Podcasts about michigan museum

Episode No. 695 features artist Cannupa Hanska Luger and curator Ken Myers. The Nasher Museum of Art at Duke University is presenting "Cannupa Hanska Luger: Speechless," an examination of the complications of colonial histories from an Indigenous perspective. "Speechless" particularly focuses on how narratives, myths, and histories are constructed through the concept of the cargo cult, which developed as a result of Western military campaigns that delivered supplies to foreign lands inhabited by Indigenous peoples. These cults formed around the provisions that were delivered by the imperial forces (such as radios), the very groups that were colonizing Indigenous lands. The exhibition was curated by Apsara DiQuinzio and remains on view through July 6. Concurrently, Luger's work may be seen in the 16th Sharjah Biennial, "Breath(e): Toward Climate and Social Justice" at the Moody Center, Rice University, and in "Indigenous Identities: Here, Now & Always" at the Zimmerli Art Museum, Rutgers University. Luger is an enrolled member of the Three Affiliated Tribes of Fort Berthold and is Mandan, Hidatsa, Arikara and Lakota. His work, across a wide range of media, extends cultural awareness and enables action. His work has been presented in solo or two-person shows by the Public Art Fund, New York; the University of Michigan Museum of Art; the Peabody Essex Museum, Salem, Mass., and more. Works discussed on the program include: A single-channel version of Luger's Future Ancestral Technologies: New Myth, 2021; Luger's extended Mirror Shield project; and Luger's Uŋziwoslal Wašičuta installation series, which celebrates the Transportable Intergenerational Protection Infrastructure (TIPI), 2021-. Myers is the curator of "Painted with Silk: The Art of Early American Embroidery" at the Detroit Institute of Arts. "Painted with Silk" looks at how US schoolgirl embroideries made from the seventeenth to nineteenth centuries helped build and extend ideas around nation, gender, class, and religion. It also includes contemporary embroideries by Elaine Reichek that repurpose the form of earlier embroideries and investigate their constructions of gender, class, and race. The exhibition is on view through June 15. Instagram: Cannupa Hanska Luger, Tyler Green.

The University of Michigan Museum of Art is hosting a new exhibit by photographer Jarod Lew. In, Strange You Never Knew, Lew delves into the complexities of knowing one's true identity, focusing on the Asian American diaspora in the Midwest. In his photographs, Lew has his subjects looking directly at the camera. He explains that this creative choice is intended to establish a tension between the subjects and the viewer. By capturing images in Asian American homes, he creates a sense of tension that arises from viewing these private interior spaces and the experiences of the subjects. In his series, In Between You and Your Shadow, Lew explores what tomorrow holds for his subjects. In his photographs, he captures his mother’s history through gestures and memorabilia from her past. Lew's mother was engaged to Detroiter Vincent Chin, a young Chinese American engineer who was beaten to death by two white men, at a time when anti-Asian racism was widespread in Michigan. Chin’s death was a touchstone for Asian American political activism, but for Jarod Lew’s family, it was a secret he only discovered as a young adult. He includes images of his family in the show, and while his mother is also photographed, her face is never visable. "For me this work speaks to my mom's right for opacity. My mom's right not to be associated with this history, because it's her decision to not want to be a part of this history," Lew said. GUEST: Jarod Lew, photographer behind the Strange You Never Knew exhibit at the University of Michigan Museum of Art See omnystudio.com/listener for privacy information.

In the fervent years of the 1970s, a group of Latino and Latina students formed a collective of makers and artists at the University of Michigan. This community-minded group, La Raza, was about everything, from art to history and movement. Dave Choberka, curator for University Learning at the University of Michigan Museum of Art, and Félix Zamora Gómez, program coordinator with the university’s Arts Initiative, display these works in an exhibition titled La Raza Art and Media Collective, 1975 – Today. The contents of the display, which runs until July 20, 2025, include poems, artwork, gallery proofs and journal editions that discuss Chicano and Latino representation in the media and contain experimental visual art. According to Choberka, these editions marked the evolution and history of the organization. GUESTS: Dave Choberka, Mellon Foundation curator for university learning at the University of Michigan Museum of Arts Félix Zamora-Gómez, program coordinator for engagement, U-M Arts Initiative Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work. Music in this episode by Blue Dot Sessions. See omnystudio.com/listener for privacy information.

Episode No. 686 is a holiday clips episode featuring artist Sylvia Plimack Mangold.  An untitled 1966 Plimack Mangold painting is on view in the current permanent collection installation at the National Gallery of Art, Washington. The NGA has one of the finest institutional collections of Plimack Mangold's work: eight paintings and at least a dozen works on paper.  New York's Craig Starr Gallery is showing "Sylvia Plimack Mangold: Tapes, Fields, and Trees, 1975-84" through January 25, 2025. Plimack Mangold's paintings, seemingly rooted in realism but often undermining it, play with perspective, flatness, engage the centuries-long tradition of painters making paintings about painting. In 1994 the Albright-Knox Art Gallery, Buffalo organized a retrospective of her paintings; two years earlier the University of Michigan Museum of Art organized a works on paper survey. For images, see 2018's Episode No. 349. 

Ep.222 José Parlá (b.1973) creates paintings and multidisciplinary works based on his interest in hybrid forms of abstraction. He draws inspiration from various mediums including music, calligraphy, dance, and the decay of urban architecture and advertisements. His works poetically challenge ideas about language, politics, identity, and how we define places and spaces. Parlá's relationship with mark-making is physical and textural, incorporating the body's gestures into a painterly stream of consciousness composed of areas of addition, erasure, and layering that challenge the status quo of visual culture. Parlá was born to Cuban parents in Miami, Florida, and lives and works out of Brooklyn, New York. He studied painting at Savannah College of Art & Design (SCAD) in Savannah, Georgia; the New World School of the Arts, Miami, Florida; and Miami Dade College, Miami, Florida. Solo exhibitions of Parlá's work have been organized at institutions such as The Bronx Museum, New York (2022); Gana Art Center, Seoul (2022); Istanbul'74, Istanbul (2019); Hong Kong Contemporary Art (HOCA) Foundation, Hong Kong (2019); Neuberger Museum of Art, New York (2018); SCAD Museum of Art, Savannah (2017); Brooklyn Academy of Music (BAM), New York (2017); Goss-Michael Foundation, Dallas (2016); High Museum of Art, Atlanta (2015); amongst others. Public arts projects include permanent large-scale commissions including Far Rockaway Writer's Library, a collaboration between Snøhetta and Parlá, New York (2023); University of Texas, Austin (2018); ONE World Trade Center, New York (2015); A collaboration with Snøhetta, Hunt Library at North Carolina State University, Raleigh (2013); Barclays Center, New York (2012); Brooklyn Academy of Music (BAM), New York (2012); Concord City Place, Toronto (2010). Select group exhibitions and biennials include The Culture: Hip Hop & Contemporary Art in the 21st Century, Baltimore Museum of Art, Baltimore (2023); Brooklyn Abstraction, Four Artists, Four Walls, Brooklyn Museum, New York (2022); Reflections, Gana Art, Seoul (2019); Glasstress, Fondazione Berengo Art Space, Venice (2019); Beyond the Streets, New York (2019); Yasiin bey: Negus, Brooklyn Museum, New York (2019); Victors for Art, University of Michigan Museum of Art, Ann Arbor (2017); Post No Bills: Public Walls as Studio and Source, Neuberger Museum of Art, New York (2016); Seeing, Saying, Images and Words, Van Every/Smith Galleries, Davidson College, North Carolina (2016); Wrinkles of the City: Havana Cuba: JR & José Parlá, the Havana Biennial, Havana (2012); amongst others. Parlá's work is in several public collections including the Brooklyn Museum, New York; The British Museum, London; Buffalo AKG Art Museum, New York; El Espacio, Miami; POLA Museum of Art, Japan; Pérez Art Museum Miami, Florida; The Gordon Parks Foundation, Pleasantville, NY; The Neuberger Museum of Art, New York; and The National Museum of Fine Arts, Havana. Parlá serves on the board of National YoungArts Foundation. Parlá has received numerous awards, including the Scholastic Art & Writing Awards, Alumni Achivement Award (2024) Gordon Parks Foundation Fellowship (2023), the Hirshhorn Museum Artist x Artist honoree (Hank Willis Thomas x José Parlá) (2023), National Young Arts Foundation Award (2022), Americans for the Arts National Art Award (2022), Americans for the Arts Public Art Network (2019), Miami Dade College Alumni Hall of Fame Award inductee (2016), Brooklyn Arts Council honoree (2014), Institute of Contemporary Arts(ICA) London – Grand Prize (2013), Heartland Film Festival - Best Documentary Short and Best U.S. Premiere for Wrinkles of the City, Havana (2013) Scholastic Art Award. Photographer James Chororos

Episode 449 / Fred Tomaselli (born 1956, Santa Monica, CA) Fred has been the subject of solo exhibitions at institutions including the Joslyn Art Museum, Omaha, NE (2019); Oceanside Museum of Art, Oceanside, CA (2018); Toledo Museum of Art, Toledo, OH (2016);  Modern Art Museum of Fort Worth (2014) and the University of Michigan Museum of Art (2014); a survey exhibition at Aspen Art Museum (2009) that toured to Tang Museum in Saratoga, NY and the Brooklyn Museum, Brooklyn NY (2010); The Fruitmarket Gallery, Edinburgh (2004) toured to four venues in Europe and the US; Albright-Knox Gallery of Art (2003); Site Santa Fe (2001); Palm Beach ICA (2001), and Whitney Museum of American Art (1999). His works have been included in international biennial exhibitions including Sydney (2010); Prospect 1 (2008); Site Santa Fe (2004); Whitney (2004) and others. Tomaselli's work can be found in the public collections of institutions such as the Museum of Modern Art; Whitney Museum of American Art; Metropolitan Museum of Art; Brooklyn Museum; Albright Knox Art Gallery; Hirshhorn Museum and Sculpture Garden; San Diego Museum of Contemporary Art; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; the Orange County Museum of Art, Santa Ana, CA; and many others.

Episode No. 677 features artist Andrea Carlson. As mentioned at the beginning of this week's program: Help Asheville and my friends and neighbors across the southern Appalachians! These are all local organizations helping people in western North Carolina: Southern Smoke Foundation; Asheville Food & Beverage United (also here); and Beloved Asheville. The Museum of Contemporary Art Chicago is presenting "Andrea Carlson: Shimmer on Horizons," the latest exhibition in its "Chicago Works" series. Across painting, video, sculpture, and two billboards (along Interstate 94 between Illinois and Wisconsin), "Shimmer on Horizons" presents Carlson's investigation of how landscapes are constructed both politically and culturally. The exhibition was curated by Iris Colburn and is on view through February 2, 2025. Carlson's work may also be seen in "Andrea Carlson: Future Cache" at the University of Michigan Museum of Art, which features a 40-foot-tall memorial wall that towers over visitors, commemorating the Cheboiganing (Burt Lake) Band of Ottawa and Chippewa Indians who were violently burned from their land in Northern Michigan on October 15, 1900. Curated by Jennifer Friess, the presentation is on view through June 2025. Carlson is also included within "Scientia Sexualis" at the Institute of Contemporary Art, Los Angeles through March 2, 2025. The exhibition, realized as part of the Getty's "PST ART: Art & Science Collide" program, centers research-driven interventions into raced and gendered assumptions that structure scientific disciplines governing our sense of the sexual body. It was curated by Jennifer Doyle and Jeanne Vaccaro. Carlson (Grand Portage Ojibwe/European descent) typically addresses land and its history by foregrounding decolonization narratives. Museums that have featured solo exhibitions of her work include the Smithsonian's National Museum of the American Indian, New York, and the Minneapolis Institute of Art. Her work is in the collection of museums such as the National Gallery of Canada, Ottawa, the Walker Art Center, Minneapolis, the Whitney Museum of American Art, New York, and the Denver Art Museum. She is also the co-founder of the Center for Native Futures in Chicago. Chicagoans: on Saturday Carlson and poet Heid E. Erdrich will be in conversation at the MCA at 2:30 pm. A program at the Center for Native Futures precedes the event. Instagram: Andrea Carlson, Tyler Green.

Ep.218 Ibrahim Mahama was born in 1987 in Tamale, Ghana. He lives and works in Accra, Kumasi, and Tamale. Solo exhibitions include Fruitmarket Gallery, Edinburgh (2024); Barbican Centre, London (2024); Kunsthalle Osnabrück, Germany (2023); Oude Kerk, Amsterdam (2022); Frac des Pays de la Loire, France (2022); The High Line, New York (2021); University of Michigan Museum of Art (2020); The Whitworth, The University of Manchester, UK (2019); Norval Foundation, Cape Town (2019); Tel Aviv Art Museum, Israel (2016); and KNUST Museum, Kumasi, Ghana (2013). He has participated in numerous group exhibitions including Desert X AlUla, Saudi Arabia (2024); Sharjah Biennial 15, UAE (2023); 18th International Venice Architecture Biennale, Italy (2023); the 35th Bienal de São Paulo, Brazil (2023); Museum of Fine Arts, Houston, Texas (2021); Centre Pompidou, Paris (2020); 22nd Biennale of Sydney, Australia (2020); Stellenbosch Triennale, South Africa (2020); 6th Lubumbashi Biennale, Democratic Republic of the Congo (2019); Ghana Pavilion, 58th Venice Biennale, Italy (2019); Documenta 14, Athens and Kassel, Germany (2017); Broad Art Museum, Michigan State University (2016); Kunsthal Charlottenborg, Copenhagen and Holbæk, Denmark (2016); 56th Venice Biennale, Italy (2015); and Artist's Rooms, K21, Düsseldorf, Germany (2015). Mahama was also appointed Artistic Director of the 35th Ljubljana Biennale of Graphic Arts, Ljubljana (2023). In 2024, Mahama was selected for the inaugural Sam Gilliam award by the Dia Art Foundation and the Sam Gilliam Foundation, which includes the presentation of a public program at Dia in fall 2024. Photo credit: Carlos Idun-Tawiah White Cube https://www.whitecube.com/artists/ibrahim-mahama Sam Gilliam Award https://www.diaart.org/about/sam-gilliam-award Dia Art Foundation https://www.diaart.org/program/calendar/sam-gilliam-award-program-ibrahim-mahama-dia-talks-11212024/period/2024-11-02 Fruitmarket https://www.fruitmarket.co.uk/about-us/ Stedelijk Museum Amsterdam https://www.stedelijk.nl/en/events/artist-talk-ibrahim-mahama-en Ghana Remembers https://ghanaremembers.com/stories/people/ibrahim-maham-the-first-ghanaian-artist-to-win-the-inaugural-sam-gilliam-award-in-2024.html#google_vignette Barbican https://www.barbican.org.uk/whats-on/2024/event/ibrahim-mahama-purple-hibiscus Observer https://observer.com/2024/09/interview-ibrahim-mahama-artist-white-cube-exhibition/ Vennice Biennale https://www.labiennale.org/en/architecture/2023/force-majeure/ibrahim-mahama Institute for Humanity Activities https://www.humanactivities.org/en/iha-blank/sculpture-workshop-with-ibrahim-mahama/ Edinburgh Art Festival https://www.edinburghartfestival.com/event/ibrahim-mahamasongs-about-roses/ Wallpaper https://www.wallpaper.com/art/exhibitions-shows/ibrahim-mahama-tells-us-why-he-has-covered-the-barbican-in-pink-fabric Reiter Galleries https://www.reitergalleries.com/en/artists/ibrahim-mahama/ NYTimes https://www.nytimes.com/2024/09/19/arts/design/ibrahim-mahama-artist-ghana-white-cube.html The Brooklyn Rail https://brooklynrail.org/2024/10/artseen/ibrahim-mahama-a-spell-of-good-things/ Bonhams https://www.bonhams.com/press_release/38679/ Burlington Contemporary https://contemporary.burlington.org.uk/reviews/reviews/ibrahim-mahama-songs-about-roses The Highline https://www.thehighline.org/art/projects/ibrahim-mahama/ Desert X AlUla https://desertx.org/dx/dx24-alula/ibrahim-mahama C& https://whitewall.art/whitewaller/best-of-new-york-exhibitions-ibrahim-mahama-janaina-tschape-and-more/ artnet https://news.artnet.com/art-world/ibrahim-mahamas-stunning-textile-installation-blankets-the-barbican-in-london-2476760 BBC https://www.bbc.com/news/world-africa-68846770 The Art Newspaper https://www.theartnewspaper.com/2024/08/23/saatchi-collection-ibrahim-mahama-auction-bonhams Whitewall https://whitewall.art/whitewaller/best-of-new-york-exhibitions-ibrahim-mahama-janaina-tschape-and-more/

Welcome to Art is Awesome, the show where we talk with an artist or art worker with a connection to the San Francisco Bay Area. In this episode, Emily chats with south asian multidisciplinary artist Suchitra Mattai.  Suchitra, born in Guyana and now based in Los Angeles, discusses her journey and the influences behind her artwork. She details her move from a background in statistics to a career in art, highlighting how her work addresses themes of memory, labor, migration, and colonization. Suchitra shares insights about her solo exhibit, 'She Walked in Reverse and Found Their Songs' at ICA San Francisco, which explores her ancestors' forced migration and personal history through installations made of used saris. The episode also includes discussion about how she combines different materials to tell stories and reconcile her multicultural experiences. Additionally, Suchitra talks about the impactful art pieces and places that inspire her creative process.About Artist Suchitra Mattai:Suchitra is a multi-disciplinary Guyanese American artist of South Asian descent. She received an MFA in painting and drawing and an MA in South Asian art from the University of Pennsylvania, Philadelphia. Recent projects include group exhibitions at the MCA Chicago, Crystal Bridges Museum of Art, the Art Gallery of Ontario, the MCA Denver, the John Michael Kohler Arts Center and the Sharjah Biennial 14 and solo exhibitions at the Boise Museum of Art , Roberts Projects, and Kavi Gupta Gallery. Upcoming projects include solo exhibitions at the ICA San Francisco (San Francisco), the Tampa Museum of Art (Tampa, FL) , the National Museum for Women in the Arts (Washington, DC) and Socrates Sculpture Park (NYC, NY). Her works are represented in collections which include Crystal Bridges Museum of Art, the Nasher Museum of Art, the Denver Art Museum, the Tampa Museum of Art, the Joselyn Museum, the Tia Collection, the Perez Collection, the Shah Garg collection, and the University of Michigan Museum of Art. Visit Suchitra's  Website:  SuchitraMattaiArt.comFollow  on Instagram:  @SuchitraMattaiStudioFor more about her exhibit, "She Walked In Reverse And Found Their Songs" at the ICA San Francisco, CLICK HERE. --About Podcast Host Emily Wilson:Emily a writer in San Francisco, with work in outlets including Hyperallergic, Artforum, 48 Hills, the Daily Beast, California Magazine, Latino USA, and Women's Media Center. She often writes about the arts. For years, she taught adults getting their high school diplomas at City College of San Francisco.Follow Emily on Instagram: @PureEWilFollow Art Is Awesome on Instagram: @ArtIsAwesome_Podcast--CREDITS:Art Is Awesome is Hosted, Created & Executive Produced by Emily Wilson. Theme Music "Loopster" Courtesy of Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 LicenseThe Podcast is Co-Produced, Developed & Edited by Charlene Goto of @GoToProductions. For more info, visit Go-ToProductions.com

Ep.202 Adebunmi Gbadebo (b. 1992 in Livingston, NJ) is a multidisciplinary artist working with paper, ceramics, sound, and film, exploring Gbadebo explores the archival record of her family's ancestry. Through her research, material selection, and technical process, the artist emphasizes the prejudice of the historical record, activating her practice to restore Black subjectivity. She received a BFA from the School of Visual Art, New York. In 2023, she was the recipient of the Maxwell and Hanrahan Craft Fellowship and the Keynote speaker for the American Ceramic Circle annual conference. In 2022, she was a Pew Fellow at the Pew Center for Arts & Heritage. Gbadebo is currently an Artist in Residence at The Clay Studio and has exhibited across the US and internationally in Africa, Europe, Asia and Australia. Her work is now on view in major exhibitions such as the 24th Sydney Biennale: Ten Thousand Suns; Minneapolis Museum of Art: Collage/Assemblage Part II: 1990-Now; and Hear Me Now: The Black Potters of Old Edgefield, South Carolina, which opened at the Metropolitan Museum of Art, New York, in 2022, and has traveled to the Museum of Fine Arts Boston, University of Michigan Museum of Art, and is now at the High Museum of Art in Atlanta. Gbadebo's work is in the public collections of the Smithsonian National Museum of African Art, Washington, D.C.; Smithsonian National Museum of African American History and Culture, Washington D.C.; Boston Museum of Fine Arts, Boston, MA; Minnesota Museum of American Art, St. Paul, MN; Minneapolis Institute of Art, Minneapolis MN; Weisman Museum of Art, Minneapolis, MN; Newark Museum of Art, Newark, NJ; and South Carolina State Museum, Columbia, SC. Her public commissions include an ongoing sculpture project in collaboration with students and faculty from Clemson University, SC, and the Harriet Tubman Monument (2021), Newark, NJ. Photo Credit:Tobias Truvillion Articles ● Past Present Projects Magazine: Past Present No. 4 ● The Pew Center For Arts and Heritage: Fellow to Fellow: Adebunmi Gbadebo and Odili Donald Odita on Meaning in Materiality ● WHYY: Philly artist wins $100K craft prize for her work remembering Black ancestors ● PBS: Treasures of New Jersey ● Penn Today: Ritual and Remembrance ● The Boston Globe At the MFA, enslaved Black potters' work brings lives into the light in ‘Hear Me Now' ● The Post and Courier At the Met, in Harlem and beyond, acclaimed artist honors enslaved SC ancestors ● Forbes, Haunting Generational Trauma In “Remains” By Adebunmi Gbadebo At Claire Oliver Gallery In Harlem ● Brooklyn Rail, Abstraction in the Black Diaspora ● New York Times, Critic's Pick: The Magnificent Poem Jars of David Drake, Center Stage at the Met ● New York Times, New Shows That Widen the Beaten Path

Embark on an enthralling expedition through the ever-evolving world of Native American art with our esteemed guest, Cannupa Hanska Luger. A Mandan, Hidatsa, Arikara artist whose creative roots were nurtured by his mother, Kathy Whitman Elk Woman, Cannupa guides us from the spoken cadences of poetry to the earthy intimacy of clay. His artistic odyssey is a testament to the power of medium exploration, as he shares how live painting with a hip-hop band and a transformative education at the Institute of American Indian Arts expanded his palette from the canvas to the captivating realm of sculpture.Cannupa's narrative arcs into the collaborative spirit of art, as he recalls the Mirror Shield project at Standing Rock—a pivotal moment that crystallized his understanding of art's social impact and the myth of solitary creation. He unwraps the layers of his journey with the Santa Fe art collective Humble, drawing us into a discourse on the synergy between individual creativity and collective expression. Through the lens of social media and material consciousness, Cannupa challenges us to reconsider our approach to the artistic process and the inherent collaboration it entails.As we traverse the intersecting pathways of art, science, and identity, Cannupa offers a profound reflection on how cultural heritage weaves through his work, disputing the oversimplification of cultural identity. Our conversation ventures into his engagement with Monument Lab and the University of Michigan Museum of Art, contemplating the narratives and contemporary relevance of monuments. Cannupa's "sovereignty suits" project from the Hammers exhibition "Breathe" and his upcoming installation at the San Diego New Children's Museum invite listeners to explore how art and science converge to ignite imagination and challenge our perceptions of learning and identity. Join us for an episode that not only showcases the multifaceted brilliance of Native American artistry but also the indelible impact of creative expression on shaping our collective future.

Today Zoe and Easton are unraveling a complex yet fascinating story connecting a solar eclipse in 1806 to a future president, Chief Anderson's ascension to Chiefdom, and a pan-indigenous movement led by a Tecumseh and Tenskwatawa- the man that many remember as 'The prophet.' They won't be alone however. Our curator of Native American history and life, Sara Schumacher, is back with us, setting the historical stage and teaching us who the fascinating figures that make up this story are and how they got here. Later on, the former Assistant Chief of the Delaware Tribe of Indians in Bartlesville, Oklahoma, and was a longtime cultural ambassador and Historical Interpreter here at Conner Prairie, Mike Pace, makes his podcast debut to recount his experiences as a member of the Lenape nation and explore the long-term impacts that the often overlooked indigenous population have on our state of Indiana as well as our nation.   Our sources:   Badger, Joseph and Day, Henry Noble. A Memoir of Rev. Joseph Badger. Ann Arbor: The University of Michigan, September 2009. Drake, Benjamin. 1841. Life of Tecumseh. Cincinnati: Anderson, Gates & Wright.   Eggleston, Edward, and Lillie Eggleston Seelye. 1878. Tecumseh and the Shawnee Prophet. New York: Dodd, Mead & Company.   Mason, Augustus L. 1904. True Stories of Our Pioneers. E.A. Merriam.   McDonnell, Micheal A., 2015, Masters of Empire: Great Lakes Indians and the Making of America, New York: Hill and Wang, a division of Farrar, Straus, and Giroux.    Kinietz, W. Vernon, and Erminie Voegelin. Shawnese Traditions: C. C. Trowbridge's Account. Ann Arbor, MI: University of Michigan Museum of Anthropological Archaeology, 1939. https://doi.org/10.3998/mpub.11395092. PDF. *   * This is a work created by an unreliable author with a singular source to represent a vast nation of people. Black Hoof himself has biases that may leak into the work as well. He would have no reason not to mention the 1806 eclipse and the Prophet but since we can't read Trowbridge's notes we don't know if Black Hoof mentioned it and Trowbridge left it out or if it was never mentioned at all. Also sensationalizes ritual cannibalism which rarely occurred amongst the Shawnee and even rarer post-contact.  

Dr. Jenkins sits down with Dr. Alison Rabosky, the Curator of Herpetology at the University of Michigan Museum of Zoology, to talk about museum collections of snakes. They begin by talking about Alison's research on color patterns and mimicry in lizards and snakes. They delve into the acquisition and management of museum collections, and highlight a recent acquisition that now positions the University of Michigan Museum of Zoology with the largest collection of snakes in the United States, if not the world. The conversation also addresses criticisms faced by natural history museums, emphasizing their significant contribution to understanding snake biology and conservation.Connect with Alison at the University of Michigan. Connect with Chris on Facebook, Instagram or at The Orianne Society.Shop Snake Talk merch.

This very special episode of Broken Boxes Podcast marked our first ever conversation in front of a live studio audience. Recurring host Cannupa Hanska Luger was joined by Matika Wilbur and Andrea Carlon on October 28th 2023 as part of the University of Michigan Museum of Art's Memory & Monuments program. The artist's drew from a hat of pre-considered topics to speak to and expand upon, including: Ancestral trade routes or sharing knowledge within a cultural continuum such as how culture, language and goods traveled precontact; Indigenous memory in relation to the American Myth; Recognition of Indigenous complexity; Indigenous futures including shared histories and futures; and Institutional critique or a generative airing of problematic power structures impact on Native people. Broken Boxes would like to thank UMMA staff and curators and Monument Lab for being present for this generative and complex conversation to take place. We would like to especially thank the students of the Native American Student Association at the University of Michigan, who welcomed Broken Boxes and the artists and helped make this live audience recording a wonderful experience. More about the artists: Matika Wilbur (Swinomish and Tulalip) is one of the nation's leading photographers, based in the Pacific Northwest. She earned her BFA from Brooks Institute of Photography where she double majored in Advertising and Digital Imaging. Her most recent endeavor, Project 562, has brought Matika to over 300 tribal nations dispersed throughout 40 U.S. states where she has taken thousands of portraits, and collected hundreds of contemporary narratives from the breadth of Indian Country all in the pursuit of one goal: To Change The Way We See Native America. Andrea Carlson is a visual artist who maintains a studio practice in northern Minnesota. Carlson works primarily on paper, creating painted and drawn surfaces with many mediums. Her work addresses land and institutional spaces, decolonization narratives, and assimilation metaphors in film. Her work has been acquired by institutions such as the Whitney Museum of American Art, The Walker Art Center, the Museum of Contemporary Art in Chicago, the Denver Art Museum, the Minneapolis Institute of Art, and the National Gallery of Canada. Carlson was a recipient of a 2008 McKnight Fellow, a 2017 Joan Mitchell Foundation Painters and Sculptors award, a 2021 Chicago Artadia Award, and a 2022 United States Artists Fellowship. Carlson is a co-founder of the Center for Native Futures in Chicago. Multidisciplinary artist Cannupa Hanska Luger is an enrolled member of the Three Affiliated Tribes of Fort Berthold (Mandan, Hidatsa, Arikara), and Lakota. Through monumental installations and social collaborations that reflect a deep engagement and respect for materials, the environment, and community, Luger activates speculative fiction and communicates stories about 21st century Indigeneity. Luger is a 2022 Guggenheim fellow, recipient of the 2021 United States Artists Fellowship Award for Craft, and was named a Grist 50 Fixer for 2021, a list that includes emerging leaders in climate, sustainability, and equity from across the nation. Music featured: Move, I'm Indigenous by Uyarakq BBP intro track by India Sky

In this episode, Paige Newhouse interviews Jason Young, co-curator of Hear Me Now: the Black Potters of Old Edgefield, South Carolina, a traveling exhibit housed at the University of Michigan Museum of Art centering enslaved artisans and the stoneware they produced.

The raw materials of Philippa Pham Hughes' art are human bodies and minds. Since 2007, when she hosted her first gathering of strangers, Philippa has worked as a social sculptor and cultural strategist. What this means is that, through methods drawn from the arts and the humanities, she curates what she calls creative activations. These are carefully planned spaces and events to which groups of complete strangers from different walks of life meet face to face and break bread, often quite literally. In these activations, with Philippa's guidance, participants can touch the third rails of polite discussion, whether they be politics or religion, because the intent is always to keep everyone safe and increasingly aware of and committed to open communication and the makings of a better world. In a time when the bully pulpit of social media makes it easy to dehumanize the perceived enemy, Philippa's work centers our shared humanity.Philippa is currently Resident Artist at the University of Michigan Museum of Art and is Visiting Fellow at the SNF Agora Institute at Johns Hopkins. She has worked with several institutions in her current hometown of Washington, DC and in a variety of settings all over the country, in activations both large and intimate.Here she describes how she refined the work of others to create her own practice of social sculpting and explains how she maintains her optimism and vigor when it seems like all Americans want to do is scream past one another from vast distance. https://www.philippahughes.com/https://umma.umich.edu/https://snfagora.jhu.edu/

Click to listen to episode (4:36).Sections below are the following:Transcript of AudioAudio Notes and AcknowledgmentsImagesExtra InformationSourcesRelated Water Radio EpisodesFor Virginia Teachers (Relevant SOLs, etc.)Unless otherwise noted, all Web addresses mentioned were functional as of 11-9-23. TRANSCRIPT OF AUDIO From the Cumberland Gap to the Atlantic Ocean, this is Virginia Water Radio for the weeks of December 11 and December 18, 2023.  [Please note: the audio mistakenly says December 20 instead of December 18.] SOUND – ~6 sec. Those sounds of Mallard ducks, recorded in December 2015 at the Virginia Tech Duck Pond in Blacksburg, set the stage for a duck designation derby—that is, a duck names quiz game! I'll give you clues to the common names of six duck species inhabiting areas of Virginia, either year-round or seasonally.  After each set of clues, you'll have a few seconds to hear sounds from the duck and try to guess its name.  In the clues, “diving duck” refers to those birds that dive deep under the surface and feed underwater; and “dabbling duck” refers to those birds that feed on or just below the water surface. Number 1:  This large diving duck, noted for its reddish head and bright whitish body, has a name that a painter would recognize.  SOUND - ~6 sec.  That's the Canvasback. Number 2:  This diving duck is known and named for its golden-yellow eyes.  SOUND - ~5 sec.  That's the Common Goldeneye. Number 3:  For people who appreciate colorful birds, this small dabbling duck's iridescent green feathers on its head and wings are a big deal.  SOUND - ~5 sec.  That's the Green-winged Teal. Number 4:  If people who wear “hoodies” wanted to know how to look like a bird, the male of this diving duck would be the answer.  SOUND - ~5 sec.  That's the Hooded Merganser. Number 5:  This dabbling duck has a name—based on its spoon-like bill—that could be applied to what people in, say Minnesota, have to become after a big snowfall, if they want to clear a path.  SOUND - ~5 sec.  That's the Northern Shoveler. And number 6:  This elaborately colored dabbling duck, notable for its nests in tree holes and for its ability to perch on tree branches, has a name that comes from trees.  SOUND - ~5 sec.  That's the Wood Duck. The birds in this game are among 25 duck species known to occur in Virginia, at least occasionally.  Many are around in wintertime, so if you're venturing out near water during the cold-weather months, perhaps—with luck and pluck—you'll glimpse or hear some ducks. Thanks to Lang Elliott for permission to use the sounds in the duck names quiz, which were all from the Stokes Field Guide to Bird Songs. We close with some music for ducks, with a tune attributed to the late Henry Reed, a traditional musician who lived in Giles County, Virginia.  Here's about 25 seconds of “Ducks on the Pond,” performed by Timothy Seaman of Williamsburg, Virginia. MUSIC - ~27 sec – Instrumental. SHIP'S BELL Virginia Water Radio is produced by the Virginia Water Resources Research Center, part of Virginia Tech's College of Natural Resources and Environment.  For more Virginia water sounds, music, or information, visit us online at virginiawaterradio.org, or call the Water Center at (540) 231-5624.  Thanks to Stewart Scales for his banjo version of “Cripple Creek” to open and close this episode.  In Blacksburg, I'm Alan Raflo, thanking you for listening, and wishing you health, wisdom, and good water. AUDIO NOTES AND ACKNOWLEDGEMENTS The Canvasback, Common Goldeneye, Green-winged Teal, Hooded Merganser, Northern Shoveler, and Wood Duck sounds heard in this episode were from the Stokes Field Guide to Bird Songs-Eastern Region CD set, by Lang Elliott with Donald and Lillian Stokes (Time Warner Audio Books, copyright 1997), used with permission of Lang Elliott.  Lang Elliot's work is available online at the “Music of Nature” Web site, http://www.musicofnature.org/. The Mallard sounds were recorded by Virginia Water Radio at the Virginia Tech Duck Pond in Blacksburg on December 10, 2015. The version of “Ducks on the Pond” heard in this episode is by Timothy Seaman, part of the medley “Virginia Rail Reel/Ducks on the Pond/Old Blue,” from the 2004 album “Virginia Wildlife,” on Pine Wind Records, used with permission; that album was done in collaboration with the Virginia Department of Game and Inland Fisheries (now the Virginia Department of Wildlife Resources).  More information about Timothy Seaman is available online at http://timothyseaman.com/en/.  This music was used previously by Virginia Water Radio in Episode 398, 12-11-17. The tune “Ducks on the Pond” is attributed to Henry Reed (1884-1968), a native of West Virginia but a long-time resident of Glen Lyn in Giles County, Virginia; more information about Henry Reed is available online at http://www.henryreed.org/.   Information on the tune is available from The Traditional Tune Archive, online at “Ducks on the Pond” entry is online at http://www.tunearch.org/wiki/Ducks_on_the_Pond.  A June 1966 recording by Alan Jabbour of the tune being played by Mr. Reed is available from the Library of Congress, online at https://www.loc.gov/item/afcreed000072/; at this site, the tune is referred to as “Ducks in the Pond.” Click here if you'd like to hear the full version (1 min./11 sec.) of the “Cripple Creek” arrangement/performance by Stewart Scales that opens and closes this episode.  More information about Mr. Scales and the group New Standard, with which Mr. Scales plays, is available online at http://newstandardbluegrass.com. IMAGES The following photos of the ducks featured in this Virginia Water Radio episode were taken from the U.S. Fish and Wildlife Service's National Digital Library, online at http://digitalmedia.fws.gov.  More details and specific URLs for each photo are given below the photos; all specific URLs were as of 11-8-23.Canvasback male; location and date not identified.  Photo by Lee Karney.  Specific URL for the photo was https://digitalmedia.fws.gov/digital/collection/natdiglib/id/6798/rec/3.Canvasback male; location and date not identified.  Photo by Lee Karney.  Specific URL for the photo was https://digitalmedia.fws.gov/digital/collection/natdiglib/id/6798/rec/3. Common Goldeneye in 2003, location not identified.  Photo by Gary Kramer.  Specific URL for the photo was https://digitalmedia.fws.gov/digital/collection/natdiglib/id/34171/rec/3.Green-winged Teal male (left) and female; location and date not identified.  Photo by Dave Menke.  Specific URL for the photo was https://digitalmedia.fws.gov/digital/collection/natdiglib/id/3728/rec/2.Hooded Merganser male; location and date not identified.  Photo by Tim McCabe.  Specific URL for the photo was https://digitalmedia.fws.gov/digital/collection/natdiglib/id/1085/rec/4.Mallard female and brood at Cheney Lake, Anchorage, Alaska, June 2005.  Photo by Donna Dewhurst.  Specific URL for the photo was https://digitalmedia.fws.gov/digital/collection/natdiglib/id/50/rec/32.Northern Shoveler male (right) and female at Westchester Lagoon in Anchorage Alaska; date not identified.  Photo by Donna Dewhurst.  Specific URL for the photo was https://digitalmedia.fws.gov/digital/collection/natdiglib/id/699/rec/2.Wood Duck male in California, date not identified.  Photo by Lee Kearney.  Specific URL for the photo was https://digitalmedia.fws.gov/digital/collection/natdiglib/id/17774/rec/4. EXTRA INFORMATION ABOUT THE DUCK SPECIES HEARD IN THIS EPISODE Following are the scientific names, and information on occurrence in Virginia, for the seven duck species heard in this episode.  Occurrence information (including quotes) is from the Virginia Department of Wildlife Resources (formerly Department of Game and Inland Fisheries), “Fish and Wildlife Information Service,” online at https://services.dwr.virginia.gov/fwis/, using the “Occurrence” tab at the individual entry for each species; each bird's common name is linked to its individual entry. Canvasback – Scientific name is Aythya valisineria.  Occurrence in Virginia: “[N]onbreeder and a locally common to abundant transient and winter resident (10 November to 10 April) on the coast, ...chiefly near the Chesapeake Bay and in Back Bay.  They are uncommon inland and a rare winter visitor in the mountains and valleys.” Common Goldeneye – Scientific name is Bucephala clangula.  Occurrence in Virginia: winter resident in much of Tidewater Virginia and a few counties farther west. Green-winged Teal – Scientific name is Anas crecca.  Occurrence in Virginia: “This is a common transient and winter resident on the Coastal Plain, and uncommon inland.  Peak counts occur along the coast during the winter.” Hooded Merganser – Scientific name is Lophodytes cucullatus.  Occurrence in Virginia: “This is a casual breeder.  It is a transient, winter resident, and summer visitor throughout the state.  It is common on the Coastal Plain, and uncommon to common in the rest of the state.  Peak counts occur along the coast during December.” Mallard – Scientific name is Anas platyrhynchos.  Occurrence in Virginia: “This is an abundant transient and winter resident, and a common summer resident in the Coastal Plain.  It is a common transient and winter resident, uncommon summer resident elsewhere.  Peak counts occur along the coast in the fall.” Northern Shoveler – Scientific name is Anas clypeata.  Occurr

You might want to check your bank account before having a baby in these states. A study by finance company LendingTree released last week reveals the states where childrearing costs the most and the least. In the headlines on #TheUpdate this Tuesday, Israeli warplanes are striking targets across Gaza as the U.S. says a delay in Israel's expected ground offensive in the besieged Hamas-ruled territory would allow more time to negotiate the release of hostages. Meanwhile, It's Ohad Munder-Zichri's 9th birthday. But instead of celebrating at home with his family and friends on Monday, he is believed to be somewhere in Gaza, one of more than 200 hostages held by Hamas since the militants' devastating Oct. 7 incursion. Locally, Former New York Gov. Andrew Cuomo's top aide during the onset of the pandemic and the sexual harassment scandal that forced Cuomo from office in 2021 has written a memoir. Cuomo could have run again for NY governor, but declined for family reasons. JetBlue officials say a plane rocked back with its nose pointed skyward after landing at New York's John F. Kennedy International Airport because of a shift in weight on the aircraft. And The University of Michigan Museum of Zoology recently acquired tens of thousands of reptile and amphibian specimens, including many snakes. 30,000 of them to be exact.

The story goes that the University of Michigan was founded thanks to a land gift from the people of the three fires: the Ojibwe, the Odawa, and the Potawatomi. But the truth is much more complicated. Artist Cannupa Hanska Luger has been working on this multiyear collaboration with the University of Michigan Museum of Art to examine the stories of the university's founding. The culmination is a three part exhibition called You're Welcome. GUEST: Rose Bousamra, cartoonist ___ Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work. Music from Blue Dot Sessions.See omnystudio.com/listener for privacy information.

For this episode of Broken Boxes I am joined by Monument Lab Director Paul Farber, University of Michigan Museum of Art Assistant Curator of Global Contemporary Art Ozi Uduma and artist Cannupa Hanska Luger. We gathered together in Ann Arbor Michigan in late September 2023 at the University of Michigan's Media Center during the opening week of the monumental project and accompanying exhibition by Luger titled, You're Welcome was developed over the course of two years between Cannupa, Monument Lab and the University of Michigan Museum of Art. This podcast conversation was a chance for the three creatives to speak vulnerably to the process of taking on such a large endeavor and how much care and energy goes into the creation of a project of this magnitude. We learn about the three primary components to the presentation including GIFT, an experimental, time-based, commissioned work by Luger on the front facade of UMMA's Alumni Memorial Hall which challenges institutional memory and the whitewashing of history. GIFT is accompanied by two indoor installations: Meat for the Beast in the museums Irving Stenn, Jr. Family Gallery, which delves into Luger's artistic practice and the relationship between museum collections and resource extraction; and Monument Lab: Public Classroom in the Art Gym, which examines formal and informal modes of memory. Moving through the conceptual application of this work, Paul, Ozi and Cannupa break down the larger themes of whiteness, language and time, and unpack the anchoring question of the project, How do we Remember?. The three offer their personal and professional reflections on implementing a project of this magnitude and it's unknown long term impact. And in speaking to GIFT and the larger constellation of exhibiting works, Paul reflects, “This is an art project that doesn't quite have a precedent. And that's the point. It has cousins and kin and points of inspiration and citation, but this work is actually seeking to do something that has never been done in this way.” Over all, You're Welcome explores the relationship between the Museum's historic building, the land it stands on, and a long history of colonial narratives deeply embedded in public structures. It supports critical dialogues about the responsibilities of public institutions as cultural history makers and stewards, and it is a key component of UMMA's ongoing efforts to challenge its history and practices to create an institution more reflective of its community and honest in its explorations of art, culture, and society. More about YOU'RE WELCOME: HOW DO WE REMEMBER? How do we remember on this campus? This is the central question asked in You're Welcome, a dynamic three-part exhibition. The result of a multiyear collaboration with artist Cannupa Hanska Luger and nonprofit public art and history studio Monument Lab, You're Welcome examines the foundational narratives of the land occupied by the University of Michigan and both national and global discourse on nationalism, land sovereignty, militarism, colonialism, and sites of memory. GIFT The centerpiece of the You're Welcome exhibition, Cannupa Hanska Luger's GIFT, is an experimental, time-based, commissioned work, responding to and challenging the University of Michigan's origin story and the stewardship of the land it occupies. In September 2023, Luger, a multidisciplinary artist and enrolled member of the Three Affiliated Tribes of Fort Berthold (Mandan, Hidatsa, Arikara and Lakota), painted the word “GIFT” in white porcelain clay slip on the columns of Alumni Memorial Hall, a neoclassical war memorial erected in 1910 that now houses UMMA. His point of departure is the 1817 Treaty of Fort Meigs, in which Ottawa, Chippewa, and Potawatomi tribes “gifted” land to the University that was then sold to found its endowments. MEAT FOR THE BEAST Meat for the Beast comprises two works by the multidisciplinary artist Cannupa Hanska Luger: This is Not a Snake and The One Who Checks and The One Who Balances. An enrolled member of the Three Affiliated Tribes of Fort Berthold (Mandan, Hidatsa, Arikara and Lakota), Luger was born and raised on the Standing Rock Indian Reservation. This is Not a Snake was created there, in the aftermath of the 2016 Dakota Access Pipeline protests. The “snake” is a serpentine monster made of riot gear, ceramics, fiber, steel, oil drums, concertina wire, ammunition cans, trash, beadwork, and other found objects. Interspersed within the creature's body are artworks from UMMA's collection selected by Luger and the exhibition's curators to reflect on the historical and contemporary destruction and extraction of land as an expendable resource. By positioning the “snake” as if it's ingesting objects from the museum's collection, Luger compares the damage done by extractive industries on Indigenous lands to that of museums, which have historically extracted objects and culture from Indigenous communities. MONUMENT LAB: PUBLIC CLASSROOM How do we remember on this campus? In addressing this central question of the exhibition You're Welcome, Monument Lab, a nonprofit public art and history studio, worked with lead artist Cannupa Hanska Luger, University of Michigan Museum of Art staff, and University students, staff, and faculty to gather hundreds of responses. Using 121 of these compiled responses as a starting point, this “classroom” acts as an exploration of memory itself—how we remember, the physical and ephemeral forms memories take, and how they come to constitute the campus itself. This classroom includes a broad range of ways we remember—instances of personal, collective, ancestral, speculative, and institutional approaches to memory. https://umma.umich.edu/exhibitions/2023/cannupa-hanska-luger-you-re-welcome Featured song: A Tribe Called Red Ft. Hellnback - The Peoples' Champ

Click to listen to episode (3:54).Sections below are the following:Transcript of AudioAudio Notes and AcknowledgmentsImagesExtra InformationSourcesRelated Water Radio EpisodesFor Virginia Teachers (Relevant SOLs, etc.)Unless otherwise noted, all Web addresses mentioned were functional as of 9-15-23. TRANSCRIPT OF AUDIO From the Cumberland Gap to the Atlantic Ocean, this is Virginia Water Radio for the weeks of September 18 and September 25, 2023.  This is a revised version of an episode from September 2014. SOUNDS - ~6 sec – Pied-billed Grebe call. This week, we feature some raucous mystery sounds from a family of diving birds.  Have a listen for about 20 seconds, and see if you can guess what's making these calls.  And here's a hint: you'll get grief if you miss this name by only one letter's sound. SOUNDS - ~ 22 sec. If you guessed grebe, you're right!  Those were some of the sounds made by the Pied-billed Grebe, Horned Grebe, and Red-necked Grebe.  Out of 22 grebe species worldwide and seven in North America, these three species are found commonly in many aquatic habitats in Virginia, with two others—the Eared Grebe and the Western Grebe—seen occasionally within the Commonwealth.  Horned Grebes and Red-necked Grebes are regular winter residents on Virginia's coasts, while the Pied-billed Grebe is typically a year-round resident on the coast and a winter resident in other regions. Grebes are known for their swimming and diving abilities; for example, the Cornell Lab of Ornithology's “Birds of the World” Web site says quote, “[g]rebes rocket through the water by compressing water behind them with coordinated thrusts of their muscular legs,” unquote; and Cornell's “All About Birds” site calls the Pied-billed Grebe “part bird, part submarine.”  Lobed toes set far back on their bodies adapt grebes for swimming, and their ability to add or remove water and air from their feathers and internal air sacs helps them to float or, as needed, to submerge to escape danger or to feed.  Grebes feed on a variety of aquatic animals like fish, crustaceans, and insects; on aquatic plants sometimes; and—notably—on their own feathers.  In turn, they may be eaten by such predators as raccoons, snakes, and birds of prey. Grebes call and act aggressively during breeding season, but they may be quieter and much less noticeable during non-breeding season.   In fact, a calm pond surface might conceal a hiding grebe with only its nostrils exposed to the air, or that surface might be broken—almost silently—by a grebe emerging with a fish in its bill. Thanks to Lang Elliott for permission to use the grebe sounds, from the Stokes' Field Guide to Bird Songs, and we let the Pied-billed Grebe have the last call. SOUNDS - ~6 sec. SHIP'S BELL Virginia Water Radio is produced by the Virginia Water Resources Research Center, part of Virginia Tech's College of Natural Resources and Environment.  For more Virginia water sounds, music, or information, visit us online at virginiawaterradio.org, or call the Water Center at (540) 231-5624.  Thanks to Stewart Scales for his banjo version of “Cripple Creek” to open and close this episode.  In Blacksburg, I'm Alan Raflo, thanking you for listening, and wishing you health, wisdom, and good water. AUDIO NOTES AND ACKNOWLEDGEMENTS This Virginia Water Radio episode revises and replaces Episode 233, 9-29-14. The sounds of the Horned Grebe, Pied-billed Grebe, and Red-necked Grebe were from the Stokes Field Guide to Bird Songs-Eastern Region CD set, by Lang Elliott with Donald and Lillian Stokes (Time Warner Audio Books, copyright 1997), used with permission of Lang Elliott.  Lang Elliot's work is available online at “The Music of Nature” Web site, http://www.musicofnature.org/. Click here if you'd like to hear the full version (1 min./11 sec.) of the “Cripple Creek” arrangement/performance by Stewart Scales that opens and closes this episode.  More information about Mr. Scales and the group New Standard, with which Mr. Scales plays, is available online at http://newstandardbluegrass.com. IMAGES Two Pied-billed Grebes on a pond in Blacksburg, Virginia, September 28, 2014.  Photo by Virginia Water Radio.Pied-billed Grebe at Seedskadee National Wildlife Refuge in Wyoming, April 2016.  Photo by Tom Koerner, made available for public use by the U.S. Fish and Wildlife Service's National Digital Library, online at http://digitalmedia.fws.gov; specific URL for the photo was https://digitalmedia.fws.gov/digital/collection/natdiglib/id/23453/rec/4, as of 9-18-23.Horned Grebe with chick, at Anchorage Coastal Wildlife Refuge in Alaska, June 2005.  Photo by Donna Dewhurst, made available for public use by the U.S. Fish and Wildlife Service's National Digital Library, online at http://digitalmedia.fws.gov; specific URL for the photo was https://digitalmedia.fws.gov/digital/collection/natdiglib/id/411/rec/41, as of 9-18-23.Red-necked Grebe pair, at Anchorage Coastal Wildlife Refuge in Alaska, May 2005.  Photo by Donna Dewhurst, made available for public use by the U.S. Fish and Wildlife Service's National Digital Library, online at http://digitalmedia.fws.gov; specific URL for the photo was https://digitalmedia.fws.gov/digital/collection/natdiglib/id/20/rec/37, as of 9-18-23. EXTRA INFORMATION ABOUT THE PIED-BILLED GREBE The following information is quoted from the Virginia Department of Wildlife Resources (formerly Department of Game and Inland Fisheries), “Fish and Wildlife Information Service,” online at https://services.dwr.virginia.gov/fwis/, primarily the “Life History” section of the the Pied-billed Grebe entry, online at https://services.dwr.virginia.gov/fwis/booklet.html?&bova=040008&Menu=_.Taxonomy&version=19612. The scientific name of the Pied-billed Grebe is Podilymbus podiceps. Physical Description “This species is 12-15 inches (31-38 cm) long with a 23 inch wingspread.  It is a small, stocky bird distinguished by its short, blunt bill encircled by a broad black band with the upper portion of the bill curved downward; it is often described as chicken-like.  ...Grebes have lobed toes, feet that are placed far back on the body, and a short rudder-like tail to aid in pursuing prey underwater.” Reproduction “The nest is built by both members of the pair and is made up of flags, rushes, sedge, algae and mud and is attached to grasses, reeds or bushes in the water. ...The eggs are laid from March to September, are blue-white initially, and then turn brown.  The brown color results from the adults covering the eggs with wet organic matter when they are foraging or defending the territory.  ...There may be up to 2 broods per year.  Incubation takes about 23 days and begins with the first egg laid.” Behavior “Nest attendance is shared equally by the male and female during egg-laying and post-laying periods.  Incubation however, is carried out mostly by the female.  The streaked or spotted chicks can swim almost immediately after hatching.  The young will usually travel on the parents back or will cling to their tail.  The parents may feed the chicks and even dive while chicks are on their back.  The parents will return to the nest frequently with the young.  Young grebes fledge at about 35 days.  ...[This species] rarely flies, and it escapes by diving with a short leap or by slowly submerging.  It is the most solitary of the grebes.  It is the first grebe to arrive north in the spring and the last to leave in the fall.  It migrates in closely-massed flocks. ...” Feeding “Diet consists primarily of fish including eels, carp, and catfish as well as sticklebacks, sculpins, silversides, and minnows.  [It will also] forage on crayfishes, aquatic insects, snails, spiders, frogs, tadpoles, some seeds and soft parts of aquatic plants, ...[and] on shrimp in saltwater bays and estuaries.  [It ingests] large numbers of their own feathers.  This may serve to protect the stomach from puncture by indigestible parts and prevent hard items from entering the intestines.  Feathers also provide the base material of regurgitated pellets that contain undigested material such as fish bones.” Aquatic/Terrestrial Associations: “In Virginia, pied-billed grebes have been observed foraging with snowy egrets.  Mutualistic foraging enhances opportunities for obtaining prey.  Limiting factors: The greatest losses of nests and eggs resulted from wind, rain, waves, and storm tides.  Predators of eggs and young include raccoons, laughing gulls, water snakes, snapping turtles, and peregrine falcons.” SOURCES Used for Audio Cornell University Lab of Ornithology, “All About Birds,” online at http://www.allaboutbirds.org.The Horned Grebe entry is online at https://www.allaboutbirds.org/guide/Horned_Grebe/;the Pied-billed Grebe entry is online at https://www.allaboutbirds.org/guide/Pied-billed_Grebe/;the Red-necked Grebe entry is online at https://www.allaboutbirds.org/guide/Red-necked_Grebe/. National Audubon Society, “Taxonomic Family: Grebes,” online at https://www.audubon.org/bird-guide?title=Grebe&family=6460. Cornell University Lab of Ornithology, “Birds of the World,” online at https://birdsoftheworld.org/bow/home.  (subscription required).The entry for the taxonomic family of grebes, Podicipedidae, is online at https://birdsoftheworld.org/bow/species/podici1/cur/introduction; this is the source of the quote in the audio.The Horned Grebe entry is online at https://birdsoftheworld.org/bow/species/horgre/cur/introduction;the Pied-billed Grebe entry is online at https://birdsoftheworld.org/bow/species/pibgre/cur/introduction;the Red-necked Grebe entry is online at https://birdsoftheworld.org/bow/species/rengre/cur/introduction. Indiana Audubon, “Pied-billed Grebe,” by Annie Aguirre, July 1, 2018, online at https://indianaaudubon.org/2018/07/01/pied-billed-grebe-2/. Angela Minor, “Birds of the Blue Ridge: Pied-billed Grebe,” Blue Ridge Country, December 27, 2022. Chandler S. Robbins et al., A Guide to Field Identification of Birds of North America, St. Martin's Press, New York, N.Y., 2001. Stan Tekiela, Birds of Virginia Field Guide, Adventure Publications, Cambridge, Minn., 2002. Virginia Department of Wildlife Resources (formerly Department of Game and Inland Fisheries), “Fish and Wildlife Information Service,” online at https://services.dwr.virginia.gov/fwis/.The Horned Grebe entry is online at https://services.dwr.virginia.gov/fwis/booklet.html?&bova=040005&Menu=_.Taxonomy&version=19612;the Pied-billed Grebe entry is online at https://services.dwr.virginia.gov/fwis/booklet.html?&bova=040008&Menu=_.Taxonomy&version=19612;the Red-necked Grebe entry is online at https://services.dwr.virginia.gov/fwis/booklet.html?&bova=040004&Menu=_.Taxonomy&version=19612. Virginia Department of Wildlife Resources (formerly Department of Game and Inland Fisheries), “List of Native and Naturalized Fauna in Virginia, August 2022,” online (as a PDF) at https://dwr.virginia.gov/wp-content/uploads/virginia-native-naturalized-species.pdf. Joel C. Welty, The Life of Birds, 2nd Edition, W.B. Saunders Company, Philadelphia, Penn., 1975. For More Information about Birds in Virginia or Elsewhere Chesapeake Bay Program, “Birds,” online at https://www.chesapeakebay.net/discover/field-guide/critters?s=&fieldGuideType=Birds&fieldGuideHabitat. Cornell University Lab of Ornithology, “Merlin Photo ID.”  The application for mobile devices allows users to submit a bird photograph to get identification of the bird. Information is available online at http://merlin.allaboutbirds.org/. Cornell University Lab of Ornithology and the Audubon Society, “eBird,” online at https://ebird.org/home.  Here you can find locations of species observations made by contributors, and you can sign up to contribute your own observations. University of Michigan Museum of Zoology, “Animal Diversity Web,” online at https://animaldiversity.org.Virginia Society of Ornithology, online at http://www.virginiabirds.org/.  The Society is a non-profit organization dedicated to the study, conservation, and enjoyment of birds in the Commonwealth. Xeno-canto Foundation, online at https://xeno-canto.org/.  This site provides sounds of birds and other wildlife from around the world. RELATED VIRGINIA WATER RADIO EPISODES All Water Radio episodes are listed by category at the Index link above (http://www.virginiawaterradio.org/p/index.html).  See particularly the “Birds” subject category. Following are links to some other episodes on diving birds. American Coot – Episode 391, 10-23-17.Cormorants – Episode 467, 4-8-19.Loons – Episode 445, 11-5-18

The guys head to their neighbor to the north, as they darken towards...The Michigan Museum of Horror!!!

CLICK HERE to listen to episode audio (5:58).Sections below are the following: Transcript of Audio Audio Notes and Acknowledgments ImagesExtra InformationSources Related Water Radio Episodes For Virginia Teachers (Relevant SOLs, etc.). Unless otherwise noted, all Web addresses mentioned were functional as of 7-21-23. TRANSCRIPT OF AUDIO From the Cumberland Gap to the Atlantic Ocean, this is Virginia Water Radio for the weeks of July 24 and July 31, 2023.  This is a revised version of an episode from July 2013. SOUND – ~7 sec That underwater sound, recorded by a kayaker on Virginia's Appomattox River, opens an episode about how scientists and resource managers learn about the finned creatures that live underwater.  We start with some mystery sounds.  Have a listen for about 30 seconds, and see if you can guess what's going on with this beeping and splashing.  And here's a hint:  If a finned creature detects this signal, it might soon have a stunning experience. SOUNDS AND VOICES – ~27 sec – “Everybody's hands out of the water?”  Beeping and splashing.  “Ok, whenever you all are ready, you can pull it.... One, two, three...” If you guessed fish sampling, you're right!  Those were sounds from an electrofishing demonstration, during a May 2013 Virginia Master Naturalist field trip about fish in streams and rivers.  The demonstration was led by Jamie Roberts, who at the time was a Virginia Tech research scientist and as of 2023 is an associate professor of fisheries at Georgia Southern University.  Participants learned about fish-assessment techniques commonly used by fishery managers and by fish scientists, known as ichthyologists.  For some more details on fish sampling in streams, let's listen to a two-minute excerpt from Dr. Roberts' session. GUEST VOICE - ~2 min./2 sec.“So one of the things I want us to notice as we're sampling is what we catch with different types of gears, with different types of methods, and then what we catch in different types of habitats. “So there's really, essentially three different types of habitats that we have here [in a stream].  You have that shallow, turbulent stuff [that] we in the stream ecology world tend to call riffles; you have these, sort of, deep, deeper still somewhat high velocity areas called runs; and you have still waters, which we call pools.  And the three gear types that I wanna play with are...electrofishing with a dip net, which we'll do in pools; electrofishing into a stationary seine—so this is a seine net; and then sweeping a seine around like crazy and just seeing what we can get, like an old-time ichthyologist.  We'll do some sampling that is more like the golden days of ichthyology, before we had $10,000 electrofishers. “Icthyologists often rely on electrofishers of one type or another to catch fish, because it sort of brings fish out of the woodwork.  Fish are in this environment that's very difficult for us to access and see through and everything, and electricity is sort of the equalizer; it makes fish a lot easier to catch.  There are electrofishers that are mounted on boats; there are electrofishers that are barges that you tow around; and this is called a backpack electrofisher.  It's powered by a DC battery that looks a lot like a motorcycle battery.  And it produces electricity that this fancy box turns into the correct frequency and wavelength and pulse type to momentarily stun fish, and while they're stunned, we net ‘em; and as soon as they get out of the electrical field, if we've done everything like we're supposed to, they just immediately come back.  So if we throw them in a bucket, they should immediately regain normal composure.” As Jamie Roberts noted, fish live in an environment largely hidden from unaided human vision or hearing.  So scientists and resource managers combine ancient technologies—like nets—with modern electronics to get the information needed to understand and properly manage fish and the aquatic areas that sustain them. Thanks to Dr. Roberts and the New River Valley Master Naturalist chapter for permission to record the fish-sampling session.  Thanks also to Raven Harris for the Appomattox River sounds.  We close with a musical selection whose title describes the water world of many fish.  Here's about 25 seconds of “The Deep Blue Green,” by Andrew VanNostrand. MUSIC - ~27 sec – instrumental. SHIP'S BELL Virginia Water Radio is produced by the Virginia Water Resources Research Center, part of Virginia Tech's College of Natural Resources and Environment.  For more Virginia water sounds, music, or information, visit us online at virginiawaterradio.org, or call the Water Center at (540) 231-5624.  Thanks to Stewart Scales for his banjo version of “Cripple Creek” to open and close this episode.  In Blacksburg, I'm Alan Raflo, thanking you for listening, and wishing you health, wisdom, and good water. AUDIO NOTES AND ACKNOWLEDGEMENTS This Virginia Water Radio episode revises and replaces Episode 172, 7-29-13. The Appomattox River sounds were recorded by Raven Harris on the Appomattox River in Petersburg, Va., on April 18, 2014; used with permission. The fish sampling sounds and talk by Dr. Jamie Roberts were May 13, 2013, along Toms Creek in Montgomery County, Virginia, at a class of the New River Valley Chapter of the Virginia Master Naturalists Program.  Thanks to Jamie Roberts and to participants in that Master Naturalist class for permission to record the session. “The Deep Blue Green,” from the 2019 album “That We Could Find a Way to Be,” is copyright by Andrew VanNorstrand, used with permission.  More information about Andrew VanNorstrand is available online at https://greatbearrecords.bandcamp.com/.  This music was used previously by Virginia Water Radio most recently in Episode 632, 7-18-22. Click here if you'd like to hear the full version (1 min./11 sec.) of the “Cripple Creek” arrangement/performance by Stewart Scales that opens and closes this episode.  More information about Mr. Scales and the group New Standard, with which Mr. Scales plays, is available online at http://newstandardbluegrass.com. IMAGES Virginia Department of Game and Inland Fisheries (now Department of Wildlife Resources) personnel giving a backpack electrofishing demonstration to the Virginia Master Naturalists/New River Valley Chapter at Toms Creek in Montgomery County on May 6, 2013.  Photo by Bill Sydor, courtesy of New River Valley Master Naturalists Chapter.Virginia Department of Game and Inland Fisheries (now Department of Wildlife Resources) personnel leading a seining demonstration to the Virginia Master Naturalists/New River Valley Chapter at Toms Creek in Montgomery County on May 6, 2013.  Photo by Shannon Ritter, courtesy of New River Valley Master Naturalists Chapter.Jess Jones (left), co-director of the Freshwater Mollusk Conservation Center at Virginia Tech, examining the settings on a backpack electrofishing device, in the North Fork Holston River in Saltville, Va. (Smyth County), June 19, 2018.  Photo by Virginia Water Radio.EXTRA INFORMATION ABOUT ELECTROFISHING The following information on electrofishing is quoted from the Virginia Department of Wildlife Resources blog, Alex McCrickard, “Not Too Shocking: Your Electrofishing Questions Answered,” by Alex McCrickard, November 9, 2020, online at https://dwr.virginia.gov/blog/not-too-shocking-your-electrofishing-questions-answered/, accessed July 17, 2023. “Have you watched some of the videos from aquatic biologists at the Department of Wildlife Resources (DWR) and seen a boat outfitted with long, wand-like poles with dangling cables?  Have you ever showed up to a river or stream and witnessed a crew of biologists with large backpacks and long rods extending into the water?  This unusual-looking activity is called electrofishing, and it's modern science in action. “As Virginia's state fish and wildlife agency, DWR is responsible for the management of our fish and wildlife resources for the benefit of the public.  Our agency staff work hard to conserve and protect our freshwater fisheries across the Commonwealth.  The best way to monitor the health of fish populations is to catch a number of fish from one area at one time.  While our aquatics biologists are all excellent anglers, there is a more efficient, safe, and effective way to catch the fish!  Electrofishing is a common method used in fisheries science; this type of biomonitoring is truly one of the most effective ways to monitor our fisheries. “Fish can really help tell the story of the health of a certain waterbody.  They are in the water 24/7 and are constantly exposed to the elements.  Some species are more tolerant to pollution than others.  The make-up and diversity of a water body's fish population can help tell the story of water quality and inform our agency's biologists.  In turn, all of this influences sound management decisions that can improve habitat, water quality, and fish health, which benefits the general public and anglers who cherish Virginia's freshwater resources. “So, you now might be wondering what exactly happens during electrofishing?  What's going on behind the scenes during these surveys?  Our electrofishing FAQs below cover these basics. “What is electrofishing? “Electrofishing is a technique used in fisheries science to sample fish populations.  Sampling is when biologists study a number of fish from a certain area, measuring and examining them and recording the statistics.  When biologists electrofish, a generator or battery gives off an electrical current that runs through the water.  Volts, amps, and frequency can be adjusted based on water temperature, conductivity, and other variables.  Electrofishing can take place on foot with a backpack unit on a small stream or river.  For larger rivers and lakes, electrofishing typically takes place from a boat or barge. “From a boat, the anodes enter the water from a long boom off the bow.  Electrical current travels from anode cables back to the cathode(s)–in many cases, the metal hull of the boat acts as the cathode.  The electrical field typically expands 5 to 7 feet in circumference from each anode and down about 6 to 7 feet.  The size of the electrical field can vary depending on conductivity, voltage, and frequency of electrical current. “Fish are temporarily stunned as the electrical current causes their muscles to contract.  The fish then float towards the surface where they can be easily netted. “Is electrofishing harmful to fish? “Electrofishing has the potential to be harmful if not used properly; however, biologists have the training and experience to operate the equipment safely and effectively while minimizing impacts to fish.  Prior to any sampling, biologists adjust and monitor electrofishing settings to the target species in a particular habit. In some cases, electroshocking is avoided during spawning periods and habitats of certain rare and endangered species to eliminate even the perception of harm. “Does electrofishing affect different species of fish differently? “Yes, the frequency of the electromagnetic current can affect species differently.  For example, low frequency electrofishing tends to only affect catfish species.  When we sample tidal rivers to assess the catfish populations, we solely use low frequency.  High frequency sampling is often used for standard community assessment of multiple species.  Because of their larger surface area, big fish such as bass and muskie are more susceptible to electroshocking than small fish such as minnows and darters. “Electrofishing is only efficient in shallow water, so sampling is usually conducted when all species and sizes of interest are likely to be vulnerable to this technique. “Why do DWR biologists electrofish?  What's the goal for sampling and what do DWR biologists do with the fish during electrofishing? “Electrofishing is an effective method to assess the health of a fishery in a non-lethal manner.  It allows biologists to evaluate the health, variety, size distribution, and abundance of fish species on a given body of water and how that population can change over time.  Length and weight measurements further allow biologists to assess overall fishery health.  This type of sampling allows DWR to look at interactions within a fish population.  Furthermore, we can track status of endangered and threatened species or the status of spread of any invasive species.  All of this information influences sound management decisions that benefit the public who recreate on these resources. “Is electrofishing safe for the DWR biologists? “Yes, because of their training and experience, DWR biologists are safe when electrofishing.  Our biologists wear non-breathable waders that keep them from being shocked while using backpack electrofishing units.  For electrofishing boats, numerous electric cut-offs are in place to prevent accidents, and the boat is grounded.  All DWR biologists wear personal flotation devices while sampling on boats.  DWR biologists have also had formal training in electrofishing principles and techniques (for example the U.S. Fish and Wildlife Service electrofishing course), which contributes to the safe operation of electrofishing gear. “In what kinds of waters do you electrofish? “Electrofishing takes place in freshwater and tidal freshwater rivers and streams.  Because of the high conductivity of saltwater, it is not conducive to electrofishing. “Can anglers use electrofishing equipment to catch fish? “No, it is unlawful for the general public to use electrofishing equipment to catch fish.” SOURCES Used for Audio Alex McCrickard, “Not Too Shocking: Your Electrofishing Questions Answered,” Virginia Department of Wildlife Resources, November 9, 2020, online at https://dwr.virginia.gov/blog/not-too-shocking-your-electrofishing-questions-answered/. Stephen R. Moulton II, Jonathan G. Kennen, Robert M. Goldstein, and Julie A. Hambrook, “Revised Protocols for Sampling Algal, Invertebrate, and Fish Communities as Part of the National Water-Quality Assessment Program,” U.S. Geological Survey Open-File Report 02-150, online at http://pubs.usgs.gov/of/2002/ofr-02-150/. National Park Service, “What Lies Beneath: How Electrofishing and Environmental DNA Is Being Used to Monitor and Conserve Fish Species in Great Smoky Mountain National Park,” April 8, 2021, online at https://www.nps.gov/articles/000/what-lies-beneath-how-electrofishing-and-environmental-dna-is-being-used-to-monitor-and-conserve-fish-species-in-great-smoky-mountain-national-park.htm. Jordanna Sheermohamed, “Sea Science: Why is the ocean blue, green and everything in between?”  The Triton, April 24, 2019. Virginia Master Naturalists Program, online at http://www.virginiamasternatu

Robert Del Bonta will share how Shiva's Many Dances and the celebrated ‘Nataraja' pose is a culmination of how the ultimate depiction of Shiva's essence evolves over time in a dynamic conception among the Hindu trinity of gods (the Trimürti). Del Bonta creates an engaging aspect of one of the Hindu trinity gods, reflecting on how the iconic image of Shiva Nataraja the "Lord of Dance" illustrates a creative and destructive power over eons of time. Shiva's nature as both male and female is also a constant theme. Shiva manifests many other forms suggestive of power and mythological stories of dance or in prayers. It's but a tiny introduction to a major dance visualization heritage. Teacher and curator Dr. Robert Del Bonta's work has been presented in exhibition venues such as San Francisco's Asian Art Museum, Berkeley Art Museum, University of Michigan Museum of Art, Mills College, Notre Dame de Namur University, Art Passages in San Francisco and New York City, Portland Museum of Art and the New Orleans Museum of Art. He has lectured widely at museums and institutions in the United States, and published numerous articles and exhibition catalogue contributions on South Asian art with thematic focus largely on Indian art of the Jainas. MLF ORGANIZER Anne W. Smith and George Hammond Learn more about your ad choices. Visit megaphone.fm/adchoices

CLICK HERE to listen to episode audio (4:05).Sections below are the following: Transcript of Audio Audio Notes and Acknowledgments ImagesExtra InformationSources Related Water Radio Episodes For Virginia Teachers (Relevant SOLs, etc.). Unless otherwise noted, all Web addresses mentioned were functional as of 5-24-23. TRANSCRIPT OF AUDIO From the Cumberland Gap to the Atlantic Ocean, this is Virginia Water Radio for the weeks of June 12 and June 19, 2023.  This is a revised version of an episode from August 2011. MUSIC – ~12 sec – instrumental. That's part of “Frog Legs Rag,” composed in 1906 by James Scott of Missouri.  It opens an episode on a frog known for its large size, deep voice, and big appetite.  Have a listen for about 15 seconds to the following mystery sounds, and see if you know what's making the croaks.  And here's a hint: what would you get if you combined a male hoofed mammal with a jumping amphibian? SOUNDS - ~16 sec If you guessed a bullfrog, you're right!  You heard calls of the American Bullfrog, the largest native frog in North America, with a length typically of 4 to 6 inches and sometimes as much as 8 inches.  This large size helps account for the males' deep mating call, often described as “jug-o-rum” and audible over considerable distances.  Bullfrogs are found all over Virginia in ponds, lakes, and still-water sections of streams.  These kinds of permanent water bodies with shallow water and vegetation are needed for mating, for the laying of thousands of eggs in sheets on the water surface, and for the tadpoles' development period of one to two years.  Bullfrog tadpoles feed mostly on algae, aquatic plants, and insects or other invertebrates, while adults feed on insects, crayfish, other frogs, snakes, small mammals, and—according to one source—“anything that is moving and that they can at least partially swallow”.  In turn, bullfrogs are prey for various wildlife species and in some states are a game species for humans.  The American Bullfrog's native range is from the East Coast to the Great Plains.  Some of these native populations have declined due to habitat loss, water pollution, and pesticides, while the species' range has expanded through introductions into several western states. Thanks to the U.S. Geological Survey for providing the American Bullfrog recording.  Thanks also to Free Music Archive for providing access to a public domain version of “Frog Legs Rag,” and we close with another 20 seconds of that music. MUSIC – ~22 sec – instrumental. SHIP'S BELL Virginia Water Radio is produced by the Virginia Water Resources Research Center, part of Virginia Tech's College of Natural Resources and Environment.  For more Virginia water sounds, music, or information, visit us online at virginiawaterradio.org, or call the Water Center at (540) 231-5624.  Thanks to Ben Cosgrove for his version of “Shenandoah” to open and close this episode.  In Blacksburg, I'm Alan Raflo, thanking you for listening, and wishing you health, wisdom, and good water. AUDIO NOTES AND ACKNOWLEDGEMENTS This Virginia Water Radio episode revises and replaces Episode 74, 8-8-11. The sounds of the American Bullfrog heard in this episode were from the U.S. Geological Survey Upper Midwest Environmental Sciences Center, online at https://www.umesc.usgs.gov/terrestrial/amphibians/armi/frog_calls.html. “Frog Legs Rag” was composed by James Scott (1885-1938) in 1906.  The version heard in this episode was from 1906 piano roll, accessed from Free Music Archive, online at https://freemusicarchive.org/music/James_Scott/Frog_Legs_Ragtime_Era_Favorites/01_-_james_scott_-_frog_legs_rag/.  The version was published as part of the 2010 album “Frog Legs: Ragtime Era Favorites,” online at https://freemusicarchive.org/music/Various_Artists_Kazoomzoom/Frog_Legs_Ragtime_Era_Favorites.  The site indicates that the “Frog Legs Rag” piano roll version is provided for use under Creative Commons Public Domain Mark 1.0.  More information about “Frog Legs Rag” and about James Scott is available from Gonzaga University, online at https://digital.gonzaga.edu/digital/collection/p15486coll3/id/12932/, and from the Library of Congress online at https://www.loc.gov/item/ihas.200035819/. Click here if you'd like to hear the full version (2 min./22 sec.) of the “Shenandoah” arrangement/performance by Ben Cosgrove that opens and closes this episode.  More information about Mr. Cosgrove is available online at http://www.bencosgrove.com. IMAGES American Bullfrog photographed in Alexandria, Va., May 21, 2023.  Photo by Caroline Quinn, made available on iNaturalist at https://www.inaturalist.org/observations/163103785 (as of 5-25-23) for use under Creative Commons license “Attribution—Non-commercial 4.0 International (CC BY-NC 4.0).”  Information about this Creative Commons license is available online at https://creativecommons.org/licenses/by-nc/4.0/.American Bullfrog at Gavins Point National Fish Hatchery at Yukton, South Dakota, July 31, 2018.  Photo by Sam Stukel, made available for public use by the U.S. Fish and Wildlife Service's National Digital Library, online at http://digitalmedia.fws.gov; specific URL for the photo was https://digitalmedia.fws.gov/digital/collection/natdiglib/id/31921/rec/1, as of 5-25-23. EXTRA INFORMATION ABOUT THE AMERICAN BULLFROG The scientific name of the American Bullfrog is Lithobates catesbianus; formerly, the scientific name was Rana catesbiana. The following information is quoted from the Virginia Department of Wildlife Resources (formerly Department of Game and Inland Fisheries), “Fish and Wildlife Information Service/American Bullfrog Life History,” online at https://services.dwr.virginia.gov/fwis/booklet.html?Menu=_.Life+History&bova=020004&version=19500, and “Food Habits,” online at https://services.dwr.virginia.gov/fwis/booklet.html?Menu=_.Food+Habits&bova=020004&version=19500. Physical Description This is the largest native North American frog species in Virginia.  Lengths range from 85-200mm (3.5-6 in).  ...Males are generally smaller than females, have a yellowish wash on their throat, and a larger tympanum [eardrum], thumb, and forearm.  The male breeding call is a deep, full series of notes best described as “jug-a-rum.”... Reproduction This species breeds from the late spring to early fall.  Males are territorial.  Mating success is influenced by the quality of the territory. ... Females lay one or two clutches per season.  Average clutch size is 12,000 eggs.  Clutches are laid in a film on the water surface.  Eggs hatch in approximately 5 days.  Tadpoles can be very large, 125-150 mm.  Metamorphosis usually takes 1 year [and] larvae will overwinter in ponds.  Larval survivorship is

CLICK HERE to listen to episode audio (4:03).Sections below are the following: Transcript of Audio Audio Notes and Acknowledgments ImagesSources Related Water Radio Episodes For Virginia Teachers (Relevant SOLs, etc.). Unless otherwise noted, all Web addresses mentioned were functional as of 4-28-23. TRANSCRIPT OF AUDIO From the Cumberland Gap to the Atlantic Ocean, this is Virginia Water Radio for the weeks of May 1 and May 8, 2023. SOUND – ~ 7 sec That's the sound of Toms Creek in Heritage Park in Blacksburg, Va., on the morning of April 25, 2023.  Winding through the lowland portion of this 169-acre park, Toms Creek's floodplain features a number of vernal pools—seasonal bodies of water that typically dry up during the summer and provide spring habitat for amphibians, birds, and other creatures. Have a listen for about 20 seconds to some mystery bird sounds recorded near the creek and one of those pools on April 25, and see if you know, first, the four bird species you're hearing, and, second, the mobile device app used to record and identify those species.  And here's a hint to the app name: a mythical, Medieval character with this name would be impressed with the app's technological wizardry. SOUNDS  - ~21 sec – In order heard: Red-winged Blackbird, Ruby-crowned Kinglet, Northern Cardinal, Eastern Meadowlark, Cardinal again, Blackbird again. If you guessed the birds Red-winged Blackbird, Ruby-crowned Kinglet, Northern Cardinal, and Eastern Meadowlark, you're right!  And if you guessed the app Merlin, you've got the right name for a highly useful bird-identification tool from the Cornell Lab of Ornithology, located in Ithaca, New York.  Merlin allows users to get help identifying birds by sound, photo, or answering three questions about what one is seeing.  The Sound ID feature monitors birds sounds coming into one's mobile device and gives suggestions for species being heard; it currently has information on over 1000 species worldwide and over 500 in the United States and Canada.  The Photo ID offers species suggestions based on photos taken by the user.  And the Bird ID Wizard asks users questions about bird size, color, and activity and then gives possible matches.  These features are supported by another Cornell program, eBird, through which thousands of birders around the world contribute bird sightings, photos, and recordings. More information about Merlin, eBird, and other Cornell Lab of Ornithology programs is available online at allaboutbirds.org.  Thanks to Cornell for providing tools to help people learn about the feathered creatures inhabiting our streamsides, forests, city streets, backyards, and other habitats.  And we let one more of those creatures—a Brown Thrasher, also recorded with Merlin on April 25—have the last calls. SOUNDS  - ~8 sec SHIP'S BELL Virginia Water Radio is produced by the Virginia Water Resources Research Center, part of Virginia Tech's College of Natural Resources and Environment.  For more Virginia water sounds, music, or information, visit us online at virginiawaterradio.org, or call the Water Center at (540) 231-5624.  Thanks to Stewart Scales for his banjo version of “Cripple Creek” to open and close this episode.  In Blacksburg, I'm Alan Raflo, thanking you for listening, and wishing you health, wisdom, and good water. AUDIO NOTES AND ACKNOWLEDGEMENTS Click here if you'd like to hear the full version (1 min./11 sec.) of the “Cripple Creek” arrangement/performance by Stewart Scales that opens and closes this episode.  More information about Mr. Scales and the group New Standard, with which Mr. Scales plays, is available online at http://newstandardbluegrass.com. IMAGES (Photographs are by Virginia Water Radio.) Toms Creek at Heritage Park in Blacksburg, Va., April 25, 2023.Vernal (seasonal) pool in Toms Creek floodplain in Heritage Park in Blacksburg, Va., April 25, 2023. SOURCES Used for Audio Sneed B. Collard, “The Best Birdsong Apps,” October 30, 2021, online at https://www.birdwatchingdaily.com/birds/field-guides-and-apps/best-birdsong-apps/. Cornell University Lab of Ornithology, “All About Birds,” online at http://www.allaboutbirds.org. Cornell University Lab of Ornithology, “Merlin®,” online at https://merlin.allaboutbirds.org/.  This is a mobile app to help users identify birds they see or hear; it includes a global bird guide with photos, sounds, and maps. Cornell University Lab of Ornithology, “eBird,” online at https://ebird.org/home.Chandler S. Robbins et al., A Guide to Field Identification of Birds of North America, St. Martin's Press, New York, 2001. Town of Blacksburg, Va., “Heritage Community Park and Natural Area,” online at https://www.blacksburg.gov/Home/Components/FacilityDirectory/FacilityDirectory/54/78.

CLICK HERE to listen to episode audio (4:45).Sections below are the following: Transcript of Audio Audio Notes and Acknowledgments ImagesExtra InformationSourcesRelated Water Radio Episodes For Virginia Teachers (Relevant SOLs, etc.). Unless otherwise noted, all Web addresses mentioned were functional as of 2-17-23. TRANSCRIPT OF AUDIO From the Cumberland Gap to the Atlantic Ocean, this is Virginia Water Radio for the weeks of February 20 and February 27, 2023.  This is a follow-up to a similar episode from February 2018. SOUND - ~6 secThat sound of a mid-February rainfall in Blacksburg, Va., opens an episode on creatures who show up, sound off, and pair up every year, starting in mid- to late winter, in temporary pools and other water bodies.  Have a listen for about 50 seconds to a series of mystery sounds, and see if you can guess what animals are making this variety of peeps, clicks, clucks, and honks.  And here's a hint: the first warm rains of each year jump-start these creatures.SOUNDS - ~52 sec If you guessed frogs and toads, you're right!  Those were the calls of the following nine frog or toad species: Little Grass Frog; Upland Chorus Frog; Southern Chorus Frog; Coastal Plains Leopard Frog; Green Treefrog; Squirrel Treefrog; Oak Toad; Pine Woods Treefrog; and Eastern Narrow-mouthed Toad.  These nine are part of Virginia's 28 native species of frogs and toads.  Starting as early as January for some species—like the Little Grass Frog—frogs and toads move from overwintering habitats to temporary pools, ponds, streams, marshes, or other wet areas, where males use distinctive calls to attract females for breeding.  As spring arrives and progresses into summer, Virginia's aquatic areas attract a procession of species with different breeding and calling periods. Whether or not the weather at the moment looks or feels like spring, early frog and toad calls are sure signs of seasonal changes in the air, on the land, and in the water.Thanks to the Virginia Department of Wildlife Resources, formerly the Department of Game and Inland Fisheries, and to Lang Elliott for permission to use this week's sounds, from the 2008 CD, “The Calls of Virginia Frogs and Toads.” We close with some music for frogs and toads.  Here's about 20 seconds of the tune of “Five Green and Speckled Frogs,” a folk song used traditionally for teaching children to count, in an instrumental version recorded for Virginia Water Radio by Virginia musician Stewart Scales. MUSIC - ~22 sec – instrumental.SHIP'S BELL Virginia Water Radio is produced by the Virginia Water Resources Research Center, part of Virginia Tech's College of Natural Resources and Environment.  For more Virginia water sounds, music, or information, visit us online at virginiawaterradio.org, or call the Water Center at (540) 231-5624.  Thanks to Ben Cosgrove for his version of “Shenandoah” to open and close this episode.  In Blacksburg, I'm Alan Raflo, thanking you for listening, and wishing you health, wisdom, and good water. AUDIO NOTES AND ACKNOWLEDGEMENTS This Virginia Water Radio episode follows up a previous “Frog and Toad Medley” in Episode 408, 2-19-18; species included in that episode (in the order heard in the episode's audio) were Wood Frog, Spring Peeper, American Toad, Mountain Chorus Frog, Pickerel Frog, American Bullfrog, Carpenter Frog, Fowler's Toad, Northern Cricket Frog, Green Frog, and Gray Treefrog. The rainfall sound was recorded by Virginia Water Radio in Blacksburg on February 17, 2023. The sounds of the frogs and toads heard in this episode were excerpted from “The Calls of Virginia Frogs and Toads” CD, copyright 2008 by the Virginia Department of Game and Inland Fisheries (now the Department of Wildlife Resources) and Lang Elliott/NatureSoundStudio, used with permission.   The CD accompanies A Guide to the Frogs and Toads of Virginia, Special Publication Number 3, Virginia Department of Game and Inland Fisheries; as of February 16, 2023, that publication is no longer available at Virginia Department of Wildlife Resources online store, https://www.shopdwr.com/.  For more information, contact the Department at P.O. Box 90778, Henrico, VA 23228-0778; phone: (804) 367-1000 (VTDD); main Web page is https://dwr.virginia.gov/; to send e-mail, visit https://dwr.virginia.gov/contact/.  Lang Elliott's work is available online at the “Music of Nature” Web site, http://www.musicofnature.org/. “Five Green and Speckled Frogs” is a traditional folk song long used for children learning to count, according to the All Nursery Rhymes Web site, online at http://allnurseryrhymes.com/five-little-speckled-frogs/; and the Songs for Teaching Web site, online at http://www.songsforteaching.com/folk/fivegreenandspeckledfrogs-lyrics.php(a vocal recording of the song is available there). The banjo-and-guitar version in this episode was recorded for Virginia Water Radio by Stewart Scales on March 31, 2016, used previously in Episode 310, 4-4-16.  More information about Mr. Scales and the group New Standard, with which Mr. Scales plays, is available online at http://newstandardbluegrass.com. The sequence of calls heard in this week's audio follows generally the order in which the different species begin their annual breeding call period, according to the Virginia Department of Wildlife Resources, “Virginia Frog Phenology (Calling/Breeding Periods),” online (as a PDF) at https://www.virginiaherpetologicalsociety.com/education/edu-graphics/frog_and_toads/va-frog-and-toad-phenology-updated-02-21-2022.pdf. Click here if you'd like to hear the full version (2 min./22 sec.) of the “Shenandoah” arrangement/performance by Ben Cosgrove that opens and closes this episode.  More information about Mr. Cosgrove is available online at http://www.bencosgrove.com. IMAGES Green Treefrog at Port Louisa National Wildlife Refuge, located along the Mississippi River at the Illinois-Iowa border, August 2016.  Photo by Jessica Bolser, made available for public use by the U.S. Fish and Wildlife Service's National Digital Library, online at http://digitalmedia.fws.gov; specific URL for the image was https://digitalmedia.fws.gov/digital/collection/natdiglib/id/31556/rec/1 (as of 2-20-23).Coastal Plains Leopard Frog, photographed at Assateague Island National Seashore in Virginia (Accomack County), April 7, 2019.  Photo by Joe Schell, made available on iNaturalist at https://www.inaturalist.org/observations/22151626(as of 2-20-23) for use under Creative Commons license “Attribution 4.0 International (CC BY 4.0)”  Information about this Creative Commons license is available online at https://creativecommons.org/licenses/by/4.0/.Oak Toad (location and date not identified).  Photo by Matthew Niemiller, made available on iNaturalist, online at https://www.inaturalist.org/guide_taxa/8512(as of 2-20-23), for use under Creative Commons License “Attibution-NonCommercial 2.0 Generic (CC BY-NC 2.0)”; for more on that attribution category, visit https://creativecommons.org/licenses/by-nc/2.0/.Upland Chorus Frog, photographed in Farmville, Virginia (Prince Edward County), February 16, 2023.  Photo by Ty Smith, made available on iNaturalist at https://www.inaturalist.org/observations/148942454(as of 2-20-23) for use under Creative Commons license “Attribution-NonCommercial 4.0 International (CC BY-NC 4.0)”  Information about this Creative Commons license is available online at https://creativecommons.org/licenses/by-nc/4.0/legalcode.Images (as well as sounds, range maps, and other information) of other frogs and toads found in Virginia are available from the Virginia Herpetological Society, “Frogs & Toads of Virginia,” online at https://www.virginiaherpetologicalsociety.com/amphibians/frogsandtoads/frogs_and_toads_of_virginia.htm. EXTRA INFORMATION ABOUT THE FROGS MENTIONED IN THIS EPISODE Below are the scientific names (in italics) of the frog and toad species mentioned in this Virginia Water Radio episode.  The names are according to the Virginia Department of Wildlife Resources (formerly Department of Game and Inland Fisheries), “Fish and Wildlife Information Service,” online at https://services.dwr.virginia.gov/fwis/. Coastal Plains Leopard Frog – Lithobates sphenocephalus.  (This species was formerly known as the Southern Leopard Frog).Eastern Narrow-mouthed Toad – Gastrophryne carolinensis.Green Treefrog – Hyla cinerea.Little Grass Frog – Pseudacris ocularis.Oak Toad – Anaxyrus quercicus.Pine Woods Treefrog – Hyla femoralis.Southern Chorus Frog – Pseudacris nigrita.Squirrel Treefrog – Hyla squirella.Upland Chorus Frog – Pseudacris feriarum. SOURCES Used for Audio John D. Kleopfer and Chris S. Hobson, A Guide to the Frogs and Toad of Virginia, Special Publication Number 3, Virginia Department of Game and Inland Fisheries (now Department of Wildlife Resources), Richmond, Va., 2011. Virginia Herpetological Society, “Frogs & Toads of Virginia,” online at https://www.virginiaherpetologicalsociety.com/amphibians/frogsandtoads/frogs_and_toads_of_virginia.htm.  Herpetology is the study of amphibians and reptiles. Virginia Department of Wildlife Resources (formerly Department of Game and Inland Fisheries), “Fish and Wildlife Information Service,” online at https://services.dwr.virginia.gov/fwis/.  This site has detailed information on life history, distribution, habitat, and other aspects of species.  Information specifically for the frogs and toads mentioned in this episode is at the following links:Coastal Plains Leopard Frog;Eastern Narrow-mouthed Toad;Green Treefrog;Little Grass Frog;Oak Toad;Pine Woods Treefrog;Southern Chorus Frog;Squirrel Treefrog;Upland Chorus Frog. Virginia Department of Wildlife Resources, “List of Native and Naturalized Fauna in Virginia, August 2022,” online (as a PDF) at https://dwr.virginia.gov/wp-content/uploads/virginia-native-naturalized-species.pdf. For More Information about Frogs, Toads, and Other Amphibians in Virginia and Elsewhere Bernard S. Martof, et al., Amphibians and Reptiles of the Carolinas and Virginia, University of North Carolina Press, Chapel Hill, 1980. J.C. Mitchell and K.K. Reay, Atlas of Amphibians and Reptiles in Virginia, Virginia Department of Game and Inland Fisheries/Richmond (now Department of Wildlife Resources), 1999; available online (as a PDF) at https://www.virginiaherpetologicalsociety.com/atlases/mitchell-atlas.pdf, courtesy of the Virginia Herpetological Society. University of Michigan Museum of Zoology, “Animal Diversity Web,” online at https://animaldiversity.org/. U.S. Geological Survey (USGS), “ARMI (Amphibian Research and Monitoring Initiative),” online at https://armi.usgs.gov/. Virginia Department of Wildlife Resources, “A Guide to the Salamanders of Virginia,” online at https://dwr.virginia.gov/wildlife/salamanders/. Virginia Department of Wildlife Resources, “A Guide to Virginia's Frogs & Toads,” online at https://dwr.virginia.gov/wildlife/frogs-and-toads/. Virginia Department of Wildlife Resources, “Virginia is for Frogs,” online at https://dwr.virginia.gov/wildlife/virginia-is-for-frogs/. RELATED VIRGINIA WATER RADIO EPISODES All Water Radio episodes are listed by category at the Index link above (http://www.virginiawaterradio.org/p/index.html).  See particularly the “Amphibians” subject category. Following are links to other episodes that feature or mention the species noted in this episode. Episode 482, 7-22-19 – on the Oak Toad (along with Southern Toad).Episode 509, 1-27-20 – on the Little Grass Frog (along with the Wood Frog).Episode 515, 3-9-20 – on the Coastal Plains Leopard Frog.Episode 516, 3-16-20 – a spring sounds, including that of the Upland Chorus Frog.Episode 620, 3-14-22 – on the chorus frog group, including the Little Grass Frog, Southern Chorus Frog, and Upland Chorus Frog (along with several others). FOR VIRGINIA TEACHERS – RELATED STANDARDS OF LEARNING (SOLs) AND OTHER INFORMATION Following are some Virginia Standards of Learning (SOLs) that may be supported by this episode's audio/transcript, sources, or other information included in this post. 2020 Music SOLs SOLs at

The architect Brad Cloepfil views his work as less of a job and more of a calling. Sites speak to him. He listens with his eyes. When embarking on a project, Cloepfil slowly feels out the place, studying its particularities closely in order to understand its truest, deepest nature. He and his Portland, Oregon- and Brooklyn-based firm, Allied Works, craft buildings as much as they design them. His are finely tuned, well-wrought structures, elegantly proportioned, and unforgettable in their tactility, visual wonder, and reverence for their sites and surroundings.From the Portland, Oregon, headquarters of the advertising agency Wieden+Kennedy (2000); to Denver's Clyfford Still Museum (2011); to, more recently, the U.S. embassy in Mozambique (2021), Allied Works sculpts spaces of meaning and feeling that also serve pragmatic functions. Not surprisingly, the firm has become renowned for its designs of museums and arts institutions, including the Contemporary Art Museum St. Louis (2003).On this episode of Time Sensitive, Cloepfil talks with Spencer about his multisensorial approach to design and making; how reading, writing, and poetry have shaped his perspectives on the built world; and why all of his buildings are on some level about “amplifying and elevating the idea of service.”Special thanks to our Season 6 sponsor, L'ÉCOLE, School of Jewelry Arts.Brad Cloepfil[23:46] Allied Works[07:26] Wieden and Kennedy[45:29] Portland Institute for Contemporary Art[48:01] Maryhill Overlook[48:20] Sitings Project[51:40] Contemporary Art Museum St. Louis[53:30] Museum of Arts and Design[55:37] Duchess County Guest House[55:58] University of Michigan Museum of Art[58:38] Clyfford Still Museum[01:07:43] Eleven Madison Park[01:08:43] National Music Centre of Canada[01:11:41] National Veterans Memorial and Museum

Today is Indigenous People's Day. However, this week also marks the 122nd anniversary of the day a group of white folks burned down a village on the northern tip of Michigan's Lower Peninsula, violently forcing the Cheboiganing Band of Ottawa and Chippewa Indians to flee for their lives. A memorial at the University of Michigan Museum of Art commemorates the homes that were lost that day at Burt Lake. Directly across from the memorial wall, two paintings depict portals into an imagined future - one where Indigenous land is reclaimed.  Andrea Carlson is the Ojibwe artist behind “Future Cache,” which will be on display at UMMA through June 2024. She joined the show to share her experience in implementing decolonization with institutions that so often fail to acknowledge Indigenous lives. GUEST: Andrea Carlson, painter of "Future Cache" from the Turtle Clan, descended from Grand Portage Ojibwe ___ Looking for more conversations from Stateside? Right this way. If you like what you hear on the pod, consider supporting our work. Music in this episode by Blue Dot Sessions.See omnystudio.com/listener for privacy information.

CLICK HERE to listen to episode audio (3:27).Sections below are the following: Transcript of Audio Audio Notes and Acknowledgments ImagesExtra Information Sources Related Water Radio Episodes For Virginia Teachers (Relevant SOLs, etc.). Unless otherwise noted, all Web addresses mentioned were functional as of 9-9-22. TRANSCRIPT OF AUDIO From the Cumberland Gap to the Atlantic Ocean, this is Virginia Water Radio for the weeks of September 12 and September 19, 2022. SOUNDS – ~2 sec – short examples of calls by Greater Yellowlegs (first) and Lesser Yellowlegs (second). In this episode, we feature two shorebirds whose long, colorful legs are a distinctive mark.  Have a listen for about 20 seconds and see if you can guess the name shared by these two species that's based on that characteristic.  And here's a hint: the name rhymes with what a person eats when they get two scrambled for breakfast. SOUNDS  - ~21 sec If you guessed yellowlegs, you're right!  You heard, first, the Greater Yellowlegs, and second, the Lesser Yellowlegs.  Both are known as “marsh sandpipers” or simply “marshpipers” because they're in the family of shorebirds called sandpipers and they prefer marshes or other wetland habitats.  Greater Yellowlegs are also sometimes called “tattlers” because of their noisy alarm calls.  The two species are the only tall sandpipers in North America with legs colored bright yellow or sometimes orange.  They're distinguished from one another by the somewhat larger size of the Greater Yellowlegs, by that species' bigger and slightly upturned bill, and by differences between their calls.  Both species breed in the tundra or forests of Canada and Alaska, and both then migrate to spend winter in the southern United States, Mexico, Central America, or South America.  The Lesser Yellowlegs is typically found in Virginia only during migration, but the Greater Yellowlegs can be found wintering along Virginia's coast.  These birds hunt in shallow water and on mud flats for their prey of fish, frogs, and a variety of invertebrate animals, such as insects, worms, snails, and shrimp. If you're visiting coastal Virginia between fall and spring and you're watching the birds, here's hoping you encounter some yellow-legged ones wading in shallow waters to find their food. Thanks to Lang Elliott for permission to use the yellowlegs' sounds, from the Stokes' Field Guide to Bird Songs, and we let the Greater Yellowlegs have the last call. SOUNDS – ~5 sec SHIP'S BELL Virginia Water Radio is produced by the Virginia Water Resources Research Center, part of Virginia Tech's College of Natural Resources and Environment.  For more Virginia water sounds, music, or information, visit us online at virginiawaterradio.org, or call the Water Center at (540) 231-5624.  Thanks to Stewart Scales for his banjo version of “Cripple Creek” to open and close this episode.  In Blacksburg, I'm Alan Raflo, thanking you for listening, and wishing you health, wisdom, and good water. AUDIO NOTES AND ACKNOWLEDGEMENTS The sounds of the Greater Yellowlegs and Lesser Yellowlegs were from the Stokes Field Guide to Bird Songs-Eastern Region CD set, by Lang Elliott with Donald and Lillian Stokes (Time Warner Audio Books, copyright 1997), used with permission of Lang Elliott.  Lang Elliot's work is available online at the “Music of Nature” Web site, http://www.musicofnature.org/. Click here if you'd like to hear the full version (1 min./11 sec.) of the “Cripple Creek” arrangement/performance by Stewart Scales that opens and closes this episode.  More information about Mr. Scales and the group New Standard, with which Mr. Scales plays, is available online at http://newstandardbluegrass.com. IMAGES Greater Yellowlegs, photographed at Chincoteague National Wildlife Refuge in Virginia, August 11, 2022.  Photo by iNaturalist user kenttrulsson, made available online at https://www.inaturalist.org/observations/132685927(as of 9-12-22) for use under Creative Commons license “Attribution-NonCommercial 4.0.”  Information about this Creative Commons license is available online at https://creativecommons.org/licenses/by-nc/4.0/.Lesser Yellowlegs, at Virginia Beach, Va., May 3, 2022.  Photo by iNaturalist user hikerguy150, made available online at https://www.inaturalist.org/observations/116695303(as of 9-12-22) for use under Creative Commons license “Attribution-NonCommercial 4.0.”  Information about this Creative Commons license is available online at https://creativecommons.org/licenses/by-nc/4.0/.EXTRA INFORMATION ABOUT GREATER YELLOWLEGS AND LESSER YELLOWLEGS The following information is excerpted from the Alaska Department of Fish and Game, “Yellowlegs,” text by Richard Carstensen (undated), updated by David Tessler in 2007, online (as a PDF) at https://www.adfg.alaska.gov/static/education/wns/yellowlegs.pdf. “Mixed assemblages of small shorebirds combing our coastal wetlands in spring are likely to be accompanied by several yellowlegs, immediately recognizable by their greater size. As the “peeps” scurry over the mud and along the waters edge, the yellowlegs, with a more careful, heron-likeelegance, wade out into ponds and sloughs in search of different prey.“General description: Yellowlegs can be distinguished from other shorebirds by the long, straight oralmost imperceptibly upturned bill and the very long, bright yellow legs.  The neck is longer and moreslender than that of most shorebirds. ...Distinguishing betweenthe two...species of yellowlegs is more difficult.  Plumage of the two birds is nearly identical.  None of the following distinctions are completely reliable by themselves, and if possible they should be used in conjunction with each other.  When seen together, as often occurs in migration, the greater yellowlegs (Tringa melanoleuca) stands9-10 inches high (0.25 m), taller than the lesser yellowlegs (Tringa flavipes).  The greater yellowlegs has a somewhat thicker bill than the lesser, and it may turn upward very slightly, while that of the lesser yellowlegs is slighter and quite straight.  The calls of the two species are distinctive.  The greater yellowlegs has a louder and clearer call, often uttered in a three- or four-note sequence, ‘kyew kyew kyew,' with a falling inflection to each syllable.  The lesser yellowlegs tends to call once or twice.  Both species of yellowlegs have a ‘yodeling' song in addition to the better known sharp alarm calls.  This song is given either from the ground or during display flights and has been variously interpreted as ‘toowhee, toowhee,' ‘tweda, tweda,' or ‘whee-oodle, whee-oodle.'  It is heard both on the breeding grounds and in migration. ... “Life history: ...Fall migration begins in late July and lasts through September.  Primary routes are midcontinental (mostly west of the Mississippi River) in spring and both midcontinental and along the Atlantic coast in fall.  Wintering yellowlegs are scattered along the coasts from South America through California and Oregon.  In South America, birds concentrate where shallow lagoons and brackish herbaceous marshes lie adjacent to the outer coast.  Flooded agricultural fields, especially rice fields, have also become important.  In mild years greater yellowlegs winter as far north as southern Vancouver Island. “Behavior and feeding: The exaggerated legs of the Tringa genus are best explained by the custom of feeding in the water, often wading out beyond the belly depths of less elevated relatives.  Among shorebirds, long bills usually accompany long legs for the same reason.  The greater yellowlegs is an accomplished fisher, at times preying almost exclusively on small estuarine fishes such as sticklebacks and sculpins.  Sometimes groups of feeding yellowlegs will form lines, wading abreast to corner fish in the shallows.  Both yellowlegs, particularly the lesser, also eat invertebrates.  Adults and larvae of aquatic insects such as water boatmen, diving beetles, dragonfly nymphs, and flies are important in the diet, as are sand fleas and intertidal amphipods.  Terrestrial invertebrates such as ants,grasshoppers, snails, spiders and worms are also taken.  In spite of the length of the yellowlegs bill, it is rarely used for probing in sand or mud.  The greater yellowlegs will swing its bill from side to side in the water; the lesser yellowlegs does not. “Both yellowlegs breed in the boreal forest and the transitions between forest and tundra in wet bogs and open muskegs. During migration, both species frequent brackish tidal sloughs and mudflats, as well as the edges of freshwater lakes and ponds.  Lesser yellowlegs occasionally swim, an unusual practice amongshorebirds.  The lesser yellowlegs seems somewhat more gregarious than the greater, although both are seen in loose flocks.” SOURCES Used for Audio Alaska Department of Fish and Game, “Yellowlegs,” text by Richard Carstensen (undated), updated by David Tessler in 2007, online (as a PDF) at https://www.adfg.alaska.gov/static/education/wns/yellowlegs.pdf. Chandler S. Robbins et al., A Guide to Field Identification of Birds of North America, St. Martin's Press, New York, 2001. Chesapeake Bay Program, “Birds,” online at https://www.chesapeakebay.net/discover/field-guide/all/birds/all.  The Greater Yellowlegs entry is online at https://www.chesapeakebay.net/discover/field-guide/entry/greater_yellowlegs; there was no entry for Lesser Yellowlegs (as of 9-9-22). Cornell University Lab of Ornithology, “All About Birds,” online at http://www.allaboutbirds.org.  The Greater Yellowlegs entry is online at https://www.allaboutbirds.org/guide/Greater_Yellowlegs/; the Lesser Yellowlegs entry is online at https://www.allaboutbirds.org/guide/Lesser_Yellowlegs/. Hugh Jennings, “Bird of the Month: Greater/Lesser Yellowlegs,” Eastside Audubon, August 23, 2018, online at https://www.eastsideaudubon.org/corvid-crier/2019/8/26/greaterlesser-yellowlegs. Alice Jane Lippson and Robert L. Lippson, Life in the Chesapeake Bay, Johns Hopkins University Press, Baltimore, Md., 2006. Stan Tekiela, Birds of Virginia Field Guide, Adventure Publications, Inc., Cambridge, Minn., 2002. Virginia Department of Wildlife Resources (formerly Department of Game and Inland Fisheries):Fish and Wildlife Information Service, online at https://services.dwr.virginia.gov/fwis/.  The Greater Yellowlegs entry is online at https://services.dwr.virginia.gov/fwis/booklet.html?&bova=040130&Menu=_.Taxonomy&version=19244; the Lesser Yellowlegs entry is online at https://services.dwr.virginia.gov/fwis/booklet.html?&bova=040131&Menu=_.Taxonomy&version=19244. Virginia Department of Wildlife Resources (formerly Department of Game and Inland Fisheries), “List of Native and Naturalized Fauna in Virginia, August 2020,” online (as a PDF) at https://dwr.virginia.gov/wp-content/uploads/virginia-native-naturalized-species.pdf. For More Information about Birds in Virginia or Elsewhere University of Michigan Museum of Zoology, “Animal Diversity Web,” online at https://animaldiversity.org. Cornell University Lab of Ornithology, “Birds of the World,” online at https://birdsoftheworld.org/bow/home (subscription required). Cornell University Lab of Ornithology, “Merlin,” online at http://merlin.allaboutbirds.org/.  This site and its accompanying mobile app allow identification of birds by photo or sound.Cornell University Lab of Ornithology, “eBird,” online at https://ebird.org/home.  Here

CLICK HERE to listen to episode audio (5:33).Sections below are the following: Transcript of Audio Audio Notes and Acknowledgments ImagesExtra Information Sources Related Water Radio Episodes For Virginia Teachers (Relevant SOLs, etc.). Unless otherwise noted, all Web addresses mentioned were functional as of 8-12-22. TRANSCRIPT OF AUDIO From the Cumberland Gap to the Atlantic Ocean, this is Virginia Water Radio for the weeks of August 15 and August 22, 2022. MUSIC – ~19 sec – instrumental. That's part of ‘To the Wild,” by the Virginia band The Steel Wheels.  It opens an episode about a chance hearing of two very different kinds of wild animals, and how they might be similar or different, including in relation to water.  Have a listen to their calls for about 20 seconds and see if you know these two types of animals.  And here's a hint: one's in a scientific family with, and the other rhymes with, dogs. SOUNDS  - ~21 sec. If you guessed coyotes and frogs, you're right!  You heard barks and other sounds from coyotes, along with calls of Gray Treefrogs.  This lucky recording on the night of July 5, 2022, in Blacksburg, got your Virginia Water Radio host exploring potential connections and contrasts between this terrestrial mammal in the dog family, and this partially aquatic amphibian.  Here are seven areas of note. 1.  Like other living things, both coyotes and frogs are largely made of water and require it for biological functions.  Unlike coyotes, frogs can absorb water through their naked skin, that is, skin without scales, feathers, or fur. 2.  As amphibians, Gray Treefrogs breed in water, which of course coyotes don't. 3.  Like other mammals, coyotes keep a constant body temperature, and they evaporate water through panting to cool themselves.  Frogs' body temperature fluctuates with the environment; having naked skin that's permeable to water, frogs are at risk of drying out if their habitat isn't moist. 4.  Coyotes and adult frogs both have lungs for exchange of oxygen and carbon dioxide, but, in frogs, gas exchange also occurs across their skin. 5.  Both are notable for their sounds.  Coyotes use barks, howls, and other sounds to communicate to family members and to potential competitors, and frog males use calls to attract females, signal their presence to other males, and perhaps to startle away predators. 6.  These animals appear together in at least three Native American legends, including one from the Kalapuya people of Oregon, called “The Coyote and the Frog People.”  In this story, the coyote sneakily digs through a dam the frogs use to hold all of the world's water for themselves; this then creates all the rivers, lakes, and waterfalls and ends the frogs' water hoarding. And 7.  Both coyotes and Gray Treefrogs show remarkable adaptability to human environments.  Coyotes are noted for occupying habitats near humans, such as city and suburban parks.  Gray Treefrogs, meanwhile, can also be found in human spaces, such as in swimming pools or on house walls or decks.  One wildlife biologist consulted for this episode said that in his Virginia county coyotes seem to “saunter by houses like they own the place”; in the frog world, noted another biologist, Gray Treefrogs have a somewhat similar reputation. Thanks to several Virginia Tech faculty members for providing information for this episode.  Thanks also to The Steel Wheels for permission to use their music, and we close with about 30 more seconds of “To the Wild.” MUSIC - ~30 sec – Lyrics: “I'm gonna run to the wild.” SHIP'S BELL Virginia Water Radio is produced by the Virginia Water Resources Research Center, part of Virginia Tech's College of Natural Resources and Environment.  For more Virginia water sounds, music, or information, visit us online at virginiawaterradio.org, or call the Water Center at (540) 231-5624.  Thanks to Stewart Scales for his banjo version of Cripple Creek to open and close this episode.  In Blacksburg, I'm Alan Raflo, thanking you for listening, and wishing you health, wisdom, and good water. AUDIO NOTES AND ACKNOWLEDGEMENTS Virginia Water Radio thanks Mark Ford, Kevin Hamed, and James Parkhurst, all in the Virginia Tech Department of Fish and Wildlife Conservation, for contributing information to this episode. The Coyote and Gray Treefrog sounds heard in this episode were recorded by Virginia Water Radio in Blacksburg, Va., on July 5, 2022, at approximately 10:15 p.m. “To the Wild,” by The Steel Wheels, is from the 2017 album “Wild As We Came Here,” used with permission.  More information about The Steel Wheels is available online at https://www.thesteelwheels.com/.  This music was used previously by Virginia Water Radio most recently in Episode 490, 9-16-19. Click here if you'd like to hear the full version (1 min./11 sec.) of the “Cripple Creek” arrangement/performance by Stewart Scales that opens and closes this episode.  More information about Mr. Scales and the group New Standard, with which Mr. Scales plays, is available online at http://newstandardbluegrass.com. IMAGES (If not otherwise noted, photographs are by Virginia Water Radio.) Coyote, photographed in Virginia Beach, Va., February 27, 2016.  Photo by Shawn Dash, made available on iNaturalist at https://www.inaturalist.org/observations/13877118(as of August 15, 2022) for use under Creative Commons license “Attribution-NonCommercial-ShareAlike 4.0 Internbational.”  Information about this Creative Commons license is available online at https://creativecommons.org/licenses/by-nc-sa/4.0/.Gray Treefrog on the deck of a residence in Blacksburg, Va., September 23, 2009.EXTRA INFORMATION ABOUT ANIMALS IN THIS EPISODE The following information is excerpted from “Coyote” and “Gray Treefrog” entries of the Virginia Department of Virginia Department of Wildlife Resources' (formerly Department of Game and Inland Fisheries) “Fish and Wildlife Information Service,” online at https://services.dwr.virginia.gov/fwis/.  The Coyote entry is online at https://services.dwr.virginia.gov/fwis/booklet.html?Menu=_.Taxonomy&bova=050125&version=19215; the Gray Treefrog entry is online at https://services.dwr.virginia.gov/fwis/booklet.html?Menu=_.Taxonomy&bova=020007&version=19215. Coyote (Scientific name: Canis latrans) Occurrence“Coyotes are thought to have started being seen in the 1950's and the 1960's here in Virginia, particularly in the western part of the state, and they now have an established population throughout the state.  Current occurrence throughout the state is attributed to the steady eastward migration of this species, which is due to the elimination of other large carnivores, such as red wolves, from their former ranges and to coyotes being highly opportunistic feeders and thus are highly adaptable to many habitats.” Physical Description“The males are generally larger than the females...with a body length of 1.0-1.35 meters, and a tail length of 400 millimeters.  The coat color and texture shows geographic variation, but usually the coat color is a grey mixed with a reddish tint.  ...This species is generally smaller than the grey wolf.  ...The track (70mm by 60mm) is more elongated than the domestic dog but shorter than either the gray or red wolf.” Reproduction“Yearling males and females are capable of breeding.  The percentage of yearlings breeding is controlled by food supply.  Gestation lasts 63 days.  The mean litter size is 5.3 and is affected by population density and food supply.” Behavior“The home range size of the males is 20-42 kilometers (km), and for females 8-10 km.   The female home ranges do not overlap whereas male home ranges do.  The average daily travel is reported as 4.0 km, with dispersal movements of 160 km not uncommon.  Favorable den sites include brush-covered slopes, steep banks, thickets, hollow logs, and rock ledges.  The dens of other animals may be used.  ...Dens may be shared and used for more than one year. ...Coyotes use visual, auditory, olfactory and tactile signals for communications.  They eat mostly rodents and rabbits but also take berries fruits and carrion.  They are primarily nocturnal and their howls can be heard for miles.” Gray Treefrog (Scientific name: Hyla versicolor) Occurrence“In Virginia, this species is distributed in the mountains north of the New River drainage, in the Blue Ridge, and in the Piedmont.” Physical Description“This species is identical in appearance to Hyla chrysoscelis [Cope's Gray Treefrog] but they do not interbreed.  These two species can be distinguished by chromosome number and by male mating call. ...Both species are well camouflaged.  They are usually gray but coloration ranges from gray to whitish to brown to green dependent upon environment and activities.  There is a whitish mark beneath the eyes and a bright orange or yellow on the concealed surfaces of the hind legs.  The dorsal skin is warty.  This species ranges in length from 32 to 62 milllimeters (1.25-2.5 inches).” Reproduction“Males call between March and August.  ...Breeding generally occurs from March to June.  The female lays clumps of 10 to 40 eggs per group on the surface of shallow ditches, puddles, and ponds  ...Eggs typically hatch in 4 to 5 days, and metamorphosis occurs in 45 to 64 days.” Behavior“This species is not often seen on the ground or near the water's edge except during the breeding season.  It tends to forage while in small trees or shrubs near to or standing in water.  This species is an opportunistic feeder focusing primarily on larval Lepidoptera [butterflies and moths], Coleoptera [beetles], and other arthropods.” Limiting Factors“This species is fairly arboreal, foraging from trees and shrubs in the vicinity of water. ...In general, this species requires shallow ponds with fallen branches or herbaceous growth on the water's edge.” Aquatic/Terrestrial Associations“This species is typically associated with the following forest types: black willow, sweet gum-willow oak, white oak-red oak-black oak and mixed pine-hardwood.  They are frequently found in recently disturbed areas with shrub and herbaceous cover.” SOURCES Used for Audio Atlanta Coyote Project, “Coyote Activity Patterns, Ranges, and Vocalizations,” online at https://atlantacoyoteproject.org/coyote-activity-patterns-ranges-vocalizations/. Arizona-Sonora Desert Museum, “Animal Fact Sheet: Coyote,” online at https://www.desertmuseum.org/kids/oz/long-fact-sheets/coyote.php. Burke Museum [Seattle, Wash.], “All About Amphibians,” online at https://www.burkemuseum.org/collections-and-research/biology/herpetology/all-about-amphibians/all-about-amphibians. Epic Ethics, “Coyote Returns Water from the Frog People—A Native Kalapuya Tale,” online at https://www.youtube.com/watch?v=six1kVQS_tw. First People of North America and Canada, “Native American Legends,” online at https://www.firstpeople.us/FP-Html-Legends/. Kevin Hamed, Virginia Tech Department of Fish and Wildlife Conservation, personal communication, August 11, 2022. Richard W. Hill, Comparative Physiology of Animals: An Environmental Approach, Harper & Row, New York. 1976. Internet Sacred Text Archive, “The Coyote and the Frog,” identified as a Hopi contained in The Traditions of the Hopi, by H.R. Voth (1905), online at https://www.sacred-texts.com/nam/hopi/toth/toth065.htm. John D. Kleopfer and Chris S. Hobson, A Guide to the Frogs and Toads of Virginia, Bureau of Wildlife Resources Special Publication Number 3, Virginia Department of Game and Inland Fisheries [now Department of Wildlife Resources], Richmond, Va., 2011. Lane Community College [Eugene, Ore.], “Kalapuya: Native Americans of the Willamette Valley, Oregon,” online at https://libraryguides.lanecc.edu/kalapuya. Miami [Fla.] Children's Museum, YouTube video (4 min./39 sec.) of “The Coyote and the Frog People,” celebrating Native American Heritage Month, November 3, 2020, online at https://www.youtube.com/watch?v=9q4km_HDGeI. Brian R. Mitchell et al., “Information Content of Coyote Barks and Howls,” Bioacoustics: The International Journal of Animal Sound and its Recording, Vol. 15, pages 289–314 (2006); online (as a PDF) at https://www.uvm.edu/~bmitchel/Publications/Mitchell_Information_content.pdf. National Geographic, “Coyote,” undated, online at https://www.nationalgeographic.com/animals/mammals/facts/coyote. National Parks and Recreation Association, “Coyotes Have Moved into Parks Across the United States—Now What,” by Richard J. Dolesh, Parks & Recreation, April 6, 2018, online at https://www.nrpa.org/parks-recreation-magazine/2018/april/coyotes-have-moved-into-parks-across-the-united-states-now-what/. New Hampshire PBS, “NatureWorks/Gray Treefrog,” online at https://nhpbs.org/natureworks/graytreefrog.htm. Oregon Encyclopedia [Oregon Historical Society], “Kalapuyan Peoples,” by Henry Zenk, undated, online at https://www.oregonencyclopedia.org/articles/kalapuyan_peoples/#.YvPg_RzMJPY. James Parkhurst, Virginia Tech Department of Fish and Wildlife Conservation, personal communication, August 11, 2022. Roger Powell et al., Peterson Field Guide to Reptiles and Amphibians of Eastern and Central North America, Fourth Edition, Houghton Mifflin Harcourt, Boston, Mass., 2016. Virginia Department of Wildlife Resources [formerly Department of Game and Inland Fisheries],“Fish and Wildlife Information Service,” online at https://services.dwr.virginia.gov/fwis/; the Coyote entry is online at https://services.dwr.virginia.gov/fwis/booklet.html?&bova=050125&Menu=_.Taxonomy&version=19215; the Gray Treefrog entry is online at https://services.dwr.virginia.gov/fwis/booklet.html?&bova=020007&Menu=_.Taxonomy&version=19215. Ya-Native, “Coyote Takes Water From the Frog People—A Plains Legend,” online at

CLICK HERE to listen to episode audio (3:58).Sections below are the following: Transcript of Audio Audio Notes and Acknowledgments ImagesExtra Information Sources Related Water Radio Episodes For Virginia Teachers (Relevant SOLs, etc.). Unless otherwise noted, all Web addresses mentioned were functional as of 8-1-22. TRANSCRIPT OF AUDIO From the Cumberland Gap to the Atlantic Ocean, this is Virginia Water Radio for the weeks of August 1 and August 8, 2022.  This is a revised repeat of an episode from August 2015. SOUNDS – ~4 sec – call from Great Egret then from Great Blue Heron. In this episode, we feature two mystery sounds, and a guest voice, to explore two striking birds—striking in looks, and striking in how they hunt.  Have a listen for about 30 seconds, and see if you can guess these two long-necked, long-legged wading birds. SOUNDS AND GUEST VOICE – ~30 sec – Voice: “At once he stirs and steps into the water, wading with imperial self-possession on his three-pronged, dragonish feet.  The water could not tremble less at the passage of his stilt legs as he stalks his dinner.  His neck arches like the bending of a lithe bow, one of a piece with the snapping arrow of his beak.” If you guessed, egret or heron, you're right!  The first call was from a Great Egret and the second from a Great Blue Heron.  The guest voice was Alyson Quinn, reading part of her “Lesson from an Egret,” inspired by a September 2007 visit to the Potomac River.  The word “egret” derives from an old German word for “heron,” a fitting origin for the many similarities between these two big birds.  The Great Egret and the Great Blue Heron are the two largest of 12 North American species of herons, egrets, and bitterns.  The Great Egret is strikingly white, while the Great Blue has only a partially white head over a bluish-gray body.  But a white subspecies of the Great Blue, called the Great White Heron, occurs in Florida.  Great Egrets and Great Blues both typically feed in shallow water, taking fish, amphibians, and other prey by waiting and watching quietly, then quickly striking with their long, sharp beaks.  The two species also share a history of having been widely hunted for their long plumes in the late 19th and early 20th centuries; the impact on their populations helped lead to nationwide bird-conservation efforts and organizations. Distinctive looks, behavior, and history make these two “Greats” a memorable and meaningful sight along Virginia's rivers, ponds, marshes, and other areas.  Thanks to Lang Elliott for permission to use this week's sounds, from the Stokes Field Guide to Bird Songs, and thanks to Alyson Quinn for permission to share her “Lesson from an Egret,” which gets this episode closing words. GUEST VOICE – ~18 sec – “I want to be more like the egret, with the patience to be still without exhaustion, to never mind the idle currents or be dazzled by the glamour of light on water; but, knowing the good thing I wait for, to coil my hope in constant readiness, and to act in brave certitude when it comes.” SHIP'S BELL Virginia Water Radio is produced by the Virginia Water Resources Research Center, part of Virginia Tech's College of Natural Resources and Environment.  For more Virginia water sounds, music, or information, visit us online at virginiawaterradio.org, or call the Water Center at (540) 231-5624.  Thanks to Ben Cosgrove for his version of “Shenandoah” to open and close this episode.  In Blacksburg, I'm Alan Raflo, thanking you for listening, and wishing you health, wisdom, and good water. AUDIO NOTES AND ACKNOWLEDGEMENTS This Virginia Water Radio episode revises and replaces Episode 277, 8-10-15. The sounds of the Great Egret and the Great Blue Heron were taken from the Stokes Field Guide to Bird Songs-Eastern Region CD set, by Lang Elliott with Donald and Lillian Stokes (Time Warner Audio Books, copyright 1997), used with permission of Lang Elliott, whose work is available online at the “Music of Nature” Web site, http://www.musicofnature.org/. Excerpts of “Lesson from an Egret” are courtesy of Alyson Quinn, from her blog “Winterpast” (September 21, 2007, post), available online at http://www.winterispast.blogspot.com/, used with permission.  Ms. Quinn made the recording after a visit to Algonkian Regional Park, located in Sterling, Va. (Loudoun County), part of the Northern Virginia Regional Park Authority.  More information about the park is available online at https://www.novaparks.com/parks/algonkian-regional-park. Click here if you'd like to hear the full version (2 min./22 sec.) of the “Shenandoah” arrangement/performance by Ben Cosgrove that opens and closes this episode.  More information about Mr. Cosgrove is available online at http://www.bencosgrove.com. IMAGES (Except as otherwise noted, photographs are by Virginia Water Radio.) Upper two images: Great Egret along the New River near Parrott, Va. (Pulaski County); photos by Robert Abraham, used with permission.  Third image: Great Blue Heron in a marsh at Wachapreague, Va. (Accomack County), October 5, 2007.  Bottom image: Great Blue Heron in a stormwater pond on the Virginia Tech campus in Blacksburg, July 28, 2015. EXTRA INFORMATION ABOUT GREAT EGRETS AND GREAT BLUE HERONS The following information is excerpted from the Virginia Department of Wildlife Resources (formerly Department of Game and Inland Fisheries), “Fish and Wildlife Information Service”: Great Egret “Life History” entry, online at https://services.dwr.virginia.gov/fwis/booklet.html?&bova=040032&Menu=_.Taxonomy&version=19202; and Great Blue Heron “Life History” entry, online at https://services.dwr.virginia.gov/fwis/booklet.html?&bova=040027&Menu=_.Taxonomy&version=19202. Great Egret Physical Description“Large, heavy, white heron with yellow-orange bill, black legs, long, slender neck, and long plumes extending beyond tail….” Behavior“Male selects territory that is used for hostile and sexual displays, copulation and nesting.  Adjacent feeding areas vigorously defended, both sexes defend.  …Migration occurs in fall and early spring along coast; winters further south than Virginia. …Foraging: alone in open situations; prefers fresh or brackish waters, openings in swamps, along streams or ponds; wader: stalks prey; known to participate in the 'leap-frog' feeding when initiated by cattle egret (Bubulcus ibis).  Prey are taken in shallow waters; prey usually includes insects, fish, frogs (adults and tadpoles), small birds, snakes, crayfish, and many others.  Nesting: in trees or thickets, 3-90 ft. above water in willows, holly, red cedar, cypress, and bayberry on dry ground in marshes.” Population Comments“Dangerously near extermination in early part of [20th] century due to plume hunting; population comeback hampered by loss of habitat, exposure to DDT and other toxic chemicals and metals. …[Predators include] crows and vultures….” Great Blue Heron Physical Description“Large grayish heron with yellowish bill, white on head, cinnamon on neck, and black legs,” Behavior“Territoriality: known to have feeding territory in non-breeding seasons, defended against members of same species.  Range: breeds from central Canada to northern Central America and winters from middle United States throughout Central America; in Virginia, is a permanent resident of the Coastal Plain. …Foraging: stands motionless in shallow water waiting on prey; occasionally fishes on the wing along watercourses, meadows and fields far from water.  They also take frogs, snakes, insects, and other aquatic animals.  Nesting: predominately in tall cedar and pine swamps, but may also be found on the ground, rock ledges, and sea cliffs; nests on platform of sticks, generally in colonies….” Aquatic/Terrestrial Associations“Salt or fresh shallow waters of lakes, ponds, marshes, streams, bays, oceans, tidal flats, and sandbars; feeds in surf, wet meadows, pastures, and dry fields.” SOURCES Used for Audio Cornell University Lab of Ornithology, “All About Birds,” online at http://www.allaboutbirds.org. Cornell University Lab of Ornithology, “Birds of the World,” online at https://birdsoftheworld.org/bow/home  (subscription required). Alice Jane Lippson and Robert L. Lippson, Life in the Chesapeake Bay, Johns Hopkins University Press, Baltimore, 2006. Merriam-Webster  Dictionary:“Egret,” online at https://www.merriam-webster.com/dictionary/egret;“Heron,” online at https://www.merriam-webster.com/dictionary/heron. National Audubon Society, “History of Audubon and Science-based Bird Conservation,” online at http://www.audubon.org/content/history-audubon-and-waterbird-conservation. Oxford Dictionaries/Oxford University Press:“Egret,” online at http://www.oxforddictionaries.com/us/definition/american_english/egret;“Heron,” online at http://www.oxforddictionaries.com/us/definition/american_english/heron. Chandler S. Robbins et al., A Guide to Field Identification of Birds of North America, St. Martin's Press, New York, 2001. Stan Tekiela, Birds of Virginia Field Guide, Adventure Publications, Inc., Cambridge, Minn., 2002. Virginia Department of Wildlife Resources (formerly Department of Game and Inland Fisheries), “Fish and Wildlife Information Service,” online at https://services.dwr.virginia.gov/fwis/:Great Blue Heron entry, online at https://services.dwr.virginia.gov/fwis/booklet.html?&bova=040027&Menu=_.Taxonomy&version=19202;Great Egret entry, online at https://services.dwr.virginia.gov/fwis/booklet.html?&bova=040032&Menu=_.Taxonomy&version=19202;“List of Native and Naturalized Fauna in Virginia, August 2020,” online (as a PDF) at https://dwr.virginia.gov/wp-content/uploads/virginia-native-naturalized-species.pdf.The Waterbird Society, online at https://waterbirds.org/. Joel C. Welty, The Life of Birds, W. B. Saunders Company, Philadelphia, Penn., 1975. For More Information about Birds in Virginia and Elsewhere Chesapeake Bay Program, “Birds,” online at https://www.chesapeakebay.net/discover/field-guide/all/birds/all. Cornell University Lab of Ornithology, “Merlin Photo ID.”  The application for mobile devices allows users to submit a bird photograph to get identification of the bird. Information is available online at http://merlin.allaboutbirds.org/. Cornell University Lab of Ornithology and the Audubon Society, “eBird,” online at https://ebird.org/home.  Here you can find locations of species observations made by contributors, and you can sign up to contribute your own observations. University of Michigan Museum of Zoology, “Animal Diversity Web,” online at https://animaldiversity.org. Virginia Society of Ornithology, online at http://www.virginiabirds.org/.  The Society is a non-profit organization dedicated to the study, conservation, and enjoyment of birds in the Commonwealth. Xeno-canto Foundation, online at http://www.xeno-canto.org/.  This site provides bird songs from around the world.  RELATED VIRGINIA WATER RADIO EPISODES All Water Radio episodes are listed by category at the Index link above (http://www.virginiawaterradio.org/p/index.html).  See particularly the “Birds” subject category. Following are links to some other episodes on birds in the family of herons, egrets, night-herons, and bitterns.Episode 118, 7-9-12 – Summertime sampler of birds, including Great Blue Heron. Episode 127, 9-10-12 – Green Heron. Episode 235, 10-13-14 – Black-crowned Night Heron.Episode 381, 8-14-17 – Midnight sounds near water, including Great Blue Heron.Episode 430, 7-23-18 – Marsh birds in Virginia, including Great Blue Heron and Least Bittern.Episode 478, 6-24-19 – Little Blue Heron.Episode 603, 11-15-21 – Fall bird migration, including Green Heron and Snowy Egret. FOR VIRGINIA TEACHERS – RELATED STANDARDS OF LEARNING (SOLs) AND OTHER INFORMATION Following are some Virginia Standards of Learning (SOLs) that may be supported by this episode's audio/transcript, sources, or other information included in this post.2020 Music SOLs SOLs at various grade levels that call for “examining the relationship of music to the other fine arts and other fields of knowledge.” 2018 Science SOLs Grades K-4: Living Systems and Processes1.5 – Animals, including humans, have basic life needs that allow them to survive. 2.5 – Living things are part of a system. 3.4 – Adaptations allow organisms to satisfy life needs and respond to the environment. 3.5 – Aquatic and terrestrial ecosystems support a diversity of organisms. 4.2 – Plants and animals have structures that distinguish them from one another and play vital roles in their ability to survive. 4.3 – Organisms, including humans, interact with one another and with the nonliving components in the ecosystem. Grades K-5: Earth ResourcesK.11 – Humans use resources.1.8 – Natural resources can be used responsibly.3.8 – Natural events and humans influence ecosystems.4.8 – Virginia has important natural resources.