Podcasts about Sare

«La tercera fuga». Idea original de Victoria Szpunberg. Col·laboració en l'escriptura del text: Albert Pijuan. Intèrprets: Sasha Agranov, Emma Arquillué, Anna Castells, Marc Joy, Olga Onrubia, Carles Pedragosa, Carles Roig, Biel Rossell Pelfort, Fede Salgado, Magalí Sare. Clara Segura Crespo, Sergi Torrecilla i Ton Vieira. Escenografia: Max Glaenzel Sílvia Delagneau. Vestuari: Sílvia Delagneau. Il·luminació: Pedro Yagüe. Coreografia i assessorament en el moviment escènic: María Cabeza de Vaca. Composició i direcció musical: Dani Espasa. Espai sonor i composició de la cançó «Rina»: Lucas Ariel Vallejos. So: Iker Rañé. Caracterització: Àngels Salinas. Assessora d’accent argentí: Romina Cocca. Traducció i assessora de l’ídix: Golda van der Meer. Ajudanta d’escenografia: Paula González Infante. Ajudant de vestuari: Marc Udina Duran. Alumnes en pràctiques de l’Institut del Teatre de la Diputació de Barcelona: Andrea Castells Fernández (direcció- ESAD), Karen Carreño (dramatúrgia-MUET), Clea Granados (escenografia). Construcció d’escenografia: Carles Piera, Showtex. Confecció de vestuari: Goretti Puente. Confecció del cavall i dels esquelets: Laura Garcia Martos. Construcció de les màscares: Eudald Ferré Serra. Producció: Teatre Nacional de Catalunya. Agraïments: Família Szpunberg Witt, Jorge Spunberg, Miquel Cabal Guarro, Arnau Pons, Juan Villareal, Leo Hipaucha Serenelli, Giacomo Passalacqua, Martina Vilarasau, Josefina Torino, Leila Amorós, Manel Fortià. Equips tècnics i de gestió del TNC. Ajudant de direcció: Iban Beltran. Direcció: Victoria Szpunberg. Sala Gran, Teatre Nacional de Catalunya, Barcelona, 29 abril 2025. Veu: Andreu Sotorra. Música: Un vals a París. Interpretació: Ariel Hernandez, Dermor Dunne, Iona Petcu-Colan, Lucas Gonzalez. Malachy Robinson. Composició: Lunfardia Dublin. Àlbum: Acollarados, 2010.

Šo grāmatu viņš veltīja savai sievai Marijai, kas ir vijolniece. Pastaigājoties un sarunājoties, somu komponists un mūzikas žurnālists Osmo Tapio Reihele radīja grāmatu, ko varētu ielikt "populāri populāro" grāmatu plauktiņā, ja vien teksts kaut kur ap vidu nekļūtu sarežģītāks, kā atzīst pats autors. Un tātad – grāmatas nosaukums ir "Kāpēc laikmetīgā mūzika ir tik sarežģīta". Osmo Tapio Reihele lieto terminu "laikmetīgā mākslas mūzika" un pierāda, ka jūs noteikti esat dzirdējuši šo mūziku, jo jūs taču skatāties filmas un seriālus, kur dramatiskos spriedzes brīžos tiek izmantota laikmetīgā mūzika. Viņš pats bija pārsteigts, ka par šo grāmatu, kad tā iznāca Somijā, bija tik liela interese, galu galā – viņš 30 gadus bija pats rakstījis mūziku, bet pastiprināta interese par viņu radās tikai pēc grāmatas "Kāpēc laikmetīgā mūzika ir tik sarežģīta". Grāmata arī 2021. gadā ieguva Somijas vissvarīgāko literāro balvu "Finlandia'" populārzinātniskās literatūras kategorijā. Osmo Tapio Reiheles grāmatu "Kāpēc laikmetīgā mūzika ir tik sarežģīta" no somu valodas tulkojusi Maima Grīnberga, izdevis Jāņa Rozes apgāds. Tā kā autors viesojās Rīgā Grāmatu svētkos, mums ir iespēja dzirdēt arī fragmentus no viņa sarunas ar "'Klasikas" kolēģi Orestu Silabriedi. Raidījumu atbalsta:

Auf dem Zwischenstopp im Aiwaz System stösst die ältere Schwester von Anuket auf Befehl des Vorsitz der Kalten Flamme zur Gruppe dazu.

Planned obsolescence and perceived obsolescence have us in a disposable consumption cycle. But it hasn't always been this way. When and why did we stop thinking things were worth fixing?In this episode, we get a history lesson in planned obsolescence, visit Adrienne Ferre, who is helping run a Makers Hub in LA, complete with a tool library and repair cafes. And we catch up on Right to Repair legislation with Commons' founder and CEO Sanchali Seth Pal. 

Last week, the Conservation Technology Information Center announced the findings of its eighth national cover crop survey.

In this episode, Nicky Schauder of Permaculture Gardens continues the conversation about permaculture and the ins and outs of compost tea with Mary Sketch Bryant, Marian Dalke, and Jeff Ishee. Nicky received two USDA-Sustainable Agriculture Research and Education (SARE) Producer Grants to specifically research the benefits of compost tea and its effects on plant growth, yield, soil biology diversity, and the stability of soil health. Nicky's research question was does compost tea make certain leafy vegetables grow bigger or not?To read the Permaculture Gardens blog and other resources about soil regeneration, compost tea, permaculture, and growing food yourself, please visit https://www.permaculturegardens.org/Bill Mollison's books Introduction to Permaculture and Permaculture: A Designer's Manual are available online or through your local independent bookstore. Information about USDA-Southern Sustainable Agriculture Research and Education's (SARE) grant programs and their free publications are accessible at https://southern.sare.org/To learn about the Virginia Soil Health Coalition and join the Coalition's quarterly meetings, please visit https://www.virginiasoilhealth.org/. For questions about soil and water conservation practices and outdoor educational activities for youth, call or visit a USDA Service Center, a Virginia Soil and Water Conservation District office, or your local Virginia Cooperative Extension office. As always, we encourage you to join the 4 The Soil movement at https://www.4thesoil.org/ and follow the four principles of soil health: 1) Keep the Soil Covered -- Cover crops are our friends; 2) Minimize soil disturbance -- Practice no-till or gentle tillage in your field or garden as much as possible; 3) Maximize living roots year-round -- to improve biodiversity and life in the soil; and 4) Energize with diversity -- through crop rotation and/or livestock integration. And please share your stories of how you are regenerating soil on your farm, in your garden, or backyard. Yes, we can all cheer "for" soil and be 4 The Soil!

ES digitālā identitāte, jeb digitālais maks no 2026.gada būs pieejama Eiropas Savienības pilsoņiem, iedzīvotājiem un uzņēmumiem, kas vēlas identificēties vai apstiprināt kādu personisku informāciju. To varēs izmantot kā tiešsaistes, tā bezsaistes publiskiem un privātiem pakalpojumiem visā Eiropas Savienībā. Cik tālu esam ar tā ieviešanu, interesējamies raidījumā Kā labāk dzīvot. Skaidro VARAM Digitālās politikas attīstības nodaļas projektu vadītāja Elizabete Marija Režā, Latvijas Valsts Radio un televīzijas centra komerscdepartamenta direktors Kārlis Siliņš, kiberdrošības eksperts, uzņēmuma "Possible Security" vadītājs Kirils Solovjovs. "Sarežģīti sakot, tas būs mobilais elektroniskais identifikācijas līdzeklis, vienkāršiem vārdiem sakot, tā būs aplikācija mūsu viedierīcēs," skaidro Elizabete Marija Režā. "Ar kuras palīdzību mēs varēsim sevi identificēt digitālā vidē. Tas nozīmē, ka varēs vairs makā nelikt daudzās kartes un dokumentus, kas mums ir šobrīd." Vai vairs nevajadzēs ID karti un pasi? Teorētiski ar digitālās identitātes maku varēs apliecināt savu identitāti arī bez eID kartes ikvienā Eiropas Savienības valstī. Ceļošanai gan dokuments būs vajadzīgs parastā formātā. ID karte vai pase būs vajadzīga. 2024. gada maijā ir apstiprināta Eiropas digitālās imunitātes regula, kas nosaka ietvaru, kā šim makam būs jāizskatās. Šobrīd norisinās pilotprojekts un notiek testi. Kārlis Siliņš skaidro, ka no izveidotā digitālās identitātes maka katrā konkrētā vietā un situācijā varēs izvēlēties, kādus datus nodot. Šobrīd eID kartē ir norādīts vārds un uzvārds, personas kods, bet ne papildu elementi, kas varētu būt nepieciešami kādam pakalpojumu sniedzējam. "Piemēram, nomājot mašīnu, iznomāšanas uzņēmumam ir nepieciešams zināt, vai man attiecīgās kategorijas apliecība. Tad es varu padot gan savu vārdu, uzvārdu, gan to apliecinājumu, ka man ir šādas kategorijas autovadītāja apliecība un es varu vadīt šo automašīnu," skaidro Kārlis Siliņš. Kirils Solovjovs tomēr aicina domāt par drošību. "Kopumā par telefonu drošību tas, protams, liks padomāt. Es ticu, ka valsts, varbūt arī privātais sektors nāks kopā, un tai brīdī vai pirms šis tiks ieviests lietošanā būs kaut kādas informatīvas akcijas, lai cilvēki mācētu savu telefonu uzfrišināt, atjaunināt. Pirms kaut ko vēl kritiskāku likt iekšā, tomēr parūpēties, ka tur viss ir kārtībā. Tajā pašā laikā viņš atzīst, ka ir priecīgs par iespēju daļēji nodot identitāti. "Piemēram, tev ir jāapliecina, ka tu esi virs 18 [gadiem] un neko citu nevajag zināt, vai tas ir internetā, vai tas ir klātienē uz vietas kaut kur, superīgi, ja tas strādās," atzīst Kirils Solovjovs.  Lieta, par kuru Kirils Solovjovs ir skeptisks šī brīža ģeopolitikās nestabilitātes situācijā, ir jautājums, kur matemātiski glabājas drošības atslēgas. "Ja viņas glabājas vienmēr pie manis, manā ID kartē, manā telefonā, vai tomēr ir kopija kādam citam uzticamam, vai nu LVRTC tipiski tas ir, vai arī kaut kādā konfigurācijā, ja izmaina plānus, tas varētu būt VARAM vai kāda VARAM aģentūra. Vai atslēga ir tikai man, vai tā vēl kādam stāv tur aiz 10 papildus atslēgām, tomēr teorētiski kāds var aiziet, paņemt un kaut ko viņu izdarīt. Tas man kā cilvēkam, kas pēta drošības jautājumus, ir tāds kritisks aspekts. Es ļoti gribētu, ka eksistē mehānisms Latvijas maciņam, kur atslēgas visas paliek pie cilvēka un nav kopijas valstij, un valsts nevar pēkšņi parakstīt kaut ko cilvēku vietā." Kirils Solovjovs atzīst, ka ir tehnoloģiski konservatīvs cilvēks un turpinās darboties ar ID karti, telefonā droši vien eksperimentēs, bet sākumā jutīsies drošāk ar ID karti. "Nezinu, kā klausītāji, dodoties ceļojumā, cik reizes pārbauda, vai ID karte ir līdzi un vai tā tiešām ir ID karte? Es pārbaudu, kravājot somu, izejot no mājas, tad es pārbaudu ceļā uz lidostu un tad ārzemēs atpakaļceļā līdzīgi. Ja man izlādējas telefons vai kaut kas ar viņu notiek, nozog - tas ir viens, viņš var saplīst. Par spīti visam, kas varbūt izklausās kā skepticisms no manas puses, man nav nekādu šaubu, ka tā ir nākotne. Šis digitālais maciņš ir nākotne, un viennozīmīgi agri vai vēlu to lietos 50%, 60%, 90% Eiropas Savienības iedzīvotāju," atzīst Kirils Solovjovs.

durée : 00:39:13 - Le rugby amateur en fête : les Finales de Terroir et le tournoi solidaire d'Ustaritz au programme - Les Finales de Terroir se dérouleront ce week-end dans le Béarn, avec plusieurs clubs basques en compétition. Béatrice Pagnoux, du Comité Départemental rugby 64, nous éclaire sur ce grand rendez-vous du rugby amateur. Sans oublier le Tournoi Peio eta Alex à Ustaritz, un rendez-vous solidaire.

Sare is joined by our next guest host, reality TV star Jake Ellis! From The Bachelor to Bachelor in Paradise, Jake spills on his time in the reality TV world, how he earned the nickname "Jake the Snake," and what life is really like behind the cameras.Then, we take a hard left into dairy drama.

Stāsta ērģeļbūves meistars un klavieru tehniķis Jānis Kalniņš Lai atceramies Lūciju Garūtu un viņas aizliegtos meistardarbus – Klavierkoncertu un kantāti “Dievs, Tava zeme deg!” Šodien grūti noticēt, ka Pēterim Vaskam bija jābrauc mācīties uz Viļņas konservatoriju, jo Rīgā viņam ticības dēļ durvis bija slēgtas. Daži stāsti šodien skan kā anekdote, par kuru varētu arī pasmieties, ja tajā neslēptos dziļš traģisms. Viens no tiem ir par Emīlu Gilelsu (1916–1984), kurš kļuva slavens agri – viņam bija tikai 17 gadu, kad 1933. gadā viņš uzvarēja pirmajā Vissavienības pianistu konkursā. Baumoja, ka Staļins lika viņam pārcelties uz studijām Maskavā pie Heinriha Neihausa (Heinrich Gustav Neuhaus, 1888–1964). Ne Gilelsam, ne Neihausam nebija izvēles – viņiem bija jāveic līdera griba. Viņi uzreiz nepatika viens otram: Neihauss bija vācietis, izsmalcināts intelektuālis, zināja daudzas valodas, mīlēja glezniecību un literatūru. Gilelss piedzima Odesā ebreju ģimenē, viņa tēvs bija grāmatvedis, māte bija mājsaimniece. Kad Gilelss vēlāk tika publiski saukts par Neihausa studentu, viņš apgriezās un atstāja istabu. Bet viņu attiecībām ir arī otra puse. Par to ir zināms galvenokārt no Maskavas inteliģences mutvārdu stāstiem, kuri vispilnīgākajā versijā ir Grigorija Gordona grāmatā "Emīls Gilelss. Ārpus mītiem" (Maskava, 2007, 152. lpp.). 1941. gadā Neihauss tika arestēts un ieslodzīts. Gilelss vērsās pie Staļina kādā oficiālā pasākumā un lūdza savu skolotāju atbrīvot. Staļins atbildēja: "Ar šo jautājumu pie manis vairs neatgriezties!" Bet Gilelss nebaidījās "atgriezties": viņš atkārtoja lūgumu pieņemšanā, kuru Staļins rīkoja par godu Čērčilam 1944. gadā. Acīmredzot Staļins nobijās, ka Gilelss atteiksies spēlēt pieņemšanā un lika Neihausu atbrīvot. Gilelss ar lielām grūtībām atrada viņu tranzīta cietumā Urālos, un dabūja atļauju izmocītajam Neihausam atgriezties Maskavā. Bet tas neuzlaboja viņu attiecības, un Gilelss nekad nevēlējās runāt par šo tēmu. Otrs stāsts ir no pirmajiem pēkara gadiem. Lai cik dīvaini tas arī neizklausītos, Staļinam esot paticis radio klausīties klasisko mūziku. Tāpēc vakaros Maskavas radio, kam vēl nebija pietiekamas ierakstu kolekcijas, bet bija savs orķestris, organizēja tiešraides no koncertstudijas. Dažus koncertus ierakstīja uz Vācijā salaupītajām iekārtām, bet lenšu trūkuma dēļ ne visus. Kādu vakaru 1948. gadā tika pārraidīts V. A. Mocarta 20. klavierkoncerts reminorā. Pie klavierēm bija Marija Judina (1899–1970), diriģēja Nikolajs Golovanovs. Pēc koncerta visi mūziķi devās mājup. Pēkšņi radio direktora kabinetā atskanēja zvans – Staļins. "Apsveicu, lielisks izpildījums! Ceru, ka esat to ierakstījuši." Protams, ka nekas nebija ierakstīts, bet direktors neuzdrošinājās to pateikt un nomurmulēja, ka ir. "Brīnišķīgi! Sagatavojiet man uz rītdienu platīti." Kas tad sākās! Tūlīt sasauca visu orķestri, studijas tehniķus, Judinu, un ap vieniem naktī sākās ieraksts – bet Golovanovam trīc rokas! Tika izsaukts otrs vadošais Maskavas diriģents – Aleksandrs Gauks, bet arī viņa rokas trīcēja! Tika izsaukts Golovanova palīgs, mazpazīstams diriģents Sergejs Gorčakovs. Mocarta 20. koncerts diriģentam ir vienkāršs, klavieru partija gan ir virtuoza, bet Judina nekļūdījās ne reizi atšķirībā no diriģentiem! Līdz rītam ieraksts bija gatavs, un diktatoram steidzīgi izgatavoja skaņuplati. Šī plate esot bijusi uz atskaņotāja Staļina istabā slepanajā vasarnīcā Kuncevo, kad 1953. gada martā viņš tika atrasts miris. Par laimi, ieraksts ir saglabāts Maskavas radio arhīvā un vēlāk izdots skaņuplatē. Ar šo pašu Mocarta klavierkoncertu saistīts kāds amizants gadījums. Tieši pēc 50 gadiem, 1998. gadā Amsterdamā Marija Žao Piresa (Maria João Pires) piedzīvoja šoku, kad, atskanot orķestra ievadam, atklājās, ka viņa sagatavojusi citu Mocarta koncertu! Īsā laikā viņa spēja pārvarēt šoku, sakoncentrējās un izcili nospēlēja 20. koncertu pēc atmiņas!

Managing pests like powdery mildew, downy mildew, botrytis, and sour rot can be a complex challenge. Andy Fles, Vineyard Manager at Shady Lane Cellars in Michigan, shares insights from his USDA Sustainable Ag Research Education producer grant project. The project compares two pest management approaches: a ‘soft' pesticide program and a conventional one. Andy conducted the experiment using his on farm sprayer, providing real-world results. Despite climate variability and fluctuating pest pressures, the soft pesticide program proved effective. The project underscores the potential of using softer chemistries to manage disease while maintaining fruit quality. Resources:         REGISTER: April 25, 2025 | Fungicide Spraying: Evolving Strategies & Grower Insights 80: (Rebroadcast) The Goldilocks Principle & Powdery Mildew Management 117: Grapevine Mildew Control with UV Light 197: Managing the Sour Rot Disease Complex in Grapes 219: Intelligent Sprayers to Improve Fungicide Applications and Save Money 235: Battling Fungicide Resistance with Glove Sampling Rufus Issacson, Michigan State University Shady Lane Cellars Secures $11K National Farming Grant Timothy Miles, Michigan State University Vineyard Team Programs: Juan Nevarez Memorial Scholarship - Donate SIP Certified – Show your care for the people and planet   Sustainable Ag Expo – The premiere winegrowing event of the year Vineyard Team – Become a Member Get More Subscribe wherever you listen so you never miss an episode on the latest science and research with the Sustainable Winegrowing Podcast. Since 1994, Vineyard Team has been your resource for workshops and field demonstrations, research, and events dedicated to the stewardship of our natural resources. Learn more at www.vineyardteam.org.   Transcript [00:00:00] Beth Vukmanic: Managing pests like powdery mildew, downy mildew, botrytis and sour rot can be a complex challenge. [00:00:10] Welcome to sustainable Wine Growing with Vineyard Team, where we bring you the latest in science and research for the wine industry. I'm Beth Vukmanic executive director. [00:00:21] In today's podcast, Craig McMillan, critical resource Manager at Niner Wine Estates. With Longtime SIP Certified Vineyard and the first ever SIP certified winery speaks with Andy Fles, vineyard Manager at Shady Lane Cellars in Michigan. Andy shares insights from his USDA Sstainable Ag Research Education Producer grant project. The project compares to pest management approaches, a soft pesticide program and a conventional one. [00:00:50] Andy conducted the experiment using his on farms sprayer, providing real world results. Despite climate variability and fluctuating pest pressures, the soft pesticide program proved effective. The project underscores the potential of using softer chemistries to manage disease while maintaining fruit quality. [00:01:10] If you'd like to learn more about this topic, then we hope you can join us on April 25th, 2025 for the fungicide spraying evolving strategies in Grower Insights tailgate taking place in San Luis Obispo, California. Dr. Shunping Ding of Cal Poly will share updated results from a study on the efficacy of different fungicide programs containing bio fungicides. [00:01:34] Then we will head out into the vineyard to learn about new technologies for integrated pest management and talk with farmers from different growing regions about their program. Now let's listen in.  [00:01:49] Craig Macmillan: Our guest today is Andy Fles. He is the vineyard manager at Shady Lane Cellars in Michigan. And today we're going to talk about a pretty cool little project. He's got going looking into two different pesticide programs. Thanks for being on the podcast, Andy. [00:02:03] Andrew Fles: Yeah, my pleasure, Craig. [00:02:05] Craig Macmillan: So you have a grant from the USDA sustainable agriculture research and education program. To look at what you call a soft pesticide program for your vineyard in Michigan and comparing it to what we would call a sustainable or sustainable conventional program. What do you define as a soft pesticide program? [00:02:25] Andrew Fles: Well, that's kinda just a, a term that we applied to identify it. I didn't want to use organic because I thought that there would be a good chance we would utilize things that are considered by the industry to be very soft in terms of you know, they're not a harsh chemical or a carcinogenic, a known carcinogenic compound. [00:02:49] But something, for example, like. Like horticultural grade peroxide, which goes by several different trade names. So that's just, it's hydrogen peroxide and it is a disinfectant that turns into water and oxygen. So it's pretty Soft in terms of what it does to beneficials and, and plants and, and such. [00:03:11] We utilize some of those products already in our spray program. But combined also with, we're probably 50 percent organic in terms of what we spray out. for fungicides, pesticides, insecticides. And so we're still altering in some synthetic compounds. [00:03:28] And we wanted to compare that, what we currently do, to something that was much softer, like only soft compounds. Something that could be considered a OMRI certified organic program, or, or almost, right? Like maybe there's just one or two things that are very soft, but not technically OMRI certified. [00:03:49] Craig Macmillan: Right, and I do want to , get into the weeds on that a little bit later. Cause it's a, it's an interesting, Set a program that you've got going and I have lots of questions about them. What inspired this project? [00:04:01] Andrew Fles: I think just that continued movement towards investigating what works here in the east. You know, we, of course, get more wetting events and, and wetting periods that cause more fungal issues here compared to the west coast. And so we really, you know, we have to have an eye on sustainability. Certainly at Shady Lane, we really push for that. [00:04:25] But we also need to make sure that we have a marketable crop. We need to make sure the wine quality is, is high and acceptable for our standards. And so you know, if we're talking about, you know, every year is quite different here. We can get a, like, for example, in 2024, very wet in the first half of the year, very, very dry in the second half. [00:04:51] And, and then, which was quite different from 23 and quite different from 22 and so on and so forth. so, so some years we need to kind of step in and use a synthetic product here at this key time or, you know we need to protect our, our, our wine grape quality. [00:05:07] Craig Macmillan: What are the primary pests and diseases in your area? [00:05:11] Andrew Fles: So we have issues with the usual suspects that powdery mildew, of course. That's, that's fairly, I think if you're on top of your game, that's, it's pretty controllable. Even with soft products here it's just a spray frequency and coverage issue. [00:05:27] Downy mildew is something that can be quite challenging in certain years. [00:05:31] And there's, and there's less tools in the toolbox to use for that as well. And so you gotta, you gotta be on top of that with scouting preventative, like canopy, you know, canopy management practices that deter too dense of a canopy or, or clusters that are. hidden behind several layers of leaf. [00:05:53] Those are going to cause problems for you no matter what you're spraying, synthetic or organic, right? So, so we try and utilize all those things and and then we, we can also have issues in some years with botrytis and even sour rot and tight clustered varieties. So, so we were looking at sour rot and botrytis in the, in the cluster analysis of this portion of the , project. [00:06:18] Yeah, we have some locations can struggle with grape erinium mite. That's becoming more and more prevalent here. Wasn't an issue four years ago. Not, not really up in, up in northern Michigan anyway. So that's becoming more and more of an issue. And then we always struggle with rose chafers. It's a, it's a grub that, you know, comes out for six weeks and really terrorizes the vines. [00:06:49] And for that, for that pest, we really walk the line of the economic damage threshold, right? So, so a little, you know, we're going to see rose chafers every year. Some years are better than others. And what is our acceptable damage, you know? And so, once we see the rose chafers really getting dense in number, and also, you know, munching on a few leaves is one thing, munching on the clusters and the shoot tips is another thing. [00:07:21] Craig Macmillan: That's what I was going to ask. Yeah, I'm unfamiliar with this this pest. It, skeletonizes leaves, but it also will attack flower clusters and, and grape clusters in the early stages of development. Is that right? [00:07:34] Andrew Fles: Pretty much all green tissue. Yeah, a bunch of shoot, shoot tips leaves are probably, you know, their preferred source, I think, but anything tender. And so if, if the timing is just right where the, the inflorescences are, are you know, just coming out when the, when the beetles hatch, then they can really go for those cluster tips and, and shoot tips. [00:07:59] While we're scouting for this pest, we not only do the, you know, the density numbers and annotate that, but we look at, you know, how many are actually eating leaves versus shoot tips and clusters. [00:08:13] Craig Macmillan: Interesting, interesting. What is the design of your project and what varieties are we talking about? And what kind of variables are you measuring and how are you measuring them? [00:08:25] Andrew Fles: this is a farmer grant as opposed to a research grant. , it's tailored to folks that want to do on, on farm trials. And we want to do. Something in a significant enough volume, you know, that, that some that it would apply, it would be more applicable in the real world. [00:08:45] So for example you know, at a university they might do this randomized plots, you know, and they're using a backpack sprayer because they're, they're applying you know, three vines here, three vines there, scattered all throughout the block. And we wanted to use the sprayer that we actually use. [00:09:04] Um, and we wanted to do a bigger sections. And so what we did was we broke it up into two acre sections and we did two acres of both the traditional, the conventional program that we normally would do here and the soft treatment. So we did two acres of each in pinot noir, two acres of each in a, in a French American hybrid called ol, and then two acres of Riesling. [00:09:33] And we wanted to look at powdery, downy, botrytis, and sour rot. [00:09:38] In certain years, we can have quite a lot of botrytis and sour rot pressure in those three varieties. Because Pinot Noir of course is tight clustered. Vignole is even tighter clustered despite having that French American disease resistance package. It, it doesn't possess that for Botrytis or Sour Rot. [00:09:58] and then of course Riesling is a, is a very, it's probably the number one variety in Michigan. And as we all know, it's susceptible to Botrytis. [00:10:08] Craig Macmillan: Yeah. Big time. [00:10:10] Nice design. Great varieties to choose. I think that was really, really smart. How are you going to quantify these different variables? How are you going to measure the damage? [00:10:18] Andrew Fles: So for Powdery and Downey we just kind of did a scouting assessment. You know, how, prevalent is the infection based on how many leaves per, per per scouting event? I think off the top of my head, it was like 25 leaves. Per block that's more, I guess, anecdotal which we, and we did see that in the Pinot Noir, it was pretty clear cut that we struggled to control Downy in the soft treatment more so than in the conventional treatment. [00:10:50] It was, it was pretty clear there. And then as far as the Botrytis and Sour Rot, so that's really where the MSU team came in with the, the Rufus Isaacs lab and Dr. Rufus Isaacs and his master's PhD candidate. They did a lot of work there and, and then also the Tim Miles lab , so basically what they did is they took 25 clusters of each treatment and they did an assessment , for of course, how many berries were infected by, by botrytis and sour rot. [00:11:25] And then they also took those clusters and they hatched them out to see how many Drosophila species were there. [00:11:33] Craig Macmillan: Oh, okay. Yeah, good. That's interesting. [00:11:36] Andrew Fles: Wing drosophila here in Michigan and so really it was just the two species of traditional vinegar fly, drosophila, and then spotted wing. They did, you know, the, the statistics on that. [00:11:50] Craig Macmillan: interesting. And this is, this is a multi year project, right? [00:11:54] Andrew Fles: This was just one year. [00:11:56] Craig Macmillan: Just one year, okay. [00:11:58] And when will you have final results? [00:12:01] Andrew Fles: I have some of those already. We're going to do like a more formal presentation at a spring meeting here, a grower meeting, that's kind of co sponsored between MSU Extension and a local non profit that promotes grape and wine production in the area. So yeah, we're going to make a presentation in April on on the results and, and kind of, we're just continuing to, coalesce and, you know, tie my spray program with wedding events and then the results that they got as well. [00:12:37] Craig Macmillan: What other kinds of outreach are you doing? You're doing the meeting and you're doing other things? [00:12:41] Andrew Fles: I haven't discussed this with with Rika Bhandari as the PhD student. I suspect that she would use this in some of her publishing, you know, whether it gets published, I don't know, it's part of her Her main focus is sour rot, so this will be included in some of her presentations. [00:13:03] But I don't know that for a fact. [00:13:06] Craig Macmillan: That's exciting to get some information that's local. It's locally based and get it out to the local community as well as the broader community. I think that's really important if you don't mind I would like to get into some of the nuts and bolts of these two programs because I found that to be very interesting And then as we go talk about How that panned out for the different pests and diseases that you saw in these trials Let's talk about the soft program first You've got a dormant oil app in May and I assume you mean that there would be like JMS stylet oil or something like that [00:13:41] Andrew Fles: I think it was called bio cover. [00:13:43] Craig Macmillan: Bio cover and that's a pretty standard practice in your area I would guess [00:13:48] Andrew Fles: It is, yeah. [00:13:49] Craig Macmillan: and then the following month in June You, uh, have copper in the mix. In both the traditional and in the soft chemistry. I'm guessing that's also a common practice in your area. Probably for downy and for powdery. [00:14:06] Andrew Fles: Yeah, the copper is is something that we've been leaning towards and getting away from some of the synthetics. Which stick better to plant surfaces, we've been migrating that way anyway, these last numerous years now and so, yeah, , there are some similarities between the two programs at times it's really those key times of pre bloom and post bloom and variation that that we've traditionally. [00:14:34] Really locked in on some of the synthetic chemistries here [00:14:37] Craig Macmillan: And then also in June you have a Serenade Opti, which would be a Subtilis based material. And I believe that's also in your conventional in July. That's pretty standard practice, and that's an OMRI certified product, I believe. [00:14:52] Andrew Fles: Yes, yeah. [00:14:53] Craig Macmillan: There's some overlap there. It looks like the Rose Chaffer comes out around this time. [00:14:59] Andrew Fles: Yeah, probably it's not in front of me, but probably mid june [00:15:04] Craig Macmillan: Yeah, that's what you have here. In the traditional you've got a, a neonic, a sale. And then in the program, there's kind of a question mark here. What did you end up using in the, in the soft program for a roast chaffer? [00:15:19] Andrew Fles: Let me find it here [00:15:21] So we used neemix 4. 5 [00:15:26] Craig Macmillan: Nemix. I'm not familiar with that. Is that a Nemo based product? [00:15:28] Andrew Fles: Yeah, it's a neem oil [00:15:30] Craig Macmillan: And then in the traditional you have a neonic, a sail. Did you see a difference in Rose Chapter damage between the two? Because this is a pretty big difference here. [00:15:39] Andrew Fles: a pretty big difference in terms of [00:15:42] Craig Macmillan: Well, the modes of action obviously are very different. [00:15:45] Andrew Fles: Oh, sure, sure. Yeah, we had a little higher a little higher prevalence of rose chafers in mostly in the Pinot Noir treatments. Not so much in the Riesling, and I think that's largely because of black location. Traditionally the Pinot Noir block is our worst, one of our worst blocks in terms of rose chaffer rose chaffers are these beetles. [00:16:09] Of course, they're very similar to Japanese beetles for those listeners that, that may know that, but they really thrive in sandy soil, which is what we specialize here in northern Michigan, sandy based soil, right? [00:16:22] , and especially in un mowed fields. Right? We've really been trying to manage , our headland spaces like a prairie even more so upon joining SIP and, and learning more about making a comprehensive farm plan of, Of all of the land, right? And so we've really managed our, headlands and open fields like prairies which means minimal mowing, [00:16:47] like once a year is what we, we just mow to keep the autumn olive out. And and so we're trying to promote, you know, bird life and, and. All forms of life in these fields, which includes and sometimes an increase in rose chafers. [00:17:03] However, this 2024 was, was a. Fairly low pressure year. [00:17:09] And so I was very comfortable with, with sticking with this the soft insecticide. And we didn't feel like, you know, even though we saw this, this increase in pressure in the soft treatment, it wasn't surpassing the economic damage threshold that we are really keen. [00:17:27] And right. IPM [00:17:29] Craig Macmillan: So, true IPM. [00:17:31] Andrew Fles: IPM is very important, here, you know, where we have all these insects and it rains a lot and, you know, you got to really. Be ready to to, to scout and then react. [00:17:41] Craig Macmillan: Exactly. Yeah. And knowing what your economic injury limit is, I think it's huge. And your action threshold based on that. Tell me a little bit about the Spinosad based products. You have a couple in the soft that I assume are meant to be insecticides. [00:17:55] Andrew Fles: Yeah. The delegate. Yup. [00:17:56] Craig Macmillan: Yeah, Delegator and Trust. [00:17:59] Andrew Fles: I'll talk a little bit about intrepid as well. That's probably a foreign thing for any, any West coast listener, but that's intrepid is a it's a molting regulator and it's essentially for, in this case, for grapes, it's for grape berry moth. And this is an insect that is very difficult to do IPM on because there's a, there's kind of a morph that lives in northern Michigan that doesn't Go for the traps and so you can put traps out and it you just have no idea what's going on Because they just don't really care for the pheromones so they're really almost impossible to trap and I've talked numerous time with dr Rufus Isaacs about this and how do we you know get a handle on populations and you know They just can't get their traps to work up here. [00:18:50] We target with the intrepid, it's a, again, it's a molting regulator, so it just prevents them from developing, and it's very specific it's not a broad spectrum, so that goes on as a preventative where we have blocks near the woods, [00:19:05] because we see great berry moth coming in from wild, wild vines [00:19:10] that may or may not be in the woods, but we Where we see larva hatching is, is just kind of a perimeter. [00:19:16] So what we'll actually do is a perimeter spray. We don't even spray the whole block. We'll spray the outside row or two or three of each end. And then we just kind of blast it in. Along the, the other, you know, along the posts, the end posts. And that seems to work fairly well. [00:19:34] Craig Macmillan: Huh. [00:19:35] Andrew Fles: And then, as far as Delegate goes and Entrust those are Spinoza based products like you mentioned. [00:19:42] Those are primarily, you'll see that we put them on, well, I don't know if you can see timing, but we put them on. in September. Yeah, at the end of the season. September. [00:19:53] Yeah. Yeah. So, so those go on right around or right before even version and that is for drosophila [00:20:01] I think there's been some research recently from Cornell and then also Brock University in Canada. And I know also that Tim and Rufus have been doing trials here in Michigan as well. between the three of us out here in the, in the Northeast we're very focused on sour rot. [00:20:19] And so Michigan State along with these other folks have done these trials where they found that including an insecticide at veraison or, and then also at about 15 bricks significantly reduces sour rot infections. And that's because you're going after one of the vectors. [00:20:39] Craig Macmillan: Interesting. There's another material that I wasn't familiar with. I did a little bit of research on it. That's a product called Jet Ag, which is a hydrogen peroxide, a peracetic acid material. You have that in both the soft chemistry and your quote unquote conventional section. Is that a material you've used for a long time? [00:20:57] Andrew Fles: Yeah, we, I forget when exactly it started coming around I think probably 2015, 16 is when it was maybe released or made its way to northern Michigan and kind of coincided with with some sour rot. Issues that we have had off and on over the years with Pinot Noir or Vignole. And it's a, you know, it's a strong hydrogen peroxide. [00:21:23] It's a heavy oxidizer. It goes in and it, it, it cleans everything up. You know, it disinfects. And there's, there's some thinking as well that it, it'll kill the yeast. And some of those yeasts, the aroma is very attractive to spotted wing drosophila and regular drosophila. And so if you're, if you're kind of this is probably something that, that people, you know, that rely on native ferments might not want to hear, but you know, it really, it really disinfects the fruit which, which is key for You know, controlling sour rot. [00:21:59] And so we've used that over the years as both a preventative and a curative treatment. [00:22:05] Craig Macmillan: Right. [00:22:06] Andrew Fles: I didn't actually end up using it this year because It essentially stopped raining it was almost west coast ian here in the fall. It stopped raining in August and it didn't rain again. [00:22:19] You know, I mean, aside from like just a, you know, very, very light mist that wouldn't even penetrate the soil deeper than a centimeter. You know, so we didn't get any appreciable rain. From, I think it was maybe August 5 or 10, all the way till November 31st, or sorry, October 31st. [00:22:39] Craig Macmillan: Actually, that raises a good question. So, what is the summer precipitation like, quote unquote, in a normal year or an average year? [00:22:48] Andrew Fles: Yeah, we've been having, [00:22:49] Craig Macmillan: is it? [00:22:52] Andrew Fles: it's so variable is the, you know, we keep coming back to that. Every season is different here and it's so true even in Northern Michigan we have seen climate change affecting our summer rainfalls. So, whereas, you know, traditionally, and I say traditionally as maybe like the 80s and 90s maybe even early 2000s, you would expect to see, you know, a good four to eight inches a month. [00:23:20] you know, less, less so in, you know, in July and August is walking that more like four inch. Four inches of precipitation and you can get that sometimes in two different days [00:23:33] Craig Macmillan: Wow. [00:23:34] Andrew Fles: And that could be all or it could be spread out, you know over over several 4, 5, 6, 7, 8 different events. we had a dry June a couple years ago, I think we, I think it rained two days and amount to much. [00:23:50] And 2023, all of May we had, it rained one day. It was very dry. And so it's really been a roller coaster here in terms of what to expect as far as precipitation comes, I mean during the growing season anyway. [00:24:08] Craig Macmillan: Mm hmm. [00:24:09] Andrew Fles: It's been a challenge to know, you kind of have to have all these tools ready, right? [00:24:13] You have to have your jet ag ready. [00:24:15] If you get a bunch of infections going you got to have some of these other products ready and just , be ready for anything essentially. [00:24:24] Craig Macmillan: That, I'm just kind of reeling, I'm from California, and so like four to eight inches of rain during the growing season, it sounds like a fungal disease disaster to me. I'm impressed that you can get a crop, a vinifera crop to, to harvest with those kind of conditions. [00:24:39] Let's talk about the sustainable conventional program a little bit. Again copper appears early which would make sense. Then the insecticide portion would be a sale. It's a neonicotinoid, and then you've got a couple of fungicides in here. [00:24:55] You've got sulfur, and you've got a boscalid. Then in July again you've got a subtilis, that's serenadopty, and the, the intrepid, the IGR. August, you've got another neonic rally, and then you've got a product called ranman, or ranman. Which is a Sazofenamide, again, traditional fungicide. And then Inspire Supert, verasion, very common. And then you've got the the JetAg and Delegate, which is an antispinosid based product. When I look at this, I see a lot of very safe, very smart, very rotated fungicide chemistries here. Was this the kind of program you were using previously? [00:25:34] Andrew Fles: Yeah. And you know, it always can change a little bit. Sometimes you can't get a certain product or you can't get it in time. [00:25:42] Uh, whereas, you know, you, you're planning to use X product for your, for your kind of like You know, your, your pea sized berry spray, let's say but you, all of a sudden you have a bunch of rainfall, you know, and, and so if I was planning to use Quintech, which only covers powdery all of a sudden I have this big wedding event that was just perfect for growing downy mildew I I might switch from Quintech to and vice versa, you know, if we're, if we're into some weather, that's really favorable, it's time to push more of those serenades and you know, we've used some of the other biologicals over the years as well and, and just trying, trying to go that way as much as possible, but, you know, sometimes the weather forces your hand, like, like it did this year, you'll see in my, In my program we went into some Randman and some [00:26:35] Zampro, and those are those are very specific to to downy mildew. [00:26:41] You know, but we're still, with those products, you know, they're more expensive than something like Kaptan, you know. We Can't spray that with sip and we didn't spray it before because we don't want it on our fingers [00:26:56] The vineyard you and I don't want it in our lives So so we're always trying to go the ran man route, even though it's a little pricier, but it's very Target specific for Downey and so, you know with all the rains that we had in June and July and early July we felt like the smart play and we did start seeing some downy mildew cropping up much earlier than normal. [00:27:21] If, if we see it at all, that is. in that, at that point you want to make the call, you know, Hey, I want to get out in front of this thing. I don't want downy on my fruit. You know, if you start seeing it on growing tips, I think it was the 4th of July or the 2nd of July or something we were scouting and we were getting a lot of rain at that point and it was very humid and it was just like rain every other day for about a week there and it's like you gotta pivot and, and make the move to something that's really going to provide. control there. [00:27:52] For the soft program at that point, we were trying to use, I believe we use serenade, you know, which is more broad spectrum as far as biologicals go. We knew we wanted to keep it going after the, , the Downey with the soft chemistry. And that's why we got into the orange oil as well. [00:28:10] Craig Macmillan: Oh, interesting. [00:28:11] Andrew Fles: to, Yeah, that's, that wasn't in the proposal that I sent you, but we did pivot. I couldn't get. The cinerate it was, I was told it was on the West coast, growers were hoarding it and none of it, none of it made it over this way. I was really hoping to get my hands on some of it. [00:28:28] I've already pre ordered my 2025 cinerate. [00:28:32] Craig Macmillan: And Cinerate is a cinnamon oil based product, right? [00:28:36] Andrew Fles: Correct. Yeah. Cinnamon oil. oil. Yeah, it's another oil. [00:28:39] Yeah. Yeah. It's another one of those kind of antimicrobial oils, if you will. Um, So we pivoted to, to orange oil and thyme oil. TimeGuard has been, is a product that's been out for a number of years now. We've used it before, , we haven't really relied on it as much in the past. As, as we did with this soft treatment. [00:28:59] Craig Macmillan: Tell me a little bit more about what the outcomes have been at this point. We talked about the the pinot noir a little bit. We talked about the Rose Shafter showing up there a little bit more. At, at the end of the day, the end of the season. How did you feel about it? How did you feel about comparing the two [00:29:15] Andrew Fles: you know, it felt, it felt really good. It seemed like the soft program kept pace with the conventional for the most part. In the Pinot Noir, we had we had some more rose chaffer damage, of course, but without doing a, a full on research trial, it's hard to say that it was the treatment alone because of, as I mentioned, the location was a big factor. [00:29:38] With the downy mildew, it seemed to be a little more prevalent, certainly in the Pinot Noir on the, on the soft program that is but it never got to the point and I was, I was always ready to go in with whatever I needed to, because we don't want to have a defoliation and not being able to ripen fruit, you know, the fruit and, and especially in such a great growing year. [00:30:01] we never really resorted to. You know, breaking the glass and, and grabbing the ax and running out there and like, and it was emergency, you know, we never, we never had to do that. There was a moment there in July where, you know, where would the downy pressure we thought maybe. [00:30:19] Maybe we would have to abandon it, but then things dried up and we kept after things with with some of these, these things like thyme oil and orange oil. Getting good coverage with them is so important. But getting those on at the right time really seemed to provide enough control. [00:30:37] Craig Macmillan: Actually that's a, that's an excellent point. Let's talk about the phenology a little bit. How, for the varieties that you're growing, how big are these canopies getting? What's the spacing that they're planted on? How many gallons per acre are you using in your spray applications to get good coverage? [00:30:54] Andrew Fles: Yeah, so for the purpose of the project I stuck with 50 gallons an acre throughout the season. Which even, even for the conventional portion, traditionally I'll, I'll start with 30 gallons an acre aside from the dormant spray, of course, but like, you know, early season sprays until the canopy becomes a little denser, , I'll be at 30 gallons an acre and then probably mid July post bloom, right around bloom, perhaps , we'll ramp up the conventional to 50 gallons as well. [00:31:26] For the purposes of this, we just did 50 gallons across the board, both treatments. a lot of the canopy is well, it's really all VSP except for the vignole. Vignole is high wire cordone. And then we're talking nine by five spacing. The vinifera as well, which is pretty common around here. Double geo some spur pruning. We've really developed a kind of a hybrid system where we do a little bit of, we kind of mix cane and spur , , and alternate those in, in some of our venefera programs. [00:31:57] Craig Macmillan: And in, on the same plant? [00:31:59] Andrew Fles: Yeah. Sometimes. [00:32:01] Yeah. [00:32:01] Craig Macmillan: one side, gator the other. [00:32:03] Andrew Fles: What that does for us you know, where we get. Or we can at least, you know, and we can, sometimes we can lose a whole cane , or a lot of buds. I don't want to get too in the weeds on, on what that system is, but, but it's really developed around being able to quickly replace and adapt to cold damage. [00:32:24] And so if we need to go in and cut a trunk out, we've already got a cane growing from down low, if that makes any sense. [00:32:31] Craig Macmillan: No, that does make sense. And it's a practice that I'm familiar with from other areas in the Midwest, the North, the Northeast. Very, very smart. But that's a very different canopy architecture than you might find someplace that's all VSP. Or, you know, a double canopy situation maybe like in New York. [00:32:48] How comfortable are you now? After going through this, it sounds like you liked the softer program, you feel you got good control on most things. But if I'm understanding you correctly, you're not afraid to keep some other, other tools in the toolbox, basically. [00:33:05] Andrew Fles: Right. Yeah. And I think a big purpose of this program was to investigate some of these products. I want to highlight Problad Verde as well. [00:33:14] That's. Another one that's been out there and we've used it before as well. You know, I did a trial with Tim Miles's lab on and Rufus doing a sour rot trial in Pinot Noir in the past with pro, and it was just kind of a end of the season application of Problad with I believe we use delegate or in trust. [00:33:34] I can't remember. One of them and, this project, the SARE project was really looking at problad as being more of the backbone , of it. And, and so we ended up using that for the soft treatment pre bloom, post bloom. And then again, at version, because it has similar to jet egg, it's kind of a disinfectant, right? [00:33:57] It's this lupine seed extract that, that is a. That is a disinfectant and so it's going to go in, but because it, it's advertised anyway as having some systemic activity, [00:34:09] Craig Macmillan: Mm [00:34:10] Andrew Fles: systemic properties, that's, that's key for us in the east here. Because, hey, if we get a half inch of rain, well, it's still kind of in the leaf or it's still in some of that green flower tissue. [00:34:24] Before it opens up and blooms and so, really working problad in as instead of a kind of just end of the season toy it's really became, became the backbone of the tritus control for us in this, in this trial. And then again, looking at some of these oils, I think there's a lot of promise for. the orange oil in particular, I've, I've been seeing more and more research coming out about how you know, it does work on Downy and we did see that you know, even though we had an increase in Downy infection man, it could have been a lot worse. It was still at an acceptable level. [00:35:02] And so I think, I think I'm going to feel more and more comfortable using those products. [00:35:07] Craig Macmillan: You've demonstrated to yourself. And that's what the, that's how it works, and that's what everybody needs, to have some confidence. Which I think is really great, I was very impressed by the idea of trying things that maybe are not widely used, were not widely tested outside of maybe the West Coast, and to be able to show efficacy on your property, I think is really important. [00:35:27] I think it's one thing many of us have learned about softer materials. They may or may not work depending on what your pressure is. And that can vary region to region, but it can also vary within a region. It definitely can vary year to year, so having that flexibility that you've built into this program is very admirable. What would you say are the big picture benefits of the soft pesticide program at this point? [00:35:48] Andrew Fles: Hopefully just to increase awareness of, of how they can be effective for folks here in Michigan or, or similar climates, New York and Canada, I should say I don't think , this SARE project alone is, is going to be any sort of groundbreaking news, but I think it's just another verification and if we start to have more and more of them people will believe more and more in these products because it's just, it's at that point, it's word of mouth, right? [00:36:21] It's more and more growers are starting to back it. And, or experiment with it at least and, and see results, I think a lot of growers are very word of mouth oriented anyway. [00:36:34] So, uh, so it's very important, like, Oh, Hey, what did you try last year? And I think there's plenty of that going on in our area. [00:36:42] A bunch of us anyway, we seem to network pretty well and, and trust each other. , Oh, I use this at this key time and it really proved effective. So I think just bringing more and more awareness to these soft programs or these soft products, I should say. , and I can't really speak to the sustainability of. Farming lupin seed for for a fungicide product, you know, I can't, speak to that, but I want to believe that it's, it's a more sustainable product than, you know something that was made in a factory and, and might have petrochemicals in it. [00:37:19] Craig Macmillan: Well, it might have resistance issues as well, I think is one of the key things. And by the way, both programs I thought were very intelligent. I think like in terms of the frack rotations in the sustainable one, I thought that was really well done. Is, is there one thing that you would tell growers? [00:37:35] What's the one takeaway you would tell people from this project? You just kind of touched on one, but is there a message here for people? [00:37:43] Andrew Fles: I think the message is, you know, that we have to be really careful in crafting our. Spray program to the season that we have. If we were getting A lot more rain in September than what we ended up having I mean, we were, we were in pretty severe drought here. I think the soft program could still work. [00:38:03] But you have to choose the product and probably apply it much more frequently. You know, you have to go in and respond to those rains. , or even maybe perhaps be ready to pivot to something that is synthetic and systemic and curative. You know, maybe you have to go in with a hammer, but that doesn't mean that, you know, the majority of this growing season can't be done in a very soft way. [00:38:30] And so we're really just responding to that weather. But I think if this is our focus , to use these softer chemistries on things that we're going to drink or eat, even if it's vegetables, I think that these products are becoming better and better and there's becoming more and more of them, which is really encouraging to see you know, 10 years ago, maybe we had serenade and And you know, a couple of other products, but now, now there's, they're really becoming prevalent. [00:38:58] And so I think the take home is, is crafting that spray program with these new found tools that we have. Problads, , your crop, , your what, what should I call them? Like your aromatic oils, lack of better term, like orange oil, thyme oil, cinnamon oil. You know, I think these things do have a place. [00:39:17] Craig Macmillan: Where can people find out more about you? [00:39:19] Andrew Fles: Well, they can visit ShadyLaneCellers. com and there's stuff in there about our farm and in what we do and where we are, who we are a little bit. And then also there will be, and I could get you this information if you're interested, so this spring meeting where we're going to present the results of this believe we'll have a Zoom link option. [00:39:43] Craig Macmillan: As a reference date, this is being recorded in February of 2025. And so spring meeting will be coming up in a few months from here. I'm not sure when this will air, but even anything is fantastic. So I really want to thank you for being on the episode. Our guest today was Andy Fless, he's Vineyard Manager at Shadyland Cellars and you've been a great guest. Hey, thanks for being on the podcast. [00:40:03] Andrew Fles: My pleasure, Craig. Thanks a lot for having me. [00:40:08] Beth Vukmanic: Thank you for listening. Today's podcast was brought to you by Martinez Orchards. Martinez Orchards is one of the most trusted and respected names in the nursery business. They have earned that reputation through years of hard work, honesty, integrity, and a commitment to their customers. They provide support with their knowledgeable salespeople and highly experienced production team. They know successful plantings allow them to fulfill their promises, and they strive to build lasting relationships with their customers based on a foundation of mutual steadfast trust. [00:40:40] Make sure you check out the show notes for links to Andy at Shady Lane Plus. Sustainable wine Growing podcast episodes 117. Grapevine Mildew Control with UV Light 219 Intelligent sprayers to improve fungicide applications and save money. And 235, battling fungicide resistance with glove sampling. [00:41:03] If you liked this show, do us a big favor by sharing it with a friend, subscribing and leaving us a review. You can find all of the podcasts@vineyardteam.org slash podcast and you can reach us at podcast@vineyardteam.org. [00:41:16] Until next time, this is Sustainable Wine Growing with the Vineyard team.   Nearly perfect transcription by Descript

Brett McCallum is back as a guest host, and he's on a mission—to live to 100. The only problem? He's never even heard of Blue Zones, the magical places where people regularly hit triple digits without turning into cranky old hermits.In this episode of The Bare Facts, Sare breaks down the secrets of these longevity hotspots—Okinawa, Sardinia, Nicoya, Ikaria, and Loma Linda—where people somehow live longer without fad diets, gym memberships, or stress-induced meltdowns. From Ikigai (aka having a reason to wake up in the morning) to drinking just enough red wine to stay alive but not regret your life choices, we explore what actually keeps these people thriving.Can Brett ditch the carnivore diet and start ageing backwards? Or will he realise that living to 100 means 40 more years of emails? Tune in to find out!

Stāsta ērģeļbūves meistars un klavieru tehniķis Jānis Kalniņš 1717. gadā vācu ērģelnieks Kristofs Šrēters (Christoph Schröter, Schrötter, arī Schröder) piedāvāja Saksijas karalim savu mehānikas modeli, kur āmuriņš kustas uz taustiņā iestiprinātām spailēm. Tomēr, nesaņēmis no karaļa pasūtījumu uzbūvēt klavieres, viņš piedzīvoja vilšanos, un tādēļ nav zināms neviens Šrētera būvēts instruments. Daudz veiksmīgāk klājās Bartolomeo Kristofori (Bartolomeo Christofori) no Padujas. 1707. gadā viņš izgudroja savu āmuriņu mehaāismu, kurš 1711. gadā bija aprakstīts publikācijā un izstādīts apskatei. Savas pirmās īstās klavieres Kristofori uzbūvēja 1720. gadā, ievērojami uzlabojot mehānismu: viņš pievienoja āmuriņa gaitu ierobežojošo detaļu – izlēzējumu (vācu Auslösung), āmuriņa ķērāju (Fänger) un individuālu klusinātāju (Dämpfer) katram tonim, kas tieši saistīts ar taustiņu. Tā tapa pianoforte, kas deva iespēju no visklusākā pianissimo pāriet uz fortissimo. 1728. gadā slavenākais Saksijas ērģeļbūvētājs Gotfrīds Zilbermanis (Gotfried Silbermann, 1683 – 1753) uzbūvēja klavieres ar Šrētera mehāniku. J. S. Bahs kritizēja šo instrumentu smagās klaviatūras un neprecīzās mehānikas dēļ, toties uzslavēja āmuriņu radīto skaņu. Vēlāk, 1747. gadā, Zilbermanis uzbūvēja Saksijas karalim Frīdriham Lielajam klavieres ar Kristofori mehāniku. Interesants ir fakts, ka 1781. gadā K. F. E. Bahs nosūtīja uz Kurzemi savam skolniekam Dītriham Ēvaldam fon Grotusam Zilbermaņa klavieres, kuras pats bija spēlējis trīsdesmit piecus gadus. K. F. E. Bahs līdzi nosūtīja savu skaņdarbu "Atvadas no Zilbermaņa klavierēm" (Abschied vom Silbermannschen Clavier in einem Rondeaux). D. Ē. fon Grotuss savukārt sakomponēja rondo "Prieks par Zilbermaņa klavieru saņemšanu" (Freude über den Empfang des Silbermannschen Claviers in einem Rondeaux). Par laimi, abu skaņdarbu notis ir saglabājušās. Zilbermaņa klavierēm tā nepaveicās. Zilbermaņa skolnieki Johanness Zumpe un Amerikuss Beikers pārcēlās uz Londonu un tur ieviesa Kristofori mehānismu, kas vēlāk kļuva pazīstams ar angļu mehānikas nosaukumu. Savukārt Zilbermaņa talantīgākais skolnieks Johans Andreass Šteins par pamatu savu instrumentu mehānismam ņēma Šrētera konstrukciju, un pilnveidotā formā tā kļuva pazīstama kā Vīnes jeb vācu mehānika. Viņa meita Nanete Šteina-Štreihere kļuva par slavenāko tālaika Vīnes klavierbūvētāju. Līdz 19. gadsimta beigām plaši pielietoja abus mehānikas paveidus. Vairums vācu un austriešu klavierbūvētāju (slavenākais viņu vidū – Ignatz Bösendorfer) turējās pie Vīnes mehānikas; iespējams, ka Vīnes klasiķi neprasīja spēcīgu skaņu, bet lielāku vērtību piešķīra skanējuma tembram un nianšu bagātībai; savukārt angļu, krievu, kā arī daudzi vācu un franču klavierbūvētāji lietoja angļu mehāniku. Tai raksturīgs ļoti spēcīgs, tiešs piesitiens, jo āmuriņa kustības trajektorija ir precīzs aplis atšķirībā no Vīnes mehānikas, kur āmuriņa kustības trajektoriju var iztēloties kā apli, kas nedaudz pārvietojas spēlētāja virzienā, līdz ar to āmuriņš stīgai ne vien uzsit, bet arī mazliet pa to pašļūc; tas veido specifisko, bagātīgi niansēto tembru, kas tik ļoti atsedz Vīnes klasiķu skaņdarbu poētisko dziļumu. Šopēns gan esot devis priekšroku Pleyel instrumentiem ar angļu mehāniku, jo viņam paticis to tiešais, briljantais skanējums. Minētās atšķirības īpaši manāmas augšējos reģistros. Tālāk sekoja mēģinājumi apvienot angļu mehānikas spēkpilno piesitienu ar Vīnes mehānikas eleganci un elastību, kas galu galā izdevās klavierbūves ģēnijam Sebastiānam Erāram, kurš 1821. gadā patentēja savu mehāniku ar papildu repetīcijas sviru. Tagad to cauc par dubultrepetīcijas mehāniku. Tajā apvienojās elegance ar spēku, tomēr klāt nāca zināms inertums un pilnīgi negaidīts efekts – āmuriņš bija gatavs jaunam piesitienam, tikai nedaudz atlaižot taustiņu. Tas bija īsts apvērsums, kas radikāli izmainīja klavierspēles tehniku.

This week, Sare's boss Brett McCallum has decided he's not just running the company—he's auditioning for the role of Dumb AF cohost. And what better way to kick things off than with a Dumb As Fact inspired by his own book: Are Kids Born Assholes, or Are They Taught to Be Assholes?We tackle one of life's biggest debates: Is nature or nurture more important? But in true Dumb AF fashion, things quickly spiral into absolute chaos.From parenting philosophies to the profound role of condiments in life (seriously, we all have our favourites), we somehow find our way back to the science of what really shapes us—our DNA, our upbringing, or just a deep love for mayonnaise? We break it down with 3 case studies:

Avsnitt 269. DN Boklördag satsar på ljudbokstips/recensioner och bryter därmed, enligt oss, äntligen ett osynligt tabu bland kulturredaktioner. Förläggaren testade AI-röster på ett par ljudböcker men blev så missnöjd med resultatet att testet bröts direkt. Här ger han oss bakgrunden. 2012 var journalisten med på en framtidskonferens i London. Den stora frågan då var oron för att insamlade data från de digitala plattformarna, då e-böcker nu också ljudböcker, bland annat skulle visa var folk slutade läsa (och lyssna) och därmed påverka författarnas sätt att skriva. Mer  strömlinjeformat skrivande med andra ord. Insamlade data visade när läsarna slutade läsa och mycket annat, men inget av det vi var övertygade om 2012 har infriats. Verkligheten tog en annan väg. Svensk Bokhandels agentgenomgång var ett bra grepp men, i vår mening, illa genomtänkt. Vi diskuterar en slarvigt redovisad omsättningstabell och därmed en beskrivning av makt och inflytande som blev helt skev. Vi försöker reda upp vad som är vad. Peter Luthersson har fått många och långa lovord när han nyligen gick bort. All lyfter fram hans betydelse som en intellektuell av en särskild sort. Vi instämmer men fokuserar på hans år som vd för bokförlaget Atlantis.   00 25         En efterlängtad satsning på DN Kultur 05 00         AI-inlästa ljudböcker? Nja. 09 40         Våra spådomar över teknikutvecklingen är oftast fel 14 04         Vem är den största agenturen egentligen? 21 54         Peter Luthersson i minne

Hay que decir de antemano, como para curarse en salud, que no están todas las que son, pero sí son todas la que están. Todas las canciones que suenan hoy en La Tarataña están interpretadas por mujeres aparecidas en el mundo de folk en los últimos años, a excepción de Vanesa Muela, con la que iniciamos el programa, y de Teresa Martínez, con la que lo cerramos. En un día como hoy, 8 de marzo, el protagonismo íntegro se lo damos a las artistas que han inyectado nueva energía a la escena folkie española. Con propuestas que van desde los ecos sefardís de Clara Campos, a las sonoridades mesetarias de Tría y Carola Ortiz, a las atlánticas de L-R, Catuxa Salom, Carmela o Fillas de Cassandra, y mediterráneas de Miriam Farré, Lía Sampai, Magalí Sare o Coloma Bertrán. Ritmos eternos de jotas, muiñeiras o ajechaos que suenan distintos con esas voces femeninas y esos arreglos que van de lo más tradicional a la folktrónica. Hoy La Tarataña se siente más mujer que nunca con este repertorio:1.- Vanesa Muela, “El que baile bolero” 3:062.- Miriam Farré, “La dama d’Aragó” 4:053.- Magalí Sare & Manel Fortiá, “Senhora do Almortâo” 4:314.- Coloma Bertrán, “Jota de veremar del regne animal” 2:495.- Tría, “De Miraflores a Canencia” 3:326.- Catuxa Salom, “Amores rusos” 2:317.- L-R, “Mintira” 3:178.- Lía Sampai, “Memoria” 3:309.- Clara Campos, “Para que quero” 4:5210.- Carola Ortiz, “Ajechao de las malas lenguas” 2:3411.- Fillas de Cassandra, “Tataravoa” 3:0312.- Carmela, “O ramo” (con Pandereteras de Toutón) 3:1313.- Teresa Martínez, “Adios Comillas” 1:40Aparte de todo, el programa propone a todas las buenas gentes que lo siguen que busquen y graben entre sus familiares y allegados posibles informantes para crear un gran banco de canciones perdidas. Algo que podríamos llamar “La voz de nuestras abuelas”, aunque todavía no hemos puesto un nombre definitivo. Escuchar audio

VEM: Anna Knochenhauer EPISOD: 38 (Säsong 3 avsnitt 3) EN PODD AV: Simon Kölle www.linktr.ee/simonkolle PRODUCERAS AV: Simon Kölle & Amir Noghabai SÄSONG 3 GÖRS I SAMARBETE MED: FrameSage, med hjälp utav FrameSage kan du finansiera ditt filmprojekt.  Besök www.framesage.com  SÄSONG 3 SPONSRAS AV: Story Academy och Film Crew. Drömmer du om att jobba med film och TV? På Gotlands folkhögskola finns Story Academy och Film Crew – två utbildningar för dig som vill in i branschen. Om Episoden:  Hur ser vardagen ut för en av Sveriges mest erfarna postproducenter? I det här avsnittet av Filmbranschpodden möter vi Anna Knochenhauer, en drivande kraft bakom några av de mest framgångsrika svenska filmerna och tv-serierna. Med över 25 år i branschen har hon arbetat med produktioner som Whiskey on the Rocks (SVT/Disney+), Jönssonligan kommer tillbaka, Så länge hjärtat slår, Comedy Queen, Hilma, Euphoria, Fartblinda, Vi i villa, White Wall, Den allvarsamma leken, Jätten, Ensamma i rymden, Hundraåringen som klev ut genom fönstret och försvann och Känn ingen sorg. I detta avsnitt djupdyker vi i postproduktionens avgörande roll och utforskar hur Anna ser på sitt arbete – från tekniska detaljer till kreativa beslut som formar en film eller tv-serie. Hon delar värdefulla insikter om branschens utmaningar, hållbart arbete, motivation och lärdomar.

Kā nonākt līdz finansiālai brīvībai, pat ja šķiet, ka nav īsti ar ko sākt? Šajā epizodē personīgo finanšu mentore un podkāsta "Naudas lietas" vadītāja Alina Zela dalījās ar savu ceļu no lielām naudas grūtībām uz panākumiem finanšu pasaulē.Viņa pastāstīja, kā visa ģimene spēja ne tikai izdzīvot ar 60% ienākumu kritumu un pārtikas budžetu 200 eiro mēnesī četriem cilvēkiem, bet vēl pārvērta šo problēmu par tramplīnu, lai ne tikai pilnībā mainītu savas attiecības ar naudu, bet vēl pati un vīrs izveidotu katrs savu karjeru, par ko deg acis.Piesaki savu uzņēmumu BEZMAKSAS grāmatvedības ekspertīzei 400 EUR vērtībā, ko uzņēmumiem piedāvā Cilvēkjaudas atbalstītājs - grāmatvedības aģentūra Kamelota ar vairāk nekā 20 gadu pieredzi. Ar bezmaksas ekspertīzi iegūsi: nodokļu risku drošu analīzi, praktiskus ieteikumus izmaksu samazināšanai un uz datiem balstītu redzējumu biznesa finanšu attīstībai. Ekspertīze ir pilnībā konfidenciāla un dos pārliecību par uzņēmuma finanšu nākotni, lai vari gulēt mierīgi. Piesakies: kamelota.lv/jaudaPar šīs epizodes atbalstu paldies podmedia.lv, kas ir profesionāla režisoru un žurnālistu komanda, kuri tev palīdzēs izveidot savu podkāstu, kas atšķirs tevi no pārējiem nozares spēlētājiem un piesaistīs daudz jaunu klientu tavam biznesam. Piesakies podmedia.lv uz īsu sarunu ar viņiem un pavisam drīz tev būs savs podkāsts, kas palīdzēs sasniegt tavus biznesa mērķus.Intervijā pieminētās informācijas saites atradīsi sarunas lapā.SARUNAS PIETURPUNKTI:0:00 Ievads2:38 Kāda informācija un padomi atrodami podkāstā “Naudas lietas”6:04 Sarežģītie apstākļi, kuros Alinas ģimene nolēma pilnībā mainīt savu finansiālo dzīvi 13:08 Kādas neērtības ir spējīgs paciest cilvēks, ja viņam ir skaidrs mērķis un ticība18:43 Pagrieziena punkts, kad nācās ļoti pārvērtēt attiecības ar naudu un tās tērēšanas paradumus20:38 “Mēs zaudējām 60% no ienākumiem”25:33 Māksla iztikt ar 200 eiro pārtikas naudu mēnesī 4 cilvēku ģimenei30:38 Kāda ir minimālā summa, ar kuru var sākt ieguldīt33:15 GRĀMATVEDĪBAS EKSPERTĪZE - "Kamelota" bezmaksas piedāvājums uzņēmumiem34:15 Kad pēc bērna kopšanas atvaļinājuma vairs “siltajā” vietā atgriezties nav vēlēšanās38:45 “Cilvēki! Jums ir nauda un ar to ir jārīkojas!” Kā sākās Alinas kā personīgo finanšu mentora ceļš42:32 ‘Lai ilgtermiņā gūtu finansiālo labklājību, ir jāizmanto finanšu tirgus” – kā pašmācības ceļā iegūt zināšanas finanšu un investīciju džungļos49:24 Kā iemācīties pārvaldīt riskus54:40 “Ideālo finanšu pārvaldīšanas cilvēku nav”59:38 PODMEDIA.LV īpašais piedāvājums Tava podkāsta izveidošanai1:00:34 Kad viss galīgi neiet kā plānots, vienmēr ir risinājumi1:09:48 Kas var notikt, kad divi jaudīgi partneri strauji attīstās katrs savā virzienā1:14:27 Vērtīgākais, kas iegūts pāru terapijā1:21:24 “Jebko, ko tu dari, laiks paies” – kā izvēlēties, ko tieši darīt1:26:57 Tie paši principi kā finansēs, tā svara nomešanā1:33:30 Ceļavārdi cilvēkam, kuram ir sarežģīta finanšu situācija un nolaidušās rokas1:36:19 Alinas Zelas topošā grāmata par to, ka mums visiem ir nauda1:39:04 Vai ir tāds vecuma posms, kad investēt ir par vēlu

Quicksilver by Callie Hart was the quiet BookTok hit of 2024. Initially released by the author via independent publisher, it was won, in a 10-way bid by Hodder & Stoughton for their Fantasy imprint, Hodderscape, and was released on the 3rd December 2024. As with all fantasy novels, there are as many detractors as there are those praising it. So what did I think of this latest addition to the romantasy and fantasy world? Did it light my mental fire, or did it extinguish as quickly as a match on a windy day? The story of Kingfisher and Saeris (pronounced Sare-iss) is a bit of a mixed bag, but at over 600 pages, it was a journey to get from the beginning to the end.

Ida Linde och Daniel Sjölin har läst och samtalar om den amerikanska författaren och ikonen Vivian Gornicks senaste bok på svenska, Aldrig färdig. Lyssna på alla avsnitt i Sveriges Radio Play. I Aldrig färdig skriver Vivian Gornick fängslande om omläsningens kraft och möjligheter. Vad händer när man läser om en bok man sedan tidigare älskar? Aldrig Färdig handlar om de favoritböcker Gornick läst om, romaner som DH Lawrences Söner och älskande, Colette och Elizabeth Bowen, samt Marguerite Duras Älskaren.Vivian Gornick är en amerikansk författare och skribent, född 1935. Hon har gjort sig känd som feminist och fick sitt internationella genombrott i 85-årsåldern. Det finns två böcker på svenska av henne tidigare, Starka band och Den udda kvinnan och staden.Aldrig färdig är hennes tredje bok på svenska och är översatt av Maria Lundgren.I programmet hör vi Vivian Gornick själv från sin lägenhet på Manhattan där hon bott i 40 år. Författaren och översättaren Ida Linde och författaren och kritikern Daniel Sjölin samtalar med Marie Lundström i studion.Skriv till oss! bokradio@sverigesradio.seProgramledare: Marie LundströmProducent: Andreas MagnellLjuddesign: Märta Myrstener

Hanif pratar om varför kritiken mot en utredare med ful frisyr är missriktad medan Per pratar om varför en föreläsare med ful frisyr förtjänar skarp kritik.

Digitaliseringens framfart har inneburit en rad olika förändringar i våra liv som gjort oss sämre på att hantera våra känslor. Samtidigt kan AI spela en viktig roll för vår mentala hälsa i framtiden. I Digitala influencer-podden delar Johannes Hansen, mental rådgivare och föreläsare, med sig av sina insikter om hur digitaliseringen påverkar oss och hur vi kan ta kontroll över våra digitala vanor.

Sare La Makan Se Talab Hui Complete Lecture Held on: 02-02-2024 At: Markaz e Islahe Muashra G.T Road Ghakhar Muhammad Ajmal Raza Qadri

Sjökablarna som förbinder Östersjöns länder, och många andra regioner i världen, blir en allt viktigare strategisk resurs. Men hur blev det så här? Redan Nikola Tesla hade ju storslagna drömmar om trådlös överföring av elektricitet. Redaktör: Marcus Rosenlund. E-post: kvanthopp@yle.fi

Krustpunktā uzmanības centrā šodien valoda. Latviešu valoda kā viena mūsu lielākajām vērtībām, kas ir kopjama un sargājama, vienlaikus, būtiski, lai visi arī spētu šajā valodā saprasties. Valsts iestāžu saziņa ar sabiedrību nereti notiek tik grūti uztveramā valodā, ka daudziem nolaižas rokas, mēģinot saprast, ko ierēdnis īsti ir mēģinājis pateikt. Par valodu – vienkāršo un sarežģīto, kopjamo un aizsargājamo, saruna ar valodnieci Aigu Veckalni.    

Krustpunktā uzmanības centrā šodien valoda. Latviešu valoda kā viena mūsu lielākajām vērtībām, kas ir kopjama un sargājama, vienlaikus, būtiski, lai visi arī spētu šajā valodā saprasties. Valsts iestāžu saziņa ar sabiedrību nereti notiek tik grūti uztveramā valodā, ka daudziem nolaižas rokas, mēģinot saprast, ko ierēdnis īsti ir mēģinājis pateikt. Par valodu – vienkāršo un sarežģīto, kopjamo un aizsargājamo, saruna ar valodnieci Aigu Veckalni.    

Atal honetan, Gabonen ondoren, 2025eko CES ekitaldiak utzi dizkigun nobedade nagusiak aztertuko ditugu. Nabarmenena NVIDIAren RTX 50 seriea eta DLSS 4 teknologia berria merkaturatu izana izan da, errendimendu grafikoan hobekuntza nabarmenak dakartzana. Metako sare sozialek komunitatearen oharretan oinarritutako moderazio-eredu baterantz aldatuko dutela ere komentatzen dugu, horren kausa posibleei buruz hitz egiten dugu eta egungo sistemak […]

Afropop, zouk et yole traditionnel de Guinée et écriture automatique. (Rediffusion) Notre 1er invité est Olivier Conan pour son nouveau projet Combo Daguerre.Basé à New York, Combo Daguerre est le nouveau projet d'Olivier Conan qui, après avoir passé plus d'une décennie immergé dans le monde de la cumbia psychédélique avec son groupe Chicha Libre, a maintenant mis au point un répertoire original de thèmes francophones joué en mode psychédélique. Le groupe est composé de musiciens latins établis à Brooklyn, et les influences multiples comprennent le boléro, la cumbia, le rock 60's ainsi que d'évidentes influences gainsbouriennes et surréalistes. Chicha Libre est devenu un groupe culte en Amérique du Sud et au Mexique et Combo Daguerre est un peu l'héritier francophone d'un projet qui n'aurait pu naître qu'à New York où les frontières culturelles et linguistiques sont fluides et les influences pan-latines débordent sur tous les mondes musicaux : du rock, au hip-hop - et maintenant la chanson. Les thèmes à la fois joyeux et sérieux sont ceux de l'exil, de la nostalgie déplacée et d'une langue frelatée par la distance. Le dessin qui illustre la pochette tire son inspiration des têtes de cheval des boucheries chevalines parisiennes. Un symbole bicéphale qui représenterait un empire disparu ?Après 30 ans passés à Brooklyn, terre peu sainte où le français n'existe que dans des formes créolisées, mon français boite des deux jambes. Ma nostalgie se nourrit d'une langue et de souvenirs tous les deux reconstitués. Je ne contrôle ni la grammaire, ni le lexique, ni même la chronologie. Les images de mon enfance parisienne sont maculées, mâtinées d'images de mes aïeux, de photos de classe et de cartes postales d'une autre époque. Mes souvenirs pourraient être ceux d'un autre. Je, bien sûr, pourrait être un autre. Le Paris où je crois avoir grandi est peut-être bien celui de Rivette et de Truffaut. En tout cas, je crois le reconnaitre dans le Daguerréotypes de Varda (parce que j'ai été un enfant du 14ème), voire dans Les Maléfices de Jacques Yonnet ou Les Nuits de Paris de Restif de la Bretonne. Les paroles de Combo Daguerre sont placées sous le signe de Fracassines - une chanson écrite Dieu sait quand et Dieu sait comment, et qui est apparue - comme une vierge chrétienne - sans prévenir. Génération spontanée, écriture automatique. Le reste de l'album est parsemé de bribes inconsciemment glanées au hit-parade de la poésie française parce qu'après trente ans d'absence, tout ce qui demeure de cette culture enfouie, c'est une eau polluée dans laquelle flottent les scories d'une culture française élémentaire. Fracassines est un travail automatique avec peu d'interventions conscientes. Olivier Conan.Titres jouésFracassinesParoles trouvées sur mon écran d'ordinateur sans souvenir de les avoir écrites. Qu'elles ne signifient pas grand-chose est presque rassurant.88 rue Daguerre Cumbia Instrumentale du guitariste péruvien Felipe Wurst. 88 rue Daguerre est l'adresse d'Agnès Varda.Daguerre ParisLe Petit BossuChanson du XVIème siècle. La version qu'Yvonne George chantait dans les années 20 était en fait une icône de l'élite littéraire de l'époque. Amie de Cocteau (qui ne l'était pas ?) et de sa coterie. Desnos tombe amoureux d'elle et lui dédie son A la Mysterieuse (j'ai tant rêvé de toi..) et en fait l'héroïne de son roman «Le vin est tiré». Yvonne George n'est pas convaincue. Elle préfère les femmes, et l'opium. Elle meurt à 33 ans, comme une rock star. ► Album Fracassines (Barbès Rd 2024).Site Combo Daguerre - facebook - Barbès Records bandcamp.Puis nous recevons Abdoulaye Kouyaté dans la #SessionLive pour la sortie de l'album Fefanyi – Le Bienfaiteur.Après des années passées à sublimer les musiques des artistes qu'il accompagne par son jeu de guitare et la douceur de sa Kora (Ba Cissoko, Mariama, Jain et Gabi Hartmann entre autres), Abdoulaye Kouyaté met son énergie créatrice dans un projet personnel qui rassemble ses compositions originales. En plus du guitariste virtuose, on découvre qu'Abdoulaye Kouyaté est un orfèvre de mélodies et un chanteur au timbre feutré. Tantôt profonde et touchante, tantôt rythmée et dansante, sa musique métissée oscille entre ballades, instrumentaux à la kora et des morceaux aux sonorités afropop empruntant leur rythmique au coupé décalé, au zouk ou au yolé traditionnel de Guinée. Abdoulaye confie la réalisation de l'album à Patrick Ruffino et s'accompagne de Yannick Vela à la basse et Nicolas Grupp à la batterie. L'album est enrichi par les précieuses contributions du joueur de flûte peule Dramane Dembele, de la chanteuse Gabi Hartmann, du bassiste Guy Nsangué, du saxophoniste Robbie Marshall, du violoncelliste Guillaume Latil, du djembefola Dartagnan Camara et des choeurs de la chanteuse Djene Kouyaté.Ce premier disque affiche une diversité étonnante. Chantés en Soussou (la langue de la capitale guinéenne, Conakry) et en français, plusieurs titres s'inspirent de la jeunesse romanesque d'Abdoulaye dans le Conakry des années 1990-2000. Une époque où il se perfectionnait à la guitare en suivant à la trace les musiciens de son quartier, animait avec son groupe de folles soirées expatriés au Grand Hôtel Camayenne, et tombait amoureux pour la première fois (Inondi, Doumedira, On fait quoi ? et Nitanama notamment). À l'insouciance guinéenne, succède la jungle de l'Europe, la vie d'adulte, les responsabilités, le froid, et les apprentissages difficiles. Ces leçons de vie inspirent notamment les morceaux Douniéma (le rancunier), Saré (tout à un prix) ou Inamakana (si tu ne peux pas aider ton prochain, ne l'enfonce pas). Le morceau Fefanyi (le bienfaiteur) qui donne le titre de l'album reprend la tradition des griots, dont les Kouyaté sont issus, de « chanter les louanges » des grands Hommes, des généreux bienfaiteurs. Suivant le chemin ouvert par son père Sekou Kouyaté, griot moderne, guitariste respecté et chef d'orchestre de Miriam Makeba durant ses années d'exil en Guinée, Abdoulaye Kouyaté façonne son jeu de guitare à l'écoute du jazz, du funk, du reggae, le Son Cubano ou de la Biguine antillaise tout en lui donnant des sonorités mandingues. Il cite Paul Simon et Georges Benson en inspiration. En Guinée, on l'affuble du surnom «jazzman» en raison de son style qui s'écarte du mandingue traditionnel. Lorsque son père tombe malade, Abdoulaye le remplace en tant que joueur de kora dans Circus Baobab. Avec ce premier cirque d'Afrique de l'Ouest, il sillonnera le monde pendant une décennie, avant de s'établir à Marseille puis à Paris. Titres interprétés au grand studio- Inondi Live RFI  - Toi Tu Penses nous on bouge, extrait de l'album- Inamakana Live RFILine Up : Abdoulaye Kouyaté - voix, guitare - Thierry Fournel - guitare - Yannick Vela - basse - Nicolas Grupp – batterieSon : Benoît Letirant, Mathias Taylor► Album Fefanyi – Le Bienfaiteur (Reva prod – Rock'n hall 2024)Site - YouTube - Facebook

Afropop, zouk et yole traditionnel de Guinée et écriture automatique. (Rediffusion) Notre 1er invité est Olivier Conan pour son nouveau projet Combo Daguerre.Basé à New York, Combo Daguerre est le nouveau projet d'Olivier Conan qui, après avoir passé plus d'une décennie immergé dans le monde de la cumbia psychédélique avec son groupe Chicha Libre, a maintenant mis au point un répertoire original de thèmes francophones joué en mode psychédélique. Le groupe est composé de musiciens latins établis à Brooklyn, et les influences multiples comprennent le boléro, la cumbia, le rock 60's ainsi que d'évidentes influences gainsbouriennes et surréalistes. Chicha Libre est devenu un groupe culte en Amérique du Sud et au Mexique et Combo Daguerre est un peu l'héritier francophone d'un projet qui n'aurait pu naître qu'à New York où les frontières culturelles et linguistiques sont fluides et les influences pan-latines débordent sur tous les mondes musicaux : du rock, au hip-hop - et maintenant la chanson. Les thèmes à la fois joyeux et sérieux sont ceux de l'exil, de la nostalgie déplacée et d'une langue frelatée par la distance. Le dessin qui illustre la pochette tire son inspiration des têtes de cheval des boucheries chevalines parisiennes. Un symbole bicéphale qui représenterait un empire disparu ?Après 30 ans passés à Brooklyn, terre peu sainte où le français n'existe que dans des formes créolisées, mon français boite des deux jambes. Ma nostalgie se nourrit d'une langue et de souvenirs tous les deux reconstitués. Je ne contrôle ni la grammaire, ni le lexique, ni même la chronologie. Les images de mon enfance parisienne sont maculées, mâtinées d'images de mes aïeux, de photos de classe et de cartes postales d'une autre époque. Mes souvenirs pourraient être ceux d'un autre. Je, bien sûr, pourrait être un autre. Le Paris où je crois avoir grandi est peut-être bien celui de Rivette et de Truffaut. En tout cas, je crois le reconnaitre dans le Daguerréotypes de Varda (parce que j'ai été un enfant du 14ème), voire dans Les Maléfices de Jacques Yonnet ou Les Nuits de Paris de Restif de la Bretonne. Les paroles de Combo Daguerre sont placées sous le signe de Fracassines - une chanson écrite Dieu sait quand et Dieu sait comment, et qui est apparue - comme une vierge chrétienne - sans prévenir. Génération spontanée, écriture automatique. Le reste de l'album est parsemé de bribes inconsciemment glanées au hit-parade de la poésie française parce qu'après trente ans d'absence, tout ce qui demeure de cette culture enfouie, c'est une eau polluée dans laquelle flottent les scories d'une culture française élémentaire. Fracassines est un travail automatique avec peu d'interventions conscientes. Olivier Conan.Titres jouésFracassinesParoles trouvées sur mon écran d'ordinateur sans souvenir de les avoir écrites. Qu'elles ne signifient pas grand-chose est presque rassurant.88 rue Daguerre Cumbia Instrumentale du guitariste péruvien Felipe Wurst. 88 rue Daguerre est l'adresse d'Agnès Varda.Daguerre ParisLe Petit BossuChanson du XVIème siècle. La version qu'Yvonne George chantait dans les années 20 était en fait une icône de l'élite littéraire de l'époque. Amie de Cocteau (qui ne l'était pas ?) et de sa coterie. Desnos tombe amoureux d'elle et lui dédie son A la Mysterieuse (j'ai tant rêvé de toi..) et en fait l'héroïne de son roman «Le vin est tiré». Yvonne George n'est pas convaincue. Elle préfère les femmes, et l'opium. Elle meurt à 33 ans, comme une rock star. ► Album Fracassines (Barbès Rd 2024).Site Combo Daguerre - facebook - Barbès Records bandcamp.Puis nous recevons Abdoulaye Kouyaté dans la #SessionLive pour la sortie de l'album Fefanyi – Le Bienfaiteur.Après des années passées à sublimer les musiques des artistes qu'il accompagne par son jeu de guitare et la douceur de sa Kora (Ba Cissoko, Mariama, Jain et Gabi Hartmann entre autres), Abdoulaye Kouyaté met son énergie créatrice dans un projet personnel qui rassemble ses compositions originales. En plus du guitariste virtuose, on découvre qu'Abdoulaye Kouyaté est un orfèvre de mélodies et un chanteur au timbre feutré. Tantôt profonde et touchante, tantôt rythmée et dansante, sa musique métissée oscille entre ballades, instrumentaux à la kora et des morceaux aux sonorités afropop empruntant leur rythmique au coupé décalé, au zouk ou au yolé traditionnel de Guinée. Abdoulaye confie la réalisation de l'album à Patrick Ruffino et s'accompagne de Yannick Vela à la basse et Nicolas Grupp à la batterie. L'album est enrichi par les précieuses contributions du joueur de flûte peule Dramane Dembele, de la chanteuse Gabi Hartmann, du bassiste Guy Nsangué, du saxophoniste Robbie Marshall, du violoncelliste Guillaume Latil, du djembefola Dartagnan Camara et des choeurs de la chanteuse Djene Kouyaté.Ce premier disque affiche une diversité étonnante. Chantés en Soussou (la langue de la capitale guinéenne, Conakry) et en français, plusieurs titres s'inspirent de la jeunesse romanesque d'Abdoulaye dans le Conakry des années 1990-2000. Une époque où il se perfectionnait à la guitare en suivant à la trace les musiciens de son quartier, animait avec son groupe de folles soirées expatriés au Grand Hôtel Camayenne, et tombait amoureux pour la première fois (Inondi, Doumedira, On fait quoi ? et Nitanama notamment). À l'insouciance guinéenne, succède la jungle de l'Europe, la vie d'adulte, les responsabilités, le froid, et les apprentissages difficiles. Ces leçons de vie inspirent notamment les morceaux Douniéma (le rancunier), Saré (tout à un prix) ou Inamakana (si tu ne peux pas aider ton prochain, ne l'enfonce pas). Le morceau Fefanyi (le bienfaiteur) qui donne le titre de l'album reprend la tradition des griots, dont les Kouyaté sont issus, de « chanter les louanges » des grands Hommes, des généreux bienfaiteurs. Suivant le chemin ouvert par son père Sekou Kouyaté, griot moderne, guitariste respecté et chef d'orchestre de Miriam Makeba durant ses années d'exil en Guinée, Abdoulaye Kouyaté façonne son jeu de guitare à l'écoute du jazz, du funk, du reggae, le Son Cubano ou de la Biguine antillaise tout en lui donnant des sonorités mandingues. Il cite Paul Simon et Georges Benson en inspiration. En Guinée, on l'affuble du surnom «jazzman» en raison de son style qui s'écarte du mandingue traditionnel. Lorsque son père tombe malade, Abdoulaye le remplace en tant que joueur de kora dans Circus Baobab. Avec ce premier cirque d'Afrique de l'Ouest, il sillonnera le monde pendant une décennie, avant de s'établir à Marseille puis à Paris. Titres interprétés au grand studio- Inondi Live RFI  - Toi Tu Penses nous on bouge, extrait de l'album- Inamakana Live RFILine Up : Abdoulaye Kouyaté - voix, guitare - Thierry Fournel - guitare - Yannick Vela - basse - Nicolas Grupp – batterieSon : Benoît Letirant, Mathias Taylor► Album Fefanyi – Le Bienfaiteur (Reva prod – Rock'n hall 2024)Site - YouTube - Facebook

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Diane Sare, independent candidate for U.S. Senate in New York Topic(s): the war in Ukraine; her candidacy, fair ballot access Website: www.sareforsenate.com Social Media: https://twitter.com/DianeSare?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor https://www.facebook.com/Sare4Senate/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Guests:Dr. Doug Robinson – Director of the Initiative for Careers in Science and Medicine, Johns Hopkins UniversityPamela Hamm – Director of the Summer Academic Research Experience (SARE)Eleana Parajon – Graduate Student and former SARE ScholarTemitope Adenaike – Current SARE ScholarAiden Houser – Current SARE ScholarSummary:In this episode, we dive into the transformative Summer Academic Research Experience (SARE) at Johns Hopkins University, a program designed to provide high school students from underrepresented communities the opportunity to gain hands-on research experience. Dr. Doug Robinson and Pamela Hamm share the program's vision, while current students and alumni, including Eleana, Temi and Aiden, recount their personal journeys in research and mentorship. We explore the program's long-term impact, its unique structure, and the challenges in scaling it to reach even more young scientists.Key Topics:The SARE program's unique combination of academic instruction and real-world research experienceStories from SARE scholars on how the program has shaped their educational and career aspirationsThe critical role of mentorship in empowering the next generation of scientistsInsights on the long-term success of SARE, with 74% of participants graduating college within four yearsChallenges in sustaining and expanding the program, including funding and lab space limitationsThe future vision for SARE to grow beyond Johns Hopkins and expand across the countryMemorable Quotes:"We want to see scholars who are inspired, motivated, and fired up. This program is about giving them the opportunity to realize their full potential." – Dr. Doug Robinson"When students spend eight weeks feeling valued, listened to, and seen, it motivates them to go back into their schools and ask for what they need. It's incredible to watch their growth." – Pamela Hamm"The SARE program made me love science even more. It gave me the confidence to know that I can pursue this as a career." – Temitope Adenaike, SARE Scholar“I was just really proud of the fact that now large organizations like QuestBridge are recognizing my potential, talent and ability.” - Aiden Houser, SARE Scholar"I hope for a more equitable health landscape. Investing in young people is the key to making that a reality." – Eleana Parajon, SARE Graduate and MentorTo learn more about the SARE program and how to support its mission, visit the Initiative for Careers in Science and Medicine (CSM) at Johns Hopkins here. For partnership opportunities or to contribute to the program, contact Dr. Doug Robinson at dnr@jhi.edu.Applications for the 2025 SARE program open on November 1st and close on February 1st. Visit the SARE program page for details on how to apply.Thank you for joining us on this episode of Research Renaissance. Stay tuned for more discussions with leading voices in brain science and the people shaping the future of research. Until next time—onward and upward!To learn more about the breakthroughs discussed in this episode and to support ongoing research, visit our website at tofflertrust.org. Technical Podcast Support by Jon Keur at Wayfare Recording Co.

Send us a textWhat is it like to be a true ally for trans men of color? That is what this episode of Dem Bois Podcast is all about. Today I interview another board member, Beauty Wright, spiritual coach and chaplain, and we discuss her journey to leadership and her role on the board. Beauty emphasizes the importance of empathy and compassion, sharing her personal experiences and the impact of her support on her family and community. She also highlights the significance of authenticity and unconditional love in allyship, and advocating for visibility and representation of marginalized groups.We talk:Why it's important for Beauty to show up for trans men of color - 4:22Her duties as a board member - 8:38What lead her to this moment - 11:22Beauty's last words of love - 15:57Click here for transcription!Read more about Beauty in her bio below:I am a motivated Black woman, who is the CEO/Founder of Loving Your Crown LLC, and an Interfaith Chaplain at a local hospital. This has guided me with a life purpose of building up all persons by supporting them as they learn to love and embrace their crown which is inclusive to members of the POC Trans in my community. My educational background includes; AA in Sociology to understand the demographics in which I can better assess all persons who have been marginalized by their demographic locations. BA and MA in Communication Studies to be able to articulate in a relatable manner with everyone I come into contact with As I believe in meeting people where they are and not where you expect them to be. MDiv (Masters in Divinity) as spirituality is at the core of all things we encounter throughout life. “I am a board member of Dem Bois Inc., because I support its mission and important presence for trans men of color. I am a firm believer in everyone living their life in an authentic way, so they can love their crown genuinely on the outside, ensuring it aligns with the crown in their heart - reminding them they are loved, heard and visible. Being a board member of Dem Bois organization gives me the outlet to do this meaningful work.”beauty@dembois.orgWould you like to make a difference in the lives of trans men of color? Are you or someone you know interested in serving on a non-profit board?We are looking for one individual who is committed to supporting trans men of color.Dem Bois seeks a trans leader of color, or other queer folks of color, along with allies who understand the importance of accessing medical transition-related care, and other trans related issues to join our Board.We are looking for someone who would like to become our Vice-Chair to work alongside the other dynamic leaders of the board to help support the mission and vision of the organization.What does board membership mean? What does a Vice-Chair of a non-profit board actually do? Are you interested in being a part of Dem Bois board, but would like to learn more before applying? Schedule a 15-minute meeting to learn more about board service. Learn how you can use your skills and talents to sAre you enjoying the Dem Bois Podcast? Donate today to help support the cost of production and the honorarium we pay our guests for their time. All donations are tax-deductible. Click here! Donate to support our 2023 Gender Affirming Surgery Grant Fund here!

OEGENTLIGHETER rapporteras från allt fler myndigheter – samtidigt som visselblåsarna själva ofta straffas.   Vilken typ av oegentligheter pågår egentligen inom svenska myndigheter?   Hur reagerar tjänstemän och medier när sanningen väl avslöjas?   Och vad händer med ett samhälle som skyddar myndighetsaktivister men som bestraffar sanningssägare?   Dessa frågor tar jag upp i veckans video om “VISSELBLÅSARE”.

In the second half of the first hour of "Connections with Evan Dawson" on Oct. 16, 2024, we talk with Diane Sare, candidate for U.S. Senate, about her priorities, if elected.

Afropop, zouk et yole traditionnel de Guinée et écriture automatique. Notre 1er invité est Olivier Conan pour son nouveau projet Combo Daguerre.Basé à New York, Combo Daguerre est le nouveau projet d'Olivier Conan qui, après avoir passé plus d'une décennie immergé dans le monde de la cumbia psychédélique avec son groupe Chicha Libre, a maintenant mis au point un répertoire original de thèmes francophones joué en mode psychédélique. Le groupe est composé de musiciens latins établis à Brooklyn, et les influences multiples comprennent le boléro, la cumbia, le rock 60's ainsi que d'évidentes influences gainsbouriennes et surréalistes. Chicha Libre est devenu un groupe culte en Amérique du Sud et au Mexique et Combo Daguerre est un peu l'héritier francophone d'un projet qui n'aurait pu naître qu'à New York où les frontières culturelles et linguistiques sont fluides et les influences pan-latines débordent sur tous les mondes musicaux : du rock, au hip-hop - et maintenant la chanson. Les thèmes à la fois joyeux et sérieux sont ceux de l'exil, de la nostalgie déplacée et d'une langue frelatée par la distance. Le dessin qui illustre la pochette tire son inspiration des têtes de cheval des boucheries chevalines parisiennes. Un symbole bicéphale qui représenterait un empire disparu ? Après 30 ans passés à Brooklyn, terre peu sainte où le français n'existe que dans des formes créolisées, mon français boite des deux jambes. Ma nostalgie se nourrit d'une langue et de souvenirs tous les deux reconstitués. Je ne contrôle ni la grammaire, ni le lexique, ni même la chronologie. Les images de mon enfance parisienne sont maculées, mâtinées d'images de mes aïeux, de photos de classe et de cartes postales d'une autre époque. Mes souvenirs pourraient être ceux d'un autre. Je, bien sûr, pourrait être un autre. Le Paris où je crois avoir grandi est peut-être bien celui de Rivette et de Truffaut. En tout cas, je crois le reconnaitre dans le Daguerréotypes de Varda (parce que j'ai été un enfant du 14ème), voire dans Les Maléfices de Jacques Yonnet ou Les Nuits de Paris de Restif de la Bretonne. Les paroles de Combo Daguerre sont placées sous le signe de Fracassines - une chanson écrite Dieu sait quand et Dieu sait comment, et qui est apparue - comme une vierge chrétienne - sans prévenir. Génération spontanée, écriture automatique. Le reste de l'album est parsemé de bribes inconsciemment glanées au hit-parade de la poésie française parce qu'après trente ans d'absence, tout ce qui demeure de cette culture enfouie, c'est une eau polluée dans laquelle flottent les scories d'une culture française élémentaire. Fracassines est un travail automatique avec peu d'interventions conscientes. Olivier Conan. Titres jouésFracassinesParoles trouvées sur mon écran d'ordinateur sans souvenir de les avoir écrites. Qu'elles ne signifient pas grand-chose est presque rassurant.88 rue Daguerre Cumbia Instrumentale du guitariste péruvien Felipe Wurst. 88 rue Daguerre est l'adresse d'Agnès Varda.Daguerre ParisLe Petit BossuChanson du XVIème siècle. La version qu'Yvonne George chantait dans les années 20 était en fait une icône de l'élite littéraire de l'époque. Amie de Cocteau (qui ne l'était pas ?) et de sa coterie. Desnos tombe amoureux d'elle et lui dédie son A la Mysterieuse (j'ai tant rêvé de toi..) et en fait l'héroïne de son roman «Le vin est tiré». Yvonne George n'est pas convaincue. Elle préfère les femmes, et l'opium. Elle meurt à 33 ans, comme une rock star. ► Album Fracassines (Barbès Rd 2024).Site Combo Daguerre - facebook - Barbès Records bandcamp. Puis nous recevons Abdoulaye Kouyaté dans la #SessionLive pour la sortie de l'album Fefanyi – Le Bienfaiteur. Après des années passées à sublimer les musiques des artistes qu'il accompagne par son jeu de guitare et la douceur de sa Kora (Ba Cissoko, Mariama, Jain et Gabi Hartmann entre autres), Abdoulaye Kouyaté met son énergie créatrice dans un projet personnel qui rassemble ses compositions originales. En plus du guitariste virtuose, on découvre qu'Abdoulaye Kouyaté est un orfèvre de mélodies et un chanteur au timbre feutré. Tantôt profonde et touchante, tantôt rythmée et dansante, sa musique métissée oscille entre ballades, instrumentaux à la kora et des morceaux aux sonorités afropop empruntant leur rythmique au coupé décalé, au zouk ou au yolé traditionnel de Guinée. Abdoulaye confie la réalisation de l'album à Patrick Ruffino et s'accompagne de Yannick Vela à la basse et Nicolas Grupp à la batterie. L'album est enrichi par les précieuses contributions du joueur de flûte peule Dramane Dembele, de la chanteuse Gabi Hartmann, du bassiste Guy Nsangué, du saxophoniste Robbie Marshall, du violoncelliste Guillaume Latil, du djembefola Dartagnan Camara et des choeurs de la chanteuse Djene Kouyaté. Ce premier disque affiche une diversité étonnante. Chantés en Soussou (la langue de la capitale guinéenne, Conakry) et en français, plusieurs titres s'inspirent de la jeunesse romanesque d'Abdoulaye dans le Conakry des années 1990-2000. Une époque où il se perfectionnait à la guitare en suivant à la trace les musiciens de son quartier, animait avec son groupe de folles soirées expatriés au Grand Hôtel Camayenne, et tombait amoureux pour la première fois (Inondi, Doumedira, On fait quoi ? et Nitanama notamment). À l'insouciance guinéenne, succède la jungle de l'Europe, la vie d'adulte, les responsabilités, le froid, et les apprentissages difficiles. Ces leçons de vie inspirent notamment les morceaux Douniéma (le rancunier), Saré (tout à un prix) ou Inamakana (si tu ne peux pas aider ton prochain, ne l'enfonce pas). Le morceau Fefanyi (le bienfaiteur) qui donne le titre de l'album reprend la tradition des griots, dont les Kouyaté sont issus, de « chanter les louanges » des grands Hommes, des généreux bienfaiteurs. Suivant le chemin ouvert par son père Sekou Kouyaté, griot moderne, guitariste respecté et chef d'orchestre de Miriam Makeba durant ses années d'exil en Guinée, Abdoulaye Kouyaté façonne son jeu de guitare à l'écoute du jazz, du funk, du reggae, le Son Cubano ou de la Biguine antillaise tout en lui donnant des sonorités mandingues. Il cite Paul Simon et Georges Benson en inspiration. En Guinée, on l'affuble du surnom «jazzman» en raison de son style qui s'écarte du mandingue traditionnel. Lorsque son père tombe malade, Abdoulaye le remplace en tant que joueur de kora dans Circus Baobab. Avec ce premier cirque d'Afrique de l'Ouest, il sillonnera le monde pendant une décennie, avant de s'établir à Marseille puis à Paris.  Titres interprétés au grand studio- Inondi Live RFI  - Toi Tu Penses nous on bouge, extrait de l'album- Inamakana Live RFI.Line Up : Abdoulaye Kouyaté - voix, guitare - Thierry Fournel - guitare - Yannick Vela - basse - Nicolas Grupp – batterie.Son : Benoît Letirant, Mathias Taylor.► Album Fefanyi – Le Bienfaiteur (Reva prod - Rock'n hall 2024).Site - YouTube - Facebook.

Afropop, zouk et yole traditionnel de Guinée et écriture automatique. Notre 1er invité est Olivier Conan pour son nouveau projet Combo Daguerre.Basé à New York, Combo Daguerre est le nouveau projet d'Olivier Conan qui, après avoir passé plus d'une décennie immergé dans le monde de la cumbia psychédélique avec son groupe Chicha Libre, a maintenant mis au point un répertoire original de thèmes francophones joué en mode psychédélique. Le groupe est composé de musiciens latins établis à Brooklyn, et les influences multiples comprennent le boléro, la cumbia, le rock 60's ainsi que d'évidentes influences gainsbouriennes et surréalistes. Chicha Libre est devenu un groupe culte en Amérique du Sud et au Mexique et Combo Daguerre est un peu l'héritier francophone d'un projet qui n'aurait pu naître qu'à New York où les frontières culturelles et linguistiques sont fluides et les influences pan-latines débordent sur tous les mondes musicaux : du rock, au hip-hop - et maintenant la chanson. Les thèmes à la fois joyeux et sérieux sont ceux de l'exil, de la nostalgie déplacée et d'une langue frelatée par la distance. Le dessin qui illustre la pochette tire son inspiration des têtes de cheval des boucheries chevalines parisiennes. Un symbole bicéphale qui représenterait un empire disparu ? Après 30 ans passés à Brooklyn, terre peu sainte où le français n'existe que dans des formes créolisées, mon français boite des deux jambes. Ma nostalgie se nourrit d'une langue et de souvenirs tous les deux reconstitués. Je ne contrôle ni la grammaire, ni le lexique, ni même la chronologie. Les images de mon enfance parisienne sont maculées, mâtinées d'images de mes aïeux, de photos de classe et de cartes postales d'une autre époque. Mes souvenirs pourraient être ceux d'un autre. Je, bien sûr, pourrait être un autre. Le Paris où je crois avoir grandi est peut-être bien celui de Rivette et de Truffaut. En tout cas, je crois le reconnaitre dans le Daguerréotypes de Varda (parce que j'ai été un enfant du 14ème), voire dans Les Maléfices de Jacques Yonnet ou Les Nuits de Paris de Restif de la Bretonne. Les paroles de Combo Daguerre sont placées sous le signe de Fracassines - une chanson écrite Dieu sait quand et Dieu sait comment, et qui est apparue - comme une vierge chrétienne - sans prévenir. Génération spontanée, écriture automatique. Le reste de l'album est parsemé de bribes inconsciemment glanées au hit-parade de la poésie française parce qu'après trente ans d'absence, tout ce qui demeure de cette culture enfouie, c'est une eau polluée dans laquelle flottent les scories d'une culture française élémentaire. Fracassines est un travail automatique avec peu d'interventions conscientes. Olivier Conan. Titres jouésFracassinesParoles trouvées sur mon écran d'ordinateur sans souvenir de les avoir écrites. Qu'elles ne signifient pas grand-chose est presque rassurant.88 rue Daguerre Cumbia Instrumentale du guitariste péruvien Felipe Wurst. 88 rue Daguerre est l'adresse d'Agnès Varda.Daguerre ParisLe Petit BossuChanson du XVIème siècle. La version qu'Yvonne George chantait dans les années 20 était en fait une icône de l'élite littéraire de l'époque. Amie de Cocteau (qui ne l'était pas ?) et de sa coterie. Desnos tombe amoureux d'elle et lui dédie son A la Mysterieuse (j'ai tant rêvé de toi..) et en fait l'héroïne de son roman «Le vin est tiré». Yvonne George n'est pas convaincue. Elle préfère les femmes, et l'opium. Elle meurt à 33 ans, comme une rock star. ► Album Fracassines (Barbès Rd 2024).Site Combo Daguerre - facebook - Barbès Records bandcamp. Puis nous recevons Abdoulaye Kouyaté dans la #SessionLive pour la sortie de l'album Fefanyi – Le Bienfaiteur. Après des années passées à sublimer les musiques des artistes qu'il accompagne par son jeu de guitare et la douceur de sa Kora (Ba Cissoko, Mariama, Jain et Gabi Hartmann entre autres), Abdoulaye Kouyaté met son énergie créatrice dans un projet personnel qui rassemble ses compositions originales. En plus du guitariste virtuose, on découvre qu'Abdoulaye Kouyaté est un orfèvre de mélodies et un chanteur au timbre feutré. Tantôt profonde et touchante, tantôt rythmée et dansante, sa musique métissée oscille entre ballades, instrumentaux à la kora et des morceaux aux sonorités afropop empruntant leur rythmique au coupé décalé, au zouk ou au yolé traditionnel de Guinée. Abdoulaye confie la réalisation de l'album à Patrick Ruffino et s'accompagne de Yannick Vela à la basse et Nicolas Grupp à la batterie. L'album est enrichi par les précieuses contributions du joueur de flûte peule Dramane Dembele, de la chanteuse Gabi Hartmann, du bassiste Guy Nsangué, du saxophoniste Robbie Marshall, du violoncelliste Guillaume Latil, du djembefola Dartagnan Camara et des choeurs de la chanteuse Djene Kouyaté. Ce premier disque affiche une diversité étonnante. Chantés en Soussou (la langue de la capitale guinéenne, Conakry) et en français, plusieurs titres s'inspirent de la jeunesse romanesque d'Abdoulaye dans le Conakry des années 1990-2000. Une époque où il se perfectionnait à la guitare en suivant à la trace les musiciens de son quartier, animait avec son groupe de folles soirées expatriés au Grand Hôtel Camayenne, et tombait amoureux pour la première fois (Inondi, Doumedira, On fait quoi ? et Nitanama notamment). À l'insouciance guinéenne, succède la jungle de l'Europe, la vie d'adulte, les responsabilités, le froid, et les apprentissages difficiles. Ces leçons de vie inspirent notamment les morceaux Douniéma (le rancunier), Saré (tout à un prix) ou Inamakana (si tu ne peux pas aider ton prochain, ne l'enfonce pas). Le morceau Fefanyi (le bienfaiteur) qui donne le titre de l'album reprend la tradition des griots, dont les Kouyaté sont issus, de « chanter les louanges » des grands Hommes, des généreux bienfaiteurs. Suivant le chemin ouvert par son père Sekou Kouyaté, griot moderne, guitariste respecté et chef d'orchestre de Miriam Makeba durant ses années d'exil en Guinée, Abdoulaye Kouyaté façonne son jeu de guitare à l'écoute du jazz, du funk, du reggae, le Son Cubano ou de la Biguine antillaise tout en lui donnant des sonorités mandingues. Il cite Paul Simon et Georges Benson en inspiration. En Guinée, on l'affuble du surnom «jazzman» en raison de son style qui s'écarte du mandingue traditionnel. Lorsque son père tombe malade, Abdoulaye le remplace en tant que joueur de kora dans Circus Baobab. Avec ce premier cirque d'Afrique de l'Ouest, il sillonnera le monde pendant une décennie, avant de s'établir à Marseille puis à Paris.  Titres interprétés au grand studio- Inondi Live RFI  - Toi Tu Penses nous on bouge, extrait de l'album- Inamakana Live RFI.Line Up : Abdoulaye Kouyaté - voix, guitare - Thierry Fournel - guitare - Yannick Vela - basse - Nicolas Grupp – batterie.Son : Benoît Letirant, Mathias Taylor.► Album Fefanyi – Le Bienfaiteur (Reva prod - Rock'n hall 2024).Site - YouTube - Facebook.

Please stop, I'm melting. PLAYLIST: 1:03 - GaMetal - Panic Puppet Act 1 (Sonic 3D Blast [GEN] :: YouTube) 9:31 - RoBKTA, Tiggs - Can You Feel the Sunshine? (Sonic R [SAT] :: Firaga Records) 13:15 - Audio Sprite - Azure Lake 2P (Sonic the Hedgehog 3 [GEN] :: Bandcamp) 15:46 - IsabelleChiming - Aqua Lake Act 1 [YM2612+SN876489] (Sonic the Hedgehog 2 [SMS/GG] :: Bandcamp) 19:05 - Jemma Heigis, Dj Cutman - Chemical Plant Funk! (Sonic the Hedgehog 2 [GEN] :: GameChops) 27:57 - Zaid Tabani, David Stewart Jr., Ray Casarez - Beast Of The Valley [Intro To "Guilty Gear Strive"] (Original work :: YouTube Music) 31:03 - FalKKonE, Rena - Coral Crown (Hades II [PC/NSW] :: YouTube Music) 35:11 - Sean Schafianski, Ferdk - Momentary Life (Guilty Gear X [ARC] :: Bandcamp) 37:48 - Husky by the Geek - Meridian Dance (Secret of Mana [SNES] :: YouTube) 45:32 - Sare, LadyIgiko - It's Going Down Now (Persona 3 Reload [PC/PS5/XBS] :: Firaga Records) 48:37 - Duzzled, Sare - Death by Glamour (UNDERTALE [PC] :: Firaga Records) 51:35 - The Icarus Kid - Bombing Mission (Final Fantasy VII [PS1] :: GameChops) 54:43 - Vector U, Ro Panuganti - New Bark Town (Pokémon Gold & Silver [GBC] :: GameGrooves) 1:02:23 - ImRuscelOfficial, Nico Mendoza, Dewey Newt, SableProvidence, giocko, luminousmusic, Steven Higbee, Khrys Williams, Ica Tongco, Howard Dietz - Graceful Dexterity (Genshin Impact [PC/MOBILE] :: YouTube) 1:06:24 - TeraCMusic, ChequerChequer - Suteki Da Ne (Final Fantasy X [PS2] :: YouTube) 1:11:55 - VGR - Koopa's Road (Super Mario 64 [N64] :: YouTube Music) 1:14:59 - Mykah - Sans (UNDERTALE [PC] :: YouTube Music) FEATURED ALBUM: Teenage Mutant Ninja Turtles: Shredder's Revenge - Radical Remixes :: YouTube Music 1:22:41 - Sean Bialo - Big Apple, 3 PM 1:24:50 - Anamanaguchi - Panic in the Sky! 1:26:56 - Jake Kaufman - It Won't Fly! 1:28:47 - Button Masher - Rumble in the Zoo 1:33:32 - Dj Cutman, Helynt, Coffee Date - Deku Palace (Legend of Zelda: Majora's Mask [N64] :: GameChops) 1:36:02 - Snore Lax - Diddy Kong Racing Lofi (Diddy Kong Racing [N64] :: GameChops) 1:37:57 - Hotline Sehwani, 88Bit - Main Title (Paper Mario [N64] :: Curaga Records) 1:40:00 - nokbient - Crossing Those Hills (Final Fantasy IX [PS1] :: Curaga Records) 1:46:30 - Super Guitar Bros - Kass' Theme (Legend of Zelda: Breath of the Wild [NSW] :: YouTube) 1:47:47 - Moisés Nieto - Welcome Horizons (Animal Crossing: New Horizons [NSW] :: YouTube Music) 1:50:02 - Nico Mendoza, Madalyn Music - Korok Forest (The Legend of Zelda: Breath of the Wild [NSW] :: YouTube Music) 1:52:39 - KayThePianist - Ocean Shrine (Final Fantasy [NES] :: YouTube Music) 1:55:00 - The Limit Breakers - La Danse Macabre (Shovel Knight [MULTI] :: YouTube) 2:06:32 - Shea's Violin - Smiles and Tears (Earthbound [SNES] :: Pixel Mixers) Little V. - Running in the 90's [Metal Version] (Max Coveri cover :: YouTube)

There are a lot of factors that go into the decision to have kids. Creeping up on that list is climate change. In the first episode of season 2, we're diving into this tough topic with the help of community stories, data, and professional research from Dr. Jade Sasser. On this episode, you'll hear: How the climate crisis has impacted our community's choice to have (or not have) kids. How population growth affects the climate crisis. The emissions of babies.How to talk to your family about how the climate crisis is affecting your decision. Dr. Jade Sasser's research perspective on how people have answered the kid question over time.  The overpopulation debunked.Resources to navigate the decision to have kids in a climate crisis.

In this episode, we revisit with Charles Lafferty to discuss the one year mark (halfway point) of his SARE grant. Charles shares the successes and challenges of the first year with pigs in the woods. You can find out more about his efforts at: skylinepastures.com Check out his Youtube channel at: https://www.youtube.com/@skylinepastures8445   Come join us at the homesteading-ish conference this September 13th and 14th in Charleston WV. https://homesteading-ish.com/ Also, join us for discussion of all things pastured pig on our new facebook group, The Pastured Pig. https://www.facebook.com/groups/thepasturedpig Please consider supporting us on Patreon: https://www.patreon.com/thepasturedpig If you would like to know more about us here at Red Tool House Farm or would like to suggest topics for future episodes, visit us at: https://thepasturedpig.com/podcast/

Welcome to your Daily Detroit for Friday, August 9, 2024. Hosts Jer and Devon dive into a rich discussion, starting with Devon's recent trip to Providence, Rhode Island. Devon shares how he enjoyed the charm of this New England city, from its historical architecture to its seafood delights, and reflect on how it compares to Detroit's vibrant scene. Devon shares his admiration for Providence's old-world charm, but notes the city's lack of pedestrian-friendly infrastructure and its surprisingly abandoned tallest building. Back in Detroit, Jer had a birthday visit to the rooftop bar Kamper's at the Book Tower, highlighting the luxurious vibe. They discuss the challenges of navigating popular spots like Kamper's and offer tips for a smoother experience. The conversation takes a turn as Devon addresses recent listener feedback, defending his stance on Detroit's potential Olympic bid and the proposed I-75 cap project. Labeled "Devon Downer" as of late, he explains the importance of balancing optimism with realism, especially given Detroit's complex development landscape. And in local news, the city of Detroit is set to launch the Connect AV shuttle service, an autonomous vehicle pilot program. The service will operate on an eleven-mile loop through key areas like Corktown and the East Jefferson riverfront. While Devon expresses cautious optimism, both hosts discuss the potential impact of AV technology on Detroit's transit future. Sare your thoughts with us at dailydetroit@gmail.com. Follow us on Apple Podcasts, Spotify, or your podcast player of choice.  

Trying to manage the weeds in your vineyard? John Roncoroni, Weed Science Farm Advisor Emeritus with the University of California Cooperative Extension, Agriculture and Natural Resources covers control practices including biological, mechanical, cultural, chemical, and perhaps in the future, electrocution. Although weeds rarely compete with vines, they can host insect and vertebrate pests and get in the way of pruning crews, increasing labor costs. Listen in for John's number one tip to better manage weeds in your vineyard. Resources:         128: A New Focus on Weed Management (Rebroadcast) 26th IPM Seminar #1: Sustainable Weed Management for Vineyards and Vineyard Ponds Herbicide-resistant weeds challenge some signature cropping systems (Journal article) John Roncoroni MAINTAINING LONG-TERM MANAGEMENT: Herbicide-resistant weeds challenge some signature cropping systems Post-harvest Weed Control with Napa RCD and John Roncoroni (video) Sustainable Winegrowing On-Demand – Western SARE (online courses) University of California Integrated Pest Management Integrated Weed Management Vineyard Floor Management: Steel in the Field (video) Vineyard Team Programs: Juan Nevarez Memorial Scholarship - Donate SIP Certified – Show your care for the people and planet   Sustainable Ag Expo – The premiere winegrowing event of the year Sustainable Winegrowing On-Demand (Western SARE) – Learn at your own pace Vineyard Team – Become a Member Get More Subscribe wherever you listen so you never miss an episode on the latest science and research with the Sustainable Winegrowing Podcast. Since 1994, Vineyard Team has been your resource for workshops and field demonstrations, research, and events dedicated to the stewardship of our natural resources. Learn more at www.vineyardteam.org.   Transcript Craig Macmillan  0:00  Our guest today is John Roncoroni. He is Weed Science Farm advisor emeritus with UC Cooperative Extension, UC Agriculture Natural Resources, and we're going to talk about cultural control of weeds in vineyards today. Thanks for being on the podcast, John.   John Roncoroni  0:13  Now you bet, Creg, thank you for having me.   Craig Macmillan  0:16  We met with we'll start with kind of a basic foundation, what would you say is the definition of cultural weed control? Maybe How does it differ from other forms of weed management?   John Roncoroni  0:25  cultural weed control as part of an integrated pest management program, you know, we have basically cultural mechanical, sometimes they're put together sometimes they're split, we have biological, which is much more important, I think, in insects than it is in weeds. Now, we talk about biological control of weeds just a little bit to show how it fits in with all this too, is that you know, when you see that rust growing on a malba, or cheese weed plant in California, people say, Well, maybe that can control and you can see sometimes it really weakens the weeds. But the one reason that doesn't work here very well as it does in other places is the same reason why we can grow such great grapes and make great wines in California is because it doesn't rain in the summertime, if it rained in the summertime, like it does. In many other areas, that moisture level would stay up and we probably have a better chance of controlling Malba. We do use biological control of weeds in more landscape like range land type at large areas, but really on any kind of agricultural situation where we're looking at control in one spot, it really doesn't work that well. Even with star thistle we be talking about people wanting to put our application of of weevils for start thistle. Well, they're out there, and they're on a larger scale. So that's biological, much more important in entomology than in Weed Science, a chemical control, obviously, the use of chemicals, either conventional or organic chemicals or control. And then we have mechemical or cultural you know, cultural weed control to me is using the utilizing the plants that are there or sheep in areas of the San Joaquin Valley that used to use ducks or geese to pull out Johnson grass rhizomes, yeah, we're utilizing sheep quite a bit more. Now. Of course, mechanical we're looking at when you look at something like a mower, right, a mower is mechanical and cultural because when you mow, you're leaving some plants. So you're mechanically mowing them down. But culturally, you're leaving plant where something like French flower, maybe a blade or or you know, one of the the weed knives are all the different moving wheels, maybe more considered mechanical.   Craig Macmillan  2:30  Let's talk about mechanical a little bit. There was a book I don't know if it's still in print. And it was a SARE book. And it was called steel in the field. And the author's thesis or premise or idea was if you drive around farm country, no matter what the crop is, there's always a graveyard of old implements, just parked just parked there, you know exactly what I'm talking about.   John Roncoroni  2:51  Oh, god. Yeah.   Craig Macmillan  2:54  And his his point was, all of those things were technologies that someone had come up with. And then the individual farmer, probably then made modifications to those for their site for their crop for their soil, then the herbicide era came on. And that wisdom was lost, basically. And the argument was, hey, maybe we can bring that that idea back. And I mean, this goes back to like the 80s, early 90s. It's happening, it's happened. What are some of your favorite technologies in terms of cultivation, mechanical weed control, and some of the limitations, some of the plants that works well with other situations where it doesn't? What's your experience been?   John Roncoroni  3:39  I love talking about that, Creg, is it you know, talking about using mechanical control, and then and then going into chemicals, and now going back, it's almost like I talked to people about chemical control itself. When I started, Roundup wasn't glyphosate was a new thing. And we used it very judiciously. And I tell people, it's almost like, I learned to drive with a stick shift. I had to learn all these other things. Well, after that people learned to drive automatics. Right, because they knew one way to do it. Well, now that we're back to using stick shift, it's a whole lot easier for me, because I remember now people have to read or write. It's, it's the same thing with the mechanical. And when I started a Davis, you know, in the early 80s, we probably first came to work in vineyards in Napa, close to Davis, about 85, 86. And at that point, there was a lot less drip irrigation, a lot more dry farming, and a lot more French plowed. One of the reasons was we didn't have drip irrigation. I mean, we all want deep roots, but you're going to have more shallow roots with drip irrigation. And that was one of the reasons we moved to chemicals away from this big pasture. We always had a blade, right something like to drop a name a Clemens blade, which we all know what that is. It just cuts. You know, one of the problems with that is if the soil is too moist, then it's going to cut and go right back. And there's been a lot of innovation. My colleague Marcela Moretti, a But Oregon State's done a lot of testing with different kinds of machines. You know, one of the things about mechanical or even like mowers is that so few growers have mowers?   Craig Macmillan  5:11  When you say mower? You mean an in row mower?   John Roncoroni  5:13  Yeah, I mean inrow mower. All right. And I'm sorry, I when I talk about weeds in vineyards, because I tell people I've made my whole career out of about three   Craig Macmillan  5:21  Three to six inches.   John Roncoroni  5:24  I have about a foot and a half. Right? Sometimes I'm up to four feet, right. So that's where my whole career is right there. And that we talk about when we talked about what we're doing in the middle is with cover cropping. That's a whole other podcast and probably, I mean, I've done cover crop work over the years with some large IPM grants. I did quite Elmore and some other things. Zalem and Jim McDonald Yeah, no, I'm talking about just under vine we're thinking. Yeah.   Craig Macmillan  5:53  All right we're under vine.   John Roncoroni  5:54  Talk about being a very specific expert - four feet. At the most.   Craig Macmillan  6:01  I got it. I get it.   John Roncoroni  6:02  You know, very few growers are using mowers we have the big bladed mowers and also we'll have a straight trimmer. I was trying to do some string trimmer work, but just using a little weed eater. My old friend, Mike Anderson, who was the superintendent or basically ran the oppo research station said that I could use a string trimmer in one of their vineyards over his dead body. And I was like, you don't want any girdling in those vines. So I know, there's been a lot of apprehension. There are some other kinds of mowers very, very, very few growers have mowers, from what I've just done some surveys, I've done one because you have to go back over and over and over, right? And then everything has been weighed against, well, we can just spray mowers or one, you know, there's several different and I can't remember all the trade names. But you know, there's some of the basic technology. Yes, there's some that do some stirring of the soils, you know, with blades that are perpendicular to the soil, right. So they're, they're stirring it, there's what we used to call and when I worked in bean weed control, Lilla stuns, which are wheels that turn sort of at a 45 degree angle to stir the soil. There's, you know, power driven machines, there's just ones that ride along and there's blades, there's, you know, there are so many, and it really depends on the kind of soil you have, you know, our rocky is sometimes the place where we put grapes are not a place where you could put tomatoes, right in times, shallow soil, hillsides, kind of cultivation, can you can you do cultivation? Can you do light cultivation without getting you know, soil movement? Can you even do it? Is it allowed by, you know, some rules about land use in those areas. So, there's a lot of things that go into mechanical and again, from my perspective, the weeds you have.   Craig Macmillan  7:54  I like this point here, because I think put to put things into kind of a general sense to guide things. We have blades that basically cut just below the surface. So that's cutting off the top of the plant from the bottom of it for certain kinds of plants that will kill it or control it. Then we have things like a French plow, which is a burying it's a true plow. Yeah, it's flipping soil, picking it up and flip flopping it over. Then we have the sturer. So you mentioned that little stun the central lines and other example, sun flowers. That's what they do. Yeah. Yeah. Things like that. My missing one.   John Roncoroni  8:26  mowers.   Craig Macmillan  8:27  mowers, okay. Yeah.   John Roncoroni  8:29  So that, you know, then there are a lot of variations on those combinations. It just amazing for me, and I follow a few of the manufacturers and get to see like on Twitter X, whatever, to see the videos that they're posting on LinkedIn. You know, it's just amazing to me what they're doing and the innovation that's going into those. One of the things that my again my colleague Marcel HomeReady, up at Dr. Moretti up at Oregon State talks about making sure your tractor is big enough for some of these, you know, hydraulic using, right, but one of the things we always used to talk about was, you know, the use of gas well, I know there's a lot more use and we're moving more into electric tractors, and those sorts of things. But when it comes to mechanical, really doing a good job of mechanical weed control with those some of those, you're going to have to have electric or gas you're going to have to have a big tractor. They're not going to be like a you know, a little ATV with a nifty 50 sprayer spraying herbicides right you're gonna need some hefty equipment in a lot of them not always.   Craig Macmillan  9:33  Let's start with weed knife. That's a very popular technology you see it oh yeah all over the place. What are the kinds of weeds that that's good for controlling and under what conditions it doesn't work well and under what kind of conditions does it not work well?   John Roncoroni  9:47  And I don't know the areas and passive as well as I know Napa I was brought a while but I would tell the growers you know, using a weed knife in Carneros you have about four days from when the soil goes from being too wet to being too dry. I have heavy clay soils, it holds moisture and it just. Yeah, exactly. And I'm sure there are areas like that, you know, and it can't, you can successfully cultivate down there, but it's tough, you need the timing, it's so important. If you're going to wet that soil just goes right back with that blade, right you cut through and the roots are able to tell back in, you know, if it's too dry, it's really going to be a rough ride. Because you're not going to go too deep, it's going to work well on some smaller annual weeds, which, you know, a lot of our weeds are, you know, some of the grasses with their net have a root ball sometimes are harder than just a small annual broadleaf plant, you know, you're going to have some problems, especially with something like malware, cheese weed that that grow very large. And depending on when you doing it something like cheese weed is and rye grass and Fillory, while I mentioned them are the first weeds to germinate in the fall. So by the time you get in a little bit later, they may be too big to really do a very good job on.   Craig Macmillan  10:59  Are their soils where we die for it's particularly well?   John Roncoroni  11:03  I would say you know, in less than heavy clay soil and not complete sand, a sandy loam soil, I think that holds some moisture, you know, it was able to get in anything, I think it's not a complete stand or a real heavy clay, they do a nice job, but the weeds can't be too big. And again, it's that timing and you know, with vineyards, it seems to think everything happens at once right time when you may be in having to do some sort of insect spray or mold spray, the same time you should be out there cultivating so just and it takes a while to do a good cultivation job.   Craig Macmillan  11:35  The speed that you're rolling is really important. You want to be slower ride faster.   John Roncoroni  11:40  Well, and Dr. Moretti has done this work there is an optimum speed. If you go too slow, then you really don't do a good job of cutting. If you go too fast, you miss some. And maybe this is where some of the electric AI technology can help. You don't want to cut the vines. Right, so you have this pull away, that keeps the weeds, the weeds will go right next to the vines, which you know can be a problem. We'll be talking about other situations with little vertebrate pets.   Craig Macmillan  12:06  I'm kind of getting astray here a little bit, but I No, no, but I think this is an important question. So choosing what I do and how I do it, we go back to the other technologies, Why care about weeds? Right? Why care about you know, I had I had a vineyard once that had been an oak field. And it was direct planted own rooted sprinkler system that was planted in 1976 I got the vineyard 1993 out of heavy clay soil, and I would irrigate with sprinklers twice a summer, and that oak grass would grow up into the fruit zone up into the canopy. But it would dry out. And it completely choked out everything else I had, I had no other real issues. And we would mow the middles. And I remember people going oh my god, you got all this issue, you need decent herbicide, you think grass out of the middle because the grass is gonna. And like these vines were super vigorous. They were tons of crop. I mean, I had to crop thinner. And so I started asking myself, well, how much competition? Is this really doing? Are there particular weeds that we should see? And you're like, wow, that's gonna be a competitor for water, nutrients and others where we go, No, I don't really want it there. But I'm probably not going to dig my vines.   John Roncoroni  13:13  So Craig, this is the eternal question when it comes to this. And it really depends on where you grow your grapes, right? If your goal is to get 25 tons of grapes, if you're somewhere near Bakersfield won't offend anybody, but they're looking more for tonnage. Right. And I've gotten a lot of flack for using our premium grape situations, we're not always looking for maximum tonnage. Right. And I don't know that the problem with weeds and if you hear me speak about weeds, I rarely have ever talked about direct competition between weeds and grape vines. Now, there are some exceptions, you know, when we were looking at that balance between irrigation and getting the deficit, irrigation, right, getting those maximum flavors into those grapes. So we may be right and a little low with our water in August or September, near the end. And we see that especially, I don't know so much about about I know, part of the areas where we are with the vineyard team there that they gave, we can get these howling north winds, right? Right. And you can in a very short time, you can turn some very great, expensive grapes into really great expensive raisins, right, getting that water in at that time of year. So having any kind of like flu Velen, which is really just covers the whole area of Napa and Sonoma. I know it's moving around some other areas. But you know, people say well, how much water does it use? And my old friend Rhonda Smith used always asked me well, how much water is it used? I go, we don't have crop coefficients for all the crops. It's hard to know which you know which weeds grow, how much water they use. And then the other thing too, is that if we're looking for consistency in a vineyard, and only half the vineyard is covered with that weeds where we're gonna put two too much water in one area and not enough in the other. Isn't that different? So it's competition for that sort of thing. And of course, young vines, right when we have young vines with big weeds and that that oak grass that you had, if you had young vines, you probably wouldn't have to be worried about being a grape grower very long, right?   Craig Macmillan  15:17  You have seen that young, really healthy barley cover crop?   John Roncoroni  15:21  Oh, yeah, it's it's tough for first three years. But like talking about establishments, it's really important, no matter what you do to keep the grapes sort of weed, not weed free, but really keeping the competition down. And then late in the summertime, but the rest of the time. It's other things that I've talked about these, it's one of those things where you ask people, you know, raise their hand if they have this problem. It's 50%. Yes. 50%. No. And that's voles. And I tell people, I thought that when I was in Napa, I think 30% of the growers do weed control strictly for vole protection. Because those nasty little marmots can they can girdle a grape. And I know one vineyard and Carneros they couldn't get in and do some work. Someone told me that one year they lost one in five vines. Wow. And they're not coming back. Right? That's, that's bad. Yeah. So you know, it can be a problem. We found this when we were working with mow and blow technology years ago, looking at cutting cover crop and throwing it on the vine. The Weed control was fantastic. But in my whole time, working in vines from 1985. And, you know, until today, I've never been in a vineyard, except in this trial, where I saw voles running between the rose in the middle of the day. Right, they were just happy there was so many they kind of had to get out just to get a breath of fresh air, they use those tunnels, you know, just runway so that they were protected from that, you know, the birds of prey, which you know, can help. And I people always ask about that. But again, we have that pest and prey cycle that the voles may come in and do a lot of damage, before they get a chance to be taken. And then it depends on what your neighbors doing and how effected the birds are. This is a question that I our new vertebrate pest person, Brianna Martineco in Napa who she took my office, not my place, right. So we we about a weed scientist. And one of the questions I've asked is, you know, how much of an area around the vines? Do we have to keep clean, so that the birds have a chance and the voles stay scared? You know, that's kind of question, you know, especially as an emeritus, you can ask these questions. And, you know, let the new people answer them. You know, the other thing and I've talked about this is in a rare occasion, you know, one of the things that we do you see people, anytime I'm out in the field later in the season, I talked to a grape grower, while we're out there, they're pulling those leaves off so they can get more air movement. Well, if you get some tall weeds like that, you know, the oak grass that was growing, you know, are you going to have restricted air movement? Are you going to have higher moisture content? Is that going to increase your pathogen pressure it can, doesn't always happen. The other thing too is having, you know, high grass can cause in frost prone areas, you know, if you're not getting that radiation from clean soil, and that's in the middle, not so much under the vines, you know, we can have that and sometimes on young vines near the vine itself, getting that reradiation, but again, you know, as I like to tell people, you're not going to have all these situations, and it's not going to be every year, you know, some years you're doing things you may not need to have weed control that year, but you don't know until after that year, you know, and now and I'm not I'm not a pathologist, I'm not an enthramologist, I'm not a viticulturalist I'm a weed scientist. But you know, there's been some indications that some weeds that are growing and some of the we plant and some of that we don't are having a, you know, an increase in pathogen plant pathogens that are moved by certain insects. tikka pirate likes legumes Well, you know, especially in some of our low nitrogen situations, plants that produce their own nitrogen, like Bird Clover really tend to like that situation because they have a, they have a built in advantage by making their own nitrogen. So we can in some vineyards, we can see a high population of bird clover, which may or may not cause an increase in tikka, which could cause an increase in red blotch. So, you know, when you think of weeds just specifically for competition, like when I talked to master gardeners, I say, you know, if you're growing carrot, you know why you do weed control because you want a carrot. But when it comes to a mature, you know, a 10 year old vineyard, really hard to see that weeds are going to compete on an everyday basis like they would with an annual crop, but there are other reasons why we do it. Ease of harvest, and I talked about, you know, in talking with some pruning crews, right, you know, if you have weeds growing in when you're pruning, and I tell people, if you have an area that takes an hour for let's clean, takes a pruning crew an hour to prune, if there's a bunch of weeds that they have to move around and get around, and it takes them an hour and a half. So your labor costs have gone up 50% Yeah, these are the kinds of things that as a weed scientist, I think about I tell people I really want to know two things. And when we're when we're taping this, it's the right time of year. I only know weeds in college. Basketball. So these are the only things I really know. So, you know, and I've had other I've had, you know, some people sit down and say I should have known that you have to worry about, you know, disease pressure, and getting labor contractors. And I just think about weeds.   Craig Macmillan  20:16  And let's go back to another technology that we touched on snow plows, French plow, that's a very old technology. And, you know, we just mentioned that what a plow does is it turns the soil over, so it buries the weed plants, especially when you get into the right time, what conditions are appropriate for using a French plow? What conditions maybe it's not gonna work so great.   John Roncoroni  20:41  French plow, I mean, you know, the USDA says that, you know, doing something like that the soil is never good, and you're going to mess up the microbes, especially if you're working on that lower area. But as far as just from a weed perspective, if you're dry farming, a French blot works fantastic, right? You're not looking for, in fact, you're trying to discourage as many roots at the top as you can. So doing using a French plow when you're dry farming, it's fantastic. We don't have you know, a lot of dry farms where we are looking at trying to have more consistent harvest and looking at consistent income, where you know, dry farming were at, at the will of the of the weather, that's another talk for another day with people who are doing marketing and know viticulture are better than I do. But see, I've seen more French plows as people have gone back to mechanical in the last few years, and I have in the past think there's a lot more viable options, when you're actually looking at doing some drip irrigation, then they're just by number a lot more viable options. Just by new having new machines coming out then the French plow but I was a dry farmer, my weed control would be French plow under the vines and disk in the middle because everything's you know, maybe having a little cover crop to get more penetration. But, you know, the farther north I lived, the more water penetration I would have. So I'd get more rain.   Craig Macmillan  22:00  So let's talk about drip irrigated vineyards. And you mentioned there's a suite of technologies, some are new, some are old, what are some of those technologies that have worked well in a drip irrigated vineyard?   John Roncoroni  22:12  When I got to Napa in 2007, sustainable at that point meant post emergent only and for those kind of funny now is roundup on the right no preemergent no cultivation and we were drip irrigating, we were keeping those roots at the top so we can drip irrigate. So that's where a lot of that came from. Now, you know, using something like a blade using a little Dustin with those moving things, anything that's sort of like you don't want routine, right? Again, I don't I'm not a vitaculturalist. But roots at the very top are not great, right, you're not probably irrigating correctly, if you're getting a lot of roots at the top, but you don't want to get too deep, where you're getting some of those main roots with cultivation. You know, that's one of the reasons that we do have drip irrigation. At that level. You know, I've talked to people who weren't using cultivation and ask them why their drip irrigation lines weren't closer to the soil so they're gonna have less evaporation. One of the things that we get into with grape growing or anything is that you do things because you've always done them that way, we are cultivating that we do need to keep that drip irrigation at at a higher at a high level. But I think any of those anything that's not just completely disrupting the soil. One of the things that I would like to see with with mechanical like a blade is using some electric eye, AI technologies to get closer to the vines. But right now we have to really, you know, it's all mechanical, right? If we can have these machines down in Salinas, that are taking weeds out from in between lettuce, we don't have to be nearly that technological, to get weeds right around the vine without hurting them. And we have a little bit more leeway with the vine than we do with lettuce. Even though you lose a lettuce plant here or there. You're okay. You don't want to lose too many vines. You know, I think that that's where one of the reasons that we could use more technology. One of the things again, my doctor Moretti up at Oregon State and also lenses masky. Back in Cornell, who they were both at Davis at the same time, Lynn as a postdoc, and, and Marcelo as a as a graduate student, they're working with electrocution of weeds, I think it's what they call it. And it's not just burning them off, like you would use electric light with a flamer. It actually sends electricity down into the roots. So it's, he's working on it mostly in blueberries. But the technology I just I saw his presentation at the Western society Weed Science meeting just a couple of weeks ago in Denver. It's an interesting technology. If you're like having a transformer on the back of your tractor. It's pretty cool.   Craig Macmillan  24:35  There's a there's a lot of potential here in the future for improving what we're doing now.   John Roncoroni  24:40  Oh, yeah. And I don't know how like electric is going to fit into this. But and this is the problem. We ran into herbicides. Anytime you use one technology over and over and over and over and over, you're going to choose for weeds. If you constantly mow under the vines or anywhere, right without some soil disturbance or application of herbicide, something Like Melva, low growing weeds, they'll adapt, right nature will find a way. So the biggest thing we have to do is whatever we do just don't do it all the time. That it's the right message. One of the things that I think we want to talk about was under vine cover crop. It is something for me, I've been trying to push under vine cover cropping for so long. And the problem is, is that because the seeds are expensive, I tell people that one of the one of the plants that I pushed, just because I liked the way it worked, and what I've seen is Zorro fescue. That's a brand name, it's it's rat tail fescue, you see it growing as a weed a lot of places, one of the things I like about it is that about the time we start irrigating, it's dead, it's the nest, and you can discover you can turn it over, because once it's gone to seed, you can mow it all those things. It's a it's a self receding cover crop problem is that because the seeds are fairly expensive, we planted at about eight to 10 pounds per acre and sometimes mixed with Blendo broam, which grows a little higher and stays a little greener longer than I like, because it can be some competition for water. But that's oftentimes keeps it down. But the problem is, is that first of all, how do we get it on the vines, I find people putting it out by hand, because we haven't adapted for the cedar under the vine. Second of all, it starts to reseed itself at a fairly high rate, sometimes 50 or 100 pounds the next year and the third year. So I tell people, if you can't give me three years to make it look good, then let's not start because oftentimes, you know, we started and it looks like it's not doing a very good job the first year, and it doesn't look very good. And some people who don't ask people who make decisions about vineyards who maybe work other places, then the vineyard don't like the way it looks. Right? Right, and we move to something else and they end up spraying it out or cultivating it out.   Craig Macmillan  26:55  Then this is an example of modifying the environment to address this problem and modifications to the environment take time.   Speaker 1  27:03   And this is what intrigues me about regenerative agriculture. I know this is a whole nother subject for someone who probably but as a we, as a plant biologist, and ecologist, you know, actually choosing plants that we want to be there without causing problems. Again, the voles, the legumes with maybe some other virus problems can be, but I think choosing these plants is going to be so important. But you know, it's interesting, I had someone call me and they wanted to start using regenerative agriculture. And I told them, you know, your first three years are going to be really hard I go, you have to choose the right plants, you're going to probably maybe even have some reduced yields. And they said, Well, why John, because my friend has been doing it 25 years, and he's doing great, because his soil knows what to do. So anytime we make that transition and transitioning to this under vine cover cropping. And there has been places in the past where we've tried to use a listen. But listen, because of insects and some other things. The problem with alyssum is after about three or four years, it gets to be about four feet thick. It's one of these things, it's good for a while, but after it kind of takes over, it can cause some holding in moisture and doing some other things. I mean, some people again, depending on how fertile your soil is, you know, some places it may not be a problem, but we have to look at it on a vineyard by vineyard scale. And that's been the thing about herbicides is you don't have to think about the basically the vineyard by vineyard,   Craig Macmillan  28:24  We're basically at a time but don't ask your boys. Is there one particular thing that you would say to grape growers on this topic of let's just say mechanical?   John Roncoroni  28:34  On the whole subject of weeds, Craig, I just want to say that they need to know their weeds better. Right? I know it sounds like I always have a chip on my shoulder. And now that we have to right thing about glyphosate is they really didn't have to think about didn't have to think about their weeds. So there's there's two things I want to know we're almost out of time, but we are out of time. But there's two things I want to say about this real quickly. And I know it's mechanical, but those people who are still using chemicals, they could do a better job. Right new nozzle shielding timing, think more about put as much time and effort into thinking about the weeds as you do about insects and pathogens. Know your plants. Don't just say I'm going to do this. It doesn't matter what the weeds are, know your weeds, know their biology. Know the timing, no matter what kind of control you're doing. And then once you do, get the best tool, like if you are still spraying in certain situations in certain vineyards, use new drip reducing nozzles, use shielded sprayers when you do mechanical, you know, don't just get that old thing that like you said, that's been sitting out in the back, right? Look at the kind of machine that you want to use what we do have, I think when it comes to weed control, the whole industry could do a much better job. Okay, one of the things that I put a slide up one time and I said look, I understand pathogens first and then insects, and then weeds and someone got up and corrected me and they said John, that's wrong. I said Oh really? They go? Yeah, it's pathogens, insects, fertilizers and weeds. Right so weeds and when it comes to weeds being third weeds are not just third weeds or a distant third. They only think for me about all the cons Diversity that's happened is that people have to think about weeds again, they have to go back to knowing what we knew before that before they all started using chemicals.   Craig Macmillan  30:07  So that makes a lot of sense. Yeah. Our guest today has been John Ron crony. He is Weed Science firm advisor emeritus with UC Cooperative Extension, UC Agriculture Natural Resources. I followed you from afar for a long time. And I'm very excited to get you on the podcast. This has been a great conversation. Yeah, there's so much more to talk about, and I'm sure that we will, we will reconvene at some point.   Nearly perfect transcription by https://otter.ai

Detailed show note (usually a Patreon exclusive but wanted everyone to get the links below): There is hardly a split that is as easy and that yields the reliable results as the Runaway split we all have learned from Ang Roell and Sam Comfort. Remember it when you just need to get it done! This is their description of the process from their SARE grant description: "....Move the hive to a new position in the yard.  (It can be close to the original spot, i.e. on the same pallet, but with the entrance facing a new direction.) Set up a new, empty, similar box where it was.   Move back one NEWER comb of MOSTLY OPEN BROOD with adhering bees and one comb of food (nectar/pollen) with adhering bees.  If the queen is seen, leave her in the new position (or remove her for use elsewhere).  Replace the combs with foundation or empty bars.  Put the brood and food with bees in the new box (away from the entrance), place in foundation or empty bars, cover with a lid, and you're done.  The field bees will join this queenless hive and help build a new brood nest.   Check the hive in 4 weeks for eggs, larvae, and the first capped brood from the new queen.  If no eggs are present, or if laying workers are laying multiple eggs per cell, the hive can be shaken out or combined with a different split at no loss.   NOTE: You do not need to find the queen, but if you see her during the splitting process, she can be caged and used elsewhere, so that both sides raise a queen and experience a break in brood rearing.  Or she can remain in the moved portion to be split again later or the hive expanded for honey production.  (Note that continuous brood rearing also can build large populations of Varroa mites.)  (Source: https://projects.sare.org/project-reports/fne20-964/)   Leigh again here. You may notice the things I do different are: 1. Putting drawn comb in the new box at the original location so that the field force might collect honey while they are waiting for their larval queen to grow up and go on her mating flight. For three weeks they will have no brood to care for and the could spend that time collecting nectar if you have a flow. On the other hand, their method could yield a lot of nice new comb. I haven't tried it with all foundation. 2. I shake in some additional nurse bees to the hive bodies at the original site....just because I'm like that. Ha! I also put more garlic than called for in most any cooking recipe. ;-) Ang and Sam's recipe places the brood frame WITH clinging bees but I know some beginners would be nervous about moving the queen so I gave an alternative nurse bee transfer method. Either way is good as long as there are nurse bees in there.    Finally, the link to their PDF handout is here and it has the conclusions of their study as well as the split instructions. The illustration is using the top bars and a Comfort hive but the process is the same no matter what kind of hive you use. https://projects.sare.org/wp-content/uploads/ComparingQueenRearingMethods_FactSheet.pdf   Thank you all so much for listening and for all you do for the bees.  Leigh   ----   Please become a Friend of Five Apple on Patreon and join the folks who make the podcasts possible! In addition to huge gratitude, you get:   • BONUS podcasts and early access episodes • Detailed show notes with links, tips, comments • Access to Patreon blog posts including tips and videos • Commenting on posts or messaging allow me to answer questions • Input on the podcast topics • Shout-outs on the show because I appreciate you!    If you can support the show with $3 a month or more, please sign up today: https://www.patreon.com/fiveapple -- About Beekeeping at Five Apple: Leigh keeps bees in the Blue Ridge Mountains of North Carolina. She cares for around a dozen hives in a rural Appalachian highland climate. Colonies are managed for bee health with active selection for vigor, genetic diversity and disease resistance, but without chemical treatments for over a decade. The apiary is self-sustaining (not needing to buy/catch replacement bees since 2010) and produces honey and nucs most every year.     

TNT Radio host Patrick Henningsen speaks with Independent US Senate candidate for New York, Diane Sare, about the current state of US foreign policy and why the Biden Administration has gone off the rails with Ukraine and Gaza, and what it will taken to bring the country back in line with common sense foreign policy and responsible statecraft. More info: https://www.sareforsenate.com/ ▶️ TUNE-IN LIVE to TNT RADIO for the Patrick Henningsen Show M-F 4pm-6pm (NEW YORK) | 9PM-11PM (LONDON): https://tntradio.live

GUEST OVERVIEW: Diane Sare is an independent candidate who ran for the US Senate in 2022 and she is now running again for 2024.

This episode of Voices from the Field was produced in partnership with ATTRA and the Sustainable Agriculture Research and Education program. To learn more about SARE's library of practical information and available grants to fund projects that advance sustainable agriculture, visit sare.org. In this episode, NCAT Sustainable Agriculture Specialist Tyler Jenkins dives into the world of chestnuts with Michelle Ajamian, who works with Rural Action as a network developer for Appalachian Staple Foods Collaborative.  Michelle shares her experiences and insights from her work in southeastern Ohio as a project developer and advocate for small-scale farming. She discusses her efforts to establish a thriving market for chestnut growers in the region.  Chestnuts are a sustainable and nutritious crop with deep roots in American agriculture. Michelle explores the success stories of cultivating chestnuts – from fostering community partnerships to promoting environmentally friendly practices. Resources:·        Demonstrating Higher Yields and Market Opportunities of Mixed Annual and Perennial Intensive Planting in Appalachian Ohio·        Producing Culinary Chestnut Flour with Michelle Ajamian and Amy Miller·        Consider Chestnuts: A Potential Perennial for Market Farms·        Rural Action·        Appalachian Staple Foods CollaborativeContact Tyler Jenkins at tylerj@ncat.org. Please complete a brief survey to let us know your thoughts about the content of this podcast. You can get in touch with NCAT/ATTRA specialists and find access to our trusted, practical sustainable-agriculture publications, webinars, videos, and other resources at ATTRA.NCAT.ORG.