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SHAUMBRA MAGAZINE: How and when did you find Crimson Circle?

LARRY: It would have been around 2011. I had spent the last few years running away from decades of the buffet of New Age and other spiritual things around San Francisco. Oddly enough, I was cleaning out my hard drive and, for some unknown reason, there was a pdf of the Tobias Creator Series. I had no idea where it came from, but I got into it – in fact rather obsessed over it – and there I was, jumping back on the seeker path once again. However, I learned fairly quickly that that wasn’t really serving me very well. For my entire lifetime, since I “woke up” at about 10 years old, spiritual seeking was sort of my main focus.

SM: So, did you find what you were looking for?

LARRY: Yeah! I most definitely did. Basically, three entirely new concepts kind of blew me away at the time. One was “The human is not responsible for Realization.” That was a big one. Then the concept of embodied Realization was a big one. My thoughts before that were that maybe someday I’d get holy enough and float off to cosmic whatever-ness, which actually was not very attractive at the time. And it usually involved giving up all of the juicy bits of being a human. Third was the concept of sovereignty.

SM: How did you come to be on the Crimson Circle staff and what do you do?

Old fart at play, Bodega Bay, CALARRY: In the summer of 2014 it happened that I was on a road trip that coincided with the last few weeks of installing the initial studio in Louisville. After connecting with someone on the staff and offering my services, I wound up working the last few weeks and meeting the folks and having a wonderful time. I returned to San Francisco for a couple more years until I retired, then moved to Boulder and once again was available for various tasks in the studio.

SM: What are you doing now for CC and what skills did you bring?

LARRY: I’m sort of backline availability, which is cool since I’m retired. I help with studio upgrades and tweaks and occasionally the décor, and I was able to be of value for the event in Santa Fe in 2019 (“10 Years with Adamus”). It just so happened that I’d done many similar events in the past, so I had a background that was useful, especially since that kind of “remote” event was a first for a lot of the staff.

In terms of skills, I lit my first show in the 4th grade, meaning I turned on the lights at the appropriate times and did a lighting design for the 4th grade chorus concert. Throughout my school years I was a theater and music geek – the appropriate term would have been “nerd” – and was also considered to be a borderline juvenile delinquent with authority issues, so I got my pirate cred in early. I got a degree in music and ended up working for a PBS affiliate as their studio manager, right at the time when they were changing over from black and white to color. Yes, it was that long ago!

Then I went to San Francisco for 42 years and did all manner of production and design work, quite often for high-end local organizations and people; basically, I did a whole lot of cool things with a whole lot of exceptionally wonderful people. The last 18 years, along with select outside projects, I was technical director for the Cowell Theater where I ran all of the tech operations until I retired in the summer of 2016 and moved to Boulder.

SM: So, you’ve been in this kind of production work for a long time!

LARRY: Yeah, literally thousands of shows, events and projects. Actually, the career was quite wonderful, and I had a great time. Then it was time to walk away and move to Boulder, although I’m thinking about heading back to California. I thoroughly miss the ocean.

SM: What do you feel passionate about?

LARRY: In terms of the work itself with Crimson Circle, I got a lot of juice from working with high-end crews, especially where there’s opportunity for a great deal of synergy and synchronicity. And if you add Shaumbra values to that, it gets quite wonderful.

I’m really passionate about working terra incognita in unprecedented areas, such as what we’re doing in Crimson Circle. That’s really exciting.

And I thoroughly enjoy designing and facilitating live performance, particularly on a high-end and very complex basis, such as stage-managing opera and behemoths like that. With so much going on, you have to be more than one step ahead at all times, while you’re also in real time doing your job – not unlike running camera while listening to a Shoud.

SM: Anything else you’d like to share?

LARRY: I’ve come up with a useful word recently, something that came to me at like 2 o’clock in the morning a couple days ago. Rather than calling what we’re doing a ‘path’ or a ‘journey,’ I think perhaps a better word is ‘trajectory.’ It implies being self-powered rather than mudging along a muddy path. And the other component is that you’re given a boost, and then you just coast along for the ride. I think that sums it up pretty well.

Larry may be contacted via email.