Podcasts about RCA

Episode was previously released in October 2023:Hear Isaia Huron before his latest rise—talking about the setbacks, faith, creative independence and determination that shaped the artist he's becoming today.In this motivational and inspirational episode, Reginald D sits down with his cousin, R&B artist, songwriter, composer and producer Isaia Huron, for an inspiring conversation about music, faith, creativity, confidence, personal growth and finding your own path.Recorded earlier in Isaia's career in October 2023, this conversation gives listeners a unique look at the journey before some of his biggest accomplishments. Since this conversation was originally recorded and aired, Isaia Huron's career has continued to reach new heights. He has signed with RCA Records, earned recognition as a Grammy-winning songwriter through his work with Kehlani, released new music including CONCUBANIA and Mr. Lovebomb, headlined his own shows across the country.This conversation gives you a unique look at Isaia's journey, mindset, faith, creativity and determination before many of these major career milestones became reality.Isaia takes us back to growing up in Greenville, South Carolina, discovering music in church, rapping as a child, becoming a professional drummer as a teenager and eventually moving to Nashville to perform with country and pop artists.Then everything changed.When the pandemic wiped out his drumming gigs, Isaia found himself broke and in debt. An unexpected opportunity to record a Justin Bieber cover opened another door, pushing him from behind the drums into becoming an artist—a direction he hadn't originally planned to pursue.What's especially inspirational about hearing this interview today is knowing where that journey eventually led. Before the RCA deal and Grammy recognition, Isaia was already talking about believing in his vision, knowing his worth, maintaining creative control and refusing to follow the traditional music-industry formula. He explains why understanding himself gave him the confidence to keep doing things his own way.This isn't just an interview about music. It's a motivational and inspirational story about self-improvement, personal growth, resilience, faith and motivation, creativity, authenticity and trusting your God-given gifts even when you can't see where the journey is taking you.For aspiring artists, musicians, entrepreneurs, dreamers and anyone building something different, Isaia Huron's journey is proof that where you start doesn't determine where you can finish—and sometimes the road that doesn't make sense today is preparing you for opportunities you can't see yet.Press play now and let Isaia Huron's inspirational journey to motivate you to trust your gifts, protect your vision, embrace unexpected changes and have the confidence to create your own path.#IsaiaHuron, #KehlaniSend us Fan MailSupport the showFor daily motivation and inspiration, subscribe and follow Real Talk With Reginald D on social media:Instagram: realtalkwithreginaldd   TikTok: @realtalkregd  Youtube: @realtalkwithreginald  Website:  https://www.realtalkwithreginaldd.com Real Talk With Reginald D  -  MerchandiseReal Talk With Reginald D is a faith-based globally ranked inspirational and motivational podcast designed to motivate, empower & transform lives through powerful motivational speeches, authentic conversations, and real-life inspirational stories. Each episode delivers motivational and inspirational coaching focused on self improvement, leadership, healing, resilience & purpose. Rooted in faith and motivation, this Christian-based platform blends practical growth strategies with biblical wisdom, helping listeners strengthen their mindset, deepen their faith, and walk boldly in their calling.  Check out Reginald D's powerful motivational speeches today!`

Join Matias Boom Boom for an unfiltered ride through radio history, studio tech, and cinema. In this episode, Matias tackles his blatant Radio Hall of Fame snub (despite buying drinks for half the committee) and jokes about his infamous on-air humming habit. The audio geeks get a treat as the conversation turns to vintage RCA ribbon mics, 15-speed analog tape, and why Bob Dylan refuses to record on digital. Finally, Matias reviews Angelina Jolie's stylish, amber-drenched Italian movie Without Blood, starring Salma Hayek in a tale of childhood trauma, newsstands, and dinner-table revenge.

++++ Hier könnt ihr Mitglied im Klub Reflektor werden, Jans Reflektor-Mitgliederbereich mit vielen Extras ++++ ++++ Hier gibt es Karten für Reflektor Live mit Christiane Rösinger am 5. Dezember 2026 im Colosseum-Kino in Berlin ++++ Diesmal zu Gast: Die Musikerin und Produzentin Mona Mur. Das Werk von Mona Mur ist durch Vielfältigkeit und Brüche gekennzeichnet. Mona Mur startete in den 1980er Jahren gemeinsam mit Musikern von Bands wie Flucht Nach Vorn und den Einstürzenden Neubauten. Sie arbeitete in diesem Jahrzehnt dann mit Joachim Witt, Jaki Liebezeit von der Band Can, Dieter Meier vom Duo Yello und JJ Burnel und Dave Greenfield von The Stranglers zusammen. Mehrere Major-Platten-Firmen starteten eine Zusammenarbeit mit Mona Mur, doch ihre Karriere sollte sich anders gestalten. Die Verträge mit WEA und RCA liefen ins Leere, obwohl die Ergebnisse vielversprechend waren. Aber vermutlich ist genau wegen dieser Fehlschläge eine künstlerische Biografie entstanden, die einmalig ist. Jan spricht mit Mona Mur über ihre Anfänge in Hamburg in der aufkeimenden New-Wave- und Punk-Szene der 1980er Jahre, über das Leben in Hamburg und Berlin und über das Thema Krieg, das ein Leitmotiv in Mona Murs Gesamtwerk ist. Es geht um Alben, die erst Jahrzehnte später veröffentlicht wurden, obwohl sie aufwändig produziert wurden, und um die Folgen davon, nicht den Erwartungen der Musikbranche entsprechen zu wollen. Außerdem berichtet Mona Mur von ihrem Neuanfang mit eigenem Studio, ihrer Arbeit als Komponistin der Soundtracks von Computerspielen, ihrem Wiedereinstieg in die Alben-Produktion im neuen Jahrtausend und darüber, wo sie sich heute mit ihrem Werk verortet. Hier kommt ihr zum Film „Mona Mur in Conversation“. Hier könnt ihr euch den Song „Wild ist die Welt“ aus dem Jahr 1983 anhören. Die in dieser Folge angesprochenen Musiktitel findet ihr in der Reflektor-Streaming-Playlist. Hier findet ihr Reflektor bei Instagram. Und hier findet ihr Jan bei Instagram. Schreibt uns gerne unter jan@klub-reflektor.de Viel Spaß beim Hören! Fotocredit Cover: Jan Riephoff Hosted on Acast. See acast.com/privacy for more information.

Am 17. September 1931 stellt RCA eine Schallplatte für lange Musikstücke vor, also die erste LP. Doch der große Erfolg diese Mediums lässt noch fast zwei Jahrzehnte auf sich warten. Von Uwe Schulz.

When George Hamilton IV suffered his fatal heart attack a dozen years ago this week, the first song The New York Times mentioned in his obituary was “Abilene.”Indeed, that song was a turning point in Hamilton's life. Recorded in March 1963 at RCA's Studio B in Nashville, “Abilene” was the biggest hit of George's long career, helping him transition from a pop teen idol of the 1950s into a traditional country artist. As reported here earlier, the song, which had a four-week run at No. 1 on the U.S. country charts, was written by Hamilton's long-time friend John D. Loudermilk along with folksinger Bob Gibson.George often talked about how his RCA producer, famed guitarist Chet Atkins, instantly loved “Abilene” and jumped in to play the track's iconic intro and turnaround on that 1963 release.Over his near-50-year career, Hamilton frequently called “Abilene” his signature song, the defining hit of his body of work.But Which Abilene?George also often noted he didn't know which town the song was actually about. Since the lyrics mention trains and a nearby crowded city, listeners frequently debated whether it referred to Abilene, Texas, or Abilene, Kansas. Co-composer Bob Gibson always said he was inspired by a 1946 cowboy movie — Abilene Town — which was set in the historic Kansas cattle town.Ever the diplomat, though, Hamilton proudly noted the song made him an honorary citizen of both cities, since residents of each adopted it as their unofficial anthem.The Biblical ConnectionOn stage, Hamilton — who died at 77 in September 2014 — loved to tell about once singing the song in church. When a preacher asked him to perform it, Hamilton questioned whether it was appropriate for a house of worship. Why, yes, the preacher responded, didn't he realize the song was “biblical”? Uh-huh, the minister added with a wink. It was right there in Luke 3:1 — in a verse scholars use to date the start of John the Baptist's ministry (around 26–29 AD, during the 15th year of the reign of Tiberius Caesar) — that it said Lysanias was “the tetrarch of Abilene.”The ParodyGeorge also had fun spoofing the song. In 2008, when U.S. gas prices soared, Hamilton performed this parody version, entitled “Gasoline”:(Hmmmm… that one might need to be re-introduced, as we wake up this morning to $4.30 a gallon...)Classin' It Up“Abilene” got dressed up and went to town last week when Danny Cox came to The Flood rehearsal with his sweet Gretsch Super Chet. Just listen to how Dan uses that classic 1970s hollow body to bring sass and class to this long-time Flood standard.More from the Room?If you'd like to hear more of the newest blend of Floodishness, check out the 2026 playlist on Radio Floodango.And remember we've now got ways to mobilize the ol' Floodanago.Click here to find out how to put the Flood radio on your computer desktop and on an iPhone to make your Flood fix always just a click away. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit 1937flood.substack.com

11 09 2026 A LA GRAN 730 - Osmar Henry (Pedro Alliana, Vicepresidente de la Rca) by ABC Color

09 09 2026 A LA GRAN 730 - Brian Cáceres (Santiago Peña, Pdte de la Rca) by ABC Color

« En Centrafrique, il n'y aura pas de paix durable sans un dialogue permanent et inclusif entre toutes les parties au conflit », affirme l'ancienne présidente Catherine Samba Panza, qui a conduit avec succès une médiation, de 2014 à 2016, pour mettre fin à la guerre civile de l'époque. Vendredi dernier, l'ancienne cheffe de l'État centrafricain était l'invitée à Paris de la seconde édition de la Fabrique de la diplomatie, organisée par le Quai d'Orsay et la Sorbonne nouvelle. Elle était accompagnée de Monseigneur Dieudonné Nzapalainga, le cardinal-archevêque de Bangui. Tous deux ont répondu aux questions de Christophe Boisbouvier. RFI : Catherine Samba-Panza, pourquoi dites-vous qu'une paix négociée au sommet ne sert à rien si la population ne se l'est pas appropriée ? Vous pensez notamment au conflit actuel dans les Grands Lacs et dans l'est de la RDC, où vous êtes impliquée au nom de l'Union africaine ? Catherine Samba-Panza : Oui, par exemple, tout à fait. Dans le cadre de ma mission de facilitateur, je me bats justement pour que les accords signés à Washington, à Doha, soient vraiment disséminés, pour que les populations puissent être au courant. Qu'est-ce qui a été décidé dans ces accords ? Comment ils vont être mis en œuvre et dans l'intérêt de qui ? Il est important qu'il y ait des relais en faveur des populations. Mais concrètement, comment les populations du Nord-Kivu et du Sud-Kivu peuvent-elles s'approprier l'accord de Washington du mois de décembre dernier ? Catherine Samba-Panza : Nous avons prévu, dans le cadre de nos missions de facilitateur, d'avoir des consultations au niveau de Kinshasa, mais également d'avoir des consultations éclatées dans l'est de la République démocratique du Congo, notamment à Goma, à Bukavu, dans l'Ituri, etc. Nous avons prévu des missions de terrain. Mais, en dehors des missions de terrain, il y a des relais de la société civile, il y a également les confessions religieuses, les chefs coutumiers, les femmes, les jeunes qui peuvent faire connaître le contenu de ces accords par les populations. Pourquoi dites-vous que les femmes sont exclues de beaucoup de négociations de paix ? Catherine Samba-Panza : Vous savez, quand on regarde les statistiques de l'ONU, des organisations régionales, il y a très peu de femmes qui sont à un certain niveau des processus de paix au niveau formel. Mais les femmes sont présentes dans les processus de paix au niveau local. Ce sont les femmes qui mènent le travail de terrain. Ce sont les femmes qui mènent le travail de médiation avec les groupes armés. Elles sont exclues au niveau formel des processus de médiation, mais elles sont là. Un accord est plus durable si les femmes se l'approprient ? Catherine Samba-Panza : Exactement. Toutes les études du monde sont unanimes : un accord n'est durable que si les femmes ou les communautés concernées ou affectées par le conflit sont impliquées. Monseigneur Dieudonné Nzapalainga, vous êtes également présent à cette Fabrique de la diplomatie à Paris, parce que vous êtes aussi un homme de paix, notamment en Centrafrique. Nous sommes donc à côté de la présidente Catherine Samba-Panza. Peut-on dire qu'entre 2014 et la présidentielle de 2016, quand elle a présidé la RCA, elle a conduit l'un des rares processus de paix qui a abouti à quelque chose de concret ? Dieudonné Nzapalainga : On peut le dire parce que nous étions à une étape charnière, marquée par une crise où la violence était au sommet. Il a fallu baisser les tensions. Il fallait apaiser les cœurs, faire converger les énergies, mobiliser les gens et leur indiquer une vision commune, aller aux élections. Pendant deux ans, ce travail a été fait de manière méthodique, courageuse, avec abnégation et détermination. Nous avons vu le résultat puisque nous sommes allés aux élections comme si on était dans un pays civilisé, sans tirer un coup de fusil. Les gens étaient alignés les uns derrière les autres. Ils ont voté au premier tour, voire au deuxième tour. Et moi, j'avais les larmes en voyant cette situation. Oui, il est possible que, si les hommes se fixent un destin commun, ils se l'approprient. Ils peuvent aussi tenir des paris. Et on l'a tenu en 2016. Je crois que le pape a aussi un petit peu aidé, puisque le pape François a visité Bangui un mois avant le premier tour de la présidentielle. Catherine Samba-Panza a-t-elle des qualités de médiatrice particulière qui font que des fois ça marche, des fois ça ne marche pas ? Dieudonné Nzapalainga : Mais nous sommes allés à la présidence. La présidente avait parlé et le pape a parlé. Le pape a encouragé tout le parterre des hommes et des femmes politiques à pouvoir transcender leur situation pour dire qu'il est temps de nous unir. Madame la présidente, quel est le message que vous avez retenu de votre rencontre avec le pape en ce jour de novembre 2015 ? Catherine Samba-Panza : Comme vous l'avez dit, la visite du pape en Centrafrique a été pour beaucoup dans l'apaisement des cœurs. Le pape nous a encouragés à travers son partage de paroles de paix. Les Centrafricains, de manière unanime, ont accueilli les messages de paix qui ont été apportés par le pape. Nous avons bénéficié d'une période exceptionnelle avec l'ouverture de la Porte Sainte à Bangui. Tout cela a apporté une certaine cohésion, une certaine réconciliation nationale. Il y a le pape, mais il y a votre propre action. Avec le recul, aujourd'hui, quel est, à votre avis, la principale qualité d'une médiatrice ? Catherine Samba-Panza : Beaucoup d'écoute, beaucoup de disponibilité. Avoir une vision et avoir la volonté de la paix et de la réconciliation nationale. Sans écoute, on ne peut pas savoir ce que l'autre attend de vous. Sans dialogue, on ne peut pas non plus échanger sur les questions essentielles qui divisent. Il est important de dialoguer, d'avoir un consensus sur la plupart des grandes décisions à prendre. C'est ce que j'ai fait pendant la transition, encouragée d'ailleurs par la Charte constitutionnelle de transition qui a prévu toutes ces étapes dans ses textes. Il y a eu en effet ce moment exceptionnel dans l'histoire de la Centrafrique, cette élection de 2016 gagnée par Faustin-Archange Touadéra. Et puis, quatre ans plus tard, votre pays a replongé dans la guerre civile avec la rébellion de François Bozizé et l'arrivée des troupes russes. Est-ce un cycle infernal ? Catherine Samba-Panza : Ce n'est pas un cycle infernal, mais je pense qu'après la transition et surtout les grandes orientations qui ont été apportées par le Pacte de paix et de réconciliation, il fallait consolider les acquis de la transition. C'était important. Le Pacte de réconciliation, qui a été adopté lors du Forum national de Bangui, avait tracé les grandes lignes de la conduite du pays pour les dix prochaines années. Les recommandations du Forum national de Bangui devaient constituer la base de toutes les décisions durant les dix prochaines années. C'était le cadre idéal de référence en termes de réconciliation nationale, en termes de développement économique pour la paix et la cohésion nationale. Malheureusement, nous n'avons pas su consolider les acquis du Forum national de Bangui et, évidemment, nous sommes retombés dans le cycle que vous appelez infernal. Aujourd'hui, beaucoup pensent que, sans l'intervention de troupes étrangères, il ne peut pas y avoir de paix en République centrafricaine. Que leur répondez-vous ? Catherine Samba-Panza : Les Centrafricains, fondamentalement, veulent la paix et ont confiance dans leur capacité de ramener la paix, de s'unir et de travailler pour le développement de leur pays. Il suffit de leur faire confiance. Mais il suffit également de créer la confiance à tous les niveaux : au niveau des partenaires, au niveau des investisseurs, mais surtout au niveau des Centrafricains eux-mêmes. Si on crée la confiance et que l'on ramène les Centrafricains autour d'une table pour un dialogue inclusif qui prenne en compte toutes leurs préoccupations et les propositions de sortie de crise, nous pouvons y arriver. Donc refaire la conférence de Khartoum. Que faut-il faire pour ramener la paix ? Catherine Samba-Panza : Nous n'avons pas besoin de refaire la conférence de Khartoum. Vous savez, il y a eu le dialogue politique inclusif qui s'est tenu il y a quelques années. Vous savez quelles sont les décisions qui en sont issues ? Les participants ont tout renvoyé aux recommandations du Forum national de Bangui. On dit que ce n'était pas la peine de perdre du temps à élaborer d'autres recommandations, alors que nous avons une foultitude de recommandations dans les tiroirs du pays. Je pense qu'on peut envisager cela autrement. Un dialogue permanent, une concertation permanente permettent déjà d'être en contact avec toutes les parties, tous les antagonistes de la crise, et d'essayer de trouver une solution commune à notre situation difficile. De ce point de vue, le pouvoir actuel ne fait pas assez pour le dialogue ? Catherine Samba-Panza : Nous constatons qu'il y a beaucoup de demandes pour un dialogue réel, inclusif. Il y a beaucoup de demandes à ce niveau. Maintenant, il appartient aux autorités légalement mises en place de voir dans quelle direction s'orienter pour un retour réel à la paix et à la relance économique du pays. Vous avez dit, dans votre discours ce vendredi à Paris, que vous pensiez que la France avait un rôle à jouer dans les conflits militaires en Afrique. Quel rôle la France peut-elle jouer ? Catherine Samba-Panza : Quand je parle de la France, il n'y a pas que la France, il y a toute l'Union européenne derrière. Vous savez, sans la communauté internationale, sans la France, sans l'Union européenne, notre sortie de crise en 2016 en République centrafricaine ne serait pas allé loin. On a besoin de la communauté internationale. On a besoin des partenaires comme la France pour nous appuyer dans notre démarche stratégique de sortie de crise en termes financiers, en termes d'appui logistique, en termes également de soutien économique. Cela est très important. Nous sommes dans un monde interconnecté et nous avons besoin des uns et des autres pour pouvoir avancer. À lire aussiRDC: devant ses partenaires régionaux, Félix Tshisekedi expose sa stratégie sécuritaire

This week, hosts Jim DeRogatis and Greg Kot talk with musician and author Melissa Auf der Maur. In 1994, Melissa was suddenly thrust into the spotlight when she joined Hole as a bassist for the “Live Through This” world tour. They talk about Melissa's memoir, Even the Good Girls Will Cry, and about Courtney Love, Billy Corgan and the power of music. Jim and Greg also review the new album from Steve Lacy.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:Melissa Auf der Maur, "Followed the Waves," Auf der Maur, Capitol, 2004The Beatles, "With a Little Help from My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Steve Lacy, "is it cool? (feat. SZA)," Oh yeah?, RCA, 2026Steve Lacy, "oh yeah?," Oh yeah?, RCA, 2026Steve Lacy, "pure colour (feat. Erykah Badu)," Oh yeah?, RCA, 2026Hole, "Reasons to Be Beautiful," Celebrity Skin, Geffen and DGC, 1998Hole, "Miss World," Live Through This, DGC, 1994Hole, "I Think That I Would Die," Live Through This, DGC, 1994Hole, "Violet," Live Through This, DGC, 1994Hole, "Celebrity Skin," Celebrity Skin, Geffen and DGC, 1998Hole, "Malibu," Celebrity Skin, Geffen and DGC, 1998Hole, "Awful," Celebrity Skin, Geffen and DGC, 1998Hole, "Doll Parts," Live Through This, DGC, 1994Portraits of Tracy, "Caught In A Jam," Q: From Where Do Our Primal Instincts Originate? A: MTV!, self-released, 2026See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Yara Khoury Nammour interviews Lebanese graphic designer and educator Leen Charafeddine. They start the conversation discussing her entry into the field of Graphic design which stemmed from her interest as a teenager in the advertising profession. Later she unrolls in the graphic design program at the Amrican University of Beirut (AUB), then goes on to receive two masters degrees from the Royal College of Art (RCA) in London and the School of Poetic Computing (SPC) in New York. After a short stint in advertising, Leen's work shifts to graphic design and creative coding.   Leen discusses in detail her work with the Lebanese children's publisher Dar Onboz. At Dar Onboz she is reintroduced to the Arabic language and script, and her interest in multidisciplinary and experiential education is triggered. This lead her to pursue an MA degree at RCA with a thesis project for teaching math in an alternative and visual way. This interest further launches her into creative coding and she joins the School for Poetic Computation in New York.   Leen talks about a few of the publication design projects she worked on with Dar Onboz, and elaborates on how she incorporated her experiences with the children in her family in these publication projects. One of the focuses in her work became teaching the Arabic language in alternative ways, and looking into playful ways to underline connections between science, art and making. After her RCA graduation she started working on a paper engineering project with her nephews and nieces that used math and building to describe how things grow in the real world. Based on that project she was approached by the Palestinian museum to create more paper engineering works for The History of Palestine Through Everyday Objects project which consisted of a series of pop-up books and a box of activities. Further collaborations with the Palestinian Museum included the Sanasel Arabic language educational online platform developed with the accessibility for the Palestinian diaspora and building connections in mind.   The conversation revolved around Leen's interest in language, mathematics, creative coding and how these can define how we see and practice design in the future. She expresses her interest in learning new skills and technologies, and using them to empower marginalised communities and amplify the voices of those that are being silenced. The conversation ends with a discussion about an Arabic coding language and the current challenges that coders face when working with Arabic typography in a dynamic way, and in real time.     @khattfoundation @khatt_chronicles @khatt_books @leencharafeddine www.khtt.net www.khattbooks.com       Leen Charafeddine is a graphic designer based in Beirut, Lebanon. Her practice is focused on creating alternative pedagogical tools. She graduated with a BA in Graphic Design from the American University of Beirut, and an MA in Visual Communications from the Royal College of Art, London. She is a self-taught creative coder in Processing, and attended online courses at The School for Poetic Computation in New York to learn OpenFrameworks.   Connect with Leen Charafeddine

In this episode of the TapRooT® Podcast, the team breaks down the Root Cause Analysis red flags investigators, leaders, and RCA professionals should watch for. From stopping at “human error” to blaming contractors, relying too heavily on witness statements, and defaulting to training and procedures, these warning signs can reveal when an investigation simply isn't going deep enough. You'll learn how to recognize when an investigation is getting off track, and what you can do to improve the quality of your incident investigations, root cause analysis, evidence collection, and corrective actions.

À la une :

Episode 70 of Inside The Rails and Simon Double and co-host Phil Boyle open with updates on their syndicate horses. Phil's newly named filly Theconnemaraoyster returns to training ahead of a late-season debut, while Twist of Fatecatch makes an encouraging first start over fences at Worcester, finishing third. Simon is celebrating success with Solario Racing's Victoire Magique winning a listed race at Deauville to earn uppercase black type.  Simon outlines his upcoming targets and plans for Emerald Downs and Syrian. The hosts review York's meeting highlights, discuss a record-breaking Arqana yearling sale, and chat about the retirements of Joe Fanning and Jim Crowley. They touch on Jockey Club Racecourses and Taunton leaving the RCA and talk about National Racehorse Week and upcoming syndicate days. Honor Clinch from HC Visuals joins the podcast to chat about her route into racing, her photography work, riding out, a Newbury charity race, syndication, and her suggestions to improve British racing.   00:00 Welcome 01:30 This Month's Guest 02:03 BG Racing Updates 05:29 Solario Racing Updates 09:38 York Ebor Festival Review 12:02 Yearling Sales 14:24 Jockey Retirements 18:39 Interview - Honor Clinch 31:38 Wrap Up and Thanks   Useful links mentioned in this episode: www.solarioracing.com  www.bgracingsyndicates.co.uk  https://hcvisuals.co.uk/    Contact the hosts: Phil Boyle: phil@bgracingsyndicates.co.uk  Simon Double: info@solarioracing.com   Follow us on Twitter/X - @InsideTheRails Follow Solario Racing on Twitter/X - @officialsolario Follow BG Racing on Twitter/X - @bgrsyndicates Follow Honor Clinch on Instagram - @hcvisualssuffolk Inside The Rails is also on Facebook, just search for Inside The Rails Thanks to Racing Ahead magazine for supporting the podcast.  Monthly editions, both physical and digital.  See https://www.racingahead.ne

This week we make hard choices: Aquanet or White Rain? That's right, we are once again diving hair-first into the world of obscure glam metal. We are focusing on the bands that arrived on the scene just a hair too late: the years 1991-1993. They wanted to party like it was 1989, but a grungy storm from the Pacific Northwest was coming to crush their party vibes. If you like it glammy, sleazy, and trashy, this is your show! New to InObscuria? Every week your two hosts crawl down to the crypts to exhume obscure Rock n' Punk n' Metal in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. If you dig it… go dig it up and buy it! Support these artists and keep your devil horns and hair high in the air! Songs this week include: McQueen Street - “Money” from McQueen Street (1991) Wildside - “Monkey See Monkey Do” from Under The Influence (1992) Alleycat Scratch - “Soul Survivor” from Deadboys In Trash City (1993) Noisy Mama - “Dirty Dog” from Everybody Has One (1991) Blackfish - “Sweet Sixteen” from Blackfish (1993) Kik Tracee - “Don't Need Rules” from No Rules (1991) Kiss Of The Gypsy - “Blind For Love” from Kiss Of The Gypsy (1992) Please subscribe everywhere that you listen to podcasts! Visit us: https://inobscuria.com/ https://bonelesspodcasting.com/shows/in-obscuria https://www.facebook.com/InObscuria https://x.com/inobscuria https://www.instagram.com/inobscuria/ Buy cool stuff with our logo on it: InObscuria Store Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/ If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/ If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/

Blade specialist Morten Handberg on when an RCA pays off, what SCADA data can and cannot tell you, and why erosion gets written off as wear and tear. The Uptime Wind Energy Podcast is brought to you by Weather Guard Lightning Tech, creators of the StrikeTape Ultra LPS retrofit. Subscribe to Uptime’s Substack newsletter. And check out Rosemary’s “Engineering with Rosie” Youtube channel. 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 Allen Hall: Morten, welcome back to the program.  Morten Handberg: Thanks, Allen. It’s so– It’s, it’s so such a great, great pleasure to be back again.  Allen Hall: We have a lot to talk about today because of root cause analysis and the number of operators that are really struggling with RCAs, of when to do them or when not to go down the RCA pathway. It, it– There’s a, a ton of confusion in the industry about it, and we thought, well, this would be a great time for Morten to come back and explain when is the right time for an RCA. So Morten, when is the right time for an RCA? What should we look for? Or wh- how big of the problem sh-should it be [00:01:00]before I find somebody to help me do this RCA? Morten Handberg: So the obvious question is typically when something really bad happens, then I think everyone can agree that, you know, we should definitely do an RCA to get to the bottom of this. And that’s also just from a– It’s both from a technical perspective to sort of figure out, you know, why did this happen, and, you know, um, who… Well, what is the, what is the main cause? Is it, is it something that, you know, it was happening while we were operating the asset, be it turbine or whatever? Uh, was it something that was inert in the bla- in the, in the turbine, the blade, the gearbox that was just waiting to happen? So that’s always very important to know. Also because it tells you what is the chance of this happening again, you know, and, and can you prevent it in a meaningful way? Um, and there’s also a, a safety aspect to it because it’s– so it also tells, you know, uh, what if, you know, you don’t want blade falling left and right. You don’t want gearbox ex- [00:02:00] gearboxes exploding. You don’t want towers to collapse. We can all agree on that. Uh, and you don’t want this to happen because you don’t, you don’t want to run the risk that someone gets hurt, uh, hurt by it. So then RCA is a really important tool to investigate and find out, well, what happened here, and how can we prevent it, and what is the chances that it happens another time? So that, that is sort of the– That we can always agree and we would do it when, when something really terrible happens. Then there is the, you know, not so critical ones where, you know, you are just in time, uh, that, that, that you catch it, and then the question is, what is the– when is then the right time for that? Allen Hall: There seems to be a couple of phases in the lifespan of a turbine where the RCA, it becomes a little more critical. In that first year or two, particularly if the turbine is under warranty or you’re getting close to the end of the warranty, there– at least from a lot of operators I have spoken with, that, uh, [00:03:00] they would like to do an RCA as more of a documentation of what has happened on the site to then maybe claim serial defect maybe l- at another point. There’s just like the record-keeping part of RCAs, which I’m not sure is the right level of effort for what you’re trying to accomplish. Is, is the RCA the right approach there if you have a, a gearbox issue or a blade issue early in the life cycle of a turbine?  Morten Handberg: There is definitely before the end of warranty, there is a, there is an, there is an aspect, you know, when should you actually do an RCA? And it should, it, it should benefit you in a way where you can– where there is an economical benefit, because it might not be a massive critical issue, but something that will lead to a lot of maintenance down the t- down the line. Um, but if you want to make it successful in the warranty claim, then you really need to know what is the, what is the cost behind it. Is it wear and tear? Is it [00:04:00] a manufacturing defect? Is it, uh, environmental conditions, uh, that are, that are causing it? And these, these becomes really important. That’s also why you can, you, you can, you can do an RCA on erosion, uh, because it, it can be important if you see massive, uh, erosion degradation that you really want to understand, what are my local conditions? Um, and a good example here is Australia, because Australia doesn’t work like Europe. We– You can take all the experiences we have from Europe, but it does not work in Australia. So you might want to do your, your, uh, root cause on that specific issue localized, uh, to really understand it, and that’s when RCA becomes really strong to sort of find out what are the underlying mechanisms, uh, that enables this. But you can also pour in a lot of cost and effort into relatively minor defects, uh, or issues, um, where it does not really benefit you in the long run, and that will always be a challenge before end of warranty because you don’t really know what will, [00:05:00] what will hit you down the long run, and that’s where you, you know, then, then it becomes more of a strategic decision. You know, breaking bolts, if you’ve seen one, maybe you don’t want to do an RCA on it. That does not really seem to matter to you that much. It’s just random occurrence. But if you start to see it, uh, in, in quick succession on multiple turbines, adjacent bolts, then it’s important for several reasons. One, you might– If you’re still within warranty, you really wanna know why is this happening and, and how do you fix it long term so this not– does not become a headache for the next 25 years? Um, so you want to, you want– you really want to understand that. And two You can, you can live with a few broken bolts on the blade, but there, there will become a critical point where the blade will liberate and then, uh, it will, it will col- it will, it will, yeah, leave the turbine or, or collapse on its own, uh, depending on the turbine model. And, and that is really critical to, to, uh, to avoid and, and to, uh, to [00:06:00]understand that. Um, and maybe the outcome of the idea of the RCA is monitoring, but that is a really important knowledge to have.  Allen Hall: That’s a good point about the monitoring aspect because I think a lot of times when a operator chooses to go down the RCA path, what they’re expecting is just to get a report of this is the conditions that created the damage or created the unexpected outcome Uh, it, sometimes you may not be able to get to that final answer, and the answer can be, we need to put conditioning monitoring on to have a better understanding of what the fault is. That’s not a invalid RCA. That’s a really useful tool. But a lot of operators don’t think of an RCA as being that sort of outcome. That, that is actually where a lot of the industry problems can be solved, right, is to get the engineering up in upfront to then maybe have a little longer time or maybe instrument another [00:07:00] turbine to see how big this problem is. I- is, is that the approach that which you would, uh, aspire to apply to some of these wind sites today?  Morten Handberg: I think that monitoring, uh, understanding the monitoring requirements is a very critical point, uh, outcome of an RCA. Both– And you can use it both during your investigation to sort of find out when you have, you know, uh, to, to find out how do you detect it efficiently, uh, but also what are the right methodologies and what is it actually that you want to achieve, uh, with mitigating this issue, and then what, what kind of, what kind of monitoring do you need. So for instance, if you have, if you have, if you have cracks starting in your laminate, you know, do you need acoustics? Uh, do you need deflection monitoring? Um, is it es- is it vibration monitoring, or is it, um, or is it some kind of, uh, video monitoring, um, that or, or infrared scan that, that, that you need to, to keep, um, to, to, to ca- And again, the essential [00:08:00] part is then how do you catch it in time that it does not become a critical issue? Uh, and, and then by using the RCA to find out, well, what is the best methodology to, to detect this and detect it in a cost-effective way, uh, that, that leaves you in, in good shape to, to maintain your turbines. That is a, you know, that is a really strong value proposition for the RCA.  Allen Hall: Morten, when I talk to a lot of operators about doing an RCA, uh, they don’t have access to high-speed scada, scada data. They, they have access to low speed, depending on what their arrangement is with the OEM. Uh It’s really hard to get the high-resolution data, and they do not have the algorithms that maybe be able to tell them something about the turbine. They’ll just have sort of raw data streams. How important is it to get some of that high-speed data and the understanding of how that turbine is working as a, a fault [00:09:00] happens or s- some sort of failure happens? Morten Handberg: It kinda depends on what it is that you’re, that you’re looking for. So for a lot of… for, for, so for SCADA data, it will, it will give you, um, a more holistic view of what, how the turbine is performing. It will give you the power production, wind speeds, wind turbine, uh, the blade pitching. Um, so it kinda gives you an understanding about how it is, how, how it is operating, but it st- does not really give you any specifics about the condition of, of the blades, of the gearbox, of the bearing, of the main shaft, of the tower. So, um, so it does, so you don’t really have any, any detailed sense of that. You do have alarm logs, and they can be quite important. But in order for, uh, to sort of, uh, to tie that in with the failure that you’re seeing, you have, need to have a very, uh, a very strong sense of, you know, have, need to have an accurate sense of when did this actually happen. So establishing the timeline of when the failure occurred, that, that sorta increases [00:10:00] the value of SCADA data. Um, so you can– The, one of the things you can learn from SCADA data is you can see the performance was, were, versus what, how the power production is. And then you can start to see, you can start to see how the, you know, if there’s any deviation, um, uh, that ties up in environmental conditions that, that sort of, that would affect the, the, uh, any of the turbine components. And then SCADA data can be a very, uh, very important tool in addition to your other analysis. But you still need… But SCADA data is only a part of it, and it will only give you a s- a sense of, uh, com- with the alarm logs, it will give you, it will give you, it sorta help you build the timeline of what actually happened here. And I can give you an example. So- If we’re looking at a blade failure, and we sort of know, well, the blade broke in half at a certain point in time. It was, uh, a very rapid occurrence, so it, it was not something that happened over a very long period of time. It was, it was a quick succession. When [00:11:00] did we start to go wrong? Um, then scatter data can be really good to sort of, you know when it failed because the turbine did restart. But was that when things went wrong? Not necessarily. Uh, there could be times before that when you could have had tower oscillation, so shock effects. It can, it can be, um, it can be, uh, alarms from the pitch system that says, you know, the, that there is something with the blade. It does not really behave right or that it can’t really turn right. Um, and/or the, the turbine does not really produce as it should. That can then, that can then help you establish, okay, how far back is this actually? When, when does this really start from when it collapsed and then when does the issue started to occur? Um, so then, then, then scatter data becomes useful, but it’s not something that will tell you it was lightning, it was manufacturing, uh, or otherwise. That scatter data doesn’t really work for that, but it helps you establish the timeline of it.  Allen Hall: All right. That’s very interesting, uh, because I think that plays into some of the questions about [00:12:00] insurance and when you have a damage or some situation where you have had exceeded the deductible, right? So you’re, you’re, now you’re into a couple hundred thousand dollars of a claim of some sort. There’s two opposing opinions about RCAs that right there is, one is I’m gonna file a claim. The insurer will perform the RCA and come back to me with what actually happened, and then we can figure out the financial details. The other side is, I wanna have an RCA so when I hear back from the insurer, uh, that they, uh, my RCA aligns with their RCA, that we’re in agreement. And if we’re not in agreement, uh, how do we handle the difference? What is the right approach there? Is there a right approach there?  Morten Handberg: Often where you would start is, uh, you would actually a- if, if there is an issue and you’re, as an operator, is concerned, you would often start with going to your OEM and saying, “Hey- We see [00:13:00] this. This does not seem right, or this component failed. We need you to provide an, an RCA and if you have a good contract, then the OEM is obliged, uh, to provide that. But that will state, that will be stated in, in your contract if they are required to do so. So I would, I would use my contract for that. Then if, uh, they don’t are required to perform an RCA, they don’t want to, or you’re unsatisfied with it or, and you have filed an insurance claim, then, uh, then there might be an obligation for you to carry out an RCA. Or there might be a strong desire for you to sort of either find out, well, is the OEM right? Um, or is there something I need to challenge them on here? And then an RCA become– And that, that, that’s when you want to do your own RCA. Uh, and then whether or not you, the insurer, uh, will do an RCA, that, that sort of depends on the, on the process of the claim. Uh, if there’s any, uh, if there’s a [00:14:00] contes- some, some contention, uh, between the parties. Um, more often than not, there is, there is a, there is collaboration between all parties if all are interested in, in seeing things coming to, to the right end, and that they use– sort of let the RCA be the, be the guiding star and that everyone can agree, okay, whatever the outcome of the RCA is, we’ll stand behind that as long as it’s carried out in a professional manner. And these different boxes that we want to have checked, that they are all verified and there’s documentation for it. So it can be an, it can be a good tool to, uh, to sort of, uh, have an alignment on the, um, on, on a, on a claims process, really.  Allen Hall: I wanna touch on how the OEMs play into the RCA. So l- let’s use the example which is happening here in the United States quite a bit, and also in Europe offshore, which is leading edge erosion And the question regarding wear and tear versus something that’s a claim, and [00:15:00] if ex- there’s been accelerated leading-edge erosion, trying to put a root cause to that. Is it a manufacturing issue? Is it a location issue? Is it a maintenance issue? It could be all of them or a combination thereof. Uh, how does that work? And is the RCA the right approach there just to put some markers in the ground as to what the issue really is or the underlying causes are?  Morten Handberg: Yes, but it has to be an independent RCA. Um, because there, um, if there is invested interest in having one result over the other, then there will always be distrust between the parties. Um, you know as well as me that a lot of leading-edge degradation, I would say, is being marked out, marked out as leading-edge erosion. Uh, but from some of our previous talks then, you know, there is very much difference in leading-edge erosion defects because you can have scratches, you can have voids, you can have, uh, peeling, chipping, and you can have erosion.[00:16:00] Um, but and, and they look very distinct, but often they get thrown into the same category, and they get thrown into the same cause, being wear and tear, which is ridiculous because, um, a lot of it is, uh, uh, uh, you know, some of the key defects they’re manufacturing with, uh, driven. So peeling and voids, that is manufacturing, and they are driving a lot of the erosion. But if that gets masked as erosion, then, well, it’s just an environmental de- effect, so we can’t really tell. And I think also, you know, a lot… there’s a lot of, uh, issues regarding leading-edge protection systems peeling off, and then they don’t work as well, which is also somewhat, you know, we, we talked about this before ear- earlier in the podcast, you know, Australia having their own issues. I think one of the issues that they have is environmental conditions, that’s very obvious, but that leading-edge protection systems are notoriously difficult to install there because of the hot and at times humid conditions, and they don’t work very well with a lot of [00:17:00] leading-edge, uh, products. So that would mean it’s not an environmental effect that caused a leading-edge erosion, uh, systems to fail, to fail. It’s the application. Um, does that mean that Australia need their own product? Yes, but they need systems that are reliable and applicable in their con- in their conditions that will lead to, uh, stronger durability. And again, that’s what you need the RCA to, to, to figure out. And if you have a, an RCA carried out by someone who wants it to be wear and tear, then regard- then unless you can… they, they, they come up with something else than wear and tear, you will always have a, a slight distrust in the result. So that’s why I would always argue, if you have concern for leading-edge erosion, then absolutely go to your O&M, figure out if they have a– if they’ve seen it before, they are keen to, to engage and provide a suitable solution and, and, you know, share actual knowledge. But I would always keep in back of my head that if, if you’re not [00:18:00]100% sure about their– them telling the right– you– they’re, they’re telling you the truth, I would get it sanity checked, and I would carry out my own independent study which is what a lot of O- O&Mers are doing.  Allen Hall: That’s a really important bit of information for sure, Morten. When going out to look for an RCA provider, what tends to happen, at least in the United States, and I think, uh, Australia can be this way at times and, and Europe definitely is, is that the chosen supplier of the RCA is one of the acronym companies. We all know who we’re talking about here. Just because they’re large in scale and they have a lot of capabilities, they have a lot of engineers, and, uh, they b- some of these things are pretty routine, and it does seem like they can, can do this job. But I’m seeing more and more independent companies doing RCAs because of the level of detail. Some of the bearing issues that have popped up really require an expert in [00:19:00] bearings. Some of the tower issues require someone, especially foundation, someone who’s knowledgeable about concrete. Uh, same thing for lightning. Usually you need somebody who knows something about lightning to be involved instead of a, a, a larger organization. What are you seeing in that space today? Are you seeing more, uh, narrow focus, uh, independent groups or engineers working on RCAs, or is it still mostly the big companies that we all know?  Morten Handberg: I would say that, uh, all of the acronym companies, uh, all have very good, talented engineers employed. I don’t think we need to d- you know, we can all agree on that. But, uh, what I can sometimes be concerned is whether how much politics plays into their, um, their output. Um, so what would be important for me if I was, if I own a wind farm and my expertise is blades. So if I needed someone to look at my tower or my, my gearbox, I would find an expert within that [00:20:00] field. I would definitely find someone in my network or, uh, uh, or, uh, otherwise that I know can provide an independent and honest opinion without, uh, having any any relationship to any of the OEMs or component suppliers, um, including the, including the coding suppliers. They’re all good. They’re all, uh, very, uh, all, all very skilled, have good products. But they’re gonna want someone to look at, you know, what is the best solution for me with what is out there, um, and not be blindsided or focused on what is, you know, uh, other in, in interest in that.  Allen Hall: Right. Because it, it’s, it’s sometimes hard to tell where y- everybody’s intentions lie. It’s like hiring an attorney, I think, at some point, and that’s what I tell people is it’s like hiring an attorney. Do you want an attorney that’s on your side, y- y- or and helping you? Do you want someone who’s more like a judge that’s just an independent person [00:21:00] or, or an advocate? Like, what are you looking for exactly? And it, uh, you need to think that out, uh, before you make your selection. And a lot of times there’s just a couple of defaults, which I have Have done really well, obviously, because the larger firms have a lot of engineering experience and have seen things globally, but not necessarily– That’s, that doesn’t mean they’ve seen your particular, uh, problem, particularly on a, on a new turbine design. Those are really difficult RCAs, in my opinion. And Morten, you see this all the time on new turbines. Like, those are the troublemakers in, in– from engineering to try to solve the problems ’cause they’re, they’re new.  Morten Handberg: Yeah, and we’re, we’re, we’re playing catch up, uh, with the, with the technology, and we’ve, we’ve been, been, been like that for for quite a few years now. And, and whenever, uh, a, a new blade that is, uh, ten meters long, well, we think we know what the, what the previous versions, how they worked and, uh, and what, what could go wrong with them, and that’s both in terms of the structure, in terms of the, uh, storage, in terms of, of lightning.[00:22:00] But it seems like, you know, there’s some-always something new popping up, uh, and also in new environments that we’re installing turbines creates new problems that we haven’t really foreseen. And, and again, if something that you’re not expecting then suddenly starts to appear, that’s also when you, you really want to, to use the RCA tool to, to sort of get to, uh, get a handle on what is going on and get an– and get that deep dive understanding about what it is, because it will help you, uh, uh, understand, well, what are my risks going forward, and what can I do to mitigate? Uh, and, um, yeah, on, you know, uh, and is there, is there, is– Do I need to, to look at, uh, putting a claim together?  Allen Hall: Morten, this is super helpful. I know a lot of operators around the world, uh, really question when to do an RCA, and if they should be doing RCAs, is it worth the spend? And you’re a great resource on that just because you’ve done a number of RCAs over the years, and you’ve been involved in [00:23:00] other companies that have performed tho-that task, and you have a, a sense of reality there of, uh, probably not an RCA, but probably some engineering time. Or no, you really, really need to be on an RCA right now. How do people get ahold of you and, and to pick your brain about that an-and to get some, some knowledge, uh, to help them make their decision?  Morten Handberg: Um, yeah, you can always look me up on LinkedIn, and I am always happy to engage. Uh, if anyone has a question on, on blades or on RCAs or on maintenance, um, my door’s always open, and I’m happy to have a chat, uh, and share my knowledge. That’s how I’ve been operating for my entire career, and that’s how I intend to continue. So please feel free to reach out, and ha-looking forward to, to the, to the discussion.  Allen Hall: Morten, it’s great to have you back on the program. Looking forward to having you again in the future.  Morten Handberg: I, I’m loo-looking forward to many more, more, more, more times on your show, Allen. Thank you so [00:24:00] much.

We go from our love of surprise twists to a brutally practical question: how we deliver the right level of detail at work when leaders give vague asks and unclear formats. We share the tactics we use to get fast feedback, avoid wasted effort, and navigate the executive layer without losing our minds. • why surprises and subverted expectations work in stories and advertising • how trust breaks when companies reverse public promises • the real problem with ambiguous asks for decks, emails, and RCA summaries • asking individual contributors directly for the details that matter • giving executives three options so they feel ownership • building extra research into appendix slides without presenting it upfront • using quick Slack or Teams check-ins to avoid weeks of rework • managing the perception of success versus chasing perfect outcomes Hey, if you liked what you heard and you don't have a dollar to give, share this podcast with your friends. Invite them to the Discord to continue the conversation and continue to listen. Support the showClick/Tap HERE for everything Corporate StrategyElevator Music by Julian Avila Promoted by MrSnoozeDon't forget ⭐⭐⭐⭐⭐ it helps!      

Hazy guitars, buried vocals and walls of distortion– the shoegaze sound may have peaked in the '90s, but it never really went away. This week, hosts Jim DeRogatis and Greg Kot highlight some of the genre's pioneers along with more recent favorites. The hosts 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/4frcVZoMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Lowtide, "Elizabeth Tower," Southern Mind, Rice Is Nice, Opposite Number, 2018The Beatles, "With a Little Help from My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967My Bloody Valentine, "Only Shallow," Loveless, Creation, 1991Slowdive, "Slowdive," Slowdive (EP), Creation, 1990Ride, "Dreams Burn Down," Nowhere, Sire, 1990Lush, "De-Luxe," Gala, 4AD, 1990Spiritualized, "Shine a Light," Lazer Guided Melodies, RCA, 1992Catherine Wheel, "Black Metallic," Ferment, Fontana, 1992Starflyer 59, "Do You Ever Feel That Way," Gold, Tooth and Nail, 1995Los Mundos, "Explosión Sónica," Máquinas En Movimiento, Las Dunas, 2024Soft Science, "Undone," Maps, Test Pattern, 2018Winter, "Hide-A-Lullaby," Adult Romantix, Winspear, 2025This Will Destroy You, "Little Smoke," Tunnel Blanket, Monotreme, 2011Deafheaven, "Sunbather," Sunbather, Deathwish, 2013Slow Crush, "Cherry," Thirst, Pure Noise, 2025Pink Frost, "Striking Violet," Gargoyle Days, Notes and Bolts, 2012Courtney Barnett, "Pedestrian at Best," Sometimes I Sit and Think, and Sometimes I Just Sit, Marathon Artists, 2015See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

L'effondrement meurtrier survenu sur un site d'exploitation minière à la frontière entre le Cameroun et la République centrafricaine a fait plusieurs dizaines de victimes. Des centaines, voire des milliers de personnes travaillent sur le site de Zamboï, une zone d'exploitation artisanale de l'or. Pourquoi les mineurs sont-ils aussi exposés et quelles leçons tirer de ce drame ? Samuel Nguiffo, spécialiste des questions minières au Cameroun, juriste et directeur du Centre pour l'environnement et le développement, répond aux questions de Clothilde Hazard. RFI : L'éboulement de la mine qui a eu lieu sur un site minier à la frontière entre la République centrafricaine et le Cameroun a fait plusieurs dizaines de victimes. Qu'est-ce qui s'est passé exactement ? Est-ce que vous avez des informations là-dessus ? Samuel Nguiffo : Il y a eu un accident, c'est un éboulement. Des vidéos ont très vite circulé. C'est également inhabituel que l'on ait des vidéos. Ce sont des images très dures. Ce qu'on voit de l'éboulement, on voit des personnes qui sont ensevelies. On en voit quelques-unes qui sont recouvertes de terre. Mais ce que l'on ne voit pas, c'est tous ces artisans qui se trouvaient dans les galeries souterraines et qui ont été totalement ensevelis, sans même comprendre ce qui leur arrivait. C'est une catégorie d'accident très fréquente, surtout au cours de la saison des pluies, parce que les sols sont imbibés d'eau et on peut avoir assez rapidement des sols qui s'affaissent. C'est quelque chose qui arrive souvent, mais jamais, absolument jamais, à cette ampleur. Comment on explique justement qu'il y ait autant de victimes ? Il y a beaucoup de personnes qui travaillent dans ce chantier. C'est la période des vacances, on est assez proche de la rentrée. Là aussi, il y a beaucoup de gens, y compris beaucoup de jeunes, qui sont à la recherche d'argent pour préparer les rentrées scolaires. En temps normal, ce sont des sites qui sont extrêmement bondés de personnes. En période de vacances, ces personnes sont encore plus nombreuses. C'est une exploitation artisanale, illégale ? Qu'est-ce que c'est comme type de mine ? C'est une exploitation artisanale. Donc, c'est un site assez informel, mais beaucoup plus grand que ce que l'on pourrait attendre d'un site informel, avec des modes de gestion, des modes de fonctionnement qui restent informels. C'est une forme d'illégalité qu'il est assez difficile de combattre parce qu'il s'agit parfois de milliers de personnes. Les mettre hors du site serait assez mal perçu par les natifs, par les locaux, qui ne sont pas les seuls dans le site. Parce que bien sûr, ces personnes estiment que l'or fait partie de ce que la nature leur a donné et qu'ils peuvent l'exploiter pour subvenir à leurs besoins. Est-ce que ces personnes sont protégées quand elles travaillent ? Est-ce qu'il y a la présence de sécurité ou de secours à proximité ? On est dans une zone frontalière. De part et d'autre de la frontière, les États mettent les moyens pour s'assurer de la sécurité des personnes, mais également pour contrôler les flux de personnes et de biens, en particulier dans une zone comme celle-là, où on a un nombre important de personnes dont on n'a pas forcément l'identité exacte - pas parce qu'ils la cachent, mais parce que parfois, ils n'ont pas de papiers d'identité. Souvenons-nous qu'ils sont dans des villages, des villages parfois assez reculés. Étant une zone frontalière, il y a des forces de sécurité de part et d'autre. On voit quand même que sur le site, en tout cas sur la vidéo, qu'il n'y a aucune infrastructure, rien pour soutenir les parois. Est-ce que c'est normal selon vous ? Dans un chantier informel, il n'y a pas un responsable qui organise toutes ces questions. Les constructions dont vous parlez coûtent plus cher que ce qu'on pourrait attendre d'un artisan minier particulier. Alors, il y a un nombre important d'artisans miniers indépendants sur ces sites-là. Ce qu'ils font, c'est que chacun essaie de trouver un peu d'or, mais pas d'investir dans des infrastructures de cette nature. Il est question d'exploiter le plus rapidement et de s'en aller. Et je crois que le débat au Cameroun, qui consiste depuis le début de cette année à assainir le secteur minier, le secteur artisanal, le secteur de la petite mine, de la mine semi-mécanisée, va reprendre de plus belle. Et sans doute, on arrivera très rapidement à réfléchir finalement sur la question de la sécurité. Quelles leçons tirer de ce drame ? Est-ce qu'il faut mettre des mesures en place ? Est-ce qu'il faut améliorer la sécurité ? J'ai l'impression que cet accident agira comme une piqûre de rappel pour tous nos décideurs, mais aussi pour les compagnies qui achètent de l'or, qui doivent pouvoir investir ou être obligées d'investir pour améliorer les conditions de production. Depuis le début de cette année, on comprend bien qu'il y a des efforts de la part du gouvernement, des efforts pour améliorer la transparence de la production, la transparence des flux d'or vers l'exportation, mais également pour réduire l'impact social et environnemental. Travailler pour qu'il y ait moins d'enfants dans la mine, que les enfants puissent aller à l'école. Avoir cet accident rappellera l'importance de la question sécuritaire. Il faut s'assurer qu'il n'y ait plus d'accidents de cette nature. Et je crois que si on pouvait arriver à ce que ceci soit le dernier accident dans le secteur minier, au Cameroun et en Centrafrique, ce serait un grand succès, si l'on peut le dire dans cette circonstance extrêmement triste. À lire aussiÀ la frontière entre le Cameroun et la RCA, un éboulement dans une mine d'or fait plus d'une centaine de morts

“I think that making images come to life with sound helps the audience with the story and with the emotion of the story. It puts them in the right place. They know what it is they're supposed to pay attention to. We talked earlier in our first meeting about this line-of-sight editing, that is, a video editing thing that they do to get the audience's eyes to move to what's important on screen. And we can do the same thing with audio. We can tell them, ‘OK, this is important over here.' And whether or not they saw it, now they know it, if that makes sense.” – Robin GulcherThis week's guest provides sound design, mixing, and recording services for Advertising Agencies, Film/Video production companies, Publishing Companies, Independent Filmmakers, and Corporate clients, and he's been the production sound mixer for countless commercial and film shoots over the years. Through his work at audibleRicochet, he's rescued imperfect recordings, crafted immersive soundscapes, and helped brands and filmmakers bring clarity and emotion to their projects. And as an adjunct instructor in the Cinematic Arts Department at the Columbus College of Art and Design, he continues to further his craft, as well as the future of the filmmakers and animators he teaches.His name is Robin Gulcher, and in this episode, he shares how sound can transform the ordinary into something memorable – and why what we hear often matters more than what we see.As always, if you have questions for my guest, you're welcome to reach out through the links in the show notes. If you have questions for me, visit audiobrandingpodcast.com, where you'll find a lot of ways to get in touch. Plus, subscribing to the newsletter will let you know when the new podcasts are available, along with other interesting bits of audio-related news. And if you're getting some value from listening, the best ways to show your support are to share this podcast with a friend and leave an honest review. Both those things really help, and I'd love to feature your review on future podcasts. You can leave one either in written or in voice format from the podcast's main page. I would so appreciate that.(00:00) – Navigating the AI LandscapeOur conversation starts as Robin shares his experiences with AI sound and voices, including the surprising impact it made after one recent session. “It was a long, educational VO thing,” he tells us, “The client asked for this particular voice,… they directed it, and the voice talent sent the invoice and an AI disclaimer after the fact, and so they fired us all.” He recalls his own use of AI in a very different situation, and how it helped avoid a recording crisis. “She picked up the phone, and she was in labor,” he says about a voiceover artist scheduled to record that day. “But she picked up the phone, you know, and so what I did was, we sampled her voice, and the sentence that had this person who was coming up on stage with [a] mispronunciation, we put that in phonetically and did it a couple of times.”(13:50) – How Robin's Audio Journey BeganWe circle back to Robin's early memories of sound, and what inspired him to begin his career in audio. “Music was always in my house,” he says, “whether it was, you know, on the RCA phonograph or whether it was a couple of live players that stopped by the house and jammed and stuff. And I just grew up around it.” He tells us more about how he formed his remote studio, audibleRicochet, and how its timing coincided with the COVID pandemic. “Things had changed so much,” he explains, “and I had actually had facilities here at the house. And so, you know, if there was a snow day, I'd stay home and work and stuff. And it just became more obvious to me that we didn't need that facility.”(24:32) – The Emotional Impact of SoundAs the first half of our conversation wraps up, Robin shares his thoughts on how the power of sound shapes our cinematic experience in ways we don't fully realize. “Sometimes with sound design, you can do things that are unexpected that also help the story,” he says, “but they have to believe it, and you have to do it in a way that they'll believe it.” He gives us an example of a memorable use of sound in filmmaking from the 2014 film A Most Wanted Man: “The talking and stuff, that faded away, and the only thing you heard was his footsteps… As he got to the door to the elevator, the footsteps stopped, and then the crowd and the background went back to normal as if we went back to reality.”Episode SummaryOur conversation about the voiceover challenges and opportunities posed by AI.An exploration of the audio techniques that help guide audience focus.Robin and I discuss how sound enhances storytelling and audience engagement.Tune in for next week's episode as we discuss the surprising history behind why commercials are so much louder than television, why Robin advises his students against writing jingles, and what sonic logos can learn from the techniques used to create consistent cinematic soundscapes.Connect with the Audio Branding Podcast:Book your project with Voice Overs and Vocals by visiting https://voiceoversandvocals.comConnect with me on Instagram - https://www.instagram.com/jodikrangle/Watch the Audio Branding Podcast on YouTube - https://www.youtube.com/c/JodiKrangleVOConnect with me on LinkedIn - https://www.linkedin.com/in/jodikrangle/Leave the Audio Branding Podcast a review at https://lovethepodcast.com/audiobranding (Thank you!)Share your passion effectively with these Tips for Sounding Your Best as a Podcast Guest!https://voiceoversandvocals.com/tips-for-sounding-your-best-as-a-podcast-guest/Get my Top Five Tips for Implementing an Intentional Audio Strategyhttps://voiceoversandvocals.com/audio-branding-strategy/Editing/Production by Humberto Franco - https://humbertofranco.com/This podcast uses the following third-party services for analysis: OP3 - https://op3.dev/privacy

Hoy nos vamos juntos a el humo de los callejones de Kansas City. Hoy pinchamos una joya de esas que hacen que el whisky sepa mejor. Hablamos del disco "Goin' to Kansas City Blues", del inmenso Jimmy Witherspoon junto a Jay McShann y su banda. Se registró en dos sesiones de alto voltaje los días 4 y 5 de diciembre de 1957, en los míticos estudios de la calle 24 de RCA en Nueva York, y salió a la calle en 1958 bajo el sello RCA Victor.

What makes a world-class incident investigation? Is it the amount of time spent investigating, the tools you use, or something more? In this episode of the TapRooT® Podcast, Mark, Ken, and Alex discuss the essential elements of a world-class root cause analysis (RCA). They explain why management support, investigator training, evidence collection, causal factor analysis, and effective corrective actions are critical to preventing repeat incidents. In this video you'll learn why rushing investigations can lead to poor results, why evidence-based timelines are essential, how to avoid stopping at human error, and why the ultimate goal of every investigation is implementing corrective actions that improve systems and prevent future incidents.

What if the biggest problem with CMMS isn't the technology, but how people actually use it? In this episode of Gear Talk, Wes Cash sits down with UpKeep founder Ryan Chan to talk about where CMMS came from, where it's headed and how emerging technology is changing the way maintenance teams capture information, analyze data and get work done. Ryan shares how his own experience with cumbersome, desktop-based maintenance software led to the creation of UpKeep, and why putting technicians first can make the difference between useful maintenance data and another digital filing cabinet. The conversation also looks ahead at AI, voice interfaces, connected technicians and what these tools could mean for reliability over the next decade. You'll learn about: Why traditional CMMS workflows often struggle with technician adoption How better usability can lead to better maintenance data Why collecting more data doesn't automatically create more value How AI can help teams make sense of years of maintenance history Where AI can support RCA, FMEA, diagnosis and decision-making How voice-driven inspections are already changing maintenance workflows Why the connected technician may be closer than many plants realize What maintenance teams can do now instead of waiting for the “perfect” technology Whether your plant is still working from paper, already experimenting with AI or somewhere in between, this conversation offers a practical look at how CMMS technology is evolving and why the people using it still matter most. Learn about this episode's sponsor at https://www.assetwatch.com/get-started?utm_source=noria&utm_medium=podcast&utm_campaign=podcast-ads-wes&utm_term=q1-2026&utm_content=get-started ▶️ Watch more Gear Talk episodes: https://www.youtube.com/playlist?list=PLUMZtxzM4WqOBC53dsyVBi6FQGWsMDPT4

To celebrate Buddy Guy's recent 90th birthday, hosts Jim DeRogatis and Greg Kot re-air their 2007 with the blues legend. They'll also give an update on what he's been up to and share some of their favorite Buddy Guy tracks.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:Buddy Guy, "First Time I Met the Blues," First Time I Met the Blues (Single), Chess, 1960The Beatles, "With a Little Help from My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967Buddy Guy, "What Kind of Woman Is This," Bring 'Em In, Jive and Silvertone, 2005Buddy Guy, "Louise McGhee (Live on Sound Opinions)," Blues Singer, Silvertone, 2003Buddy Guy & Junior Wells, "Sweet Home Chicago," Play the Blues, Atlantic, 1972Junior Wells, "Good Morning Little Schoolgirl (Live on Sound Opinions)," Hoodoo Man Blues, Delmark, 1965Buddy Guy, "Done Got Old (Live on Sound Opinions)," Sweat Tea, Jive and Silvertone, 2001Buddy Guy, "Let Me Love You Baby," Let Me Love You Baby (Single), Chess, 1961Buddy Guy, "Stone Crazy," Stone Crazy (Single), Chess, 1961Little Brother Montgomery, "The First Time I Met the Blues," The First Time I Met The Blues, Blues Interactions, 1998Buddy Guy, "Born To Play Guitar," Born to Play Guitar, RCA, 2015Buddy Guy, "Baby Please Don't Leave Me," Sweat Tea, Jive and Silvertone, 2001My Bloody Valentine, "Only Shallow," Loveless, Creation, 1991See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

À la une :

On this week's rerun episode of Artist Friendly, Joel Madden is joined by Eyedress. Born in Manila, Eyedress came to the US at five years old, moving through Arizona and California — discovering punk and skate culture along the way — before his family returned to the Philippines when he was 15. After years of self-releasing lo-fi bedroom recordings and slowly building an online following, he broke through with 2020's Let's Skip to the Wedding, which spawned global hits "Jealous" and "Romantic Lover" and eventually led to a deal with RCA. Since then, he's collaborated with artists like Mac DeMarco, King Krule, and Harmony Korine, carving out a sound that's equal parts woozy, nostalgic, and entirely his own. Eyedress and Joel dig into his journey from a rough childhood to building a life and family on his own terms, the anxiety that still follows him even after years of success, and why he believes the biggest leap of faith he ever took was also the best decision he ever made. (0:03) – From Manila to the World Stage(1:17) – Social Media: Real Life vs Curation(2:41) – Meeting Elvia (3:29) – Making Music Without Asking Permission(5:41) – Childhood(6:23) – No Choice But to Grow Up(7:44) – A Fear That Kept Him in Line(12:57) – What You Don't See on Social Media(14:32) – Success Without Buying In(17:38) – Culture Shock(20:51) – The Wake-Up Call(21:43) – 10 Years of Work Before Anyone Noticed(22:13) – First Deal(25:54) – A Father Who Always Believed(30:09) – Battling Doubt, Fear, and Anxiety(31:00) – Imagination as Blessing and Curse(37:19) – Skateboarding to Quiet the Mind(41:00) – Family Over Everything(43:28) – Forgiveness(52:19) – How Skate Culture Shaped His Sound(54:34) – Music as an Escape Route(56:52) – From Nothing to Everything He Dreamed Of(58:37) – Leap of Faith Learn more about your ad choices. Visit megaphone.fm/adchoices

Jon Zalar, founder of IWTG Consulting, joins to discuss broken blade bolts, cracked pitch bearings, loose root inserts, and early 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 Allen Hall: Jon, welcome back to the program.  Jon Zalar: Thanks for having me.  Allen Hall: Uh, last time I saw you, we were in Melbourne- Yep … at WOMA 2026, and that was a huge event. We know we’re gonna do it again next year in March three, the 3rd through the 5th, so you’re invited back, of course- I can’t wait … if you can make it. Yeah. Yeah. It’s gonna be, it’s gonna be a good time. A lot is happening in the blade world and in the wind turbine world more broadly. A lot of things we’re hearing right now are related to blade bolt connection, pitch bearing inserts still. A lot of that still happening in the United States. What is the current status of, uh, the blade connection issues in the US? I,  Jon Zalar: I feel like it’s a growing [00:01:00] issue, not super, super fast, but it seems to be getting a little worse. There’s, you know, more bolts breaking at that joint. Um, pitch bearing cracks are, seem to be pretty common. There’s different solutions for it, and then, you know, the root inserts are another thing that we’ve talked about before that seem to be happening more and more, or maybe more and more people are finding them ’cause they’re looking. Allen Hall: What are the first indications that you have a blade bolt or some sort of joint issue at the root of a blade? What can you see?  Jon Zalar: A bolt laying in the hub bouncing around. Um, you know, from like a– looking at it from, like, the sensors on the turbine, it’s really hard to tell unless it gets really bad. Uh, some of the OEMs have some analytics developed to kinda start to indicate if there is a aero change because there’s missing bolts or root inserts are coming out, and they’re using that as a way to go figure out which ones to go inspect first. Allen Hall: Really? Yeah. You think [00:02:00] the SCADA data will give you some indication that you have a, basically a little bit of a loose blade?  Jon Zalar: Yeah. I, I, I think because the number of turbines and the number of data points you have, I think there is a pretty good analytic out there right now.  Allen Hall: Wow. All right. I think a lot of our operators have not taken advantage of that. Is, is that just b- based on the high-speed data, SCADA data, or is it low-speed data you could see that same effect?  Jon Zalar: I believe it’s on the low-speed data as well, but I bet the high-speed data was used to kinda develop it.  Allen Hall: Wow. All right. So that’s a huge help to operators. Yeah. So what are you looking for if you’re looking through SCADA data, what would be the couple of markers there that say, “Hey, maybe we ought to go look up at the– in the hub”? Jon Zalar: I don’t know exactly what they’re using, but they would basically look for maybe an imbalance or looking for certain components that are being overworked.  Allen Hall: Oh, sure. Okay.  Jon Zalar: Yeah.  Allen Hall: So your pitch actuator may be getting a little bit overworked. It would seem like one of the places- I think that, yeah … that would get loaded, right? Jon Zalar: Mm-hmm.  Allen Hall: Okay. [00:03:00] And any vibration monitoring going on? Because it, it, uh, in some cases you’re– I’m hearing, like, millimeter gaps-  Jon Zalar: Correct. Yeah …  Allen Hall: between the blade and the pitch bearing.  Jon Zalar: So probably a combination of the ALC sensors, at least on a GE turbine, looking at that. But the PCH box also is looking at the tower vibration, so it could be a combination of all three. I don’t know the exact- Okay … details, but between all of that, I think there are some analytics that kinda say, “Hey, go take a look.” And then I think there’s some other companies that have- tools that go monitor it.  Allen Hall: Mm-hmm.  Jon Zalar: Dial indicators remotely or even, you know, people going up there with dial indicators to go kind of rotate the rotor and kind of see if there is gapping between the blade and the pitch bearing. Allen Hall: Is that a safe situation in your– from the gapping? I’ve heard this where they’ve basically took shims and they’re trying to measure this gap or some sort of dial indication. Is that a smart thing to do? Is it even reliable to do it that way? [00:04:00] Jon Zalar: I, I, I think there’s some reliability there. And like, you know, these are really big parts, right? So like a little bit of gap, it, it’s probably expected to a point, but growing gaps is where you should be a little more scared.  Allen Hall: So you’re– you would have to go do that quarterly, monthly, weekly? How, how often would you have to do it to see the progression? Because I’ve heard stories of, uh, a couple of weeks from nothing to hub crack to, “Oh, it took a year or more.” Jon Zalar: I think it depends on the issue. I think for– if you’re looking at that, the bolted joint itself between the root inserts and the, uh, bolts breaking itself, I, I think they’re doing about quarterly. Now, the pitch bearings inspections are also quarterly. They’re al- they’re, they’re leveraging the drone inspections for the blades, and they’re looking at the pitch bearings to see if they’re cracked, right? Uh, you guys are doing that too.  Allen Hall: Okay.  Jon Zalar: I think Coraly is doing a good job mitigating the risk, feels like.  Allen Hall: Wow. All right. [00:05:00] Yolanda, looking at pitch bearings, you’ve looked at a lot of drone images in your lifetime. Mm-hmm. How much can you see on drone images on pitch bearings? Can you see cracks and, or y- or do you see grease, which is a really indication that something is wrong in the bearing? Yolanda Padron: You can see grease. You can see the cracks pretty, pretty well. Yeah. The drone images are, are really high quality. Uh, but you did mention that it’s something that you’re seeing a lot more. Is it because there’s a lot more aging fleets, or is it a problem with a lot of the new turbines that are coming online? Jon Zalar: I, I think it’s an, I think it’s a more of a fatigue problem, so the aging of the fleet. And also, I think more people are looking at it, right? ‘Cause, like, initially the drones that were looking for blade cracks weren’t looking at pitch bearings, but then pitch bearings started cracking, so now they added that to whatever they buy off the drone companies, right? Go look at my pitch bearings, for example.  Allen Hall: Hmm.  Jon Zalar: So I, I think it’s a problem of the more you look sometimes, the more you find.  Yolanda Padron: Hmm.  Jon Zalar: Yeah.  Allen Hall: So we [00:06:00] have root insert issues, which are being addressed by a couple of different companies- Yes … uh, uh, with somewhat similar solutions. OEM is offering one right now also. Jon Zalar: I, I think there’s three solutions. There’s two uptower that are basically looking at ways to go fill the void between the root insert itself and the blade root. Um, and I– there’s another company that’s also more of a downtower solution where they’re actually, like, r- drilling out the root inserts and putting new ones in that are gonna last better, longer. Allen Hall: Okay. So the drilling out is, would be CNC onsite. Correct.  Jon Zalar: Yeah.  Allen Hall: And they’re based over in Europe. But th- the drilling out is a take the blade down, set it on the ground sort of- Yeah. Right … doing really fine machining on the, on the blade itself. So that, that’s a different, completely different insert that’s going into that-  Jon Zalar: Correct Allen Hall: new hole or- Yep … clean hole, right? So it’s a, just a, uh, totally different kind of product versus trying to inject [00:07:00] some s- sort of epoxy or resin into the, the void.  Jon Zalar: Right. Yeah. Uh, I mean, you would prefer to do it uptower. It’s gonna cost you less money.  Allen Hall: Sure.  Jon Zalar: But you wanna make sure you do it right, so I think, uh, I do foresee it being a combination of both solutions kinda going forward. Allen Hall: Is it dependent upon, like, how much damage has been already done, or what the fatigue w- uh, an estimate on what the fatigue life is?  Jon Zalar: I think it’s strictly on measurement perspective right now. So how much gapping you have, um, kinda determines what potential solutions you have.  Allen Hall: So the gaps aren’t big, right? So the, the gaps I hear are one millimeter is k- kind of sort of start a problem.  Jon Zalar: Mm-hmm.  Allen Hall: Three millimeters is, “I need to be making decisions.”  Jon Zalar: Yeah. So- That, that’s what I’ve heard, too. Yes.  Allen Hall: Three millimeters is about a eighth of an inch.  Jon Zalar: Mm-hmm.  Allen Hall: So it’s not a lot of m-  Jon Zalar: But you can see sunlight through it if you’re s- down there. Allen Hall: Okay. That’s not… Well, you should see. That’s not  Jon Zalar: good either. Yeah.  Allen Hall: Right. Okay. So in a, in a three millimeter situation then, you’re doing what? [00:08:00] Jon Zalar: You’re trying to decide if the uptower solutions are something you wanna go try, ’cause they’re still in the trial mode from my understanding or-  Allen Hall: Okay …  Jon Zalar: people are learning a lot. So I think when you get to that point, you’re calling some of those companies to say, “Hey, I have this issue. I got a couple blades with, you know, .3. Can you guy- you guys wanna come take a look at it, see if your solutions, if you guys wanna go use it or not?” And then I think the ones that get too bad, from my understanding right now, is they’re, they’re replacing the blades. Allen Hall: So they’re taking the whole blade down.  Jon Zalar: Yes.  Allen Hall: And what’s the thought process in that? Uh, versus drilling out the inserts and putting new inserts in. Is there just a composite degradation that’s happened around those joints that it just puts it at risk or, or you have actually aged the blade much faster than you would otherwise have done? Jon Zalar: I, I think they aged that particular connection too much. So I, I- Wow … either between the [00:09:00] fatigue or lack of epoxy resin, w- whatever the actual root cause is for that root insert coming out, when it gets that bad, it’s like you’re not gonna be able to inject enough To make it adhere  Allen Hall: You can’t de-age it. Jon Zalar: Correct.  Allen Hall: Right?  Jon Zalar: Yeah.  Allen Hall: Bring back the youthfulness of the blade. Wow. All right. And we have seen this worldwide. I know in the, in the States you hear about it all the time, but it, this seems to be not a US- Correct … problem.  Jon Zalar: It’s a worldwide problem, yes.  Allen Hall: Okay. So if, if it’s a worldwide problem, are there more solutions on the way? I know you talked about three of them already.  Jon Zalar: I have not heard of any other ones except those three as of today.  Allen Hall: Wow.  Jon Zalar: There could be other people working on it. I think there should be.  Allen Hall: So, yeah. You would think so, yeah. So we’ll, I guess we’ll eventually hear about it on the podcast. Usually people with technology will contact us. They might call,  Jon Zalar: yeah. They might call you, they might call you tomorrow.  Allen Hall: Sure, they may. So that leads to sort of a subsequent issue, which I think is getting grouped together. So the [00:10:00] hub crack, pitch bearing crack, root insert pullout issue is also discussed with blade bolts being broken.  Jon Zalar: Correct.  Allen Hall: Are they related or are they separate engineering problems? Jon Zalar: If you look at them individually, you’d probably come up with some separate answers, but if you combine them all together, you kind of start looking at is there too much loading happening in the leading and trailing edge of the blade? ‘Cause the hub cracks, the root inserts, and the blade bolts, from my understanding, are happening at those two highly loaded areas of the, the blade or that whole rotor connection. So I mean, I do feel the root cause is probably a little higher loads than anticipated.  Allen Hall: I think everybody’s talked about when they’ve done the injection method and the drilling method, all they’re discussing is leading edge, trailing edge.  Jon Zalar: Yes.  Allen Hall: And how– It’s a question of how many- Correct … are you gonna replace. So th- [00:11:00] that’s, those are the two highly loaded spots on the bolted connection.  Jon Zalar: Correct.  Allen Hall: And that’s where blade bolts are also breaking or, or the bolts breaking elsewhere around the periphery?  Jon Zalar: I don’t have all the data, but what I had seen, it’s very similar areas.  Allen Hall: So if you don’t pull the insert out, you’re then loading the bolt. Cr- Right It’s one or the other, right? Right. Yeah. So the, the, the load path is the load path, so it’s coming through the insert into the bolt. Bolt’s carrying it into the pitch bearing. Pitch bearing’s carrying it into the hub.  Jon Zalar: Correct.  Allen Hall: Hub carrying it downtower. So eventually, one of those, uh, links in the chain is- The weakest. Yeah … is, is the le- is the weakest. What is it about blade bolts that is so dangerous? We hear– we walk onsite to an O&M building, there are signs saying, you know, “Pay attention for loose bolts. Look around on the ground for loose bolts.” We’re gonna– and as electrical engineer, like, “Whoa.” Bolts should not be falling out of this tower. What i- what is that sort of sequence where a [00:12:00] bolt would escape from the nacelle?  Jon Zalar: So let’s just use one bolt. One bolt breaks, falls in the hub, bouncing around, doing some– potentially doing some damage inside the hub. And ’cause these turbines, you don’t need to go out there every day ’cause they do run pretty good, right? Right. You just do your regular maintenance. And if you don’t really know about that, ’cause, like, it bounces around for a while, then it usually gets, like, lodged behind a, uh, either center box or pitch cabinet or actually in the front sometimes. Kinda don’t know it happened. But, you know, frees itself up, keeps bouncing around, it, it could escape through the hatch covers ’cause, you know, people have to get into the hub anyway. And I’m sure a lot of people listening here that have sites, like, you know, probably found some bolts laying on the ground, which is a little scary.  Allen Hall: Right. So is, is the busting the hatch opening levers? I know there, there’s a couple different ways to get into that hatch. Yeah. But, uh, is it just completely busting the hatch? Yeah. So it’s– [00:13:00] okay. So you see a– so if you see a loose hatch panel, you have an issue. You probably gotta be careful about coming up on that turbine?  Jon Zalar: Potentially. A lot, a lot of hatches are, you know, not always maintained well.  Allen Hall: Right. I’ve seen them, I’ve seen loose ones, yeah.  Jon Zalar: Yeah.  Allen Hall: Okay. So that, that would be a sign that– but though if, if you’re approaching a turbine, one look on the ground. And Yolando, you, you’ve seen a lot of turbines. So are you, are we looking on the ground and seeing what’s around the turbine before we approach the turbine now? Yeah. Just, just a sanity check?  Yolanda Padron: Yeah. Be aware also of what’s happening on site, right? Because if it’s some- if it’s a problem on site, you need to be extra careful when you’re approaching any turbine there. Uh, is it something that people maybe should start thinking about implementing, like, a sensors earlier on than when they’re seeing the issue actually happen?  Jon Zalar: Yeah. I, I, I think that’s a potential, ’cause it, the quicker you catch it, the less damage you’re gonna do, and it also reduce the risk of [00:14:00] it, um, falling out of the hub And I’ve worked with a couple of my, uh, customers for some, like, potential ways to detect it. Still kind of trialing it right now. But I, I do think there’s gonna be some benefit from a safety reduction, but also from a strictly a damage. ‘Cause, like, you get a couple bolts bouncing around there, and you bang up some cabinets or some pitch motors, that’s expensive and hard to go fix.  Yolanda Padron: Yeah, we were talking about it earlier too. Like, it goes down, it can hit a transformer, it can hit, like, a truck or someone.  Jon Zalar: Chance of it hitting someone. Yeah. I mean, I don’t care what hard hat you have on, it’s not gonna do anything.  Yolanda Padron: Yeah.  Allen Hall: So what kind of sensor should you be putting onto the turbine if you don’t have access to the SCADA data or you don’t know what the correct algorithm is to suss out there’s something wrong up there? But a, a bolt breaking is not gonna be something that a SCADA would even pick up, I don’t think. One bolt out of the whole- Yeah. No.  Jon Zalar: No way. Okay. I mean, there’s a– I think there’s, like, [00:15:00]one company looking at more of a, like, mechanical way to, like, prevent the bolt from coming out. I forgot the name of it. Allen Hall: Okay.  Jon Zalar: Um, and then what I was looking at was more of a, like, you know, microphone type detection to kind of listen for that.  Allen Hall: It would make a lot of noise.  Jon Zalar: Yeah. It seems like it works. It, um, yeah, still more development needed on my end.  Allen Hall: So- The engineer in me was, is saying, “Why are we not putting strain gauges on bolts?” I picked on the leading and the trailing. It’s like right dead center there to look at, even if it’s just two strain gauge bolts to see what the loads are.  Jon Zalar: So like there are s- there are bolts that are, or that are made with the strain gauges built in that you can use to go, you know, monitor that. But you also need to understand like what was the design intent. So unless you’re working with the OEM, you don’t really know what you’re seeing is good or bad. You just say, “Oh-  Allen Hall: You just see a number.  Jon Zalar: Yeah. Right. I mean like, and if you install, I don’t know, four, you’d be like, “All right. Leading and trailing edge are higher [00:16:00] than the other two.” Well, yeah, it’s supposed to be, but like is a 10% difference expected or not expected? Allen Hall: Is that something where if you’re, especially if you’re in a full service agreement, and a lot of these turbines are- Yeah … for the first couple of years, if you were to do that, it’s something you would just say to the OEM, “Hey, this is, these are the loads we’re seeing from the strain gauges on these bolts. Does this make sense to you?” Or, or would an OEM just not even respond to that kind of inquiry?  Jon Zalar: I mean, I think it’s all about relationship with the OEM. I, I, I think  Allen Hall: it- I think they would wanna know.  Jon Zalar: I have a feeling they probably are looking.  Allen Hall: Okay.  Jon Zalar: I mean, ’cause I mean they have the test turbines too that they probab- that, that I know they have instrumented heavily. Allen Hall: Yeah. So they, they’re probably getting at least some feedback. Th- that’s the problem. Yeah. And you worked on the other side, right? I have. So you worked for an OEM doing the RTAs. The first problem is you don’t have data, so now you gotta go get the data.  Jon Zalar: Correct.  Allen Hall: And that data is not available tomorrow. No. ‘Cause you’re gonna have to go run some sort of design of experiment to go figure out if [00:17:00] there is even a true problem or even what the root causes could be.  Jon Zalar: And it, and it’s expensive to go instrument a blade and get the data back at the right speed and connected to the turbine data. I mean, I rem- I, I used to say it’s about like 300 to 500,000 to go put a couple gauges on a blade just with all the equipment you need to get the data correct. Allen Hall: To get the right data.  Jon Zalar: Get the right data at the right frequency connected to the controller. It’s, it’s very expensive.  Allen Hall: Wow. Okay. Yeah. I, I don’t, I don’t see a lot of operators doing that.  Jon Zalar: And especially connecting it to the operating data, right? So like if you go put a strain gauge and I don’t know, you’re curtailed, you’re only making, I don’t know, a megawatt- Doesn’t matter. And if you don’t know what the turbine’s doing and you’re looking at this, like, strain gauge data, it’s really hard to correlate anything.  Allen Hall: So you need a full suite of data. Yeah. That includes weather data- Yeah … at some level, right? Gust winds and- Oh,  Jon Zalar: yeah …  Allen Hall: average wind speed. You need the anemometer. You need which, which way [00:18:00] the n- cell’s pointing. Y- uh, you would need a lot of information- And what the controller’s- … to even suss it out …  Jon Zalar: and what the controller’s doing, right? Right. ‘Cause, like, every turbine, the controller’s trying to, like, you know, balance the rotor the whole time. It’s trying to, you know, micro pitch depending on what the winds are doing. And if you don’t know what all that stuff’s doing, like, it’s really hard to correlate a strain gauge measurement to is that bad or not.  Allen Hall: It’s a complicated problem.  Jon Zalar: Yes. That’s why RCAs take, you know, a long time, and they’re not done in two weeks.  Allen Hall: No, they’re done in a year.  Jon Zalar: Yeah.  Allen Hall: Typically, or longer. So what should an operator be thinking about now? If, if we s- get our drone images back, we’re scanning through them like, “Oh, there’s a crack” What am I doing next besides calling you and connecting to your LinkedIn page?  Jon Zalar: So right now with the pitch bearing crack, um, some of the OEMs are providing stiffener plates to put over the crack and try to run it. Allen Hall: So that’s a doubler plate, basically. A double plate. Doubler  Jon Zalar: plate, yes. [00:19:00] Allen Hall: Yeah. Okay. So even in a, in a crack scenario, that pitch bearing, if given mechanical support, can run like that?  Jon Zalar: That’s my understanding, yes. That, that potentially could run for some period of time. I don’t know if it’ll make it 20 years or not, but it’ll buy you time for sure. Allen Hall: Does that involve a crane to do that work or is that just… My recollection, that was in pieces, like there, it’s not a ring, it’s a, a couple of pieces that you’d be able to bolt on without taking the-  Jon Zalar: No, it’s a- … blade down … it’s a, it’s a single piece that-  Allen Hall: It’s like a single casting kind of thing.  Jon Zalar: Right. And I, I think you need some like small crane, like a jig crane or one of those-  Allen Hall: Just to support the blade while you do it? Jon Zalar: And to go put it in, right. Okay. Yeah, I don’t think, you’re not taking the blade off. You’re not taking the  Allen Hall: blade down.  Jon Zalar: Correct. Yeah. It’s, it’s done with the blade up there.  Allen Hall: Okay.  Jon Zalar: You’re putting new, putting longer studs in and putting the plate on.  Allen Hall: So first step is let’s get the joint reinforced. Right. That’s the easy first step.  Jon Zalar: Right. Although there has been some cases where since [00:20:00]you’ve put that stiffener plate on, the loads get spread out to the end of the plate, and then you- Sure … you could see cracks there.  Allen Hall: Okay. All right. So the loads- It, that- … have to go somewhere …  Jon Zalar: loads have to go somewhere. That’s, that is a bottom line. Allen Hall: All right. So you’re just changing where the load path is, so you have to be cognizant of that. Okay. Sure. Fine. But if you have, uh, especially in the United States, you don’t have 10 of these turbines, you have 50, 100- 100 … 200, 300 of these things, or thousands as it, as it turns out. Are there simple solutions that can be applied to, just to give me a sense, like that turbine’s having a problem, but the one next to it’s not, and, and just, just from a maintenance spin standpoint where I’m not just blanketing everything and trying to do everything to all these turbines at once, how do I, how do I manage this? Jon Zalar: I, I think it’s like being very observant. So like, you know, making sure you’re looking at the pitch bearings from the drone images, right? Um, also talking [00:21:00] to your maintenance people like, “Hey, are, are you finding a bunch of broken bolts? Like, what positions?” Like, you know, if I was back at the OEM, I would like to have as much data as possible on this issue. Like how many bolts are, when did you find them, what positions? A lot of times we, when I was there, like we would not get all that information, so it’s like really hard to run an RCA without that information.  Allen Hall: Sure. Yeah, where did this bolt break in the ring?  Jon Zalar: Right.  Allen Hall: Could tell you a lot. Is it just a b- bad lot of bolts, or is it something more load related? Jon Zalar: Correct.  Allen Hall: Wow. Okay.  Yolanda Padron: Yeah, I think that’s a really good point, too, to make sure that you’re connected with like every stage of the operations. ‘Cause I know that everybody’s obviously really, really busy on a wind farm, but it’s really common for like an engineer to have certain data and the site team to just be running around and having a lot of data, but maybe they don’t realize that, oh, it’s important to know how many bolts per tower are coming down. Jon Zalar: Correct. Yeah  Allen Hall: That’s a lot of work  Jon Zalar: It definitely-  Allen Hall: It’s a tremendous effort if you’re gonna [00:22:00] go after this problem and, and solve it RCS  Jon Zalar: are hard. They  Allen Hall: are. Yeah. All of it. Yeah. Machines are complicated today. There’s a lot of computer-driven s- things about them, and then you have these loading issues, and you have composite materials. Th- there’s just, y-  Jon Zalar: you got to get- It’s a very complex  Allen Hall: It’s a machine, right? Yeah. It’s a complex machine. So how do people reach out to… You’re, you’re the head of IWTG, which is based in South Carolina, but you do consulting worldwide. Yes. And, and you are a huge resource because you understand the complexities of these problems. How do people get ahold of you and, and get something started if they have a, a, a blade bolt issue or an insert issue or a cracked pitch bearing? Where do they start?  Jon Zalar: They can send me an email, jzalar@iwtgconsulting.com.  Allen Hall: Okay. And you have a great LinkedIn page, so you can connect with you on LinkedIn.  Jon Zalar: Yes. Yeah, I have one  Allen Hall: of those. Yes. Or you could just come to WOMA in [00:23:00]2027. Yeah. You can. You can meet John there and, and arrange everything there. So John, it’s great to see you, and thank you for coming up. We, uh, we’re recording this at the world headquarters of Weather Guard Lightning Tech, and, uh, John just lives down the street in, in, in US terms. Yeah. So it’s, it’s great to have John come and visit us up here in North Carolina. So John, thank you so much for joining us.  Jon Zalar: Thanks for having me. Appreciate it.

Tom in for Nick and joined by broadcaster and journalist Rishi Persad. Rishi reflects on yesterday's news that the Jockey Club are to resign from the RCA at the end of the year and we ask where this leave the RCA and its current members. Wetherby Chief Executive Jonjo Sanderson joins the debate to give his view and argues that the Association has been un fairly branded a blocker of change in recent times. With news that NYRA and Churchill Downs Inc are to launch a new 6 race, 5 month 3yo Thoroughbred Championship Series, we are joined by US racing expert James Willoughby. We assess where this leaves the Preakness, not included in the series, before James looks ahead to this weekend's Whitney Stakes. We are joined by Tattersalls managing director Matt Prior with the October Book 1 Yearling catalogue being released today. We get the Timeform perspective from David Johnson and go around the bloodstock world with Weatherbys and to Charlie Rosier who, with his mother Julia, owned and bred last week's Vintage Stakes winner Dr Rascal.

Tom in for Nick and joined by broadcaster and journalist Rishi Persad. Rishi reflects on yesterday's news that the Jockey Club are to resign from the RCA at the end of the year and we ask where this leave the RCA and its current members. Wetherby Chief Executive Jonjo Sanderson joins the debate to give his view and argues that the Association has been un fairly branded a blocker of change in recent times. With news that NYRA and Churchill Downs Inc are to launch a new 6 race, 5 month 3yo Thoroughbred Championship Series, we are joined by US racing expert James Willoughby. We assess where this leaves the Preakness, not included in the series, before James looks ahead to this weekend's Whitney Stakes. We are joined by Tattersalls managing director Matt Prior with the October Book 1 Yearling catalogue being released today. We get the Timeform perspective from David Johnson and go around the bloodstock world with Weatherbys and to Charlie Rosier who, with his mother Julia, owned and bred last week's Vintage Stakes winner Dr Rascal.

À la une :

A V236 blade fails during construction at He Dreiht. Plus a 53 GW US wind forecast, Suzlon’s record quarter, and what turbine noise really measures. 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! The Uptime Wind Energy podcast, brought to you by StrikeTape. Protecting thousands of wind turbines from lightning damage worldwide. Visit striketape.com. And now your hosts Allen Hall: Welcome to the “Uptime Wind Energy” podcast. I’m your host, Allen Hall, and I’m here with Matthew Stead, Yolanda Padron, and Rosemary Barnes. And to lead off this week, s- there’s been some trouble in the North Sea. On July 22nd, a blade failed on one of the turbines at EnBW’s 960-megawatt He Dreiht offshore wind farm. Uh, EnBW spokesperson said there were no injuries, thank goodness, and that the authorities were notified immediately, which is generally the case in Europe. They’re very safety conscious, of course. But the machine was a Vestas V236, which is a– that 15-megawatt offshore turbine that Vestas is offering. And He Dreiht is where the platform [00:01:00] has made its debut. So Vestas and EnBW are working together on an investigation, an RCA, a- along, uh, looking at the environmental impact because parts of the blade landed in the water. And the, the images I saw online were like a sheer web that was being pulled in onto a ship, so big pieces of blade. Uh, there’s gonna be 64 of these turbines going into that wind farm, but this is probably a little bit of a weird thing because it does seem like that the wind farm is under construction when the blade broke, which is not the first time this has happened, right? That we’ve seen blade breaks at, uh, Vineyard Wind and at Dogger Bank on the GE side. Is this just a construction issue, Yolanda, you think? Or is it some sort of, uh, vibration that’s happening during construction that’s putting extra stress on the blades?  Yolanda Padron: We were talking about it a little bit offline and how it might be a loading [00:02:00] issue because it’s not, uh, it’s not in the optimal operating, uh, conditions, right? Uh, but this is– It’s– I don’t like that it’s becoming a trend more than an anomaly from what we’ve seen on this podcast. Uh, Matt, I know you work a lot in solutions, right? What, what would you recommend people start doing?  Matthew Stead: Yeah. I think, um, more and more there’s ways of just checking out, you know, pre-construction, um, you know, some of the vibration modes, some of the unusual, um, wind loading when it’s in standstill, you know, different yaw angles and so forth. So there, there’s more and more ways of, um, checking out what the blade is doing when it’s in those unusual, um, sort of pre-con, pre-operation phases. So, um, you know, for instance, um, we do know that there is some sort of sometimes edgewise or flatwise vibration, which, um, you know, maybe is not normal, um, and maybe could be, be [00:03:00] thought about in a bit more detail. Um, certainly I know there are some research organizations which are looking into this and also, you know, things like blade twists. Um, so what is actually happening in terms of the, um, the twisting of the blade along, along its axis.  Allen Hall: I think the last time this happened, I remember going back and looking at patents about how to protect the blades during this construction phase. So you wanna prevent the blade from generating lift from sideways winds pretty much. So the designs that I saw were like putting like a, a netting across the blade to disrupt the airflow so that it wouldn’t generate lift. But I haven’t really seen that implemented. Maybe it is being implemented, but these loads are a little odd, right? I, I, I’m wondering if there’s any IEC certification test that looks into them, uh, just because it’s, it’s happened a couple of times now, more than a handful.  Matthew Stead: We, we saw, um, we saw that picture of some blades on the ground. [00:04:00] You remember they were in storage. Um, there was a, a strong wind that came across them when they were in storage, and there was some, some flutter and, you know, some, some damage it caused, uh, even when they were on the ground. Um, yeah, I think just thinking out loud, you know how on some, you know, wind stacks and, or, you know, turbine stacks and, um, you know, poles, you know, exhaust stacks. Sorry, that’s the word I’m looking for. Exhaust stacks. They have the, the spiral around it. You know, it’s for around vortex shedding. So maybe it’s an opportunity for, for Rosie to jump in here and, uh, and comment. But, um, maybe we can put like vortex, uh, spiral vortex, um, you know, dissipators on the, on the blades before they’re fully commissioned.  Rosemary Barnes: So it’s cer- certainly not a, a matter of the design just being a little bit wrong, right? That would mean that it would last for a, for a while and then And then break. But it, it also, it could be several things. It could [00:05:00] have been a manufacturing defect, a bad one. It could have been transport damage. Tho- those are two other things. It could have been, yeah, you know, like a, a new design feature or material that performed massively differently under real loads than what it did, um, you know, in their computer models and in their coupon tests and in their, um, static tests, fatigue tests that they did. It could be any of those things. Sometimes you do see problems where technically you’re not supposed to leave the rotor locked out for any period of time because it is not designed for the off, off-axis weird loads that you can get when the blade is oriented in a suboptimal way compared to the wind. And there have been instances where it’s like technically, you know, that was in the instruction manual, however, nobody ever followed it, and it’s only under extreme circumstances where that actually is severe enough to break it. There, there can be instances like that [00:06:00] where I would say that it- it’s pretty difficult/impossible to actually design s- for safety during any conceivable series of events during installation. The way that you would do it would be to make sure that the blade can handle any wind load and, you know, up to the maximum gust at any, at any time in any position. But having, you know, done a little bit of work, um, on blade design in my past, it is massive. That is just a massive, massive load that is y- it will never see in its lifetime. You would have such heavy, expensive blades if you actually designed it like that. Um, and so yeah, the That, that would be probably the most charitable reason for a failure where nobody really did their job wrong. It’s just kind of like some bad luck that happens every now and then.  Allen Hall: Well, it does seem like there’s a trend there between Dogger Bank, Vineyard Wind, [00:07:00] some of the things we’ve seen in China. During the construction phase, those turbines are very vulnerable and the, the blades can break. Aren’t there extra precautions that could be put in place? Like, you, you could obviously do weather forecasting, and I know that that’s done, but it does seem like it’s, uh, such a consequential problem to have a blade break on a turbine in the North Sea, near Germany. Like, that, that’s just bad PR. Even if you have all the engineering precautions in the world there, you would still maybe play it a little bit safer so this wouldn’t happen?  Rosemary Barnes: It’s really hard. Like I said, if you want to design it so that a blade won’t break under these, like, really unusual set of operating conditions that happen during construction, not during– Like, during operation it has to be able to handle whatever is thrown at it, like, no doubt. Um, everybody agrees on that, including, you know, certification bodies. But during installation, yeah, if you want your blade to be able to handle anything that [00:08:00] that area can throw at it, even, you know, one in 50, one in 100 year storm that comes up unexpectedly, I personally think I haven’t done the optimization. I wouldn’t be surprised if people had. In fact, I would be surprised if they hadn’t. But I bet that it will cost more to design every blade to withstand that than it would to lose the occasional one, you know, one out of What is it? Like one out of 500 blades or something this happens to, one out of 1,000? I, I, I don’t know, maybe even less, less than that. Um, you know, so it’s, I don’t know how much these blades cost new, but, you know, say a few hundred thousand. Uh, it’s just, it’s gonna be it, it’ll be more cost-effective to lose the odd one every now and then. And like you say, it’s bad PR, but, um, I don’t know. Is it that, like- It- … things, things happen, things break sometimes. Um, yeah, I don’t know. Is the PR that bad? I’m not sure.  Matthew Stead: So [00:09:00] I, I’ve got a question and, um, you know, on LinkedIn, you know, you see whenever there’s a, um, whenever there’s a failure on L- um, e- everyone posts about it.  Rosemary Barnes: Condition monitoring would’ve stopped this. If there had only been condition monitoring that, that turbine, then they wouldn’t have had a blade break during construction. That’s why I’m so hesitant to, to, you know, make any calls now ’cause I don’t wanna sound like one of those  Allen Hall: LinkedIn losers. LinkedIn loser.  Rosemary Barnes: I learned that the last, um, root cause analysis, like, you know, catastrophic blade failure, um, the last one that I, uh, yeah, got approached to work on, I was told y- you know, like half a dozen different companies have approached us after they saw this in the news. So people are ambulance chasing. I’m like, “Oh my goodness, should I, should I be ambulance chasing? Is this a new, a new thing that I should be doing?”  Allen Hall: Let’s take a quick break and when we come back, a fresh forecast says the United States is building more wind than anyone expected As wind energy professionals, staying [00:10:00] informed is crucial, and let’s face it, difficult. That’s why the Uptime podcast recommends PES Wind magazine. PES Wind offers a diverse range of in-depth articles and expert insights that dive into the most pressing issues facing our energy future. Whether you’re an industry veteran or new to wind, PES Wind has the high-quality content you need. Don’t miss out. Visit peswind.com today. Well, here’s a number that runs against the mood of the industry. Wood Mackenzie now expects the United States wind industry to add more than 53 gigawatts of capacity by 2030. That is a 5% increase over the previous quarter’s five-year forecast, and the reason is really straightforward. Shovels are in the ground. Developers pushed to start construction ahead of the July safe harbor deadline, and firm turbine orders reached 1.1 gigawatts, five times the level of a year earlier. So demand is holding up too, [00:11:00] led by a 1.9 gigawatt deal between Google and Xcel Energy. So the One Big Beautiful Bill, or OB3 as I’ve heard it called more recently, is driving wind energy installations up for the time being. This is somewhat of a positive measure. Does it demonstrate in, in sort of uncertain terms that wind is still a choice for a lot of energy developers?  Yolanda Padron: I mean, we’ve still seen a lot of wind developers continue on, right? And just maybe put something further back down the timeline than they initially would for, for a new project. Uh, but I, I don’t know. I kind of equate this to, like, you know when there’s, like, a massive sale or something on a, at a store where it’s like, “Everything must go”? And I feel like everybody was just kind of leaning towards that in the short term, and then there’s probably gonna be a lull, [00:12:00] and then just go back to, things will probably just go back to normal, I think. Matthew Stead: My, my take is that if I had a spare few billion dollars, um, and I was in the energy market I would be building wind solar and battery. And so I would see it continuing  Allen Hall: The existing Department of War review, this is that are not being completed, so it’s holding up a number of projects. That’s gonna eventually hit the courts. I know it’s in the courts right now. I’m– At least that seems to be some of the news about it, and my guess is based on previous history in the courts is that they’re gonna force the Department of War to either finish the analyses and make some sort of proclamation or to allow them all to pass through. Uh, just put a stay on the, in the Department of War. I’m not sure how that works because I’ve never heard of that happening in the past, but w- you know, we’re in new times [00:13:00] obviously. But if they, if the courts were able to tell the Department of War to stand down and let the developers go, that would be very interesting. I think you may see some more activity in wind and that was, you know, off the table just a couple of weeks ago. Is, is that the feeling? I, I know that there’s also some larger discussions. I was listening to this discussion from an MIT analysis about how wind is gonna suffer because solar is so cool and battery is the hot thing. But in reality, good luck, right? I think you have to have all of the above scenario to get your projects done. If you can’t rely on gas turbines, you better be looking for every possible electricity-generating piece of equipment you can get your hands on right now.  Yolanda Padron: Do you guys think it’s gonna be one of those things where the US kind of turns away from its traditional cowboy-like way of approaching wind [00:14:00] turbines? Or at least like blades, you know? Because there’s gonna– there seems to be a lot more I, I don’t know if a lot more restrictions, but a lot more implementation of those restrictions on the operation of wind turbines, um, just like from bird monitoring and just a lot of issues that you might see on a wind site that maybe people didn’t care too much to look at before. Allen Hall: Well, the argument that MIT was making was operating wind turbines is harder than running a solar farm, which generically is true early on. I think that’s probably true. But from what I see from solar farms and hear from operators, solar farms are not easy either. They have their own problems like fire, hail, uh, yeah, bad inverters, electrical problems, animals eating the wires. Like, everything comes with this set of issues that it has to work through. But wind’s been going a little bit longer. I feel [00:15:00] like there’s an infrastructure there that solar is just now developing, and the history from large solar developments like in, in Spain has not been great over time. And Australia’s sort of a little bit of a different case, Rosemary, where most of the solar in Australia is put on top of people’s roofs. But is there a real advantage to solar and battery over wind?  Rosemary Barnes: I think yes. I think it’s, it, like, it’s not The scale is, yeah, there, it, there is maintenance and management to be done on a solar farm, but it’s not like on a wind farm, uh, in my opinion.  Allen Hall: Why? Why do you say that?  Rosemary Barnes: So when I talk with asset managers for solar farms, their number one challenge, at least in Australia, is, is grass, managing the grass. And in fact, there were some solar farms in Victoria that got shut down briefly by the safety regulator because the grass levels were not s- not safe in terms of, you know, being a fire hazard. You know, like basically it’s mowing the grass, and it’s once a year driving some drones around that are doing [00:16:00]thermal imaging and seeing if there’s any faults there, and then replacing them. So there’s stuff to do, but it’s not like as much stuff as there is in a wind farm. I’ve always thought that it’s wrong to have wind and solar competing against each other, and it’ll be, you know, like one renewable generation to rule them all. I think it’s definitely true that solar is cheaper and simpler than wind energy. It had a big disadvantage up until recently because it turns out that the sun sets every single night. I’m not sure if you guys were all aware of that, but, um, yeah, people, people have gotten in touch with me on LinkedIn comments to let me know that that’s true, that the sun sets every night, and sometimes it’s not windy. Are these two… You know, mind absolutely blown from the, um, YouTube commenters.  Matthew Stead: LinkedIn losers. Yeah.  Rosemary Barnes: Not so much LinkedIn losers, like YouTube, YouTube, um, I don’t know, Y- YouTube enthusiasts. But then batteries came along and started getting cheap enough that you can quite easily cover, you know, at least the evening peak with, um, by adding [00:17:00] batteries to a solar farm. So I think that that together has reduced how much wind energy we need by a bit. But what it hasn’t touched is, um, the times when there isn’t solar available. So wind can step in for that, wind can step in for cloudy weeks and, you know, that’s somewhere like Australia, which is, you know, the most favorable place for solar plus batteries. But then when you head to somewhere more northern, somewhere with a more severe winter, less sun, uh, and more, you know, demand for heating, et cetera, then y- you know, you just can’t do without wind. It’s, it’s, it’s doing a different thing than what solar is. So I do think that it’s wrong to think solar or wind. We have to be better than solar. Um, we need to be better for sure. We being wind energy. Wind energy does need to be better, but not because it’s in a competition with solar, but because it’s in a competition with, you know, fossil fuels and y- just being able to [00:18:00] do the transition, energy transition at all. Allen Hall: We’ll be right back after a short break, and when we return, a turbine maker having a very good year, and it may not be one that you would guess Delamination and bondline failures in blades are difficult problems to detect early. These hidden issues can cost you millions in repairs and lost energy production. CIC NDT are specialists to detect these critical flaws before they become expensive burdens. Their nondestructive test technology penetrates deep into blade materials to find voids and cracks traditional inspections completely miss. CIC NDT maps every critical defect, delivers actionable reports, and provides support to get your blades back in service. So visit cicndt.com because catching blade problems early will save you millions. Well, not [00:19:00] every wind turbine maker is having a hard year. Suzlon Energy has posted its highest ever first quarter deliveries, 506 megawatts of wind turbine generators. Revenue for the first quarter of the fiscal year came in at 3– 38.19 billion rupees, or roughly $398 million. That is up 22 and a half percent from a year ago. 506 megawatts delivered in a single first quarter says the machines are not just being ordered, they are going up. So there’s a, a big demand in India. India is trying to get into a lot of solar and wind and some battery storage to improve the electricity grid there. S-Suzlon is gonna be a, a winner in that race. At least there’s just a handful of companies that can really participate because of the way that India has structured the market there. But the Suzlon stock dropped, uh, a couple of percentage points on this news as the net profit was a little tighter than analysts would have [00:20:00] preferred, so there was a lot of profit-taking earlier in the day. But the long-term forecasts have to be very positive for Suzlon, right? It, it’s just been a long-term player in India and elsewhere even, United States being one of those places, um, Australia being another Is it a positive sign that they’re just seeing more orders, more deliveries, that eventually the profit margin will jump up and that Suzlon will be extremely profitable, kinda like Vestas is now? Matthew Stead: Yeah, I mean, they’re a, you know, great, great company. They’ve got great product. Um, they’ve got a great market in India. You know, India is growing. Um, I think they’ll continue to improve. I, I would’ve thought it’d be a great stock.  Allen Hall: It’s, it does seem to be a little bit of a rough ride just because there’s now a lot of competitors within India, Adani being one of them. There’s o- other wind turbine manufacturers in India. Uh, not a lot of European participation. And was it GE Vernova is essentially out. [00:21:00] Is that right, Rosemary? GE Vernova is out of India altogether at the moment.  Matthew Stead: And Siemens Gamesa as well?  Allen Hall: Oh, that would be Omtera. I’m not sure if Omtera is in India at the minute. Yeah.  Matthew Stead: Thanks for the reminder.  Allen Hall: Do you think it’s gonna be a little bit of a rough ride? I think that’s my take on it. And even though the demand will be there and the, the government is making a huge push for it, it, it… Nothing is easy in wind is when you’re trying to scale up because it’s such a huge industry. Everything’s big. Everything’s expensive. You’re trying to expand your capacity. It doesn’t go smooth, and you’re gonna spend more than you would’ve spent because you gotta get new people in, and you need more equipment, you need more tooling. Everything gets more expensive as you’re doing it. I would expect the profits to drop down a little bit as you’re growing. That’s normal.  Matthew Stead: I disagree. I, I think, you know, that they know what they’re doing. They’ve been doing it for a long time. You know, the market is growing, uh, but, you know, they’ve done it before. So I, you know, apart from their little wobble a while ago, um, I, I think it’s, it’s optimistic for [00:22:00] Suzlon.  Allen Hall: The growth of Suzlon and all the Indian wind turbine manufacturers internally allow them to, uh, do much more work outside of India. Do you think that will help their order book, just because they’re successful in India and have that baseline of a marketplace that they can reach out to other parts of the world?  Matthew Stead: Yeah, I think that one’s– That’s gonna be harder , ’cause there’s a whole lot more competition.  Allen Hall: Right. That’s the real question. How are they gonna compete against the Chinese in, in places where they don’t have a foothold yet?  Matthew Stead: Yeah, I mean, that one’s tricky. And, you know, I think, you know, while Suzlon has done well in Australia, they haven’t necessarily maintained their, their lead in Australia. So yeah, outside of India, it’s probably a different story. Allen Hall: Isn’t Europe the next marketplace just because it won’t be banned like China has essentially been with- within Europe, the greater Europe? That Suzlon would be that one place, that one company that would be allowed in to, to make some onshore turbines?  Matthew Stead: I think we spoke about that probably about two months ago, and that was definitely in the news that, you know, Suzlon were looking at expanding into, into [00:23:00] Europe and, uh, exactly making the most of that. Um, yeah. So that, maybe that’s their, their golden, um, export market.  Allen Hall: Well, a project in Queensland just got cut in half, and for two reasons at once. Alinta Energy has dropped the southern portion of its Mount Challenger wind farm in the Whitsunday Hinterlands. Six months of LiDAR monitoring showed that the wind resource at Kelsey Creek was not as strong enough to really to support the turbines, and the company also heard from residents opposed to turbines in that area, and a local action group gathered more than 6,000 signatures. And for developers, it’s, it’s really a case study in wind data and the community arriving at the same result. But we’ve seen a lot of action up in Queensland more recently. Uh, I’m not sure what’s driving all the opposition to wind turbines, but I’ve seen news stories about it in the United States. [00:24:00] It’s great to have Matthew here because he’s an acoustician. Uh, some of the discussion in the community, uh, event that I saw was just discussing 40 decibels of wind turbine noise, and which didn’t sound like a lot. And when I looked it up online, 40 decibels was like a library, which I think is being fairly quiet.  Rosemary Barnes: Yeah. Imagine if something got built near your property that was so noisy it was as bad as being inside a library or having a refrigerator in your home. Easy to see how your life could be ruined.  Allen Hall: Matthew, what’s the, what’s the amount of noise from a, a road going by? Like a truck going by on a road, what is, roughly what is that?  Matthew Stead: I mean, that can quite easily get well above 60, 70, um, sometimes 80. I mean, the analogy, um, that I like to use is that each turbine has the sound emission which is similar to a truck. [00:25:00] You know, a reasonable sized truck. Okay? So each– imagine each turbine is a truck. Um, but those trucks are a kilometer away. So, you know, the noise level decays in a logarithmic way. Um, and so by the time you’re a kilometer away, the noise from that truck is quite low. An individual turbine is gonna be way, way, way, way, way less than 40 But, you know, there’s more than one turbine, so you need to add them up and it’s n- it’s not a, it’s not a, you know, 20 plus 20 equals 40. It’s a logarithmic addition. There are many, many, many people that live on busy roads with not 100 trucks, but thousands of trucks. So, you know, the noise exposure from a road can be way, way, way more than from a, you know, a wind farm.  Rosemary Barnes: That’s one of the things that strikes me when I have a, a look at, um, yeah, like Twitter comments for this particular post and everyone’s like, “Oh my God, that’s so terrible, 40 decibels.” Like, yeah, I can see [00:26:00] why you’re ruining– that’s ruining your life. And yeah, I, um, I, you know, said that sarcastically at the start, but there’s, there’s plenty of, you know, hundreds of people that are, um, you know, thinking along the same lines, but the majority of them are like, “It should be legislated. You know, there should be rules around this. They can just do whatever they want.” But, uh, the, it is legislated, right? Like, we all accept that wind turbines make noise. It is legislated. You can measure it, right? And so if you h- uh, have a property and you think it’s too noisy for the wind turbines two or three kilometers away, there’s something you can do, right, Matt? Can you maybe tell us what is the process that, that happens when somebody thinks that a wind farm is too noisy?  Matthew Stead: So a few things. So, um, normally at a house, um, where you’re, say you’re a kilometer away, normally the ambient environment can be louder than the wind farm. The first challenge is to actually measure the noise from the wind farm and not from the ambient environment. So what that means is that normally, um, measurements are taken around a wind [00:27:00] farm before the wind farm’s even built, and so that way we actually know, well, how much is the ambient noise. Um, and you know, the ambient noise is probably above 40 for a good proportion of the time. So th- that’s the first thing. You need to understand what the noise environment is like before the wind farm. And then, um, using highly sensitive, highly calibrated, um, sound level meters, which can be, you know, 0.1 decibel accuracy, um, you can then monitor the sound before and after And then compare the two. But what happens is, um, as I said, it’s normally very difficult to separate out the sound from the wind turbine from the general environment. So then what, um, there are different methods then to, um, either measure in like, um, halfway. So if you measure halfway between the wind turbine and the house, then you can start to separate out the wind turbine noise from the general environment and then do a, you know, propagation or a [00:28:00] prediction or extrapolation of what it’d be at the house. Um, the other way of doing it is actually measuring at the turbines. So you can measure the individual turbine sound and compare that to what was expected, um, and then sort of validate, um, the initial, you know, source levels. You know, is it really a truck or is it, um, quieter or, or louder than a truck?  Rosemary Barnes: And if they do, it, it– I mean, I’m sure on occasion that people do get it wrong in terms of the noise. They are able to do stuff about that. That’s partly what the, um, serrations on a blade are, are there to make a, um, a blade quieter. And you can also just do something as simple as turning down the turbine when, um, wind conditions are such that you know that it’s gonna be particularly noisy. No one wants to do that because you get less power output, but certainly you can do something about it if it turns out to violate the conditions of the, um, y- you know, the noise that they promised it when the turbine was, when the wind farm was developed. Matthew Stead: Yeah. And, um, you know, in the past, it’s [00:29:00]improved a lot, but in the past there were some unusual sounds that came from some turbines, which came from like the gearboxes and, you know, you know, the drivetrain and so forth. Um, but, you know, those things are– they’re, they’re mechanical machines as we spoke about, you know, and they can be addressed, and they can be dealt with through, through design and good engineering, and also, also fixed, you know, retrospectively as well. And like you say, Rosie, um, if there’s too– if there’s more aerodynamic noise than expected, um, there are serrations and, and lower noise add-ons that can be added. Um, but also many of the turbines also have noise modes, uh, so it can be slightly derated y- with, with certain sectors of wind, um, wind direction and wind speeds to, you know, reduce the noise further. It is an absolute science. It’s really well understood. It’s, it’s measurable. I mean, there is some uncertainty in the measurements, but it’s, it’s, yeah, there is a lot of knowledge about this topic.  Allen Hall: Well, I just had a math question. If they want to reduce the decibels by like three [00:30:00] dB, what kind of power reduction are we talking about? Is it like a 5% decrease or 50% decrease in power output to achieve that three dB reduction in noise  Matthew Stead: Yeah. Uh, I don’t have the maths in front of me, but it would depend on the power curve and the actual make model, but I, I… It’s not, it’s not half the power. It’s, it’s, it’s, it’s, um, less tweaks to the power output than, than that much. Allen Hall: So i- it’s not a massive number. It’s, it’s a reduction of course, but it’s not, you’re not losing a, a ton of revenue.  Matthew Stead: No, no. I mean, obviously it depends, but yeah, it’s not necessarily a ton of revenue loss.  Rosemary Barnes: But I think it’s a real shame, ’cause like when I look at, you know, social media posts where, um, people are up- upset about noise, like they are clearly not aware that there is a very mundane process to go through. Like, you know, it is not… You don’t, you don’t have to get so worked up. If you’ve got noise at your house and, um, you know, it’s upsetting you, [00:31:00]there is a very established process that you can go through and it can be, it can be fixed. And I know from, you know, the asset managers that I, I work with, um, that are some of my friends, like I, I know that they want to help you. They do not want people living around the wind farm to hate the wind farm. So y- you need to get in touch and let them know, and, and I… They’re gonna be able to fix your problem. If it’s, if it’s detectable y- you know, with the methods that Matt said, then they are gonna be able to, um, fix it. I know that sometimes people say that they can hear noise, and you just cannot find any evidence of it, and therefore you cannot, there is nothing you can do to that wind farm operation to be able to solve that problem. So I’m not saying in every case if you think you’ve got a problem they’re gonna be able to solve it, but if they can pick it up with a, what is it called? A noise meter? A decibel meter? Yeah, whatever that doodad’s called. If they can pick it up on that, then they can, they can fix the problem for you. And yeah, it’s just, uh, it, it upsets me that, you know, people are really, are really getting worked up [00:32:00] about this issue, but there’s a, a process to go through. Matt’s holding it now for everyone just listening in. It’s like the size of, I don’t know, a liter of milk. It’s just not it’s not, not a complicated thing.  Matthew Stead: I think one of the big challenges that we’ve had is that there’s been a lot of negativity around noise, and then people get sensitized. And so, um, the, you know, what I’ve, um, what I, what I’ve heard many times is, um, the sensitivity to noise can be communicated Um, so, you know, like Rosie, if I tell you you’re gonna be really annoyed by this thing, this thing is coming, you’re not gonna like it, you’re gonna hate it, and then you’re sensitized to it, and then you’ll tend to have more of a, you know, a, a response  Rosemary Barnes: If we’d gone on a nationwide campaign to, you know, visit every house that’s within 600 meters of a y- you know, of a road and, um, you know, given impassioned speeches to them about [00:33:00] how it would ruin their life, then yeah, it is easy to see how we would be so fixated on it that our lives would really be ruined. Allen Hall: Meanwhile, the Australian band AC/DC came to Charlotte the other day to a sold-out concert at the huge football stadium, and I guarantee you that concert was way above the noise level of a wind farm.  Rosemary Barnes: I hope so. Imagine if imagine if a, a bunch of whingers in the audience are like, “Excuse me, I’ve got my little noise measuring doodad and it’s over 40 decibels.” Allen Hall: Well, that wraps up another episode of the Uptime Wind Energy podcast, and thank God for that. If today’s discussion sparked any questions or ideas, we’d love to hear from you. Reach out to us on LinkedIn, and if you found some value in today’s conversation, please leave us a review. It really helps other wind energy professionals discover the show. And don’t forget to subscribe so you never miss an episode. And so for Rosie, Yolanda, and Matthew, I’m Allen Hall, and we’ll see you here next week on the Uptime Wind Energy [00:34:00] podcast.

Tom Kerr is joined by Jonathan Harding and Liam Headd to discuss the Jockey Club's decision to quit the RCA, triggering the biggest schism in British racing governance for a generation. The team unpack why it happened, what it means and where the sport goes next. Plus, Bow Echo, Diamond Necklace and the young jockeys lighting up Goodwood and Galway, Betfred's plans to close 132 betting shops and what it means for racing's finances, and a farewell to Jim Crowley.

This playlist is 91% vinyl friendly. Near perfect. Philips, The Tina Century Bluetooth Turntable room.. A £350-£400 retro look to blend in with your wood panelling room, it reminds me of a car grill from the 1960s. Built-in speakers with deep (how low can you go) bass and crystal-clear highs. 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 154 Tim Hardin’s lyric and song title. 00.00 (Intro) THE FLAMINGOS – Stars (Edit) – Unreleased demo – 1983. Episode #1 for info. 00.41 NEW ORDER – Dreams Never End (John Peel session: 16.2.81) – The Peel Sessions 12″ EP – Strange Fruit – 1987 Diary for Jan 16, ’81 says ‘Karl W round. NEW ORDER JOHN PEEL…‘ Those caps signal something special and the journey had begun at Heaven, London a week earlier. Two good mates called Karl were there, though I hadn’t realised the one at my house listening to the first broadcast of the session was a Carl. 03.45 THE TEARDROP EXPLODES – Second Head – Kilimanjaro, LP – Mercury – 1980 Listening to this album now it’s got a bit of a bubbly and bouncy feel. Judging by a set list suggested for the Manchester Poly night’ that followed ours/mine it doesn’t look like Second Head made into our night here. Packed with Kilimanjaro tracks though. 06.55 TOM PETTY and THE HEARTBREAKERS – I Need To Know – 7″ – Shelter – 1978 Still with a fair amount of ‘rock’ in my world at this point in time, for some reason I thought I’d had a 12″ of this but that would have been a bit daft. At just 2mins 22 plus, a fiery new wave feel that could have made it as an Elvis Costello tune. 09.17 FORMAL SPPEEDWEAR – Who Needs Spain Ball – Punch Card, LP – Melodic – 2026 “Who Needs Spain Ball?”. ‘On the surface, the single functions as a highly accessible, synth-forward New Wave track featuring the record's biggest, most infectious pop chorus. However, the title and the song’s inner mechanics are intentionally surreal, designed to “pull the rug” out from under the listener‘. – Apologies, I forgot the source. An early Talking Heads vibe going on? They’re pulling the rug even more with their merch – with the band’s name the only lettering… album t-shirts! 12.28 BIG JOANIE – It’s You – Sistahs, LP – The Daydream Library Series – 2018 So post punk! 14.48 EGOSLAVIA – Twist Face – Self-titled, (mini) LP – 9 1/2 x 16″ Records – 1982 Not that many will have debated it but I’ve always pronounced this band as ‘Egoslayvia’ and it’s only just dawned on me it was likely ‘Egoslahvia’. Better late… and a band I was introduced to by a US guy who dropped in on John Peel’s radio show somewhere in the ’80s. Very unusual for Peely to have anyone else in the studio with him but his guest was picking tracks from three or so US bands that Peely had never heard of, something that irritated the latter, slightly. 20.08 BIFFER BONKER – 4 Prong, Fucked Up, 2 Potato Thing – Biffer Bonker Is…Unabashed, download album only – ? – 2026 Anyone with a decades long history of Bedford, UK’s musical landscape stretching back to punk bands of the mid to late 70s will have knowledge of Biffer in a former life or three fronting a wealth of different bands but his present world view is available here, with something from the man for me currently getting waylaid by various postal services. ‘No god is required… ‘ Ain’t that the truth and if there isn’t a lyric sheet involved somewhere I might be requesting one :), as he’ll be back here at some point. He’s also the man who introduced me to Click Click via an early demo tape of theirs somewhere around 1984. 23.17 BROKEN SPINDLES – To Die, For Death – Fulfilled / Complete, LP – Saddle Creek – 2004 Content with having spun Induction on an earlier show, and as it turns out, rightly guessing on the album’s diversity I hadn’t been rushing to grab the physical vinyl… but here we are! One Joel Peterson, from Omaha, Nebraska. 25.35 TARWATER – 20 Miles Up – Silur, LP – Kitty-Yo – 1986 From the US to Germany and there’s a far wider breadth to this duos ‘catalogue’ than the two tracks now spun on 41 Rooms would suggest. 29.35 RIPPLE – I Don’t Know What It Is But It Sure Is Funky – 7″ – GRC – 1973 I don’t know about I Don’t Know… but with no UK release it’s unlikely our mainstream radio of the time spun this, though maybe a DJ or two down the Pilgrims or in the Anglers (Inn) Lair across the road could have. I have strong memories of hearing Willie Henderson’s Dance Master at the latter. 32.53 MARY KENT – Lost Generation – 7″ – CBS – 1969 It’s a slower, darker take than the version the song’s writer, Jim(my) Webb put out himself a year later and though Mary’s intro needed red carding for the show her version has some gravitas and feels ‘worthier’ now than it may have done to the UK’s record buyers back in 1969… what with the Vietnam war being… yep, somewhere else. The intro brings to my mind Common Sense’s Resurrection ’95. 36.57 LADY BLACKBIRD vs CROOKED MAN – Whatever His Name (Pt 1) * – Crooked Spirituals Remixes, 12″ – Foundation – 2025 She’s rightly got her soul audience but I much prefer her vocals set against some electronic goings on, as with the already 41 Rooms’ spun Athletes Of God and some remixing bods, including here, Crooked Man. They seem to give her vocals more of an edge for me. 42.18 ROBERTO RODRIGUEZ (feat. MAX C) – About This Love (Crazy P Remix) (Dub) * – 12″ – Compost Black Label – 2009 The vocals are incidental but the track just keeps building, dropping, shifting. A head-nod-a-thon of slight unease. 45.42 CLICK CLICK – Stay Out Of The Water – 12″ b-side – Rorschach Testing – 1985 Great times in the summer and autumn of ’85. Our RT label is off and running with a party at Winkles (Bedford), a P(roduction) and D(istribution) deal with Rough Trade, 500 copies of the initial yellow and blue sleeved 12″ pressing head straight to the US off the back of A-side (Sweet Stuff) getting CC Single Of The Week in Sounds and with spins on John Peel’s radio show there are one-off gigs in London, Brighton and Northampton and rehearsals are sounding great. Gig poster for 28.11.84. Part of a Rorschach Testing ad, The Catalogue #29, Aug ’85. 49.24 SIMPLE MINDS – Premonition (John Peel session: 7.1.80) – Silver Box, 5CD – Virgin – 2004 Having already seen them on the OGWT (live from Hurrah’s New York) and live at the Marquee the previous month I must have heard this session but for whatever reason I definitely didn’t record it. A ropey photo below of mine from London’s Hammersmith Palais, 26.8.80. 54.28 THE FALL – Dktr. Faustus * – Bend Sinister, LP – Beggars Banquet – 1986 It’s about time Mark E Smith (RIP) and his gang made it back here… so they have. 00.01.00 ECHO and THE BUNNYMEN – I Bagsy Yours (John Peel session: 22.8.79) – The Peel Sessions 12″ EP – 1988 This show’s third Peel session track of the era and the song renamed Monkeys in time to nestle next to the track Crocodiles months later on their debut album. I’m with ‘Bagsy’, though. Even us southerners used the term back then, though it might be best to not remember how it was being used here. 01.02.47 THE MOVE – I Can Hear The Grass Grow – 7″ – Deram – 1967 ‘An early, proto-psychedelic freakbeat masterpiece‘ in some modern day circles but a fab bit of wild pop back then. As the years rolled on though, the ‘weedier’ (sadly) Roy Wood’s guitar interjections have sounded. 01.05.52 PETULA CLARK – The Other Man’s Grass (Is Always Greener) – 7″ – Pye – 1967 Husband and wife writers, Tony Hatch and Jackie Trent (or in this particular case, Jackie Trent and Tony Hatch :)), with their key and tempo changing swirler giving ‘Our Pet’ her last Top 20 hit. So idiosyncratic it never got covered by anyone else or maybe offered as an exclusive to Petula? Either way, I bet Trent (no mean singer herself) forwarded a guide vocal version and I’d have been interested in hearing that. And it’s taken me a week to realise I’ve placed two songs next to each with ‘Grass’ in the title. Very unintentional but spooky and true. 01.08.49 BROOKE COMBE – Tears Won’t Lie * – 7″ – Fontana – 2026 I reckon Northern soul’s younger followers will dance and some older purists will very likely pick at the production but Combe and co-writer, James Skelly have nailed it, and if this song had been recorded in the mid 1960s – and maybe on the label this 7″ now pays homage to (with say Kiki Dee?) – there’d be an even bigger price tag on it than this barely out of the 2026 pressing plant £18 7′ already commands. Also, all involved in the Combe camp will have been as meticulous on the look for the dancers in the video as was MT Jones for his I Don’t Understand. Paying homage can be tough stuff. 01.11.19 TERRY CALLIER – Ordinary Joe – 7″ – Cadet – 1972 Terry and producer, Charles Stepney with a ‘skipping along the road’ feel. An even more expensive buy than the above… and I have neither. 01.15.17 CHAIRMEN OF THE BOARD – Give Me Just A Little More Time – 7″ – Invictus – 1970 INV 501. Did Invictus kick off their UK releases with a homage to Tamla Motown’s UK singles catalogue. Five years earlier the latter had also started with (TMG) 501, via The Supremes’ Stop In The Name Of Love. 01.17.57 JACKIE WILSON – I Get The Sweetest Feeling – 7″ – Brunswick – 1968 1968 for Jackie but the mid ’70s for me. Putnoe, Bedford… sunshine… Gill H… 01.20.49 THE CONTROLLERS – Somebody’s Gotta Win, Somebody’s Gotta Loose (7″ version) – 7″ – Juana – 1977 I didn’t knowingly hear this til maybe twenty years ago. With the amount of music that bypasses us, is it possible I’ve never heard the greatest song I could ever hear? 01.24.42 UMBRA MOON – Don’t Let Me Down – Download only – 2024 This Australian girl is seemingly taking longer to break out than I would have imagined but though stylistically aside of my normal listening, this is a gem. 01.28.02 SHAWN PHILLIPS – Solitude – 7″ b-side – Columbia – 1965 With my copy bought for this side alone, there are few artists I’ve come across who have been both super jaunty and deeper than deep in the songwriting department and 41 Rooms can be with Shawn in both moods. 01.30.48 JOHN and BEVERLEY MARTYN – Primrose Hill – 7″ – Warner Brothers – 1970 In 1970 approximately 1% of the American population had a passport, so aside thinking (at best) Primrose Hill maybe had some Civil War battle reference for them they were going to struggle to warm to this London landmark being referenced, even though somebody at Warners US – as opposed to their UK counterpoints – thought this Carole King-like tune had legs as a single. Sadly, they were wrong, with the promo 7″ likely more common than the stock copy. 01.33.40 TIM HARDIN – You Upset The Grace Of Living When You Lie – 7″ promo only – Verve Forecast – 1967 Yep, lyric and title of show 154 goes to… though at 1min 45 it’s nearly over by the time he’s got through singing the line. A ragged, slightly altered take of the song was part of Hardin’s performance at Woodstock but his set only got to make it to an official release of the festival in 2019. 01.35.22 JOSE FELICIANO – Dirty Work – For My Love… Mother Music, LP – RCA – 1974 It’s likely I’d be outnumbered with my thinking here but Jose’s passion makes Steely Dan’s own recorded version, sung by their then main vocalist, David Palmer, sound lack lustre. 01.38.08 VANGELIS – He-O – Earth, LP – Vertigo – 1973 Back in Vangelis’ big years I only got around to wanting his 1976 single, Pulstar but then hearing the Beatfanatics Balearic Boogie Remix of Let It Happen in 2007 led me backwards to this album and it’s the vocals (of one Robert Fitoussi) on both tracks that seem to make the difference for me. 01.42.05 STEVIE WONDER – Pastime Paradise * – Songs In The Key Of Life, 2LP – Tamla Motown – 1976 I bought the album at the time but my youthful ignorance didn’t fully take in the scale of Stevie’s accomplishment and looking now at the full tracklisting there were only six tracks I regularly played, with Pastime Paradise being one of them. The American buyers who took Songs… to No 1 in the Billboard album charts will have delved deeper. 01.45.21 KOICHI OZAKI – Petal Of The Cherry Blossom * – Novo Tempo / Koichi Ozaki: Novo Tempo Meets Eurasian Suite Vol. 2, 12″ – Eurasian Suite – 2004 If I could dip into the whole of the soul/(acid)jazz/beats etc etc world of the Japanese from the ’90s onwards there’d be a basket full of great tunes I’ve yet to hear. So little time… 01.51.22 KEITH JARRETT (TRIO) – Dancing – Changeless, LP – ECM Records – 1989 ‘Original material which is deeply subversive (though also respectfully aware) of the whole tradition of jazz as a system of improvisation on ‘the changes’… On Changeless, there are no chord progressions at all; the trio improvises each section in a single key, somewhat in the manner of an Indian raga‘. – The Penguin Guide to Jazz. ‘These pieces – not written, rehearsed, thought out, sketched, or arranged – ‘came up’ in the middle of four distinctly different concerts. Process is swifter and more accurate than thought.‘ – Keith Jarrett’s album liner notes (edited). Show 155 arrives Sept 6. Dec x The post Post Punk Plus Podcast Playlist 154 – Original upload 2.8.26 appeared first on 41Rooms.

Une première phase de financement pour les 800 km de route entre Douala, au Cameroun, et Bangui, en République centrafricaine. Elle vient d'être annoncée par la Banque mondiale et se monte à 425 millions de USD. Le début des travaux sur ce tronçon communément appelé corridor économique Douala-Bangui est fixé pour l'an prochain. 80 % des produits vers la RCA, et 70 % vers le Tchad transitent par cet axe aujourd'hui en mauvais état. De notre correspondant à Yaoundé, L'aménagement du corridor économique Douala-Bangui est censé moderniser et automatiser les opérations de pesage et aussi réduire les délais de transport des marchandises entre les deux pays. « Il y aura un dispositif de présélection installé sur la voie et ce sont les véhicules qui sont soupçonnés d'être en surcharge qui vont se faire peser à la station, et de manière automatique. Les amendes, s'il y en a, vont être enregistrées et le reçu directement imprimé », explique Donnat Takueté, directeur général des études au ministère des Travaux publics. À lire aussiLe patronat camerounais s'inquiète de l'impact de l'état des routes sur les entreprises Il faut aujourd'hui compter de 9 à 12 jours pour parcourir 1400 km entre Douala au Cameroun et Bangui en RCA. Le mauvais état de la route y est pour beaucoup. Les tracasseries administratives aussi en raison notamment des 17 postes de contrôle informels, selon la Banque mondiale. L'institution va donc concentrer les premiers financements sur le Cameroun. « Pour la première phase de financement, le Cameroun va bénéficier d'un montant de 425 millions de dollars, il va aussi bénéficier à la Centrafrique pour un montant de 90 millions de dollars et à la Cemac, via un appui régional pour préparer les phases ultérieures de ce projet », détaille Anne-Cécile Souhaid, directrice de la division région Afrique de l'Ouest et du Centre de la Banque mondiale. À lire aussiCameroun: polémiques autour du chantier de l'autoroute Yaoundé-Douala   Un projet de plusieurs années   Côté Cameroun, il est question de reconstruire des routes et d'en réhabiliter d'autres pour fluidifier le trafic entre Douala et la RCA. Emmanuel Nganou Djoumessi, ministre des Travaux publics, énumère les tronçons concernés : « Reconstruction de la route Yaoundé-Douala de 215 km, réhabilitation de la section Yaoundé-Bonis-Ayos de 332 km et réhabilitation de la section Bonis-Bertoua, soit un programme de mise à niveau de 800 km de routes, un programme conçu pour croiser les attentes de l'économie ». L'aménagement du corridor économique Douala-Bangui s'étendra sur plusieurs années et devrait créer 2 000 à 4 000 emplois directs et indirects. À lire aussiCameroun: fluidifier le trafic des marchandises reste un casse-tête

Send us Fan MailEpisode 259 of Nerdery & Murdery is live. On the Nerdery side, Zig dives into Selectavision, RCA's ambitious attempt at home video that arrived during the early days of the format wars. From stylus-based playback to fragile discs and bold marketing, we look at what made Selectavision unique, why it struggled to compete, and how it became one of the most fascinating dead ends in home media history.On the Murdery side, our A–Z Across America series continues as we head to Iowa and the case of Robert Ben Rhoades.A long-haul truck driver traveling America's highways. Truck stops along major Iowa corridors. A pattern that stretched across state lines and a crime that moved quietly from place to place. What began as a routine stop would eventually expose a chilling series of crimes tied to one man and the road itself.A forgotten experiment in home video on one side. A case that traveled the highways of Iowa on the other.Just another week of the Nerd and the Murd.Support the show

En Centrafrique, Josiane Tambassoua incarne une génération de femmes engagées qui, à travers leur travail quotidien, participent activement à la sécurité alimentaire et à la dynamisation de l'économie locale. En valorisant le travail de la terre, elle démontre que l'agriculture peut être une activité rentable et porteuse d'avenir. Pour les jeunes générations, son parcours constitue une véritable source d'inspiration.  De notre correspondant à Bangui, Ce matin, une légère brume flotte au-dessus de la plantation. Les chants d'oiseaux accompagnent les agriculteurs déjà à l'œuvre. Au milieu des rangées verdoyantes de cultures, Josiane Tambassoua supervise les activités agricoles, organise les travaux et veille au bon développement des cultures. Ici, les plants de manioc s'étendent à perte de vue. Plus loin, des parcelles de maïs et d'arachides témoignent de la diversité des productions. Josiane a compris que la terre représente bien plus qu'un simple moyen de subsistance. « Depuis plusieurs années, je travaille la terre avec passion. Je suis convaincue que l'agriculture est l'un des moyens les plus efficaces pour nourrir nos familles et lutter contre l'insécurité alimentaire, souligne Josiane Tambassoua. Après les crises politico-sécuritaires, la RCA fait face à un important défi humanitaire. Nous nous battons pour lutter contre l'insécurité alimentaire qui touche la population de mon pays. » Chaque jour, les tâches sont nombreuses : désherbage, entretien des plantations, surveillance des cultures et préparation des futures semences rythment son quotidien. « Je suis fière de contribuer à la sécurité alimentaire de ma communauté. Lorsque je vois les produits de ma plantation sur les marchés ou dans les assiettes des familles, je ressens une grande satisfaction, se réjouit l'agricultrice. Cela me motive à produire davantage et à encourager d'autres femmes à s'investir dans l'agriculture. Chaque récolte représente une source d'espoir et de stabilité pour les populations. » À lire aussiFemmes de la terre: au Maroc, Wissal Ben Moussa régénère ce qui a été détruit [3/5] « C'est une femme inspirante » Sous la chaleur de midi, les ouvriers poursuivent leurs activités entre les rangées de cultures. Le bruit des outils se mêle aux échanges entre les travailleurs. Malgré la fatigue, Romaric Ndotoloum, l'un des ouvriers, garde les yeux tournés vers la prochaine récolte, avec l'espoir d'une production abondante. « C'est une femme inspirante. Depuis des années, elle porte le flambeau de l'agriculture et nourrit un grand nombre de Centrafricains, explique-t-il. Une grande partie de nos productions est vendue sur les marchés locaux. Les revenus tirés de la vente des récoltes permettent de soutenir les dépenses familiales et d'améliorer les conditions de vie des ménages. » Josiane partage régulièrement son expérience avec d'autres femmes centrafricaines et étrangères, les encourageant à investir dans l'agriculture comme moyen d'autonomisation économique. Aujourd'hui, son plus grand projet est d'exporter ses produits dans la sous-région. Elle ambitionne également de créer un centre de formation destiné aux femmes afin de leur apprendre à produire, transformer et commercialiser leurs récoltes. À lire aussiFemmes de la terre: à Soweto, une ferme s'inspire de Nelson Mandela [1/5]

Joining me today is Geoff Nicholls, Geoff Nicholls is a highly respected British professional drummer, author, music journalist, and lecturer. He is widely recognized as one of the world's foremost experts on the history and evolution of the modern drum kit. Television and Educational WorkBBC's Rockschool: He co-wrote, co-presented, and played drums on both series of the iconic BBC2 television show Rockschool during the 1980s. Instructional Videos: He presented the Virgin video How To Play Drums and wrote the acclaimed Rock Drum Method for Boosey & Hawkes.Academic Lecturing: He taught at the Guildhall School of Music and Drama's Jazz and Rock Summer School for decades and has lectured extensively on music business and copyright law. Acclaimed Books and Journalism The Drum Book: First published in 1997, this remains celebrated as the definitive account detailing the history and evolution of the rock drum kit. John Bonham: A Thunder of Drums: Co-authored with Chris Welch in 2002, this is a highly regarded biographical look at the legendary Led Zeppelin drummer. The Drum Handbook: A comprehensive guide focused on buying, maintaining, and getting the best performance out of a drum kit. Music Journalism: He was the longest-serving contributor to Rhythm magazine and has written gear reviews and articles for major publications like Mojo, The Guardian, The Independent, and MusicRadar.Performance Career,before shifting heavily into journalism and education. Nicholls played in original bands signed to major labels like Decca, RCA, and EMI. Throughout his career, he has toured the United States with Capitol-EMI artist Hugh Harris, spent years playing with Cliff Bennett and the Rebel Rousers, and performed alongside Chicago blues legends like Carey Bell and Louisiana Red. Huge thanks to Geoff for giving his time up to do this, it was wonderful to just sit and chat about his hugely varied and interesting career. i do hope you enjoy it!

Interview with Hayden Locke, President & CEO of Marimaca Copper Corp.Our previous interview: https://www.cruxinvestor.com/posts/marimaca-copper-tsxmari-pampa-medina-shows-tier-one-potential-with-57-copper-hits-10588Recording date: 13th July 2026Marimaca Copper Corp. (TSX:MARI) is a Chile-focused copper developer whose flagship asset, the Marimaca Oxide Deposit (MOD), has reached Definitive Feasibility Study (DFS) completion and holds its key environmental approval (the RCA, received November 2025). Located in the Antofagasta region, the heart of the world's largest copper-producing jurisdiction, the MOD benefits from low-altitude, low-execution-risk positioning within 25 kilometres of the Port of Mejillones. The DFS outlines a 13-year mine life on 179 million tonnes of Proved and Probable reserves at 0.42% CuT, supporting roughly 50,000 tonnes per annum of copper cathode production via conventional heap leach and SX-EW processing. At a three-month average copper price of US$5.05/lb, the project delivers a post-tax NPV (8%) of US$1.1 billion and a 39% IRR with a 2.2-year payback; at the DFS's more conservative long-term price assumption of US$4.30/lb, post-tax NPV is US$709 million at a 31% IRR. Initial capital intensity of approximately US$11,700 per tonne of annual production ranks among the most capital-efficient greenfield copper developments globally.President and CEO Hayden Locke argued that Marimaca's current share price roughly reflects the standalone value of the MOD alone as the market is attaching little value to the Company's second asset, Pampa Medina. Located approximately 28 kilometres from the MOD, Pampa Medina is a sediment-hosted copper-silver system that Locke compares directly to the Kakula selective mining zone within the world-class Kamoa-Kakula complex in the Democratic Republic of Congo. Six drill rigs are currently active at Pampa Medina, running step-out and infill programmes. The company's most recent results extended the central high-grade bornite-chalcocite zone 300 metres south with hole SPRD-07 (including 6 metres at 6.11% copper and 24.0 g/t silver), while SPRD-08B intersected mineralisation in basement metasediments for the first time, reaching a total depth of 1,052 metres. Locke separately estimates that identified oxide extensions at Pampa Medina could add 20,000-25,000 tonnes a year of additional cathode production without further exploration success, complementing the existing MOD plant.Execution risk is a key focus for management. The board was recently strengthened with the addition of Chairman Giancarlo Bruno, former CEO of Mantos Copper, and non-executive director Zenon Wozniak, who spent 23 years as First Quantum Minerals' director of projects. Project Director Josh Watson leads an in-country execution team based in Santiago.Key near-term catalysts include: Sectorial Permit approvals expected in Q4 2026 following an on-schedule April 2026 submission; a project financing announcement, led by advisor Endeavour Financial, also expected by Q4 2026; continued Pampa Medina step-out drilling results; and a maiden Pampa Medina sulphide mineral resource estimate targeted for early 2027. Construction is targeted to begin in 2027, with first copper cathode guided for 2029. Investors should weigh the permitting, financing and execution risks inherent to any pre-production developer against a de-risked flagship asset and a exploration program that management believes offers substantial, currently unpriced upside.View Marimaca Copper's company profile: https://www.cruxinvestor.com/companies/marimaca-copperSign up for Crux Investor: https://cruxinvestor.com

Au menu de l'actualité :L'ONU appelle à s'attaquer à la crise du logement dans les villesEn Haïti, l'ONUDC aide le gouvernement à lutter contre la corruptionRCA : la MINUSCA apporte une aide humanitaire à la ville d'Am-Dafock Présentation : Jérôme Bernard

Bangkok's nightlife is exploding, new clubs open almost every month, millions of dollars get poured into Las Vegas–style megaclubs, and half of them are shut down within a year. So what's actually going on? In this episode I sit down with Dennis Gold, a Croatian house DJ who's spent the last four years playing everything from Bangkok rooftops to packed nightclubs like Baccarat, APT 101, and Veyla. We talk about the business behind these clubs: why the RCA area keeps opening EDM clubs that dilute each other, why a 6,000-person superclub couldn't survive, and why some venues stay packed for years while others disappear overnight.

The emergence of the transistor shook the world. It certainly shook the vacuum tube makers. Some believed that the category was a dead man walking. The transistor was going to replace the vacuum tube everywhere. But the iconic American company RCA believed that vacuum tubes still had a future. And in 1959, they poured all their skill and knowledge into one “revolutionary” tube. In today's video, RCA and the vacuum tube's last stand.

The emergence of the transistor shook the world. It certainly shook the vacuum tube makers. Some believed that the category was a dead man walking. The transistor was going to replace the vacuum tube everywhere. But the iconic American company RCA believed that vacuum tubes still had a future. And in 1959, they poured all their skill and knowledge into one “revolutionary” tube. In today's video, RCA and the vacuum tube's last stand.

Welcome to the ultimate refuge for night owls and "midnight misfits" who prefer solitude over small talk. Host Walter Sterling tackles the absurdities of modern life, covering everything from the staggering inflation of Happy Meals to a passionate crusade to bring back the massive, oversized American sedan. Nothing is off-limits on this night shift: Walter dives into retro tech blunders like the RCA video disc, messy Love Island drama, the dangers of snooping in your spouse's LinkedIn DMs, and bizarre local crime at an Indiana gentleman's club. Learn more about your ad choices. Visit megaphone.fm/adchoices

Are we on the verge of global peace, or is the market pricing in a reality that doesn't exist? Kerry Lutz sits down with macro analyst Jim Welsh of Macro Tides to dissect the massive shifts rocking the global economy. While the mid-month geopolitical headlines sent oil prices down and stocks into immediate fragmentation, Jim issues a stark warning that the market is celebrating too early. He details a looming oil supply shortfall over the next six months that could trigger a major "oh sh*t" moment for investors, potentially spiking crude back to $150–$200 a barrel. The duo also breaks down the reality of EV demand destruction, upcoming midterm election risks, and why current tech valuations—including the rumored Tesla/SpaceX merger—closely mirror historic market bubbles like RCA in the 1920s and Amazon in 2000. For investors trying to navigate late-summer volatility, Jim's technical breakdown on equities and precious metals reads like an active playbook. He predicts a looming 5% to 7% pullback for the S&P 500 by July and August, followed by a massive rally above 8,000. Meanwhile, gold and silver bulls might need to brace for impact; Jim explains why gold's current "Wave 4" correction isn't over yet and could temporarily drag prices below $4,000 before its next explosive leg up. Tune in to get the macroeconomic reality check you need to insulate your portfolio. Want a deeper look at the charts? Find Jim here: https://www.macrotides.com Find Kerry here :https://khlfsn.substack.com and here: https://inflation.cafe    Kerry's New Book "The Armstrong Economic Code: The 5 Truths Investors Must Never Forget" is out now on Amazon!  Get your copy here:   https://a.co/d/bvYbZOz  "The World According to Martin Armstrong – Conversations with the Master Forecaster" is a #1 Best Seller on Amazon. . Get your copy here: https://amzn.to/4kuC5p5

HOT FUN IN THE SUMMERTIME / SLY AND THE FAMILY STONE (EPIC, 1969)The sweltering summer of 2023 is almost over, and all over the world folks are digging themselves out from under the epic disasters of the past months. Listening to this psych-soul ditty from 1969, one may be momentarily transported back to a cozier time of blotter acid and beach coolers. The carefree tone of the record, however, belies the fact that at the same time that he was jamming on this anthem, an ever-increasingly paranoid Sly Stone was starting to hole himself up in his mansion with bowls of cocaine and a drum machine - from which he would emerge 2 years later with THERE'S A RIOT GOIN' ON - transmitting a wholly different vibe. And, also, let's not forget the murderous Altamont concert of 1969 (documented in the Rolling Stone's film GIMME SHELTER), along with the concurrent killings carried out by the Manson kids - and you realize that everywhere you looked there were emblems of a time when chaos reigned, symbolizing an era of psychic climate change in America.Well, nostalgic or not, music has powers to soothe and direct our minds to kinder, gentler regions. It gives us a moment to meditate and reflect - a time out before we have to brave the cacophony once again. Some say “nostalgia” is defined as a sickness - homesickness. We're urged to be forward looking and adapt to whatever the future holds. But, it's ok to take a moment to remember and savor the joys of summers past. Just don't forget to wear your sunblock.SUNLIGHT by The Youngbloods (RCA, 1969)I'm a romantic; I admit it. I believe in true love, and the moments of ecstatic togetherness that enable one to transcend all the struggles and grief of life. And, this song reanimates this awakening each time I hear it: by the rolling chords off the nylon string guitar, eliciting the feeling of a fresh breeze of possibility; Jesse Colin Young's falsetto voice (one of nature's finest) projecting such hopeful innocence; and, the lyrics, which tenderly describe scenes of eternal bliss.  I loved Jesse and The Youngbloods from the first time I put down the needle on Grizzly Bear (the first cut on the debut album). It was a bonus disc from the Columbia Record Club, and since that moment, the relationship with Jesse, Banana, and the boys, during the RCA years, was a meaningful one for me. After they went to Warners, and subsequently split up, the love affair was over.But, the remarkable Elephant Mountain, the last collection from RCA, produced by a young Charlie Daniels, delivered this song, along with Darkness, Darkness - in a collage of Sunlight and Shadow.  Jesse said that this was the first song he wrote after moving to California, and I understand it. As a New Yorker relocating to the Golden State, I too was struck by the quality of the light which casts a spell that makes one unable to sense the passage of time, and the seasons. Years flew by, the mirror mocks me, but the romantic in me remains ever innocent.MILLION DOLLAR BASH by BOB DYLAN with THE BAND (From the Basement Tapes, Columbia, 1967)Ooh, Baby, Ooooh wee!Ooh, baby, oooooh wee!It's that Million Dollar Bash.I hear that chorus and I'm smiling. It's a celebration, a party. Dylan and the boys are off the hard road, and they're just having fun in the Big Pink basement with the Revox tape recorder.  There has been some interpretative gobble dee gook about it being Dylan's satirical payback to Andy Warhol and his pretentious Factory parties, with a salvo to Edie Sedgwick - the (“big dumb blonde) -, who dumped him, but really, that feels like a stretch. Those intimations might be there, but when Bob sings:“Well, I'm hittin' it too hard, my stones won't take-I get up in the morning but it's too early to wake,First it's hello, goodbye, then push and then crash,But we're all gonna make it at that mIllion dollar bash!It feels to me like an expression of sweet release. An appreciation for the moment at hand. And, imagining where the heads of the bar band turned folk-rock players assembled in that bucolic place were at…. -, the men who, for me, comprised the greatest American band in rock history - in the chrysalis from which they were about to emerge to ignite a musical revolution - I can feel the spontaneous energy of joyous creation. Oooh baby, Oooh weeeee!

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.

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.

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.

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.

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.