Podcasts about preservationists

Episode 65: Modern Day Lumbering 1919-Present For those of us who have been long-time summer residents of Algonquin Park, the issue of logging in the park has been a difficult one. Difficult because, though most people don't realize it, logging has always been an integral part of the Algonquin Park governing mandate. Though known today as a recreational paradise and wildlife refuge, those of us who have lived in and around the park are very much aware that allowing logging was one of the key compromises that was needed in order for the Park's creation in 1893. Though hard for us to visualize today, the idea of setting aside such a large expanse of land, so close to the industrial heartland of Ontario was truly a game-changing event, with many conflicting voices. Another parallel objective has always been economic support for the local communities of Eastern Ontario. In this episode, my goal is to focus narrowly on what has changed since the days of John Egan and J. R. Booth's logging efforts in the Park. I am going to try to look at the topic from four perspectives, namely: the cutting of the trees; the process of getting them to the sawmills; the actual sawing of the wood into lumber; and its marketing; and to the degree possible how this has all impacted the surrounding people and communities in general and the Whitney area in specific. Part 1 focuses on the 20th C, up until 1974, when the Algonquin Park Master Plan was issued. Key References: Donald Lloyd's Algonquin Harvest: The History of the McRae Lumber Company 2006 Roderick MacKay's Algonquin Park: A Place Like No Other 2018 George Warecki's Douglas Pimlott and the Preservationists in Algonquin Park 1958-1974  2021 Bob Lyons Whitney: Island in the Shield 1986 Algonquin Park Forest Authority's Annual Reports (2021-22 and 2022-23) Algonquin Park Forest Authority Website (www.algonquinforestry.on.ca) Maintaining the Balance in Algonquin Park: Algonquin Forest Authority and the Use of Portable Bridges – Forestry Success Stories 2015 The musical interlude for this episode is called Hardwood Haven and comes from Dan Gibson's Solitudes Breaking Through the Mist CD. It has been brought to your attention with the approval of Digital Funding LLC. Solitudes music can be found wherever you get your music streaming.

Imagine having 40% of the public land in your state closed to hunt/harvest of ALL species, regardless of wildlife abundance and ecosystem health!!  Proposals on par with this are being considered and promoted for California's coastal waters. "Hunting the Ocean" can mean many things... pier fishing, spear fishing, free diving for spiny lobster, crabbing, shore fishing, angling from a boat or kayak, and many more things!  One thing is certain... even with the most regulated coastal fisheries in the world, the opportunity for individuals to access and enjoy the hunt in coastal California waters is under attack.  Listen in to this episode of Matt Bond (allwaters.org) and Devin O'dea (Backcountry Hunters and Anglers) explain the convoluted path and petition process which could disenfranchise subsistence anglers, eliminate adaptive management in complex ecosystems. You'll hear the connection between these closures and billion $$ organizations that will continue to have priority access for their use and purpose, while individuals are pushed out.  Tap into the links and resources below to continue following, and take action by using the HOWL for Wildlife Letter to the Editor tool, send comments to the Fish & Game Commission (email).  Join HOWL to stay informed and ready when we deploy our Action Center and pull the Hunting and Angling communities together in this fight.  All Waters Protection and Access Coalition (AllWaters.org)  All Waters - IG  California Fish & Game Commission Meeting Aug 14 - Agenda (item 9)  California Dept. of Fish & Wildlife MPA Review Process  Ocean Protection Council - 30x30 Review and Comment Process California Backcountry Hunters & Anglers - MPA Closures  *** #california #marineprotection #wildlifemanagement #oceanprotection #spearfishing #allwaters #marineprotectedarea #ecosystem #hunting #fishing #30x30 #conservation 

I've noticed that the terms "conservation" and "preservation" are often used interchangeably, however, these concepts represent two distinct philosophies and approaches to managing natural resources and protecting the environment. Understanding the difference between conservation and preservation is essential for developing effective strategies for environmental stewardship. Definition and Philosophy Conservation is the sustainable use and management of natural resources. The primary goal of conservation is to ensure that natural resources are used in a way that is both sustainable and beneficial for current and future generations. This approach recognizes that humans depend on natural resources for their survival and well-being and aims to balance the needs of people with the need to maintain healthy ecosystems. Conservation strategies often include regulated use of resources, restoration of degraded ecosystems, and protection of species through active management and hunting. Preservation, on the other hand, focuses on protecting natural environments from human interference. The primary goal of preservation is to maintain areas of the Earth in their natural, untouched state. This approach is based on the belief that nature has intrinsic value and should be protected for its own sake, regardless of any direct benefits to humans. Preservation efforts often involve creating protected areas such as national parks and wildlife reserves where human activities are strictly limited or prohibited. Historical Context The roots of both conservation and preservation can be traced back to the late 19th and early 20th centuries, during the rise of the environmental movement in the United States. Two prominent figures in this movement, Gifford Pinchot and John Muir, embodied the principles of conservation and preservation, respectively. Gifford Pinchot, the first Chief of the United States Forest Service, was a strong advocate for conservation. He believed that natural resources should be managed scientifically to provide the greatest good for the greatest number of people over the longest time. Pinchot's approach emphasized the sustainable use of resources to ensure their availability for future generations. John Muir, a naturalist and founder of the Sierra Club, was a leading proponent of preservation. He argued that natural landscapes should be protected from human exploitation and development. Muir's advocacy led to the establishment of several national parks, including Yosemite and Sequoia National Parks, where human activities were restricted to preserve the natural beauty and integrity of these areas. Practical Applications In practice, conservation and preservation strategies often overlap and complement each other. For example, a conservation plan for a forest might include sustainable logging practices, reforestation efforts, and the protection of critical habitats for endangered species. At the same time, certain areas within the forest might be designated as preservation zones where no logging or other human activities are allowed. Conservation is commonly applied in areas where human use of natural resources is necessary but needs to be managed carefully to avoid depletion or degradation. Examples include sustainable agriculture, fisheries management, hunting, forestry and water conservation. Conservationists work to develop practices that allow for the continued use (Use being the key word) of resources while minimizing environmental impact. Preservation is typically applied in areas that have significant ecological, cultural, or aesthetic value. National parks, wilderness areas, and nature reserves are examples of preservation efforts aimed at protecting pristine environments from human disturbance. Preservationists often advocate for the creation of protected areas to safeguard biodiversity and maintain ecosystems in their natural state. Challenges and Criticisms Both conservation and preservation face challenges and criticisms. Conservation efforts can be criticized for allowing continued exploitation of natural resources, which may lead to environmental degradation if not properly managed. Critics argue that conservation sometimes prioritizes human needs over ecological health, leading to conflicts between resource use and environmental protection. Preservation, on the other hand, can be criticized for being too restrictive and excluding human activities that might be compatible with environmental protection. Some argue that preservation efforts can lead to the displacement of indigenous peoples and local communities who have traditionally relied on the land for their livelihoods. Additionally, preservation can be seen as impractical in a world where human influence is pervasive and few truly untouched landscapes remain. Conclusion Conservation and preservation represent two different but complementary approaches to environmental protection. Conservation emphasizes the sustainable use and management of natural resources to benefit both people and the environment. Preservation focuses on protecting natural areas from human interference to maintain their intrinsic value. Both approaches are essential for achieving a balance between human needs and the health of our planet's ecosystems. Understanding the differences between conservation and preservation helps us to develop more nuanced and effective strategies for environmental stewardship in a rapidly changing world.

Are there issues with a housing bolstering plan being presented at city hall today? Some councillors are against it. One of them will join Jim Richards, in for Jerry Agar.

Louisiana lawmakers passed sweeping criminal justice reforms in 2017 aimed at reducing the state's prison population. Now, lawmakers in Baton Rouge are considering bills that would undo those reforms. Proponents of the so-called tough-on-crime policies point to spikes in Louisiana's crime rates since those reform laws went into effect.    But critics say the COVID-19 pandemic is to blame instead. While others say inadequate investment in the reforms prevented them from being successful.   To talk through the reforms and proposals to repeal them, we're joined by Barry Erwin, president and CEO of Council for A Better Louisiana, a non-partisan, non-profit group.   We also hear from Greg LaRose, an editor with the Louisiana Illuminator. LaRose has written about many of the proposals, including a provision that proposes treating 17-year-olds as adults in Louisiana's criminal justice system. It would walk-back reforms made in 2017, mostly referred to as “Raise The Age.”   Later on the show, we hear how historic preservationists in Louisiana have adopted AI tools to help them do their work. Louisiana-based AI expert Margeaux Randolph, co-founder of Create Ventures, joins us.    Today's episode of Louisiana Considered was hosted by Adam Vos. Our managing producer is Alana Schreiber. Matt Bloom produced today's show, with help from assistant producer Aubry Procell. Our engineer is Garrett Pittman.   You can listen to Louisiana Considered Monday through Friday at 12:00 and 7:00 pm. It's available on Spotify, Google Play, and wherever you get your podcasts.    Louisiana Considered wants to hear from you! Please fill out our pitch line to let us know what kinds of story ideas you have for our show. And while you're at it, fill out our listener survey! We want to keep bringing you the kinds of conversations you'd like to listen to. Louisiana Considered is made possible with support from our listeners. Thank you!See omnystudio.com/listener for privacy information.

U.S. Senators Kyrsten Sinema and Mark Kelly say they want more money for Arizona's border communities. Preservationists are trying to save a chapel designed by Paolo Soleri. A letter that appeared to be from Arizona State University expelling a student for creating adult content caused a stir among users on X, the platform formerly known as Twitter. Plus the latest science, tribal natural resources and metro Phoenix news.

Since the beginning of Russia's large-scale invasion of Ukraine, Moscow has been bombing uniquely Ukrainian cultural sites. Preservationists are using "photogrammetry" — the act of deriving precise measurements from taking overlapping photos and rendering them in three dimensions. Dina Temple-Raston, the host of "Click Here," was recently in Ukraine and met those working to preserve the country's heritage — on their phones.

Following the outbreak of the Israel-Hamas war, an estimated 5,000 Israeli families have fled to Cyprus, where they've been welcomed by an established Jewish community. Meanwhile, only hundreds of foreign passport holders and injured Palestinians have been permitted to leave the blockaded Gaza strip through its border with Egypt. And, US Surgeon-General Vivek Murthy has called loneliness a public health crisis. We hear about the health effects of loneliness and what initiatives around the globe seem to be helping people actually connect. Also, since the beginning of Russia's large-scale invasion of Ukraine, Moscow has been bombing unique Ukrainian cultural sites. Preservationists are using special techniques to preserve the country's heritage — on their phones. Plus, the panda diplomats' sad farewell. ***Your support is absolutely critical in sustaining our nonprofit newsroom. Donate today to help us reach our goal of $67,000 before the end of the year. Every gift counts! 

When keeping cultural archives safe means stepping outside the law.

The Vintage House Show loves the history of House Music. Is Who Created House Music an important question to ask? House Music Dj's, Preservationists and Legends answer the question in this unique podcast. Pioneer Robert Owens, Chicago-based DJ VitiGrrl, South African Descended DJ Jozana Sithole and others chime in. Share with us your thoughts on our FB Page @VintageHouseWNURSupport the showwww.VintageHouseShow.org | www.VintageHouseShow.tv

This September history practitioners from all over will be coming to Idaho for the annual American Association for State and Local History Conference.

MISSION, Texas - Mission community and preservation activists Ester Salinas and Irma Flores Lopez utilized the public comment period of this week's Mission City Council meeting to once again criticize Mission CISD for demolishing a nationally-listed building.Built in 1929, Roosevelt auditorium was placed on the Department of Interior's National Register of Historic Places in 2002. That did not stop Mission school board leaders from tearing it down. They said the building had fallen into disrepair and would cost too much to fix.But, Salinas and Flores Lopez argue that if Mission CISD had provided minimum maintenance over the years the roof would not have fallen in. The community activists are also upset with Mission City Council for not having strong enough preservation ordinances in place to stop the demolition. Salinas and Flores Lopez say the school district could have secured grants to pay for the repairs.Here is an audio recording of the remarks Salinas and Flores Lope gave at the Mission City Council meeting of June 12, 2023.To read the new stories and watch the news videos of the Rio Grande Guardian International News Service go to www.riograndeguardian.com.

Featuring: Ammosart, Ashgar, Belghast, Grace, Kodra, and Tamrielo   Hey Folks! This week we have Ammo back and talk about Honkai Star Rail or at least our early impressions.  Grace talks a bit about Horizon Forbidden West and the Burning Shores expansion.  We discuss a better FTL in This Means Warp, and that Vampire Survivors has released a DLC.  Kodra and Ash talk about how if everyone dies but the Tank, you can still win with Middara and this leads to some random discussion of MMORPG.  Tam is the only one of us who has experienced any Redfall so we talk a bit about it and the community reactions.  Lastly we sort of slide into a discussion about Guild Wars 2 without really meaning to.   Topics Discussed: Honkai Star Rail Horizon Forbidden West Burning Shores This Means Warp Vampire Survivors DLC If Everyone but the Tank is Dead It's Still a Win. More fun with Middara Redfall Irresponsible Speculation Accidentally some Guild Wars 2 Discussion

The iconic high rise Docking State Office Building, which now sits largely unoccupied, could soon be demolished. Work to take the building to the ground could begin as early as January 2023. On the other hand, a preservation group called Plains Modern has gone to court to halt full-scale demolition.

Bishop On Air talks with Tony Libri for details on the fundraiser they're holding at Ursuline Academy this weekend.

Prophets and Ghosts: The Story of Salvage Anthropology (Harvard UP, 2021) is a searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of “vanishing” Indigenous peoples through dispossession of the very communities it was meant to protect. In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objects—crafts, clothing, images, song recordings—by the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the “vanishing Indian” and what we can learn from the complex legacy of salvage anthropology. The salvage catalog betrays a vision of Native cultures clouded by racist assumptions—a vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectors' methods also included outright theft. The resulting portrait of Indigenous culture reinforced the public's confidence in the hierarchies of superiority and inferiority invented by “scientific” racism. Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance. Alex Golub is associate professor of anthropology, University of Hawai‘i at Mānoa Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Prophets and Ghosts: The Story of Salvage Anthropology (Harvard UP, 2021) is a searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of “vanishing” Indigenous peoples through dispossession of the very communities it was meant to protect. In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objects—crafts, clothing, images, song recordings—by the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the “vanishing Indian” and what we can learn from the complex legacy of salvage anthropology. The salvage catalog betrays a vision of Native cultures clouded by racist assumptions—a vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectors' methods also included outright theft. The resulting portrait of Indigenous culture reinforced the public's confidence in the hierarchies of superiority and inferiority invented by “scientific” racism. Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance. Alex Golub is associate professor of anthropology, University of Hawai‘i at Mānoa Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Prophets and Ghosts: The Story of Salvage Anthropology (Harvard UP, 2021) is a searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of “vanishing” Indigenous peoples through dispossession of the very communities it was meant to protect. In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objects—crafts, clothing, images, song recordings—by the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the “vanishing Indian” and what we can learn from the complex legacy of salvage anthropology. The salvage catalog betrays a vision of Native cultures clouded by racist assumptions—a vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectors' methods also included outright theft. The resulting portrait of Indigenous culture reinforced the public's confidence in the hierarchies of superiority and inferiority invented by “scientific” racism. Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance. Alex Golub is associate professor of anthropology, University of Hawai‘i at Mānoa Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/native-american-studies

Prophets and Ghosts: The Story of Salvage Anthropology (Harvard UP, 2021) is a searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of “vanishing” Indigenous peoples through dispossession of the very communities it was meant to protect. In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objects—crafts, clothing, images, song recordings—by the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the “vanishing Indian” and what we can learn from the complex legacy of salvage anthropology. The salvage catalog betrays a vision of Native cultures clouded by racist assumptions—a vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectors' methods also included outright theft. The resulting portrait of Indigenous culture reinforced the public's confidence in the hierarchies of superiority and inferiority invented by “scientific” racism. Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/anthropology

Prophets and Ghosts: The Story of Salvage Anthropology (Harvard UP, 2021) is a searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of “vanishing” Indigenous peoples through dispossession of the very communities it was meant to protect. In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objects—crafts, clothing, images, song recordings—by the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the “vanishing Indian” and what we can learn from the complex legacy of salvage anthropology. The salvage catalog betrays a vision of Native cultures clouded by racist assumptions—a vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectors' methods also included outright theft. The resulting portrait of Indigenous culture reinforced the public's confidence in the hierarchies of superiority and inferiority invented by “scientific” racism. Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance. Alex Golub is associate professor of anthropology, University of Hawai‘i at Mānoa Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Prophets and Ghosts: The Story of Salvage Anthropology (Harvard UP, 2021) is a searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of “vanishing” Indigenous peoples through dispossession of the very communities it was meant to protect. In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objects—crafts, clothing, images, song recordings—by the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the “vanishing Indian” and what we can learn from the complex legacy of salvage anthropology. The salvage catalog betrays a vision of Native cultures clouded by racist assumptions—a vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectors' methods also included outright theft. The resulting portrait of Indigenous culture reinforced the public's confidence in the hierarchies of superiority and inferiority invented by “scientific” racism. Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance. Alex Golub is associate professor of anthropology, University of Hawai‘i at Mānoa Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Prophets and Ghosts: The Story of Salvage Anthropology (Harvard UP, 2021) is a searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of “vanishing” Indigenous peoples through dispossession of the very communities it was meant to protect. In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objects—crafts, clothing, images, song recordings—by the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the “vanishing Indian” and what we can learn from the complex legacy of salvage anthropology. The salvage catalog betrays a vision of Native cultures clouded by racist assumptions—a vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectors' methods also included outright theft. The resulting portrait of Indigenous culture reinforced the public's confidence in the hierarchies of superiority and inferiority invented by “scientific” racism. Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance. Alex Golub is associate professor of anthropology, University of Hawai‘i at Mānoa Learn more about your ad choices. Visit megaphone.fm/adchoices

Prophets and Ghosts: The Story of Salvage Anthropology (Harvard UP, 2021) is a searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of “vanishing” Indigenous peoples through dispossession of the very communities it was meant to protect. In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objects—crafts, clothing, images, song recordings—by the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the “vanishing Indian” and what we can learn from the complex legacy of salvage anthropology. The salvage catalog betrays a vision of Native cultures clouded by racist assumptions—a vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectors' methods also included outright theft. The resulting portrait of Indigenous culture reinforced the public's confidence in the hierarchies of superiority and inferiority invented by “scientific” racism. Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance. Alex Golub is associate professor of anthropology, University of Hawai‘i at Mānoa Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west

Prophets and Ghosts: The Story of Salvage Anthropology (Harvard UP, 2021) is a searching account of nineteenth-century salvage anthropology, an effort to preserve the culture of “vanishing” Indigenous peoples through dispossession of the very communities it was meant to protect. In the late nineteenth century, anthropologists, linguists, archaeologists, and other chroniclers began amassing Indigenous cultural objects—crafts, clothing, images, song recordings—by the millions. Convinced that Indigenous peoples were doomed to disappear, collectors donated these objects to museums and universities that would preserve and exhibit them. Samuel Redman dives into the archive to understand what the collectors deemed the tradition of the “vanishing Indian” and what we can learn from the complex legacy of salvage anthropology. The salvage catalog betrays a vision of Native cultures clouded by racist assumptions—a vision that had lasting consequences. The collecting practice became an engine of the American museum and significantly shaped public education and preservation, as well as popular ideas about Indigenous cultures. Prophets and Ghosts teases out the moral challenges inherent in the salvage project. Preservationists successfully maintained an important human inheritance, sometimes through collaboration with Indigenous people, but collectors' methods also included outright theft. The resulting portrait of Indigenous culture reinforced the public's confidence in the hierarchies of superiority and inferiority invented by “scientific” racism. Today the same salvaged objects are sources of invaluable knowledge for researchers and museum visitors. But the question of what should be done with such collections is nonetheless urgent. Redman interviews Indigenous artists and curators, who offer fresh perspectives on the history and impact of cultural salvage, pointing to new ideas on how we might contend with a challenging inheritance. Alex Golub is associate professor of anthropology, University of Hawai‘i at Mānoa Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

A $100 million expansion of Powell Hall requires the demolition of the historic Culver House — unless preservationists can find an alternative. Recently, backers trying to save the building gained an unexpected ally: Longtime developer Steve Smith.

A Confederate time capsule found 20 feet under the pedestal that once held a statue of Robert E. Lee was opened yesterday; The Visual Arts Center of Richmond is filled with pieces of pottery that look like they just left a tattoo shop as part of the "Of Mud and Blood" exhibit; The state is spending more than 700 million dollars to bring broadband access to rural Chesapeake, Suffolk and other localities; and other local news stories.

Preservationists in a tiny lakeside community in Michigan are using new approaches to fight the threat of flooding caused by climate change. While the fishing industry has struggled in the region, saving the historic buildings in Fishtown is critical to the region's local economy. Hari Sreenivasan reports as part of our ongoing series 'Peril & Promise: The Challenge of Climate Change.'. The story was produced in partnership with the Pulitzer Center. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Preservationists in a tiny lakeside community in Michigan are using new approaches to fight the threat of flooding caused by climate change. While the fishing industry has struggled in the region, saving the historic buildings in Fishtown is critical to the region's local economy. Hari Sreenivasan reports as part of our ongoing series 'Peril & Promise: The Challenge of Climate Change.'. The story was produced in partnership with the Pulitzer Center. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Sara and Juel dive into the history of Edgefield to the real haunting. The Multnomah County Poor Farm in Troutdale was built in 1911. November 1911, 211 inmates (later called residents) moved in, 75 of whom were bedridden due to chronic or untreated illness. "Meat and mush" tables divided residents: those able to work in the fields or in the institution ate meat three meals a day; the others had meat only once a day. Preservationists staved off demolition for nearly five years before the complex was purchased in 1990 by micro-brew pioneers Mike and Brian McMenamin. Listen as we talk about it. PS Free Britney Produced by: What The F Is Ladylike?, Theme Song: Comeback Karma!, Photo Design: Art by Sarak --- Support Jessie Sponberg www.urbansurvivorman.com --- Josh Larsen: --- https://www.facebook.com/ShutUpStupid13 --- https://twitter.com/ShutUpStupid13 --- https://www.youtube.com/channel/UC_d-wvadZo0pEeb5EivXHWg/about -- Dylan Glass Art https://instagram.com/dylanglassart?utm_medium=copy_link Email us for topics or if you need to reach out: whatthefisladylike@gmail.com SUPPORT THE SHOW!!! Click Here For Official Merch: Merch Sources Sources https://www.oregonencyclopedia.org/articles/multnomah_county_poor_farm_edgefield_/#.YZHLS-jMJD8 https://portlandghosts.com/mcmenamins-edgefield/ https://www.hhhistory.com/2020/01/oregons-edgefield-poor-farm.html https://nwtravelmag.com/mcmenamin-brothers/ https://www.mcmenamins.com/history --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/whatthefisladylike/support

In Episode 211 of District of Conservation, Gabriella updates listeners on the latest conservation and environmental news from around the nation. First, she discusses catching a fingerling brown trout at the legendary Gunpowder Falls State Park in Maryland, then about the need for proactive forest management and the next battle to shield hunting and fishing from attacks by radical preservationist environmentalists. SHOW NOTES Gunpowder Brown Trout IWF Op-ed on Forestry in Daily Caller NPR Prescribed Burn Article Sen. Lummis, Rep. Newhouse STOP Catastrophe Act for Forest Management Kat Dwyer's Salt Lake Tribune op-ed Preservationist groups want to reimagine wildlife agencies (Wash. State) --- Support this podcast: https://anchor.fm/district-of-conservation/support

BECOME A PRODUCER! http://www.patreon.com/themidnighttrainpodcast   Find The Midnight Train Podcast: www.themidnighttrainpodcast.com www.facebook.com/themidnighttrainpodcast www.twitter.com/themidnighttrainpc www.instagram.com/themidnighttrainpodcast www.discord.com/themidnighttrainpodcast www.tiktok.com/themidnighttrainp   And wherever you listen to your favorite podcasts.   Subscribe to our official YouTube channel: OUR YOUTUBE   Support our sponsors www.themidnighttraintrainpodcast.com/sponsors   Ep. 112 Haunted Venues   On today's episode we're going on tour!!! That's right Moody and myself are heading back out on the road and this time we're bringing Logan to carry our shit instead of us lugging everyone else's shit! Why are we heading out on tour you ask? Well it's because we are doing a tour of haunted music and theater venues throughout the world! This is an episode we've been wanting to do for a while especially because we've been to quite a few of these places! There's even one in our home town! Like we have at that certain Cleveland venue, we're sure some of our listeners have spent a ton of their time at some of the venues on the list. This is gonna be a fun one for us so hopefully you guys love it too! First up we've got a big one that will be on every list of haunted venues. The House Of Blues in Chicago. So the history of the building took a bit to find because every search for the house of blues in any city comes up with the main house of blues page but with a little digging we found some info on the building's history. The House of Blues is part of a complex called The Marina City complex. The Marina complex is also known as the Corn cob apparently, and looking at it… You can see why. If you're listening in Chicago and are like "what the fuck, nobody calls it that", will remember our mantra.. Don't blame us, blame the internet… Although we did find that reference in a couple spots. The Marina is a mix of residential condos and commercial buildings built between 1961-1968. The complex consists of two 587-foot, 65-story apartment towers, a 10-story office building which is now a hotel, and a saddle-shaped auditorium building originally used as a cinema. When finished, the two towers were both the tallest residential buildings and the tallest reinforced concrete structures in the world. The complex was built as a "city within a city", featuring numerous on-site facilities including a theater, gym, swimming pool, ice rink, bowling alley, stores, restaurants, and, of course, a marina. WLS-TV (ABC Channel 7) transmitted from an antenna atop Marina City until the Willis Tower (formerly known as Sears Tower) was completed. Marina City was the first post-war urban high-rise residential complex in the United States and is widely credited with beginning the residential renaissance of American inner cities. These days the complex is home to the Hotel Chicago, 10pin bowling lounge, and several restaurants including… You fucking guessed it... Dick's Last Resort bitches!!! Oh and also the complex is home to the house of blues. The house of blues was built in the shell of the cinema which was out of use for quite some time. The story is that the hob is haunted by the spirit of a little girl that died due to an illness. There are many reports of weird things happening. The most circulated story seems to be that of a little boy who was playing with some of his toys toys. As he was playing he stepped away for a moment and when he came back he saw a little girl playing with his toys. She asked him if he'd like to play with her. FUCK THAT SHIT!!!! The little boy screamed and the girl vanished. Oddly enough, I did find a comment on one website from a man named Skyler seeming to corroborate this story. The comment reads as follows:              " This can not be… no way… I have performed there 2 times. once was in 2013, and there was a boy in the back playing with his cars. a few minutes after he screamed and started to cry. I was feeling bad,, but this can't be him… also know that in 2015 in march i had another performance and all the lights turned off. This is too creepy."   Was this the same boy that the story is referring too? Who knows. We also found several comments from people staying in what we assume is the hotel Chicago as it's in the complex and pretty much right next to the house of blues. There's comment also claim the hotel is haunted. One of the claims says this:            "It's haunted!!! I saw a middle aged/older woman (dressed in clothing from a period long ago) in my room when I stayed there in 1999/2000. I woke in the early morning to see a woman staring at me. I went through a rational thought process of it being my female business colleague (who stayed in a separate room) and I thought, oh well she can sleep in the other bed (it was a double room & I was in the bed furthest away from the front door) and then quickly snapped out of it and said to myself she has her own room why would she be in my room, I opened my eyes again and that's when I could see it was a woman clearly (w/ angry face) staring at me. I then thought this is a stranger/intruder in my room – I laid there with my eyes just open enough to see – she was there staring at me & she still didn't look happy. I laid there thinking of what to do – I decided I was going to reach and turn the light on and then charge her or run after her when she ran for the door (fortunately, there was a switch right next to the bed). HOWEVER, when I reached for the light and turned it on she was gone. This is what makes this story interesting — I called the front desk and simply asked, ‘had anything significant ever happened at the site of the hotel' (b/c as the person above points out, its not an old or historic looking building (e.g. PreWar). I asked another question that any tourist could have just asked (I don't recall what it was right now). She said immediatley, “No, why did you see a ghost?” My response was, yea, I saw a ghost, I'm in my twenties and not some nut job.” I asked if anyone else had ever reported seeing a ghost and she said, “No.” Anyway, when I met up with my colleague, she could tell I was shaken up and I was pretty pale (like “I had seen a host.”). My story has never changed in all this time. I did stay at the hotel 1 other time after (not in the same room) & didn't see anything – but I slept with the bathroom light on… Scary & Cool experience for sure!"   Sounds spooky!    Next on our list of haunted venues we are heading to Milwaukee! Which is actually pronounced meely waukay, which is Algonquin for the good land. Now the Rave is amazing for several reasons: first it's the location of one of Moody's favorite tour stories which also involves Jon and our friend Brad from Voudoux.  2: it's huge and creepy as shit. 3: the pool... The Rave/Eagles Club is a 180,000 square foot, seven-level, live entertainment complex in Milwaukee, Wisconsin. The building contains eight independent clubs with capacities ranging from 400 to 3500. The Eagles Ballroom is the building's showpiece, featuring a 25,000 square feet (2,300 m2) oval wooden dance floor, originally installed when the building was constructed, in addition to a large, old-fashioned domed ceiling and a stage on one side. Originally a ballroom, it has hosted everything from boxing matches to concerts to ethnic dances. The ballroom head hosted huge acts ranging from Bob Dylan to Green day, from the grateful dead to slayer and of course none other than Lil Pump.    Along with the eagles ballroom, the building houses the Rave hall, The eagles hall, the Rave bar, The Rave craft beer lounge, The penthouse lounge, and the eagles club.  Since its construction in 1926, the Eagles Club has known several incarnations. Prominently among them, it housed the Fraternal Order of the Eagles, a notable organization whose considerable impacts on America's cultural landscape remain in effect today.   In 1939, the idea of using the building for music presentations took hold, reinventing its purpose. The grand ballroom became a popular venue for big band music, such as band leaders Guy Lombardo and Glen Miller and their orchestras. Soon, other types of music, theatre and performing arts also offered shows and concerts in the large, elegant ballroom; from 1939 through the mid-sixties. Comedians like Bob Hope and Red Skeleton did stand-up comedy. In 1959, people who bought a $1.50 ticket to the Winter Dance Party, were treated to the music of Buddy Holly and the Crickets, Big Bopper, Dion and the Belmonts, and Richie Valens. This would be the last show for buddy Holly before he died. In 1964, The Eagles Club had its first rock concert, with the Dave Clark Five performing on the ballroom stage. The 1970s brought even more famous groups and people, such as Eric Clapton, Crosby, Stills and Nash and other rising rock stars.When the Athletic Club was closed, a homeless men's shelter opened up temporarily in the basement area, providing shelter for the destitute which is life-saving during the freezing winter months. By the late 1980s, The Eagles Club was in a state of disrepair and The Eagle Club put it out on the real estate market, after getting it listed on The National Register of Historic Places, in 1986.  In late 1992, the Eagles Club was rescued when it was bought by Wauwatosa businessman Anthony J. Balestrieri and his wife, Marjorie, who performed in the Milwaukee Symphony Orchestra. They began the long process of restoring the historic beauty of the elegant ballroom and interior art, as well as the outside facade. They also restored and renovated other areas turning the building into the multi venue building it is today.    We wanted to include this history because: A. We love the history of places like this and B. It shows how many things this building way used for and how many people have passed through the building. We all know where there tons of history there tends to be ghost stories!    Let's get into the spooky shit! Remember the pool we mentioned earlier… Well at one point a 17 year old boy had a fucking heart attack and died in the pool. Later, at least two more children would die in the pool. This would ultimately cause the closure of the athletic club.  Also the man who ran the homeless shelter was said to be extremely cruel and abusive to the men staying there.    The basement area which is the home of the former men's shelter, is one of the more haunted areas. The shelter manager mentioned earlier is thought to be the reason behind the heavy negative energy felt there. Cold spots are often felt by staff in the late hours after closing. Shadow people have often been reported by staff as well as band members packing up after a show.    Next is the pool area, which we've seen and it's fucking creepy. A little girl is said to roam around the area. People have heard her laughter and have said her presence can bring a sense of dread. Staff have said they have heard shuffling footsteps and have smelled a strong odor of bleach in the pool area.    In the boiler room under the pool, a former employee still hangs and he doesn't like people in his area. "Jack" was once recorded telling a group on a ghost hunt to "get out, get out now" Apparently, you can find a video of this on YouTube, we'll try and find it to post on our page.   The ballroom has had its share of apparitions hanging around during sound checks and after shows when everyone has left. An employee told a story of when he was standing on the floor of The Eagles Ballroom, making sure that the people going to the roof patio didn't “get lost” and go into the Eagles Ballroom by design.  He said that one of his fellow workers had seen what they thought was a man, standing in one of the second floor boxes located above the Eagles Ballroom. He called security and when they approached this person, he ran down the aisle but disappeared before the staff person that was behind him and the security person cutting off his escape could try to grab him.    One other common theme is people hearing either happy laughing children or sad crying children. Some staff have stated they've seen entities of children playing in groups.    We've been here.. This place is awesome. Also another fun tidbit… not to far away from the Rave is the ambassador hotel. Which of you're up on your serial killers, you know is the place where Jeffrey Dahmer killed his first victim in Milwaukee. Steven Tuomi was Jeffrey Dahmer's first victim in Milwaukee. Dahmer met Tuomi in September of 1987. At the time, Dahmer was out on probation after molestation charges of a minor. The two men spent the night together drinking heavily and visiting multiple bars. Later that night, they ended up in a room together in the Ambassador, room 507, which is a room some Dahmer historians have requested to stay in. Dahmer killed Toumi while he was in a drunken stupor. Upon waking up to find Tuomi dead, Dahmer put the body in a suitcase and took it to his grandmother's house where he was living. In the basement, he acted out necrophiliac desires and then dismembered the body. Supposedly when Dahmer awoke to find Tuomi dead, the body was in an awkward position hanging off the side of the bed. Some visitors have reported instances of waking up to discover their partner in a similarly awkward position.   Visitors to room 507 have reported a variety of experiences, such as a heaviness to the room that they can't quite explain. Some people get woken up in the middle of the night by odd circumstances. There's an extra little bit for ya!!!   Info on the Hauntings and most of the historical facts on the Rave was taken from an excellent article on hauntedhouses.com   Next up we're gonna head across the pond, so to speak. We're heading to London and the famous Royal Albert Hall! This place has a long and rich history behind it. The Royal Albert Hall was built on what was once the Gore estate, at the centre of which stood Gore House. The three acre estate was occupied by political reformer William Wilberforce between 1808-1828 and subsequently occupied between 1836-1849 by the Countess of Blessington and Count D'Orsay.   After the couple left for Paris in May 1851, the house was opened as the ‘Universal Symposium of All Nations', a restaurant run by the first celebrity chef, Alexis Soyer, who planned to cater for the Great Exhibition in Hyde Park.   After the exhibition and following the advice of Prince Albert, Gore House and its grounds were bought by the Exhibition's Royal Commission to create the cultural quarter known as Albertopolis. A complex of public Victorian buildings were developed to house exhibits from the Great Exhibition and to further the study of art, science and industry. On May 20, 1867 7,000 people gathered under a purpose-built marquee to watch Queen Victoria lay the Hall's red Aberdeen granite foundation stone, which today can be found underneath K stalls, row 11, seat 87 in the main auditorium. The Queen announced that “It is my wish that this Hall should bear his name to whom it will have owed its existence and be called The Royal Albert Hall of Arts and Sciences”, as a 21 gun salute was heard from Hyde Park and a trumpet fanfare from HM Life Guards sounded. By December 1870 construction of the Hall had moved on so much that HM Queen Victoria and her daughter Princess Beatrice visited the Hall to listen to the acoustics.   Almost three months later, on 25 February 1871, the Hall's first concert was held to an audience for 7,000 people comprising the workmen and their families, various officials and the invited public. Amateur orchestra, The Wandering Minstrels, played to test the acoustics from all areas of the auditorium.    This place has been running as a venue for 150 years! Again… History breeds ghosts and Hauntings! There's so much history in this building that we are not going to be able to include but please check out the official website for the royal Albert Hall to really drive into the history of this place. You won't be sorry you did. We gave you the beginnings to show how long this place has been around. We're gonna get right into the spooky shit though!    On 13 July 1930 the Spiritualist Association rented the Royal Albert Hall for a seance for Sir Arthur Conan Doyle, following the death of the Sherlock author on 7 July.   Conan Doyle was a spiritualist and believed in the existence beyond the grave. Upon his death 10,000 people gathered expectantly in the Hall to watch a medium take to the stage, hoping to witness some supernatural activity and hear a message from Conan Doyle from the other side…          Lady Doyle: “Although I have not spoken to Arthur since he passed, I am certain that in his own time and his own way he will send a message to us” Time Magazine, 21 July 1930   Lady Conan Doyle took to the stage alongside members of his family, with a vacant chair on her right reserved for her late husband.Time Magazine, who attended the seance, reports:   ‘Mrs. Estelle Roberts, clairvoyant, took the stage. She declared five spirits were “pushing” her. She cried out their messages. Persons in the audience confirmed their validity. Suddenly Mrs. Roberts looked at Sir Arthur's empty chair, cried: “He is here.” Lady Doyle stood up. The clairvoyant's eyes moved as though accompanying a person who was approaching her. “He is wearing evening clothes,” she murmured. She inclined her head to listen. A silent moment. Her head jerked up. She stared at Lady Doyle, shivered, ran to the widow, whispered. Persons nearby could hear: “Sir Arthur told me that one of you went into the hut [on the Doyle estate] this morning. Is that correct?” Lady Doyle, faltering: “Why, yes.” She beamed. Her eyes opened widely. The clairvoyant to Lady Doyle: “The message is this. Tell Mary [eldest daughter]…' Time Magazine, 21 July 1930   At this the audience rose in a clamor, and the great organ of the Hall began to peal, the noise drowning out the answer of Mrs Roberts.   But what was the message delivered to Lady Doyle that night? Did the ghost of Sir Arthur Conan Doyle really visit the Royal Albert Hall on that night in 1930?   Seances are always fun and definitely work as we found out...yea...right….   Here's some more stories taken straight from the RAH website!   THE GIRLS Beneath the Door 6 foyer, in the carpeted basement area, there is one spot where two young women, known as ‘the girls', briefly appear each  November 2nd a little before 2am, when the building is almost deserted, except for some security staff.   Over the years, several staff members reported hearing ‘the girls' laughing, and seeing their animated and excited silhouettes appear, clothed in the fashion of slightly risqué Victorian ladies (extravagant long dark dresses embellished with lace from neck to bodice, with many ruffles, especially around the sleeves and hem, and their hair styled in cottage-loaf buns with ringlets hanging over their ears). The Duty Security Incident Book indicates that there had been appearances by ‘the girls' for the three years prior to 1991. They have been seen passing across the foyer space, which is bounded by double doors at each end, leading on one side to the staff canteen (where we still eat today) and on the other to the kitchen corridor, and then disappear. That is why some believe that ‘the girls' may be responsible for unexplained accidents, tappings and footsteps that occur behind locked doors late at night in the kitchens. Assistants Chefs, who have to clean the kitchen every night after use, often used to hear noises and have been frightened whilst in that area.    FATHER WILLIS Whenever restoration work is carried out on our organ, its original constructor Henry Willis, fondly nicknamed ‘Father Willis', returns as a stooped ghost wearing a black skull cap. When the organ was being reconstructed in 1924, workmen saw a little old man walk down the stairs late one afternoon. On returning to their workshop and relating the facts, their foreman asked what the man was wearing. When told that he was donning a black skull cap, the foreman decided it was the ghost of Father Willis, the original builder of the organ, long since dead, who would not approve of the alterations being undertaken. Since then there have been many reports of a sudden cold atmosphere in the area behind the organ.   When interviewed in 2018, Michael Broadway, the Hall's organ custodian was asked if he had ever seen signs of the legendary ghost of Henry Willis. He answered: “I remember the organ builder Clifford Hyatt telling me about this over forty years ago. The tuner […] was making the final visit of the Willis contract before the Harrison & Harrison rebuild in the 1920s. When he got up on to the Great passage board he saw Father Willis there saying ‘They shan't take my organ from me'. A lovely story, but I haven't seen him. There are many questions I would ask him and hopefully have his approval of the way I look after this instrument. Perhaps he has no reason to be disturbed.”    THE MAN IN WHITE During a Jasper Carrott comedy event in May 1990, the Duty Manager was ordered to clear the Middle Choir seats and to post a Steward at either end to avoid anyone entering as it is very distracting for a performer to have people walking across the back of the stage during the show. That's why a very angry Stage Manager demanded on radio to know why there was someone crossing the stage. The description was of a man dressed in white, walking oddly as if on drugs. The Stewards insisted no one had passed them and on further investigation no one except Jasper Carrott was onstage, but several people had seen the figure cross the stage from left to right.   THE VICTORIAN COUPLE A staff member during the 2000s reported having seen a couple in Victorian clothing walk across the second tier near to Door Six and vanish into a box. As a venue whose history is so closely tied to the Victorian times, this didn't seem particularly odd (people dress up sometimes…)   But in 2011, a Head Steward was finishing off his shift one evening and had made sure that all members of the public had left the second tier. On going downstairs into the auditorium, he noticed a couple sitting in the box so he returned to the second tier but found no one in the box. He assumed they had left while he was on his way back, so once again he returned to the auditorium… Only to see them again. So he went back to the second tier, and that's when he heard the couple chattering. He assumed they were in the box but on opening the door, there was no one there.   There are several more accounts on their website and tons and tons of stories all over the web about experiences at the historical venue. It sounds like it's one crazy place!!!   We've got a couple more for you guys.                Next up is another club we've been too, the Masquerade in Atlanta. The Masquerade features three indoor venues with capacities ranging from 300 to 1000, appropriately named Heaven, Hell and Purgatory.  The Masquerade was founded in 1988 at the historic DuPre Excelsior Mill, a former excelsior mill at 695 North Avenue in the Old Fourth Ward neighborhood. The venue had both indoor and outdoor concert space. It was sold in 2006 and moved in late November 2016 after it was made part of a new mixed-use development called North + Line. The building was designated as historic by the city and all of the original parts will be saved through adaptive reuse. The masquerade had hosted tons of national and local acts from cannibal corpse to the greatest entertainer in history, Weird Al Yankovic.     This night club is said to be visited by the spirits who died in fire and tuberculosis outbreaks long ago, both of which killed several members of the building's former staff. Apparitions have been seen and unexplained footsteps have been reported.One popular story is that of a large and tall black man who is always seen walking around the nightclub. The staff believes that it is this man who turns the musical amplifiers every night.   The staff has also reported hearing footsteps from unidentified sources, as well as cold spots all throughout the building. Horrifying screams can also be heard coming from the back of the stairs even when there is no one there. They believe that the screams come from the young woman who died in a freakish accident in the nightclub. Nowadays, there are rumors that real vampires come to the nightclub and even live there.  Some people believe that this rumor has been spread to promote business as vampires have suddenly become very popular.   Next up were heading to Nashville and a place the Moody had been to, but not for music, for the national beard and mustache competition. He did not place unfortunately. The auditorium opened as the Union Gospel Tabernacle in 1892. Its construction was spearheaded by Thomas Ryman, a Nashville businessman who owned several saloons and a fleet of riverboats.When Ryman died in 1904, his memorial service was held at the tabernacle. During the service, it was proposed the building be renamed Ryman Auditorium, which was met with the overwhelming approval of the attendees. The building was originally designed to contain a balcony, but a lack of funds delayed its completion. The balcony was eventually built and opened in time for the 1897 gathering of the United Confederate Veterans, with funds provided by members of the group. As a result, the balcony was once called the Confederate Gallery.[5] Upon the completion of the balcony, the Ryman's capacity rose to 6,000. A stage was added in 1901 that reduced the capacity to just over 3,000. Though the building was designed to be a house of worship – a purpose it continued to serve throughout most of its early existence – it was often leased to promoters for nonreligious events in an effort to pay off its debts and remain open. In 1904, Lula C. Naff, a widow and mother who was working as a stenographer, began to book and promote speaking engagements, concerts, boxing matches, and other attractions at the Ryman in her free time.  Naff gained a reputation for battling local censorship groups, who had threatened to ban various performances deemed too risqué. In 1939, Naff won a landmark lawsuit against the Nashville Board of Censors, which was planning to arrest the star of the play Tobacco Road due to its provocative nature. The court declared the law creating the censors to be invalid W.C. Fields, Will Rogers in 1925, Charlie Chaplin, Bob Hope with Doris Day in '49, Harry Houdini in '24, and John Philip Sousa (among others) performed at the venue over the years, earning the Ryman the nickname, "The Carnegie Hall of the South". The Ryman in its early years also hosted Marian Anderson in 1932, Bill Monroe (from KY) and the Bluegrass Boys in '45, Little Jimmy Dickens in '48, Hank Williams in '49, The Carter Sisters with Mother Maybelle Carter in 1950, Elvis in '54, Johnny Cash in '56, trumpeter Louis Armstrong in '57, Patsy Cline in '60, Lester Flatt & Earl Scruggs (bluegrass) in '64, and Minnie Pearl in '64. The Grand Ole Opry was first broadcast from the Ryman on June 5, 1943, and originated there every week for nearly 31 years thereafter. Every show sold out, and hundreds of fans were often turned away. During its tenure at Ryman Auditorium, the Opry hosted the biggest country music stars of the day and became a show known around the world. Melding its then-current usage with the building's origins as a house of worship, the Ryman got the nickname "The Mother Church of Country Music", which it still holds to this day. The last Opry show at the Ryman occurred the previous evening, on Friday, March 15. The final shows downtown were emotional. Sarah Cannon, performing as Minnie Pearl, broke character and cried on stage. When the plans for Opryland USA were announced, WSM president Irving Waugh also revealed the company's intent to demolish the Ryman and use its materials to construct a chapel called "The Little Church of Opryland" at the amusement park. Waugh brought in a consultant to evaluate the building, noted theatrical producer Jo Mielziner, who had staged a production at the Ryman in 1935. He concluded that the Ryman was "full of bad workmanship and contains nothing of value as a theater worth restoring." Mielziner suggested the auditorium be razed and replaced with a modern theater. Waugh's plans were met with resounding resistance from the public, including many influential musicians of the time. Members of historic preservation groups argued that WSM, Inc. (and Acuff, by proxy) exaggerated the Ryman's poor condition, saying the company was worried that attachment to the old building would hurt business at the new Opry House. Preservationists leaned on the building's religious history and gained traction for their case as a result. The outcry led to the building being added to the National Register of Historic Places in 1971. Following the departure of the Opry, the Ryman sat mostly vacant and deteriorating for nearly 20 years, as the neighborhood surrounding it continued to see the increasing effects of urban decay.  In 1986, as part of the Grand Ole Opry 60th-anniversary celebration, CBS aired a special program that featured some of the Opry's legendary stars performing at the Ryman. While the auditorium was dormant, major motion pictures continued to be filmed on location there, including John Carpenter's Elvis (1979), Coal Miner's Daughter (1980 – Loretta Lynn Oscar-winning biopic), Sweet Dreams (1985 – story of Patsy Cline), and Clint Eastwood's Honkytonk Man (1982). A 1979 television special, Dolly & Carol in Nashville, included a segment featuring Dolly Parton performing a gospel medley on the Ryman stage. In 1989, Gaylord Entertainment began work to beautify the Ryman's exterior. The structure of the building was also improved, as the company installed a new roof, replaced broken windows, and repaired broken bricks and wood. In October 1992, executives of Gaylord Entertainment announced plans to renovate the entire building and expand it to create modern amenities for performers and audiences alike, as part of a larger initiative to invest in the city's efforts to revitalize the downtown area. The first performance at the newly renovated Ryman was a broadcast of Garrison Keillor's A Prairie Home Companion on June 4, 1994. Beginning in November 1999, the Opry was held at Ryman Auditorium for three months, mostly due to the success of the January shows, but partly due to the ongoing construction of Opry Mills shopping mall next door to the Grand Ole Opry House. The Opry has returned to the Ryman for all of its November, December, and January shows every year since then, allowing the production to acknowledge its roots while also taking advantage of a smaller venue during the off-peak season for tourism and freeing the Grand Ole Opry House for special holiday presentations.The Ryman has also served as a gathering place for the memorial services of many prominent country music figures. Tammy Wynette, Chet Atkins, Skeeter Davis, Harlan Howard, Bill Monroe, Waylon Jennings, Johnny Cash, Billy Block, George Hamilton IV, Earl Scruggs, and Jim Ed Brown have all been memorialized from the Ryman stage. In 2018, the Ryman was named the most iconic structure in Tennessee by Architectural Digest. And just because….On June 9, 2019, Wu-Tang Clan performed the first pure rap concert ever at the Ryman. The concert was sold out.   Again, we like to give history on these places for context and honestly it's just interesting to us so whatever. But this again illustrates the point that many crazy things happened here over the years as many many people have passed through this auditorium… Including Moody.   Ok, so let's get to the ghosts and spooky shit. Ryman's spirit was fine with most performances but would rise if the people onstage were getting a bit risqué. Apparently, he disrupted shows by stomping around the room so loudly that spectators were forced to leave. Famously, the ghost wreaked havoc while the opera Carmen was taking place. Probably because it tells the story of a gypsy temptress.    During the grand ole Opry period, rumors surfaced that the venue was cursed since apparently, most singers that performed there wound up dead. A total of 37 people met their fate in the most gruesome ways, dying from O.D.s, car accidents, fires, or slaughterings. Among the artists believed to have succumbed to the curse are: Stringbean Akeman, Patsy Cline, Texas Ruby, and many more. In a blog post by Virginia Lamkin titled Haunted Ryman Auditorium, the author explains that when the show relocated to the Opryland USA theme park, 14 additional acts died. It is believed that the curse followed because a large portion of the Ryman Auditorium stage was cut out and brought to the new location.   The spirit often referred to as “The Grey Man,” is believed to have been one of the Confederate soldiers who frequented the auditorium during post-war gatherings. Some say they've witnessed him sitting in the balcony while artists rehearse. He watches the stage steadily but disappears as soon as anyone gets too close.   ”The lady,” on the other hand, isn't a spectator; she's a performer. Believed to be the ghost of Patsy Cline, she has been heard singing by staff. Usually, her performance happens late at night as they prepare to close. Patsy Cline, who died tragically in a plane crash, has also been linked to the Opry Curse. Could the curse not only kill but also trap artists in the venue?   Speaking of Opry Curse victims, Hank Williams is said to have been another casualty. The successful singer/songwriter passed away in 1953, after mixing prescription drugs with alcohol. Similar to the other artists haunting the auditorium, Hank's voice has been heard clear as day by employees. They have also heard his songs being played onstage, without explanation. Along with Patsy, Hank Williams' soul has lingered in the old venue ever since he passed.   The info on the history of the ryman comes mostly from their own website while the stories of the hauntings we found on the website ghostcitytours.com   Next up is the Phoenix theater in Petaluma California. The club has been in existence since 1905 and has changed in both structure and purpose, mostly due to severe damage caused by several fires. Petaluma's Phoenix Theater has been entertaining Sonoma County residents for over 116 years. Hosting everyone from the likes of Harry Houdini to Green Day, the fabled teen center and music venue has a varied and interesting history.   The entertainment center opened in 1904 as the Hill Opera House. The structure was designed by San Francisco architect Charles Havens, who also designed Petaluma's Carlson-Currier Silk Mill in 1892. The Beaux Arts-style theater hosted operas, theatrical performances, high school graduations and music for over 15 years until the early 1920s when it was gutted by fire.   In 1925, the venue reopened as the California Theatre playing silent films accompanied by music. A Jan. 24, 1925, Press Democrat article proclaimed the showplace the “largest playhouse in Petaluma and one of the finest theaters of Northern California.” A packed house attended the opening night performance which include a double feature picture show and live entertainment.   The theater switched to movies with sound in later years and lost major sections of its roof to a second fire in 1957. Petaluma's Tocchini family bought the floundering venue in 1967 switching to a program of live music and entertainment.   In 1983, the theater was renamed the Phoenix - reflecting its ability to be reborn from the ashes. Tom Gaffey, a young man who had grown up in Petaluma and worked at both the California and the Showcase theaters, was hired as manager, a position he holds to this day. The theater gained unwanted attention after a late-night performance by the band Popsicle Love Sponge performed a questionable act with the body of what was believed to be a dead chicken. The late-night shows ended, but the movies continued for a short time.   Today the venue serves as a graffiti-covered teen center and venue for rock, punk, reggae and more. In 1996, it hosted the last show of the Long Beach ska band Sublime as well as rock and punk legends the Ramones, Red Hot Chili Peppers, X, Metallica and Primus. The guiding principle of the Phoenix has always been that it's "everyone's building" and this was formalized in the early 2000's when the Phoenix became a 501(c)3 nonprofit  community center.   This place sounds pretty awesome. This following except it's taken directly from their website :               The Phoenix Theater is open seven days a week, generally from 3pm to 7pm, for drop-in “unstructured” use. Our building interior is large and soulful, with several rooms to accommodate a variety of activities. On a typical afternoon, you'll find kids playing acoustic music (we've got two pianos and a big stage), skateboarding (across the large wooden floor and up one of four quarter-pipe ramps), doing homework in the tutoring room, or sitting in one of the overstuffed sofas: reading, talking with friends, or napping. There's always a staff member onsite, but the atmosphere is casual.    On top of this they have free music programs from lessons to recording to production to podcasting to band management and everything in between. Also they have many programs for teens in the art community to hone their skills. Not only that they have a teen health center to help inform teens and help them make better, more  conscientious choices regarding their personal health. They also have services for  transitive health and STD help as well. We feel like every town needs a place like this. Especially if it's haunted!!! Speaking of which we found an interview that Gaffney did where he talks about some of his experiences and other things that have happened. The following was taken from petaluma360.com:   Gaffey began by talking about his earliest days. “It was my job to close the theater down. By 10:15 it would just be me, and whatever people were watching the movie. Near the end, I'd go up to the projection booth. After the audience exited, I'd turn off the projector, come down onto the stage where the sound equipment was, turn off the amps, check doors, balcony, bathrooms, lock the doors, hit the security alarm, then go out the door by the box office.”   On three separate nights, as he was leaving, the box office phone rang.   Gaffey explained the building had five phone stations. The light on the box office phone indicated the call was from the projection booth.   “I'd have to turn off the alarm and pick up the phone. ‘Hello? Hello? Hello?' But there was nobody there.   “You can't believe in ghosts when you're shutting down a theater. You have to check.   “Three times I mustered my courage, turned the lights back on and burst into the projection booth. There was no one there.   “That was my first experience, when I was an unknown here, a spooky ‘welcome back.'”   Gaffey is quick to temper his conversation with “it could have been” and “maybe someone playing pranks.” He keeps an open mind. Ghosts or explainable experiences: it's for the individual to decide.   “Blue lights have been seen floating through the building. There's the Little Kid: he'd been seen even when I was a kid working down here. And one night, sleeping on stage as a teen, I could hear and feel big footsteps. I never felt afraid.   “The big guy has been felt by many over the years,” Gaffey said. “We named him Chris. Big Chris. He's the only ghost - if there are ghosts here - who's not from a show business background.” He added that psychics who've visited the theater have talked about Chris dating to the livery stable-era and that someone was murdered on this spot, possibly with a knife.   But Gaffey continued firmly, “My experiences in this building have been warm and protective. “Chris had the spirit of the Phoenix before it became what it is. Chris may have loved this spot. I think it's one of the coolest corners in town.” He commented he sensed from the warmth he felt as he was talking that Chris was on stage, observing.   Then there's the Little Kid - a boy. “That's an interesting one,” Gaffey said. “Again - a psychic had come in. First off, he talked about the guy in the attic [the projection booth], said he seemed to be older, white hair and faded green, almost khaki, clothing; tall, thin with angular knees and elbows.   The older man, the psychic told Gaffey, is trying to make good on something wrong he felt he did to a child. The psychic added the old man hadn't, however, done anything.   “I'm wondering,” Gaffey said, “if it's the little boy. This was the fly area” - the area to the rear of the stage where backdrops hung. “With stuff hanging here and ladder work, maybe the kid was injured. He's been seen by many. He's got shaggy hair, maybe less than five feet, wearing shorts or knickers, a wool suit and a cap, from the 1920s.”   In the 1990s, a security guard for the thrash metal band GWAR got down off a ladder and asked, “Who's that little kid back there in the exit?” When no one could find the boy, the guard quit.    There is much more to the interview and we would definitely recommend checking it out! We've got one one more venue for you guys even though there are a bunch more out there. Some of the more well known and covered places like Bobby Mackey's in Kentucky, The Avalon in Hollywood, Le Petit Théâtre du Vieux Carre in New Orleans, The rapids theater in Niagara falls NY among others we've left off but will definitely be back to cover at a future point as the history and Hauntings in these places is awesome.    So that brings us to our home town of Cleveland Ohio and to the World famous Agora Theater. Now this a place where we've both spent many nights jamming out to some great fucking shows. And yes.. Whether you like it or not… Here comes some history fuckers.    The first Agora in Cleveland, informally referred to as Agora Alpha, opened on February 26, 1966, at 2175 Cornell Road in Little Italy near the campus of Case Western Reserve University. In 1967, the Agora moved to a second building on East 24th Street near the campus of Cleveland State University. Once settled in their new location, the new Agora Ballroom, informally referred to as Agora Beta, played a role in giving exposure to many bands, both from the Cleveland area and abroad. Many artists such as Peter Frampton, Bruce Springsteen, Boston, Grand Funk Railroad, ZZ Top, Kiss and many others received much exposure after playing the Agora.[3] The Agora Ballroom was also the setting of the concert by Paul Simon's character in the opening minutes of the 1980 movie One-Trick Pony. The front facade of the Agora Ballroom was temporarily swapped for the one shown in the movie. It is also one of three locations used to record Todd Rundgren's live album Back to the Bars in 1978.   The East 24th Street building also housed Agency Recording Studios, located above the Agora. The onsite recording studio and the close proximity to radio station WMMS allowed for high-quality live concert broadcasts from the Agora. Some of these concerts were later released commercially, including Bruce Springsteen's “The Agora, Cleveland 1978”, the Cars' “Live at the Agora 1978”, Ian Hunter's “You're Never Alone with a Schizophrenic, Deluxe Edition” and Dwight Twilley Band's “Live From Agora”.   The popularity of the club led the Agora to expand during the 1970s and 1980s, opening 12 other clubs in the cities of Columbus, Toledo, Youngstown, Painesville, Akron, Atlanta, Dallas, Houston, Tampa, Hallandale, Hartford, and New Haven. However, the Cleveland location is the only one still in existence today.   In 1984, the Agora was damaged by a fire and closed.   The building currently known as the Agora first opened on March 31, 1913, with an English performance of Aida as the Metropolitan Theatre. It was the brainchild of Max Faetkenheuer, an opera promoter and conductor who had also been involved in the construction of the monumental Hippodrome Theatre on Euclid Avenue five years earlier. The new opera house was well received and did well early on, but later struggled to stay profitable. Among various uses, the Metropolitan was home to a Cleveland's Yiddish theatre troupe in 1927. This brief episode in its history came to an end a few months later in 1928 after the troupe was involved in a bus accident on the way to a performance in Youngstown; the actors were too injured to perform and the venture went bankrupt. By 1932, the venue had turned into a vaudeville/burlesque house called "The Gayety," hosting "hoofers, comics and strippers." The Metropolitan returned to its original use for a short time during the mid-1940s staging comedic musicals, but by the end of the decade stage productions had ceased and the theatre became a full-time movie house. From 1951–78, the theater offices were home to radio stations WHK (1420 AM) and WMMS (100.7 FM); the theater itself was known as the WHK Auditorium. In 1968–69 the theater was known as the Cleveland Grande. In the early 1980s, it briefly re-opened as the New Hippodrome Theatre showing movies. Following the fire which damaged the Agora Ballroom on East 24th Street, club owner Henry LoConti, Sr. decided to move to the 5000 Euclid Avenue location. Following extensive renovations, the new Agora Metropolitan Theater, the third Cleveland venue to bear the Agora name, opened in October 1986. The Agora has two rooms: a 500-person capacity, standing-room-only ballroom with adjoining bar, and an 1800-seat theater.   As far as some spooky shit goes, we were able to get some info straight from the source! We spoke with Mike who works at the agora and we got some cool stuff from him. In an email mine related the following information.            "Prior to our merger with AEG Presents, I used to lead our ‘Ghost Tours' with a group called Black Sheep Paranormal.   While I didn't know what to expect, and I wasn't exactly familiar with paranormal investigations, that quickly changed working with the group.             One of the members of the Black Sheep Paranormal group was a retired police officer. Pretty easy to say he's seen some shit, and could be characterized as fearless. Another member told him to check out the men's room, where we have a utility closest between our sinks and stalls. From past experiences, we usually get some decent activity from that closest. However, nothing occurred this time. After giving up on this spot, the team member decided to use the bathroom. Seconds later, he hears **CLAP, CLAP, CLAP** from behind his neck, and he exited the bathroom about as white as a ghost.   Oh man… Good thing he was in the bathroom in case he pissed himself!! This next story is pretty crazy. He talks about "The Cleaning Lady"!             "One of the known spirits at The Agora, who we call “The Cleaning Lady,” as you could have guessed, was responsible for cleaning the venue many decades ago. While I'm not exactly sure what happened to her, she was said to have fallen off our balcony, and died. One night, during an investigation, we were sitting in silence at the top of our balcony on the left hand side. As we sat there, we started to hear sweeping sounds. As the broom sweeps started to happen for a few seconds, all of the sudden, the sound traveled from the left side of the venue, all the way to the right side of the venue. We couldn't really explain it, but that's exactly what happened."   Wow! That's awesome! This next one would probably freak a lot of people out… but it's definitely cool.           "Another occurrence was when we were up in one of the suite boxes up in the balcony. The venue was blacked out, and from where we were sitting, you could still see the bar area in our lower level. The bar had a mini fridge up against the wall that had lighting in it. We draped it off with a black table cloth, but there was still exposed light coming from the fridge. As we're sitting there, we see a shadow fading in, and fading out of the light. Almost as if a person was pacing back and forth. We were able to see this because of the light from the fridge. As this shadow figure is pacing back and forth for a good 30 – 60 seconds, one of our team members calls out “if anyone is over by the bar, please make a sound.” And I shit you not, with no hesitation, a stack of plastic cups falls off the bar and onto the ground. That was definitely one of my favorite experiences."   Hopefully we get some action like that on our ghost hunt! Mike goes on to say that he actually got to see an apparition as well!       "Over the years, we've heard and seen many things. We've had items that turn up missing, seen plenty of white anomalies, and other occurrences. Apparitions are rare, but sounds are usually constant. We've heard bangs on our doors, we've heard voices, we've even heard music; big band music to be specific. The apparition I've seen was an unreal experience. We were sitting in the balcony, and we just saw this shadow figure in one of the seats across/behind us. The figure was perfectly human-shaped, but you could see through it. It definitely seemed like it was staring at us the whole time. Sadly, my story telling doesn't do this moment very much justice.   He said that a lot of the investigation stuff was mainly communication based with the spirits. He said they would ask  questions and they frequently got answers. We asked about how the spirits would answer and he told us:             "Most of the time in our investigations, we used dowsing rods for the questions, and asked them to cross the rods in a ‘yes or no' type of questioning. They were always responsive in this form. As long as we got it started, we usually were able to keep the questions going. Obviously, noises would happen all the time. I remember one evening just working (no event going on), but we use to have these ‘garage' type doors for our balcony entry. And for whatever reason, the spirts would not stop banging on them. Like something out of a movie, non-stop banging. That was the same day where my coworker went to use the bathroom, and as she was coming back to the office she heard “There she goes…” in a whisper type voice.   Damn! That's some crazy shit! We would like to thank Mike for his time and this incredible stories of the strange stuff that occurs at the agora! Hometown spooky shit is always awesome!  Top ten horror movie musicals https://screenrant.com/horror-musicals-best-ever-imdb/

On April 19th 1980, citizens of Asheville rallied to stop a swath of downtown from becoming a shopping mall. They tied together pieces of cloth and outlined the proposed 11-block development, calling it "The Wrap." Preservationists and community activists are bringing back that same method to save a historic stretch of the Charlotte Street neighborhood.

This episode, I got to talk with world-renowned photographer, OGs of OGs, Lee Kjos. We talked about growing up fly fishing and duck hunting, which was his first love. Then, in his teen years, he picked up a camera. He told me stories about getting film developed and transitioning to digital. We talked about billions of photographs being taken everyday, and nothing being printed anymore. He told me stories about some of the incredible people and places he has had the opportunity to photograph. We talked about being in the moment vs. capturing the moment. He gave some advice about shutting off when it comes to work time and play time. He told me about keeping his brain 'quiet' and remembering that ideas never run out - we just have to see them. He talked about magazine covers, and his process of retrieving all his past covers. We discussed photography as an art, and trying to hold on to that. We also touched a little bit on marketing strategies and the influence of social media in the outdoor industry. This episode was a blast, and I'm so glad to have Lee as a friend and a role model! Thanks for listening to another #TuesdayTalkwithLB

Video games preservationists have uncovered a rare, unpublished NES game in a treasure trove of 40 floppy discs donated from the collection of developer Chris Oberth. After weeks of digitizing and un-encrypting, an unreleased version of Days of Thunder was recovered.What We're PlayingColby: The Hunter, Minecraft DungeonsCliff: Mass Effect Andromeda, Minecraft DungeonsDylan: PitchstormOther Video Game NewsWarzone and PS5 Announce Delayed Because of Mass Protests GeForce Now Might Be Getting More Games (Or Maybe Not) The Epic Store is So Popular It Drives Sales on Other Stores The Next Star Wars VR Game Will Be Set in Disneyland PlayStation Isn’t Interested in PS5 Games Playing on the PS5, but PS4 Games Will Play on the PS5 QuestionsDA VINSTER (Vinny): I'm ripping this off from a question I heard from another podcast but it seems like an interesting discussion point: "If you could only pick two things between Graphics, Gameplay, and Story, what would you drop?"Mister Polite: What is something you enjoy in video games, but in real life, you are not a fan of or never do. For example, if a game allows you to jump in it, I will jump from point A to point B.  But it's been since my elementary years that I actually enjoyed jumping.Princess_Megan: We have now completed the first five levels of Jumanji, aka the first five months of 2020. What do you think level 6 will bring?Glitch_bunny: Who is your favorite Black video game creator/your favorite game made by Black creators?If you had as hard of a time answering that question as we did, here are some resources to get you started:https://twitter.com/WritNelsonhttps://creatorsfortheculture.com/2018/07/28/10-african-americans-in-video-game-industry/https://www.blackenterprise.com/top-10-african-americans-video-game-industry/https://www.quora.com/Do-you-know-the-names-of-any-black-video-game-developers-Any-black-owned-video-game-studioshttp://www.blackgamedevs.com/https://mobile.twitter.com/INeedDivGms/status/1267590362928906241 https://www.inverse.com/gaming/video-games-by-black-developers  https://twitter.com/SpiceBrotherOne/status/1267922031003172867?s=20 Cheap/Free GamesTotal Warhttps://www.gameinformer.com/2020/06/02/total-war-saga-troy-will-be-free-on-the-day-of-its-releaseEpic Game StoreArc Survival EvolvedTwitch PrimeObserverForsaken RemasteredStell RatsThe Flame in the FloodProject WarlockTroll CornerTracmania, Subscription or Not?https://www.pcgamer.com/ubisoft-says-trackmania-is-not-subscription-based-you-just-pay-for-it-multiple-times/

There may be new life for the nearly 100-year-old California Theatre on C Street. Preservationists have struck a deal with a developer that intends to construct a multi-million dollar 41-story condominium tower on the site of the historic theater. The compromise will preserve more of the building's exterior and lobby, as well as use original ornamentation. A dispute between preservation group Save Our Heritage Organisation, or SOHO, and the developer halted the demolition in March 2018. The new plan still calls for tearing down the heavily dilapidated building, but more of its exterior will be saved and a stronger effort will be made to faithfully reconstruct the building. The California Theatre, made up of a 2,200-seat theater and nine-story office building, closed in 1990.

We love realtors, and we also know many who would rather tear mid-century Modernist houses down than find new caring owners. That's ok, because there are realtors like today's guests who are passionate advocates for Modernist houses and go the extra mile. Martie Lieberman is a real estate agent with fans all over the world for mid-century modern and unique architectural houses. Martie was the force behind a resurgence of interest in the preservation of modern houses in Sarasota, Florida, and she created the Sarasota Architectural Foundation (SAF).  She has been honored with the Florida AIA's Bob Graham Award for promoting and preserving Modernist design.   Chris Menrad has been part of the Palm Springs real estate community for over 10 years. The stock trader-turned-real estate agent represents some of the most stunning mid-century modern houses on the market.  He came to Palm Springs in 1999 and bought a Modernist house by architect Bill Krisel plus he has restored five mid-century modern houses in Palm Springs.  Chris is a founding board member of the Palm Springs Modern Committee and a past board member of the Architecture & Design Council of the Palm Springs Art Museum. 

Preservationists often wear many hats across a variety of fields. Today's guest is no exception. Steph McDougal is a preservation renaissance figure – working as a preservation consultant, authoring books about Texas architecture, and volunteering her time to serve her community and to save historic dance halls throughout the Lone Star State.  Not only is Steph the founder of McDoux Preservation, a data and community-driven historic preservation consulting practice based in Houston, she is also the co-founder and current board president of Texas Dance Hall Preservation, Inc. She acts as a facilitator of community engagement, which connects Texas' historic social dance clubs to today's current community. Her mission is to stabilize, preserve, and reinvent new, sustainable uses for the most iconic vernacular architecture deep in the heart of Texas. Get ready to boot scoot and two step across Texas' rich dance hall history with Steph and Nick on this week's PreserveCast!PRESERVECAST FB PAGEhttps://www.facebook.com/preservecast/PRESERVECAST TWITTERhttps://twitter.com/preservecastPRESERVECAST SHOW NOTEShttps://www.preservecast.org

Preservationists come in all shapes and sizes, but have you ever heard of a preservationist cut-out doll? Today’s guest, Sarah Marsom, is a jack of all trades in terms of historic preservation. She’s a consultant, she’s a co-founder of the Rust Belt Coalition of Young Preservationists, and to top it all off she created the Tiny Activist Project, which raises funds through the sale of dolls that celebrate inspirational figures in preservation, like Jane Jacobs. Sarah and I cover all these programs and more. Stick around for a ~little~ while, on this week’s PreserveCast! Listen here: https://www.preservecast.org/2018/04/30/sarah-marsom-and-the-rust-belt-coalition-of-young-preservationists/

The Midnight Charette is now The Second Studio. SUBSCRIBE  • Apple Podcasts  • YouTube  • Spotify CONNECT  • Website: www.secondstudiopod.com • Instagram • Facebook • Twitter  • Call or text questions to 213-222-6950 SUPPORT Leave a review :) EPISODE CATEGORIES  •  Interviews: Interviews with industry leaders.   •  After Hours (AH): Casual conversations about everyday life.  •  Design Reviews: Reviews of creative projects and buildings.  •  Fellow Designer: Tips for designers.

Watch the NEW trailer for Family Pictures USA! Support and share our video as we enter the last week of our campaign!http://bit.ly/fpusatv!

What does it mean to be a preservationist? How does the built environment that surrounds you impact your daily life? Why does it matter? It’s never too early or too late to think about these questions, especially according to today’s guests, Matthew Craig and Christian Hughes. Matthew and Christian discuss their work through the Young Preservationists Association of Pittsburgh to encourage young people to engage with ideas of historic preservation in their communities. Although PreserveCast may be the number one historic preservation podcast, these youngbloods have a few tricks up their sleeves with their own podcast.Listen here: https://www.preservecast.org/2018/01/29/young-preservation-association-of-pittsburgh-preservation-podcast/

While in Los Angeles, John Roderick uses the Internet to speak with Dan Benjamin about the protoform dog, pawn shops, Ye Olde Pizza Parlors, bagels, and gold chains.

While in Los Angeles, John Roderick uses the Internet to speak with Dan Benjamin about the protoform dog, pawn shops, Ye Olde Pizza Parlors, bagels, and gold chains.

If you sit down with Joey Fonseca to discuss alligator hunting, he ll let you know that governmental regulations make his blood boil. But you ll also quickly learn that his excitement for alligator hunting is contagious. Joey s one of this week s guests whose work preserves culinary traditions. Another is Dr. Oliver Houck, an environmental professor at Tulane. His frequent visits to the Mississippi River batture have taught him to love that mysterious place and give him a handful of stories to share. We ll also speak with Jim Heimann and Jarred Zeringue men who ve indirectly documented a time and place by preserving restaurant menus and grandma s recipes, respectably. Louisiana Rabbit Fricassee Serves 6 4 tablespoons oil 6 rabbit hind legs 4 cups chicken stock 2 bay leaves 2 1 2 teaspoons thyme 1 onion, sliced 1 onion, diced 2 carrots, diced 2 celery stalks, diced 1 garlic clove, minced 1 2 teaspoon sage 4 tablespoons flour Salt and pepper 6 cups of cooked rice Season the rabbit legs with salt and pepper. Heat 2 tablespoons of the oil in a heavy skillet and brown them on each side. Remove the legs and reserve them. In the same oil, saut the sliced onion until tender and translucent. Return the rabbit to the skillet and add enough chicken stock to just cover the legs. Add the bay leaves and 1 2 teaspoon of thyme. Bring it to a boil then cover and reduce the heat to a low simmer. In about 40 minutes, the meat will be tender and falling off the bones. Remove the legs and let them cool until you can remove the meat. Reserve the meat and discard the bones. Heat the remaining 2 tablespoons of oil in a heavy, 5 quart Dutch oven. Add the chopped carrots, onions and celery saut ing until tender. Add the garlic, thyme and sage. Sprinkle the saut ed veggies with flour and stir together for a couple of minutes till the raw flour taste is gone. Stir in the cooking liquid from the rabbits and their meat. Season with salt and pepper and serve the fricassee over rice.

Join us this week as we talk with preservation advocate Kate Eggert about the grave threat facing two notable West Hollywood buildings, a 1938 WurdmanContinue Reading

Preservationists work to save modernist homes from destruction. We tour the historic High Rock Farm in Gibsonville. And Ragan Folan talks about an upcoming event at Old Salem with PBS gardening show host P. Allen Smith.

A rundown of the members of the Commission on Chicago Landmarks; the most rubber-stamp-like body in city government; and the public expense for saving Prentice. Length 15.2 minutes.

Jamie tears her ACL and decides to go to SXSW Music Festival for a pre-surgery hurrah.   She discovers a five-hour Woody Guthrie Tribute; ogles Bruce Springsteen during his keynote address;  visits with well-dressed musicians (Patrolled by Radar!) and pries herself away from day-drinking just in time to catch her flight. Back in Aspen, it's the Aspen's 7908 Songwriter's Festival, and Austin's Carrie Rodriguez and Luke Jacobs stop by the studio for a special Saturday a.m. edition of Sonic Byways.  The three talk songwriting therapy,  food trailer favorites, and Carrie's penchant for a coupla ice-cold Baltimore Ladies. Featuring an in-studio performance, highlights from SXSW and a music medley from The Preservationists and Patrolled by Radar...you'll laugh, you'll cry, you'll go to Austin.

Jim and Duncan talk about Historic Preservation on their return drive from the annual conference of the National Trust for Historic Preservation, held in Buffalo this week. This show includes an excerpt from the keynote address Jim gave to kick off the conference. During the talk JHK explained to preservationists that not all buildings are worth saving -- particularly the modernist architectural abortions of the 60s, 70s and 80s.