Podcasts about RCA

Au menu de l'actualité :À Londres, le chef de l'ONU appelle à rompre avec les énergies fossilesLa République centrafricaine consolide ses avancées vers une paix durableLe projet Sanctuary on the moon veut garder des traces des l'humanité sur la Lune Présentation : Jérôme Bernard

In this episode of Unlocked, Skot sits down with Mike Soltys ESPN's official historian and a 45-year veteran of the company and Garrett Sutton, attorney, bestselling author, and executive producer of the new documentary Sports Heaven: The Birth of ESPN. Together, they pull back the curtain on Bill Rasmussen, the 43-year-old who got fired from a hockey team and decided to build a 24-hour sports network instead of feeling sorry for himself. What makes this conversation compelling isn't just the ESPN story it's what that story reveals about leadership, conviction, optimism, and the willingness to believe in something before anyone else does. Bill Rasmussen had to simultaneously close deals with Getty Oil, RCA, Anheuser-Busch, the NCAA, and the city of Bristol none of them finalized while racing toward a launch date he'd already announced publicly. That's not luck. That's a specific kind of leadership most people never talk about. If you've ever had a vision that no one else could quite see yet, this episode will feel like a permission slip. Timestamps: 00:00:00 – Cold Start & Intro  00:05:15 – Why Getting Fired Was the Best Thing That Happened  00:07:26 – The Doubters, the Vision, and Sports 24/7  00:08:41 – Conviction vs. Consensus  00:12:39 – The Culture That Built ESPN  00:20:51 – When Bill Was Pushed Out - and What It Did to the Team  00:29:30 – The Juggle: How Bill Closed Five Deals Simultaneously  00:33:21 – Almost Shut Down: The Moment ESPN Nearly Didn't Survive  00:38:35 – What Startups Can Learn from Early ESPN Websites: Book, Sports Heaven: The Birth of ESPN, Watch: tenero.tv/pages/feature-films/sports-heaven Mike Soltys LinkedIn: linkedin.com/in/mike-soltys-149b498 Garrett Sutton LinkedIn: linkedin.com/in/garrettsutton

Ce lundi 15 juin, c'est la Journée mondiale contre la faim. Une journée instaurée par la FAO, l'Organisation des Nations unies pour l'alimentation et l'agriculture, et qui intervient dans un contexte de plus en plus préoccupant en Afrique. La baisse continue des financements internationaux, conjuguée à la coupe drastique de l'aide américaine, rend la lutte contre la faim et la malnutrition d'autant plus difficile que le changement climatique et les conflits régionaux s'accentuent. Kinday Samba, directrice régionale du Programme alimentaire mondial pour l'Afrique de l'Ouest et l'Afrique centrale (Tchad, RCA, Cameroun), est la grande invitée Afrique de ce lundi. RFI : Kinday Samba, pourriez-vous nous dresser un tableau général de la situation de la faim en Afrique de l'Ouest et en Afrique centrale ? Kinday Samba : La situation est très préoccupante. On peut déjà dire qu'on est dans une crise chronique qui est en train de devenir une crise beaucoup plus difficile à contenir, à cause de plusieurs facteurs qui s'accélèrent en même temps. On parle des conflits dans le Sahel, les chocs climatiques, les pressions économiques et les déplacements de populations. Les régions que je couvre abritent plus de 52 millions de personnes en situation d'insécurité alimentaire sévère, où l'instabilité et l'insécurité sont étroitement liées. Il y a un an, le PAM annonçait suspendre son aide alimentaire nutritionnelle vitale au Sahel central et au Nigeria, et ce, à cause d'un manque de financement urgent, avec deux millions de bénéficiaires directement impactés, notamment des réfugiés soudanais au Tchad, maliens en Mauritanie, ainsi que les populations vulnérables au Burkina Faso et au Niger. Un an plus tard, où en est la situation de ces aides dans ces zones ? La situation reste toujours difficile. On est toujours en train de vivre une contrainte financière qui n'a pas impacté que des activités nutritionnelles. Il y a d'autres activités qui ont été impactées. Si on parle concrètement pour cette année, on va réduire le nombre de personnes qui vont bénéficier des assistances. Par exemple, au Cameroun, plus de 500 000 personnes risquent de perdre l'accès à une assistance alimentaire et nutritionnelle. Au Mali aussi, on est contraint à une réduction de 25 % des bénéficiaires en 2026, comparé à 2025, et jusqu'à 55 % par rapport aux niveaux historiques récents. Et si on parle du Nigeria spécifiquement, nous ne pouvons aujourd'hui atteindre qu'une fraction des besoins. Nous prévoyons d'assister un peu moins d'un million de personnes dans un pays où plus de 34 millions de personnes sont en situation d'insécurité alimentaire. Le PAM estime d'ailleurs avoir besoin de 620 millions de dollars pour poursuivre l'apport de cette aide nutritionnelle. Est-ce que vous êtes encore loin de cet objectif ? Oui, on est loin de cet objectif. Parce que si on voit dans notre propre région pour cette année, on a besoin d'à peu près 1 milliard de dollars. Et, pour le moment, on n'a mobilisé que 25 % de cette somme. Donc, on est loin de ce chiffre. C'est une baisse globale qui se traduit en termes de nombre de personnes qu'on peut assister. Le PAM n'a pu assister que 7,6 millions de personnes dans le cadre de la réponse d'urgences en 2025. Donc, une partie importante a reçu des rations réduites. Aujourd'hui, ce que l'on observe dans le Sahel, c'est un véritable point de bascule. Donc, si on parle de 2026, le nombre de bénéficiaires prévus pour la réponse d'urgence a été revu à la baisse, passant de 6,9 millions en 2025 à 5,4 millions en 2026. Or, comme je l'ai dit, la région abrite plus de 52 millions de personnes en situation d'insécurité alimentaire. Un point de bascule, dîtes-vous, notamment dû à la coupe drastique de l'aide américaine qui affecte des programmes humanitaires dans le monde entier, dont les vôtres. Dans quelle proportion votre budget a-t-il diminué et comment vous êtes-vous réorganisé ? Ça ne concerne pas que les États-Unis. C'est une tendance beaucoup plus large. Avec une baisse globale des contributions au Sahel, les financements humanitaires ont chuté de près de 41 % en 2025, et certains pays ont été beaucoup plus affectés que d'autres. Donc, on a priorisé drastiquement nos opérations, allant jusqu'à ce que notre directrice exécutive finisse par décrire comme abandonner ceux qui ont faim pour nourrir les plus affamés. Donc, des analyses menées dans plusieurs pays montrent que les résultats sont préoccupants. Les ménages bénéficiant des rations complètes sont nettement mieux protégés contre la faim que ceux qui reçoivent des rations réduites. J'ai parlé du fait qu'on avait dû, pour certains, réduire nos rations. Donc, la priorisation s'est fortement renforcée et s'appuie davantage sur des données probantes, avec une concentration des ressources sur les populations les plus vulnérables, les plus à risque et les zones de plus fort impact. Voulez-vous dire qu'il y a un désintérêt de plus en plus croissant de la part des donateurs ? Oui, et depuis des années. Nous sommes à la mi-juin. C'est le début de la période de soudure dans de nombreuses régions que vous couvrez. Comment faites-vous face aux urgences durant cette période de soudure qui va durer trois mois ? Il y a des pays où le gouvernement – je peux citer la Mauritanie – couvre plus que 80 % des besoins, qui sont très, très importants. Donc, ça, c'est un des avantages de cette coupe de financement : les gouvernements sont en train de prendre davantage la responsabilité de répondre à ces situations. À lire aussiJournée mondiale contre la faim: la faim gagne du terrain dans le monde   À lire aussiJournée mondiale contre la faim: crises et malnutrition

Katie Cluff didn't plan to spend her life in recovery work. She planned to design interiors. She worked at Baskin-Robbins as a teenager, serving ice cream, dreaming of something different. Then life happened. Her father had 35 years of sobriety. She didn't. She fought the diagnosis for years — "I didn't want to be an alcoholic like my dad." But denial isn't a solution, and by her early twenties, Katie found herself in treatment. The first of many attempts. "For the first several years, I think I was doing it for my dad and not for me." That changed when she had a spiritual awakening during a family dynamics lecture. She saw herself — really saw herself — and for the first time, accepted that she was an alcoholic. Today, Katie is employee #5 at Recovery Centers of America. She's been with the organization since the vision phase in 2014, before the first center opened in 2017. She was there for the first call. The first patient. The first miracle. Now RCA has 12 inpatient treatment centers, and Katie is still answering her phone at midnight. The Consciousness Scale: Brandon's Framework Meets Katie's Work During the conversation, Brandon introduces a "map of consciousness" developed by David Hawkins — a logarithmic scale running from 0 to 1,000 that maps human emotions from shame (20) up to enlightenment (700-1,000). Courage sits at 200. Below that threshold, people are trapped in fear, grief, and apathy. They can't see a way out. Change feels impossible. But at 200 — courage — things open up. Possibility emerges. Someone in that state can finally pick up the phone. "Once you have courage and you step into it, because it's scary, change is scary... it takes some courage to step into the unknown." The problem: courage is fragile. Someone can be at 200 in the morning and back down to 100 by noon. Fear rushes back. Doubt creeps in. Here's what Katie and the RCA team do to keep people in that state of courage long enough to actually take action: How RCA Keeps Callers in a State of Courage When someone calls RCA, they're in a fragile state. They've maybe hit a bottom — a DUI, a relationship falling apart, a moment of raw honesty with themselves. But that moment can evaporate fast. Here's how Katie and the RCA team hold the space: Urgency without pressure — "We need to move fast, but we're not going to rush you." Compassionate tone — "I understand. I've been there." Non-judgment — "No matter how many times you've been before, I'm glad you're alive." Vulnerability — "I'll sometimes share my own experience. I tell them: I've lost everything too." Presence — Sometimes there are no words. Sometimes presence is the whole message. The Eagles Partnership: Breaking Stigma One Tailgate at a Time RCA partnered with the Philadelphia Eagles for a sober tailgate event — and the response was overwhelmingly positive. "The majority of comments were really positive and really pumped. People were saying: this is great for the Eagles, this is great for recovery." The goal isn't to convert people into recovery. It's to normalize it. To show that you can go to a sporting event, have fun, be part of the crowd — without drinking. The alcohol industry has taken an $800 billion hit in recent years. Sober bars are opening. Mocktail culture is trending. The tide is turning. But for people in active addiction, "Miller Time" still feels like the only option. RCA's job is to show them another way. Staff Growth at RCA — From Housekeeper to Executive One of the things Katie is most proud of at RCA: watching staff members grow. There's a man who started as a housekeeper, changing sheets and cleaning rooms. Today he's in a leadership role. Another employee started slicing deli meat at the grocery store. Katie hired him as a recovery support specialist. He became an admissions coordinator. Her nephew started answering phones. Today he's a vice president. "It takes a special individual. It takes a special individual's heart to do this work." RCA doesn't just hire for credentials. They hire for "why." Why do you want to do this work? If the answer isn't coming from a place of service, the job will break you. The Nephew Story — Answering the Call That Was Meant for You Five years ago, Katie's nephew called her. His roommate had overdosed. Katie dropped everything, drove to the apartment, and sat with him. She let him stay on her couch for four days. She didn't have the right words. Nobody does in those moments. But she didn't leave. Today, her nephew has almost 10 years of sobriety. "I was supposed to answer that phone call. I was supposed to. None of the meetings that day mattered anymore." That's the work. Not dramatic. Not glamorous. Just showing up. Being present. Answering the call. You don't have to have it all figured out. You just have to be brave enough to call. https://recoverycentersofamerica.com/

Fevzi Turkalp, the Gadget Detective, joins Clive Bull on LBC to discuss the latest tech news and reviews. On this week's show; some AI searches have been found to be sending people to scam shopping sites, what caused it and how can we protect ourselves from such results? Gadget of the Week goes to;Majority's Quadriga Music System. This compact but highly capable all-in-one music system contains an FM radio, DAB+ radio, Wi-Fi for streaming internet radio, built-in podcast player, CD player, Bluetooth, Spotify Connect, a USB connector for your USB sticks with audio on, connection comes via Aux, RCA, optical, and a headphone jack, along with a colour display and remote control. With 120 watt stereo speakers and a downward facing subwoofer for excellent sound quality, this is a great buy for those looking to upgrade their audio entertainment. Scoring 4.5 out of 5, more in the show.You can hear the Gadget Detective on LBC every Friday morning around 3.40am and you can follow and contact him on X @gadgetdetective and BlueSky @GadgetDetective.com#Fevzi#Turkalp#Gadget#Detective#Tech#Technology#News#Reviews#Help#Advice#Clive#Bull#LBC#Radio#AI#Artificial#Intelligence#Search#Scam#Shopping#Sites#Results#GadgetoftheWeek#Week#Majority#Quadriga#Music#System#Audio#DAB#FM#Radio#CD#USB#Spotify#Headphone#Optical#RCA#Phono#Remote#Stereo#Subwoofer#Podcast#Internet#Player#Bluetooth

Hosts Jim DeRogatis and Greg Kot talk with music journalist and author Barry Walters about his new book Mighty Real: A History of LGBTQ Music 1969-2000. They discuss how gay artists, industry execs and audiences changed mainstream music. They also chat about artists like R.E.M., Pet Shop Boys, Donna Summer and more.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/4frcVZoMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:David Bowie, "Rebel Rebel," Diamond Dogs, RCA, 1974The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Sylvester, "You Make Me Feel (Mighty Real)," Step II, Fantasy, 1978Pet Shop Boys, "Opportunities (Let's Make Lots of Money)," Please, Parlophone, 1986R.E.M., "Pretty Persuasion," Reckoning, I.R.S., 1984Gang of Four, "Call Me Up," Songs of the Free, EMI, 1982Prince, "Controversy," Controversy, Warner Bros., 1981Grace Jones, "Warm Leatherette," Warm Leatherette, Island, 1980Laura Nyro, "Stoned Soul Picnic," Eli and the Thirteenth Confession, Columbia, 1968Donna Summer, "Queen For a Day," Once Upon a Time, Casablanca, 1977Indigo Girls, "Closer to Fine," Indigo Girls, Epic, 1989Michael Jackson, "Childhood," HIStory: Past, Present and Future, Book I, Epic, 1995The Smiths, "There Is a Light That Never Goes Out," The Queen Is Dead, Rough Trade, 1986David Bowie, "Space Oddity," David Bowie, Philips, 1969Frankie Goes to Hollywood, "Relax," Welcome to the Pleasuredome, ZTT, 1984Robyn, "Blow My Mind," Sexistential, Konichiwa and Young, 2026See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Pour contacter RCA de notre part, utilisez ce lien : https://rca.fr/ressources/avec-meg-vous-serez-vraiment-pret-pour-la-facture-electronique/?utm_source=Podcast+CEG&utm_medium=paid-social&utm_content=Podcast&utm_campaign=FEContactez Legit de notre part en cliquant sur ce lien : Ils vous réservent un très bon accueil ! https://www.legit.fr/?utm_medium=podcast&utm_source=ceg&utm_campaign=midroll_podcast_ceg11 700 aides publiques actives en France. Les bases officielles n'en recensent que 2 200. Et la grande majorité des entreprises passe à côté.Michel Struk, fondateur de MAPI, du groupe Infogreffes, a passé 8 ans à construire la solution qui comble ce vide.Et il est convaincu que les cabinets d'expertise comptable sont les mieux placés pour déployer cette mission.Dans cet épisode, vous allez comprendre :Pourquoi l'expert-comptable est l'interlocuteur naturel sur les aides publiques, et comment transformer cet atout en mission structuréeComment fonctionne concrètement le pôle aides publiques externalisé proposé par MAPI : audit de portefeuille, détection de projets, montage et négociation des dossiers . Le tout en marque blanche, et sans que la relation client n'échappe au cabinet.Comment la solution a été construite en conformité avec la déontologie de l'Ordre des experts-comptablesQuels types de portefeuilles clients ont le plus fort potentiel, et lesquels sont à écarterDes exemples chiffrés : 400 000 € de subventions obtenues pour un dossier industrie bois, 20 000 € de CA pour le cabinet, pour un temps de travail minimal côté cabinet."Ce qu'ils veulent, c'est un humain qui s'occupe de tout."Bonne écoute !

This week, we're heading down to New Orleans circa 1958 to revisit the soundtrack and recording sessions for the iconic musical drama "King Creole." The Dixieland aesthetic gave Elvis an opportunity experiment, melding his now-signature rock and roll style with a small jazz ensemble, creating a soundtrack LP that had a distinct sound all its own. Although few outtakes remain, the songwriter demos for nearly the entire soundtrack provide insight on how Elvis and the band further developed such classic songs as "Trouble," "Hard Headed Woman" and "Crawfish" into the final forms heard in the film. Bec also takes the opportunity chat a bit about her appreciation for the movie itself, highlighting some of her takeaways from her most recent viewing, and posing questions about the Michael Curtiz-directed film as one of Elvis' best starring roles. For Song of the Week, Justin provides a little insight on what influences may have led Elvis to experimenting at home in the mid-1960s with an early 1950s pop ballad, "My Heart Cries for You." Finally, Bec rounds out the episode with a reflection on the intimacy of the underrated "I Miss You" which was also a home recording of sorts - as it was recorded professionally by RCA in Elvis' Palm Springs home! If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

Country artist and entertainer Chuck Wicks stops by the Try That In A Small Town podcast for a wild, honest, and surprisingly emotional ride.Chuck opens up about his journey from small-town farm kid and college baseball player to Nashville recording artist, radio host, entrepreneur, and autism dad. He shares the real story behind Stealing Cinderella, what it was like to be turned down by RCA the first time, and how he fought his way back to a record deal.Chuck also talks candidly about raising his nonverbal autistic son Tucker, early intervention, therapies, and the emotional roller coaster of getting an autism diagnosis at Vanderbilt. He explains how that journey has changed his priorities and why he and his wife Cassie (Jason Aldean's sister) feel called to help other parents find resources.From there, the guys dive into:- Chuck's relationship with Jason Aldean and what Jason is really like offstage - How Melorosa Wine was born from Cassie's Cuban family story - Building Shiners, a wild Cirque-style, adults-only residency show in downtown Nashville - The stress of chasing country radio, the power of authenticity, and artists taking shots at radio - The infamous “DipShidiot” segment: road rage, gas station etiquette, youth sports parents, and more Chuck also teases his upcoming movie on Great American Family Network and Amazon Prime, where he sings multiple songs and steps deeper into acting.If you love real Nashville stories, songwriting, small-town values, and unfiltered conversations about parenting, business, and faith, this episode delivers.Subscribe and share if you enjoy the show, and check out the member-only bonus segment for extra songs and stories.3:06 Early mornings, syndicated radio, and sleep routines 5:05 Family trip out West: Jackson Hole, Yellowstone, elk and bison 7:48 Buffalo vs bison and bear talk 10:00 Hunting, backlash on social media, and eating what you kill 13:44 Health, wild game, and clean eating 14:17 Chuck on being 47, staying in shape, and raising his autistic son 15:12 Tucker's autism journey: early signs, testing at Vanderbilt, and therapies 18:49 Nonverbal progress, speech breakthroughs, and hope 19:37 Faith, calling, and why parenting Tucker matters more than career 20:00 Connecting with other autism parents (Joe Don Rooney story) 22:19 Treatments, Lucavorin, red light therapy, and access to resources 24:50 “We wouldn't trade him for anything” – embracing Tucker's journey 26:17 Belt obsessions, airplane routines, and sensory quirks 26:28 Chuck's early life: small-town farm kid and college baseball player 28:46 Discovering his voice in college, almost joining a pop group 31:45 First trip to Nashville, meeting RCA's Jim Catino and singing a cappella 33:56 Development deal, not getting picked up, and starting over 36:18 Four years of grinding, learning to write, and finding his sound 42:40 Second chance: Clint Higham, Chesney camp, and full RCA deal 45:47 Writing Stealing Cinderella from a personal love story 50:00 Singing Stealing Cinderella at Coach Fulmer's daughter's wedding 51:37 Realizing the power of a song to move strangers 52:57 The stress of chasing radio hits and perspective with time 53:18 Other cuts and hits, including Jason Aldean's Don't You Wanna Stay (context: Aldean cut with Thrash) 56:03 How Chuck met Cassie, realized she was Jason Aldean's sister, and dating into the Aldean family 1:00:13 The day after: Jason Aldean's “blessing” phone call 1:02:30 Why Cassie's three kids changed how Chuck approached relationships 1:03:58 Blended family life: ages of the kids and how fast time moves 1:05:25 What Jason Aldean is really like offstage: loyalty, mystery, and staying the same guy 1:06:29 Jason's laugh, tight inner circle, and “it could all go away” mindset 1:08:01 Melorosa Wine: starting a wine company with Jason Aldean 1:09:00 Where to find Mellorosa (online, Kroger, ABC, Princess Cruises, Dubai) 1:09:33 The Cuban family story behind the name and “toast to freedom” 1:10:59 Shiners: Cirque-level, adults-only, comedy show in the historic Woolworth building 1:13:35 Writing Shiners during Covid and building a Nashville residency 1:16:10 The history and civil rights importance of the Woolworth building 1:20:20 What to expect at Shiners: moonshiners, aerial acts, crowd work, and “if you're easily offended…” 1:22:02 DipShidiot segment: explaining the bit 1:22:33 Gas station chaos: Bucky's pump hogs and parking-lot etiquette 1:25:29 Red velvet “Whitey” vs “Witty's” custard mix-up 1:27:31 Red Clay Strays controversy: “radio is dead” comment and why radio still matters 1:30:39 Burning bridges you haven't crossed yet and respecting country radio 1:35:05 Youth sports parents losing their minds vs just being a dad 1:38:01 CMT Awards “edit the chorus” story and learning to be grateful 1:41:03 Road rage story: 75 in a 70 and killing them with kindness 1:43:45 Locker room etiquette: naked close talkers and lifetime fitness stories 1:45:44 Manscaping, gym talk, and ridiculous visual bits 1:46:00 Chuck's upcoming movie: Great American Family Network & Amazon Prime 1:47:04 Coloring hair, beard guard settings, and aging on camera 1:50:02 Closing: Melorosa Wine, Shiners, Chuck's music, coffee collab, and podcast wrap ______________________________________________________________________________________________SPONSORS: The Try That in a Small Town Podcast is powered by e|spaces!Redefining Coworking - Exceptional Office Space for Every BusinessBook a tour today at espaces.comFrom the Patriot Mobile studios:Don't get fooled by other cellular providers pretending to share your values or have the same coverage. They don't and they can't!Go to PATRIOTMOBILE.COM/SMALLTOWN or call 972-PATRIOTRight now, get a FREE MONTH when you use the offer code SMALLTOWN.Original Brands - Our original sponsor since the beginning!!Original brands is starting a new era and American domestic premium beer, American made, American owned, Original glory.Join the movement at www.drinkoriginalbrands.comPeacemaker Coffee CompanyFounded by retired police officer/chief Chris Morris, Peacemaker delivers clean, low-acidity coffee while supporting police, firefighters, EMS, military, veterans, teachers, dispatchers, and medical personnel through donations and programs.https://www.peacemakercoffeecompany.com/________________________________________________________________________________________________Follow/Rate/Share at www.trythatinasmalltown.com -For advertising inquiries, email info@trythatinasmalltown.comProduced by Jim McCarthy and www.ItsYourShow.coSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tom Bourne is the Creative Director of Select First, and the co-founder, along with me of Clerkenwheels. Just over two weeks since we completed our ride we catch up to wrap up our thoughts on the ride and its impact and discuss, somewhat nostalgically, how two passionate cyclists navigated their journey from Plymouth to London while raising awareness for a worthy cause. Our journey was made even more special by the support of friends, family, and our wonderful support crew, Toby Kent. Having someone to cheer us on during the toughest moments made all the difference. We want to extend our heartfelt thanks to those who joined us or supported us along the way, particularly our friends from Porto Romano, David Collins Studio, FMS Interiors, HLM Architects, Condor Cycles, Industry Publicity, and the RCA, whose encouragement kept our spirits high. In this episode, we discover the joys, challenges, and unforgettable moments that made this adventure memorable The camaraderie of a team and the joy of sharing stories with locals we met along the way The importance of a cross industry approach to tackle diversity and inclusion And, if you want to know the secret to Tom's hill-climbing skills.  Take a look at his rear cassette. LinksClerkenwheels https://www.clerkenwheels.com United in Design https://www.unitedindesign.com Industry Publicity https://www.industrypublicity.co.uk/ I want to thank the team from United In Design for supporting our ride, Sophie Ashby and Alex Dorley and behind the scenes, Eman Akbar, who's been working tirelessly to put things in place. Julienne Webster from Industry Publicity, who's helping us with the marketing and PR of our initiative, and Tom Bourne from Select First, my co-rider for thinking up the idea, coming up with the name and keeping me motivated whilst I try to do my training. If you found this episode valuable, please subscribe, share it with someone who might enjoy it and help these conversations reach further afield. Thanks for listening. Bye for now

À quoi ressemble une journée dans la vie d'un soldat d'une force d'intervention rapide de l'ONU ? À l'occasion de la Journée internationale des Casques bleus, le lieutenant-colonel Gérald Aranda Assine, commandant du contingent sénégalais de la Force de réaction rapide (QRF) de la MINUSCA en République centrafricaine, en a livré un aperçu à ONU Info. Des opérations de nuit pour protéger les civils au désarmement d'ex-combattants, en passant par les campagnes médicales et les activités de cohésion sociale, il décrit un quotidien où l'action militaire se conjugue avec la construction de la paix.« Dans une même journée, vous avez des rebelles qui désarment, ces mêmes ex-combattants qui bénéficient d'une prise en charge médicale, une population qui consulte gratuitement et des enfants qui reçoivent des kits scolaires », explique le lieutenant-colonel Assine.Au fil de cet entretien, le Casque bleu sénégalais revient également sur l'importance du soutien psychologique et du lien avec les familles pour préserver l'équilibre des soldats déployés loin de chez eux. Il évoque aussi les rencontres humaines qui ont marqué sa mission, ainsi que la vocation qui l'anime au service de la paix.(Interview :  lieutenant-colonel Gérald Aranda Assine, commandant du contingent sénégalais de la Force de réaction rapide (QRF) de la MINUSCA ; propos recueillis par Cristina Silveiro)

This week, hosts Jim DeRogatis and Greg Kot are joined by returning guest and favorite music writer Jimmy McDonough. Jimmy recently released a biography 40 years in the making, Gary Stewart: I Am From the Honky-Tonks, and joins the show to help Jim and Greg run down five essential tracks from the cult country artist. The hosts also review new albums from Jill Scott, Mandy, Indiana, and Aldous Harding.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3RuYwkSMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Gary Stewart, "Honky Tonk Man," Honky Tonk Man (Single), RCA, 1981The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Jill Scott, "Offadaback," To Whom This May Concern, Blues Babe, 2026Jill Scott, "Liftin' Me Up," To Whom This May Concern, Blues Babe, 2026Jill Scott, "Pay U on Tuesday," To Whom This May Concern, Blues Babe, 2026Mandy, Indiana, "Sevastopol," URGH, Sacred Bones, 2026Mandy, Indiana, "Magazine," URGH, Sacred Bones, 2026Mandy, Indiana, "I'll Ask Her," URGH, Sacred Bones, 2026Aldous Harding, "Venus in the Zinnia," Train On The Island, 4AD, 2026Aldous Harding, "Train on the Island," Train On The Island, 4AD, 2026Aldous Harding, "I Ate the Most," Train On The Island, 4AD, 2026Aldous Harding, "Coats," Train On The Island, 4AD, 2026Aldous Harding, "One Stop," Train On The Island, 4AD, 2026Gary Stewart, "Sweet Tater and Cisco," You're Not The Woman You Used To Be, MCA, 1975Gary Stewart, "Drinkin' Thing," Out of Hand, RCA, 1975Gary Stewart, "Flat Natural Born Good-Timin' Man," Steppin' Out, RCA, 1976Gary Stewart, "Pretend I Never Happened," Your Place or Mine, RCA, 1977Courtney Barnett, "Scotty Says (Live on Sound Opinions)," Sometimes I Sit and Think, and Sometimes I Just Sit, Mom + Pop Music, 2015See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Change management is the reason most manufacturing improvement projects quietly stall, even when the technical work is sound and the tools are right.Vlad Romanov and Dave Griffith unpack their own change management war stories from across two decades in industrial automation. Vlad frames change management as understanding risk to the business and to every stakeholder, then putting the process in place that lets the organization absorb that risk. Technical feasibility is the easy half of any project. Getting humans to consistently work the new way is the half that wins or loses the budget.Vlad joined Procter & Gamble at a site rated four on P&G's Integrated Work Systems maturity scale, the highest in North America at the time. Every loss event triggered a structured root cause analysis cascade. Operator, mechanic, operations engineer, and only then the engineering department. He later moved to Kraft Heinz, which had purchased the same IWS toolkit from P&G. The tools were on the shelf. The site rating was effectively zero. He had spent his early career learning to use the tools without having to deploy them, and that gap is where most transformation programs die.Dave's lens is more political. Change management starts with one question engineers rarely ask. What is in it for the person you are asking to change? He tells the Joe story, a lead operator with more than 35 years on the floor who interrupted a connected workforce rollout meeting to point out that his team had cycled through every methodology fad of the last two decades. None had stuck. Dave's team asked what hurt the most. Joe kept training new operators who left for a dollar an hour more down the street. The fix was QR codes on equipment linked to procedures Joe recorded once. Joe went from skeptic to evangelist in one session. Find the operator with the deepest tenure, solve their pain, and let them carry the change.The episode is also honest about what well intentioned incentives do when they miss the mark. Vlad walks through an RCA rollout where management offered a fifty dollar gift card to whoever submitted the most reports each week. The team got a stack of paper. None of it shortened downtime. When real process change goes through a plant, throughput typically drops twenty to thirty percent for weeks or months. That cost has to be visible to leadership before the project starts.Two practical heuristics close the episode. As a systems integrator deploying MES and SCADA across food and beverage plants, Vlad could often predict success within the first demo by how the room reacted. Continuous improvement teams leaned in. Whiteboard sites pushed back. Dave reinforces that change has to start at the top. If the executive sponsor blows off steering meetings, the floor reads that signal. Change management is a habit, not a project, and habits are built small. Pick one workflow, prove it works, and let the next one earn its slot.Timestamps0:00 Introduction and Automate trade show preview1:30 Booth commitments: Siemens, Horner, and Tigoor6:00 Dave's Automate session and 4IR booth duty8:10 Predictions for Automate: physical AI, cobots, and the AI conversation13:10 Defining change management in manufacturing22:30 From P&G IWS to Kraft Heinz: tools versus deployment maturity28:30 What is in it for the person you are asking to change35:30 The RCA cascade at P&G compared to no process elsewhere42:30 The fifty dollar gift card incentive that backfired46:00 The Joe story: QR codes solving real operator pain58:30 Reading change management success in the first meeting1:07:00 Start small: the closing takeawayAbout Your HostsVladimir Romanov is a co-host of The Manufacturing Hub Podcast and the founder of Joltek, an independent manufacturing and industrial automation consulting firm specializing in modernization strategy, digital transformation, and workforce development. Joltek works with manufacturers and investors to de-risk modernization and build the internal capability to sustain results.Connect with Vlad: https://www.linkedin.com/in/vladromanov/Want to go deeper? Vlad and the team at Joltek have covered related topics here:Lean Six Sigma: https://www.joltek.com/blog/lean-six-sigma7 Different Root Cause Analysis Techniques in Manufacturing: https://www.joltek.com/blog/7-different-root-cause-analysis-techniques-manufacturingDave Griffith is a co-host of The Manufacturing Hub Podcast and founder of Capelin Solutions, an industrial automation firm helping manufacturers adopt smart manufacturing technology. He brings 15 years of experience in industrial automation and digital transformation.Connect with Dave: https://www.linkedin.com/in/davegriffith23/Subscribe to Manufacturing Hub: https://www.manufacturinghub.liveLinkedIn: https://www.linkedin.com/company/manufacturing-hub-networkYouTube: https://www.youtube.com/@ManufacturingHub

Pete Andrews from EchoBolt joins to discuss ultrasonic bolt inspection, the Bolt Wave device, and blade stud defect detection. Sign up now for Uptime Tech News, our weekly newsletter on all things wind technology. This episode is sponsored by Weather Guard Lightning Tech. Learn more about Weather Guard’s StrikeTape Wind Turbine LPS retrofit. Follow the show on YouTube, Linkedin and visit Weather Guard on the web. And subscribe to Rosemary’s “Engineering with Rosie” YouTube channel here. Have a question we can answer on the show? Email us! Welcome to Uptime Spotlight, shining light on wind. Energy’s brightest innovators. This is the Progress Powering tomorrow. Pete Andrews: Pete, welcome to the program. Good to be back. Yeah. See you face to face. Yeah. Yes. This is wonderful. It’s a really great event to catch it with loads of the. UK innovation that are happening in the supply chain. So it’s, yeah, really nice to be here.  Allen Hall: This is really good to meet in person because we have seen a lot of bolt issues in the us, Canada, Australia, yeah. Uh, all around the world and every time bolt problems come up, I say, have you called Pete Andrews and Echo Bolt and gotten the kit to detect bolt issues? And then who’s Pete? Give me Pete’s phone number. Okay, sure. Uh, but now that we’re here in person, a lot has changed since we first talked to you probably two years ago.[00:01:00] You’re a bootstrap company based in the UK that has global presence, and I, I think it’s a good start to explain what the technology is and why Echo Bolt matters so much in today’s world.  Pete Andrews: Yeah, absolutely. So, um, as you said, we’re a uk, um, SME, there’s a team of 13 of us based here in the uk. Yeah. But we do deliver our services internationally, but really focused on Northern Europe. Yeah. But increasingly we’ve done more in the US and North America, a little bit in Canada. Um, but our big offering really is to help wind turbine operators and owners reduce the need to routinely retire in bulks. So we have a quick and simple inspection technology that people can deploy, find out the status of their bolt connections, and then. Reti them if necessary, but the vast majority of the time we find that they’re static and absolutely fine and can be left [00:02:00] alone. So it’s a real big efficiency boost for wind operators.  Joel Saxum: Well, you’re doing things by prescription now, right? Instead of just blanket cover, we’re gonna do all of this. It’s like, let’s work on the ones that actually need to be worked on. Let’s do the, the work that we actually need to, and instead of lugging, like we’re looking at the kit right here, and I can, you can hold the case in one hand, let alone the tools in a couple of fingers. As opposed to torque tensioning tools that are this big, they weigh a hundred kilos, and those come with all of their own problems. So I know that you guys said you’re, you’re focused here. You do a lot of work, um, in the offshore wind world as well. Yeah. I mean, offshore wind is where you add a zero right? To zeros. Yeah. Everything else is that much more complicated. It costs that much more. It’s you’re transitioning people offshore to the transition pieces. Like there’s so much more HSE risk, dollar risk, all of these different spend things. So. The Echo Bolt systems, these different tools that you have being developed and utilized here first make absolute sense, but now you guys are starting to go to onshore as well.  Pete Andrews: Yeah, that’s right. So I mean, as as you said, that there’s really [00:03:00] three main benefit areas we focus on. The first one is the health and safety of technicians, right? As you said, some of the fasteners used offshore now are up to MA hundred. So a hundred millimeter diameter bolts,  Joel Saxum: four inches for our American friends. Yeah, absolutely.  Pete Andrews: And they probably weigh. 30 kilos plus per bolt. Yeah. Um, so just the physical manual handling of that sort of equipment and the tightening equipment for those bolts is a huge risk for people. If you think 150 bolts lifting or maneuvering, the tooling around on on its own can cause all the problems. So as well as the inherent risk of the hydraulic kit failing. So occasionally we see catastrophic tool failure. Is, which have really high potential severity, you know, sort of tensioner heads ejecting or crush injuries from Tor. So that is really a key focus for our customers, just to [00:04:00] keep their teams safe, but also you have to be the cost effective and the the major cost benefit we allow is that we don’t have to revisit every bolt and every turbine like you’d have to do if you were retyping. So we believe there’s something of the order of a million pounds per installed gigawatt saving. By moving from a routine REIT uh, maintenance strategy to a focused condition based inspection, you significantly reduce the amount of intervention you make and keep your turbines running more and reduce the boots on the ground on the turbine. So three real kind of, um, key. Benefits for people adopting our technology  Allen Hall: because we routinely see tower bolts being reworked or retention depending on who the manufacturer is. And I’m watching this go on. I’m like, why are [00:05:00] we doing this? It seems, or the 10% rule, we’re tighten 10% this year, and they’ll come back and see how it’s going. That’s a little insane, right, because you’re just kind of. Tensioning bolts up to see if one of them has a problem and then you just do more of them and we’re wasting so much time because echo bolts figured this out years ago. You don’t need to do that. You can tell what the tension is in a bolt ultrasonically, which was the original technology, the first gen I’ll call it, uh, that you could tell the length of the bolt. If the length of the bolt is correct within certain parameters, you know that it is tension properly. If it’s shrunk, that probably means it’s not tensioned properly. That’s a huge advantage because you can’t physically see it. And I know I’ve seen technicians go, oh, I could take a hammer and I can tell you which ones are not tensioned properly wrong. Wrong. And I think that’s where equitable comes in because you’re actually applying a a lot of science simply [00:06:00] to a complex problem because the numbers are so big. Pete Andrews: Yeah, I mean that, that, that’s been the real. Driving force between our offering is to simplify it. So ultimately we’re based on a non-destructive testing technique. It’s an ultrasonic thickness checking technique, but when from the non-destructive testing background, it’s crack detection, people have time, they can be, it’s a very precision measurement. People have to be trained in the wind industry. We’re trying to inspect. A thousand, 2000 bolts a day at scale. It’s a completely different, um, ask of the technology and the way the technology has been developed historically has required too much technician expertise, too much configuration and set up time, and hasn’t delivered on the, on the speed that’s needed to be efficient in wind. And that’s where our bolt wave [00:07:00] unit we’ve, that we’ve developed over the last. 18 months, let’s say, where all of our focus has gone to make it as slick and as easy for a client technician to pick up with minimal training. It’s through an iOS interface. Everyone understands it intuitively. Um, it’s a bit like using the camera app on your phone. You know, you’re just hitting measure, measure, measure, measure, measure 10 seconds a bolt as you move the, um, ultrasonic transducer across, and then the data gets moved. Automatically to the cloud, to our bolt platform. And customers can view it in near real time. The engineer in the office can see the inspections happened. They can see if there are any anomalous bolts, and then there can be communication there and then whether an intervention is necessary. So it’s sort of really changed the way our customers think about managing their, um. They’re bolted joints.  Joel Saxum: Well, I think these are, these are the kind of innovations that we love to see, right? Because [00:08:00] we regularly talk about a shortage of technicians, and this isn’t, I was just learning this this week too, like this is not a wind problem. This is a everywhere problem. No matter what industry you’re in. Use are short of technicians. But we’re seeing like a tool like this is developed to be able to scale that workforce as well. Right. You don’t need to be an NDT level three expert to go and do these things. ’cause there’s a very few of those people out there. Right? Right. We know the NDT people, a lot of NDT people, and that’s a hard skillset to come by. Yeah. This can be put in the hands of any technician. Yeah, a quick training course. Just, Hey, this is how you use your iPhone. You can check Instagram, right? Yeah. Okay. You can off figure. Yeah, have fun. See you at lunch. Um, but they can, they can make this happen, right? They can go do these inspections and you’re getting that, that, uh, data collected in the field. Centralized back to an SME that’s looking at it and you don’t have to put that SME in the field and try to scale their ability to go and travel and do all these things. They can be in the office making sure that the, the QA, QC is done correctly. I love it. I think that that’s the way we need to go with a lot of things. [00:09:00]Uh, and you’re making it happen.  Pete Andrews: Yeah. And it’s a real kind of. F change in mindset for us. So originally when we started Ebot, we were using third party hardware. Yeah. Which required a bit of that specialism. Yeah. A bit of care about the setup of the project, getting multiple parameters configured before you got going. And it wasn’t really something we could put in the hands of a customer.  Joel Saxum: Yeah.  Pete Andrews: Which meant Ebot scale was limited to what our own team could go and do, and regionally as well. You know, so we’re UK based. Probably 60% of our customers are uk, but now we have this Northern Europe offshore wind is obviously on our doorstep, but then increasingly we’ve done more and more in North America, so we’ve probably been to five or six sites now in North America and expect that to be a growth market because we can, we can now ship the devices over there, give some virtual training help. Uh, [00:10:00] people set themselves up and then that opens up that market, you know, so it’s been a real change in strategy for us, but has allowed us to have far more impact than we otherwise would just try to be a pure service.  Allen Hall: Well, let’s talk about the big problem in the states of a minute, which are the root bushing or inserts that are loose in some blades. When you lose that pushing, you also lose the tension on the bolt that can be measured. Is that something you’re getting involved with quite a bit now because of just trying to determine how many bolts are affected and, and where we are on the safety scale of can we run this turbine or not? Is that something that EE bolt’s been looking into? Pete Andrews: Yeah, absolutely. So I, I’d say there’s sort of two halves of what we do. There’s the, there’s the bulk wholesale monitoring of. Typically static connections to eliminate this routine retitling where it’s not needed typically, typically. But then we have these edge cases of certain [00:11:00] connections and certain platforms that have known bolt integrity problems, and we are working with clients to really, um, manage those integrity risks. Blade stud is an absolute classic, you know, sort of, I think almost every turbine OEM on some, if not all of their platforms has got. Embedded risk into their blades, pitch bearing connections. Um, so yeah, exactly as you said, our customers are using the technology for two things really. One is to ensure the bolts have been tightened to the preload that was specified or the target window. And quite often we find there is an opportunity to increase the preload and therefore increase the resistance to fatigue failure. So. You know, particularly on older sites where the bolts perhaps not in the condition they were on day one. Well, they definitely won’t be. Um, when people have gone and retti them, they haven’t got back to where they, they should be.[00:12:00] So we can prove that and increase a bit of that resilience, but then also start to look for the segments around the joint where, um, the bolt might start loosening or failures are occurring, and find areas where they can really hone in. And actively manage risk. And that sort of leads to what we’ve decided to do for the next year, particularly with Blade Stud in mind, is evolve this technology. So whilst it’s also measuring the elongation, we will do a defect scan at the same time. So you’ll monitor your blade stu, um, connection and we’re hoping that we can set the device to flag to you there and then. We believe this bulk has got a defect while you’re here, get it changed out before it fails and, and all the knock on problems, um, from there. Joel Saxum: So what you’re just pointing to there is a, is a workflow, right? So to me that is typical [00:13:00] of some of the amazing, innovative companies in the UK that I’ve run into throughout my career. And that is, you’re a group of SMEs, you know, bolted connections. That’s what you do, right? But then you’re like, hey. If there’s a tool, we could make a tool that would make our lives a bit easier, then it’s like, well, we could make the entire industry’s lives a little bit easier as well. So let’s iterate on that. And now you’re able to send these kits around the world to look at these things. Hey, you have a problem with this specific model. We can help you with this because we know the failure mode and we know how to look for it. Let’s do that for you. Also here, you’re doing bolt bulk measurements. We got that for you. But it all kind of flows back to the fact that Echo Bolt is a team. A bolted connection, SMEs that are making tools and being able to also provide consulting if need be. Yeah. Right. Um, to, to an entire industry. And I think that, um, this is my take on it, right? Wind is stop number one. I think you guys are gonna do a fantastic year, but there’s a lot of, uh, opportunity out there in bolted [00:14:00] connections as well. Allen Hall: A tremendous amount blade bolts being broken from defects in the crystalline structure. What appears to be a more. Rapidly developing issue across fleets that I’ve seen. I went to a farm this summer and the number of blade bolts that were there on the table that were broken on the conference room table was And the whiteboard office. Yeah. Yeah. This one,  Joel Saxum: this one.  Allen Hall: Your hard head is not gonna protect you from this one. It’s, it’s, it was this, um, I couldn’t imagine the amount of time they were spending hunting these things down. And of course, the only way they were finding ’em was they were broken. You like to catch ’em before they break because it becomes  Joel Saxum: a safety risk. Just not too long ago we saw an insurance case where there’s an RCA going on and it is pointing at an entire tower came down. Right. And it is pointing at a mid, mid tower section bolted connection. How often do you guys run into those problems? Or are you contacted by insurance companies or anything like that to, to take a peek at those? Pete Andrews: We haven’t done anything directly for insurance [00:15:00]companies, but we have been engaged by. Engineering consultancies that are doing RCA type activities. Okay. Um, things like at the end of defect liability periods mm-hmm. A customer has, has seen, they’ve had a lot of, uh, issues from an OEM, maybe an OE EM has offered a modification or an upgrade, assessing whether that upgrade is actually solved the problem or not. We’ve got involved in, um, but the tower. Issue specifically. It’s actually very rare we find, um, problems with tower connections, but where we do is often where they haven’t achieved good flange flatness, ah, during installation or the bolts have been, let’s say, left out in the elements for a period and lubrication has been, has deteriorated before the bolt’s been installed. So there are cases out there, but what I would say is. [00:16:00] To think about your whole life cycle, so ensure the bolt’s installed correctly and we can help with that with a QA to say, yes, this torque or tightening method has got you to the load that you want. Do some through life monitoring, but often if you install it correctly, it will it’s operational life. You will have very little concern. But then in the UK market, we’re increasingly getting involved again at the end of life, right? Life extension where life extension turbines are 20, 25 years old. How does an operator make a decision to carry on running without replacing all bots? Um, and that’s where increasingly we being asked to use the technologist just to say, actually the joint is fine. The bolts have run in a good, um, operational envelope. Run them on. Don’t replace a hundred percent of them like you might have been recommended to from your, um, yeah. Turbine supplier side. [00:17:00] Allen Hall: So Pete, if someone’s doing a repower where they’re basically putting a new one in the cell on an existing tower, they’re making a lot of assumptions about all the bolts from the ground up that they’re gonna be okay. And I know we’re talking about that. We’re in a lot of installations where. If the turbine has gone through a repowered or two. So now those bolts are 20 years old. Yeah. And trying to get ’em to  Joel Saxum: 30 35. 35  Allen Hall: 40. Yeah. I don’t know what they’re doing. By those bolted connections. Are they just like replacing the bolts? Are they hitting ’em with a hammer again? Is that the, yeah,  Pete Andrews: I mean, they might replace ’em, but you’ve got a problem with the foundation bolts. ’cause they’re obviously often anchor bolts set into concrete, so you have to reuse them and. With the projects, both in wind and in process power industry with the chimney stacks to try and ascertain whether foundation bolts that are set into concrete are still suitable for operations. So look for corrosion losses, look for [00:18:00] defects. Um, so yeah, they’re all things that need thinking about before you just make the snap decision to repower. But I think  Joel Saxum: a lot of that, uh, going back to a couple minutes ago, you were talking about at the commissioning phase, making sure that you have proper qa, QC of how these things were installed day one, and then making sure that before commissioning of a turbine, they’re checked. I think that’s really important. We’re starting to see that in the blade world now too, where we’ve been talking about it for a long time, and now when you talk to operators, they’re like, we’re getting inspections done on the blades before they’re hung. Or at the factory before they’re hung. After they’re hung. Like they want a good foundation baseline. Are you seeing that in the bolted connection world too?  Pete Andrews: Yes. Sort of. It’s just emerging for us. What we’ve found is, so most of our customers are in the operational phase ’cause they are the ones feeling the pain. Yeah. Of the routine retitling work. When they do major components, they sometimes engage us to come and say, can you check [00:19:00] before and after the blade was removed? What was it? Before we took it off from a a bolt load perspective, what is it afterwards? Can you then recheck after 500 hours When we retalk it? And what we’ve seen there often is the initial install hasn’t got them to where they needed to be and they’ve had to go and do the break in maintenance or the 500 hour REIT to get the bolts to the right load. So one of the questions that we have is whether. Some of the defects are actually being initiated very early on in that initial running in period and whether if, if actually you’d taken the time at, at the point of assembly to make sure you were correct, whether that avoids some of the knock on integrity concerns. So yeah, it’s interesting area.  Allen Hall: Well, bolts are what hold wind turbines together and you better know you have the right. Tension and [00:20:00] torque on your bolts to get to the lifetime of the wind turbine and to, and to check it once in a while. And I know there’s a lot of operators I can think of right now in the United States that are sort of doing that job somewhat. I I think they have missed out on opportunities to save a lot of money and to call it echo bolt. How do people get ahold of you? Because that’s one thing I run into all the time. Like, Hey, hey, you gotta talk to Ebol, call Ebol. How do they get ahold of you?  Pete Andrews: So the easiest ways are via our website. Which is echo bolt.com. Um, LinkedIn, you’ll find us at Echo Bolt on LinkedIn. Reach out. Our email would be info@cobolt.com. So any of those route and you’ll, uh, reach me and the team and more than happy to speak to you about any of your faulting concerns or problems. We are, uh, yeah, we’re passionate about your problems.  Allen Hall: Pete, thank you so much for being on this podcast. I, it is great to actually see you in person and see the bolt wave technology. It’s really [00:21:00] impressive. So anybody out there that needs bolt tensioning to checking tools, you need to get ahold of Pete at Echo Bolt and get started today. Thank you Pete. Thanks guys. It’s great to be here.

Pour contacter RCA de notre part, utilisez ce lien : https://rca.fr/ressources/avec-meg-vous-serez-vraiment-pret-pour-la-facture-electronique/?utm_source=Podcast+CEG&utm_medium=paid-social&utm_content=Podcast&utm_campaign=FEContactez Legit de notre part en cliquant sur ce lien : Ils vous réservent un très bon accueil ! https://www.legit.fr/?utm_medium=podcast&utm_source=ceg&utm_campaign=midroll_podcast_cegFin avril, une interview de Gabriel Dabi-Schwebel publiée sur Compta Online a fait grand bruit dans la professionSelon lui, le nombre de cabinets pourrait passer de 20 000 à 8 000 d'ici 2030, sous le coup d'une hyperconcentration.Gabriel Dabi-Schwebel a fondé Décision IA, une société de conseil en transformation par l'IA. Avec 50 000 abonnés sur Linkedin, il y décrypte fréquemment les impacts de l'IA sur les secteurs traditionnels.Dans cet épisode, Marine Lévesque l'invite à partager cette vision prospective de la profession comptable.Au programme :Pourquoi la désintermédiation de la relation client par les fintechs est un risque majeur pour la professionPourquoi automatisation déterministe et IA générative ne sont pas le même outil, et lequel sert vraiment le conseil du cabinetPourquoi le gap grandit entre petits et grands cabinets qu'est-ce qui sous-tend cette concentration en coursDans quels scénarios le petit cabinet généraliste survit, et dans combien il disparaît (Scenario Planning de la profession comptable)Quelles “décisions sans regret” prendre maintenant, sans attendre d'y voir clair, avec l'exemple du cabinet Oranova Conseil.Un épisode dense, plus long que d'habitude, mais à la hauteur des enjeux qu'il décrit.Bonne écoute !

Seventy years ago this month, Elvis Presley topped the Billboard Music charts and redefined popular music in America with "Heartbreak Hotel," his first single for the RCA label. Mae Boren Axton co-wrote the song and introduced Elvis to Colonel Parker. She was a 41-year-old English teacher, and singer, songwriter, who knew Presley when he was a teenager. Mae was one of the first people to interview Elvis.

Not all experiments are created equal, and neither are the decisions behind them. In this episode, Cam Cyr explores how scientists navigate the balance between cost and performance in molecular biology workflows. Drawing from his experience as a technical sales specialist, Cam breaks down what “performance” really means in practice, from enzyme fidelity and sensitivity to reproducibility and inhibitor tolerance. He highlights how these factors become critical in high-stakes applications like antibody engineering or single-cell analysis, where errors can propagate and compromise entire workflows. Through examples like reverse transcription enzymes and high-fidelity polymerases, Cam illustrates why premium products are often essential when working with rare samples or build-critical steps. At the same time, he explains where cost-saving approaches make sense where results are binary and easy to replicate, such as genotyping or routine screening. Ultimately, the conversation reframes how scientists should think about cost, not as price per reaction, but as cost per successful result. Along the way, Cam shares his career journey from bench science to a customer-facing role, offering perspective on the many paths available in life sciences and the importance of staying curious. Suggested Links:  View Thermo Fisher reverse transcription and PCR enzymes Learn more about Thermo Scientific™ EquiPhi29™ DNA Polymerase Explore careers at Thermo Fisher Scientific Subscribe to get future episodes as they drop and if you like what you're hearing we hope you'll share a review or recommend the series to a colleague.  Visit the Invitrogen School of Molecular Biology to access helpful molecular biology resources and educational content, and please share this resource with anyone you know working in molecular biology. For Research Use Only. Not for use in diagnostic procedures.

It's Clever's 10th anniversary! We're celebrating by honoring some of the amazing stories we've collected over the years. Jay has continued to make meaningful contributions to the world since this conversation, and we have updates. Be sure to subscribe to our Substack & social (IG & LI) to catch up on Jay's recent news!Clever Ep. 163: Industrial designer and founding partner of Barber Osgerby, Jay Osgerby, grew up in a small town in England, with his close-knit multi-generational family and the backdrop of his grandparents' experiences through WWII. His childhood was filled with making things - inspired by his Swiss ancestors' stories of watch and camera making. His parents were incredibly resourceful, whether it was opening a shop together or repurposing curtains when the local cinema closed. This pioneering spirit is something that Jay has carried with him throughout his career - from his studies at RCA where he met long-time business partner and friend, Ed Barber, to designing the 2012 Olympic Torch, to revolutionizing how people work remotely with Soft Work seating. Now, 25+ years into design, Jay reveals the triumphs and tragedies that lined his path and forged his character with candor, humor, and an unflagging optimism that burns bright and steady like the inextinguishable flame of the Olympic Torch.Images, links and more from Jay Osgerby!Clever is hosted & produced by Amy Devers, with editing by Mark Zurawinski, production assistance from Ilana Nevins and Anouchka Stephan, and music by El Ten Eleven.SUBSCRIBE - listen to Clever on any podcast app!SIGN UP - for our Substack for news, bonus content, new episode alertsVISIT - cleverpodcast.com for transcripts, images, and 200+ more episodesSAY HI! - on Instagram & LinkedIn @cleverpodcast @amydeversSpecial thanks to our sponsors!Wix Studio is a platform built for all web creators to design, develop, and manage exceptional web projects at scale.Join us for Emerging Designers Spotlight LIVE, Sunday May 17, 4pm on the Main Stage at ICFF NYC. Register to attend for free with code: MISKGENSPK Hosted on Acast. See acast.com/privacy for more information.

Walter Sterling covers the launch of Red Apple Audio Networks' World Wide News Network, the history of RCA, David Sarnoff, FM radio, and the old-school battles that shaped broadcasting. Walter also dives into the latest UFO file releases, strange 3I Atlas signals, alleged alien species, Skunk Works secrets, missing scientists tied to anti-gravity research, secret space technology, and questions over what the government may still be hiding. Plus, he takes listener calls on particle accelerators, conspiracy theories, the Holocaust, school systems, algebra, special needs education, and the challenges facing parents. The show also gets into holiday weekend guilty pleasures, gas station chicken, orange Hostess cupcakes, bad reality TV, HOA nightmares, Buc-ee's, and the strange late-night conversations that make the Midnight Misfits keep listening. Learn more about your ad choices. Visit megaphone.fm/adchoices

#高雄 正義站&黃線捷運計劃，平面車位3房全新完工 實品屋預約鑑賞中。 正義站通勤南科，未來捷運串連衛武營、Lalaport。 正義公園，風景入門廳。 陽明國中自由學區07-7801988 洽澄清路227號 https://sofm.pse.is/958acr －－－－以上為 SoundOn 動態廣告－－－－ 川普與習近平會面後，白宮聲明美中將建立「建設性戰略穩定關係」，川普為何此時選擇對中國採取緩和態度？與中國達成的經貿協議是務實交易，還是不得不面對美國國內經濟與通膨壓力？習近平高規格接待川普，表面熱絡背後意圖為何？中方是否想在二十一大前穩住經濟與政局，爭取短期休戰？川普稱不支持台灣「Go Independent」，是反對現狀破壞還是阻止引戰？不過他又說，若台灣走上獨立、中國激烈反應，美國也會強烈回擊，這是否間接破解川普的戰略模糊？川普卡住的140億美元對台軍售，是美國防衛承諾的退縮，還是同時對兩岸使出的雙向談判籌碼？川普多次指台灣「偷了」晶片市場，要台灣更多晶片產能遷往美國，拚任內掌握全球一半產能，這就是台灣為了安全而必須付出的代價？賴清德強調台灣是全球核心利益，和平不能被交易，美國、或者說川普，也是如此看待嗎？精彩訪談內容，請鎖定@華視三國演議！ 本集來賓：#余茂春 #矢板明夫 主持人：#汪浩 以上言論不代表本台立場 #川習會 #對台軍售 #戰略模糊 #台獨 電視播出時間

In this week's show we do a review of the WiiM Amp Multiroom Streaming Amplifier but first,  we read your emails and take a look at the week's news. News: Tubi Will Stream The 2026 FIFA World Cup For Free Roku launching new creator-driven content channels, hub Disney+ to join Hulu in streaming top music festivals Streaming Bundles Offsetting Rising Subscription Costs WiiM Amp: Multiroom Streaming Amplifier As you know Ara just completed a set of speakers built from salvaged MDF and brand new components from Dayton Audio. The speakers sound excellent and will end up being a part of Ara's whole home audio system in Tennessee. The only issue is that these speakers are passive and need an amplifier. So to drive them Ara is using the WiiM Amp Streaming amplifier which runs for about $300 at Amazon. This WiiM amp is an all-in-one device that combines a high-quality streamer, ESS Sabre DAC, and Class D amplifier into one cool looking box. It's perfect for "just add speakers" simplicity with great performance, especially at this pricepoint.  Key Features Power Output: 60W  8 ohms DAC: ESS Sabre ES9018 HyperStream, supports up to 24-bit/192kHz hi-res audio Streaming & Connectivity: AirPlay 2, Chromecast, Spotify Connect, Tidal Connect, Amazon Music, Qobuz, DLNA, Bluetooth 5.1 (two-way), Wi-Fi, Ethernet Inputs: HDMI ARC (for TV), optical digital, analog RCA line-level, USB-A (for local files/drives) Outputs: Speaker binding posts, subwoofer RCA (with adjustable crossover) Controls: WiiM Home app (iOS/Android), included remote, voice control (Alexa built-in, works with Google/Siri) Other: 10-band graphic EQ + parametric EQ, room correction options, multi-room grouping with other WiiM devices, gapless playback Setup Setup was straightforward and took about ten minutes including the firmware upgrade done through the WiiM Home App. For Ara's setup it was, plug in power and connect the speakers and join the wifi network which was done through the WiiM Home app. Ara is not using a subwoofer but one can be added by using the sub out RCA connection. You can adjust the crossover in the app. The app is where you can select EQ, source, and do your multi-room configuration.  There is only one physical control that controls volume and doubles as play/pause. HDMI ARC makes it an excellent TV audio upgrade with minimal hassle. No complex wiring or external DAC needed. More on that in a bit. Sound Quality The WiiM Amp delivers clean, lively, and detailed sound at a reasonable price. It offers good clarity, solid bass control via the sub out.  Distortion is very low even at high levels of volume. We are not saying that using these with some KEF or SVS Towers is the way to go, but for small-to-medium spaces, or desktop setups, it sounds surprisingly good. Add to it that it can make any speaker work with Apple Airplay or Google Cast Audio and you have a relatively inexpensive way to build out a wireless whole home audio system.  The HDMI ARC support makes this a cost effective way to add a 2.1 speaker system to your TV. In this case the center channel is split evenly between the left and right speakers giving the perception that the audio is coming from the center, provided the speakers are not separated from the TV by a large distance.  We have a listener named John who is using the Wiim Amp Pro ($379 from Amazon with no Airplay support) in this manner with an SVS subwoofer and his quote is, "It's been working perfectly".  The only issue he had was with the EQ calibration. When it was set to cut and boost frequencies he would get audio dropouts. He did some experimenting and found that if he only cuts frequencies and does not boost them, the audio dropouts stopped.   Cool Features That Make It Worth $300 All-in-One Versatility — Streamer + DAC + amp in one small box (about the size of a small Mac mini).  HDMI ARC + Sub Out — Turns any TV into a better-sounding system and easily adds a subwoofer with crossover control. Advanced App EQ & Room Tools — 10-band graphic + parametric EQ plus presets let you fine-tune for your room/speakers. Multi-Room & Ecosystem — Group with other WiiM devices for whole-home audio; excellent service integration (Spotify/Tidal Connect, AirPlay 2, etc.). Other Extras — USB playback, two-way Bluetooth, and voice control,  Summary The WiiM Amp is an outstanding budget streaming amplifier that offers a lot of versatility, ease of use, and surprisingly good sound for the money. It's ideal for anyone wanting a simple, music or TV audio setup without complexity or high cost. While we don't recommend it for big rooms, it's perfect for desktop and bookshelf use, especially if you want to use Airplay 2 or Google Cast Audio. With all that said, Ara will probably never use the app again and simply connect to it via the Airplay 2 from his Mac and iOS devices.   

Mario Esposito e Carlo Emilio Zummocuratori della mostra "Lucio Dalla e Roberto Roversi. Automobili. Un disco"MAUTO Museo Nazionale dell'Automobile di TorinoFino al 20 settembre 2026A cinquant'anni dalla pubblicazione, il progetto espositivo invita a riascoltare un album e a ripensare il nostro rapporto con una delle invenzioni che più hanno segnato – e continuano a segnare – la nostra storia.Installation view. Ph. PerottinoIl Museo Nazionale dell'Automobile presenta il progetto espositivo LUCIO DALLA & ROBERTO ROVERSI. AUTOMOBILI. UN DISCO. In esposizione da mercoledì 13 maggio a domenica 20 settembre - nella project room al primo piano - materiali d'archivio, illustrazioni e automobili che accompagnano il visitatore in un percorso in cui le canzoni dell'album prendono forma nello spazio espositivo, intrecciando memoria storica, immaginario collettivo e riflessione contemporanea sul ruolo dell'automobile nella società.“Il Museo Nazionale dell'Automobile rappresenta il contesto ideale per accogliere e amplificare il progetto Lucio Dalla & Roberto Roversi. Automobili. Un disco. Da luogo tradizionalmente deputato alla conservazione e valorizzazione dell'oggetto automobile, il Museo si configura oggi come uno spazio di riflessione culturale più ampio, in linea con una strategia che privilegia approcci trasversali e intersezionali. Portare questa mostra al MAUTO significa spostare lo sguardo - da oggetto tecnico a fenomeno culturale complesso - e interrogare le narrazioni che hanno costruito il mito dell'auto, metterle in discussione e aprire nuove prospettive di lettura che coinvolgono musica, letteratura, arte e società. La mostra si inserisce così pienamente nella nuova visione del Museo: un'istituzione capace di raccontare l'automobile come lente privilegiata per comprendere le trasformazioni del Novecento e le sfide del contemporaneo. Automobili diventa allora un archivio vivo, un racconto aperto, uno strumento critico”. Lorenza Bravetta, Direttore MAUTONel 1976 la casa discografica RCA pubblica Automobili, il concept album di Lucio Dalla e Roberto Roversi dedicato al simbolo per eccellenza della modernità e delle trasformazioni del Novecento. Il cantautore e il poeta, entrambi bolognesi, avevano originariamente composto undici brani destinati alla scena teatrale. La scelta di ridurli a soli sei per la pubblicazione su LP segna, al tempo stesso, il culmine e la rottura della loro collaborazione. Una decisione che rende oggi necessario riscoprire anche le cinque canzoni escluse, fondamentali per comprendere appieno la portata sociale e politica della loro visione del rapporto tra l'uomo e l'automobile.Quando uscì, l'album fu accolto come un'opera anomala, difficile, profondamente politica. Lontano dalle logiche commerciali della discografia dell'epoca, il disco si configurava come un affresco critico della società industriale italiana, in cui l'automobile non era semplice oggetto di desiderio o simbolo di progresso, ma dispositivo culturale, sociale e ideologico. Le recensioni dell'epoca ne sottolineavano la natura spiazzante: un concept album che smontava il mito dell'automobile proprio mentre questo raggiungeva la sua massima espansione. Nelle parole di Roversi e nelle musiche di Dalla, l'automobile è teatro di contraddizioni: promessa di libertà e insieme strumento di alienazione, icona di modernità e al tempo stesso segno di crisi industriale, simbolo di potere e oggetto destinato al declino. A distanza di cinquant'anni, Automobili si rivela un'opera sorprendentemente attuale. In un presente segnato dalla transizione ecologica, dalla ridefinizione dei modelli di mobilità e da un ripensamento radicale del rapporto tra uomo, tecnologia e ambiente, il “futuro incompleto” evocato dal disco appare come una chiave di lettura potente per interpretare il nostro tempo. La mostra nasce dunque come un dispositivo interpretativo: non una celebrazione nostalgica, ma un campo di tensione tra passato e presente. Le canzoni diventano matrici narrative che attivano una pluralità di linguaggi – automobili, materiali d'archivio, immagini, suoni, illustrazioni – per costruire un racconto stratificato, capace di attraversare storia, cultura pop, industria, immaginario e critica sociale.Installation view. Ph. PerottinoIn esposizione materiali originali provenienti dall'archivio di Antonio Bagnoli - nipote di Roberto Roversi - e dedicati all'universo di Automobili e alla collaborazione tra Lucio Dalla e il poeta: programmi di sala e locandine dello spettacolo teatrale Il futuro dell'automobile (1976), taccuini manoscritti di Roberto Roversi con testi e scalette preparatorie, lettere autografe tra Dalla e Roversi, documenti legati alla richiesta dello pseudonimo “Norisso” presso la SIAE, articoli e interviste pubblicate sulla stampa dell'epoca, oltre a testi originali delle canzoni e materiali audiovisivi tratti dal programma televisivo Automobili andato in onda nel 1977. Un corpus eterogeneo che restituisce il clima culturale, artistico e politico in cui nacque uno dei progetti più radicali e visionari della canzone italiana degli anni Settanta. Accanto ai documenti, due vetture - la Alfa Romeo tipo B P3 del 1932 e la Autobianchi Bianchina 4 posti del 1967 - che, accostate, restituiscono la parabola culturale dell'automobile italiana: da simbolo eroico e visionario a presenza diffusa e contraddittoria della modernità contemporanea. La prima rimanda direttamente alla dimensione epica evocata nel brano Nuvolari e, più in generale, al racconto della velocità come mito moderno. È l'automobile delle corse, dell'eroismo individuale, delle Mille Miglia e dei grandi piloti celebrati nel disco: una macchina estrema, simbolo di un'Italia che costruisce il proprio immaginario tecnologico e sportivo attraverso figure leggendarie e imprese collettive. La Bianchina rappresenta invece l'altra faccia del racconto: l'automobile popolare, accessibile, entrata nella vita quotidiana degli italiani durante il boom economico. È la vettura delle famiglie, delle periferie, delle vacanze e della motorizzazione di massa che Dalla e Roversi osservano criticamente in Automobili, tra alienazione urbana, ingorghi, consumi e trasformazioni del paesaggio sociale.Con il patrocinio diMinistero della CulturaRegione PiemonteCittà di TorinoFondazione Lucio DallaDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

This week, Justin and Bec put on their dancing shoes and boogie back to the week of June 5, 1976 (just a hair under 50 years ago) to see what was happening in the world of American music and where Elvis' latest single "Hurt/For the Heart" ranked on the pop, easy listening and rock charts, before delving into what surrounded "Hurt" as it reached its highest peak at #6 on the Country chart - and RCA's Elvis compilation "Sun Sessions" was nearing the top of the country LP chart, too! What they're surprised to find is not only a popular culture swept up in both disco and 1950s nostalgia, but a snapshot of a time when connections to Elvis seep into most of the rest of the genre of country music, with songs like "Suspicious Minds" and and artists who ALSO once recorded at Sun Records like Johnny Cash, Conway Twitty and Narvel Felts or have other Elvis connections (Elvis movie demo singer Glen Campbell shows up too!) bringing their own stylistic throwbacks to the Top 10. For Song of the Week, Justin solves a mini-mystery surrounding what 1962 movie scene specifically inspired Hank Cochran to write the country classic "Make the World Go Away," which featured prominently on "Elvis Country" and Elvis was filmed performing during the making of "That's The Way It Is" in 1970. Then finally, Bec touches briefly on Elvis' studio and live versions of Kris Kristofferson's "For The Good Times."  If you enjoy TCBCast, please consider supporting us with a donation at Patreon.com/TCBCast. Your support allows us to continue to provide thoughtful, provocative, challenging and well-researched perspectives on Elvis's career, his peers and influences, and his cultural impact and legacy.

Ramones. Blondie. Television. Talking Heads. Patti Smith. New York Dolls. Everyone knows the big names that made New York City THE epicenter of American punk rock in the 1970s. But that's only a part of the story... For every band that "made it" in some way, there were hundreds of bands who either faded into obscurity or never got the break they deserved. They shared the same stages at legendary clubs like CBGB and Max's Kansas City. And their stories are essential to the NYC punk revolution of the era. One of those bands was Manhattan's The Rousers, whose drummer, Jerid O'Connell, joins us as Third Lad today!  Rousers 1979 Sire Session is out now on Left For Dead Records on both black and translucent white individually numbered 12” LP vinyl and 2 x CD set (with bonus tracks). Inspired by the New York Dolls, Ramones and such immortal ‘50s rockers as twangy guitar hero Duane Eddy, the Rousers were woefully under-documented in their prime. A few major labels sniffed around, including RCA and Warner Bros. subdi­vision Sire. But no one committed them to vinyl until their single “Party Boy” b/w “Don't Let The Band Stop Playing” 45 (produced by Wayne Kramer of the MC5) via Jimboco in 1981.  This oversight is corrected with the release of the demos that the original Rousers lineup cut for Sire in the label's basement studio on New York's Upper West Side in 1979.  Never before released, the tapes sat shelved in the Rock & Roll Hall of Fame's Sire archives for decades, digitized and re­stored in 2024. This is not a footnote. It's a rescue mission. Tracked to tape under the sharp ear of Ed Stasium, hot off sessions with the Ramones and Talking Heads, the 1979 Sire demos are raw, radiant, and long overdue for release. They captured the Rousers in full dragstrip ignition mode: dueling Gibson guitars plugged into Fender amps for maximum punk twang, hiccupping Elvis/Buddy Holly vocal inflections, and a rhythm section built for backseat makeouts and beer-splashed dance floors.  We celebrate the true underground of NYC punk this week, including Jerid's incredible stories ranging from hanging out with Sid Vicious the week before his death to the Rousers' neighbor Madonna opening for them. Learn more about your ad choices. Visit megaphone.fm/adchoices

En Centrafrique, la falsification de documents administratifs prend une ampleur inquiétante. Actes de naissance, diplômes, certificats ou encore pièces d'identité : ces faux documents circulent de plus en plus dans certains quartiers de Bangui et dans plusieurs villes de province. Pourtant, la loi centrafricaine qualifie cette pratique de « faux et usage de faux », une infraction passible de poursuites judiciaires et de sanctions pénales. Malgré les risques encourus, de nombreux jeunes sans emploi ou en situation de précarité se tournent vers cette activité devenue, pour certains, un moyen rapide de gagner de l'argent. De notre correspondant à Bangui, Entre les vendeurs ambulants, les étals de légumes et les friperies, un petit kiosque en bois attire discrètement des visiteurs. Au premier regard, rien ne le distingue des autres commerces. Pourtant, derrière une vieille imprimante reliée à un ordinateur portable poussiéreux, une équipe de jeunes falsifie des cachets, des signatures et des documents administratifs. L'un d'eux, qui a requis l'anonymat, explique leur activité. « Nous fabriquons de faux documents pour aider certains compatriotes dans le besoin. Beaucoup n'ont pas le temps de suivre les procédures normales. D'autres ont perdu leurs papiers pendant les crises. Ils cherchent donc à avoir rapidement les documents privés et publics. » Autour de lui, des feuilles plastifiées, des tampons et des formulaires vierges sont rangés dans des chemises usées. Les clients arrivent discrètement, souvent envoyés par une connaissance. Gaël Boris, opérateur économique, témoigne. « Aujourd'hui, on est en train de marcher dans le PÉRIL concernant nos frères et nos sœurs qui sont au quartier, qui ne font rien. Et ils ne veulent pas aller à l'école, mais ils veulent seulement avoir un diplôme parallèle obtenu dans le quartier pour ensuite aller candidater dans les ministères. Et là, vraiment, ce n'est pas bien. » À lire aussiCentrafrique: de faux diplômes de baccalauréat seraient délivrés aux politiciens locaux « Je ne condamne personne, mais je condamne seulement l'État » Derrière ce phénomène se cachent plusieurs réalités : difficultés d'accès aux documents officiels, lourdeurs administratives, perte de papiers pendant les crises successives, mais aussi faiblesse des contrôles dans certains services publics. Alain Ngana, acteur de la société civile. « Ce qui pousse vraiment les gens à faire des faux papiers, c'est le fonctionnement de l'administration, qui est lente. Les gens font de faux passeports et de fausses pièces d'identité nationale. Il y a aussi les actes de naissance, parfois faire les démarches au niveau des mairies, c'est un peu difficile. Les gens préfèrent aller faire un faux acte de naissance pour leurs besoins. » Les prix varient selon le document demandé. Les plus simples coûtent quelques milliers de francs CFA. En revanche, certaines pièces plus sensibles peuvent atteindre 50 000 francs CFA, soit environ 76 euros. Dimitri Lebo, étudiant, s'interroge. « Où allons-nous ? Où va la RCA avec tout ça ? Je ne condamne personne, mais je condamne seulement l'État. Pour mettre fin à cette corruption, il faut aussi que chacun ait un peu de conscience morale. » La police a déjà arrêté plusieurs faussaires dans différents quartiers populaires de la capitale. Beaucoup ont été jugés et condamnés pour faux et usage de faux. Selon une source policière, les opérations se poursuivent afin de démanteler les réseaux encore actifs. À lire aussiCentrafrique: l'augmentation du prix des cartes d'identité fait polémique

In this episode, we examine the RadioShack Retro Turntable (Model 4001797), a $129.99 belt-drive player that aims to balance vintage aesthetics with modern connectivity. The unit plays all three standard speeds—33 1/3, 45, and 78 RPM—and accommodates records up to 12 inches, making it compatible with most collections including older shellac formats. It features dual built-in speakers for immediate playback, though serious listeners will likely take advantage of the RCA outputs to connect to external audio systems. The turntable's standout feature is its bidirectional Bluetooth capability, allowing users to either stream audio to the turntable or send vinyl playback wirelessly to Bluetooth speakers. Additional connectivity includes a 3.5mm AUX input and headphone jack. Housed in an MDF case with a PVC vinyl finish and transparent dust cover, the turntable occupies a 15.75" x 14.17" footprint. At this price point, it positions itself as an accessible entry point for vinyl newcomers or a convenient secondary setup, offering out-of-the-box functionality without requiring immediate additional investment in external speakers. Follow AndroidGuys(X) Twitter: https://www.twitter.com/androidguysInstagram: https://www.instagram.com/androidguysTikTok: https://www.tiktok.com/@androidguysofficialYouTube: https://www.youtube.com/@AndroidGuyscomOfficialWebsite: http://www.androidguys.comFollow Scott WebsterInstagram: https://www.instagram.com/scottwebsterFollow Luke GaulInstagram: https://www.instagram.com/lukegaul

This week, hosts Jim DeRogatis and Greg Kot share some of their favorite artists who beat the dreaded sophomore, delivering follow-ups that proved their debuts were no fluke. The hosts will also hear picks from the production staff.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Horsegirl, "Switch Over," Phonetics On and On, Matador, 2025The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Black Sabbath, "Paranoid," Paranoid, Vertigo, 1970Public Enemy, "Bring the Noise," It Takes A Nation of Millions to Hold Us Back, Def Jam, 1988Led Zeppelin, "Moby Dick," Led Zeppelin II, Atlantic, 1969Pixies, "Debaser," Doolittle, 4AD, 1989black midi, "Slow," Cavalcade, Rough Trade, 2021Kanye West, "Touch the Sky (feat. Lupe Fiasco)," Late Registration, Roc-A-Fella, 2005Fiona Apple, "Fast As You Can," When the Pawn..., Epic and Clean Slate, 1999SZA, "Good Days," SOS, TDA and RCA, 2022Erykah Badu, "Cleva (feat. Roy Ayers)," Mama's Gun, Motown, 2000D'Angelo, "Chicken Grease," Voodoo, Virgin, 2000Phoebe Bridgers, "Savior Complex," Punisher, Dead Oceans, 2020Van Morrison, "Cyprus Avenue," Astral Weeks, Warner Bros., 1968Violent Femmes, "Please Do Not Go," Violent Femmes, Slash, 1983See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Originally SquigY0 Plays The Records 13, SquigY0 Plays The Records 14, and SquigY0 Plays The Records 15 on the One Cigar, One Scotch, One Podcast feedFeaturing selections from:* Bill Cosby - I started out as a child (Warner 1964) * Four Tops Live! (Motown 1968) * Devo - Live In 1980 (Warner 1980 / 2019) * All In The Family (Atlantic 1971) * Humble Pie - Performance Rockin' the Fillmore (A&M 1971) * Peter, Paul and Mary - In Concert (Warner 1964) * George Carlin - FM & AM (Little David 1972) * Elvis Presley - International Hotel Las Vegas August 26, 1969 (RCA 1969, 1980, 2019) * Joe Walsh - Can't Argue With A Sick Mind (ABC 1976)

Industrial Talk is onsite at Xcelerate 2026 and talking to Salim Jaffer, Strategic Account Manager at Mobius Institute about "Reliability success = Culture". Overview The conversation features Salim Jaffer, a strategic account manager at Mobius Institute, discussing his extensive experience in the industry, particularly in reliability and root cause analysis (RCA). He highlights his background with companies like Bentley Nevada, GE, Baker Hughes, and Emerson, and his current role in developing partnerships and training in the Gulf Coast region. Jaffer emphasizes the importance of RCA, the need for a cultural shift towards reliability, and the role of data in predictive maintenance. He also promotes Mobius Institute's professional training programs, which cover various aspects of asset management and reliability, including vibration analysis, lube oil analysis, and ultrasound training. Outline Fluke Xcelerate Event Overview Scott introduces the Industrial Talk podcast, sponsored by Fluke, highlighting the Xcelerate event.The event focused on reliability, predictive maintenance tools, and AI diagnostics.Scott emphasizes the importance of real-world strategies for teams to use today.Fluke is praised for their contributions to smarter, faster, and reliable operations. Introduction to the Podcast and Salim Jaffer Scott reiterates the podcast's mission to celebrate industry professionals and their contributions.The event, Xcelerate, is being held in Austin, Texas, and is sponsored by Fluke.Salim Jaffer is introduced as the guest, representing Mobius Institute and other organizations. Salim Jaffer's Background and Experience Salim Jaffer shares his extensive experience in the industry, including 30+ years with various companies.He details his time with Bentley Nevada, GE, Baker Hughes, and Emerson, focusing on reliability solutions.Salim is currently a strategic account manager for Mobius Institute, covering the Gulf Coast region.He discusses his role in developing partnerships and representing the Mobius Institute brand. Root Cause Analysis (RCA) and Human Nature Salim explains his three-hour session on root cause analysis (RCA) at the Xcelerate event.He emphasizes the importance of RCA and shares personal anecdotes about his instinctive problem-solving nature.The conversation touches on the challenges of human nature in plant operations and the need for a collective approach to reliability.Salim highlights the importance of training and cultural change to foster a shared responsibility for reliability. Challenges in Plant Operations and Reliability Culture Salim discusses the common issue of plant managers claiming everything is fine, despite obvious problems.He shares examples of hidden issues, such as broken sensors and improperly set-up equipment.The conversation explores the need for a culture where everyone understands and supports reliability efforts.Salim mentions the General Electric (GE) culture change training and its effectiveness in fostering a shared responsibility for reliability. The Role of Technology and Data in Reliability Salim and Scott discuss the evolving role of technology, particularly AI, in predictive maintenance.Salim shares his experience with AI and neural networks in the early 2000s, emphasizing the importance of data.The conversation highlights the need for clean data and the challenges of working with historical data.Salim promotes Mobius Institute's training programs, which include hands-on experience with data and tools. Mobius Institute's Training and Certification Programs Salim provides an overview of Mobius Institute's professional training programs.The training covers various aspects of reliability, including vibration analysis, lube oil analysis, and ultrasound.Salim emphasizes the importance of the Asset Reliability Professional (ARP) program, which is certified by ISO.The ARP program offers training at different levels, from entry to leadership, focusing on improving reliability through systematic methodologies. Conclusion and Contact Information Salim reiterates the importance of education and continuous improvement in the field of reliability.He encourages listeners to reach out to him via LinkedIn for further discussions.Scott Mackenzie wraps up the podcast, highlighting the importance of human connection and storytelling in the industrial field.The podcast concludes with a reminder to visit Mobius Institute's website for more information and to stay tuned for future episodes. If interested in being on the Industrial Talk show, simply contact us and let's have a quick conversation. Finally, get your exclusive free access to the Industrial Academy and a series on “Why You Need To Podcast” for Greater Success in 2026. All links designed for keeping you current in this rapidly changing Industrial Market. Learn! Grow! Enjoy! SALIM JAFFER'S CONTACT INFORMATION: Personal LinkedIn: https://www.linkedin.com/in/salimjaffers/ Company LinkedIn: https://www.linkedin.com/company/mobius-institute-north-america/ Company Website:  https://www.mobiusinstitute.com/mina/ PODCAST VIDEO: https://youtu.be/ST8wcA3UBkk THE STRATEGIC REASON "WHY YOU NEED TO PODCAST": OTHER GREAT INDUSTRIAL RESOURCES: NEOM: https://www.neom.com/en-us Hexagon: https://hexagon.com/ Arduino: https://www.arduino.cc/ Fictiv: https://www.fictiv.com/ Hitachi Vantara: https://www.hitachivantara.com/en-us/home.html Industrial Marketing Solutions:  https://industrialtalk.com/industrial-marketing/ Industrial Academy: https://industrialtalk.com/industrial-academy/ Industrial Dojo: https://industrialtalk.com/industrial_dojo/ We the 15: https://www.wethe15.org/ YOUR INDUSTRIAL DIGITAL TOOLBOX: LifterLMS: Get One Month Free for $1 – https://lifterlms.com/ Active Campaign: Active Campaign Link Social Jukebox: https://www.socialjukebox.com/ Industrial Academy (One Month Free Access And One Free License For Future Industrial Leader): Business Beatitude the Book Do you desire a more joy-filled, deeply-enduring sense of accomplishment and success? Live your business the way you want to live with the BUSINESS BEATITUDES...The Bridge connecting sacrifice to success. YOU NEED THE BUSINESS BEATITUDES! TAP INTO YOUR INDUSTRIAL SOUL, RESERVE YOUR COPY NOW! BE BOLD. BE BRAVE. DARE GREATLY AND CHANGE THE WORLD. GET THE BUSINESS BEATITUDES! Reserve My Copy and My 25% Discount

This week, hosts Jim DeRogatis and Greg Kot talk with biographer Will Hermes about his book on Lou Reed, as well as Lou's music, persona, legacy and more.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Lou Reed, "Walk on the Wild Side," Transformer, RCA, 1972The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967The Velvet Underground and Nico, "Sunday Morning," The Velvet Underground & Nico, Verve, 1967The Velvet Underground and Nico, "Heroin," The Velvet Underground & Nico, Verve, 1967The Velvet Underground, "Pale Blue Eyes," The Velvet Underground, MGM, 1969Lou Reed, "Coney Island Baby," Coney Island Baby, RCA, 1975The Velvet Underground, "Some Kinda Love," The Velvet Underground, MGM, 1969Lou Reed, "How Do You Think It Feels," Berlin, RCA, 1973Lou Reed, "Perfect Day," Transformer, RCA, 1972The Velvet Underground, "Sweet Jane," Loaded, Cotillion, 1970The Velvet Underground and Nico, "I'll Be Your Mirror," The Velvet Underground & Nico, Verve, 1967The Velvet Underground, "Candy Says," The Velvet Underground, MGM, 1969Pixies, "Here Comes Your Man," Doolittle, 4AD and Elektra, 1989See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

À la une :

This week, hosts Jim DeRogatis and Greg Kot are joined by Ratboys lead singer and songwriter Julia Steiner. The Chicago band's sixth album, "Singin' To An Empty Chair," is one of the most acclaimed releases of 2026 so far. The hosts also review the new album from Chicago rockers, Friko.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Ratboys, "Anywhere," Singin' To An Empty Chair, New West, 2026The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Friko, "Seven Degrees," Something Worth Waiting For, ATO, 2026Friko, "Guess," Something Worth Waiting For, ATO, 2026Friko, "Alice," Something Worth Waiting For, ATO, 2026Friko, "Choo Choo," Something Worth Waiting For, ATO, 2026Ratboys, "Folk Song For Jazz," AOID, Topshelf, 2015Rat Boy, "My Name Is Rat Boy," Internationally Unknown, Parlophone, 2019Ratboys, "Elvis Is In The Freezer," GN, Topshelf, 2017Ratboys, "Just Want You To Know The Truth," Singin' To An Empty Chair, New West, 2026Ratboys, "Making Noises for the Ones You Love," The Window, Topshelf, 2023Ratboys, "Burn It Down," Singin' To An Empty Chair, New West, 2026Ratboys, "At Peace In The Hundred Acre Wood," Singin' To An Empty Chair, New West, 2026Ratboys, "Light Night Mountains All That," Singin' To An Empty Chair, New West, 2026Lou Reed, "Vicious," Transformer, RCA, 1972See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Submit your suggestions for America's Most Beautiful Tennis Courts here: https://linktr.ee/NothingMajorShowOn this Friday episode of Nothing Major, John Isner, Sam Querrey and Stevie Johnson debate replacing the show jingle, then Sam unleashes his “air freshener guy” rant. The guys dive into tennis's biggest on-court meltdowns, sparked by Daniil Medvedev's Monte Carlo racket smash and Iva Jovic's suggestion, revisiting classics from Baghdatis, Nalbandian, McEnroe, Youzhny, Kyrgios, Serena, Tarango and more, and pick a top five for fans to vote on. They also break down the best non-cash tournament prizes (Stuttgart Porsches, Indy's RCA electronics giveaways, Federer's cow, Rolex watches, and Laver Cup gifts). Finally, they launch a fan-driven search for the most beautiful tennis court in the U.S. and answer listener questions on memorable shots, friendship boundaries, and how hard to push kids in tennis.00:00 Show Tease And Lineup00:26 Welcome Back And Jingle Debate02:39 Sam Air Freshener Rant07:22 Biggest Tennis Meltdowns16:52 Voting The Top Crashouts20:25 Best Non Cash Tournament Prizes22:23 Wildest Giveaway Stories24:56 Watches And Sponsor Swag25:09 Rolex Winner Watches25:36 Best Tournament Gifts27:05 Dream Prizes Ideas28:27 Honorary Club Memberships32:44 Most Beautiful US Courts38:16 Top Players List Debate39:46 Career Shots Memories42:25 Life Advice Loud Friend44:43 Coaching Kids Balance49:46 Wrap Up And Submissions

Guest: Brad Strawbridge — Founder, Capital City Roofing & BuilderLyncGuest Links: Website: https://builderlync.com/This episode covers practical, real-world ways roofing companies are using AI right now to automate non-revenue tasks and free up teams to focus on selling and customer experience. Brad Strawbridge walks through how he uses Claude Co-Work to build reusable workflows that automate everything from proposal creation to dispatching sales reps, how the teach feature lets you record clicks and turn any repetitive CRM process into a saved workflow you can trigger with a forward slash command or put on a schedule. He explains how he built Capital City University, a full training curriculum for roofing using Notebook LM with manufacturer materials and RCA-approved content uploaded as knowledge sources. The conversation also covers BuilderLync, an all-in-one CRM built specifically for roofers that replaces five or six separate tools, handling everything from AI-powered cold outreach and lead nurturing to scheduling, dispatching, supplements, bookkeeping, and payment collection. Brad shares his take on why newer roofing companies have a massive advantage right now by starting AI-first instead of trying to retrofit old processes, why the best way to use AI is to give it a ridiculous amount of context before asking for answers, and his five-year outlook on where roofing is headed with the Roofing Alliance bringing the trade into universities and driving technology adoption across the industry.

In this episode of Christ the Center, Camden Bucey speaks with Lee Hutchings and Ben Kappers about the work of planting ordinary means of grace churches and learning to trust Christ to build his church. Drawing from their ministry experience in North Canton, Ohio, and St. George, Utah, they reflect on the challenges of church planting, the slow and often hidden nature of growth, and the need to rest not in novelty, personality, or technique, but in the ordinary means God has appointed. Lee Hutchings serves as senior pastor of Trinity PCA in North Canton, Ohio, a congregation he planted after years of ministry in Mississippi. Ben Kappers serves All Saints Reformed Church in St. George, Utah, as an evangelist under the oversight of Northern California Presbytery, bringing experience from both the Reformed Church in America and the Presbyterian Church in America. Together they offer pastoral wisdom on planting confessionally Reformed churches through the clear proclamation of Christ, the faithful teaching of Scripture, prayer, and the ordinary ministry of the church. This conversation encourages pastors, elders, and church members alike to labor patiently and confidently, knowing that the Lord is pleased to gather and strengthen his people through his appointed means. Chapters 00:00 Introduction 03:15 Twin Lakes Fellowship, encouragement, and ministry refreshment 08:20 Lee Hutchings's Jackson years and his memorable film-extra story 13:10 Ben Kappers's path from the RCA to the PCA 19:25 How the St. George and North Canton church plants began 29:40 Trusting Scripture and Christ rather than strategy or novelty 34:05 What ordinary means church planting looks like in practice 39:20 Slow growth, discouragement, and resisting church-growth pressure 46:35 Confessional identity, Mormon context, and knowing the people you serve 56:10 Planting for future generations and final encouragement

In this episode of Christ the Center, Camden Bucey speaks with Lee Hutchings and Ben Kappers about the work of planting ordinary means of grace churches and learning to trust Christ to build his church. Drawing from their ministry experience in North Canton, Ohio, and St. George, Utah, they reflect on the challenges of church planting, the slow and often hidden nature of growth, and the need to rest not in novelty, personality, or technique, but in the ordinary means God has appointed. Lee Hutchings serves as senior pastor of Trinity PCA in North Canton, Ohio, a congregation he planted after years of ministry in Mississippi. Ben Kappers serves All Saints Reformed Church in St. George, Utah, as an evangelist under the oversight of Northern California Presbytery, bringing experience from both the Reformed Church in America and the Presbyterian Church in America.  Together they offer pastoral wisdom on planting confessionally Reformed churches through the clear proclamation of Christ, the faithful teaching of Scripture, prayer, and the ordinary ministry of the church. This conversation encourages pastors, elders, and church members alike to labor patiently and confidently, knowing that the Lord is pleased to gather and strengthen his people through his appointed means.  Chapters 00:00 Introduction 03:15 Twin Lakes Fellowship, encouragement, and ministry refreshment 08:20 Lee Hutchings's Jackson years and his memorable film-extra story 13:10 Ben Kappers's path from the RCA to the PCA 19:25 How the St. George and North Canton church plants began 29:40 Trusting Scripture and Christ rather than strategy or novelty 34:05 What ordinary means church planting looks like in practice 39:20 Slow growth, discouragement, and resisting church-growth pressure 46:35 Confessional identity, Mormon context, and knowing the people you serve 56:10 Planting for future generations and final encouragement

Dr. Liz Beavis, Asset Manager at Tilt Renewables, joins to discuss O&M contracts, balance of plant, and lessons from Australia’s biggest and oldest wind farms. Contact Liz on LinkedIn or by email. Sign up now for Uptime Tech News, our weekly newsletter on all things wind technology. This episode is sponsored by Weather Guard Lightning Tech. Learn more about Weather Guard’s StrikeTape Wind Turbine LPS retrofit. Follow the show on YouTube, Linkedin and visit Weather Guard on the web. And subscribe to Rosemary’s “Engineering with Rosie” YouTube channel here. Have a question we can answer on the show? Email us! Intro: [00:00:00] Welcome to Uptime Spotlight, shining Light on Wind. Energy’s brightest innovators. This is the Progress Powering tomorrow. Allen Hall: Liz, welcome to the program. Thanks,  Liz Beavis: Alan. I feel I’m a long time listener. First time caller, so it’s exciting.  Allen Hall: You are a long time listener and thanks for doing that. Uh, and Liz, I just find you to be a wealth of knowledge and, uh, we met on a couple occasions since I’ve been in Australia and it’s just, uh, a fun to connect here because I think a lot of the things that are happening in Australia need to be spread around the world. A lot of, uh, good o and m practices happening in Australia, uh, from hard lessons learned. So that’s what I want to dive into today. And then the first one is, I don’t think many people realize this, that you went. From commissioning, Australia’s largest wind farm, Cooper’s gap to managing seven [00:01:00] of the 10 oldest operational wind farms in the country. So you got some of the biggest, newest to some of the oldest assets. Uh. Uh, my question is like, when you started that, did you just kind of assume like wind, wind farms or wind farms or wind turbines or wind turbines and you could just basically own and end them the same, or do, or did it just occur to you immediately like, I need to take a different plan of attack here? Liz Beavis: I think I, I knew nothing about wind farms when I turned up at Cooper’s Gap, so, so yeah, I got my, well, okay, we’ll go right back to the start. So I was working at a thermal power station and I was just thinking. There’s no future in coal. How do I get into renewables? And then a wind farm got built like 50 kilometers from my house. I can, I can see it in the horizon. Um, and I thought, oh, they’re not gonna need a chemical engineer there, but I wonder if they need a site manager or something. And then the site manager role came up, I applied for it. So the services site manager. So, [00:02:00] um. That was July, 2020. That’s when I first started listening to the podcast. ’cause I thought I better find out something about this industry before I do my job interview. And so I’ve been listening ever since. But, um, yeah, so I don’t know. I was just lucky to get that role. And I turned up and, um, I think it was the end of September, 2020 first time I’d ever set foot on a wind farm ’cause of COVID and everything. I didn’t, I didn’t go there for the interview. My manager was in Thailand. I just turned up. And, um, so they, they’d finished construc, they’d built all the towers where they hadn’t finished commissioning. And so we’re still working out of construction, dongas, you know, temporary buildings and um, and there was hundreds of people on site and it was just the absolute chaos of. Constructing a two hundred, a hundred and twenty three turbines. You know, like there’s just people everywhere. And I thought, wow, I’ve just gotta figure out what I’m supposed to be doing here. There were a few technicians. I found out how many technicians I supposed to have. Just started recruiting, started figuring out what I was supposed to be doing there, and I just [00:03:00] learned so much. In the two years we took over the new r and m building. We had failed gear, boxes, generators, transformers, overhead line, underground line, pretty much. Anything that could fail failed, and I got to see what we needed to do. Um, but through all of that, I was also thinking, oh, how do I manage this wind farm better? I don’t know anything about wind farms, and I’m reaching out to the other GE sites, but the, the next biggest site was 75 turbines, and all of the rest of them are 30 and 40. So they’re saying to me, oh, you just get a team to go around. And I’m thinking. Well, that’s six weeks of work. You know, like, like everything is so much bigger on a bigger wind farm. And then I’d reach out to the, the American sites. That had big wind farms, but their contracts were so different, and I didn’t understand at first, I started to realize, well, their contracts are completely different and their focus is different, and so they’re not facing the same issues that I’m facing. Um, and then, you know, even speaking to a wind farm in [00:04:00] Sweden that was a similar size, but they, you know, they. They have to think about climate and what work they can do in winter. So I started to, as you said, you start to think, well actually everyone farms very different. And it’s, um, you know, you can learn from others, but you really need to understand how your conditions are affecting what you can and can’t do. Um, and then, so then I got the job at Wally Power Services with as a portfolio manager for the renewables, um, fleet There. And yeah, a whole lot of really old turbines. And it was just so interesting to see that contrast between the new turbines and the old ones and um, and also being a independent service provider, what we could do and what the technicians. So many clever technicians out there on wind farms, just figuring stuff out and, and fixing things that if you tried to do that within the OEM, you get really hamstring Engineers say, oh no, you can’t. You can’t do that. You can’t fiddle with that. Whereas once you’re released from that, for better or worse, [00:05:00] the technicians are just off sorting things out. So that was really interesting to see that contrast. And now I’m with, um, tilt Renewables. So I’m the asset manager for Cooper’s Gap and Silverton Wind Farms. So I’m, I’m now seeing from the owner’s point of view how we actually manage these contracts with the OEMs and with ISPs and how we, how can we do r and m better? Matthew Stead: And from the, um, from the ISP, um, experience, um, compared to your experience now, what are some of the biggest differences that you’ve observed between the old, the other sites and the, and the new site?  Liz Beavis: Yeah, I think it, it’s really just that you’re on your own. Um, so you’re relying on good technicians. To figure things out, you can, you need a parts and service agreement with the OEM, um, so you can reach out to them and ask for support, but they’re, you are the lowest priority. So yeah, you don’t always get information, [00:06:00] so you just gotta be set up to figure things out. But then that does give you the freedom to make changes and to, to fix the things that you’re saying, whereas. Often the OEMs are so, uh, stuck with that mindset of, oh, we, we don’t want people to know we’ve got a serial defect. So we’ll just keep kind of patching things up and hopefully, hopefully no other sites find out about this. You know, instead of just saying, Hey, we know this is an issue, here’s a good way of fixing it. ’cause just all I understand, all of the liability that throws, that, that flows from that, uh, you know. You can’t handle it. Allen Hall: Does that change your perspective, knowing all those things? Do you have a, just a unique background in so many ways where you’ve seen, uh, pretty much all sides of wind operations. How do you think about that now? How are you, are you are addressing contracts differently or are you thinking about the way you staff differently just from your experience?[00:07:00] How does that play into it?  Liz Beavis: Yeah, so definitely from a owner’s point of view. I understand what the limitations are of the OEMs and the ISPs, and so I know, I know what I can push them to do and what I can’t push them to do. And even though you’ve got the contract in front of you and you know it, it says you’re gonna do this, there’s certain things where you, you know, that you need to let it slide because it’s just not reasonable to push it. You just, you just know that they can’t achieve things. Um. But then also going into new r and m contracts, you kind of know what’s critical, what to ask for, what, you know, what, what we need to make sure that we’re getting right from the start.  Allen Hall: How do you sort that out? Because I’ve heard, uh, I’ve talked to many operators. that are doing O&M and they look at the contract much like you, and then they, they look at the contract and go, okay, here’s are the things I can probably get. Here’s the things I can’t get. How did you come to that determination is just because you’ve been so close at all this time? Because I think a [00:08:00] lot of people in wind that are new look at that contract, as the rule of law and you’re gonna get everything in there. But I think the more experienced people realize it’s more of a negotiation or starting point, even  Liz Beavis: particularly, uh, like Comparing construction to O&M I say, construction’s the. sprint and O&M’s the marathon, and you’re in a relationship with this O&M provider for 10, 15, 25, 30 years, depending on your contract terms. So you can’t go in at year three and just have a big fight with each other And you know you, need to, You need to be able to work together. So it’s understanding what the value drivers are on both sides and, um. And focusing on that. So, you know, for us as the owner, we, we just want generation. So even though availability is what’s in the contract, really what we want is generation. So if we can figure things out together to get the maximum generation, and maybe that helps the O&M [00:09:00] provider save some costs because, they’re not just doing what’s in the contract, but they’re doing what actually helps us get generation. That’s, that’s kind of the. That’s how we work. And then the contracts there. If, everything falls apart, you’ve got a legal document underpinning where you can say, hold on, you were supposed to do this. This is the damages we can claim. And this is where we can go with it. But you’re not just enforcing every, clause. Because some of it’s been written so long ago, it’s not even relevant.  Allen Hall: Does that lead you down the path of shadow monitoring then?  Liz Beavis: My view is I would rather have, I would rather be at a point where I have a relationship with the OEM where we can agree that there’s no point me spending money that they’ve already spent and that. That we get access to their data. Even if I pay half of what I would spend on shadow monitoring as an additional fee to the OM provider, so they get some revenue and they provide me with the data, I think that’s a better outcome for both parties than to [00:10:00] feel like I’m there looking over their shoulder monitoring what they’re doing. So, I mean, it depends on what your relationship is, but our, our preference would be. That we’re working together and that we’re both benefiting from something rather than spending more money than we need to on doing something twice.  Matthew Stead: Maybe a question, Liz, in terms of your, you know, former, you know, thermal, uh, background, what, what sort of lessons learned or, or things did you sort of bring across from that, that previous um, experience? You know, although six years ago,  Liz Beavis: I think that the first thing was safety. There was, um. There’s a big difference and, and particularly coming into a construction site, that’s, it’s always a challenge because there’s just this time crunch and cost crunch and, and it’s all just, we need to just jump in and get everything done. We can’t stop and make sure we’re doing this safely or properly. Um, so getting my [00:11:00] team to stop thinking like that. We are here, we’re doing o and m. We’re here for the long term. If we’re gonna do it, we’re gonna do it properly. If we need to wait a couple of days to have the right tooling, that’s what we’re gonna do. And just kind of slow everyone down and then, and get the right procedures and the equipment and, and everything. Uh, so we did that. Um, and then. I think the other thing I’ve probably just brought across is understanding of the market. So I was quite involved, um, with thermal generation and, um, market and bidding and um, and I think if you come into Wind Farm o and m, you’re kind of separated from that because you are just there to maintain the turbines and you, you don’t care what the market’s doing, but your owner cares what the market’s doing. So being able to, to think about, well, what. What does my owner actually need? Um, and, and do that, you know, support that as well. Then you, you’re better at [00:12:00] delivering the o and m,  Allen Hall: right? Because it does add a little bit of perspective to it. I see a lot of operations and maintenance where availability is a thing, but it’s not like the top priority. It’s, it’s odd how they think about it. At the end of the day, you’re producing power, and I know Tilt Renewable, having been to your offices there. Is focused on availability. You’re selling power to the grid. You need to be looking at what the prices are. You’re actually monitoring that. There’s, it’s a complicated enterprise. It’s much more complex than I think, uh, you would think of a old power company, uh, particularly in the states where everything just kind of runs and it’s, it just happens in Australia. It’s a lot more freewheeling, I would say, and there’s more emphasis on. Making sure the assets are running, that they’re available and they are producing power. That must change the way you think about managing the assets and particularly. You, you, there will be problems, right? There’s always problems. Are you, are you trying to then categorize [00:13:00] problems and trying to assess when you’re gonna take turbines out? Or you’re just saying, Hey, we just can’t fix this thing until next year. There must be some sort of organization going on there. How do you think about that in terms of keeping your availability so high?  Liz Beavis: That’s one thing that I had to change my mindset. From thermal to wind because there’s a lot of work you can do on a thermal power station while it’s running. Whereas anything, anything you wanna fix on a wind turbine, you’re taking it down. And then on a thermal power station, you have a six or eight week outage where everything’s shut down, 200 people turn up, everything gets fixed. And then you run it back up again and then you hope that it doesn’t come back down. Yeah. Whereas the wind turbine, it’s like, it’s, the way I see it is just if it’s running, it’s running. You don’t go and stop it for any reason. You know, so it’s you, you only, you’re going there to do reactive work. When it stops and you’re going to do proactive annual maintenance work every 12 months, [00:14:00] and it’s really about getting the scope of your annual maintenance, right, so that you’re addressing everything. And you know, the goal is like, this is what was drilled into me with GE was the goal is you go to that turbine once a year or twice a year if it has a semi-annual. Maintenance requirement, but that’s, that’s what you’re trying to achieve. So you’re trying to get the reliability to a point where you only need to go there when it breaks, and Oh, so you only need to go there for the annual maintenance and it shouldn’t be breaking down in between. Unfortunately, that’s. Very difficult to achieve. I think. I think what it was interesting to see the older turbines, um, have a lot more engineering, uh, margin in them. Everything sort of does perform better.  Allen Hall: Well, that’s what I wanted to ask you because I do think there’s a difference between a slightly older turbine, even a turbine that was manufactured 20 years ago versus today. It does seem like there’s a lot more knowledge about those turbines. Maybe it’s just, uh, tribal knowledge. Over time you’re gonna learn more about them, but there, there is a huge knowledge [00:15:00] gap. Between on a new turbine, you just, you just don’t know what you don’t know. How are you trying to address that? Are, are you getting involved in RCAs or are you, are you trying to be proactive monitoring scada, the, it’s just a lot of your plate here. How do you try to manage all that and what’s your process there?  Liz Beavis: So the way the contract is structured, that’s all the OEM’s responsibility. Uh, but what, what we’re trying to do is say, well, we’ve got a lot of expertise in our asset management team. Involve us. Like, we’d like to help. We can ask the questions, we can tell you what we’ve seen on other sites. We can, you know, we, we can actually help with this. Um, it’s, yeah, it’s, it’s kind of awkward that, um. There’s no requirement in the RM phase for them to provide us with an RCA under this contract. So, you know, there’s some, there’s some contracts where they may have to, but, um, yeah, [00:16:00] I think that’s an oversight because we’re kind of guessing or we’re, we’re getting given. Part of the information, but we don’t necessarily have the whole story. And I think the advantage that the OEM has is that they’ve got hundreds of thousands of turbines out there and they, they’re monitoring all of them. They, they should be able to figure out what’s going on a lot easier than I can. I’m looking at two sites and saying, oh, hey, is, is that an issue? Or is, you know, they’ve got all that data. And, and that was the challenge with an RSP is that you, you’re only looking at a limited. Subset of sites, you’re not necessarily being able to put everything together, but I’m not sure that we all get the value of that knowledge, whether, whether they’re actually crunching the data or whether they’re keeping it to themselves because they don’t want us to know about serial issues. Um, but yeah, I, I feel like the OEMs could be leveraging that more.  Allen Hall: Are you able to bridge that gap sometimes with the [00:17:00]OEMs? I do feel like the OEMs have. Pretty good. Uh, at a minimum. I mean, I think a lot of times they’re really good on the back offices, on the engineering side of the technical expertise and the subject matter experts do exist there, and they are pretty quick to get to the root cause of a problem. But are you able to get to those back offices, to those engineering experts and to talk to them? Have you found a way to do that, that that kind of works for, for both sides of that, of that business?  Liz Beavis: Something I found really helpful is, um. We’ve joined some international groups. There’s a few groups around that say the O2 O, they’ve, they were O2 O wind, they’re now O2 O renewables and also epr, um, electric Power Research Institute. So we’ve joined them. We are sharing sort of general, um, breakdown information and issues. Um. Within those groups. And so then we are hearing from, you know, there’s a wind farm in Scotland that says, oh yeah, we’ve got the same [00:18:00] component. We are seeing this issue. And then I say, oh, well I better go check if we’ve got that problem. And then, you know, so, so we’re, we’re kind of owner to owner learning things, so that’s quite helpful.  Allen Hall: So you’re leveraging the other, uh, operators of the same turbines or, or really something similar to what you’re operating globally? That’s a, that’s a smart move and a lot of operators do not do that. I mean, and maybe in the States there’s a couple of, of organizations in the states, EPRI being one of them. O2 O is, I think, uh, definitely popular in Europe. They’re both very effective. So in instead of having to rely on the OM all the time, you’re basically word of mouth with other operators saying, I have this problem. Does anybody else have this problem? Have you solved it? Or maybe what the OEM has said, maybe the OEM has has told another operator what the answer is. Uh, is that the way you’re kind of thinking about attacking that problem?  Liz Beavis: Yes, but we’re not sharing any confidential information [00:19:00]through those forums.  Allen Hall: Never gonna do that. However, it does, I mean, if you get some heads nodding in those discussions, like an oh two, oh, uh, uh, meeting or even an EPRI meeting, uh, or e-cig in the United States. Basically doing something very similar. A lot of times I don’t think operators use them, the, maybe the way that they should, they, they, they turn into kind of complaint sessions instead of solutions, uh, that could be shared. Are you finding that you’re able to get to some solutions through those organizations? Liz Beavis: I probably found out more about failure modes and things to look out for. Necessarily then solutions. But yeah, it, it’s definitely, it’s definitely been valuable.  Matthew Stead: Um, and Liz, we went for a bit of a drive around your site. Once  Liz Beavis: I be how many days, Matt? You’re like, oh, come up for a day. And then I said, you’re gonna need to come for longer. Matthew Stead: The one day turned into three days. It was a wonderful time. Um, um, however, I think a part of our conversation was about. All the extra balance [00:20:00] of plant. And, um, I know you’ve got a few te uh, pet topics around balance of plant, including, um, toilet facilities. So maybe you could, uh, share your thoughts on, you know, the, the forgotten part of the, the site. Liz Beavis: Okay. Well, I can talk about toilets. Um, I think, I think we got away with. Um, small wind farms with just an o and m building and, um, technicians could drive back to the toilet pretty easily. Now. Cooper’s Gap Wind Farm is um, uh, 123 turbines. The furthest turbine is an hour’s drive. No one’s driving, you know. Back from the turbine and then to the r and m building and then back to their work site. So, um, we need to, we need to consider that in the design phase, but also I’ve just been talking about it every opportunity ’cause um, people just aren’t aware and that we need to think about what facilities we’re providing to our technicians. And particularly in Australia, we’ve got a big [00:21:00] energy transition we’re trying to deliver and we’re not gonna get the workforce. If people think that wind farms aren’t nice places to work, so I, I think it’s really important. So I’ve, um, I have purchased a demountable containerized toilet facility that’s gonna go out into one of our furthest corners of the wind farm. Um, so I’m gonna establish that and then look at where else we need to put them. And that was, um, $50,000 Australian delivered. So it’s really. A small cost considering everything else we spend on that one farm. Um, just to provide suitable facilities for our workforce. So, uh, I’m encouraging people to think about that and I’ve had some good conversations since I brought it up at wma, so it’s been good. Matthew Stead: Yeah, it also struck me several, um, several challenges were a much bigger issue than you may have thought them to be at the start.  Liz Beavis: I think what I found interesting is, uh, o over all the different wind farms is, um, it’s [00:22:00] really difficult to predict what the civil cost is gonna be. You, you can have some wind farms that are just dead flat and have very minimal civil costs, but as soon as you build a wind farm. On a ridge, you know, ridge line and you’ve got lots of bridges and steep roads and drainage issues. Yeah. And then depending on the erod ability of the soil and the rainfall, suddenly you’re out there grading pretty regularly. Um, I have now learned way too much about civil engineering, and it’s not my area of interest, but, um, I think there’s, there’s better decisions that can be made during construction and. Design stage of the wind farm. There’s, you know, there’s some roads, uh, I’ve driven around as a civil contractor at one of my sites and, um, he was involved during construction and he’s also a landholder and he said, well, I told them to put the road over there where it would’ve been sort of gentle slope up the hill, but they wanted to just build a shorter road. So they [00:23:00] just put a straight up the hill and then they had to bring, um, extra machines in to tow all the components up the hill. ’cause they made it too steep. But that’s then what they’ve left us. For RM to maintain, you know, so that it’s just bad decisions and, and I think it’s, yeah, it gets very fraught during construction. And then, um, you know, towards the end you’re just trying to get the project finished and you’re trying to get handover and you’re just worried about the turbines, you know, like what’s happening with these generators. And all of that becomes a focus. And meanwhile, the, the civil work hasn’t been finished to the standard and the drains haven’t been built to the drawing. And, and that’s just. The last thing on anyone’s list. ’cause we’re trying to get the turbines right. Um, but yeah, it’s, it’s a cost that you then wear for the rest of the project, so it’s worth thinking about. Um, and in Australia we’ve also, it’s quite common for the electrical balancer plant to be maintained by the OEM. Um, and we’re starting to find it’s not really their area of [00:24:00] expertise. They’re not really set up for it. You know, there’s sort of a question mark whether that’s. The best approach or whether, uh, as an owner, we are better to split that out and look after it ourselves, but then that complicates availability guarantees. And who’s responsible for the underground cable? Yes. And there’s, there’s a lot to think about.  Allen Hall: I was gonna ask you about that because that is an important difference, uh, in Australia where the BOP seems to be, uh, more, or the responsibility of the operator than the OEM, and that must be at least somewhat Australian specific because of the nature of the country and the difficulties that are involved there, but. Does that mean that as you, as the operator need to be bringing on people that know, uh, substation, architecture, underground cables, transformers, pads, uh, roads, all that, is that something that you just have decided that it makes more sense to do and we can probably do it [00:25:00] better, uh, as a, to make availability better and make the site more accessible? Is that, is that the thought process that went into that?  Liz Beavis: I think the driver was, um. The lenders. So, so finance, um, they, and that’s, that’s why that there was a real trend for the fully wrapped contract. So a, a 25 year fully wrapped contract and, and the finance world is de-risked, you know, it’s magically de-risked because, because you’ve locked it in and it’s all just gonna get done. And it’s, and now I think everyone’s realizing, well, it’s not actually DeRoot. Like there’s, there’s a lot. That we need to manage and, and now we’ve lost control over it. And actually maybe we’d like to pull that back, but it, it’s, it’s site specific. You know what you. What makes sense to, to give to the o and m contractor versus separating it out and managing it  Allen Hall: Well then let’s talk about the two wind farms you are involved with day to day, Silverton [00:26:00] and Cooper’s Gap, and now they are not next door to one another. Silverton’s in New South Wales, far west. Right. And then, uh, Cooper’s Gap is up in Queensland, way up north Counter by Brisbane. Uh, those are what, 500,000 miles apart from one another. They’re a long ways away.  Liz Beavis: Yeah, I haven’t looked at how far they’re, but um, so I live near Cooper’s Gap, so everyone in Melbourne’s quite pleased with that because it’s a pain for them to get here. ’cause it, I, it’s a three hours, I’m three hours drive from Brisbane. That’s not even North Queensland. That’s, I’m still in Southeast Queensland. Really.  Allen Hall: Right. True. Yeah.  Liz Beavis: So then for me to get to Broken Hill, I have to drive to Brisbane and then fly to Sydney or fly to Adelaide and then fly into Broken Hill. So it’s two flies. So we did have, we’ve got another asset manager who was very involved with Silverton, uh, for a long time, and she lives in Sydney. And so I. When I came in, because I lived near Cooper’s Gap, obviously I took Cooper’s Gap and then it made sense for me to also have Silverton because it’s another [00:27:00] GE three X site. So that’s why I’ve got those two. Yeah. Uh, even though it’s not my closest site, so I go out to Silverton about four times a year. Um. I make sure I spend a week there and I drive around and look at everything, and I go up tower and I spend time with the team and I, I do feel like I don’t have as much control over that site as Cooper’s Gap. I’m here most days and I’m, and I’m in the pre-start and I see where all the teams are going, and I go and talk to them. Yeah, so I, I get a lot more information and I think as an asset manager, it’s really important to be on site and to be up tower and to be talking to everyone. Um, so when I do go to Silverton, I make sure I go there for a long time, or I see some owners will just pop in for the day, or they, they’ll sort of come in at 10 o’clock in the morning and, and then leave. So they don’t even see preset. You can’t really get a feel for what’s going on in site if you’re not. Um, so I would like to be at Silverton more often, but [00:28:00] I just don’t like the 12 hours of traveling it takes me to get there. Um, but um, we have, so teams is amazing, right? Like what we can do remotely now. Um, I have a fortnightly call with the site manager and we go through what turbines are on and what’s off and what’s he working on and what issues. And, um, so I do get a lot of information. Um, not being on site and, and all the systems that we have access to, I’m constantly spying on them. They all know that. But also I’m there to help. Like, I’ll, I’ll read the fault code and go, what does this fault code mean? That sounds really bad. And they’re like, oh yeah, we better go check that. So, um, yeah, we we’re working together. Um. And it’s really just, yeah, they know that we’re, we just wanna try and get the availability up. We don’t wanna be charging them damages all the time. We, it, it doesn’t really cover our costs. So it’s better for all of us that we just improve the availability and it doesn’t matter who’s doing it, we just need to figure it out. [00:29:00] Allen Hall: Well, Liz, you’re a busy person and in your off time you co-founded an organization called Power Up Queensland and you mentor female engineers. Uh, and you have done that for a while throughout your career. What’s your message to women that are considering entering the wind energy sector?  Liz Beavis: Oh, we need more women in wind. Onsite, not just in the, in the head office. And, um, I’m fixing the toilet situation, so I’ve got it under control. Um, yeah, it’s, it’s really sad when I sort of look around at preset and there’s, I’m, I’m the only woman in the room usually. Um, but yeah, I, like, I go up tower and, um. I think it’s, it’s a lot of fun if you’re, if you’re someone that likes heights and doing something a bit more physical. And I think also the, um, for the, from the trade point of view, you get to work across mechanical and electrical. So if you’re not, uh, you know, if you’re interested in sort of working across your trade instead [00:30:00] of just a purely being a mechanic or an electrician, I think it’s a really interesting, um, uh, workplace to be in. You get. And, and there’s lots of civil work to do and, um. And then as an asset manager, you know, you can, you can come into that from a, from a mechanical engineering, electrical engineering, or mechanical engineer. There’s, there’s lots of civil work to do, but even in our team, we’ve got people from finance and accounting backgrounds and, um, trade backgrounds. So it’s, it’s, um, something that you can come. From a broad range of, um, disciplines. Um, and I just, I love being out and about this morning before I came on the call, I had to go out and put some signs out for a biosecurity issue. So, so I like, that’s the kind of thing, like I, I’m not stuck in the office. I just go for a drive and put some signs on the gate and yeah. So it’s, you’re not stuck in the office. I think it’s, it’s really. It’s, it’s a really awesome job. [00:31:00] So I encourage, yeah, people that want, don’t wanna be in the office and actually be outdoors and involved and doing some physical stuff. It’s a good job.  Allen Hall: Well, Liz, you’re a wealth of knowledge and uh, it’s always great to see you in Australia and thanks for coming to the Woma event. If people wanna reach out to you and connect about o and m issues or entering the wind industry, how can they do that?  Liz Beavis: Um, so I’m on LinkedIn. Maybe I can just put my email in the show notes because I get, I get a lot of LinkedIn connection requests and I sort of don’t know who’s who.  Allen Hall: We’ll definitely put your email in the show notes, and I know we’ve had a lot of discussions of, of getting you on this podcast. I’ve been really looking forward to this discussion, and this has been great. We need to have you on more often. So, Liz, the invitation is. Thank you so much for joining us on this podcast and yeah, we’ll see you soon.  Liz Beavis: Thanks [00:32:00] El.

This playlist is 68% vinyl friendly. Poor. Teenage Engineering’s PO–80 Record Factory turntable. In a move to avoid wrecking their dads’ pride and joy, maybe an inexpensive (approx £300) route to young kids getting the feel of spinning vinyl? Beyond maybe playing a Factory Records record on this Record Factory turntable, with six black five-inch blank records plus sleeves included they can even cut their own recordings! That’s all after you’ve built the thing… as it comes in a kit. Any track marked * has been given either a tiny or a slightly larger 41 Rooms tweak/edit/chop and the occasional tune might sound a bit dodgy, quality-wise. On top of that, the switch between different decades and production values never helps in the mix here. Lyric of Playlist 150 ‘And the award goes to… ‘ Tracey Thorne and Ben Watt… A long, long time ago some of their words would have rung true here. 00.00 (Intro) THE FLAMINGOS – Stars (Edit) – Unreleased demo – 1983. Episode #1 for info. 00.41 NEW ORDER – Crystal (Lee Coombs Remix) * – 12″ – London – 2001 Fresh from the release of the band’s Get Ready album, both its opening track and their set opener on all three of the Brixton Academy, London gigs I caught in 2001, this version is maybe weighted more on the remixers side than usual when kicking off 41 Rooms with New Order but this one really drives. 08.13 MESOSAUNA (feat DANIELE GAS) – Rotta Calabra – Download only – Factory Flaws – 2025 Out of Milan and Italy (albeit with a bit of a Teutonic feel) the title translates as “Calabrian Route”, ‘naming the path many take across the sea, hoping for something better on the other side‘. That fish below though needs to stick to the water. 13.46 FOUR TET – A Joy (Album version) – 7″ – Domino – 2005 The ‘Album version’ on a 7″ single and to these ears, Kieran Hebden sounding a long way from anything joyous. 16.42 WIELORYB – Iron – Stream only? – ? – 2026 ‘Spongey industrial’ sounds from Poland and best explained, aurally and visually, within his regular Meta/Fb page posts. 19.08 CHOZE x BARBARELLA – Heartbeat Drums – Stream only – Facebook – 2025 ‘Built from the ground up, written, recorded and filmed in a single five hour session‘… with, as I hint on the show, Massive Attack’s Bristol, UK in their bones it would seem, even though with far flung ancestry they’re based in London. 22.40 MASSIVE ATTACK – Safe From Harm (12″ Version) – 12″ – Wild Bunch – 1991 And to the slow beats bosses themselves… ‘Wailed like ‘Unfinished Sympathy’ by Shara Nelson, this wind swept strange very densely rumbling slow swaying tugger is out first (contrary to the sleeve listing) in Nellee Hooper’s (0)-81.6bpl 12″ Version and 0-81.4bpm Instrumental, plush group’s 0-82.3bpm Original, with apparently a Paul Oakenfold remix to follow‘. – James Hamilton, Record Mirror (Music Week), 1.6.91 29.13 RAE & CHRISTIAN – Anything U Want – 12″ – Grand Central – 1998 The instrumental dub side made it to 41 Rooms eons ago but contrary maybe to the ‘antennae’ of a hardcore rap fan, this vocal version is an example of how my senses tend to pick up on any counter vocals or sounds to the rap – and here it’s that soulful bv. If they weren’t there this tune would have passed me by without much fuss – even though it’s Mark Rae (and Steve Christian) at the controls. 32.47 ADDIS ROCKERS – Enter Addis Ababa – Enter Addis Ababa, LP – Warriors International – 1985 An album I only honed in on decades after John Peel played the album’s Broadwater Farm Affairs track and if ever anyone can find a near mint copy of this album, they’re a better soul than me. It’s the sleeve that’s always the bigger problem. Lamination of some sort might have done the trick. 37.06 MISTY IN ROOTS – Soddom and Gomorrah (Peel session, 27.11.79) – The John Peel Sessions, CD only – Strange Fruit – 1995 Importantly for me, The John Peel Sessions covers four of the seven tracks recorded for the band’s first two (and best?) visits to the Beeb’s Maida Vale studios, with the second being right up there with any or most done for Peel’s radio show, and before the dawn of Discogs I had the notion the above release might have been on vinyl as well. Sadly, to date it’s not the case. 41.42 MAE McKENNA – Sayonara – Nightfallers, LP – Virgin – 1988 Find me another online playlist where Mae McKenna has sat next to Misty In Roots. It won’t be happening. Somewhere soon after this album came out I was on a holiday back in Ireland and after an evening in the pub with cousins we reconvened in my mum’s childhood home and were playing ‘Rings’ (look it up, kids) on a Ring Board on the door down to the ‘parlour’ and this tune came on the radio. The things you remember… 47.04 RAIN TREE CROW – Every Colour You Are – Rain Tree Crow, LP – Virgin – 1991 With all four (ex)members of Japan involved, Rain Tree Crow was seen at the time as ‘a long term project, with a fresh artistic start‘. Keen to avoid any notions of a nostalgic Japan reunion, David Sylvian, especially, was aiming to ‘create improvised, atmospheric music departing from their past commercial sound.’ Unsurprisingly, I’ve gone for the track that maybe could most happily have sat on any new Japan album of the time. :) 50.44 DAVID BOWIE – Right – 7″ b-side – RCA – 1975 This mistakenly slipped off the 41 Rooms radar til now. Gold star quality from my fave Bowie era. 54.55 CHAKK – Falling – 10 Days In An Elevator, LP – MCA – 1986 From the early doors, tougher industrial funk of Out Of The Flesh through to the ‘10 Days… ‘ album and Falling, where he’s absolutely soaring, Jake Harries was well suited as Chakk’s vocalist, even if (it seems) singing didn’t transpire to being a long term career path. 58.35 TERRY CALLIER – Love Theme From Spartacus – Timepeace, LP – Talkin’ Loud/Verve – 1998 Folk… soul… class… The film’s instrumental theme tune re-imagined. 01.03.01 LYNDA SLOANE-CUSACK – Dreams (part) – Stream only – 2026 I’ve side-stepped matching the track after this, here with the more obvious Fleetwood Mac reference point (Rhiannon) – and albeit a short, one-time take, this is a beaut of a FM cover. Cork, Ireland-based, Lynda’s actually a wedding ceremony singer and guitarist, so that accounts for the church acoustics in the mix. 01.04.50 KELLY JEAN CARTER – Yellow-Back Novel – Yellow-Back Novel, download only – Red Bird Music – 2025 Seemingly out of nowhere (though there’ll have been an algorthymic reason) this quality song popped up on my Fb/Meta feed and seeped into my brain. A sleeper of a song that maybe mostly hits the mark with anyone who grew up in the ’70s hearing singer-songwriters regularly on the radio. 01.09.53 DAVID McWILLIAMS – As I Used To Know Her – Livin’s Just A State Of Mind, LP – Dawn – 1974 The first of two artists from Northern Ireland on this show and until recently, McWilliam’s signature tune, Days Of Pearly Spencer was the only single/track of his I (back in the ’70s) ever owned. If I’m honest, this was one of those grab-the-album-for-the-one-and-only-track-I-like sketches… but I recently spotted and bought this acetate, so that added some appeal. Maybe half a dozen at most ever cut? 01.14.11 THIS MORTAL COIL – I Want To Live – Filigree & Shadow, 2LP – 4AD – 1986 Deirdre Rutkowski owns it here but I remember thinking F&S was a single album at best and listening now to the two LPs it still feels ‘patchy’ and like a project that fell short of its initial goals. Could be wrong, of course. 01.18.04 JAZZ THE GLASS / GOT-TA-SCATTA – The Journey – Demo, unreleased – Stream only – 2015-2025’ish Dave Summersgill and myself (GOT-TA-SCATTA) with the ‘ingredients’ here and judging by the working versions I have, this track is only(!) a little over a decade old, though this version was fine-tuned in more recent times by Dave (Jazz The Glass). With our favourite unwitting contributor of the time, Maya Angelou on the mic and samples from elsewhere. 01.22.16 BUNNYDRUMS – Ugh and… 01.25.13 BUNNYDRUMS – Sleeping – P.K.D., LP – Red Music – 1983 Such is the way I put these shows together I was smugly thinking Sleeping very neatly fitted after Ugh before I realised it was the same band! So, an accidental and rare ‘double tune’ outing on 41 Rooms. 01.29.28 JOY DIVISION – The Only Mistake – Still, 2LP – Factory – 1981 Yep, my copy of Still sadly water damaged along the way. As for the ribbon that ‘wrapped’ it in 1981, that would have been low on my radar to conserve back then. 01.33.28 MOUNT PALOMAR (feat ENOLA GAY) – Feeding Frenzy * – Stream only – 2026 Tuff!!!!! Something akin the traits I mention above with Rae & Christian, I’m a bit of a sucker for a verse and chorus structure that wildly contrasts… and this really smacks. 01.37.04 ATRIC & FRIDA DARKO – My Dog – Download only – 2025 Even though they’re from Leipzig, Germany, this sounds darker than some of their profile pics and track visuals would suggest. 01.42.13 SHIPS – Where We Are – Precession, LP + 7″ – Self released – 2017 Actually, the a-side of the (blue vinyl) 7″ part of the package – with the album being clear vinyl. With my copy currently residing in California, let’s hear it for the bespoke packaging approach! The Dublin-based duo, Sorca McGrath & Simon Cullen’s first and only album, to date. 01.46.47 EVERYTHING BUT THE GIRL – Missing – Amplified Heart, LP – Blanco y Negro – 1994 It’s maybe hard to remember there was a time – before Todd Terry’s intervention took the song global – when Missing was (just) a track on an album, as classy as the duo, Ben Watt and Tracey Thorn are. If I’d gone for the purest ‘least cluttered by other tracks and/or mixes’ vinyl to get this original version, it would have been on an expensive Italian promo only 7″… but I haven’t. 01.50.25 FAYLEINE BROWN – You Know I Missed You (Todd Edwards Remix) – 12″ – Azuli – 1996 ‘Device and Devibes deliver a mature-sounding vocal with a smokin’ underground break which continues in the dub with whirling vocals and swinging drums. The Todd Edwards mix has his typical anagramatic vocal arrangements and although it will not win him any new fans, it will certainly keep a confused but contented smile on the faces of his existing ones. Finally, there is D&D Tribal dub which will work well for those who prefer harder repetitive house‘. **** Jeremy Newall, Record Mirror (Music Week), 2.3.96 And from a song with the line ‘and I miss you’ to one with the title, ‘You Know I Missed You’. Totally coincidental… with Todd Edwards in the house garage! Maybe with a bit of a nod to M(ark) K(inchen)’s vocal cut up style, this had me bouncing and cheery in its time, as it did with the London underground scene… and yet it’s another 12″ you can now pick up, still in mint condition for less than the price of a pint. 01.55.32 ST. GERMAIN – Alabama Blues (Todd Edwards Vocal Mix) – 12″ – F Communications – 1995 ‘This label’s best release gets another chance with some more radio friendly mixes that feature a lot more vocal and mixes by Todd Terry that make the blues/house combinations less effective but still catchy. The sparser deeper original mix is still the best with its simple moody organ creating the atmosphere, but this groundbreaking tune deserves a re-release and the new versions at least give it a new angle‘. – Tim Jeffery, Record Mirror (Music Week), 11.11.95 ‘Todd Edwards is New York’s fastest rising production star. Here, he helps the leading light of the French new school jazzers to forge stronger links to the dancefloor. With his distinctly smooth yet hyper style, the MK-like vocal snippets work particularly well on the dub, where Stevie Wonder cut-ups jump off the vinyl. And for those who missed out on the first release of this in 1993, the oh-so-cool original is also included‘. ****1/2 Michael Morley, Muzik #6, Nov ’95 Yep, with the wrong Todd noted in the first review, it’s a Todd Edwards reprise as he works his skills on the French producer’s original. Show 151 will upload May 3. Dec x The post Post Punk Plus Podcast Playlist 150 – Original upload 5.4.26 appeared first on 41Rooms.

Consider taking out a paid subscription to The Piano Maven podcast via our Substack page (https://jeddistlermusic.substack.com/about), which you also can access by clicking on the "Donate" button here: https://rss.com/podcasts/pianomaven Alicia de Larrocha's only recording produced especially for Columbia Masterworks featured three works of Maurice Ravel. It's never been reissued on CD outside of Japan. Jed discusses this fascinating and hard-to-source release on this episode. Here's a link to the music:Alborada del grazioso - https://www.youtube.com/watch?v=2upEuqpqA6MValses nobles et sentimentales (1969 Columbia) - https://www.youtube.com/watch?v=TPJG1msJufUValses nobles et sentimentales (1993 RCA) –https://www.youtube.com/watch?v=22Uzfa5Y4zM

TV Smith joins Nate to discuss the 50th anniversary of The Adverts, an Australian tour backed by The Hard-Ons, and a career full of great songs and terrible label luck. Topics Include: TV Smith is touring Australia in April with The Hard-Ons. The tour celebrates the 50th anniversary of The Adverts. The Hard-Ons are already learning the surprisingly complex Adverts songs. TV finds it odd but joyful to still be performing. He got back into vinyl to quality-check his own releases. Bowie, Roxy Music, and reggae were key early influences for TV. The Sex Pistols made TV believe he could actually do this. The Roxy Club punk scene started with just 30 people. Brian James of The Damned personally recommended The Adverts to Stiff. They recorded One Chord Wonders in a single afternoon at Pathway. Stiff misspelled the title and controversially centred Gaye Advert on the cover. Gary Gilmore's Eyes was TV's satirical response to exploitative media coverage. The BBC was deeply reluctant to air Gary Gilmore's Eyes on TV. Anchor Records collapsed mid-momentum, leaving The Adverts suddenly without a label. Crossing the Red Sea was recorded at Abbey Road with John Leckie. Gary Gilmore's Eyes was left off the album deliberately — vinyl runtime constraints. RCA signed them against their own A&R team's wishes — chaos followed. Cast of Thousands suffered a botched mix, a terrible cover, label indifference. Channel 5 was finally properly remastered after the producer found a safety tape. TV is bringing vinyl to the merch table — especially the Handwriting LP. High resolution version of this podcast is available at: www.Patreon.com/VinylGuide Apple: https://tinyurl.com/tvg-ios Spotify: https://tinyurl.com/tvg-spot Amazon Music: https://tinyurl.com/tvg-amazon Support the show at Patreon.com/VinylGuide

Mike Soltys is the official historian and former Vice President of Communications at ESPN, the sports media giant that revolutionized 24-hour sports broadcasting. During his 43-year career, he led media relations and communications efforts as ESPN grew into a global sports powerhouse. Garrett Z. Sutton is a corporate attorney, best-selling author, and Owner at Corporate Direct, where he helps entrepreneurs and investors structure and protect their businesses. He is the author of multiple books, including Start Your Own Corporation, Run Your Own Corporation, and several titles in Robert Kiyosaki's Rich Dad Advisors series. In this episode… Everyone knows ESPN as a global sports broadcasting powerhouse today, but few recall its unlikely beginnings. The idea of a 24-hour sports network once sounded unrealistic — even reckless — to industry insiders. What drove its founders to risk everything on a vision most people believed would fail? Mike Soltys and Garrett Z. Sutton reveal the unlikely story behind the rise of ESPN and the mindset that helped turn a risky idea into a sports media empire. Garrett shares how optimism, strategic partnerships, and relentless belief helped secure early backing from brands like Budweiser and partners such as RCA when resources were scarce. Mike reflects on ESPN's early days at a muddy construction site in Bristol, Connecticut, where the now-iconic SportsCenter first came to life. Together, they highlight the risks ESPN's founders took with their finances, careers, and reputations to bring the network to life. Their stories illustrate how perseverance, creative problem-solving, and strong relationships helped transform a scrappy startup into a global sports broadcasting powerhouse. In this episode of the Inspired Insider Podcast, Dr. Jeremy Weisz sits down with Mike Soltys and Garrett Z. Sutton to discuss the bold founding story behind ESPN. They explore the risks the founders took, the partnerships that helped secure early sponsors, and the satellite deal that propelled ESPN nationwide. Mike and Garrett also share lessons on resilience, teamwork, and staying optimistic through uncertainty.

À la Une :

Send a textMartin Belmont was about 11 or 12 years old, a kid growing up in England, when he asked his parents to buy him a guitar. The first record he got was “Jailhouse Rock” by Elvis Presley. Around that time, The Shadows, out of London, were a popular instrumental group. America had The Ventures, England had The Shadows. Young Martin was fascinated by the look and sound of Hank Marvin's Fender Stratocaster. In art school, Martin made friends with other guitarists and musicians and after leaving school, he moved to London. Through a mutual friend, he met the members of two bands, Help Yourself and Brinsley Schwarz. The Brinsleys were in need of a roadie. Martin played that role for about a year before forming his own band, Ducks Deluxe. They signed with RCA, the label Martin's childhood hero Elvis had been on. The next band he co-formed along with guitarist Brinsley Schwarz and keyboardist Bob Andrews was The Rumour, best known for backing Graham Parker with Andrew Bodnar on bass and Steve Goulding on drums. The rest, as they say, is history.Photo courtesy of Martin Belmont.Save on Certified Pre-Owned ElectronicsPlug has great prices on refurbished electronics. Up to 70% off with a 30-day money back guarantee!Euclid Records – Buy and sell records.A gigantic selection of vinyl & CDs. We're in St. Louis & New Orleans, but are loved worldwide!Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Thanks for listening to Frets with DJ Fey. You can follow or subscribe for FREE at most podcast platforms.And now, Frets is available on YouTube. There are a lot of fun extras like videos and shorts and audio of all episodes. Subscribing for FREE at YouTube helps support the show tremendously, so hit that subscribe button! https://www.youtube.com/@DJFey39 You can also find information about guitarists, bands and more at the Frets with DJ Fey Facebook page. Give it a like! And – stay tuned… Contact Dave Fey at davefey@me.com or call 314-229-8033

Nick is joined by Mirror man David Yates for a canter through today's headlines. There is no surprise at the departure of Lord Allen as BHA Chair, but Ascot and the large independents have lit the tinder box with their statement this morning demanding reform of the RCA. Ascot's CEO Felicity Barnard has more, plus a response from BHA acting CEO Brant Dunshea. Also today, Barry Connell on Marine National missing Cheltenham, Dan Barber on the juvenile hurdle pecking order, and Jango Baie's breeder Marin Belloir is our Weatherbys guest.

Nick is joined by Mirror man David Yates for a canter through today's headlines. There is no surprise at the departure of Lord Allen as BHA Chair, but Ascot and the large independents have lit the tinder box with their statement this morning demanding reform of the RCA. Ascot's CEO Felicity Barnard has more, plus a response from BHA acting CEO Brant Dunshea. Also today, Barry Connell on Marine National missing Cheltenham, Dan Barber on the juvenile hurdle pecking order, and Jango Baie's breeder Marin Belloir is our Weatherbys guest.

A legend to the legends! Jeff Barry was named one of Rolling Stone's 100 Greatest Songwriters of All Time and is inducted into both the Songwriters Hall of Fame and the Rock & Roll Hall of Fame. "Tell Laura I Love Her." "Da Doo Ron Ron," "Then He Kissed Me," "Be My Baby," "(Christmas) Baby Please Come Home," "Chapel of Love," "River Deep - Mountain High," "Doo Wah Diddy," "Leader of the Pack," "Hanky Panky," "Sugar, Sugar," "I Honestly Love You." It's mind boggling!  PART ONE Paul and Scott chat about crossing a new friendship milestone and the long road to getting to speak with the unbelievably cool Jeff Barry. PART TWO Our in-depth interview with Jeff BarryABOUT JEFF BARRY Jeff Barry began his career as a recording artist for RCA and Decca Records, but attracted more attention for his original songs. After scoring pop hits with “Tell Laura I Love Her” and Sam Cooke's recording of “Teenage Sonata” in 1960, Jeff joined forces with Ellie Greenwich and Phil Spector to pen such classics as “Da Doo Ron Ron,” “Then He Kissed Me,” “Be My Baby,” “Christmas (Baby Please Come Home),” “Chapel of Love,” and “River Deep – Mountain High.” Greenwich and Barry also recorded together as the Raindrops while continuing to find success with other artists, including landing number one hits with “Doo Wah Diddy Diddy,” “Leader of the Pack,” and the Tommy James and the Shondells recording of “Hanky Panky.” Rolling Stone magazine's 2004 list of the “500 Greatest Rock Songs” included six Barry-Greenwich compositions, more than any other non-performing songwriting team. As a producer, Barry helmed such hits as “Cherry, Cherry” by Neil Diamond and “I'm a Believer” by The Monkees. After parting ways with Greenwich, Jeff began writing with Andy Kim, with whom he had the biggest hit of 1969 when he co-wrote and produced “Sugar, Sugar” by the fictional cartoon band The Archies. A few years later, Jeff was nominated for the Song of the Year Grammy for Olivia Newton John's 1974 chart-topping recording of “I Honestly Love You.” Additionally, he found success on the country charts in the 1970s and ‘80s with top 5 singles such as “Out of Hand,” recorded by Gary Stewart” and “Lie to You For Your Love,” recorded by the Bellamy Brothers. Never bound by genre categories, he also enjoyed top 5 R&B successes in those decades with songs such as “Heavy Makes You Happy” for the Staple Singers and “The Last Time I Made Love,” a song he wrote with Barry Mann and Cynthia Weil that was recorded by Joyce Kennedy and Jeffrey Osborne. In addition to writing more than 50 different songs that have reached the top 40 on the Billboard charts, Jeff penned the theme songs for TV shows such as One Day at a Time (“This Is It”), The Jeffersons (“Movin' on Up”), and Family Ties (“Without Us”). In 2019 he and writing partner Clarence Jey composed and wrote songs for the animated Nickelodeon show Lego City Adventures.  Jeff Barry and Ellie Greenwich are in the top 20 of Rolling Stone's list of the 100 Greatest Songwriters of All Time and were inducted into the Rock & Roll Hall of Fame in 2010. Jeff has received a Lifetime Achievement Award from the National Academy of Songwriters and was inducted into the Songwriters Hall of Fame.  Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

On today's show we look at HDTV Display Technologies that are no longer with us. Some had a short run and some never made it to the market. We also read your emails and take a look at the week's news. News: LG pulls the plug on 8K OLED and 8K LCD TVs Apple's home hub could finally arrive this spring with a rather unique design Roku is Testing a New Home Screen With A New Look Google Home update brings more automation controls HDTV Display Technologies That Are No Longer With Us Over the 21 years we have been doing the show we have seen numerous HDTV display technologies come and go. Some never made it to market and some had a good run but were eventually beat out by something better. These technologies competed during the transition from bulky CRTs to flat panels, but most lost out as LCD, later becoming LED-backlit LCD, then OLED, became dominant for reasons like cost, scalability, picture quality improvements, and manufacturing ease. Technologies That Were Proposed/Demonstrated but Never Commercially Released to Consumers SED (Surface-Conduction Electron-Emitter Display)Developed primarily by a Canon and Toshiba joint venture starting in the late 1990s/early 2000s. It was essentially a flat-panel evolution of CRT technology using electron emitters for each pixel, promising CRT-like motion handling, deep blacks, high contrast, fast response times, and low power in a slim form factor. Prototypes were shown around 2005–2007 with impressive demos. Why it didn't make it: Repeated delays due to manufacturing challenges (high production costs, difficulty scaling/vacuum sealing), patent disputes, and aggressive price drops in LCD/plasma panels. Then by 2009–2010, LCD had become too dominant and cheap; Canon officially froze consumer SED development in 2010, shifting any remaining efforts to niche professional uses. FED (Field-Emission Display)Similar to SED and sometimes grouped together or seen as a precursor/variant. FED used field-emission electron sources (like microtips) for CRT-style performance in a flat panel. Demonstrated in prototypes in the 2000s by companies like Sony and Motorola. Why it didn't make it: Development took too long; manufacturing complexity and yield issues made it unviable. It was overtaken by faster-scaling plasma and then LCD/OLED technologies before reaching mass production. Technologies That Reached the Market but Were Discontinued DLP (Digital Light Processing) Rear-Projection TVsUsed Texas Instruments' DMD (digital micromirror device) chips to reflect light, often with a color wheel for sequential color (or pricier 3-chip versions). Popular in the mid-2000s for large-screen (50–70+ inch) HDTVs from brands like Samsung, Mitsubishi, RCA, and Toshiba, offering good brightness, no burn-in, and sharp images at competitive prices. Why discontinued: Bulky depth (even if thinner than CRT rear-projection), lamp replacements needed, rainbow artifacts (on single-chip models), poor off-angle viewing, and vulnerability to ambient light. As flat-panel LCD and plasma prices fell dramatically in the late 2000s, consumers preferred slim, wall-mountable designs. Rear-projection DLP TVs largely vanished by around 2010. LCOS (Liquid Crystal on Silicon) / Variants like D-ILA (JVC) and SXRD (Sony)A reflective microdisplay tech using liquid crystals on a silicon backplane, often in rear-projection or some front-projection setups. Offered excellent contrast, deep blacks, and smooth motion (better than early LCDs). Available in HDTVs from JVC, Sony, and others in the mid-2000s. Why largely discontinued for direct-view TVs: High cost, manufacturing complexity, and lower brightness compared to emerging flat panels. Rear-projection versions suffered the same bulkiness issues as DLP. While LCOS survives today in high-end projectors mostly in JVC and Sony home theater models, it never scaled to mainstream direct-view flat-panel HDTVs and was eclipsed by LCD advancements. Plasma Display Panel (PDP / Plasma TVs)Used ionized gas (plasma) cells to create light, excelling in black levels, contrast, color accuracy, wide viewing angles, and no motion blur. Very popular for HDTV in the 2000s from Panasonic, Pioneer, Samsung, and LG. Why discontinued: High power consumption, heat generation, heavier panels, burn-in risk (though mitigated later), and difficulty scaling to 4K efficiently/cost-effectively. As LCD/LED prices dropped with better brightness, efficiency, and no burn-in, plasma couldn't compete economically. Production fully ended around 2014–2015. Other Notable Mentions LCD Rear-Projection TVs — Used transmissive LCD panels; suffered from similar bulk and light issues as DLP; discontinued early-mid 2000s. Direct-view CRT HDTVs — The original standard; fully discontinued by the late 2000s/early 2010s due to size, weight, and inefficiency. Key Reasons Technologies Fail in HDTV Market Regardless of how good a display technology is, the following will keep it from the mass market: Cost & Manufacturing Yield: Technologies requiring ultra-precise processes (SED, FED, LCoS) couldn't hit competitive prices.  Competing Technologies Improve Fast: LCD and later LED/OLED got cheaper and better quicker than rivals could scale. Form Factor Shift: Direct-view panels beat rear-projection (DLP, LCoS, laser) because consumers prefer thin TVs. Performance Tradeoffs: Issues like power use, burn-in, brightness, viewing angles, or reliability hurt consumer uptake.  In summary, the winners were technologies that scaled cheaply to larger sizes, became thinner/lighter, improved efficiency, and avoided major drawbacks like high costs or reliability issues. LCD/LED dominated the 2010s due to mass production advantages, while OLED took premium segments later for superior contrast/per-pixel lighting. Many promising "next-gen" ideas from the 2000s (like SED/FED) simply arrived too late or proved too hard to manufacture affordably.

This week, hosts Jim DeRogatis and Greg Kot talk with Phil Manzanera, the guitarist behind Roxy Music and a prolific record producer whose career spans more than five decades. The hosts also pay tribute to Bob Weir of Grateful Dead.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Roxy Music, "If There Is Something," Roxy Music, Island and Reprise, 1972The Grateful Dead, "Sugar Magnolia," American Beauty, Warner Bros., 1970Bob Weir, "Cassidy," Ace, Warner Bros., 1972Roxy Music, "Re-Make/Re-Model," Roxy Music, Island and Reprise, 1972Roxy Music, "The Thrill of it All," Country Life, Island and ATCO, 1974Roxy Music, "Amazona," Stranded, Island and ATCO, 1973Roxy Music, "Do the Strand," For Your Pleasure, Island and Warner Bros., 1973Phil Manzanera, "Big Day," Diamond Head, Island and ATCO, 1975Roxy Music, "Both Ends Burning," Siren, Island and ATCO, 1975Phil Manzanera, Andy Mackay, "Ambulante - Live," AM.PM Soho Live, Expression, 2025Aterciopelados, "Baracunatana," La Pipa de la Paz, RCA, 1996Jason P. Woodbury & The Night Bird Singing Quartet, "Get To Meet Them," (Single), Always Happening, 2025See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Linktree: ⁠https://linktr.ee/Analytic⁠Join The Normandy For Additional Bonus Audio And Visual Content For All Things Nme+! Join Here: ⁠https://ow.ly/msoH50WCu0K⁠Dive into the bold return of A$AP Rocky with Analytic Dreamz on Notorious Mass Effect. In this segment, Analytic Dreamz delivers a full review and commercial roundup of Don't Be Dumb, the rapper's fourth studio album released January 16, 2026, via AWGE, A$AP Worldwide, and RCA.After an eight-year gap since Testing, Rakim Athelaston Mayers—born in Harlem and a key figure in A$AP Mob—drops a 17-track project featuring guests like Tyler, The Creator, Doechii, Gorillaz, Thundercat, Danny Elfman, Playboi Carti, will.i.am, and Westside Gunn. The Tim Burton-designed cover art sets the tone for themes of braggadocio, restlessness, artistic independence, and multi-genre experimentation.Critics give it a Metacritic score of 71/100 for generally favorable reviews, praising sharp lyricism, charisma, inventive energy, and renewed confidence, though some note uneven sequencing and lack of cohesion. Rolling Stone called it "overstuffed but a lot of fun," while others highlight its curatorial vision.Commercially, Don't Be Dumb exploded with 35.43 million global Spotify streams on day one—Rocky's biggest album debut ever on the platform and the largest of 2026 so far. Vinyl pre-sales topped 130,000 units, fueling strong physical demand. First-week projections initially eyed 200K+ units and a No. 1 Billboard 200 debut, though updated estimates suggest around 119K units amid massive streaming and sales splits. It positions as potentially his biggest opening, surpassing prior #1s from Long.Live.A$AP and At.Long.Last.A$AP.The rollout includes standout visuals like "Punk Rocky" starring Winona Ryder and "Helicopter," plus a high-energy SNL performance on January 18 with Danny Elfman on drums. The upcoming Don't Be Dumb World Tour, with UK/Ireland dates in August/September 2026, promises to extend momentum.Join Analytic Dreamz for unfiltered breakdowns of the tracks, cultural impact, and why Don't Be Dumb solidifies A$AP Rocky's status as a dominant force in 2026 hip-hop.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsPrivacy & Opt-Out: https://redcircle.com/privacy

Following up the guitar masterpiece of OK Computer, Radiohead threw the music world for a loop with Kid A. Twenty five years after its release, hosts Jim DeRogatis and Greg Kot talk with author Steven Hyden about how the album was made and its lasting impact. They also discuss the life and career of the Sex Pistols and New York Dolls manager Malcolm McLaren.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Radiohead, "Idioteque," Kid A, Parlophone, 2000The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Radiohead, "How To Disappear Completely," Kid A, Parlophone, 2000Radiohead, "Subterranean Homesick Alien," OK Computer, Parlophone, 1997Travis, "Writing To Reach You," The Man Who, Independiente, 1999Autechre, "Rae," LP5, Warp, 1999Radiohead, "Fake Plastic Trees," The Bends, Parlophone, 1995Radiohead, "Everything In Its Right Place," Kid A, Parlophone, 2000Radiohead, "Kid A (Live)," Unreleased, N/A, 2001Radiohead, "Kid A," Kid A, Parlophone, 2000Radiohead, "Treefingers," Kid A, Parlophone, 2000Radiohead, "The National Anthem (Live)," Unreleased, N/A, 2001Radiohead, "15 Step," In Rainbows, Parlophone, 2007Radiohead, "The National Anthem," Kid A, Parlophone, 2000Sex Pistols, "Anarchy In the U.K.," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Sex Pistols, "God Save the Queen," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Sex Pistols, "Pretty Vacant," Never Mind the Bullocks, Here's the Sex Pistols, Virgin, 1977Bow Wow Wow, "I Want Candy," The Last of the Mohicans, RCA, 1982Malcolm McLaren, "Buffalo Gals," Duck Rock, Virgin, 1983The Raincoats, "Lola," The Raincoats, Rough Trade, 1979See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.