Podcasts about Mumu

Grand Theft Auto VI promises to be the biggest video game (and likely entertainment product, full stop) in history. But unfortunately, it's been delayed. It'll come out just over a year from when this episode publishes, and a brand new trailer indicates it'll launch with all of GTA's essential trappings: Cars, guns, insane characters, a crazy story, and -- of course! -- lots and lots of crime. What are our fresh thoughts on GTA6? And do we think it'll make its new May 2026 release date? There's a lot of other news to get to this week, too. For starters, a new PlayStation first party studio has been revealed, though we already sorta knew about them. They're called teamLFG, they've been splintered off from Bungie, and they're making a more lighthearted multiplayer game. Is there cause to be optimistic about this project? Plus: The next Xbox domino falls, as Gears of War will arrive on PlayStation 5 this August, something that was completely unthinkable just a couple of years ago. But what about the other Gears games? And when's Halo coming over, too? Later: Mafia: The Old Country gets a release date, EA indicates Battlefield 6's reveal is imminent, Death Stranding 2 is getting its own DualSense controller, and more. Then: Listener inquiries! Are we ever going to get another PlayStation Showcase? With the US threatening tariffs on foreign movies, should we be worried about foreign games suffering a similar fate? Why does Colin fail to see the intrinsic value of the modding community? Is Bradley Ellis slowly-but-surely taking Last Stand over from the inside?Please keep in mind that our timestamps are approximate, and will often be slightly off due to dynamic ad placement.Timestamps: 0:00:00 - Intro  0:06:46 - Mumu  0:16:12 - The Man Who Sold the World  0:32:40 - Sacred in space  0:46:20 - Punching Up takeover  0:49:06 - PSN horror story  0:58:14 - GTA VI delayed  1:35:50 - teamLFG  1:55:48 - Gears of War Reloaded coming to PS5  2:26:33 - Xbox games dominated PSN  2:36:36 - Mafia: The Old Country releases August 8th  2:46:24 - Destiny 2 expansion revealed  2:57:38 - EA gets ready for Battlefield  3:04:56 - Death Stranding 2 Dualsense  3:08:23 - Game sales  3:09:58 - What We've Been Playing  3:55:34 - Remaster/remake naming  4:01:45 - PlayStation Showcase  4:08:11 - PS5 identity  4:13:33 - Tariffs on video games  4:20:14 - Live service pricing  4:28:31 - Modding projects   Learn more about your ad choices. Visit podcastchoices.com/adchoices

In today's contentious social climate, it's undoubtedly difficult to urge an audience to be sympathetic towards a select group of people without being accused of making those people feel helpless in the process. As though pity has become a bad word.

In episode one of our Sexual Assault Awareness Month season, Just Science sat down with Jody West, the Forensic Science Manager for the Forensic Biology Section at the North Carolina State Crime Laboratory, and Dr. Patricia Melton, a Senior Research Forensic Social Scientist at RTI International, to discuss resources aimed to help forensic science service providers (FSSPs) increase the efficiency and cost effectiveness of sexual assault kit testing. Among FSSPs, there is variability in how they approach testing sexual assault kits; some conduct serology testing of samples before moving to DNA testing, while others forego initial serology testing for a Direct-to-DNA approach. Because each processing workflow has distinct costs and benefits, the National Institute of Justice's Forensic Technology Center of Excellence (FTCOE) has developed a no-cost tool that helps FSSPs decide on, and advocate for, an approach that is efficient and feasible considering their available resources and needs. Listen along as Jody and Dr. Melton describe the varied approaches to processing workflows in the field, the challenges that FSSPs face when transitioning from one workflow to another, and how the FTCOE's Cost-Benefit Analysis Tool for Labor Expenditure Associated With Sexual Assault Kit Processing Workflows can foster important conversations about improving sexual assault kit testing workflows. This episode is funded by the National Institute of Justice's Forensic Technology Center of Excellence (Award No. 15PNIJ-21-GK-02192-MUMU).

Varakļuonu nūvods beja vīneiguo pošvaļdeiba, i juos apvīnuošona ar kaidu nu kaimiņu nūvodim īprīškejā administrativi teritorialajā reformā beja palics kai naatrysynuots vaicuojums. Da ituo saleidzynojūši mozais Varakļuonu nūvods dzeivoja pats par sevi, koč vys vēļ pyrma četru gou beja zynoms, ka vysatycamuok tai tys palikt navarēs, i jam byus juopīsavīnoj Rēzeknis voi Modūnis nūvodam. Atbiļdeiguo ministreja plānuoja Varakļuonu nūvodu apvīnuot ar Modūnis nūvodu, tū vairuokuos aptaujuos nūruodeja ari nūvoda īdzeivuotuoji, tok īprīškejuo, 13. Saeima, lēme Varakļuonu nūvodu apvīnuot ar Rēzeknis nūvodu. Varakļuonu pošvaļdeiba 13. Saeimys lāmumu apstreidēja Satversmis tīsā. Piec tam Satversmis tīsa pīzyna, ka 13. Saeimys lāmums naatbiļst vaļsts pamatlykumam (Satversmei). Tuo vysa rezultatā tyka puorcaltys pošvaļdeibu vieliešonys Varakļuonu i Rēzeknis nūvodūs, i sovā ziņā Varakļuonu vaicuojums tyka īsaldāts. Tikai pārnejuo gods 13. junī piec treiju godu vaicuojums otkon rysynuots Saeimā, grūzūt Administratīvū teritoreju i apdzeivuotūs vītu lykumu, i itūreiz jau Varakļuonus pīvīnuoja Modūnis nūvodam. Bet vaicuojums ar tū nanūsaslēdze, deļtam ka ituo gods 13. janvarī Satversmis tīsa, piec 20 Saeimys deputatu īsnīgtuo pīteikuma, īrūsynuoja lītu, kab izvārtātu, voi Varakļuonu pīvīnuošona Modūnis nūvodam atbiļst Satversmei. Izaver, ka 13. datums Varakļuonim byus zeimeigs, deļtam ka ituo gods 13. junī Satversmis tīsa pījims lāmumu, voi Saeimys sasprīsatais par Varakļuonu pīvīnuošonu Modūnis nūvodam beja Satversmei atbiļstūšs, i voi nav juosuoc otkon vyss nu gola. Saīt kalamburs, tok raudzeisim saprast, voi tam vysam ir kaids logiskys punkts i kod. Deļtuo šudiņ iz sarunu aicynuojom 14. Saeimys deputatus nu Vaļsts puorvaļdis i pošvaļdeibys komisejis Administrativi teritorialuos reformys rezultatu izviertiešonys apakškomisejis – apakškomisejis prīšksādātuojs Valdis Maslovskis (ZZS) i bejušais komisejis prīšksādātuojs, niu tikai komisejis puorstuovs Juris Viļums (AS), kai ari jurists, Latgolys kongresa lāmumu izpiļdis padūmis prīšksādātuojs Agris Bitāns.

Jo digitālāka kļūst mūsu dzīve, jo digitālāki ir arī atkritumi. Un arī riski, kas ar tiem saistīti. Raidījumā Pievienotā vērtībā saruna par to, kā, piemēram,  nolietotais klēpjdators, kuru kā jau apzinīgi cilvēki nododam elektroierīču atkritumos, var „atgriezties” un mūs vai uzņēmumu vajāt kā ļauns zombijs.  Nav noslēpums, ka ar vienkāršu izdzēšanu dati nekur nepazūd. Stāsta uzņēmuma „Hansab” Drošības un aizsardzības risinājumu grupas vadītājs Jānis Rutkovskis. Ja liekas, ka kas tad tur, kuru interesē mūsu vecās e-pastu sarakstes, pāris gadus veci dokumenti un īsziņas no vecā telefona, tā ir vieglprātīga attieksme – tam piekrīt Datu valsts inspekcijā. DVI vadītājas pienākumu izpildītāja Lāsma Dilba atgādina – ļaundari saliek kopā datus no dažādiem avotiem un izmanto saviem mērķiem.  

#DigitālāsBrokastis viesojas Anda Asere – pieredzējusi tehnoloģiju žurnāliste, kura gadu gaitā kļuvusi par vienu no skaļākajām jaunuzņēmumu ekosistēmas balsīm Latvijā. Par izaugsmi, par iedvesmu, par līdzsvaru, par mākslīgo intelektu un Latvijas jaunuzņēmumu ekosistēmu. Plašāk par tehnoloģiju jaunumiem lasi arī LSM portālā.

Shout out to all the Chef's and restaurant owners that come out to the studio to record. For many chef's it's their only day off. I appreciate you!

As we began 2025, I returned to the teachings of the Heart of Great Perfection Wisdom Sutra. In times of chaos, something in me turns toward what is most true. The Heart Sutra is one such text that invites this kind of turning.Moving through the Heart Sutra we arrive at a set of stanzas that read as a series of negations.Therefore, given emptiness, there is no form, no sensation, no perception, no formation, no consciousness; no eyes, no ears, no nose, no tongue, no body, no mind; no sight, no sound, no smell, no taste, no touch, no object of mind; no realm of sight ... no realm of mind consciousness.There is neither ignorance nor extinction of ignorance... neither old age and death, nor extinction of old age and death; no suffering, no cause, no cessation, no path; no knowledge and no attainment.With nothing to attain, a bodhisattva relies on prajña paramita, and thus the mind is without hindrance. Without hindrance, there is no fear. Far beyond all inverted views, one realizes nirvanaIt reminds me of the first koan in the MumonkanMumonkan Case 1: Joshu's MuA practitioner asked Master Joshu, does a dog have buddha nature?Joshu said: MUMu, essentially No, NotThe kanji character is interestingly an image of a shaman dancing.The buddhist dictionary defines MU as nothingness, beyondness. This single word has been used in Zen as a breakthrough koan.When working with this koan we are instructed to throw our whole selves into Mu, or let everything become mu, the sounds in the room and outside, every thought, every sensation, Mu, mu, mu.As the first case in the Mumonkan, Mumon offers extensive commentary on this simple koan, he says:For the practice of Zen, you must pass the barrier set up by the ancient masters of Zen. To attain to marvelous enlightenment, you must cut off the mind road. If you have not passed the barrier and have not cut off the mind road, you are a phantom haunting the weeds and trees. Now just tell me, what is the barrier by the ancestors? Merely this Mu – the one barrier of our sect. So it has come to be called “the Gateless barrier of the Zen Sect.” Those who have passed the barrier are able not only to see Jôshû face to face but also to walk hand in hand with the whole descending line of ancestors and be eyebrow to eyebrow with them. You will see with the same eye that they see with, hear with the same ear that they hear with. Wouldn't it be a wonderful joy! Don't you want to pass through the barrier? Then concentrate your whole self into this Mu, making your whole body with its 360 bones and joints and 84,000 pores into a solid lump of doubt. Day and night, without ceasing, keep digging into it, but don't take it as “nothingness” or as “being” or “non-being”. It must be like a red-hot iron ball which you have gulped down and which you try to vomit but cannot. You must extinguish all delusive thoughts and beliefs which you have cherished up to the present. After a certain period of such efforts, Mu will come to fruition, and inside and out will become one naturally. You will then be like a dumb man who has had a dream. You will know it for yourself and for yourself only. Then all of a sudden, Mu will break open. It will astonish the heavens and shake the earth. It will be just as if you had snatched the great sword of General Kan: If you meet a Buddha, you will kill him. If you meet a patriarch, you will kill him. Though you may stand on the brink of life and death, you will enjoy the great freedom. In the six realms and the four modes of birth, you will live in the samadhi of innocent play.This koan reflects something about the heart of our practice, about the aspiration for liberation, about reality and deep compassion.All in this single word, MU—NOThere are times in practice when we are invited to wield the sword of MU. To practice Prajna Paramita's Great NO. What is true? What is your original face?Not this, not this, no this.To see through all conditioned phenomena, to see for ourselves what can not be taken away.We have a tendency to see and react, hear and react, perceive or misperceive and react. We make our home in a belief, a thought, a reaction, or our anger, our fear.We make conclusions based on our limited perception, and the beliefs, emotions and thoughts that moment of perception triggers.When we swing the sword of MU, we cut through all that is insubstantial, temporary, fleeting. We see through our mental fabrications, our mind's fake news, the dusty habits that constellate this sense of separation, the assumptions that we paste on top of reality.What is left when all our conditioning is seen for what it is?We return to oneness.We awaken to our true nature. We live from a love beyond belief, beyond fear.Doesn't mean these feelings, thoughts and reactions don't arise—NO is helping us see into their nature, reminding us of their temporariness, their empty-but-apparent expression.The heart sutra is helping us find true liberation from our misperceptions, and misidentifications.To practice NO in meditation is an invitation to see through the content of thought, to sink below the stories and narratives that keep us on the surface of mind and to know ourselves beyond our habits of identification with mental objects, with sounds, sensations, sights, with the body, etc.What are we when we give everything over to MU?The ancient ancestors say, we will be free in life and death. We won't be at the mercy of our fear.What kind of world is possible if we weren't living in some kind of fear reaction to fear?What kind of life is possible, if we were in touch with the freedom and love of our true nature—in any situation?I personally feel excited to find out. I wish that for us as we face the uncertainty and mystery of this unfolding political situation in the US, may this be motivation for our awakening.The sword of wisdom is in our hands. Let NO take you to what cannot be negated. Stand here, in this sacred place.* Listen to the podcast episode for a more in depth dive into the practice of Prajna Paramita's Great NO!I'm Amy Kisei. I am a Zen Buddhist Teacher, Spiritual Counselor, budding Astrologer and Artist. I offer 1:1 Spiritual Counseling sessions in the styles of IFS and somatic mindfulness. I also offer astrology readings. Check out my website to learn more. I currently live in Columbus, OH and am a supporting teacher for the Mud Lotus Sangha.Below you can find a list of weekly and monthly online and in-person practice opportunities. Weekly Online Meditation EventMonday Night Dharma — 6P PT / 9P ET Join weekly for drop-in meditation and dharma talk. Feel free to join anytime. Event lasts about 1.5 hours. ZOOM LINKMonthly Online Practice EventSky+Rose: An emergent online community braiding spirit and soul10:30A - 12:30P PT / 1:30P - 3:30P ETnext Meeting March 9th with JogenIn-Person in Columbus, Ohio through Mud Lotus SanghaIntro to Meditation on Sunday March 2 from 7P - 9:30P at ILLIO Studios in Columbus, OHSpring Blossoms Daylong Retreat Sunday March 9 at Spring Hallow Lodge in Sharon Woods in Columbus, OHInterdependence Sesshin: A Five Day Residential Retreat Wednesday July 2 - Sunday July 6 in Montrose, WV at Saranam Retreat Center (Mud Lotus is hosting its first Sesshin!)Weekly Meditations on Tuesday, Wednesday and Thursday This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amykisei.substack.com/subscribe

In this special release episode, Just Science sat down with Chuck Heurich, Senior Physical Scientist with the National Institute of Justice (NIJ), and Dr. Jennifer Snippen, experienced medicolegal death investigator and consultant, to discuss recent updates to NIJ's Guide for the Death Scene Investigator. Twenty-five years ago, NIJ released a guide to help medicolegal death investigators navigate complex scenes and cases; a document that has since evolved with the development of best practices and technological advancements. In 2024, a new version was released after a multi-disciplinary group of experts collaborated to make four major changes, including updates to documentation for death notifications to the office, procedures for child death investigations, partnering with law enforcement, and more. Listen along as Chuck and Dr. Snippen describe why the Death Investigation Guide was developed, how the newest updates came to be, and implications for day-to-day operations for medicolegal death investigators. This episode is funded by the National Institute of Justice's Forensic Technology Center of Excellence (Award No. 15PNIJ-21-GK-02192-MUMU).

Šodien raidījumā Pievienotā vērtība atklāsmes par valsts un pašvaldību uzņēmumu ceļu uz publisko akciju piedāvājumu un mazliet arī par problēmām, ko Baltijas biržā redz eksperti. 

In der neuesten Ladylike-Podcast-Folge geht es um Emotionen und wo man sie im Körper spürt. Das erste Gefühl, das Yvonne und Nicole sich vornehmen, ist die Freude. Nicole spürt Freude zuerst hinten im unteren Rückenmark, da wo evolutionär wohl mal ein Schwanz war. Yvonne nimmt vor allem Freude im Gesicht wahr und auch als Kribbeln im Bauch. Die Podcasterinnen fordern ihre Community auf, Ihnen zu schreiben, wo bei Ihnen im Körper die Freude sitzt!Die nächste wichtige Emotion ist die Angst. Nicole spürt Angst seit ihrem Bandscheibenvorfall wie ein Stromschlag im linken Bein. Was ihr hilft, ist Kickboxen. Seit sie das aktiv macht, hat sie praktisch keine Angstträume mehr. Yvonne hingegen läuft bei Angstgefühlen ein Schauer über den Rücken – im wahrsten Sinne des Wortes. Trauer ist eine sehr schwere Emotion, die im ganzen Körper lähmend zu spüren ist, finden sowohl Yvonne als auch Nicole. Psychischer Druck merken beide unangenehm im Magen. Glück hingegen wird überall ausgeschüttet, ein schönes Kribbeln überall, freut sich Nicole. Yvonne bestätigt das, beklagt aber, dass Glück häufig nur von kurzer Dauer ist. Nicole strebt daher nicht nach dem großen Glück, sondern freut sich an kleinen Glücksmomenten, zum Beispiel schöner Sex mit einem gutaussehenden Mann!Verliebtsein nehmen beide über freundliches Mumu-Kribbeln wahr! Die wahre Liebe – so Yvonne und Nicole – wird eher über Kuschelhormone und Nestbaugefühle transportiert. Ganz übel hingegen ist der Liebeskummer! Da finden Yvonne und Nicole sind die Herzschmerzen am schlimmsten und es hilft einfach nichts – außer der Zeit, oder vielleicht etwas Sport. Hört unbedingt rein in die neue Folge und erfahrt, wie neue Küsse Hoffnung bringen. Habt Ihr selbst erotische Erfahrungen, eine Frage oder Story, über die Yvonne & Nicole im Ladylike-Podcast sprechen sollen? Dann schreibt uns gern an @ladylike.show auf Instagram oder kontaktiert uns über unsere Internetseite ladylike.showHört in die Folgen bei RTL+ Musik, iTunes oder Spotify rein und schreibt uns gerne eine Bewertung. Außerdem könnt ihr unseren Podcast unterstützen, indem ihr die neuen Folgen auf Euren Kanälen pusht und Euren Freunden davon erzählt.Gute Por**-Tipps und auch ansonsten alles über Kinky Things, Liebe, S**, Fremdgehen, ungewöhnliche Liebschaften, viel Erotik und große Liebesgeschichten gibt es direkt aus der Ladylike-Community im Buch zum Podcast „Da kann ja jede kommen“! Hier geht's zum Buch: bit.ly/ladylike-buchUnsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

Comedian Jim Florentine returns to the show and they open by talking about the changes in fashion trends for overweight women through the years, how we are now a shameless society, RFK Jr.'s cousin Caroline attacking his character. Next, Jason “Mayhem” Miller reads the news including stories about a high school principal in Florida hosting a party for teenage students that included alcohol, marijuana and a gun, a new lawsuit filed by a Southern California resident claiming that a surveillance video shows what started the Eaton Fire, the Minneapolis mayor announcing the city will not cooperate with Trump's deportation policy, and Madonna trying stand-up and bombing at New York's Comedy Cellar. Then, author & former Anheuser-Busch employee, Anson Frericks joins the show to talk about his new book “Last Call for Bud Light: The Fall and Future of America's Favorite Beer” and what went wrong in corporate America over the last 10 years. For more with Jim Florentine: SPECIAL: You Can't Please Them All - on Amazon Prime PODCAST: Everybody is Awful (Except You) TWITTER/X: @MrJimFlorentine INSTAGRAM: @jimflorentine DATES: Feb. 1. - Posse Bar - Westminster, CA Feb. 7 & 8 - Kenosha Comedy Club - Kenosha, WI Feb. 22 - Bonkerz Comedy Club - Orlando, FL March 15 - Algonquin Theater - Mannasquan, NJ March 21 - Emmaus Theater - Emmaus, PA For more with Anson Frericks: BOOK: Last Call for Bud Light: The Fall and Future of America's Favorite Beer Available February 4th Thank you for supporting our sponsors: NakedWines.com - use code ADAM and get 6 bottles for just $39.99! SelectQuote.com/Carolla Shopify.com/carolla

Episode #684: Due to more Atlanta snow, Astrid is stepping in to save us from ourselves

Raidījumā Pievienotā vērtība skaidrojam, kā tas ir – veidot uzņēmumu medicīnas jomā. Vēl ir izmaiņas mūsu biržas sacensības noteikumos. Par jaunuzņēmumiem un idejām, kurām ir potenciāls kļūt par biznesu visas pasaules mērogā, raidījumā runājam daudz. Bet mazāk runājam par uzņēmumiem, kuri strādā specifiskā nozarē un saskaras ar visai unikāliem izaicinājumiem. Viena no sarežģītākajām jomām ir medicīna un veselība. Tur uzņēmumiem ne tikai jārada savs īpašais produkts un jārisina visas uzņēmuma augšanas problēmas, bet arī jārēķinās ar milzu kaudzi papildu sarežģījumiem. Kādi tie ir? Rīgas Stradiņa universitātes Inovāciju centra direktore un „EIT Health” centra vadītāja Līga Žūka sāk ar ieguvumiem.

本集要感謝 佩佩、Lingjui, Mumu, Valley, Jessie 贊助播出！ 今天的《都給你講》系列，要來聽暖男捕手林家正＆時尚媽咪 Melody 說英文～ 為什麼他們說英文的時候，聽起來特別好聽呢？ 今天這集就來挖掘他們的秘密！ 喜歡這樣學英文嗎？ 歡迎贊助賓狗和 Leo，並獲得講義電子報 https://open.firstory.me/join/bingobilingual

In the final episode of our Case Studies season, Just Science sat down with Ashleigh Berg, Senior Forensic Investigator for the Denton County Sheriff's Office, to discuss a capital murder case, where a combination of a variety of forensic evidence types aided the resolution of the case. When a homicide occurs in a dynamic environment, like inside a moving vehicle that was involved in two car crashes, it can pose challenges for reconstructing the timeline of events and differentiating incident-related evidence from post-incident artifacts. For a fatal shooting case that took place in Denton, Texas, forensic practitioners needed to utilize a wide range of forensic evidence, such as bloodstain patterns, surveillance footage, and real-time tracking data, to help locate the suspect and provide insight to the investigative questions in the case. Listen along as Ashleigh describes her role in collecting and analyzing evidence in this capital murder case, the importance of considering all evidence and forensic findings in the context of a case, and how a combination of physical and digital evidence was crucial in bringing this case to justice. This episode is funded by the National Institute of Justice's Forensic Technology Center of Excellence (Award No. 15PNIJ-21-GK-02192-MUMU).

6. decembrī Latvijas Universitātes Lielajā aulā Valsts kamerorķestris Sinfonietta Rīga jau piektajā kopīgi veidotajā programmā tiksies ar seno taustiņinstrumentu spēles speciālistu Kristianu Bezeidenhautu, kurš dzimis Dienvidāfrikā, studējis Austrālijā un Ņujorkā, bet šobrīd dzīvo Londonā. Viņš teicami pārvalda gan klavieru, gan klavesīna, gan āmuriņklavieru spēli un ir arī atzīts izcils Mocarta mūzikas pazinējs. Koncertā Rīgā līdzās 18. gadsimta Vīnes klasicismam skanēs arī par “zviedru Mocartu” dēvētā Jozefa Martina Krausa mūzikam, kuru pārstāvēs Voltēra traģēdijas “Olimpija” iedvesmota uvertīra. Zinu, ka jūsu interese par Mocartu dzimusi jau bērnībā, skatoties Miloša Formana filmu "Amadejs". No šīs jūs filmas jūs daudz sapratāt vai arī jūs tikai fascinēja Mocarta mūzika? Jāpadomā. Filma iznāca 1984. gadā, un man toreiz bija pieci gadi, bet es to skatījos mazliet vēlāk, man jau varēja būt kādi deviņi vai desmit. Dažus filmas fragmentus vecāki man neļāva skatīties, piemēram, sākuma ainu ar Saljeri pašnāvības mēģinājumu. Savā ziņā tā bija bērnam bīstama filma, bet uz mani atstāja milzīgu iespaidu. Cik meistarīgi mūzika ievīta šajā filmā, cik rūpīga bijusi attieksme pret ideju! Mūzika filmā ir kļuvusi par īstu personāžu! Izraudzītie skaņdarbi uz mani atstāja neizdzēšamu iespaidu, un arī filma kopumā man patika, tur bija visu elementu veiksmīga kombinācija.  Jūs teicāt, ka agrāk kaunējāties pieminēt šo filmu, tagad vairs ne. Kāpēc kaunējāties? Tagad vairs nekaunos, manā prātā noticis kāds klikšķis. Es nezinu. Pirms gadiem desmit man tas šķita, varbūt ne gluži lēts, bet pārāk vienkāršots stāsts, lai izskaidrotu manu saikni ar Mocartu. Un tomēr domāju, ka bez šīs filmas viss būtu bijis citādāk. Ik reizi, dzirdot kādu skaņdarbu, kas ietverts šajā filmā, manī rodas spēcīgas atmiņas, tāda cieša emocionālā saikne ar šo mūziku. Ar citu komponistu darbiem man tā nekad nav bijis. Varbūt vienīgi ar Bahu, bet citu iemeslu dēļ. Vai bez šīs filmas ir vēl citi veidi, kā izskaidrot jūsu saikni ar Mocarta mūziku? Manuprāt, nav. Līdz ar šo filmu sākās mana apsēstība ar Mocarta mūziku. Un Mocarta raksturs mani fascinēja! Viņš bija tāda mistiska personība. Es domāju par šo cilvēku 18. gadsimta beigās. Kā viņš radījis tik daudz skaistas mūzikas taustiņinstrumentiem, tik lieliskas operas un daudz ko citu. Un kā centies atbrīvoties no rāmjiem, kas valdījuši 18. gadsimta beigās. Mocarts vairs nebija ar mieru, ka viņu uzskata par kalpu. Viņš gribēja būt slavens komponists. Bet tajā laikā tas vēl nebija iespējams. Pat Haidns šajā ziņā bija pateicīgākā situācijā. Viņam bija labāki apstākļi un infrastruktūra. Kad viņš devās uz Londonu, viņu kā īstu megazvaigzni. Un tad, protams, vēl ir Bēthovens. Pusaudža gados Jums negribējās vingrināties, tomēr Mocarta mūziku spēlēt gribējāt, tas kalpoja kā stimuls. Tā bija. Bet pusaudža vecumā es nemaz tik daudz nespēlēju Mocartu. Klausījos gan visu laiku. Manā prātā laikam bija kāda barjera, jo tolaik Mocartu spēlēja un mācīja ļoti specifiskā veidā. Viņa klaviermūziku vajadzēja atskaņot tieši tā un ne citādāk. Ja standartos neiekļāvies, tas nebija pieņemami. Un tad es atklāju atskaņojumus uz autentiskajiem instrumentiem. Klaviermūziku gan mazāk, vairāk simfonijas, operas un kamermūziku. Un tas pilnībā mainīja manu izpratni par to, kas IR un kas NAv iespējams šajā mūzikā. Mūziku klausīties Jūs varējāt, jo tēvs pirka CD, katru mēnesi vismaz vienu jaunu. Jā, tā bija. Tur bija arī Mocarta mūzika. Jā, daudz Mocarta mūzikas. Tā man ilgu laiku bija īsta apsēstība. Kad 1991. gadā Philiips laida klajā 180 albumu sēriju ar visiem Mocarta darbiem, es tik ļoti gribēju to iegūt. Man neizdevās, taču vecāki mani ļoti atbalstīja, iedrošināja un pirka daudz Mocarta mūzikas albumu. Un tad man pamazām mainījās prioritātes. 12-13 gadu vecumā sliecos vairāk Baha un Hendeļa virzienā. Baha mūzika mani īpaši interesēja. Bet Mocarts bijis man līdzās vienmēr, viņš bijis manas apsēstības sākums. Tolaik varējāt klausīties Baha siminora mesas 12 dažādas versijas un meklēt interpretācijas atšķirības. Kā ir tagad? Piemēram, Mocarta 20. klavierkoncertu arī klausāties dažādos variantos vai arī esat tikai jūs un partitūra? Klausīšanās aspekts pēdējo 15 gadu laikā ir ļoti mainījies. Vairs neklausos tik daudz ierakstu kā agrāk. Padsmitnieka vecumā gribēju noklausīties visus iespējamos Baha siminora mesas variantus, jo mani fascinēja atšķirības interpretācijā, atskaņošanas manierē. Klausījos, cik apjomīgs ir orķestris un koris katrā ierakstā. Protams, tas viss mani interesē arī šodien, tomēr tagad klausos nedaudz citādāk. Es pat teiktu - klīniskāk. Bet tad, ja dzirdu kaut ko patiešām izcilu, īsteni skaistu, ko varu vienkārši izbaudīt, ir skaidrs, ka atskaņojums ir izcils. Tieši pašlaik esmu pievērsies Baha siminora mesai, jo februārī to atskaņošu ar grupu The English concert. Klausījos Concerto Copenhagen un Lārsa Ulrika Mortensena ierakstu. Tur ir tikai kādi 10 dziedātāji, bet ieskaņojums ir absolūti izcils. Tik meistarīgi paveikts! Pie šāda ieraksta var atgriezties atkal un atkal, ikreizi atklājot aizvien jaunas un jaunas nianses. Tāds, lūk, atšķirīgs klausīšanas veids. Tagad vairs neklausos tik daudz prieka pēc. Pat pirms gadiem pieciem, sešiem vēl bija citādāk. Tagad klausīšanās man ir vairāk izziņas, pētniecības process. Tā tomēr ir brīnišķīga sajūta, ja mūziku var vienkārši klausīties, tai ļauties, nevis analizēt katru interpretācijas niansi. Tieši tā! Aizvien vairāk tiecamies pēc ierakstiem, kas sniedz šo sajūtu. Ļoti novērtēju savus kolēģus, kas spēj radīt ierakstus, ko gribas tikai klausīties un izbaudīt, secinot - viss paveikts ārkārtīgi skaisti. Īsta bauda klausīties! Bet repertuārs, ko klausos, ļoti bieži ir pavisam atšķirīgs no tā, ko spēlēju. Neklausos Mocarta koncdertus vai sonātes. Klausos Baha kantātes vai Šarpantjē mesas. Reizēm arī laikmetīgo mūziku? Vairs ne tik daudz. Agrāk bieži klausījos Stīvu Reihu, mani joprojām viņa mūzika ārkārtīgi interesē, šķiet neparasti skaista. Un tomēr tas nav repertuārs, ko klausos prieka pēc, kā tas ir ar Šarpantjē mūzikas albumiem. Man ļoti patīk Šarpantjē un Pērsels. Viņu mūzika bagātina, to klausoties es varu arī atpūsties. Mocarta mūziku esat daudz spēlējis un ieskaņojis. Jūsu jaunākajā, tikko novembrī klajā nākušajā albumā ietverts Mocarta 19. un 23. koncerts. Vai varat teikt, ka nu jau pārzināt un izprotat Mocarta mūziku? Nē. Aizvien mazāk un mazāk to izprotu. Bet varbūt varu palīdzēt klausītājiem un arī saviem kolēģiem paraudzīties uz šo mūziku no cita skatupunkta. Strādājot ar Mocarta klavierkoncertu vai kādu simfoniju, varu piedāvāt nedaudz atšķirīgu perspektīvu. Šajā mūzikā vēlos atklāt pēc iespējas vairāk detaļu, nianšu, degsmes un skaistuma. Nepārtraukti meklēju skaistumu un izsmalcinātību, atskaņojot šo mūziku tā, it kā tā būtu tikko rakstīta, svaiga, jauna, emocionāli saistoša. Es patiešām nezinu, vai tas, ko daru, ir pareizi vai nepareizi. Bet man šķiet, ka šāda attieksme liek Mocarta mūzikai skanēt dedzīgāk un emocionālāk. Reizēm Mocarta darbu atskaņojumos varam dzirdēt tieši pretējo. Esmu šai mūzikai veltījis tik daudz laika, ka tagad spēju tai piekļūt ātrāk. Noteikti nevaru teikt, ka tagad zinu vairāk nekā pirms gadiem 10, 15. Bet man tagad ir lielāka pieredze, spēju panāk, ka mūzika runā precīzāk un dzīvāk. Vai ir iespējams, ka vienā koncertā Mocarta ir par daudz? Mūsdienās daudzi diriģenti Mocartam līdzās liek kaut ko no laikmetīgā repertuāra, tādējādi meklējot līdzsvaru. Tā ir. Manuprāt, arī tādas programmas ir brīnišķīgas, un, ja es spētu atskaņot jauno mūziku, arī veidotu līdzīgus salikumus. Bet tāds repertuārs vienkārši nav priekš manis, un tas nekad nav bijis. Nekad neesmu juties tik ļoti saistīts ar jauno mūziku, lai spētu tajā kaut ko būtisku pateikt. Bet veidojot programmu, kurā ir tikai Mocarts vai tikai Bēthovens, rodas iespēja pilnībā ienirt viņu mūzikas pasaulē, tas ir vesels universs, ko varam mēģināt atklāt. Šoreiz programmā būs Mocarta reminora klavierkoncerts un "Prāgas simfonija", ļaujot mums ielūkoties ļoti konkrētā laika periodā 18. gasdimta nogalē, kad tapuši divi patiesi lieliski meistardarbi. Es nekad iepriekš neesmu šos darbus licis līdzās vienā programmā. Vienmēr esmu piedāvājis kādus atšķirīgākus salikumus, piemēram, ar "Jupitera simfoniju" vai vēlīno solminora simfoniju. Bet viena komponista programmas ļauj pilnībā iegrimt šo skaņražu valodā, mums mūziķiem, nav nekādu atšķirīga stila blakuslietu, kas novērš uzmanību. Tāpēc varam izcelt svarīgāko šajos skaņdarbos.  Jūs esat teicis, ka Bēthovena mūziku sabojāt ir grūtāk nekā Mocarta. Kāpēc tā? Tā ir, es joprojām tā domāju. Varbūt tas ir nedaudz strīdīgs apgalvojums, gan jau kādi citi mūziķi man iebilstu un censtos pārliecinā par pretējo. Bet reizēm varam dzirdēt, piemēram, kādu jauniešu orķestri vai ne īpaši izcilu orķestri, kas Bēthovena simfoniju spēlē gluži pieņemami. Jo Bēthovena mūzikā ir tas enerģijas līmenis, kas jūtams teju vai fiziski. Bet, ja tas pats orķestris spēlē, teiksim, Mocarta Prāgas simfoniju, Mibemolmažora simfoniju vai arī kaut ko no Haidna, gribas teikt: lūdzu, beidziet! Kāpēc tas izklausās tik briesmīgi? Es nezinu! Joprojām nezinu, kāds ir iemesls, vēl neesmu to sapratis. Bet zinu, ka Mocarta mūzika prasa nepārtrauktu lēmumu pieņemšanu un meistarību. Vajag tādu īpašu iztēli, kas, līdzīgi kā darbojoties ar fotošopu, kaut ko mazliet paspilgtina, tā, lai tās vairāk izceltos. Varbūt acu krāsu vajag spilgtāku, varbūt ādaskrāsu gaišāku, varbūt kontrastu - lielāku. Bet Mocarta mūzikā tas nenotiek pats no sevis. Jāstrādā, lai ritms ir skaisti izcelts, lai būtu pareiza balsu hierarhija, jāsaprot katras takts uzbūve. Frāzējums varbūt pat nav tik svarīgs kā gramatika. Es te tagad jaucu kopā dažādas metaforas. Bet gribu teikt, ka sintaksei ir jābūt skaistai un rūpīgi izstrādātai, tikai tad šī mūzika atstās iespaidu uz klausītājiem. Bēthovena mūzikā ir tiešāks spēks, tās ir neapturamas emocijas, Mocarts ir daudz smalkāks. Jūs minējāt, ka Mocarts prasa nepārtraukti pieņemt lēmumus. Jums tas patīk? Arī dzīvē esat izlēmīgs? Ļoti labs jautājums, neviens man to nebija prasījis! Pirmajā brīdī gribas atbildēt: "Nē, man īsti nepatīk pieņemt lēmumus. Jo manā dzīvē jau tā ir tik daudz lietu, kas ieplānotas kalendārā trīs gadus uz priekšu, piemēram, šajā dienā tu būsi Rīgā un spēlēsi šo koncertu, tagad tev jāizvēlas lidojums, un tagad taksometrs, un kurā viesnīcā nakšņosi. Diendienā tik daudz kas ir saistīts ar lēmumu pieņemšanu. Tāpēc šķiet, ka mana atbilde būtu nē. Bet, ja runājam par lēmumu pieņemšanas procesu mūzikā, tad labākais ir tas, ka šos lēmumus tu pieņem kopā ar pārējiem mūziķiem. Jo tu jau vari viens pats mājās prātot par kādu konkrētu fragmentu un domāt, ka šo spēlēsim tā un tas atkal būs tā, bet formu veidosim tā... Bet kad mēģinājumā tu dzirdi iztēlototo orķestra sniegumā, saproti: nē, tas ir par daudz, bet te - par maz, bet šī vispār nav pareizā doma! Mēģinājums ir gluži kā tāds sarunu process. Man ļoti patīk kopā ar kolēģiem izmēģināt dažādas idejas. Tad ir sajūta, ka visu darām kopā. Es tiešām neesmu  no tiem cilvēkiem, kas nāk uz mēģinājumu un saka, ka obligāti jābūt tā un tā. Nu, varbūt ir daži izņēmumi attiecībā uz kādām pamatlietām. Bet vispār man šis process ļoti patīk. Un Jūs tiešām arī mājās prātojat par kādiem skaņdarba posmiem? Jā, noteikti. Reizēm naktī, guļot ienāk prātā kāda doma, vai mazgājoties dušā saproti, ka tai mūzikas frāzei vajadzētu lielāku diminuendo, vai, ja šis motīvs būtu īsāks, tad atrisinātos tās problēmas. Jo īpaši tas attiecas uz ornamentu veidošanu. Tos es biežāk nosapņoju, nevis izdomāju, sēžot pie klavierēm. Šoreiz programmā būs Mocarta 20.tais klavierkoncerts, tas ir viens no diviem Mocarta klavierkoncertiem, kas rakstīti minora tonalitāte. Vai minoram šeit ir kāda īpaša nozīme? Es nezinu, ko Mocarts domājis ar šo minoru. Var diezgan skaidri redzēt, kā viņš visas savas karjeras laikā kaut ko izmēģina, kā strādā pie kādas idejas un kā to attīsta. Reizēm viņš darbojas kā tāds detektīvs. Kaut ko izmēģina un izstrādā.  Piemēram, pūšaminstrumentiem viņš raksta noteiktās tonalitātēs. Un Mocarta brieduma perioda darbos labi var redzēt, kā konkrētu tonalitāti viņš saista ar noteiktu afektu, drāmu, DNS. Un ir skaidrs, ka reminors viņam kļūst par īstu iedvesmas avotu. Jo īpaši operā "Dons Žuans" viņš to ļoti spēcīgi izmanto. Un arī reminora klavierkoncertā šī tonalitāte, tās krāsas nosaka to, ka Mocarts raksta orķestrim, kādus akordus tam piešķir. "Dona Žuana" ievadakords vispār ir pasaules dārgums, to vajadzētu iekļaut UNESCO pasaules mantojuma sarakstā! Tātad reminors Mocartam kļūst par tādu kā laboratoriju eksperimentiem. Viņam vienmēr ir tas kontrasts starp tumsu un gaismu, starp reminoru un Remažoru, viņš starp tiem migrē turp un atpakaļ, tas rada īpašu noskaņu un raksturu. To labi varam redzēt operās "Dons Žuans", "Figaro kāzas" un "Cosi fan tutte", kur liela nozīme minora tonalitātēm. Tās Mocartam ir ļoti teatrālas un kļūst par treniņu platformu, dodot iespēju eksperimentēt. Prāgas simfonija ir Remažorā, bet arī tur jūtam šo minora un mažora mijiedarbību. Tieši tā! Adagio ievadā Mocarts it kā eksperimentē, simfonija ir mažorā, bet sākumā ir oktāvas un kādu brīdi nemaz nevar saprast, vai tas ir mažors, vai minors. Tad parādās pirmais akords - apvērsums ar la diezu basā, tas ir fadiezmažora akords ar atrisinājumu siminorā. Un tad pēkšņi skaidri parādās re minors. Visu laiku ir sajūta, ka Mocarts eksperimentē ar mažoru un minoru. Mazliet līdzīgi kā tas ir Šūbertam. Bet svarīgi atcerēties, ka 18. gadsimtā šādas spēles kaut kas jauns. Jā, klavierkoncertos tā mēdz notikt, bet simfonijā Remažora un reminora tēlu mija skan tik moderni, patiešām neparasti. Ļoti svarīgs aspekts šajā "Prāgas simfonijā". Šī simfonija ir trijās, nevis četrās daļās. Nav menueta. Vai tam ir kāds sakars ar Prāgas publikas gaumi? Labs jautājums. Es nezinu. Lielisks jautājums. Tāpat tas ir arī "Parīzes simfonijā". Nezinu, kāds tam ir pamatojums. Bieži vien šādu simfoniju malējās daļas ir enerģiskas, vitālas, bet otrā daļa - daudz maigāka, savā ziņā tāda nevainīga. Pavisam citādāk nekā "Jupitera" simfonijā un solminora simfonijā, kur tā sauktās lēnās daļas ar patiešām izvērsti, nopietni, skaņdarbi, neparsati un izsmalcināti. Bet "Prāgas simfonijā" vidējo daļu caurstrāvo naivums, nevainība un aizkustinoša vienkāršība. Te atkal ir Solmažors, ko Mocarts šādām noskaņām bieži izmanto. Ļoti mierīga daļa. Domāju, tas tāpēc, ka malējās daļās viņš vēlējies maksimālu enerģiju un dramatismu. Un tad nolēmis, nu labi, klausītājiem vajag mazliet laika atelpai, ļaušu viņiem atpūsties otrajā daļā. Varbūt, ka tā. Es nezinu. Pirmā daļa sākas ar diezgan lēnu ievadu, tas ir visai izvērsts. Varbūt tāpēc, lai kompensētu menueta neesamību, lai kopējā hronometrāža būtu līdzvērtīga četrdaļībai? Domāju, ka Jums taisnība. Mocarts ļoti jūtīgi izturas pret šādiem strukturāliem elementiem. Pirmā daļa ir patiešām apjomīga. Ne tikai hronometrāžas ziņā. Tā ir arī ārkārtīgi piesātināta, tur ir daudz muzikālā materiāla. Mocarta mūzikā daudziem ar to nācās cīnīties. Piemēram, klavieru kvartetos. Zināmu iemeslu dēļ tie nebija tik populāri. Jo tur ir tik daudz mūzikas materiāli, tik daudz melodiju un dažādu raksturu, kas zibenīgi seko cits pēc cita. Domāju, tieši tāpēc Mocarts "Prāgas simfonijā" nolēmis nerakstīt ceturto daļu. Jo tā labuma jau tā ir daudz. Šajā simfonijā pūšaminstrumentiem ir liela nozīme. Jā, noteikti. Pilnībā piekrītu. Šis ir svarīgs aspekts, jo patiesībā tā ir pirmā reize, kad Mocarts eksperimentē ar pūšaminstrumentu neatkarību. Esam jau gan ko līdzīgu redzējuši klavierkocertos pāris gadus pirms šī - pirms 1786. gada. Taču šeit tā ir pirmā reize simfonijā. Mocarts pirmo reizi izceļ pūšaminstrumentus starmešu gaismā, viņiem ir patstāvīga loma, viņi spēlē paši savu tēmu, nevis tikai dublē stīgas. Un rodas nemitīgs dialogs, mūzikas materiālu parāda te pūšaminstrumenti, tad atkal stīgas. Un katra grupa atspoguļo savu tēlu. Apbrīnojami, kā Mocarts to visu panācis, teju bez jebkāda iepriekšējā treniņa. Jā, ir bijuši klavierkoncerti, bet te, simfonijā, Mocarts izlemj, ka izmantos šo ideju. Un rezultāts ir tik augstā līmenī. Perfekts, izsmalcināts, detalizēts. Kaut ko līdzīgu tolaik nespēj neviens cits skaņradis. Vai diriģējot Jūs arī domājat par to, kā Mocarts pats vadījis atskaņojumu? Skaidrs, ka tā nebija diriģēšana tādā 19. gadsimta izpratnē. Nebija gan. Un atkal jāsaka: kurš gan zina, kā patiesībā noticis. Skaidri gan zinām, ka šajos lielajos koncertos Prāgā un Vīnē Mocarts spēlējis arī klavieres, līdzās klavierkoncertam bijusi simfonija, Mocarts, droši vien arī mazliet spēlējis solo, varbūt improvizējis, vabūt atskaņojis kādu fantāziju vai variācijas. Daudzi pētnieki centušies noskaidrot, kāda šajos koncertos bijusi Mocarta loma. Daži mani kolēģi domā, ka Mocarts varbūt nospēlējis solo savā klavierkoncertā un tad apsēdies klausītāju vidū, lai izbaudītu savu simoniju kā tādu reverensu par godu viņam. Bet es gan nevaru iedomāties, ka Mocarts, kuram bija tik svarīgi visu kontrolēt, būtu ko tādu pieļāvis. Mēs zinām, ka Vīnē viņš spēlējis "Bēgšanā no serāla", bijis pie klavierēm viarākās izrādēs, tad pēc laika atgriezies un secinājis, ka orķestris ir pārāk atslābis, vajag būt pie klavierēm un enerģiju mazliet pavirzīt. Tā ir mūzika bez īstiem rečitatīviem un continuo, tomēr Mocarts spēlē līdzi un kļūs par dzinējspēku, kas rada impulsus. Varbūt tikai, paceļot uzacis vai pamājot ar roku. Esmu drošs, ka pārējie mūziķi Mocartu tā arī uztvēra: viņš bija par atskaņojumu atbildīgs, viņš radīja impulsus, enerģiju. Ne jau nu ierādīja katru taktsdaļu, bet sniedza tādu kā emocinālo karti, ļaujot mūziķiem saprast, kādam vajadzētu būt skanējumam. Nevaram runāt īsti par diriģēšanu, drīzāk par cilvēku iedvesmošanu. Bet kas zina, varbūt viņš brīžiem cēlās kājās, mazliet pavicināja rokas, pamāja ar galvu, varbūt spēlēja continuo simfonijā, un darbojās pie klavierēm līdzīgi kā spēlējot klavierkoncertu. Kas to lai zina. Varbūt atskaņojuma vadīšana notika tandēmā ar orķestra koncertmeistaru. Skaidru liecību ir maz, daudz ko nākas minēt. "Prāgas simfonijas" partitūras autogrāfs liecina, ka darbs pabeigts 1786. gada 6. decembrī. Tagad tieši sestajā decembrī to atskaņosiet, būs jubilejas gadskārta! Patiešām! Cik brīnišķīgi. Skaista sakritība. Tādas gadās reti. Šodien runāju ar vienu no televīzijas cilvēkiem par mūziku Adventes un Ziemassvētku laikā, kad ir tik daudz emociju, tā ir kāda īpaša enerģija. Un "Prāgas simfonija" trāpa tieši sirdī. Bet šī simfonija ir tik neparasts ideju apvienojums. Te ir tik daudz kontrapunkta, it kā līdzīgi kā Hendelim un Baham, bet vienmēr izklausās emocionāli piesātināti. Piemēram, "Burvju flautas" uvertīra. Kā viens cilvēks spēj uzrakstīt uvertīru fūgas stilā tā, lai tā tomēr būtu visbrīnišķīgākā un dzīvespriecīgākā mūzika pasaulē?! Vai arī "Jupitera simfonijas" fināls. Uz papīra viss izskatās teju vai klīniski, tik pareizi un inteliģenti, tik pārdomāti. Bet galu galā, kad klausies, teju pacelies spārnos. Šķiet, ka tu lidotu, it kā kāds būtu pacēlis tevi gaisā un iemetis prieka mākonī. Nezinu nevienu citu komponistu, kura mūzika spēj radīt šādu sajūtu, visu laiku prieka asaras. Kādas klavieres spēlēsiet šajā koncertā, vai tas būs mūslaiku instruments? Jā, mūsdienu klavieres. Šķiet, pašā pirmajā reizē, kad spēlēju ar orķestri Sinfonietta Rīga, mēs eksperimentējām, Bēthovena koncertā spēlēju klavieres, kas tika vestas no Igaunijas. Bija interesanti, tomēr orķestra mūsdienu instrumenti nomāca seno klavieru skaņu. Instrumenti jāizvēlas ļoti uzmanīgi, jādomā par balansu, lai efekts nav nomācošs, lai mūziķi nejūtas saspringti, bet var izbaudīt spēlēšanu. Bet koncertā es šīs mūsdienu klavieres nemaz visu laiku nespēlēšu skaļi, klavieres iekļausies kopējā tekstūrā. Tādu principu, manuprāt, vajadzētu ievērot. Gribu, lai ir tā kamermuzicēšanas sajūta, īpaši mijiedarbojoties klavierēm un pūšaminstrumentiem. Mocarts pats bijis solists sava 20. klavierkoncerta pirmatskaņojumā un viņš esot spēlējis instrumentu, kam arī pedāļu klaviatūra bijusi. Jā, tā ir. Īsti nezinu, kā šis instruments izskatījies. Ir bijuši vairāki mēģinājumi rekonstruēt šādu instrumentu. Jādomā arī, kāpēc Mocartam ko tādu vajadzēja. Tas ir tāds dīvaini brīnišķīgs koncepts, nezinām, kāpēc. Lai paspilgtinātu basa līniju un paplašinātu klavieru reģistru? Jā, droši vien. Mocarts ieviesis teju vai Holivudas, Brodvejas cienīgu izrādīšanās elementu, kas atspoguļo viņa neticamo talantu. Šie koncerti jau tika rīkoti, lai izrādītos, Mocarts bija to centrā. Par šīm programmām zinām diezgan daudz un ir skaidrs, ka Mocarts bija ļoti augstās domās par sevi, viņš bija tāds Narcisa tips, kurš alka būt uzmanības centrā. Visai sarežģīta personība, domāju, nebija viegli būt ar viņu kopā. Mēs daudz runājām par Mocarta mūziku, bet programmā būs arī uvertīra, kuras autors ir Jozefs Martins Krauss, dēvēts arī par "zviedru Mocartu". Krauss ir neparasta personība, Mocarta laikabiedrs. Spožs vizionārs, to viņa mūzikā var labi redzēt. Īpaši stīgu kvarteti ir lieliski darbi. Bet lielformas darbi, kā piemēram, dominora simfonija, ir tiešām revolucionāri. Pavisam nemanāmi, tomēr jūtam Haidna ietekmi, arī Sturm und Drang vēsmas. Tas nav precīzs "Vētru un dziņu laikmets", bet tikai tāda atblāzma, iedvesma. Bet Krausam patīk minora tonalitātes, stūrainas melodijas, drāma un kaislības, sava veida ekstrēmisms, to visu labi var dzirdēt Krausa uvertīrā, ar ko sāksim koncertu. Ļoti atkailinātas, tiešas emocijas. Kaut kādā veidā Krauss malziet atgādina Gluku, ir kādas līdzības orķestra krāsās. Šī uvertīra rakstīta stīgām, divām obojām un fagotiem, kā arī mežragiem. Esmu dažas reizes šo uvertīru atskaņojis kā prelūdiju reminora klavierkoncertam. Tas labi der, jo uvertīra beidzas ar dominanti. Ļoti smalks darbs, skaists, ar teju dēmoniskām instrumentālajām krāsām. Ir lēns ievads - adagio, ko spēlē tikai stīgu instrumenti, tas skan visai antīki, it kā no baroka iedvesmojoties. Bet tad seko Allegro ma non troppo, un te jau jūtam gluži vai Karlu Fīlipu Emanuelu Bahu. Tāds nervozs satraukums, ekscentriski, dramatiski kontrasti. Kā pretstats Mocartam šī uvertīra der ļoti labi. Krauss būtu pelnījis, lai viņa mūziku atskaņo biežāk. Viņam ir laba kamermūzika, lieliskas vijolsonātes, viņš radījis arī, šķiet, trīs klaviersonātes, tie ir ļoti labi darbi. Lieliska mūzika, ko arī kopā ar orķestri atspoguļosim. Teicāt, ka šī uvertīra beidzas ar dominanti. Tātad spēlēsiet bez pārtraukuma un uvertīrai sekos Mocarta klavierkoncerts? Jā, tieši tā. Gluži kā prelūdija, kam atacca seko koncerts. Paldies par sarunu, paldies par Jūsu laiku. Lai patīkams laiks šeit Rīgā! Bija prieks parunāt par mūziku, iedziļināties repertuārā, kas būs šajā programmā. Jo ļoti bieži man uzdod jautājumus par dzīvi. Arī tas ir labi. Bet aicinu tiešām izbaudīt šos divus Mocarta pasaules klases skaņdarbus, kas tapuši vienā laika periodā. Jūtos ļoti pagodināts, ka varu atskaņot šo mūziku, sadarbojoties ar Sinfonietta Rīga lieliskajiem mūziķiem. Man ir sajūta, ka spēlē pareizo iemeslu dēļ, cenšoties sasniegt vislabāko rezultātu.  Šodienas mēģinājums man tiešām sildīja sirdi. Redzēju, cik ļoti cilvēki izbauda procesu, izbauda šo mūziku un ir lepni par rezultātu. To ir ļoti patīkami redzēt, jo mēs jau strādājam ļoti cītīgi. Bet darba procesā ir tik daudz prieka un lepnuma! Šorīt jutos ļoti noguris. Pusdesmitos devos uz ģērbtuvi, man tā nāca miegs, ka gribēju divdesmit minūtes pagulēt, nesapratu, kā tikšu galā ar mēģinājumu. Bet līdz ar simfonijas pirmajām taktīm viss nogurums pagaisa. Nav iespējams būt neapmierinātam, atskaņojot tik brīnišķīgu mūziku. To gribēju pateikt noslēgumā.      

Sosa and Mumu talk about growing up in Sacramento, relationship with Mozzy, Kony, go in on Jaleec, Bris, Stunna Girl, and more. ----- Promote Your Music with No Jumper - https://nojumper.com/pages/promo CHECK OUT OUR ONLINE STORE!!! https://nojumper.com NO JUMPER PATREON   / nojumper   CHECK OUT OUR NEW SPOTIFY PLAYLIST https://open.spotify.com/playlist/5te... Follow us on SNAPCHAT   / 4874336901   Follow us on SPOTIFY: https://open.spotify.com/show/4z4yCTj... iTunes: https://itunes.apple.com/us/podcast/n... Follow us on Social Media:   / 4874336901     / nojumper     / nojumper     / nojumper     / nojumper   JOIN THE DISCORD:   / discord   Follow Adam22:   / adam22     / adam22     / adam22   adam22bro on Snapchat Learn more about your ad choices. Visit megaphone.fm/adchoices

In episode three of our Case Studies season, Just Science sat down with Dr. Michael Nirenberg, a clinical and forensic podiatrist and current President of the American Society of Forensic Podiatry, to discuss how analyzing a perpetrator's gait and footprint evidence located at a crime scene can help advance investigations and resolve cases. While locomotive characteristics, like the way our hips swing when we walk, are not as individualizing as fingerprints or DNA, forensic podiatrists can analyze and compare video footage of a perpetrator's gait to a person of interest's gait to develop supplemental forensic evidence. This additional information can be used to support a conviction or the exoneration of a falsely accused individual. Listen along as Dr. Nirenberg describes the role digital evidence plays in gait analysis, how forensic podiatrists analyze and compare the gait of a perpetrator to a person of interest, and several cases where the analysis of gait or footprint evidence were key to supporting investigations. This episode is funded by the National Institute of Justice's Forensic Technology Center of Excellence (Award No. 15PNIJ-21-GK-02192-MUMU).

In episode two of our Case Studies season, Just Science sat down with Tim Fayle, Training Capability Lead for IDEMIA Australasia and Chair of the International Association for Identification's Latent Print Certification Board, to discuss the utility of friction ridge detail inadvertently captured via photographs as a valuable and potentially underutilized type of evidence within a variety of case types. While the use of latent fingerprints recovered from crime scenes has been established as an important type of forensic evidence for decades, the increasingly widespread use of social media and other digital platforms has contributed to even more opportunities to garner friction ridge detail evidence following a crime. Practitioners and researchers alike have demonstrated the value of utilizing photographs presenting inadvertently captured finger and palm friction ridge detail – obtained via social media posts, other digital forums, and cellphone data – to identify perpetrators and help bring justice to victims. Listen along as Tim describes several cases where inadvertently photographed friction ridge detail was utilized to make an identification to a perpetrator, the various methods and techniques latent print examiners can add to their toolkit to analyze and compare this type of friction ridge detail, and his recommendations for ensuring this type of evidence is not overlooked or underutilized within future cases. This episode is funded by the National Institute of Justice's Forensic Technology Center of Excellence (Award No. 15PNIJ-21-GK-02192-MUMU).

In episode one of our Case Studies season, Just Science sat down with Anthony (Tony) Earles, Forensics/Identification Unit Supervisor at the Maui Police Department, to discuss the Maui wildfires that occurred on August 8, 2023, including the collaborative nature of the mass disaster emergency response effort; the forensic methodologies and technologies used to identify recovered human remains; and the various challenges encountered during response mobilization due to the isolated geographic location of Maui County, Hawaii. When deadly wildfires impacted Maui County, available resources and existing infrastructure were put under strain. Despite these initial obstacles, through the collaborative response of over one-hundred individuals from federal agencies, external partners, state and local forensic science service providers, as well as members of the Lahaina community, Maui Police Department was able to expand its response capacity, recover unidentified human remains, and identify these remains using a variety of forensic identification techniques including Rapid DNA technology, and more. Listen along as Tony describes how Maui Police Department and the many forensic professionals and first responders involved were able to locate and identify unidentified human remains, the importance of collaboration and communication in mass disaster response, and lessons learned that may support mass disaster response preparedness planning efforts within the forensic community. This episode is funded by the National Institute of Justice's Forensic Technology Center of Excellence (Award No. 15PNIJ-21-GK-02192-MUMU).

本集節目由【Simply新普利】贊助播出 Simply新普利雙11活動 即日起~11/13，全年最低37折起！ 賣場連結

Louie talks with Jim Struve from MenHealing about their work supporting men who are survivors of sexual violence, and how they have adapted their core program to meet the needs of survivors and partner with local rape crisis centers. This episode is part of a series on partnerships that reach and support men who are survivors of sexual violence. Discussed in this episode: MenHealing: https://menhealing.org Voices of Healing videos: https://menhealing.org/alumni-projects/male-survivor-stories MenHealing's podcast Just Healing: https://menhealing.org/menhealing-just-healing-podcast  Working with Male Survivors of Sexual Violence: https://www.nsvrc.org/working-male-survivors-sexual-violence   This project was supported by Grant No. 15JOVW-21-GK-02215-MUMU awarded by the Office on Violence Against Women, U.S. Department of Justice. The opinions, findings, conclusions, and recommendations expressed in this publication are those of the author(s) and do not necessarily reflect the views of the U.S. Department of Justice.

Louie talks with Jayvon Howard from the Ohio Alliance to End Sexual Violence about a partnership with an LGBTQIA homeless shelter. Jayvon revisits his work at a local program to describes the partnership, the services provided to the LGBTQIA young adults at the shelter, and more.   This episode is part of a series on partnerships that reach and support men who are survivors of sexual violence.   Discussed in this episode:   Ohio Alliance to End Sexual Violence: https://oaesv.org/   Working with Male Survivors of Sexual Violence: https://www.nsvrc.org/working-male-survivors-sexual-violence   This project was supported by Grant No. 15JOVW-21-GK-02215-MUMU awarded by the Office on Violence Against Women, U.S. Department of Justice. The opinions, findings, conclusions, and recommendations expressed in this publication are those of the author(s) and do not necessarily reflect the views of the U.S. Department of Justice.    

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  Recap the Summerall's 20th Wedding Anniversary Weekend day-by-day AND let's talk Black & Spirited's 3rd Anniversary!  Let's reminisce on favorite episodes from every season!  Was your favorite the MUMU episode?  A Black & Spirited Wedding?  Black & UNspirited?  Let's get it in! @blackandspirited @bourboninblack @cedricsummerall @boss_ladyvs @so_dramgood @bourbon_griot

In the final episode of our Community-based Solutions for Substance Use Challenges season, Just Science sits down with Kristen Lee, Substance Use Program Coordinator at the Georgia Criminal Justice Coordinating Council, Lizann Roberts, Executive Director of the Coastal Georgia Indicators Coalition, and Tara Jennings, Strategic Planning Administrator for Chatham County Government, to discuss their COSSUP-funded Community Data Platform, which helps connect health and justice data for an individual, so that first responders can best meet their needs. For individuals who frequently cycle through jails, homeless shelters, and emergency departments, there is a need to increase access to community resources to break the cycle of justice involvement and reduce the burden on first responders. In Chatham County, Georgia, the Community Data Sharing Program provides real-time data across public health and safety services, helping first responders gain a holistic view of an individual's justice involvement and refer clients to the appropriate community resources. Listen along as Kristen, Lizann, and Tara discuss why they decided to use data sharing as a tool to better serve clients with a substance use disorder, how they addressed barriers such as data sharing and privacy concerns, and how the program has not only impacted participating clients, but also local first responders and policy makers. This Just Science season is supported, in part, by RTI Award No. 15PNIJ-21-GK-02192-MUMU, awarded by the National Institute of Justice, and by RTI Award No. 15PBJA-23-GK-02250-COAP, awarded by the Bureau of Justice Assistance. Both are agencies within the Office of Justice Programs, U.S. Department of Justice.

So meine kleinen Schlangengurken, wer bringt jetzt hier den Müll raus, wer putzt das Bad, wer nimmt gerade das Baby, und was ist eigentlich in Sahne Muh-Muhs drin? Wir klären heute die großen Streitpunkte in unserer Beziehung. Wow, das hat selbst die Paartherapeutin nicht geschafft! Außerdem gibt es den großen Reveal unserer Umfrage: Hört ihr uns wegen des Eltern-Themas oder wegen der Pimmelwitze? Als wäre das nicht genug, lösen wir in dieser Folge noch zwei weitere große Mysterien der Moderne auf: Warum kommen Leute, die Kinder haben, immer zu spät? Und wo im Supermarkt finde ich Leinsamen geschrotet? Fragen über Fragen – die Antworten: Jetzt in Mom & Dadjokes Folge 53. Folgt uns uns auch hier: Mom & Dadjokes Instagram: https://www.instagram.com/momanddadjokes.podcast Mom & Dadjokes TikTok: https://www.tiktok.com/@momanddadjokes.podcast Ariana Instagram: https://www.instagram.com/ariana_baborie Bene Instagram: https://www.instagram.com/beherzberg Youtube: https://www.youtube.com/ArianaBaborieofficial TikTok: https://www.tiktok.com/@arianababorie Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/momanddadjokes

In episode seven of our Community-based Solutions for Substance Use Challenges season, Just Science sits down with Cristi Cain, Local Public Health Section Director at the Kansas Department of Health and Environment, and Sally Wright, the All Hands on DECK, or Drug Endangered Children Kansas, Program Manager for the Kansas Department of Health & Environment, to discuss their COSSUP-funded All Hands on DECK Program, which helps support drug endangered youth and families across the state of Kansas. In Kansas and across the country, many children and infants are living in an environment where a caretaker uses substances or where they are born exposed to substances. In response, the Kansas Department of Health and Environment supports eighteen local jurisdictions who are implementing a range of activities to support drug endangered youth, including providing family care bags, administering community and school-based drug awareness trainings, distributing naloxone, and more. Listen along as Sally and Cristi discuss some of the catalysts for creating a youth-focused program in their state, how each local site is identifying and addressing unique needs within their community, and some of the challenges and successes the DECK program has experienced so far. This Just Science season is supported, in part, by RTI Award No. 15PNIJ-21-GK-02192-MUMU, awarded by the National Institute of Justice, and by RTI Award No. 15PBJA-23-GK-02250-COAP, awarded by the Bureau of Justice Assistance. Both are agencies within the Office of Justice Programs, U.S. Department of Justice.

This week's guest is Jesse Byrd, a children's book author, children's book developer with his company Moonbeam Literary and Media, and a literary agent, as well as a board member of the NPR foundation. Jesse had a career in tech at Google but decided to quit that life -- twice -- to pursue telling stories that make a difference in the world. His newest book, The Switch, is a children's book teaching kids the importance of service in the midst of teams, even if they're the best on the team. Books recommended by Jesse Byrd This Is the Honey An Anthology of Contemporary Black Poets by Kwame Alexander Bunso Meets a Mumu by Rev Valdez Hello Sweet Baby: An Adoption Story Written by Janine Jackson, Illustrated Brittanie Gaja  

In episode six of our Community-based Solutions for Substance Use Challenges season, Just Science sits down with Dr. Terry Kerns, Substance Abuse Law Enforcement Coordinator of the Nevada Office of the Attorney General, Dr. Katie Snider, owner of Justice Research LLC, and DJ Mills, Director of Mental Health and Deflection Programs at the Nye Communities Coalition, to discuss their COSSUP-funded MOST and FASTT programs, which help bridge the gaps between law enforcement and social services in rural Nevada. To address the needs of justice-involved individuals with a substance use disorder, there are several opportunities for intervention, including pre-arrest, at the time of a behavioral health crisis; and post-arrest, once an individual has already been incarcerated. In rural Nevada, the Office of the Attorney General has pioneered two types of outreach teams, which help support individuals at both points in their involvement with the criminal justice system. Listen along as Dr. Kerns, Dr. Snider, and DJ discuss how Mobile Outreach Safety Teams, or MOST, and Forensic Assessment Service Triage Teams, or FASTT, operate, the state and local impact of these programs, and how grantees have overcome implementation barriers. This Just Science season is supported, in part, by RTI Award No. 15PNIJ-21-GK-02192-MUMU, awarded by the National Institute of Justice, and by RTI Award No. 15PBJA-23-GK-02250-COAP, awarded by the Bureau of Justice Assistance. Both are agencies within the Office of Justice Programs, U.S. Department of Justice.

In episode five of our Community-based Solutions for Substance Use Challenges season, Just Science sits down with Dr. Nicole Swiderski, New Jersey Path to Recovery Grant Manager, and Jass Pelland, New Jersey Path to Recovery Program Manager, to discuss how the New Jersey State Parole Board's 2021 Comprehensive Opioid, Stimulant, and Substance Use Program award is supporting peer recovery and other services that help individuals with a substance use disorder navigate reentering the community after release from prison. Those who are reentering the community after being released from prison can face a myriad of challenges, including navigating community supervision requirements, finding housing and treatment services, and facing an increased risk of drug overdose. In response to these challenges, the New Jersey State Parole Board has created the Path to Recovery Program, where peer health navigators partner with parole officers to help guide participants through the difficult reentry process. Listen along as Dr. Swiderski and Jass discuss why they decided to implement a peer-led initiative in the state of New Jersey, what barriers they faced when planning and implementing the program, and how Path to Recovery has made a positive impact both in the lives of individuals and for their state a whole. This Just Science season is supported, in part, by RTI Award No. 15PNIJ-21-GK-02192-MUMU, awarded by the National Institute of Justice, and by RTI Award No. 15PBJA-23-GK-02250-COAP, awarded by the Bureau of Justice Assistance. Both are agencies within the Office of Justice Programs, U.S. Department of Justice.

In episode four of our Community-based Solutions for Substance Use Challenges season, Just Science sits down with Dr. Nabarun Dasgupta, Pharmacoepidemiologist and Senior Scientist in the UNC Injury Prevention Research Center, and Erin Tracy, Research Chemist in the UNC injury Prevention Research Center, to discuss their unique approach to providing drug-checking services on a broad scale. To address and prevent overdose deaths, it is crucial that local public health and harm reduction groups can check what substances are being used in a community, so that they can make informed decisions about local services, policy, and education. The UNC Street Drug Analysis Lab has made these important drug checking services more widely accessible by developing mail-in drug checking kits, which allow organizations to collect their own samples to submit for lab analysis and provide anonymized results back. Listen along as Dr. Dasgupta and Erin discuss types of drug checking technology, navigating the legal and logistical challenges of mailing street drug samples, and the positive impact of their drug checking program. This Just Science season is supported, in part, by RTI Award No. 15PNIJ-21-GK-02192-MUMU, awarded by the National Institute of Justice, and by RTI Award No. 15PBJA-23-GK-02250-COAP, awarded by the Bureau of Justice Assistance. Both are agencies within the Office of Justice Programs, U.S. Department of Justice.

In episode three of our Community-based Solutions for Substance Use Challenges season, Just Science sits down with Dr. Chris Delcher, Associate Professor in the Department of Pharmacy Practice and Science and Director of the Institute for Pharmaceutical Outcomes and Policy at the University of Kentucky, to discuss how his team tracks community drug use through wastewater analysis. Much like analyzing a urine sample to determine what drugs an individual is using, analyzing wastewater from a community offers insight into drug trends across an entire region of people. The NIJ-funded weTEST program allows for the collection and analysis of wastewater from rest areas and truck stops in Kentucky to track current drug trends in a timely manner. Listen along as Dr. Delcher discusses his inspiration for using wastewater to monitor drug use, the sometimes-messy process of collecting wastewater samples, and how scientists approach ethical considerations that come with collecting data from wastewater systems. This Just Science season is supported, in part, by RTI Award No. 15PNIJ-21-GK-02192-MUMU, awarded by the National Institute of Justice, and by RTI Award No. 15PBJA-23-GK-02250-COAP, awarded by the Bureau of Justice Assistance. Both are agencies within the Office of Justice Programs, U.S. Department of Justice.

In episode two of our Community-based Solutions for Substance Use Challenges season, Just Science sits down with Bill Barbour, Fatal Overdose Surveillance Program Manager at King County Medical Examiner's Office, to discuss his team's methods for rapid toxicology results after a suspected overdose death. For many medical examiner and coroner offices across the country, it can take several weeks to receive results for post-mortem toxicology reports, which leads to outdated drug trend data and an inability to efficiently address and prevent overdoses in the area. In response to this issue, the King County Medical Examiner's Office in Washington applied for funding to implement the Fatal Overdose Surveillance Program, which takes a multi-pronged approach to quickly screen for drugs after a suspected overdose. Listen along as Bill discusses the goals of the Overdose Surveillance Program, the challenges of implementing drug screening technologies for rapid death certification, and how the King County office uses their findings to educate the community on emerging drug trends and prevention opportunities. This Just Science season is supported, in part, by RTI Award No. 15PNIJ-21-GK-02192-MUMU, awarded by the National Institute of Justice, and by RTI Award No. 15PBJA-23-GK-02250-COAP, awarded by the Bureau of Justice Assistance. Both are agencies within the Office of Justice Programs, U.S. Department of Justice.

Wir kochen heute so richtig. Joey vor Wut, weil Wolfgang sich schon wieder wie die Axt im Walde verhält. Julia kocht hingegen eher ein Süppchen aus Sand mit ihrem neuen Verehrer, ein 6-Jähriger Junge, der schockverliebt ist und mit dem sie jetzt immer im Sandkasten spielen muss. Heute werden aber tatsächlich metaphorisch die Messer gezückt und kein Haar an unseren Mitmenschen gelassen, seien es verpeilte Zocker, die ihren Schlafrhytmus nicht auf die Reihe kriegen oder die Menschen im Mittelalter, die angeblich alle nur höchstens 40 geworden sind. Eine Sache können wir schon vorweg nehmen: Aus dem Lexikon zitieren wir in dieser Folge ganz bestimmt nicht. Überlegt euch also ganz genau, welchen Unsinn ihr glauben wollt, den wir euch heute auftischen. Ach so und Julia war beim Spray Tan. Der Titel reicht aber völlig aus um anzuteasern, was passiert sein könnte. Viel Spaß mit der absoluten Käsequatsch-Folge. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/dienervigen

Wir kochen heute so richtig. Joey vor Wut, weil Wolfgang sich schon wieder wie die Axt im Walde verhält. Julia kocht hingegen eher ein Süppchen aus Sand mit ihrem neuen Verehrer, ein 6-Jähriger Junge, der schockverliebt ist und mit dem sie jetzt immer im Sandkasten spielen muss. Heute werden aber tatsächlich metaphorisch die Messer gezückt und kein Haar an unseren Mitmenschen gelassen, seien es verpeilte Zocker, die ihren Schlafrhytmus nicht auf die Reihe kriegen oder die Menschen im Mittelalter, die angeblich alle nur höchstens 40 geworden sind. Eine Sache können wir schon vorweg nehmen: Aus dem Lexikon zitieren wir in dieser Folge ganz bestimmt nicht. Überlegt euch also ganz genau, welchen Unsinn ihr glauben wollt, den wir euch heute auftischen. Ach so und Julia war beim Spray Tan. Der Titel reicht aber völlig aus um anzuteasern, was passiert sein könnte. Viel Spaß mit der absoluten Käsequatsch-Folge. Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/dienervigen

In episode one of our Community-based Solutions for Substance Use Challenges season, Just Science sits down with Dr. Samantha Tolliver, Chief Toxicologist for the District of Columbia Office of the Chief Medical Examiner, or DC OCME, to discuss how their agency uses their Bureau of Justice Assistance's (BJA's) Comprehensive Opioid, Stimulant, and Substance Use Program, or COSSUP, funding to improve their drug testing and analysis processes. For forensic toxicologists, it is important to be able to quickly and accurately identify which substances have contributed to an accidental overdose, so that they can monitor emerging drug trends in the area. The DC OCME's COSSUP funding has allowed their office to use reference labs to reduce their casework and focus on adopting new methods for drug testing and analysis. Listen along as Dr. Tolliver discusses challenges faced by forensic toxicologist in keeping up with drug trends, the benefits of adopting technology such as high-resolution mass spectrometry, and how improving drug testing methods can contribute to broader community overdose prevention efforts. This Just Science season is supported, in part, by RTI Award No. 15PNIJ-21-GK-02192-MUMU, awarded by the National Institute of Justice, and by RTI Award No. 15PBJA-23-GK-02250-COAP, awarded by the Bureau of Justice Assistance. Both are agencies within the Office of Justice Programs, U.S. Department of Justice.

James Taylor, Mumu's, & Edible's. Listen. Leave a Review. Get Patreon. Enjoy!! ------------------------------ Check out The Cover to Cover Patreon! https://www.patreon.com/franjola ------------------------------ Get The Merch Here!!! https://form.jotform.com/232885403954161 ------------------------------ Shave Your Parts with MANSCAPED! Get 20% Off + Free Shipping Code: COVER Visit https://www.manscaped.com/ ------------------------------  Conquer your wellness with THRIVE! $30 Off Your First Order + A FREE $60 gift. Visit thrivemarket.com/cover ------------------------------  Unwrap a Box of Awesome with Bespoke Post! Visit boxofawesome.com Use Code: Cover for a free mystery gift with your first purchase. ------------------------------  Breathe Easier with Claritin D! Visit Claritin.com right now for a discount so you can Live Claritin Clear! ------------------------------ Eat Healthy AND Convenient with FACTOR! Get 50% Off with Code: covertocover50 Visit factormeals.com/covertocover50 ------------------------------ CASH-MERE Outside, How Bout Dat? With Quince! Get Free Shipping + 365 Days Return Visit www.quince.com/cover ------------------------------  Meals that are first rate with EVERYPLATE! $1.49/Meal + $1 Steaks for Life. Visit everyplate.com/podcast AND Use Code: 49cover ------------------------------ Follow Chris: http://www.franjola.fun/   https://www.instagram.com/chrisfranjola/ Follow Alex:   https://www.instagram.com/conn.tv/ https://linktr.ee/Conn.TV Learn more about your ad choices. Visit megaphone.fm/adchoices

Rev Valdez is a Filipino-American illustrator based in Brentwood, CA. He's passionate about introducing readers to the myths of Filipino culture through fun, funny and visual storytelling.In this episode we discuss his book, Bunso Meets a Mumu, advice for aspiring writers, his career as a Kindergarten teacher, and more.A Mumu, is the Filipino version of the Boogeyman, who likes to punish kids who misbehave by sucking the fun out of everything! The Mumu will not let Bunso draw (on the walls), eat ice cream (before dinner), or play video games (his older brother's). But Bunso has had enough! Gearing up to fight back against this destroyer of fun, Bunso makes surprising discoveries about the Mumu (and himself) in this fun, comic-like illustrated picture book that introduces children to Filipino culture and words.

Each fortnight, we give the world globe a spin, and see where we land. Then we take the kids of Australia on an audio excursion to visit that country and its people. Join Captain Christie Kijurina, on a whirlwind adventure with "Squiz the World" as we dive into the vibrant and diverse world of Papua New Guinea (PNG), Australia's closest neighbor and a rugby league enthusiast's paradise. From the bustling rainforests housing 5% of the world's biodiversity to the cultural mosaic of over 800 languages, PNG is a land of natural wonders and rich traditions. Discover the heroic tales of WWII, explore the educational strides in bilingual classrooms, and get a taste of local customs and cuisines, like the unique Mumu cooking. Strap in for an audio journey to meet the friendly faces of PNG, learn a bit of Tok Pisin, and uncover the treasures of this tropical haven. Whether it's understanding matrilineal societies or cheering for a potential NRL team, there's no shortage of stories to spark curiosity and inspire young minds to explore the connections between nations and cultures. For the full episode transcript, click here. Links: A map of Papua New Guinea: https://www.infoplease.com/atlas/pacific-islands/papua-new-guinea-map Pineapple and sweet potato skewers: https://tarasmulticulturaltable.com/kaukau-na-painap-papua-new-guinean-sweet-potato-and-pineapple-skewers/

Today, we have 4 meme coin experts who show us the next WIF, PEPE, and DOGE! The truth is that old Altcoins can't turn your $100 into millions, but the new ones might! Watch Cryptomanran live to catch these Altcoins while it is still early!

In episode four of our Roadmap to Improving Technology Transition season, Just Science sat down with Dr. Catherine Grgicak, Associate Professor of Chemistry at Rutgers University-Camden, and Stephanie Stoiloff, Chief of the Forensic Services Division at the Miami-Dade Police Department, to discuss their real-world experiences with introducing new forensic technology into practice. While new forensic research products are often innovative and interesting, they may not always be practical in operational forensic laboratories. Researchers should lean on practitioner input to develop technologies that fill a necessary gap, are unbiased, and offer benefits over existing technologies. Listen along as Dr. Grgicak and Stephanie describe lessons learned in their own experiences with technology transition, strategies for approaching product validation, and advice from both an academic and a practitioner perspective. This episode is funded by the National Institute of Justice's Forensic Technology Center of Excellence (Award No. 15PNIJ-21-GK-02192-MUMU). Some content in this podcast may be considered sensitive and may evoke emotional responses or may not be appropriate for younger audiences.

In episode three of our Roadmap to Improving Technology Transition season, Just Science sat down with Dr. Catherine Grgicak, Associate Professor of Chemistry at Rutgers University Camden, and Henry Maynard, Lead Research Scientist for the United States Army Criminal Investigation Laboratory, to discuss the importance of developing research infrastructure within forensic laboratories and communication channels with collaborators. Forensic research and advancement are impossible without the input of forensic practitioners; however, many practitioners are not accustomed to engaging in formal academic research. As a result, the National Institute of Justice's Forensic Laboratory Needs Technology Working Group, or FLN-TWG, has identified important tools for building an infrastructure for research and collaboration within forensic laboratories. Listen along as Dr. Grgicak and Henry describe how research is ingrained in forensic practice, how to empower new forensic scientists to get excited about research, and resources to better integrate forensic researchers and practitioners. This episode is funded by the National Institute of Justice's Forensic Technology Center of Excellence (Award No. 15PNIJ-21-GK-02192-MUMU). Some content in this podcast may be considered sensitive and may evoke emotional responses or may not be appropriate for younger audiences.

In episode two of our Roadmap to Improving Technology Transition season, Just Science sat down with Cleveland Miles, Director of the Georgia Bureau of Investigation's Division of Forensic Science, and Henry Maynard, Lead Research Scientist for the United States Army Criminal Investigation Laboratory, to discuss the importance of building partnerships in the forensic community to effectively communicate and advance forensic technology. Successfully transitioning forensic technology into practice requires a coordinated effort between many forensic stakeholders, including researchers, practitioners, and industry workers. While building these partnerships is crucial for technological advancement, there are often challenges to overcome when collaborating with individuals from different forensic domains. Listen along as Cleveland and Henry describe the gap in awareness about forming forensic partnerships, actionable strategies for enhancing relationships in the field, and how to navigate the different languages of the various forensic entities. This episode is funded by the National Institute of Justice's Forensic Technology Center of Excellence (Award No. 15PNIJ-21-GK-02192-MUMU). Some content in this podcast may be considered sensitive and may evoke emotional responses or may not be appropriate for younger audiences.

In episode one of our Roadmap to Improving Technology Transition season, Just Science sat down with Lucas Zarwell, Director of the Office of Investigative and Forensic Sciences at the National Institute of Justice, and Dr. Jeri Ropero-Miller, Principal Scientist and Director of the Forensic Technology Center of Excellence at RTI International, to discuss a newly published roadmap that guides the transition of forensic research and technology innovations into the forensic practitioner community. During the development of new forensic technologies, there are various challenges that result in products not actually being utilized in forensic laboratories. To help the community overcome these challenges, the National Institute of Justice's Forensic Laboratory Needs Technology Working Group, or FLN-TWG, introduced a roadmap report with action items to help seamlessly and successfully implement new forensic technologies into practice. Listen along as Director Zarwell and Dr. Ropero-Miller describe ways that forensic research products can become unsuccessful, the importance of collaboration between forensic researchers and practitioners, and the process of developing the FLN-TWG roadmap report. This episode is funded by the National Institute of Justice's Forensic Technology Center of Excellence (Award No. 15PNIJ-21-GK-02192-MUMU). Some content in this podcast may be considered sensitive and may evoke emotional responses or may not be appropriate for younger audiences.

In episode eight of our Case Studies season, Just Science sat down with Brian McVicker, a Forensic Footwear and Tire Examiner at the Federal Bureau of Investigation (FBI), to discuss developing shoe and tire impressions on fabric using ninhydrin. When a victim is stomped or runover, the transfer of skin cells onto the inside of the victim's clothing can leave an impression of the shoe or tire that was used. Due to the valuable information this can provide to investigations, the FBI Laboratory's Footwear and Tire Group performed a validation study exploring the efficacy of ninhydrin to develop footwear or tire impressions on the inside of clothing, specially focusing on using an iron as a heat source and dark fabrics. Listen along as Brian describes how the study has expanded existing ninhydrin processing procedures, scenarios in which ninhydrin processing would be helpful to a case, and the value of involving interns in this type of research. This episode is funded by the National Institute of Justice's Forensic Technology Center of Excellence (Award No. 15PNIJ-21-GK-02192-MUMU). Some content in this podcast may be considered sensitive and may evoke emotional responses or may not be appropriate for younger audiences.

In episode seven of our Case Studies season, Just Science sat down with Ross Krewenka, Product Manager for IDEMIA, and Mike Ransom, Automated Print Manager for the Michigan State Police, to discuss the development and use cases of contactless fingerprint capture technology. Traditionally, ink and paper are used to capture fingerprints from subjects; however, advances in technology have made it possible to document fingerprints electronically. Furthermore, technological advancements have even made it possible to capture fingerprints without subjects physically encountering fingerprint sensors or being touched by law enforcement. Listen along as Ross and Mike describe the process of adapting industry fingerprint technology to the public safety field, how contactless fingerprint capture technology can benefit individuals with special needs and preferences, and the impact of this technology on the future of identification. This episode is funded by the National Institute of Justice's Forensic Technology Center of Excellence (Award No. 15PNIJ-21-GK-02192-MUMU). Some content in this podcast may be considered sensitive and may evoke emotional responses or may not be appropriate for younger audiences.

In episode 6 of our Case Studies season, Just Science sat down with Dr. Richard Vorder Bruegge, Senior Physical Scientist at the Federal Bureau of Investigation, to discuss how facial recognition technology was used to help identify individuals in photographs in two landmark cases. Many individuals encounter facial recognition technology in their everyday lives like when they unlock their phones. This same technology can help significantly speed up and improve forensic investigations. Listen along as Dr. Vorder Bruegge describes how pattern-based matching is used to compare faces in images, how facial recognition technology was used to assist in the identification of unknown victims in the case against serial killer Israel Keyes, and the quest to determine the identities of the Marines in the famous World War II Iwo Jima flag raising photograph. This episode is funded by the National Institute of Justice's Forensic Technology Center of Excellence (Award No. 15PNIJ-21-GK-02192-MUMU). Some content in this podcast may be considered sensitive and may evoke emotional responses or may not be appropriate for younger audiences.