lake County, a more conservative leaning county, and Mundelein permitted the event.  Attendees can bring in their own flower or extracts (supposedly only if purchased at an Illinois dispensary), smoking accessories, etc.  Rise also was selling products at the show.             A wonderful thing to attend an event and not have to hide and smuggle in your cannabis.  People lighting up everywhere, offering to share, talking strains, etc.  Police were there to keep order and otherwise let it all go on.  Very professional.             Excellent mellow crowd (what else would you expect?).  Well run.  Shot joints out of a canon.  A wonderful day and experience for those who enjoy cannabis, especially not having to hide it or pretend you don't have any when everyone knows attendees are smuggling it in anyway.             A great way to promote cannabis and help normalize it within the community.  And a fun event to be able to share with my boys, Bella and AJ.  Fun had by all.  SHOW No. 4:                    Not Fade Away                                                Track #24 (NOTE – this song is listed as Track #23 AND #24, be sure to use #24)                                                0:00 – end "Not Fade Away" is a song credited to Buddy Holly (originally under his first and middle names, Charles Hardin) and Norman Petty (although Petty's co-writing credit is likely to have been a formality[3]) and first recorded by Holly and his band, the Crickets. Holly and the Crickets recorded the song in Clovis, New Mexico, on May 27, 1957, the same day the song "Everyday" was recorded.[1] The rhythmic pattern of "Not Fade Away" is a variant of the Bo Diddley beat, "Not Fade Away" was originally released as the B-side of the hit single "Oh, Boy!" on 10.27.1957 and was included on the album The "Chirping" Crickets (1957). The Crickets' recording never charted as a single. In 2004, this song was ranked number 107 on Rolling Stone's list of "The 500 Greatest Songs of All Time". The song is closely associated with the Grateful Dead as one of their signature tunes—one which the band transformed from Holly's 1950s boy/girl romanticism to one reflecting the 1960s' more spiritual universal love. Their 1971 recording of the song is included on their second live album, Skull and Roses, paired with Going Down The Road Feeling Bad, a regular happening in the early ‘70's. Primarily a second set tune that used to show up in the second half of the second set after Drums-Space.  Beginning in 1983, the Dead began to play it as the second set closer, trailing off with “Love is real will not fade away” as they exited the stage.  A few years later, the Deadheads starting chanting the line as the Dead left the stage and in some cases, kept it up until the band reappeared for their encore, when the band would pick back up on the beat and play it for another minute or so before their encore tune, such as with this show.    Great example of the Deadheads making their mark on the show and the band being tuned in enough to play along with it.  Although sometimes if the Dead took too long to come out for the encore, the chanting would start to fade off.  And sometimes even when the chant made it all the way to the band's return on stage, the band would ignore it and just dive straight into their encore.  Fun when it all came together like this show. Played:  561 timesFirst:  February 19, 1969 at Fillmore West, San Francisco, CA, USALast:  July 5, 1995 at Riverport Amphitheatre in Maryland Heights, MO (St. Louis) OUTRO:                               The Mighty Quinn                                                Track #25                                                2:11 – 3:48 Bob Dylan wrote and first recorded the song in 1967 during the Basement Tapes sessions, but did not release a version for another three years.  The song's first release was in January 1968 as "Mighty Quinn" in a version by the British band Manfred Mann, from their album Mighty Garvey, and became a great success. A demo of 14 of the 1967 Basement Tapes recordings, including the first of two takes of "Quinn the Eskimo (The Mighty Quinn)", was produced in 1968, but was not intended for release. Recordings taken from the demos began appearing on bootlegs, starting with Great White Wonder,[7] a double-album bootleg that came out in July 1969. The first official release of the song was in 1970 on Dylan's Self Portrait album,[14] a live recording from 1969's Isle of Wight Festival. The live version (titled "The Mighty Quinn (Quinn the Eskimo)") was also selected in 1971 for the second compilation of Dylan's career, Bob Dylan's Greatest Hits Vol. II. Covered by:  the Hollies, Leon Russell and Phish, among others. Although they never played the song with Bob Dylan, the Grateful Dead started playing "The Mighty Quinn" in concert in 1985. It became a favorite encore among the Grateful Dead's fans, and remained so to the end of their career. Last verses, end with, “when Quinn the Eskimo gets here, everybody's gonna want to doze” but the Deadheads heard it as “dose” and always gave it a big cheer. Played:  59 timesFirst:  December 30, 1985 at Oakland-Alameda County Coliseum Arena, Oakland, CA, USALast:  July 2, 1995 at Deer Creek Music Center, Noblesville, IN, USA  Shoutouts: Lary Vinocur – birthdayElena Mishkin – birthday .Produced by PodConx Deadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinRob Hunt - https://podconx.com/guests/rob-huntJay Blakesberg - https://podconx.com/guests/jay-blakesbergSound Designed by Jamie Humiston - https://www.linkedin.com/in/jamie-humiston-91718b1b3/Recorded on Squadcast

In this episode of our business anniversary series, I shine a light on Culture Community, a Saturday school for children aged 8 to 16 that focuses on black history, culture, and traditions. Culture Community provides a safe space for children to discuss their feelings. offers lessons on black leaders and inspirational figures, along with engaging activities and games. I sit down with the Founder, Precious Graham, to discuss her inspiration for starting the school, the challenges they've faced, and their many accomplishments. Precious also shares why they "keep it moving" despite obstacles, her vision for the future of Culture Community, and the partnership between Culture Community and BAnC Services. Precious explains Kwanzaa (one of their planned activities) the way she has experienced it, as the celebration of Christmas by Rastafarians, though google explains it as an African American celebration.Tune in to learn more about this vibrant Black Saturday School and the enriching experiences it offers for your child.KEY TAKEAWAYSAnyone that wants to learn about black history is able to come along.BEST MOMENTS“… there may be days when you create something and two people turn up, no matter how many people turn up. You always have to show up, you always have to give them the best experience…”“… our team is ready to go. Like, we're always ready to pounce, We're not scared of any challenges. We're just ready to roar, let's say that..”.… you have to always think, in order for this to work, you need to still have finances coming in and then you're able to give out more…”."A lot of the children always say to us, we love Culture Community because we feel like we're being listened to. It's not like typical school..."EPISODE RESOURCESFind out more: https://www.culturecommunity.co.uk/Connect: https://www.instagram.com/culturecommunitycic/?hl=enFollow: https://www.facebook.com/CultureCommunity21/ABOUT YOUR HOSTAishat operates her own bookkeeping and accounting services practice – BAnC Services which focuses primarily on serving non-profits. Before founding her practice, she dedicated over two decades to the non-profit sector.With her podcast, Aishat shares practical insights and expertise to streamline financial management for non-profits; and shines a light on the often unseen & unheard efforts that uphold the delivery of a non-profit's mission.Beyond her professional endeavours with non-profits, Aishat is deeply committed to supporting single mothers with navigating financial management challenges and is the author of "Money Solutions for Single Mums". She also champions financial literacy among young black adults and thrives in discussions about money management.Work with Aishat: www.bancservices.co.ukCONNECTInstagramTikTok

In this episode, Murs breaks down the track "Dreadlocks" which was recorded for but excluded from the Murs For President album eventually being released as a part of the Madden NFL 2008 video game soundtrack. He breaks down the cultural significance of Dreadlocks in the Rastafarian community and the parallels of his own experiences of people's perceptions and assumptions. Support the podcast and get exclusive episodes and BRILA merch here:https://www.patreon.com/Murs316Follow us on IG:https://www.instagram.com/brilapod/Tune into Mondaze with Murs on Twitch:https://www.twitch.tv/3point5 Hosted on Acast. See acast.com/privacy for more information.

To connect with Rekhit Kajara Nia Yaa Nebthet:https://www.rasekhihealing.comRekhit Kajara Nia Yaa Nebthet is the Author of many books including Ra Sekhi Kemetic Reiki Level 1 & Kemetic Reiki Level 2, Sekhmet Rising, the newest addition Healing Ritual Magic & many more. She has also written articles for three other books: Sistah Vegan, Natural Dread of Atlanta, and Magical Calabash. Rekhit Kajara is a Heal Thyself Ambassador of Wellness, Medicine Woman, Priestess, Community Activist, Afrikan Holistic Health Consultant, Spiritual Warrior, Sacred Woman, Educator, Mother, Tree hugger and Nature lover who has dedicated her life to promote health, wellness and natural living to our community. Rekhit Kajara has been practicing and teaching womb wellness and energy healing for over 15 years. She is a natural healer as well as a teacher of all ages for over 20 years sharing lessons in health, wellness, women's health, black history, yoga, and metaphysical sciences. She is also an artist and entrepreneur, who has traveled the US sharing her handmade jewels for over 20 years. Mut Kajara Nebthet was raised in Chicago. She healed herself intuitively at the age of 16 using a technique which is called reiki. She received a Bachelor of Social Science from Florida State in 1993. During her time in college she committed herself in working to uplift Black people. She started her own business Nia Designs, in 1991, for which she made and sold jewelry at festivals and to stores on the East Coast and Midwest. She taught in African centered schools between 1993 and 2000. During this time she taught a variety of subjects including health, physical education, black history, Swahili, entrepreneurship, math, science, yoga, as well as arts and crafts to children of all ages. Mut Kajara was attuned as a Reiki master in 2000 and was initiated as a general initiate into the mysteries of the Akan in 2000. She also began to facilitate Sacred Woman gateway in 2000. She trained over 100 women in Sacred Woman circles and retreats between (the years of)2000 and 2012. She became the Heal Thyself Ambassador of Wellness as well as a certified fasting and detoxing therapist in 2006. She received certification as a Wholistic health practitioner from Dr. Llaila Afrika in 2006. In 2007 she was assigned to teach energy healing to our community and begin teaching Kemetic Reiki classes in Chicago. This journey led to Ra Sekhi Arts Temple being founded in 2007.  She was initiated as a priestess of Sango, Yemaya and Oya in 2008. She has worshipped with Christians, Jehovah's Witness, Hebrews, Muslims, Rastafarians, Buddhists, Wiccans, Native Americans, Akan, Yoruba, Vodun, and NGE and has come to one conclusion. All spiritual systems teach people to live right, the names serve to divide us.  Ra Sekhi classes are open to those of African descent no matter what spiritual system they follow.

To connect with Rekhit Kajara Nia Yaa Nebthet:https://www.rasekhihealing.comRekhit Kajara Nia Yaa Nebthet is the Author of many books including Ra Sekhi Kemetic Reiki Level 1 & Kemetic Reiki Level 2, Sekhmet Rising, the newest addition Healing Ritual Magic & many more. She has also written articles for three other books: Sistah Vegan, Natural Dread of Atlanta, and Magical Calabash. Rekhit Kajara is a Heal Thyself Ambassador of Wellness, Medicine Woman, Priestess, Community Activist, Afrikan Holistic Health Consultant, Spiritual Warrior, Sacred Woman, Educator, Mother, Tree hugger and Nature lover who has dedicated her life to promote health, wellness and natural living to our community. Rekhit Kajara has been practicing and teaching womb wellness and energy healing for over 15 years. She is a natural healer as well as a teacher of all ages for over 20 years sharing lessons in health, wellness, women's health, black history, yoga, and metaphysical sciences. She is also an artist and entrepreneur, who has traveled the US sharing her handmade jewels for over 20 years. Mut Kajara Nebthet was raised in Chicago. She healed herself intuitively at the age of 16 using a technique which is called reiki. She received a Bachelor of Social Science from Florida State in 1993. During her time in college she committed herself in working to uplift Black people. She started her own business Nia Designs, in 1991, for which she made and sold jewelry at festivals and to stores on the East Coast and Midwest. She taught in African centered schools between 1993 and 2000. During this time she taught a variety of subjects including health, physical education, black history, Swahili, entrepreneurship, math, science, yoga, as well as arts and crafts to children of all ages. Mut Kajara was attuned as a Reiki master in 2000 and was initiated as a general initiate into the mysteries of the Akan in 2000. She also began to facilitate Sacred Woman gateway in 2000. She trained over 100 women in Sacred Woman circles and retreats between (the years of)2000 and 2012. She became the Heal Thyself Ambassador of Wellness as well as a certified fasting and detoxing therapist in 2006. She received certification as a Wholistic health practitioner from Dr. Llaila Afrika in 2006. In 2007 she was assigned to teach energy healing to our community and begin teaching Kemetic Reiki classes in Chicago. This journey led to Ra Sekhi Arts Temple being founded in 2007.  She was initiated as a priestess of Sango, Yemaya and Oya in 2008. She has worshipped with Christians, Jehovah's Witness, Hebrews, Muslims, Rastafarians, Buddhists, Wiccans, Native Americans, Akan, Yoruba, Vodun, and NGE and has come to one conclusion. All spiritual systems teach people to live right, the names serve to divide us.  Ra Sekhi classes are open to those of African descent no matter what spiritual system they follow.

 In this episode of the Stories to Create Podcast, host Cornell Bunting chats with Zale Young, an up-and-coming reggae artist based in California, striving to break into the music industry with his unique and diverse style. Zale shares his journey of growing up in Kingston with his mother, surrounded by the Rastafarian community in the early 2000s. He discusses the challenges of adjusting to life with a stepfather he never fully connected with, seeing his biological father only occasionally, and his determination to excel in school as a path to a better future. Zale talks about moving to the United States for college after high school in Jamaica, taking a break to pursue his music career, joining a band that gave him a chance to perform at various shows, and ultimately realizing the importance of finishing his education while finding ways to support his goal of becoming a solo artist. The conversation also discusses current topics, social justice issues, and more. Tune in to hear this compelling discussion unfold.  Support the Show.Thank you for tuning in with EHAS CLUB - Stories to Create Podcast

In this adventurous episode, join us as we hop on the Culture Train for another adventure to the lush, vibrant island of Jamaica. Once again, we meet with Dr. Horace Alexander and Ms. Dorothy McCloud from the Jamaica Cultural Alliance to dive deeper into the captivating culture of this beautiful Caribbean destination. As the journey unfolds, you will be introduced to Jamaica's national fruit, ackee. Ms. Dorothy paints a vivid picture of this unique fruit, explaining how it transforms from a closed, apple-like shape to a beautiful, flower-like structure when ripe. She also shares the crucial safety tip of waiting for ackee to naturally open before consuming it, as eating it prematurely can be dangerous. Dr. Horace then takes us on a culinary journey through the history of Jamaican jerk seasoning. He reveals the ingenious methods used by the Maroons, the brave people who escaped to the mountains for freedom, to cook meat underground without revealing their location through smoke. This fascinating technique gave birth to the rich, smoky flavor of jerk seasoning, a staple in Jamaican cuisine. You will also discover delightful Jamaican desserts, many of which are made from coconut. Ms. Dorothy describes the colorful and chewy treats, including "grater cake" and the intriguingly named "Bustamante's backbone," a tough candy that pays homage to a revered Jamaican Prime Minister. The episode further explores the symbolism of the Jamaican flag, with its unique combination of black, green, and gold, representing the island's challenges, lush landscape, and sunny optimism. Dr. Horace shares the positive outlook embodied by the Jamaican people and explains the cultural significance of the colors often associated with the Rastafarian community.

Há muitos mitos e tabus acerca da famosa Cannabis, essa plantinha cujo uso acontece há milhares de anos. Mas, afinal, o que a ciência já sabe sobre a maconha? Tinha que ser em duas partes! Aqui, a parte 2 de 2.Confira a segunda (e última) parte do papo entre o leigo curioso, Ken Fujioka, e o cientista PhD, Altay de Souza.> OUÇA (46min 36s)*Naruhodo! é o podcast pra quem tem fome de aprender. Ciência, senso comum, curiosidades, desafios e muito mais. Com o leigo curioso, Ken Fujioka, e o cientista PhD, Altay de Souza.Edição: Reginaldo Cursino.http://naruhodo.b9.com.br*REFERÊNCIASThe relationship between cannabis use, schizophrenia, and bipolar disorder: a genetically informed studyhttps://www.thelancet.com/journals/lanpsy/article/PIIS2215-0366(23)00143-8/abstractDoes a history of cannabis use influence onset and course of schizophrenia?https://onlinelibrary.wiley.com/doi/full/10.1111/acps.13562Cannabis and schizophrenia: A complex relationshiphttps://cdn.mdedge.com/files/s3fs-public/CP02212043.pdfCannabis use in Attention – Deficit/Hyperactivity Disorder (ADHD): A scoping reviewhttps://www.sciencedirect.com/science/article/pii/S0022395622006549?casa_token=sBTLU5vfSxkAAAAA:ilKFmuKH2GQG9ylQZoK0WVi9qdlaWwSZl3L4n4o4VUpSZFtzdpPHt3loJJBzwVl3XKEaSyYVOgPrenatal cannabis use and the risk of attention deficit hyperactivity disorder and autism spectrum disorder in offspring: A systematic review and meta-analysishttps://www.sciencedirect.com/science/article/pii/S0022395624000591Exploring the Link between ADHD and Cannabis Use in Swedish Ninth Graders: The Role of Conduct Problems and Sensation-Seekinghttps://www.tandfonline.com/doi/full/10.1080/10826084.2022.2155478UK Medical Cannabis Registry: An analysis of clinical outcomes of medicinal cannabis therapy for attention-deficit/hyperactivity disorderhttps://onlinelibrary.wiley.com/doi/full/10.1002/npr2.12400Associations of cannabis use, use frequency, and cannabis use disorder with violent behavior among young adults in the United Stateshttps://www.sciencedirect.com/science/article/pii/S0955395924001166?casa_token=ODtslt9jke0AAAAA:-uxBbGJnqrra1ax1jysPu6ki-EiFxh-ZvU9tVT0YFSwwnhmmpUNrh5snI5al-CUBUA8xDBEBoAAssociation Between Cannabis and Violence in Community-Dwelling Patients With Severe Mental DisordersA Cross-sectional Study Using Machine Learninghttps://journals.lww.com/jonmd/abstract/2023/02000/association_between_cannabis_and_violence_in.2.aspx?context=latestarticlesEdible Cannabis Legalization and Cannabis Poisonings in Older Adultshttps://jamanetwork.com/journals/jamainternalmedicine/fullarticle/2818635Plantations Beyond Monocrops: Cannabis Ecologies From Colonial Angola to São Toméhttps://journals.sagepub.com/doi/full/10.1177/02780771231222335Cannabidiol (CBD) and its analogs: a review of their effects on inflammationhttps://nida.nih.gov/publications/drugfacts/cannabis-marijuana“Do You Need Someone to Share With?”: Exchange and Demand Sharing in Social Cannabis Supplyhttps://journals.sagepub.com/doi/full/10.1177/00914509221146794Consuming unregulated “diet weed”: The social context of motivations and risk among users of Delta-8 THChttps://anthrosource.onlinelibrary.wiley.com/doi/abs/10.1111/napa.12211Examining the effect of cannabis cues on cannabis demand in sleep, driving, and typical drug-use contextshttps://www.sciencedirect.com/science/article/pii/S0376871623012954?casa_token=XiUEz9zkGV8AAAAA:aDWrpxsa5V7hO3RKEmbIO_V-7nSihgxXgOgJIRGfepldc2kRY3aYNtHs0RbqIdYdVmZmBe8cqwCritical chemsex studies: Interrogating cultures of sexualized drug use beyond the risk paradigmhttps://journals.sagepub.com/doi/full/10.1177/13634607211026223Culturally tailored substance use interventions for Indigenous people of North America: a systematic reviewhttps://www.emerald.com/insight/content/doi/10.1108/JMHTEP-07-2021-0088/full/htmlDevelopment of a rational scale to assess the harm of drugs of potential misusehttps://www.thelancet.com/journals/lancet/article/PIIS0140-6736(07)60464-4/abstractAdverse effects of medical cannabinoids: a systematic reviewhttps://www.ncbi.nlm.nih.gov/pmc/articles/PMC2413308/Gut microbiome and metabolomic profiles reveal the antiatherosclerotic effect of indole-3-carbinol in high-choline-fed ApoE-/- micehttps://www.sciencedirect.com/science/article/pii/S0944711324002800?via%3Dihub#bib0028Table 3 Anti-tumor activities of I3C and DIM compoundshttps://cancerci.biomedcentral.com/articles/10.1186/s12935-023-03031-4/tables/3Cannabinoids in medicine: A review of their therapeutic potentialhttps://web.archive.org/web/20100524141419/http://www.doctordeluca.com/Library/WOD/WPS3-MedMj/CannabinoidsMedMetaAnalysis06.pdfDread : the Rastafarians of Jamaicahttps://archive.org/details/dreadrastafarian00owenNaruhodo #371 - Qual o impacto do alcoolismo nos dias de hoje? - Parte 1 de 2https://www.youtube.com/watch?v=JAIjJ6E8ZHkNaruhodo #372 - Qual o impacto do alcoolismo nos dias de hoje? - Parte 2 de 2https://www.youtube.com/watch?v=ZRwC2GQevIoNaruhodo #49 - O que causa o vício?https://www.youtube.com/watch?v=--Z_ylPXIWcNaruhodo #207 - Vape e cigarro eletrônico são seguros?https://www.youtube.com/watch?v=Raa9CUrIFbsNaruhodo #85 - Por que é tão difícil parar de fumar?https://www.youtube.com/watch?v=SPkIT0ehoisNaruhodo #267 - O que é dissonância cognitiva? - Parte 1 de 2https://www.youtube.com/watch?v=1xJwqmir5UwNaruhodo #268 - O que é dissonância cognitiva? - Parte 2 de 2https://www.youtube.com/watch?v=--OHlHmOQTM*APOIE O NARUHODO PELA PLATAFORMA ORELO!O podcast Naruhodo está no Orelo: bit.ly/naruhodo-no-oreloE é por meio dessa plataforma de apoio aos criadores de conteúdo que você ajuda o Naruhodo a se manter no ar.Você escolhe um valor de contribuição mensal e tem acesso a conteúdos exclusivos, conteúdos antecipados e vantagens especiais.Além disso, você pode ter acesso ao nosso grupo fechado no Telegram, e conversar comigo, com o Altay e com outros apoiadores.E não é só isso: toda vez que você ouvir ou fizer download de um episódio pelo Orelo, vai também estar pingando uns trocadinhos para o nosso projeto.Então, baixe agora mesmo o app Orelo no endereço Orelo.CC ou na sua loja de aplicativos e ajude a fortalecer o conhecimento científico.bit.ly/naruhodo-no-orelo

What if a trip to your homeland could redefine your understanding of self-worth and purpose? Join me as I share the transformative experiences from my recent journey to Antigua after an unexpected three-week hiatus. From reconnecting with my roots and feeling the intense tropical heat to the bittersweet moments of remembering my late grandmother, this trip brought immense peace and clarity. I'll walk you through the lush landscapes, the vibrant culture, and the poignant reflections that grounded me and renewed my appreciation for my culture.But that's not all. Tune in as I recount the heartwarming Scrub Life Cares 'Grow With The Flo' event, filled with community spirit and invaluable lessons on gratitude and connection. Learn about my empowering participation at the Small Island Developing States Conference, where I gained new perspectives and forged significant bonds to further our mission. Plus, hear about my visits with local CSOs, an immersive experience in a Rastafarian community, and impactful health education initiatives. Let this episode inspire you to seek experiences that reconnect you with your core and challenge your perspectives, all while making a meaningful difference.Support the Show.Thank you for listening to Tea With Tanya. Please feel free to rate and leave a review of the show. To join the conversation on social media, use the hashtag and tag us on Instagram #teawithtanya #Teawithtanyapodcast visit the website at tanyakambrose.comFollow us on IG @teawithtanyapodcast, @tanyakambroseSign up for our Tea Talk newsletter Support the podcast by buying a cup of tea.

Há muitos mitos e tabus acerca da famosa Cannabis, essa plantinha cujo uso acontece há milhares de anos. Mas, afinal, o que a ciência já sabe sobre a maconha? Tinha que ser em duas partes! Aqui, a parte 1 de 2.Confira a primeira parte (de duas) do papo entre o leigo curioso, Ken Fujioka, e o cientista PhD, Altay de Souza.> OUÇA (53min 20s)*Naruhodo! é o podcast pra quem tem fome de aprender. Ciência, senso comum, curiosidades, desafios e muito mais. Com o leigo curioso, Ken Fujioka, e o cientista PhD, Altay de Souza.Edição: Reginaldo Cursino.http://naruhodo.b9.com.br*REFERÊNCIASThe relationship between cannabis use, schizophrenia, and bipolar disorder: a genetically informed studyhttps://www.thelancet.com/journals/lanpsy/article/PIIS2215-0366(23)00143-8/abstractDoes a history of cannabis use influence onset and course of schizophrenia?https://onlinelibrary.wiley.com/doi/full/10.1111/acps.13562Cannabis and schizophrenia: A complex relationshiphttps://cdn.mdedge.com/files/s3fs-public/CP02212043.pdfCannabis use in Attention – Deficit/Hyperactivity Disorder (ADHD): A scoping reviewhttps://www.sciencedirect.com/science/article/pii/S0022395622006549?casa_token=sBTLU5vfSxkAAAAA:ilKFmuKH2GQG9ylQZoK0WVi9qdlaWwSZl3L4n4o4VUpSZFtzdpPHt3loJJBzwVl3XKEaSyYVOgPrenatal cannabis use and the risk of attention deficit hyperactivity disorder and autism spectrum disorder in offspring: A systematic review and meta-analysishttps://www.sciencedirect.com/science/article/pii/S0022395624000591Exploring the Link between ADHD and Cannabis Use in Swedish Ninth Graders: The Role of Conduct Problems and Sensation-Seekinghttps://www.tandfonline.com/doi/full/10.1080/10826084.2022.2155478UK Medical Cannabis Registry: An analysis of clinical outcomes of medicinal cannabis therapy for attention-deficit/hyperactivity disorderhttps://onlinelibrary.wiley.com/doi/full/10.1002/npr2.12400Associations of cannabis use, use frequency, and cannabis use disorder with violent behavior among young adults in the United Stateshttps://www.sciencedirect.com/science/article/pii/S0955395924001166?casa_token=ODtslt9jke0AAAAA:-uxBbGJnqrra1ax1jysPu6ki-EiFxh-ZvU9tVT0YFSwwnhmmpUNrh5snI5al-CUBUA8xDBEBoAAssociation Between Cannabis and Violence in Community-Dwelling Patients With Severe Mental DisordersA Cross-sectional Study Using Machine Learninghttps://journals.lww.com/jonmd/abstract/2023/02000/association_between_cannabis_and_violence_in.2.aspx?context=latestarticlesEdible Cannabis Legalization and Cannabis Poisonings in Older Adultshttps://jamanetwork.com/journals/jamainternalmedicine/fullarticle/2818635Plantations Beyond Monocrops: Cannabis Ecologies From Colonial Angola to São Toméhttps://journals.sagepub.com/doi/full/10.1177/02780771231222335Cannabidiol (CBD) and its analogs: a review of their effects on inflammationhttps://nida.nih.gov/publications/drugfacts/cannabis-marijuana“Do You Need Someone to Share With?”: Exchange and Demand Sharing in Social Cannabis Supplyhttps://journals.sagepub.com/doi/full/10.1177/00914509221146794Consuming unregulated “diet weed”: The social context of motivations and risk among users of Delta-8 THChttps://anthrosource.onlinelibrary.wiley.com/doi/abs/10.1111/napa.12211Examining the effect of cannabis cues on cannabis demand in sleep, driving, and typical drug-use contextshttps://www.sciencedirect.com/science/article/pii/S0376871623012954?casa_token=XiUEz9zkGV8AAAAA:aDWrpxsa5V7hO3RKEmbIO_V-7nSihgxXgOgJIRGfepldc2kRY3aYNtHs0RbqIdYdVmZmBe8cqwCritical chemsex studies: Interrogating cultures of sexualized drug use beyond the risk paradigmhttps://journals.sagepub.com/doi/full/10.1177/13634607211026223Culturally tailored substance use interventions for Indigenous people of North America: a systematic reviewhttps://www.emerald.com/insight/content/doi/10.1108/JMHTEP-07-2021-0088/full/htmlDevelopment of a rational scale to assess the harm of drugs of potential misusehttps://www.thelancet.com/journals/lancet/article/PIIS0140-6736(07)60464-4/abstractAdverse effects of medical cannabinoids: a systematic reviewhttps://www.ncbi.nlm.nih.gov/pmc/articles/PMC2413308/Gut microbiome and metabolomic profiles reveal the antiatherosclerotic effect of indole-3-carbinol in high-choline-fed ApoE-/- micehttps://www.sciencedirect.com/science/article/pii/S0944711324002800?via%3Dihub#bib0028Table 3 Anti-tumor activities of I3C and DIM compoundshttps://cancerci.biomedcentral.com/articles/10.1186/s12935-023-03031-4/tables/3Cannabinoids in medicine: A review of their therapeutic potentialhttps://web.archive.org/web/20100524141419/http://www.doctordeluca.com/Library/WOD/WPS3-MedMj/CannabinoidsMedMetaAnalysis06.pdfDread : the Rastafarians of Jamaicahttps://archive.org/details/dreadrastafarian00owenNaruhodo #371 - Qual o impacto do alcoolismo nos dias de hoje? - Parte 1 de 2https://www.youtube.com/watch?v=JAIjJ6E8ZHkNaruhodo #372 - Qual o impacto do alcoolismo nos dias de hoje? - Parte 2 de 2https://www.youtube.com/watch?v=ZRwC2GQevIoNaruhodo #49 - O que causa o vício?https://www.youtube.com/watch?v=--Z_ylPXIWcNaruhodo #207 - Vape e cigarro eletrônico são seguros?https://www.youtube.com/watch?v=Raa9CUrIFbsNaruhodo #85 - Por que é tão difícil parar de fumar?https://www.youtube.com/watch?v=SPkIT0ehoisNaruhodo #267 - O que é dissonância cognitiva? - Parte 1 de 2https://www.youtube.com/watch?v=1xJwqmir5UwNaruhodo #268 - O que é dissonância cognitiva? - Parte 2 de 2https://www.youtube.com/watch?v=--OHlHmOQTM*APOIE O NARUHODO PELA PLATAFORMA ORELO!O podcast Naruhodo está no Orelo: bit.ly/naruhodo-no-oreloE é por meio dessa plataforma de apoio aos criadores de conteúdo que você ajuda o Naruhodo a se manter no ar.Você escolhe um valor de contribuição mensal e tem acesso a conteúdos exclusivos, conteúdos antecipados e vantagens especiais.Além disso, você pode ter acesso ao nosso grupo fechado no Telegram, e conversar comigo, com o Altay e com outros apoiadores.E não é só isso: toda vez que você ouvir ou fizer download de um episódio pelo Orelo, vai também estar pingando uns trocadinhos para o nosso projeto.Então, baixe agora mesmo o app Orelo no endereço Orelo.CC ou na sua loja de aplicativos e ajude a fortalecer o conhecimento científico.bit.ly/naruhodo-no-orelo

Texas megachurch really wants a new traffic light, Vatican museum staff sues Vatican, imprisoned Rastafarian appeals to Supreme Court over cut hair, Chicago high school's quiet time crosses the line, Billy Graham statue headed to US Capitol, free books at Louisiana school, and Madonna's free concert in Brazil stokes new Satanic Panic.

The funeral for Jamaican reggae star Bob Marley was half religious ceremony, half rock concert on 21st May, 1981. An estimated 100,000 people are believed to have seen Marley's body lying in state, and the announcement of Jamaica's national budget was postponed by several days to accommodate his funeral. The casket contained his red Gibson Les Paul guitar, a Bible opened at Psalm 23, and a stalk of ganja placed there by his widow, Rita. In this episode, The Retrospectors uncover the Rastafarian tensions underlying Prime Minister Edward Seaga's eulogy; explain why this moment of national commemoration also meant coming to terms with some national guilt; and consider how the Marley family subsequently used Bob's image on everything from earphones to cannabis… Further Reading: ‘Bob Marley's funeral, 21 May 1981: a day of Jamaican history' (The Guardian, 2011): https://www.theguardian.com/music/2011/apr/24/bob-marley-funeral-richard-williams ‘In Short - 'I was there': Bob Marley's death, 1981' (BBC Radio 5 Live, 2017): https://www.bbc.co.uk/programmes/articles/2xyVnT65ltGwggk3zrc8yyG/i-was-there-bob-marleys-death-1981 ‘Excerpt from “Marley” (Universal Pictures, 2012): https://www.youtube.com/watch?v=XTx868LW--8 Love the show? Support us!  Join 

Sarah and David start things off with a discussion of Trump's trials and how he might respond to the outcome of the election. Are David's concerns overblown? The Agenda: —Trump's New York trial —Chilling speech over anti-Israel protests and one law school dean's private dinner party —Mocking Michael Cohen —Civil forfeiture SCOTUS ruling —AYER ruling —When prison guards shave a Rastafarian's dreads —Firing gay teachers Show Notes: —Trial of Ted Stevens Learn more about your ad choices. Visit megaphone.fm/adchoices

Comedian Paul F. Tompkins chats about his improv comedy podcast The Neighborhood Listen, where he and fellow comedians re-enact posts from the app Nextdoor; poet Safiya Sinclair discusses her memoir How to Say Babylon, in which she recounts growing up Rastafarian in Jamaica under the strict patriarchy of her father; and singer-songwriter Isabeau Waia'u Walker performs her song "All My Friends Think I'm Okay." Plus, host Luke Burbank and announcer Elena Passarello share some unhinged behavior from the neighbors of our listeners.

The story of Ghanaian dancehall begins with the rise of reggae music in the late 1970s. Inspired by the powerful voices of Jamaican icons like Bob Marley (Bob Marley's wife, Rita Marley, has spent more than 20 years residing in Ghana. In the 1990s, she relocated to Ghana with Bob Marley's family ) and Peter Tosh, Ghanaians found a deep resonance with reggae, seeing parallels between the Jamaican experience and their own history of colonialism and struggle. The local Rastafarian communities played a pivotal role in nurturing this bond, and soon, youth from the Zongos began to champion this emerging genre. Much like in Jamaica, these young artists expressed their socio-cultural challenges and political dissent through their music. Abeejah O'Mint, better known as Jupitar or Jupitar General, has swiftly ascended as a standout in the spheres of Reggae, Dancehall, and Afrobeats within Ghana. Emerging in 2011, Jupitar has left an indelible mark on Africa's dancehall canvas, characterized by his genuine tunes and mesmerizing performances. His initial breakout track, "Nah Touch Again" in 2010, catapulted him into the spotlight, prompting many to marvel at his distinctly African origin. 2013 was a rewarding year for him; he clinched the "Discovery of the Year" titles at both the Reggae/Dancehall BASS Awards and the MTN 4Syte Music Video Awards. By 2017, he garnered a nomination at the Vodafone Ghana Music Awards, enthralling fans with a riveting live band show. Between 2015-16, his hit single "Enemies," featuring Sarkodie, resonated not just within Ghana but also far beyond its borders. This achievement led him to several nominations and eventually a win for "Best Collaboration of the Year" at the Ghana Music Awards UK (GMAUK). Jupitar's collaboration with one of Nigeria's dancehall heavyweights, PatoRanking, on "Whine" garnered vast online attention. In 2017, he clinched the title of Best African Artist at the Urban Music Awards U.K, competing with notable names like Wizkid, Mr. Eazi, and Tiwa Savage, among others. 2018 saw him being recognized as the top Dancehall act at the NELAs Award in the U.K., outshining peers like Shatta Wale and Burna Boy. He's also marked as a performer for JA Sting 2023. This was a great interview! Ghana to THE WORLD! --- Send in a voice message: https://podcasters.spotify.com/pod/show/theafricanexcellistpodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/theafricanexcellistpodcast/support

Watch the video interview on YouTube: https://www.youtube.com/channel/UCijzViDaoVljjDXyEPTIwyQ?sub_confirmation=1 This week's guest is Bukkha. This conversation covers a wide range of topics related to dub music culture, including the origins and meaning behind terms like "Babylon," the role of sound systems, vinyl collecting, and the distinction between DJs and selectors in the dub scene. Bukkha shares his personal journey into the world of dub, starting with his early influences like jungle and intelligent dance music. He discusses discovering the infamous "BBC Radio Dubstep Wars" mix, which sparked his passion for the deep, dubby side of the genre. The interview delves into the cultural significance of dub music, its roots in Jamaican reggae, and the Rastafarian philosophies that shape its conscious messages. Throughout the discussion, Bukkha emphasizes the importance of gratitude and staying true to one's artistic vision, rather than seeking validation from big names in the industry. He also touches on the vinyl collecting craze, limited edition releases, and the allure of exclusivity in the physical music market. The conversation also explores Bukkha's experiences playing at various venues and festivals across Europe, highlighting the vibrant dub scene and the unique atmosphere of all-night parties. Additionally, Bukkha discusses his own record label endeavors, collaborations, and the process of pressing and releasing vinyl records. Overall, the podcast offers a rich exploration of dub music culture, providing insights into its history, philosophies, and the dedicated community of artists, selectors, and enthusiasts who keep the sound system tradition alive. Support Us by Buying a Hat ;) https://poducer.bigcartel.com/product/poducer-green-corduroy-ball-cap Sponsorships: QUAKE Dub Muffs V2 l Buy now! Use code "POD15" at checkout to save 15% https://www.dubmufs.com/products/dub-mufs-v2 Affiliates: https://www.lalal.ai/?fp_ref=poducer Follow: Bukkha Spotify - https://open.spotify.com/artist/7ADHSBDZKBUoay9s2qXfBA?si=5AkOk9HrQgmrFfIBOLQ0GA&nd=1&dlsi=9d7a931bb5234ca9 Instagram - https://www.instagram.com/bukkhagram/ Soundcloud - https://soundcloud.com/bukkhaspace?ref=clipboard&p=i&c=1 Bandcamp - https://bukkha.bandcamp.com/music Follow Poducer: Spotify - https://open.spotify.com/show/28RTvQMv5fMfF2ozxO2zdw?si=e76566f2c7a246c4&nd=1 Apple Podcast - https://podcasts.apple.com/us/podcast/poducer/id1327594929 Instagram - https://www.instagram.com/poducer_podcast/ YouTube - https://www.youtube.com/channel/UCijzViDaoVljjDXyEPTIwyQ Soundcloud - https://soundcloud.com/poducer Facebook - https://www.facebook.com/PoducerPodcast/ Discord - https://discord.com/invite/TRNMsja

In Chapter 3 of "Crucifixion of the Ghetto" Hungry Town, a chance encounter at the Studio with a Grammy Nominated Songwriter is just the right ingredient the Bigga Staar project needs to get off the ground. Henry K and Bigga travel into Hungry Town, one of Kingston's garrisons to check rising Rastafarian singer Turbulence about a feature on a song. Rootsland Returns on 3/19 with the Second Half of Season 7 Produced by Henry K in association with Voice Boxx Studio Red Hills, JamaicaGuest vocals by Patrick "Curly Loxx" Gaynor, Steve "Bigga Staar" Briskman Intro by Michelle "Kim" Yamaguchi Home | ROOTSLAND Reggae Music, Podcast & Merchandise "Wear Your Culture" Rootsland is proud to partner with Osiris Media "the leading storyteller in music." Welcome to Osiris Media - Osiris - The leading storyteller in music. Rootsland is proud to be sponsored by Age Verification - Sunset Lake CBD Brian Jahn Brian Jahn (@brianjahnphoto) • Instagram photos and videosfeatured songs: "Hungry Town Skank" Jacob Miller & Augustus Pablo "Gimme di MIc" Bigga Staar feat. Turbulence Photo Bigga Staar & Turbulence January 2004

The movie, One Love, the Bob Marley biopic, just came out which has people looking closer at the Rastafari culture. Putting the culture into the spotlight, many have noticed the undeniable ties between their religion and Jewish themes. Jewish organizations have jumped onto the trend of asking, and even claiming, that Bob Marley was Jewish. Whether or not this is true is trivial. What's more valuable is the discovery of Jewish and Jamaican ties and how oppression brought them together. As a full-time Jewish advocate, Tyler Samuels sheds light on the little-known history of Jamaican Jews and the isolating experience of being a black Jew. From the secret crypto Jews of the Spanish Inquisition to the influences on Rastafari culture and the intriguing story of a Jewish pirate, Samuels offers an exciting exploration of Jamaican Jewish history. Don't miss out on this eye-opening episode that will challenge preconceptions and celebrate the diversity within Jewish culture. Timeline: 00:00 Introduction to Tyler Samuels 03:45 The Spanish Inquisition 07:07 Colonies and the spread of oppression 09:25 Pirates 15:23 Jewish persecution in Iberia and colonies. 16:18 Defining Genocide 21:21 Rastafarian culture is influenced by Jewish symbols. 24:35 Personal experiences 26:39 Conclusion About Tyler Samuels: Tyler Samuels is the creator of the social media account BluntBlackJew. He was the Campus Development Lead at Hillel BC Society. Tyler was also a fellow for the Union of Reform Judaism's Jews of Color Leadership Fellowship and a Jewish Federation of North America Changemakers Fellow for Aspiring Leaders. Through Twitter, Instagram, and TikTok, Tyler teaches Jews and non-Jews Caribbean Jewish & general Jewish history and life as a Black Jew. Connect with Tori Greene IG: @bluntblackjew Connect with Bad Jew: BadJew.co https://linktr.ee/badjew BadJewPod@gmail.com Ig @BadJewPod TikTok @BadJewPod

We're joined by return guest Princess O'Nika Auguste, here to share the story of The Queen of Sheba. Princess explains this Queen's connection to Ethiopian, Rastafarian, Yemeni, Islamic, Jewish, Christian, and Black history. Follow Princess's podcast Badass Women of History Support Princess on Patreon All other ways to follow and support Princess online ---- Get 15% off all the gorgeous jewellery and accessories at common.era.com/vulgar or go to commonera.com and use code VULGAR at checkout -- Get Vulgar History merch at vulgarhistory.com/store (best for US shipping) and vulgarhistory.redbubble.com (better for international shipping) -- Support Vulgar History on Patreon  -- Vulgar History is an affiliate of Bookshop.org, which means that a small percentage of any books you click through and purchase will come back to Vulgar History as a commission. Use this link to shop there and support Vulgar History. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ken and Charley talk about the Caribbean island nation of Jamaica. Endemic bird and Rastafarian capital of the Caribbean! Rufous-throated Solitaire recording courtesy of Simon Elliott, https://xeno-canto.org/589885. License: Creative Commons Attribution-NonCommercial-NoDerivs 4.0 If you wish to support this podcast, please visit our Patreon page at: https://www.patreon.com/naturallyadventurous?fan_landing=true Feel free to contact us at: cfchesse@gmail.com or ken.behrens@gmail.com Naturally Adventurous Podcast --- Send in a voice message: https://podcasters.spotify.com/pod/show/ken-behrens/message