In many ways, the legal side of functional medicine can feel like the Wild West—uncertain, unregulated, and full of risks. The reality is, we all want to have our practices legally buttoned up, but navigating the legal landscape can feel overwhelming—and expensive. What Scott Rattigan, creator of Functional Lawyer, shares in this episode is a real game-changer. He not only breaks down the complexities of the legal side of things but also offers real solutions for us—solutions that can make sure we're covered without the stress and uncertainty that often comes with it. Whether you're just starting out or growing your established practice, you're going to get actionable insights on how to avoid common legal pitfalls, protect your practice, and actually move forward with confidence. It’s a topic that’s been an unmet need for so long, and I'm so excited to bring this to you. ~DrKF

Check out the show notes at https://www.drkarafitzgerald.com/fxmed-podcast/ for the full list of links and resources.

EXCLUSIVE OFFER FOR NEW FRONTIERS LISTENERS

Download 5 Essential Legal Documents for Every Functional or Integrative Medicine Practice: https://www.functionallawyer.com/resource-downloads

GUEST DETAILS

Scott Rattigan, JD 

Founder: Functional Lawyer: https://www.functionallawyer.com/kf

Co-founder: Origins Incubator - https://www.originsincubator.com/

The Junto Podcast Playlist: https://fxmedlaw.com/junto-youtube

LinkedIn: https://www.linkedin.com/in/scott-rattigan/

Email: info@functionallawyer.com

Phone: 941-229-0928

Scott Rattigan, JD, is the founder of Functional Lawyer, offering flat-rate legal solutions to help practitioners protect their licenses and grow their businesses. Inspired by helping his wife build her functional medicine practice, Scott provides high-quality legal support for health coaches, doctors, and more. He’s an attorney, internationally recognized speaker, host of The Junto with Scott Rattigan, bestselling author of The Practice of Telemedicine, and co-founder of the practice success software ReveliaDx.

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Legal Pitfalls That Could Destroy Your Practice & How to Avoid Them

A solo acoustic charango performed by me looking through the windows on my studio.
Two microphones, a great sounding room, some convolution reverb added.

Photo: the view through my windows this morning 29/May/2025

https://llllllll.co/t/disquiet-junto-project-0700-view-frame/

through my window - disquiet0700

a ambient track  played  live on  koala sampler while looking out my window , edited in audacity (eq, compresser. fade in/out ) 

Fragments disquiet0700

Video con testo: https://youtu.be/7rcf4x2gYJQ?si=4eWp-vNvz4XmbFGe

Faro delle secche di Vada (Official Instrumental)

Disquiet Junto Project 0703: That’s How You Got Killed Before

This one’s been sitting on my hard drive for 16 months. It came from a session with my friend and collaborator Bobby Rangell — we had recorded some flutes for a job, then took advantage of being in the studio to jam a bit: bass and flute, sometimes with a drum machine click.
It was a super productive day. I later revisited and shared many of those flute-based tracks… but this one?
Like the others, it was just two tracks: mono flute and stereo bass, with a 2-bar drum machine loop. But I made a patching mistake that day — the bass came out super thin and low, and mixed weirdly with Bobby’s long reverb. So I just… deleted my bass track. Why? No idea.
Months later, I went back to it — and found only Bobby’s flute and a 3-note Roland 707 kick pattern. No idea what I originally played. Worse: Bobby’s blowing was super abstract. I couldn’t even figure out the key. Still can’t.
Then I got Marc’s email this morning and thought, why not try something different?
Instead of trying to remember what we did, I improvised on top of Bobby and the 707 kick playing electric bass, just following my own ideas and added some drum loops that weren’t there when we played, then I played a Fender Rhodes and some synth textures following my new bass, trying to structure what was probably and abstract free impro.
instead of trying to figure out what key were we playing in (I recall in all our impros we just kept one steady key) I introduced chord changes, played around with modulations, and laid down harmonies that don’t necessarily match what Bobby was playing. So now you hear his flute moving freely over harmonies that were never there in the original — sometimes clashing, sometimes strangely aligning. I liked the tension it created.
I spent a full day in the studio doing this. Honestly, I don’t think it’s done, but I’m leaving it here for now.
Side note: if anyone asks “what’s the point of the Junto challenges?” — this is it.
Sure, I could have called Bobby back and spent the same 8 hours creating something much more polished and coherent from scratch. But we never would have ended up with something like this. And without this challenge, I never would’ve bothered digging into a broken, abandoned track like this.


Performed by Daniel DIaz (June 2025) and Bobby Rangell (March 2024)
Photo by DD, Carilo, Argentina. 2025

That’s How You Got Killed Before (disquiet0703)

A 'sedate' 8 bit track to soundtrack Cory Angel Super Mario Clouds ( https://www.youtube.com/watch?v=fCmAD0TwGcQ)

Recorded for  Disquiet Junto Project 0704: Right on Cumulus

The Assignment: Compose 8-bit music inspired by a Cory Arcangel / Super Mario video.

Step 1: You’re going to record 8-bit music (or something approximately like it). If you’re not familiar with means by which to do so, read up a bit. Also, there may be some discussion on the Lines (llllllll.co) message board for those new to it.

Step 2: In 2002, the media artist Cory Arcangel created a work of art titled Super Mario Clouds, which removed everything from the 1985 Super Mario Bros. video game except the blue sky and passing clouds. This means that Arcangel’s video was silent, because also excluded was Koji Kondo’s classic score. Read up about the work, which is well-documented.

Step 3: Part of the reason that the original Super Mario Bros. music wasn’t included in Super Mario Clouds may have been to do with how it, naturally, wasn’t aligned with how sedate the Arcangel hack turned out to be. Please now record very sedate 8-bit music that does feel aligned with Super Mario Clouds.

More on the 704th weekly Disquiet Junto project, Right on Cumulus — The Assignment: Compose 8-bit music inspired by a Cory Arcangel / Super Mario video — at https://disquiet.com/0704/

Going out for chips [disquiet0704]

Music for / inspied by the first line of Crime and Punishment, which reads as; 
At the beginning of July, during a spell of exceptionally hot weather, towards evening, a certain young man came down on to the street from the little room he rented from some tenants who lived in Stolyarnyi Lane, stepped out onto the street, and slowly, almost hesitantly, set off towards the Kokushkin Bridge.

I picked that line, in part because its the beginning of July as I make this and also we've had a spell of hot weather. I read this book probably 25 years ago and read it again at the start of this year.  
For this track I jumped onto Freesound.org and got some street sounds from St. Petersburg and the horse drawn carriage sounds - this seemed to fit the 19th century feel. I new then the music and field recordings should merge together. I wanted tension and the sense of the character in the book being alone with the music I added - soft tension strings and ambient keys. 



Raskolnikov's Walk [disquiet0705]

Marco Lucchi: synthesizer and tape

*

playing with
https://soundcloud.com/stan_magendanz/nodicurin

*

for the current #disquiet junto challenge
https://disquiet.com/2025/07/03/disquiet-junto-project-0705-book-start/

Walden [disquiet # 0705]

Another little TC livecoding experiment ... this time with a few sounds from my bathroom ...

More on the 706th weekly Disquiet Junto project, Tile One On — The Assignment: Make the most of your bathroom — at https://disquiet.com/0706/.

more halF unusuaL

halF tileD [disquiet0706]

My track notes regarding the creation of this track can be found here:

[Disquiet Junto 0711] The Shape Of Honey (draft)

"\ START 
....................
#FSK1138 TM(C)
 1991-2025

Notype
iTunes 
Apple Music
Youtube music
....................
"\ END

Tristan Louth-Robins is a South Australian artist working principally in the medium of sound art and field recording. Ideas of sound and its signification are key elements in Louth-Robins' practice, traversing the space between the visual and aural his work is realised through the mediums of recordings, installation, visual art and performance. He is interested in sound and its associative implications - including its relationship to objects, technology, urban space, memory and the natural world. 


Since 2005, Louth-Robins has presented work in Australia and internationally as a solo artist, whilst also collaborating with artists, writers, researchers, musicians and performers. 

Working across a vast array of activities encompassing composition, sound design, installation art, field recording and workshops, his work has been featured in events such as the Adelaide Festival of Arts (2006), The National Regional Arts Festival (2012), Mildura-Wentworth Arts Festival (2013), Fairfax Festival (2013) and Adelaide Fringe Festival (2014); and selected works exhibited at galleries including The Australian Experimental Art Foundation (2009), SASA Gallery (2012, 2015), Light Square Gallery (2012) and FELT Space (2015). His audio works have been broadcast on radio including Radio National, Classic FM, The BBC (UK), Acoustic Frontiers (USA) and RBB (Germany).

My other account.. since I stopped my paid account and somewhere to upload bits and bobs

Welcome to New Frontiers in Functional Medicine, Longevity & Epigenetics™ where I interview the best minds in functional medicine to discuss the science and research behind medicine, longevity, epigenetics, and so much more. Expect thought-provoking ideas, new research, lots of clinical pearls for practitioners, and step-change information for clinicians and patients. Join us! ~DrKF  

Copyright © 2023 by KF Education and Consulting, LLC
All Rights Reserved

Welcome to halF unusuaL, an evolving space inspired by play in the spirit of ‘hai’ (meaning “fun” or “unusual” in the word haiku). Here, improvisation connects the unexpected, mining the boundary between music and non-music to shape sound worlds that feel oddly familiar in their oddity. Listen freely, explore deeply, and for the sounds to live for your eyes as well as your ears, please stop by the YouTube channel. Thank you for joining this journey! Your support helps keep this afloat ... and is HUGELY appreciated 🥰

multi-instrumentalist & composer.
Genre fluid music for images / instrumental / contemporary post-fusion / experimental jazz / electro acoustic ambient / melodic noise / neoclassical / naive hard core / cosmopolitan world music.

bio here:
http://dedeland.com/daniel-diaz-bio/


In some words:
Composer, arranger, producer, multi-instrumentalist. Born in Argentina,
I studied music in Buenos Aires, New York, Boston, Los Angeles and Paris.

For 20 years, I developed an important career as a session and backing musician in Argentina and Europe, playing, among other instruments, the bass, touring and recording with many jazz, rock, fusion, world, Latin and tango bands.

At the same time, I worked as an arranger, producer and musical director with many projects and artists in the USA, Argentina and Europe.

From 1992 to 1997, I performed my compositions live with my own band in Buenos Aires and began a solo recording career with the worldwide release of my first album "The Years Alone" on the North American label Green Linnet/Xenophile. On this album I arranged and performed 11 of my songs written between 1986 and 1993. I played most of the instruments, but included guest appearances by some great South American players.

My recording career continued with "Segundo Ciclo" (1997), released worldwide by Timeless Records, and 12 more albums released between 2000 and 2016.

Currently, I work as an on-demand film/TV composer while continuing to play live and produce.

"I'm a mellow artist, ageing 69. I love and release eclectic music, from post-classical to drone. My fave instrument is the Mellotron."

Così, sinteticamente, di solito mi presento.

In genere compongo musica partendo dal suono delle tastiere, ma il mio vero strumento è il registratore.

O i software di registrazione.

"I was made for loving and making recorded music."

Confido da sempre nel potere evocativo e orfico della musica, nella sua capacità di riconsegnarci a mondi più veri e più giusti, più belli di quelli in cui di solito viviamo.

"Ich bin ein kosmische Kurier"

I'm using these tools: Mellotron micro, Waldorf Blofeld synthesizer, Behringer Crave, IK Multimedia Uno synth, Roland Juno synth, Volca keys, Casio digital piano, micropiano Korg, Manetron (iPad app), iTampura (iPad app), Eko 11 (...) string acoustic guitar, electric violin, Orla analogic expander, tenor, treble and descant recorders, soprano and tenor tin whistle, Akai, Roland, Alesis and Arturia controllers, upright piano, Squier 3/4 electric guitar, melodica, Bubble Harp (iPad app), Schoenhut toy harp, soprano ukulele, Eko acoustic guitar, Peavey Composer acoustic guitar, Kurzweill micropiano, Boss and JamMan loop stations , Behringher multi-fx, Olympus portable digital recorder, Phonic, Behringer and Yamaha mixers, Audacity, Paulstretch, various players and plug-ins .. (that's all, folks, I think ..)

latest releases:

https://whitelabrecs.bandcamp.com/album/the-book-of-dreams
https://chitrarecords.bandcamp.com/album/lieder-ohne-worte 
https://ambientologist.bandcamp.com/album/suggestiva
https://ambientologist.bandcamp.com/album/venusia
https://hibernate.bandcamp.com/album/as-riddled-as-the-tide

for further works please go to my bandcamp page
https://marcolucchi.bandcamp.com/

and to 
http://webbedhandrecords.com/
http://www.laverna.net/home/
https://silentflow.org/

iTunes and Spotify as well ..
feed and share ..
https://open.spotify.com/artist/1TRilVaDaQw0ksGqU5tuCh?si=zXD-0xFWS-2yrUs542SH9A

SoundCloud è la piattaforma musicale che preferisco perché è soprattutto il regno degli ‘amateurs’, di quelli che fanno musica per sé e per gli amici .. come quando da ragazzi si condividevano con gli altri le invenzioni e le creazioni .. io sostanzialmente sono rimasto lì e così .. non sempre, ovviamente, ma spesso ci trovo delle cose che valgono altrettanto - se non di più - rispetto a quelle più affermate e conosciute

New tracks tagged #Junto