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South Beach Smoke, 2 years ago 3 min read
According to a 2019 survey by Consumer Reports, about 64 million Americans have tried CBD in a span of just 24 months, making this plant-based molecule a hot topic for anything interested in holistic health and wellness. With more than 25 percent of the country saying they've tried CBD – and 1 in 7 of those reporting using it on a daily basis – it's no surprise that everything is talking about CBD.
But what is CBD, and is it something you should add to your regular routine? According to plenty of consumer feedback, odds are that you're likely to benefit from trying CBD for yourself. Here is a handy guide to the basics of CBD, including the most common reasons people take CBD:
CBD is the shorthand term for cannabidiol, one of hundreds of plant-based molecules called cannabinoids found within the Cannabis plant genus. The genus includes a variety of specific species including hemp, all of which contain varying combinations of cannabinoids. One of the reasons CBD has become so popular is that it does not create the feeling of being "high," an effect produced by THC, another cannabinoid. Also, as reported by the World Health Organization, CBD doesn't show any signs of being addictive.
CBD is extracted from the hemp plant and then used to infuse an extensive variety of CBD-only products, including topicals (like creams, balms, and salves), capsules, oils, tinctures, edibles, and more. If you're considering CBD, you can bet that there's a CBD product that perfectly fits your lifestyle.
Why Do People Take CBD?
Consumers have reported an impressive variety of benefits from CBD, and surveys show that there are many different reasons people decide to use CBD. Because CBD and other cannabinoids engage with the body's natural endocannabinoid system, scientists are learning more about the potential therapeutic reported gain – many of which consumers are already eager to take full advantage of.
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Decreasing stress and anxiety. Whether consumers are dealing with everyday stresses or diagnosed anxiety issues, many report that CBD helps them manage their symptoms. According to Consumer Reports, nearly 40 percent of CBD consumers said they specifically chose CBD to help them relax and handle stress and anxiety. More than 60 percent of those reported feeling that CBD was an effective method of reducing their symptoms.
Improving pain. The second-most common reason for CBD use reported in the same survey was pain reduction. About 25 percent of respondents said that they used CBD to help joint pain, which makes sense considering the scientific studies correlating CBD with reduced inflammation, decreased pain, and accelerated healing.
Getting a good night's sleep. Since such a significant percentage of surveyed consumers said that CBD helped them relax and battle stress, it's no surprise that ten percent said that CBD was a useful sleep aid.
Many other uses. CBD has a mile-long list of consumer-reported uses that are only expected to grow and diversify as further studies are conducted.
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Abbey Rader Generations Quartet at Audiotheque
Posted By	ArtBurst Team
On the band leader Abbey Rader's Website, the link to information about his Buddhist meditation and martial arts practices precedes that for his music. In a husky Bronx-accented voice, he laughed it off, saying that nothing is permanent, and that this ranking could change tomorrow. A veteran of decades on the jazz circuit, Rader is also a long time practitioner of Buddhist meditation and a Tai Chi teacher. "In martial arts you have to empty yourself. In Buddhism the self doesn't exist. The self is in your way, so to have an empty mind you can defend yourself, or you can just be who you really are, which is nothing. And in music if you empty yourself you can interact and improvise and you can allow the spiritual energy to come through you. You're sort of a conduit for playing the music." The most recent Audiotheque concert, hosted by South Florida Composer's Alliance (SFCA) and Subtropics Music Festival director Gustavo Matamoros — a sound artist himself — featured the Abbey Rader Generations Quartet, a locally based instrumental ensemble whose leader's origins are in the '70s bebop style of such notables as John Coltrane and Ornette Coleman. His two horn players, John McMinn and Noah Brandmark, go way back as well. Meanwhile, the youngest band member is genre-hopping composer/bassist Kyle Motl, a recent Florida International University music school grad, who's interested in both electronic sound and Tuvan throat singing. Do these puzzle pieces create a coherent picture? In the Audiotheque's small, but acoustically balanced performance space overlooking Lincoln Road, the quartet members chatted with a congenial audience, then launched into an emotionally diverse set that began at a high key and rolled through moods of contemplation, periods of improvised call and response between the horns, gentle airiness and piercing, synchronized melodic lines. Rhythms — from Rader's extensive percussion "tool chest" and from Motl's bowed and plucked bass — are rarely discernible as a beat. Instead, pulses and waves, interspersed with staccato shots, flow among the arpeggios, growls and sweet melodic lines of McMinn and Brandmark's saxophones, bass clarinets and piccolo. Besides the usual drum kit, Rader has an array of hand drums. He fondly invokes their roots connection. "You can hear that 'fa-kata-fa-kata,' that's the ride cymbal. Tang-a-dang-tang-a-dang. So, a lot of what we're playing has been influenced by these wonderful African hand drummers. They didn't have snare drums. That's a marching invention; that's an invention for going to war. Thrup-da-rup-da-rup; let's go kill each other!" But, in fact, he plays both. Kyle Motl's role is certainly not limited to the walking bass supporting role. He's an experimenter who pulls all manner of sounds from his instrument, and he revels in his opportunity to join seasoned band mates. "I started playing with Abbey and playing this music at a really integral point, and it's really affected both the way that I play and the way that I think about playing. In this situation we're playing without any preconceived notion about what we're going to do, and it's really a matter of getting out of your own way and not thinking about what you're doing. Just listen and play what's going on." But when pressed about preconceptions and structure, Rader hedged a bit. Some of the band's "tunes" have names. Their loosely established structures provide reference points of tonal dynamics, pacing, instrumentation — all subject to change. Preconceptions also underlie the musician's training and practice, allowing him to unthinkingly produce a desired sound. "I spent 20 years playing other people's songs in different ways, but that's not the level of the higher martial arts and that's not the level of the higher music." That "higher music" doesn't necessarily bring higher popularity and bookings, but promoters like Matamoros and Steve Malagodi have tirelessly sought audiences and venues for Rader and others who populate the outer orbits of the musical solar system. It's a tough road anywhere, but especially in Miami. "Real estate prices are high; the cost of keeping a venue open is very high; the audiences are very small and it's expensive to bring people in," said Malagodi, producer and retired public radio host. In hosting experimental music performances, as with his own compositions, Matamoros assembles sound elements that are not often heard together, so that our listening evolves. But he sees Audiotheque as a different proposition from festivals like Subtropics, with their long lead times and complex planning. "Now what I am proposing to do here — it's open space that remains open for the thing that's happening tomorrow. It's a laboratory where things can get created, get presented, get tested. And then the audience becomes part of the process." As friends gathered to carry his drum cases out to the car, Rader remarked, "As far as musical support, you're looking at it – in this room. Today it makes me feel good… I can disappear." On June 8, the New York-based sound-centric performance duo On Structure, presented by the FETA Foundation and SFCA, takes the Audiotheque stage, 924 Lincoln Road, Studio 201, Miami Beach at 8:00 p.m.; go to www. http://subtropics.org/ for more information. Photo: The musicians from left: Kyle Motl, John McMinn, Abbey Rader, Noah Brandmark


In a bid to enhance cross-border movement of people and goods, South Sudan has said it is ready to begin processing and issuing East African Community (EAC) electronic passport.
According to Mou Mou Athian, the under-secretary in the Ministry of Trade, Industry and East African Affairs, the e-passport is expected to unleash benefits linked to regional integration.
"We are ready to start issuance of the EAC digital passport to our citizens because it is very important to have one society that is governed by a common market protocol," Athian spoke to journalists in Juba.
Athian said the e-passport will have categories that include diplomatic, service and ordinary and its validity depends on the beholders' terms though it is set for 10 years validation.
The regional economic gave South Sudan August as the deadline for the country and Rwanda to start issuing their citizens the electronic passports prompting the move.
In 2017, the EAC's six partner states including South Sudan were directed to start issuing the new East Africa machine readable of electronic passports by January but the preparedness of each member state was considered.
South Sudan applied for membership to the EAC as soon as it gained independence from Sudan in 2011. However, its application was declined because of the country's institutional weaknesses.
South Sudan was officially admitted to become the sixth member of the EAC in 2016 after President Salva Kiir signed an accession treaty in Tanzania's commercial capital, Dar es Salaam.
Original members of the East African Community included Tanzania, Kenya and Uganda before Rwanda and Burundi joined the bloc a couple of years later.