Podcasts about Vitus

And we're back with a review of the third episode of Star Trek: Starfleet Academy Season 1, "Vitus Reflux, "as Caleb, Darem, Genesis and the rest of the cadets find themselves up against those jerks over at the War College... and yes, that does include Tarima, the Betazoid with the mysterious power inhibitor...Speaking of which, we talk about the question many of you have been asking -- are Betazoids empaths or telepaths or all of the above? We also hit the Replimat for some Cold War fun and we have a really good Red Shirt from DS9!

Ten-hut, Cadet Maman! We got war games or some such! Tally-ho! Wait, that's Trelane. Scratch that, but it's time for patience, Maman! And don't forget empathy! Watch out for the betazoid in the Mugato suit, Maman...

Like a mocking plant that just keeps growing, Vulcan Hello returns to break down the latest episode of “Starfleet Academy.” Why don’t they just play basketball? Why does Holly Hunter love furniture? Why should we try French-Klingon fusion? And who’s the sweaty man in that Mugato costume? Scott McNulty and Jason Snell.

00:01 – Welcome, cold open, and framing Episode 3's themes 05:10 – Early reactions to Episode 3 and growing positivity around the series 10:02 – Star Trek, relationships, and why Academy leans into emotional storytelling 14:55 – Episodic vs. serialized debate and expectations for a “big bad” 18:05 – Darum's background, family pressure, and the first signs of growth 22:10 – Genesis vs. Darum: competition, trust, and leadership dynamics 26:15 – Romance, rivalry, or mentorship? Breaking down Genesis's motivations 30:05 – The prank war: War College vs. Starfleet Academy tone shift 33:40 – Lighthearted episodes and why they matter for long-term stakes 37:05 – Foreshadowing danger: loss, sacrifice, and Star Trek precedent 40:10 – Transition to Caleb and Tarima's reduced screen presence 43:20 – Tarima's choice of the War College and emotional self-control 46:30 – The inhibitor device, emotional suppression, and trope discussion 49:40 – Critiques of Tarima's arc and missed development opportunities 52:55 – Caleb's desire for belonging and team identity 56:10 – Comparing Episode 3 to Episodes 1–2 character focus shifts 01:00:05 – Predictions for romantic tension and future conflicts 01:05:40 – Who's most at risk later this season? Death theories emerge 01:10:55 – Academy life vs. real-world Starfleet consequences 01:17:30 – Final thoughts, season trajectory, and closing reflections

Anthony and Laurie start the podcast with a quick look at the Razzie Awards’ multiple nominations for the Star Trek: Section 31 streaming movie and some of the chatter around Starfleet Academy, which includes insults from blowhard politicians and excellent rebuttals from Gina Yashere on CNN and Whoopi Goldberg on The View. Then they review Starfleet Academy‘s third episode, “Vitus Reflux,” which definitely leans into the whole YA vibe. After that, they play Tony’s brand-new interview with Academy‘s Oded Fehr (Admiral Vance). Then Laurie gives a quick Trek Talks update and they both discuss the recent William Shatner-eating-cereal-in-his-car discourse.

Anthony and Laurie start the podcast with a quick look at the Razzie Awards’ multiple nominations for the Star Trek: Section 31 streaming movie and some of the chatter around Starfleet Academy, which includes insults from blowhard politicians and excellent rebuttals from Gina Yashere on CNN and Whoopi Goldberg on The View. Then they review Starfleet Academy‘s third episode, “Vitus Reflux,” which definitely leans into the whole YA vibe. After that, they play Tony’s brand-new interview with Academy‘s Oded Fehr (Admiral Vance). Then Laurie gives a quick Trek Talks update and they both discuss the recent William Shatner-eating-cereal-in-his-car discourse.

This week it’s a classic school rivalry between Gryffindor and Slyther–I mean the Academy and the War College! Will the students rise to the occasion? Will the militant Jem’Hadar take her blood pressure meds? Will the flighty space hippy put on shoes? All these questions AND MORE will be answered in our discussion of Ep […] The post Starfleet Academy “Vitus Reflux” – Earth Station Trek – Episode 247 appeared first on The ESO Network.

Strange New Pod reviews Starfleet Academy, “Vitus Reflux.”As our cadets compete for a spot on an elite Academy team, things get a little less… Starfleet when an escalating prank war erupts between the Academy and a rival school. With tensions rising, friendships tested, and a blossoming romance caught in the crossfire, the stakes climb fast.We're sharing our live reactions, breaking down the character moments, themes, and Trek DNA, plus opening up the mailbag to hear what you think.All that and more on Episode 271 of Strange New Pod.Send us a textSupport the show

Hosts Cam Smith and Tyler Orton walk out to hip-hop entrance music as they tackle the third episode of Star Trek: Starfleet Academy, Vitus Reflux. From cadet sport competitions, to character chemistries and War College, the duo highlight what works and what didn't.   Join our Facebook page for exclusive content such as videos and bonus episodes. And you can also visit our blog, or follow us on Twitter and YouTube! Send any other questions, topic ideas or feedback to subspacetransmissionspod@gmail.com! Related Podcast Episodes: Why the Stakes in Star Trek Matter Strange New Worlds: "Through the Lens of Time"   Join us next time as we review episode four of Academy, Vox in Excelso!

It's our first episode of the New Year and what a way to start 2026 on the pitch than a win away at Leverkusen, a club VfB hadn't enjoyed a win against in 15 matches (which gives Travis a chance to break out one of his favorite quotes of all-time from the great Vitus Gerulaitis!). The guys chat the match, the players, and the tactics before saying hello to one newbie and goodbye to an old friend. It was meant to be a short episode as we've got some more matches this week but can you blame the fellas for going over the top after such a big win?!

Vitus Winkler kocht mit alpiner Leidenschaft. Er kann Haut Cuisine genauso wie Wirtshausküche. Die Gault Millau Auszeichnung Koch des Jahres 2026 ist der vorläufige Höhepunkt seiner Karriere.Er gilt als momentan bester Koch Österreichs. Im Radio Salzburg Cafe bei Gabi Kerschbaumer plaudert er über Kräuter und Gewürze, Über Kindheitserinnerungen und Superlativen und wie für ihn der Advent schmeckt.

Early winter weather has us pondering an alternate definition of “slush pile,” albeit the mucky, grey residue remaining after a city snowfall. Our Slush Pile is far more fresh, but still a wintry mix as we discuss the short story “Catherine of the Exvangelical Deconstruction” by Candice Kelsey. You might want to jump down the page and read or listen to it in full first, as there are spoilers in our discussion!   The story is set on the day of the Women's March, following 2017's Inauguration Day, but only references those events in the most glancing of ways. Instead the protagonist glances away to an array of distractions: Duolingo, a Frida Kahlo biography, a bat documentary, European architecture, banjo music, a stolen corpse flower, daydreaming, and actual dreaming. In the withholding of the protagonist's interiority, Sam sees a connection to Rachel Cusk's Outline, while Jason is reminded of early Bret Easton Ellis. The editors discuss how fiction might evoke the internet's fractioning of our attention, by recreating the fractioning or reflecting it?   We'd like to offer congratulations to Sam whose debut book of short stories, “Uncertain Times,” just won the Washington Writers Publishing House Fiction Prize. As always, thanks for listening!   At the table: Dagne Forrest, Samantha Neugebauer, Jason Schneiderman, Kathleen Volk Miller, Lisa Zerkle, and Lilllie Volpe (Sound Engineer)   Listen to the story “Catherine of the Exvangelical Deconstruction” read in its entirety by Dagne Forrest (separate from podcast reading) (Bio): Candice M. Kelsey (she/her) is a bi-coastal writer and educator. Her work has received Pushcart and Best-of-the-Net nominations, and she is the author of eight books. Candice reads for The Los Angeles Review and The Weight Journal; she also serves as a 2025 AWP Poetry Mentor. Her next poetry collection, Another Place Altogether, releases December 1st with Kelsay Books. (Website): https://www.candicemkelseypoet.com/ (Instagram): @Feed_Me_Poetry   Catherine of the Exvangelical Deconstruction Catherine's thumb hovers over Duolingo's question, her mind dim from doom scrolling, chest dead as TikTok. The green owl stares. She swears its beak is twitching.  “Got 5 minutes?”  She swipes Duo, that nosy bastard, and his taunting French flag icon away. “Non.” The apartment is dim, the air too still. Days feel hollow and unhinged, as if she's Edmond Dantès tossed off the cliff of Chatêau d'If, a brief and misplaced shell weighted to the depths of the sea. So much for learning a language to calm the nerves. Frida Kahlo's face stares from the page of a book she hasn't finished reading. “I should just return this already.” There are days she commits to her syllabus of self-education and days she resents it. Kahlo's eyes pierce her, and giving up feels like large-scale feminist betrayal—how she has shelved the artist, her wounds, tragic love, and all. But even sisterhood is too much this January 21st, and of all people, Kahlo would understand. Catherine opens her laptop and starts a documentary about bats instead. Chiroptera. A biologist with kind eyes speaks of their hand-like bones, the elastin and collagenous fiber wings. The chaos of nature is its own magic realism. She learns bats are vulnerable like the rest of us. Climate disruption and habitat loss. Plus white nose syndrome and the old standby, persecution by ignorant humans who set their caves aflame. In the documentary, there is a bat with the liquid amber eyes of a prophet. Maybe that's what this world has had too much of, she begins to consider. Mid-deconstruction of decades in the white, evangelical cesspit of high control patriarchy, Catherine sees the world as one big field day full of stupid ego-competitions like cosmic tug-a-wars. And prophets were some of the top offenders. King Zedekiah, for one, had the prophet Jeremiah lowered into a well by rope, intending he sink into the mud and suffocate. All because he warned the people of their emptiness. Her mind wanders to Prague, to art, to something far away that might fill her own cistern life. “Maybe next summer,” she whispers. “Charles Bridge, St. Vitus.” The rhythm of bluegrass hums through the speakers, enough to anchor her here, in this room, in this thin sliver of a world she cannot escape. “That could be the problem; I need to learn Czech. No, fuck Duo.” J'apprendrai le français. J'irai à Prague. Je verrai les vieux bâtiments. But then, something strange. The banjo's pluck feels different, deeper, its twang splitting the air. She Googles the history of Bluegrass, and the words tumble from the page, layering like the weight of a corpse settling into the silt off the coast of Marseille. The banjo isn't Appalachian in origin but rather West African—specifically from the Senegalese and Gambian people, their fingers strumming the akonting, a skin drum-like instrument that whispered of exile, of worlds ripped apart. American slavers steeped in the bitter twisting of scripture trafficked them across the Middle Passage, yet in the cruel silence of the cotton fields, they turned their pain into music. How are we not talking about this in every history class in every school in every state of this nation? The akonting, an enslaved man's lament, was the seed of a gourd that would bloom into the sounds of flatpicking Southerners. Still, the banjo plays on in Catherine's apartment. A much more tolerable sound than Duolingo's dong-ding ta-dong. But she can't quite cleanse her mind of the French lessons, of Lily and Oscar. Il y a toujours plus. Her voice is barely a whisper, trying to reassure herself. There must be more. A recurring dream, soft and gleaming like a pearl—her hands moving over cool clams, shucking them on a beach house in Rhode Island. It's a faint memory, but no less ever present. Aunt Norma and Uncle Francis' beach cottage and the closest thing to a Hyannis Port Kennedy afternoon of cousins frolicking about by the edge of a long dock lured back by the steam of fritters. But this time, Ocean Vuong stands beside her. He's talking about the monkey, Hartford, the tremors of the world. And the banjo has morphed into Puccini's La Bohème, which laces through the rhythm of Vuong's syntax like a golden libretto. They notice a figure outside the window, a shadow in the sand—the new neighbor? He's strange. A horticulturist, they say. Catherine hasn't met him, but there are rumors. “Did he really steal it?” Vuong asks. She practices her French—it's a dream after all—asks “Le cadavre fleuri?” They move to whispers, like a star's breath in night air. Rumor stands that in the middle of California's Eaton fire, the flower went missing from the Huntington Museum in Pasadena. The Titan Arum, bloated and bizarre in its beauty and stench, just vanished. Fran at the liquor store says the new neighbor, gloves always pressed to the earth, took it.  At night, she hears him in the garden, talking to the roots. She imagines his voice, murmuring something incomprehensible to the moonlight. Like that's where the truth lies—beneath the soil, between the cracks of broken promises, smelling faintly of rot. She recalls the history she once read, so distant, so impossibly rotten. During WWI, when the Nazis swept through Prague, they forced Jewish scholars to scour their archives. They wanted to preserve the so-called “best” of the Jews—manuscripts, texts, holy materials—for their future banjo-twisted Museum of an Extinct Race. She shudders. The music, the wild joy of the banjo, now seems infected with something ancient and spoiled. The act of collecting, of preserving, feels obscene. What do you keep? What do you discard? Whom do you destroy? She wakes from the dream, her phone still alive with French conjugations. The bluegrass hums, but it's heavier, like a rope lowering her into Narragansett Bay. The neighbor's house is dark. But she thinks she can see him, a silhouette against the trees, standing still as a warning. Everything is falling apart at the seams, and she is both a part of it and apart from it. Like each church she left, each youth group and AWANA or Vacation Bible School where she tried to volunteer, to love on the kids, to be the good follower she was tasked with being.  She leans her forehead against the cool glass of the window, closing her eyes. The ache is there, the same ache that never quite leaves. It's sharp, it's bitter, it's whole. The small, steady thrum beneath it all. Il y a toujours plus. Maybe tomorrow she will satisfy Duo. Maybe next fall she will dance down a cobbled street in Prague. Find five minutes to feel human. Perhaps she will be whole enough, tall as St. Vitus Cathedral, to face whatever is left of this America. She closes her eyes to Puccini's Mimi singing Il y a toujours plus and dueling banjos while her neighbor secretly drags a heavy, tarp-covered object across his yard under the flutter of Eastern small-footed bats out for their midnight mosquito snack. A scene only Frida Kahlo could paint.

Volles Haus und Blick auf die Hits von heute sowie die Hoffnungsträger von morgen: Gregor konnte sowohl METROID PRIME 4: BEYOND als auch DRAGON QUEST VII REIMAGINED anspielen! Andreas und Vitus zocken ANNO 117: PAX ROMANA, Andreas ist außerdem Dino-Baby-Experte in JURASSIC WORLD EVOLUTION 3. Die Kampagne von CALL OF DUTY: BLACK OPS 7 sorgt bei Fabian und Vitus für Ernüchterung. VALVE tröstet uns mit der Ankündigung NEUER HARDWARE: CONTROLLER, STEAM MACHINE und VR-HEADSET kommen. Eindrücke zur finalen Version von DISPATCH und kleinere Perlen wie ENDER MAGNOLIA und BRU & BOEGIE runden diesen GAME TALK ab. Rocket Beans wird unterstützt von Peugeot. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, Ashley Quinlan drops in with host Jack Luke to talk over the biggest stories in cycling.    They discuss the return of Vitus, Nukeproof and dhb following the folding of the Wiggle/CRC group, and then move onto the hottest bike launch of the week – a new track bike from Italian brand Colnago. Then, they cover some flashy new light up pedals from Look which are claimed to boost rider visibility by over five times!   Finally, it's time for Rant of the Week, with Jack feeling all warm and fuzzy following his visit to the UK National Hill Climb Championships in Matlock the previous weekend. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Sibos 2025 has been and goneJust before SIBOS Owen McDonald and Vitus Rotzer from Bottomline broke down the likely hot topics for the event - from the seismic ISO 20022 migration shift and G20 goals cross-border payment goals to real-time payments expectations. Vitus predicted a focus on upgrading legacy and siloed systems to enhance resilience and compliance, combat fraud, and transform automation in banking. If you're into financial messaging, digital banking, or just want to stay ahead in payments, this episode is packed with insights you won't want to miss including:The impending ISO 20022 deadline being the beginning of the beginningHow the G20's cross border payment goals are causing a rethink of the traditional modelThe benefits and challenges of pre-verification at scaleHow real time payments are reshaping expectationsWhat does resilience really mean for regulators and strategic priorities?Were Vitus' predictions on the money?

In Teil 2 unseres DCEU-Plauschangriffs geht es weiter mit richtigen "Krachern" wie BLACK ADAM, BLUE BEETLE oder dem zweiten AQUAMAN, aber auch der Übergang zu James Gunn inkl. dem exzellenten THE SUICIDE SQUAD wird von Gregor, Viet und Vitus thematisiert. Und, was ist euer Liebling? Werbung: https://linktr.ee/Podcastsrbtv Learn more about your ad choices. Visit megaphone.fm/adchoices

Moin zu einer neuen Folge GAME TALK! Jasper und Fabian haben sich durch SILENT HILL F gekämpft. Ist es so gut wie das Remake von Teil zwei? Oder gar noch besser? Vitus war derweil in DYING LIGHT: THE BEAST und BORDERLANDS 4 am Ballern und Breitschlagen. Auch in GEARS OF WAR: RELOADED rummst es ordentlich, während SKATE als F2P-Spiel auf dünnes Eis fährt. THE ROGUE PRINCE OF PERSIA ist aus dem Early Access raus, mit STAR WARS OUTLAWS auf SWITCH 2 und HELLDIVERS 2 auf XBOX gibt es zudem zwei prima Ports. Rocket Beans wird unterstützt von Peugeot.

Jack Luke is joined by Simon von Bromley are back for another episode of the BikeRadar News Podcast.  This time, the pair discuss Vitus' return from the dead, the revival of the tri-spoke, a wild bargain for sports memorabilia hunters, and Simon's take on the new crop of hybrid TT/aero helmets. -          Read more on Simon's helmet test: https://www.bikeradar.com/features/opinion/time-trial-helmets-for-road-cycling-test   -          Vitus back from the dead: https://www.bikeradar.com/news/2026-vitus-hardtails-nucleus-sentier -          AeroCoach's new wheels: https://www.bikeradar.com/news/aerocoach-thunderbolt-tri-spoke-wheel   -          Bradley Wiggins' Olympic bike on eBay: https://www.bikeradar.com/news/bradley-wiggins-2000-olympics-bike Learn more about your ad choices. Visit podcastchoices.com/adchoices

IntroductionEach year millions of tourists visit the Czech capital, awed by its blend of architectural styles and dramatic landscape. St. Vitus's Gothic cathedral towers above the Charles Bridge and the Vltava River, while winding alleys lead to elegant squares lined with Renaissance palaces, Baroque statues, and modern glass structures. Yet this beauty obscures centuries of conflict — ethnic, religious, political, and more typically mundane conflicts— beginning when Prague was just a fort on a hill above a river. Presumably it wasn't built there for the view.In her new book, Prague: The Heart of Europe, Cynthia Paces traces the city's history from the late ninth century, when Slavic dukes built the first fortifications and church, through eleven centuries of triumph and tragedy. Prague has been both an imperial center of a great empire and a city on the periphery of empires—several of them. It became a European capital of art, politics, and pilgrimage, endured religious wars and defenestrations, and was nearly destroyed in the Thirty Years' War. At the beginning of the twentieth century it was celebrated as a beacon of democracy, only for its citizens to endure violent antisemitism, Nazi occupation, and communist repression — before once again becoming a beacon of democracy.Through her story of Prague we come to understand the truth of Franz Kafka's observation: “Prague does not let go; this little mother has claws.” Our conversation moves across centuries of wars, saints, emperors, rebellions, and revolutions to show why Prague still grips the imagination.About the GuestCynthia Paces is Professor of History at The College of New Jersey. She is the author of Prague Panoramas: National Memory and Sacred Space in the Twentieth Century and co-editor of 1989: The End of the Twentieth Century.For Further InvestigationCynthia Paces, Prague: The Heart of Europe (Oxford University Press, 2025)—Prague Panoramas: National Memory and Sacred Space in the Twentieth Century (University of Pittsburgh Press, 2009)Chad Bryant, Prague in Black: Nazi Rule and Czech Nationalism (Harvard University Press, 2007)Derek Sayer, Prague, Capital of the Twentieth Century: A Surrealist History (Princeton University Press, 2013)Related Episodes“Edges are Interesting: A History of Eastern Europe”“City of Light, City of Darkness”“Madrid”Listen & DiscussHow does Prague's geography help explain its importance across European history?What does the Prague Spring reveal about the continuing interplay in Prague's history of freedom, repression, and resilience? Share the podcast with someone who has visited Prague, or who has always meant to.

Nachedem Gregor, Vitus und Viet das Snyderverse besprochen haben, ist nun das gesamte Film-DC-Extended-Universe dran! Im ersten von zwei Teilen setzen wir uns u.a. mit SUICIDE SQUAD, AQUAMAN, WONDER WOMAN und auch SHAZAM auseinander. Dazu gibt es einen kleinen Bonus mit einem Interview mit Tommy Morgenstern, der Stimme hinter Son Goku und Thor aus dem MCU! Werbung: https://linktr.ee/Podcastsrbtv Learn more about your ad choices. Visit megaphone.fm/adchoices

Im Plauschangriff besprechen wir heute das Werk von Zack Snyder, insbesondere die Superhelden-Filme wie MAN OF STEEL, BATMAN V. SUPERMAN und die JUSTICE LEAGUE! Aber auch noch seinen anderen Streifen werden Gegenstand der Diskussion von Gregor, Vitus und Viet - wir können doch schliesslich nicht 300 und WATCHMEN auslassen, oder? Plus unser Review zu JAMES GUNN'S SUPERMAN! Learn more about your ad choices. Visit megaphone.fm/adchoices

Wir haben das Thema "Call of Duty" ja bereits im Plauschangriff behandelt... allerdings war das 2012 und wir sind damals bis Black Ops 2 gekommen, welches ironischerweise im Jahr 2025 spielt. Umso passender ist es nun, wenn wir das Thema wieder aufgreifen und im Plauschangriff mit Gregor, Viet und Vitus nun auch all die Jahre mit Advanced Warfare, Infinite Warfare, WWII, Black Ops 3 bis 7, die Modern Warfare Reboots, Warzone uvm. in der 2025'er Ausgabe ganz frisch belabern! Werbung: https://linktr.ee/Podcastsrbtv Learn more about your ad choices. Visit megaphone.fm/adchoices

Can hybrid grapes revolutionize the wine world? Adam Huss — Host of the Beyond Organic podcast and Co-owner of Centralas Cellars breaks down what a hybrid truly is, explaining how traditional breeding — and nature itself — has long crossed grape species. With over 70 grape species worldwide, today's modern hybrids are the result of generations of crossing, backcrossing, and innovation. We explore the impact of WWII on agriculture, France's ban on hybrids in appellation wines, and why developing new hybrids is critical for disease resistance, flavor discovery, and more sustainable farming. Plus, Adam shares insights into trialing the “married vine” system — a potential game-changer for soil health, pest management, and flavor expression. Resources:         135: Cold Hardiness of Grapevines 217: Combating Climate Chaos with Adaptive Winegrape Varieties 227: Andy Walkers' Pierces Disease-Resistant Grapes are a Success at Ojai Vineyard Adam Huss – LinkedIn Centralas Organic Wine Podcast South Central Los Angeles Couple Opens New Winery Dedicated to Organic Values, Transparency, Inclusion Wine's F- Word 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 [00:00:03] Beth Vukmanic: 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 [00:00:13] In today's podcast, Craig Macmillan, critical resource manager at Niner Wine Estates with longtime SIP Certified Vineyard in the first ever. SIP Certified Winery speaks with Adam Huss, host of the Beyond Organic Podcast and co-owner of Centralis Cellars. [00:00:32] Adam breaks down what a hybrid truly is, explaining how traditional breeding and nature itself has long crossed grape species with over 70 grape species worldwide. Today's modern hybrids are the result of generations of crossing, backcrossing, and innovation. [00:00:50] We explore the impact of World War II on agriculture, France's ban on hybrids and Appalachian wines, and why developing new hybrids is critical for disease resistance, flavor discovery, and more sustainable farming. [00:01:03] Plus, Adam shares insights into trialing the married vine system, a potential game changer for soil health, pest management, and flavor expression. [00:01:12] When Lizbeth didn't get into nursing school on her first try, she could have given up. Instead, she partnered with her mentor Alex, to make a new plan, attend classes part-time, build up her resume and get hands-on hospital work experience. Now Lizbeth has been accepted into Cuesta College's nursing program and her dream of becoming a nurse is back on track. [00:01:36] Lizbeth is a Vineyard Team, Juan Nevarez Memorial Scholar. You can help more students like her who are the children of Vineyard and winery workers reach their dreams of earning a degree by donating to the Juan Nevarez Memorial Scholarship. Just go to vineyardteam.org/donate. [00:01:53] Now let's listen in. [00:01:58] Craig Macmillan: Our guest today is Adam Huss. He is the host of the Beyond Organic Podcast and also co-owner of Centralis Winery in Los Angeles, California. And today we're gonna talk about hybrid grape varieties. Welcome to the podcast, Adam. [00:02:11] Adam Huss: Thanks, Craig. I really appreciate it. Thanks for having me. [00:02:17] Craig Macmillan: So let's just start with the basics. What are hybrid grape varieties? [00:02:22] Adam Huss: I should also say I'm a fan of your podcast as well, so it's really fun to be here. [00:02:26] Craig Macmillan: Thank you. Thank you. [00:02:28] Adam Huss: Been listening for a while. So hybrids, I mean, it's really simple. It's funny, I see stuff on Instagram sometimes where people just are so misinformed and they think that, you know, hybrid means like GMO or something like that. [00:02:41] A hybrid simply is just, you take pollen from grape X, you put it on flowers from grape y, and if those two grapes are from different species, you have a hybrid. If they're from the same species, you just have a cross, and this is something that has been part of traditional breeding since forever. It's also what happens naturally in the wild. [00:03:00] Or I hate, I actually just use two words I try not to use at all, which is like natural and wild, but in forests and streams forests and backyards without human intervention, these pollen get exchanged by wind and everything else and have led to, you know, some of the more. Old popular varieties of grapes that are, considered hybrids that we know of now, like Norton and Isabella and Kaaba. [00:03:23] Nobody actually crossed them. They just happened. So yeah, that's, that's a hybrid. It's very simple. [00:03:29] Craig Macmillan: That's what they are, what aren't they and what are some of the myths surrounding them? [00:03:33] Adam Huss: yeah, great question. You can't generalize about hybrids. Generally speaking. So that's really important thing for people to wrap their heads around, which is because. You know, we'll get into this, but so much, so many hybrids are, and just hybrids in general, are wrapped up in prejudice because we live in this sort of viniferous centric wine world. [00:03:56] You know, , those of us who are in wine, but there, you just can't generalize. The qualities of hybrids are just like humans. Like it depends on what your parents are. You know, you, you get different things every time you mix 'em up and you're not like your brother or sister. If you have a sibling, you know you're gonna be different from them even though you have the same parents. [00:04:13] So that's the same thing happens with grapes. There's genetic diversity and mutation happens and. For hybrids, , the possibilities, the potentials are literally infinite. It's pretty incredible to know that possibility exists. There are over 70 species of grapes on earth besides vitus vara, and if you cross any of those two varieties, yeah, you'll get a genetic cross that's 50 50 of, of two different species. [00:04:40] But that. Within that you could do that cross again and get a different variety of grape, even with the same cross. So it's just amazing. [00:04:51] The modern hybrids that are now out there are. Often multi-species crosses and have been crossed. Generationally again and again and back crossed and recrossed. And so, you know, I was just looking at a hybrid grape that had five species of grapes in its family tree. I mean, there are family trees that would make the royals blush, honestly, in some of these hybrids. [00:05:11] So it's not, it's not something that is just, can be just said. You can say one thing about it or that. And, and the idea of hybridizing doesn't imply anything at all, really, like it is just this process that happens that we've been doing for a long time. This might be a good thing to dispel some of the prejudices. [00:05:34] You know, something like the word foxy often gets thrown around when we start talking about hybrids. I did a whole podcast about this what's really interesting, I just brought this word up to a, a young couple here in LA who are growing grapes and they, they had no idea what I was talking about. [00:05:49] So that's kind of encouraging. Like in, in the younger generations, these prejudices and some of these words that we inherited from the last century , are dying out truly. Which is great, but it still persists and you still hear it a lot and. If anybody goes online and researches some of these grapes, so much of the information available online is actually still misinformation and prejudiced because it comes from this vinifirous centric culture. [00:06:15] And so it's really important for people to understand that like foxy is not what it sounds like. It sounds like it would be this animalistic, musky, maybe scent gland tinged aroma, flavor thing, but. If you taste the grapes that are known as foxy and you go, you know, start researching this by tasting, you'll find that it's actually kind of delicious. [00:06:37] It's usually fruity and you know, candy like strawberry raspberry flavors. And for those of us in the US. It's often something we associate with Grapiness because of Welchs. And the flavors of Welchs, which come from the Concord grape, which is a Foxy grape, are these grapey flavors that we grew up with. [00:06:57] This sense of like grape candy and stuff like that. And that's a lot of times what you find in these, but again, it depends a lot on. The level of the compounds that are in that specific hybrid. Again, you can't, you can't generalize. And just like with anything, if you mix different compounds together, you'll get these nuances and you might have some of that flavor or aroma, but it'll be blended with other things. [00:07:17] And so it takes on new characteristics. So it's way more complex than just thinking like a. All grapes that are hybridized are foxy. That's absolutely not true. Or that foxy is this monolithic thing or that foxy is bad. None of those are true. And then really the other thing to realize is in. Grapes in the native North American varieties of species of grapes. [00:07:41] There's really only one that has been used traditionally in grape breeding and hybridization that has these flavors. And that's Vitus labrusca. It just happened to be used quite a bit because it's endemic to the East coast where a lot of the Europeans who started all this breeding were living and, and it was, you know, very readily apparent in the forest of the East coast. [00:07:59] So that. Got used a lot and it's also got a lot of great qualities of fungal resistance and stuff like that. Muscadine is the other grape that has it, but it's got a different genetic structure so it doesn't get crossed a lot or hybridized a lot. [00:08:11] Craig Macmillan: So like, what are the advantages of hybrids where you take vinifira and you cross it with a Native American indigenous grape? What are the benefits? [00:08:21] Adam Huss: Yeah. Another great question. Just , the historical perspective on this is really important. I think. So, you know, Europeans came here a couple hundred years ago, and eventually they brought some of their favorite plants over, one of which were their grapes. And what they noticed right away is that their grapes, I. [00:08:38] Suffered and died without exception, just across the board. Anything they brought over grape wise just kept dying, kept dying. You know, many people tried for a century at least, you know, including people like Thomas Jefferson, people with enormous amounts of resources, and they just failed. They failed to grow these grapes. [00:08:56] Meanwhile, you know, these things like. Norton, this, these hybridized grapes started developing and people noticed like, oh, this grape, it's crossing with some of , the local varieties and it's doing really well. So they began to realize, like they didn't know then that part of, one of the benefits that you get is phylloxera resistance, for example. [00:09:16] But that was a big one and came to save, you know, Europe's wine industry at the end of the 19th century. But also you have these grapes that . Evolved with the fungal pathogens of this, of these climates of North America and other places around the planet. So they've developed resistance and tolerance for all these things. [00:09:38] And so when you cross them with vinifira, you get some of the desirable characteristics that you might like from Vera, and hopefully you'll get some of that, you know, hardiness and fungal resistance and some of the other, just. General benefits of having hybridized interesting new flavors and characteristics [00:09:56] Craig Macmillan: have you seen some examples of this in your, in your travels? [00:10:01] Adam Huss: the fungal resistance and things like [00:10:03] Craig Macmillan: resistance or Pierces disease resistance or anything like that. [00:10:07] Adam Huss: Oh yeah. I mean, I. Whew, so many. I mean, the fact that people can grow grapes organically in Vermont for example, relies almost entirely on hybrids. You know, first of all, they have extremely cold winters there. They have extremely wet, hot, humid summers there. And if you try to grow vinifera there the only way to do it is with chemicals and, and a lot of heartache and, and high risk agriculture. [00:10:35] But here we have somebody like Matt Niess, who's working entirely with hybrids, with his winery, north American Press, and basically he's not using any sprays in any of his vineyards in here in California because these. These grapes have genetics that developed for resistance to the fungal pathogens of the East Coast. [00:10:55] And so you bring them to this nice dry, you know, Mediterranean climate, they're just like, they're crazy. They're like you know, they're, you can basically spray free now. I mean, some people have a problem with zero sprays because they don't want things to develop, but he has a 70-year-old baco noir vineyard, for example, that's in like a wet region in Sonoma that. [00:11:18] He has never sprayed and it's pumping out grapes and looking beautiful every year. And the really interesting thing about it's, there are some inter plantations of vinfiera in that like somebody. Planted something. Maybe it was Pinot Noir in with the Baco. It's like one every, you know, like there's only a few, a handful of these scattered throughout the acre of the Baco noir, and you can tell which ones those are every year because they're just decimated by mildew by the end of the year, whereas the Baco is just spotless and beautiful. [00:11:46] So that's a really like obvious, [00:11:49] Craig Macmillan: What are the wines like? The bako noir? I've never had a bako noir. [00:11:53] Adam Huss: Oh, his wines. Well, so Baco is nice. It's, I mean, it's higher acid. It's almost like a high acid. Gosh, I don't know what, it's hard. I, I, I hate to go down the rabbit hole of like trying to compare it to a vinifira, but it is unique. But it's a deep red almost interior, like with deep purple, higher acid flavors, but pretty balanced, really luscious. Dark fruited flavors maybe a little. Like Syrah, like meatiness, there may be a touch. You might find that it depends on the year. He's had a couple different vintages, so it's been really interesting to see. I'm, I'm kinda like loving following that year by year, seeing the vintage variation and what. [00:12:35] Different things come out because nobody's really doing this. Nobody's, nobody's experimenting with these. So we don't really know how they'll do in, in California other than what he's doing. And just a couple other growers. But he also this year introduced awba for the first time back into California. [00:12:50] The last catawba Vines were ripped out of California in like the sixties, and he, planted some and finally was able to harvest a crop this year and released what was once. California, I mean, the America's most popular wine from the Ohio River Valley is sparkling catawba, and it's like pink and just delicious, beautiful, beautiful stuff. [00:13:10] If I can step back, I think a lot of the discussion of hybrids, again, comes from this perspective of vinifira culture and how do we. Help vinifera become better. How do we use these hybrids as a tool to help, you know, this sort of vinifira centric culture? But I, I would, I'd like to reframe it. [00:13:31] I think a better way to look at this is hybridization is kind of just what we always do with agriculture. It's how you evolve and adapt your agriculture. Ecologically in the absence of modern chemistry that we have. So like before World War ii, and part of, and this is part of the history, France's history too, is like, you know, we had RA decimating their, their vineyards as well as. , we didn't just bring phylloxera back from North America, we brought BlackRock, Downey mildew, powdery mildew. So , their vines were just like dying. Like they were just dying. And so there was this urgent need and a lot of the hybridization, a lot of, some of our, you know, hybrids like Save El Blanc and things like that. [00:14:15] Came from French breeders who were just trying to save the French wine industry. Like they just wanted to have wine, let alone vinifira. You know, it was that. It was pretty bad at the end of that set, you know? And so they developed these new things and then we, you know, things like Isabella and catawba and things like that were coming over from North America, some of our hybrids that came from here, and pretty soon they had these really productive, really hardy vines with new, interesting flavors that. [00:14:41] People kinda liked 'cause they are like fruity and delicious and interesting and new and, and if you're a farmer and you have less inputs and you get a more productive, like higher yields on your vine, like, it's just kind of a no-brainer. And so people were just planting these things. They really were taking off. [00:14:59] And in 1934, the French were like, whoa, whoa, whoa. Like our, our, first of all, our. Ancient vinifera cultures are going to be completely diluted, but second of all, we're gonna devalue the market 'cause we're gonna have all this like, it's too abundant, you know? So they made, in 1934, they made hybrids illegal in the French Appalachians. [00:15:17] And so that legacy is something that still sticks with us. Of course then World War II happened and we. Didn't really pay much attention to wine at all 'cause we were just trying to survive. But once World War II was over and the the war machine transferred into the pesticide and industrial agricultural machine, the French realized they could keep Vera alive on root stocks of American hybrids or American native varieties by spraying them with these new novel chemistry chemicals. [00:15:49] And so then they started enforcing the ban on hybrids because they could, and they knew they could have the, this alternative. And so that's when you saw like they had their own sort of version of reefer madness where you, you saw a lot of misinformation and hyperbole and outright propaganda and lies about these, these grapes because they were trying to get them out of French vineyards. [00:16:10] It's important to realize that Ban the EU just lifted the ban on hybrids in Appalachian wine in 2021. So it's kind of not surprising that some of these prejudices and misinformation still persist today. We're not too far away from that. I. [00:16:26] Craig Macmillan: And, and why was the band lifted? Do you know? [00:16:30] Adam Huss: That's a great question. It's, it was lifted for ecological reasons because they're realizing these are really important to dealing with climate change. This is like, if you want a sustainable industry, you need to be able to adapt. When you're inside this, this world of vinifira, what I call the vinifira culture, which is, you know, very centered on Vera. [00:16:50] You don't realize how strange it is. You know, it's kind of like growing up with a, a weird family, you know? It's all you know, so you don't know how strange they are until you start seeing the rest of the world. But to think that, you know, 50 years ago we just decided that maybe like. 10 grapes were the pinnacle of viticultural achievement for all time, and we've basically invested all of our energies into, you know, propagating those around the planet and preserving them at all costs is kind of strange when you think about the whole history of agriculture. [00:17:20] And it's really only possible because of cheep fossil fuels and the novel chemistry that we. Have put into our systems. And so if you take those out, if you start thinking ecologically about how do you develop a wine system, I mean the question is like, does it make sense when farming in a world where the only constant is change and we just live in a dynamic world, does it make sense to try to do everything you can to prevent change? [00:17:45] Like is prevention of change like a good strategy? And so I think, you know, diversity and adaptation are. What have always worked, you know, historically through agriculture, and that's kind of the future. I mean, in a real sense, vinifera culture is the past and hybrids are the future. If we want to have a future, there's my enthusiastic, [00:18:09] Craig Macmillan: Well, I'd like you to expand a little bit more on that. 'cause we we have a group of hybrids that are well known or are commonly used. I've, I've been hearing about Marquette a lot more, um, As having a lot of potential WW. What does that future potentially look like and what are some things that would have to happen for that potential to be realized? [00:18:31] Adam Huss: So we have invested, you know, millions of dollars in time and energy and even policy into developing, , the chemicals that we now use to support our, viticulture. And to make it possible in places like Virginia, where, you know, they're developing a whole wine industry there around vinifira in a climate that is, you know, like I said, that was the climate that like Thomas Jefferson failed for and everyone else for hundreds of years failed to grow it there. [00:18:59] If we invested that same amount of time and energy and money into breeding programs and into. Research for the kinds of things that we're now discovering, like DNA markers so that we can have DNA marker assisted breeding. So you're, you're speeding up the breeding process by sometimes two, three years. [00:19:19] Which is, which is significant in a process that can take, you know, 10 to 20 years that any, any little bit helps. So that kinda stuff and just more of it, more private breeders, making it more valuable for private breeders. I always think it's really interesting that like billionaires would rather just do another sort of like cult. [00:19:39] Ego, Napa cab investment, you know, rather than like breed their own personal variety of grape that nobody else could have. I mean, I'm not recommending that, but like, to me that seems really interesting as an idea. You could just have your own proprietary grape variety if you wanted to, you know, but nobody's thinking that way. [00:19:58] But I would say breeding, putting our, our time and energy into breeding not new varieties is, . Really important and, and working with the ones that are already there, I mean. The only reason California's so such strangers to them is because it's so easy to grow here. You know, we're relatively speaking and I get that. [00:20:15] I mean, you know, people like what they like and, and change is hard and market conditions are what they are. But I think we're at a point where. Marking conditions are changed. Like I said, you know, this young couple I was just talking to don't, don't have never even heard the word foxy. And so I think there's a lot more openness to just what's in the glass. Now. [00:20:35] Craig Macmillan: So some. Of it's messaging. If we can have wines that people can taste and do it in a context that's new to them. So there may be an opportunity here with newer wine drinkers or younger wine drinkers potentially, is what it sounds like to me. [00:20:48] Adam Huss: Yeah, and I. I mean, some of this is also realizing all the different ways that hybrids are already being used and could be used. Like, you know, we know you mentioned Pierce's disease. Pierce's disease is this disease that's endemic to California and is heading north. I mean, it's really on the threshold of all of the major wine regions of, of California. [00:21:11] And the only ways . To stop it without hybrids, without resistant hybrids are, are pretty intense. You know, it's like eliminating habitat through, , basically creating a sterile medium of your vineyard and then spraying with insecticides, you know some, sometimes pretty intense insecticides. [00:21:29] The alternative though is there are now multiple varieties of grapes that are. Resistant to them that are tolerant to it so they, they can carry the bacteria, but it won't affect the health of the vine. Those were bred, some of them here, right here in California at uc Davis. And yet if you go to the University of California Agricultural Network Resources page that, you know, kind of handles all the IPM for California, sort of like the resource. [00:21:56] And if you read about Pierce's disease, it makes zero mention of using tolerant. Varieties as a management strategy. And it makes no mention that there are even are tolerant varieties to Pierce's disease as a management strategy. So just that kind of stuff is the shift that has to happen. 'cause it just shows how vinifera centric our entire industry is, like from the top down, even when there are these great strategies that you can use and start implementing to combat these things, ecologically versus chemically. [00:22:25] They're not there, you know, they're not being mentioned. So just little things like that would go a long way. Also, you know, I mean, one of my fun little facts is like. There are already hybrids being used significantly, like probably everybody on who's listening to this has, if you've bought a bottle of wine at a grocery store that was under 20 bucks, you've probably drunk hybrids because 10,000 acres of ruby red is grown in California to make mega purple and mega purples. Pretty much in every, like, you know, mass produced under $20 bottle of wine and it's got esra, Vitus, esra in it. So you've probably been drinking hybrids and not even known about it. [00:23:04] In terms of these Andy Walker hybrids, I do have a little that which were bred for Pierce's disease resistance. I also have kind of a fun story in that I, as you know, like we've, we've both talked to Adam Tolmach, who replanted a whole block that he lost to Pierce's disease with these hybrid varieties, and these are designed specifically to retain a lot of vinifira characteristics. They're like 97% back crossed to be. vinifira and 3% with Vitus, Arizona to have that Pierce's disease resistant specifically. So they don't have a lot of the other benefits that like a higher percentage of North American native varieties would have. Like they, they're still susceptible to powdery mildew and other mildew pretty, pretty intensely, [00:23:44] but just in terms of flavor for anybody who's out there. So I've, I've barrel tasted with Adam. Tasted each of those varieties individually out a barrel. And then we went to his tasting room and tried all of his wines and, and got to, and then he, instead of keeping, he has two red hybrid varieties, two white hybrid varieties, and he blends them and makes a, you know, a, a red blend and a white blend that he calls a state red and state white. [00:24:09] And we went to his tasting room and he makes beautiful wine. All of his wines are great, but no joke. Everybody in my party. Preferred the hybrids to like all of his pinots or raw chardonnay, I mean, I have no idea why. I mean, but, and that's just anecdotal, obviously nothing scientific, but the very least I can say the, the flavors are exciting and delicious. [00:24:29] Right. [00:24:30] Craig Macmillan: If you can get them in front of the consumer, [00:24:33] Adam Huss: Yeah. [00:24:33] Craig Macmillan: the key. That's really the key. [00:24:35] Adam Huss: Right, right, [00:24:36] Craig Macmillan: And for, your own wine making. Are you making wine from hybrids for yourself? [00:24:40] Adam Huss: Not yet just 'cause there are, there just aren't any in California very much, you know, I mean, it's like little patches here and little patches there. And the people that have them are using them for themself, you know, for their own growing. They've grown them specifically you know, Camus has planted some of these Andy Walker hybrids along their riparian corridors to prevent Pierce's disease. [00:24:58] Those varieties specifically are being used. I don't know if they're blending those in. With like their cab or whatever. I honestly think they could, but I don't know if they are. They're probably, I dunno what they're doing with them, but I do grow them here in Los Angeles and I'm, but they're, you know, it's like I'm trying out a bunch of different things, partly just to see how they do, because, you know, they haven't been grown here. [00:25:21] They were developed for colder, wetter climates and so, you know what, how will they grow here in Los Angeles? There's a lot of unanswered questions for some of these. [00:25:30] Craig Macmillan: You and I were chatting before the interview and you have a, a new project that you're very. Excited about tell us a little bit about that, because I thought that was pretty cool. [00:25:39] Adam Huss: Yeah. Thanks. So this past summer, my wife and I finalized the acquisition of this farm in upstate New York that I'm going to develop into a. Married Vine Vida Forestry Demonstration and Research Project. And, and married vines, essentially vines growing with living trees. [00:26:02] But the best way to think about it is if you know the three Sisters of Agriculture, the corn, beans and squash idea, where you plant these. This guild of, of a Polyculture guild, and they have these symbiotic stacking benefits and productivity. This is what a married vine polyculture is for perennial agriculture. And so I don't just see it as vine and tree, but also vine and tree, and then a ground cover and or small shrubs or things like that that are also perennials planted in a guild together to create these stacking benefits and productivity. [00:26:35] Multiple productivity layers as well as making it a grable system because the vines will be up in trees and and we're gonna call it the Beyond Organic Wine Forest Farm. [00:26:47] Craig Macmillan: So gimme some more detail on this. So like, what are the other plants that are in the forest and how are the vines, what's the spacing like? How, how many trees per vine or vine per tree? [00:27:01] How is the vine trellis? Um, I just, I'm really curious about this idea because this goes back to very, very ancient times. [00:27:09] Adam Huss: Yes. Yeah, yeah, [00:27:09] Craig Macmillan: Uh, that I've read about. I've never seen evidence of it, but I have been told that going back to like Roman times, they would plant grapevines, interplant with things like olives, [00:27:18] Adam Huss: yeah, yeah. Yeah. And [00:27:20] Craig Macmillan: use the olive as a trails. [00:27:22] I mean, is this the, is this the same kind of concept? [00:27:24] Adam Huss: You can see some of this still in Italy. So even pre roam the Etruscan times is what the oldest versions of this that are still visible in Campania, just north of Napoli, I think is the largest married vine system that is still in production. And I think it's about, it might be about 34 hectares of this variety where they have elm trees. That are really tall, full sized elm trees. [00:27:51] And then between them they sort of have wires or ropes between the trees and the vines grow up like up 15 meters. Like it's crazy. Like the guys that harvest this, they have like specially designed ladders that are built for their stance so that they can like lock into these 18 meter ladders and be up there like with a little pulley and a bucket, and they're lowering grapes down from way up in the end. [00:28:14] And you get. So many cool things about that, you know, the, the ripeness and the PHS of the grapes change, the higher you go up in that system. , the thinking is they might have even been used to like. Just inhibit invading armies because , it's like a wall of vines and trees that create like almost a perimeter thing. [00:28:33] That that's also how they're being used in Portugal, they are sort of like if you have a little parcel of land, you use trees and vines to create like a living fence keep your domestic animals inside. And animals that might eat them outside and protect, you know, from theft and things like that. [00:28:51] Keep all your crops in a little clo, like a little controlled area. There are old systems where. They're more like feto systems where they were using maple trees and just pollarding them at, at about head height. And every year, every year or two, they would come in and clip off all the new growth and feed it to the livestock. [00:29:10] And meanwhile, the vines were festooned between the, the maple trees is like, you know, just like a garland of, of grapevine. So there's a lot of different things. And what I wanna do is trial several of them. One of the most. Interesting ones that I just saw in whales uses living willows, where you literally just stick a willow slip in the ground, bend it over to the next one that's about a meter and a half away and attach it. [00:29:35] And so you have these arched willow branches that grow once you stick 'em in the ground. They start growing roots and they create like a head high trellis, like a elevated trellis system, and you plant vines in them. And, and it literally looks just like. Like a row of grapevines that you would find here, except the, the trellis is alive and there's no wires and, and you prune the tree when you prune the vine in the winter, you know? [00:29:58] And Willow, I, I don't know if you know, but the, the other interesting thing about that is like willow has been used historically that the salicylic acid is known. Obviously that's aspirin and stuff like that. That's where we get, you know, one of our oldest like pain relievers and things like that. [00:30:12] But. It's used in biodynamic preps as well as an antifungal. And so there's some thought that like this system could be really beneficial to the vines growing with those. Specifically for that, like for antifungal properties or just creating a, you know, showering the vines with this, this salicylic acid thing that will help them grow and have health throughout the season without, with, again, reduced need for sprays of anything. [00:30:37] Craig Macmillan: Yeah, and that was why I brought it up is because there's the idea of working with the natural ecology of what's in the germ plasm of native plants. I. Mixing with an import plant. [00:30:51] And then there's the other way of looking at it and saying, well, what, what about recreating the conditions under which this plant that has evolved in the first place? And I, I just think that there's really fascinating concept. It's really intriguing to me. [00:31:05] yeah. And there's so many different ways you could do it, and that's why it's interested in what you're planning on doing, because there's obviously a lot of ways you could do it. [00:31:11] Adam Huss: Yeah, I wanna experiment with several. Like you said, the, the soil benefits are incredible potentials. And then when you're also thinking about what do I do besides just vines and trees, and I mean, the other thing is like. How does it make the wine taste? Like if you plant a vine with an apple tree or a, a black locust tree, or a honey locust tree, or a, or a mulberry tree, like, does, is the vine happier with one of those trees? [00:31:35] You know what I mean? Does it, does it, you know, and if it is, does that make the wine taste better at the end of the day? All these are really fun questions for me. That's why I'm really excited to do it. But also like what are the benefits in terms of, you know, the health of the vine, the health of the tree? [00:31:50] Do they are, is there symbiotic elements? It seems like they would, I, I think a lot about what kind of mycorrhizal connections and associations the trees have, because we vines have our Arbuscular connections. And so if you plant them with a tree that has similar connections, they might actually have a symbiotic benefit. [00:32:07] They might increase that soil network even further. And then if you're planting shrubs like blueberries or flowers, you know, perennial flowers or Forbes and things like that, that could either be grazed or could be gathered or could be another crop even for you, or it could be a protective thing. [00:32:22] There are things like indigo that you might plant because. Deer don't like it. So you might want that growing around the base of your vine tree thing while it's young, because it will prevent the deer from grazing down your baby vines and trees, you know? And so there's just a, a myriad ways of thinking about these guilds that you can do. [00:32:39] Obviously these are, I. Yeah, they're, they're different. If I was doing it in California, if I was in California, I would be thinking more about olives and pomegranates and figs and things like that, you know, like there's a lot less water for growing trees here, so depending on where you are, unless you're on the coast. [00:32:55] Craig Macmillan: Are you planning on using hybrids in your project? [00:32:59] Adam Huss: Yeah. I don't know how I would do it any other way. Yeah, it's, definitely a climate that. If you try to grow ra, like you're just asking for trouble. And, and just, you know, because of my approach is so ecological, like I will attempt to be as minimal inputs as possible is the other way I look at it. [00:33:20] You know, try to just imitate what's happening around to, to see what that landscape wants to do and then how it. Maintains its health and resilience and maybe, and, and I mean, my, my ideal is to spray not at all. But you know, with not a dogma about that. If I see an issue or if I think like I'm building up these pathogen loads in the vineyard, maybe I'll spray once a year, even if they seem like they're doing okay. [00:33:47] You know, I'm not like dogmatic about nose spray, but I, it's a, it's a fun ideal to reach for. And I, you know, I think potentially with. Some of the symbiotic benefits of these systems that could be achievable with with the right hybrids. You know, I mean, again, I don't wanna generalize about hybrids because you have the Andy Walker hybrids on the one end, which you have to treat just like vinifira in terms of the spray program. [00:34:10] And then on the other hand, you have something like Petite Pearl or Norton, which is like in many cases is almost like a bulletproof. Grape, you know, and in California specifically, it would be like insanely. And then you have things right down the middle. Things like tranet that you know, is basically like, I could blind taste you on Tranet and you wouldn't be able to tell the difference between it and gewurztraminer . [00:34:31] But it's more cold, hearty, it has a little more disease resistance. Gives you a just a little bit, a little bit more of a benefit while still getting flavors that are familiar to you. If you like those flavors. [00:34:43] Craig Macmillan: Is there one thing that you would tell growers on this topic? One takeaway. [00:34:48] Adam Huss: Great question. I think give hybrids the same allowance that you give Vinifera. I. We all know there's a huge diversity of Vin Nira from Petite Ough to Riesling. And not everyone is right for every wine drinker and not all of them per perform the same in the vineyard. And, and you know, and we tolerate a lot of. [00:35:12] Frailty and a lot of feebleness in our veneer vines. We, we do a lot of care. We do a lot of like, you know, handholding for our veneer vines when necessary. If we extended the same courtesy to hybrids in terms of understanding and willingness to work with them. I think like that would just go a really long way too. [00:35:33] And I think we'd be surprised to find , they're a lot less handholding than, than Venire generally speaking. I. But also just try some. I think a lot of the prejudice comes from just not being exposed to them right now. You know, if you, if you think, if you're thinking negative thoughts about hybrids, get out there and drink some, you probably just haven't had enough yet. [00:35:51] And if you don't like the first one, you know, how many bad Cabernets have you had? I mean, if, if I had stopped drinking vinifira, I [00:35:59] Craig Macmillan: Yeah, that's, that's a really good point. If I judged every wine by the first wine that I tasted, that's probably not a very, [00:36:06] Adam Huss: right. [00:36:07] Craig Macmillan: good education there, [00:36:08] Adam Huss: Prevented me from exploring further, I would've missed out on some of the more profound taste experiences of my life if I'd let that, you know, guide my, you know, my thinking about it. So yeah, I think it's like anything with prejudice, once you get beyond it, it kind of, you see how silly it is, man. [00:36:25] It's, it's like so freeing and, and there's a whole world to explore out there. And like I said, I really think they're the future. Like if we wanna have a future, . We can only cling to the past for so long until it just becomes untenable. [00:36:38] Craig Macmillan: Right. Where can people find out more about you? [00:36:42] Adam Huss: So beyondorganicwine.com is the, the website for me. The email associate with that is connect@organicwinepodcast.com. [00:36:53] Craig Macmillan: Our guest today has been Adam Huss. He is the host of the Beyond Organic Podcast and is the co-owner of Centralas Wines in Los Angeles. [00:37:01] Thank you so much. This has been a really fascinating conversation and I'd love to connect with you at some point, talk more about. Out this, thanks for being on the podcast [00:37:08] Adam Huss: Thank you so much, Craig. Appreciate it. [00:37:13] Beth Vukmanic: Thank you for listening. Today's podcast was brought to you by VineQuest. A Viticultural consulting firm based in Paso Robles, California, offering expert services in sustainable farming, vineyard development, and pest management. With over 30 years of experience, they provide tailored solutions to enhance vineyard productivity and sustainability for wineries and agribusinesses across California. [00:37:38] Make sure you check out the show notes for links to Adam. His wine, brand, Centralis plus sustainable wine growing podcast episodes on this topic, 135 Cold hardiness of grapes 217. Combating climate chaos with adaptive wine, grape varieties, and 227. Andy Walker's Pierce's Disease resistant grapes are a success at Ojai Vineyard. [00:38:04] If you liked the 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 at vineyardteam.org/podcast and you can reach us at podcast@vineyardteam.org. [00:38:19] Until next time, this is Sustainable Wine Growing with Vineyard Team.   Nearly perfect transcription by Descript

Aaron Post, owner of Valkyrie, St. Vitus, & Maestro (in the summer of 2025) in Tulsa, OK, started off in wine and fine dining but his joy of cocktails led him in another direction. His deep appreciation for hospitality and crafting drinks made him want to create wonderful and safe environment for others - be it a speakeasy or a dance club - and he's followed that passion in the city where he says you can do just about anything. Evidently, that included learning accordion as a kid and graduating into classical and electronic music as an adult, never losing a passion for any kind of music that makes people smile. Check out his emotional rollercoaster of a playlist here: https://open.spotify.com/playlist/72ysngg3wdc3zpDI0rfefv?si=D8k5qJzcRGGK5fD-xNRuvA

Britt and Chris dive into conversations about insecticide showers, the backstage chaos of kids musicals, Lenore Dove's willingness to sacrifice, and the fiasco of the 50th Opening Ceremony. They also explore Haymitch's last conversation with Louella McCoy and the POVs of Proserpina, Vitus, and Magno Stift. Please tell a geeky friend about us and leave a review on your podcast app! If you really enjoy our content, become one of our amazing patrons to get more of it for just $1 per month here: https://www.patreon.com/geekbetweenthelines Every dollar helps keep the podcast going! You can also buy us a ko-fi for one-time support here: https://ko-fi.com/geekbetweenthelines Please follow us on social media, too: Instagram : https://www.instagram.com/geekbetweenthelines Pinterest : https://www.pinterest.com/geekbetweenthelines Facebook : https://www.facebook.com/geekbetweenthelines Twitter : https://twitter.com/geekbetween Website: https://geekbetweenthelines.wixsite.com/podcast Logo artist: https://www.lacelit.com

Zurück in die Mitte des letzten Jahrhunderts geht es nicht nur bei ATOMFALL, sondern auch in SILENT HILL F. Während Vitus in WWE 2K25 lässig austeilt, beißen sich Viet und Fabian an THE FIRST BERSERKER: KHAZAN die Zähne aus. Zum Abreagieren gibt es KILL KNIGHT und HALF-LIFE 2 RTX. Entspannter geht's bei MINI MINI GOLF GOLF und CASTAWAY zu. Ein Blick auf eventuell übersehene SWITCH-Exclusives wie DISNEY ILLUSION ISLAND rundet diesen GAME TALK ab. Wir wünschen euch viel Vergnügen!

Spieglein, Spieglein an der Wand, is an SCHNEEWITTCHEN irgendwas interessant? Oder an MR. NO-PAIN? Und werden es THE ALTO KNIGHTS schaffen, THE LAST SHOWGIRL aus ihrem dunklen Las Vegas-Turm zu befreien, um sie in DAS LICHT zu führen? Fragen über Fragen, die Euch erstmal Antje, Timo und Schröck so gut und knapp wie möglich beantworten wollen. Warum erstmal? Weil Antje uns im Laufe der heutigen Folge etwas früher verlassen muss, was wir mit einer kleinen neuen Idee ausgleichen wollen. Eine Art WAS HAST DU ZULETZT GESEHEN?-XXL mit Speed-Dating-Touch. Soll heißen: im Laufe der Sendung gesellen sich noch unter anderem Janina, Viet, Johanna, Alex und Vitus zu Schröck und Timo ins Studio, um über das zu reden, was sie zuletzt gesehen haben. Mit einem wirklich bunten Strauß an Themen, die von THE WHITE LOTUS über MICKEY17, BENEATH US oder TRANSFORMERS ONE bis hin zu THE WICKER MAN reichen. Abgerundet durch eine Empfehlung von Antje, die vor ihrem Abschied noch über ADOLESCENCE referiert hat und sehr angetan war. And last but not least haben wir dann auch noch ein paar kürzer gehaltene Streaming-Tipps und Mediatheken-Hinweise für Euch im Angebot, die aus Titeln wie zum Beispiel O'DESSA und BONEYARD, Schwergewichten wie HEAT und FIGHT CLUB, Roland Emmerich-Chaos wie MOONFALL und 2012, aktuelleren Großkalibern wie OPPENHEIMER oder JOKER: FOLIE À DEUX und dem Jean Claude van Damme-Evergreen LEON bestehen. Damit sollte sich doch ein Wochenende verbringen lassen. In diesem Sinne: Habt ein schönes Wochenende, bleibt gesund und gut drauf, viel Vergnügen mit der heutigen Folge und viel Spaß im Kino oder auf der Couch. Autsch, äh Adios. Rocket Beans wird unterstützt von Ben & Jerry's und fritz-kola. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Cherise is joined by Jim Graham, Founding Partner at Graham Baba Architects with offices in Seattle and Bellingham Washington. They discuss Vitus, an adaptive reuse office and retail project located in the Belltown neighborhood of Seattle, Washington.You can see the project here as you listen along.Vitus, a company dedicated to preserving and improving affordable housing, sought a new home that reflected its values. Instead of building new, they chose to reinvest in the past, acquiring a forgotten 1920s-era building in Seattle's Belltown neighborhood. This 25,000-square-foot heavy timber-and-masonry structure has since been transformed into a dynamic space that blends history with modern function.If you enjoy this episode, visit arcat.com/podcast for more. If you're a frequent listener of Detailed, you might enjoy similar content at Gābl Media. Mentioned in this episode:ARCAT Detailed on Youtube

Nils, Vitus und Fabian sprechen heute über AVOWED, den dezent holprigen Network Test von ELDEN RING NIGHTREIN und üben den Status Quo von CIVILIZATION VII. Gregor ist zwar nicht im Studio, liefert aber trotzdem viele Eindrücke zu LIKE A DRAGON: PIRATE YAKUZA IN HAWAII und dem auf der State of Play angekündigten METAL EDEN. Abgerundet wird das Ganze von X-OUT: RESURFACED, der Neuauflage eines Amiga-Oldies. Viel Fun euch mit dem GAME TALK! Rocket Beans wird unterstützt von Lego.

Die Ungnade der späten Geburt beklagen St. Vitus aus Los Angeles in ihren Songs. Statt die glorreichen Spätsechziger und Frühsiebziger mit Bikergangs, Hippies und der Geburt des Doom Metal durch Black Sabbath miterleben zu dürfen, landeten sie ausgerechnet in der Blütezeit des Hair Metal auf dieser Welt. Da kann mal schon mal depressiv werden. Musikradio360 und Toby Schaper (Deaf Forever) erzählen die Geschichte der Band, die "Born too late" war.

In this episode, The Booty Blood Boys™ are joined by a very special guest, fan, and friend of the show, The Shadowy One! The Bud Blasé Boyz™ learn how The Shadowy One became a fan of their silly lo-fi and low culture podcast. They discuss the New York City metal scene vibes and community and whether either has been affected by the closure of St. Vitus. They explore the generational divide between the sincerity of older metal fans and musicians versus the self-aware irony of younger metal fans and musicians. They also analyze the dark world of fascist cottagecore and tradwife cultures. All of this and much, much more!

A stacked RE-CAST with my guests Eddie Solis (It's Casual) & supergroup Shrinebuilder featuring Scott "Wino" Weinrich (St.Vitus, The Obsessed, Spirit Caravan) Scott Kelley (Neurosis), Al Cisneros (Sleep, Om) and Dale Crover (Melvins, Altamont, Fantomas,Redd Kross)

Bald ist er da, der Release von CODBLOPS 6 und Vitus konnte bereits vorab in den Multiplayer reinspielen! Muss es sich so viel Kritik wie MW3 gefallen lassen, oder ist es endlich mal wieder ein vielversprechendes COD? Mehr dazu im GAME TALK, Gregor und Steffen haben auch noch viele Games am Start wie UNKNOWN 9, WILD BASTARDS, YS X: NORDICS, DROVA oder STEAMWORLD HEIST 2. Ah, und TIMBERBORN wird auch besprochen!

WERBUNG | Auf der Suche nach einem neuen Laptop? Sicherlich sind dir die ASUS Notebooks in unseren Sendungen aufgefallen. Hier haben wir was für dich, denn beste Performance und echte Hingucker findest du bei ROG und zwar hier [Link weiter unten] /WERBUNG Hallo und herzlich Willkommen im und zum GAME TALK! Da Gregor noch zusammen mit Viet in Japan unterwegs ist, kann er heute nicht im Studio dabei sein. Aber bevor ihr Entzugserscheinungen bekommt, haben wir keine Mühen gescheut und die beiden LIVE ins Studio geschaltet. Viet und Gregor geben euch einen kurzen Einblick zu ihren Erlebnissen auf der TOKYO GAME SHOW 2024 und berichten von ihrem Trip nach Japan. Wie war es UNIVERSAL-Park, was kann die MARIO-Themen-Welt und wie gruselig ist bitte der Nemesis aus dem RESIDENT EVIL-Bereich? Im Anschluss geht es dann um die aktuellen Game-Releases! Vitus hat sich das neue EA SPORTS FC 25 angeschaut und wir klären, was es an Neuerungen gibt. Nach längerer Zeit ist Anton mal wieder mit dabei und was läge näher, als das er BAPHOMETS FLUCH REFORGED vorstellt. Ob er es uns empfehlen kann, erzählt er euch hier (solltet ihr mehr vom Spiel sehen wollen, haben er und Valle ein kleines aber feines LET'S PLAY zu BAPHOMETS FLUCH aufgenommen). Danach sprechen die zwei noch mit Host Fabian (ihr wisst schon, der GAME TALK-Host, der nicht in Japan ist) über das auf der STATE OF PLAY angekündigte GHOST OF YOTEI, dann geht es um ARA: HISTORY UNTOLD und zuletzt um das schöne, kleine Jump and Run GRAPPLE DOGS: COSMIC CANINES. Wir wünschen viel Spaß im GAME TALK mit Fabian, Anton und Vitus! Rocket Beans wird unterstützt von Asus & der Polaris Hamburg.

Today, we cover closed pathways on campus, a New Jersey bill regulating intoxicating hemp products, post-tropical cyclone Francine, and the death of former Peruvian President Alberto Fujimori.*** You can read more about Princeton's pathways at https://www.dailyprincetonian.com/section/news.

Mainstay Brooklyn venue St. Vitus has closed its doors for good. From our archives, out of reverence and in memoriam, we offer this recording of A2G Live from St. Vitus. Thanks for the good times. Learn more about your ad choices. Visit megaphone.fm/adchoices

John PerezBand names don't come much gnarlier than Rotting Corpse, but guitarist John Perez had his reservations when it was bestowed upon his mid-80s Texas thrash crew. He later formed doom metal stalwarts Solitude Aeturnus and dabbled in psych metal with Liquid Sound Company. He joins us to discuss the early Texas thrash scene, touring with Paul Di'Anno, his record label, tour managing Candlemass, St. Vitus and others, and why Hell's Heroes 2024 was the perfect gig. Created and Produced by Jared Tuten

Keith sits down with Nathaniel Shannon to discuss growing up in Ypsilanti Michigan, our mutual love of Snapcase, dealing with the expectations of ourselves and others, Nathaniel's intro to the world of underground music via college radio and his history with photography. We also discuss Nathaniel's work making the "Deadguy Killing Music" documentary and how it helped inspire the Deadguy reunion, the recently released St. Vitus Bar Book, how the book was conceived and put together, stories from classic shows at St. Vitus, his band Nathaniel Shannon and The Vanishing Twin and more. Artist Spotlight: Sierra Binondo of With Sails Ahead. We discuss the band and their debut LP "Infinite Void".

I love when friends do cool stuff. I love when friends are talented. This episode is a one two punch of exactly that. Nathaniel Shannon is a NYC based photographer and you have seen his work...well, everywhere but I specifically had him on the show to discuss a real labor of love and now, it's here...the First Ten Years of St. Vitus. For the uninitiated, St. Vitus is the incredibly important Brooklyn, NY venue responsible for a TON of gigs that you wish you were at. We discuss that book, as well as his upbringing in Detroit as well as an incredibly entertaining Earth Crisis photo shoot we worked together on. Dig in and enjoy!  Listen to the Official Outbreak Podcast here (executive produced by yours truly)  Weekly Recommendation Playlist Theme Song by Tapestry Gold Subscribe to the podcast on YouTube Rockabilia sells you officially licensed Merch from ALL your favorite bands (and your Dad's favorite band, your siblings etc...). Use the promo code 100WORDSORLESS for 10% off your order.  Evil Greed is a highly curated merchandise provider from Berlin, Germany with fast, worldwide shipping and features stores from bands like Power Trip, Deafheaven, Nails, Russian Circles and so much more.See omnystudio.com/listener for privacy information.

Watchers        Zany lies amid clutter on the floor beneath the dining room windows hugging her bandaged arm. She huffs loudly enough to reach the front porch where Mom and Aunt Vi imbibe scotch. Vi still isn't used to afternoon drinking. They can't hear Zany over the Krebbs' crying baby on the other side of the duplex wall. Stupid baby. Plus Zany's little sister overhead dancing to the transistor radio, rattling the light fixture dangling from the ceiling.        The fingertips on Zany's bandaged arm are cold and maybe even blue. This is slightly alarming. She considers running to Mom but knows better. Take the damn thing off then, Mom will say.        There's nothing wrong with Zany's arm, but that isn't the point. At breakfast, without preamble, she wound an Ace bandage from her palm to her armpit. The family no longer asks what she's up to. Last week during Ed Sullivan she sat at her TV tray dripping candle wax over her fist. Aunt Vi blinked with every splat, but Mom only said: “If you get that on my rug I'll take you across my knee. I don't care how old you are.” Zany is thirteen.        Week before, Zany taped a string of two-inch penny nails around her throat at the kitchen table where Dad rewired one of Mom's salvaged lamps. “Why don't you do that in your room?”  Dad didn't like sharing his workspace. Zany shrugged and the nail tips jabbed her collarbones.  She could have done it in her room, but doing the thing wasn't the point. It was having someone watch that mattered. If no one watched, who would believe she could endure that much discomfort?        Nobody is watching now, so Zany grips a dining table leg and pulls it toward her, or tries to. It's hard to budge through Mom's junk piles, plus the weight of the extra leaf Dad inserted when Aunt Vi and Cousin Lester moved in after their apartment collapsed. Aunt Vi brought cans of flowery air freshener to hide the hoard smell—rotten food and cat piss. They don't own a cat.  Lester, sixteen, bought a box of rubble-rescued books.        “You better be setting the table!” Mom calls through the screen.        Zany hates Mom's manly haircut and has said so. “It's Gig's turn!”        Overhead, Gig stomps the floor in the bedroom they now share. Aunt Vi got Zany's attic where Mom's hoard had been disallowed, but it's begun trickling up. “No, it's not!” Gig's transistor blares louder.        “Zany!” Mom calls. “I swear to God! And close those drapes!”        Mom can't stand looking at the neighbor's wall she could reach across and touch, but Zany craves fresh air, as fresh as Pittsburgh air can be. Plus, she likes counting the yellow bricks Andy Warhol surely counted when this was his childhood home, the dining room his make-shift sickroom when he suffered St. Vitus Dance. Zany is certain his bed would have been right here by the window where he could see a hint of sky if he cricked his neck just right. She lies in his echo and imagines the day she'll appear at his Factory door in New York City and say: “I used to live in your house.” Andy will enfold her in his translucent arms before ushering her inside, not to act in his films or screen print his designs, but to be his equal. Partner, even. Zany just has to determine her own art form. It sure won't be cutting fruit cans into flowers like Warhol's mother did for chump change.        Zany's legs start the herky-jerky Vitus dance as if she's running toward that Factory dream. Her pelvis and hips quake. The one free arm. The back of her head jitters against the floor. It's a familiar thrum even Aunt Vi and Lester are accustomed to now. Mom yells: “Stop that racket!” She mutters to Vi: “We never should have bought this place.”       A kitchen timer dings and Aunt Vi comes in to disarm it. Her cooking is better than Mom's, and Vi wears an apron and dime store lipstick while she does it. Fresh peas instead of canned. Real mashed potatoes instead of instant. Vi is a better housekeeper, too, organizing Mom's trash into four-foot piles that line the walls. Every day Mom trolls back alleys and neighbors' garbage in dingy clothes that make her look like a hobo. That's what the kids say:  Your mom looks like a hobo. She pulls a rickety cart and loads it with moldy linens, rolled-up rugs, dented wastebaskets. Zany wonders if Dad regrets marrying the wrong sister. She knows he regrets not having a son, a boy who could have been Lester if Dad had a different heart. Instead, Dad got Lester on at the blast furnace, because “No one sleeps under my roof for free.” Who needs a high school diploma?        In the kitchen, Aunt Vi lets out one of her sobs. She only does that in private after Mom's third scolding: “He's dead, Vi. Crying won't bring him back.”        Zany misses Uncle Mo, too. His pocketful of peppermints. The trick coin he always plucked from Zany's ear. The last time Zany's family visited, she walked through their decrepit Franklin Arms apartment with its spongy floors and clanking pipes, but no maze of debris to negotiate. No cat piss smell or sister blaring the radio. She found Lester in his room at a child's desk he'd outgrown, doughy boy that he then was, doing homework without being nagged.  Astounding. His room was spartan, plenty of space for a second bed if Zany asked Aunt Vi sweetly enough. But no. Zany couldn't abandon Andy in his Dawson Street sickbed. Lester's only wall decoration was a world map strung with red yarn radiating from Pittsburgh to France, China, the South Pole. She wanted to ask why those destinations, but didn't, entranced as she was by all that fresh-aired openness, plus his feverishly scribbling hand.       Now, Aunt Vi leans in the dining room dabbing her face with a dishtowel. She's aged a decade since moving here and it isn't all due to grief. She targets Zany on the floor. “Everything all right in here?”        Zany has stopped breathing. Her eyes are glazed and her tongue lolls from her mouth.  She's getting better at playing dead.        “All right then.” Aunt Vi is getting better at not reacting. The screen door slams behind her.        Zany pulls in her tongue and inhales. She starts counting bricks again until Aunt Vi calls: “There they are!” as she does every workday.        Zany pictures Dad and Lester padding up Dawson. Wet hair slicked back because they shower off the stench before coming home. Zany appreciates that. Their boots scrape the steps to the porch where Aunt Vi will take their lunchpails. And there she is coming through the door and dashing to rinse their thermoses at the kitchen sink. Mom will stay put and pour Dad a finger of scotch.        Lester bangs inside and pauses in the dining room entryway. He's leaner now on account of the physical labor. Taller too. He eyes Zany's bandaged arm, not with Aunt Vi's alarm, but with the kind of baffled wonder Zany has always been after. Their eyes meet and it's the same look he gave her the day she walked backward all the way to the Eliza Number Two—not  because Dad and Lester worked there, but because it was lunchtime, and a gaggle of men would  be eating beneath that pin oak by the furnace entrance. And there they were, her father among them, not easy to see having to crane her neck as Zany picked her way over the railroad tracks.        “What the hell is she doing?” said Tom Folsom. Zany recognized her neighbor's voice.  “She's off her nut,” said another worker.       Zany twisted fully around to see if her father would defend her, but he was already hustling back to the furnace.        “Something's not right with that girl,” said Folsom.        “Nothing wrong with her,” said Lester from beneath a different tree where he ate his cheese sandwich alone.        Folsom spit in the grass. “Shut up, fairy boy.”        Lester wasn't a fairy boy, Zany knew.        Today, leaning in the dining room, Lester looks as if he can see inside Zany's skull to the conjured Factory room she and Andy will one day share: walls scrubbed clean and painted white.  Her drawings or paintings lining the walls in tidy rows. Maybe sculptures aligned on shelves. Or mobiles overhead spinning in the breeze. Lester nods at her fantasy as if it's a good one. He has his own escapism. Zany knows that too, and she looks away first so her eyes won't let him know that she knows.        Lester heads to the cellar where he spends most of his time. Mom partitioned off the back corner for him with clothesline and a bed sheet. Installed an army cot and gooseneck lamp on a crate. Andy Warhol holed up in the cellar when he was a kid developing film in a jerry-rigged darkroom. Zany constructed one from an oversized cardboard box she wedged into that shadowy space beneath the stairs. She cut a closable door in the box and regularly folds herself inside to catalogue her achievements in a notebook. Stood barefoot on a hot tar patch on Frazier Street for seventy-two seconds. Mr. Braddock called me a dolt, but I said: You're the dolt!        From below, the sound of Lester falling onto his cot followed by a sigh so deep Zany's lungs exhale, too. Whatever dreams he had got buried under apartment rubble along with Uncle Mo.       Outside, Dad has taken Aunt Vi's creaky rocker. “He's a strange one,” he says about Lester. “What's he up to down there?”        Mom says, “Who the hell knows?”        Zany clamps her unbandaged hand over her mouth to keep that knowledge from spilling.  She saw what he was up to the day she was tucked in her box and forgot time until footsteps pounded the stairs above her. She peeked through the peephole she'd punched into her cardboard door as Lester peeled off his shirt, his pants. He left on his boxers and socks. Didn't bother to draw his sheet curtain, just plopped on the cot and lit a cigarette. His smoking still surprised her. The boy he once was was also buried under rubble. Zany regretted not making her presence known, but then it was too late with Lester in his underwear, and all. Plus, she was captivated by his fingers pulling the cigarette to his lips. The little smoke rings he sent up to the floor joists. She wondered if he was dreaming of China or the South Pole, or just sitting quietly at his too-small desk back in his apartment inhaling all that fresh air. Finally, he snubbed out the cigarette in an empty tuna can. Zany hoped he would roll over for sleep, but he slid a much-abused magazine from beneath his pillow and turned pages. Even in the scant light Zany made out the naked lady on the cover. Zany's heart thudded, even more so when Lester's hand slipped beneath his waistband and started moving up and down, up and down. She told her eyes to close but they wouldn't, both entranced and nauseated by what she shouldn't be seeing. She knew what he was up to, having done her own exploring when she had her own room. She'd conjure Andy Warhol's face and mouth and delicate hands—because those rumors weren't true. They just weren't. Harder to explore in the bed she now shared with Gig. Stupid Aunt Vi, and stupid collapsed Franklin Arms.       What Lester was up to looked angry. Violent, even. A jittery burn galloped beneath Zany's skin and she bit her lip, drawing blood. But she couldn't look away from Lester's furious hand, his eyes ogling that magazine until they squeezed shut and his mouth pressed into a grimace that did not look like joy. The magazine collapsed onto his chest and his belly shuddered. Only then did Zany close her eyes as the burn leaked through her skin. When Lester's snores came, she tiptoed upstairs to collapse on Andy's echo. She caught Lester seven more times, if caught is the right word, lying in wait as she was, hoping to see, hoping not to.  “You better be setting the table!” Mom yells now from the porch.        Zany grunts and makes her way to the kitchen where Aunt Vi pulls a roast from the oven.  Zany heaves a stack of plates to the dining room and deals them out like playing cards.  “Don't break my dishes!” Mom calls. I hate your hair, Zany wants to say.  There is a crash, but it's not dishes. It comes from overhead where Gig screams.  Thumping on the stairs as she thunders down, transistor in hand. “Zany!”  Gig rushes into the dining room, ponytail swaying, eyes landing on her sister. “He's been shot!”        Zany's mind hurtles back two months to when Martin Luther King was killed. Riots erupted in Pittsburgh's Black neighborhoods: The Hill District and Homewood and Manchester.  “Who?” Zany says, conjuring possibilities: LBJ, Sidney Portier. But to Zany, it's much worse.        “Andy Warhol!”        Zany counts this as the meanest lie Gig's ever told. “He was not.”        “Yes, he was!” Gig turns up the radio and the announcer confirms it: a crazed woman shot Warhol in his Factory.       Aunt Vi comes at Zany with her arms wide, because she understands loss. “Oh, honey.”  Zany bats her hands away. “It's not true.”        Vi backs into Mom's hoard. “Is he dead?”        Gig says: “They don't know.”        Zany can't stomach the smug look on Gig's face, as if she holds Andy's life or death between her teeth. Zany wants to slap that look off, so she does.        Gig screams.        “What the hell's going on in there?” Mom calls.        “Zany hit me!” Gig says at the very moment Aunt Vi says: “Andy Warhol's been shot!”  “No he wasn't!” Zany says again, wanting to slap them both.        Mom and Dad hustle inside where Gig cups her reddening cheek and bawls louder.  “It's nothing,” Mom says at the sight of her sniveling daughter, but Dad enfolds Gig in his arms. “There, there.”        “Don't coddle that child,” says Mom, and for once Zany agrees.        “Now, Mae.” Dad cups the back of Gig's head and there's a different look on her face.  Triumph, maybe.        Pounding on the shared duplex wall, Evie Krebbs, who never could shush that wailing baby. “Andy Warhol's been shot!” she calls to them. “Did you all hear?”        “We heard,” Mom answers as the baby cries louder, and so does Gig, who won't be upstaged. Mom says: “That's the price of fame I guess.”        “Being shot?” says Aunt Vi.        “Put yourself in the public eye and anything's liable to happen. Lotta kooks in this world.”       The neighbor kids' chant sounds in Zany's head: Your mother's a hobo.        “I'd rather be shot than a hobo,” says Zany.        Mom's head snaps back. “What the hell's that supposed to mean?”        Zany doesn't fully know what she means, or maybe she does.        Dad says, “Turn up the radio and see if he's dead.”        Zany doesn't want to know the answer, and to keep him alive she runs to the basement where Andy will always be a sickly boy developing film. Never mind Lester in his bed sending smoke rings up to the floor joists. Never mind her family still jabbering overhead.       Zany dashes to her cardboard box and closes the door, her body shaking, but not from any disease. Andy can't be dead. He just can't, because if he is Zany will never make it to New York. Will never pound on his Factory door. She will never be famous enough for someone to shoot.        She doesn't know she's sobbing until Lester's voice drifts over. “Zany?”        It's hard to speak with that hand gripping her throat and her father overhead still babbling: “Turn it up, Gig.” All Zany eeks out is a sob.        Lester's skinny voice slips through that slit in her door. “Zany?”        The grip loosens and Zany puts her eye to the peephole.        There he is, Lester, on his narrow cot in the windowless cellar where he now lives. He slides his hand into his waistband and he tilts his head toward her. “Are you watching?”  Zany's breathing settles, and the overhead voices disappear taking with them the possibility of Andy's death. Her eyes widens so she can take it all in, the violent strokes, his contorting face, because she won't look away from Lester's pain, or hers.  Finally, she answers him: “Yes.” 

In the 1880s, Pierce's disease caused a devastating, total collapse of the Southern California grapevine industry. Today, growers have hope for the future thanks to new varieties. Adam Tolmach, owner of Ojai Vineyard, planted four of these new varieties as a field trial on a plot of land where Pierce's disease wiped out his grapes in 1995.  Pierce's disease is a bacterium spread by insects, typically a sharpshooter. One bite and the vine dies within two to three years. To develop resistant varieties, Andy Walker of the University of California at Davis crossed the European grape Vitis vinifera with Vitis arizonica. 20 years later, commercial growers have access to three red and two white varieties. Listen in to learn how Tolmach's experiment is a success both in the vineyard and with customers. Plus get tasting notes for the new varieties. Resources:         REGISTER: The Ins & Outs of Developing a New Vineyard Site 89: New Pierce's Disease Vaccine (podcast) 137: The Pierce's Disease and Glassy-winged Sharpshooter Board 2021 Pierce's Disease Research Symposium session recordings Anita Oberholster, UC Davis Viticulture and Enology Webpage Office Hours with Dave and Anita, Episode 11: Pierce's Disease Resistant Winegrape Varieties Ojai Vineyard Pierce's Disease resistant winegrape varieties overview UC breeds wine vines resistant to Pierce's disease UC Davis releases 5 grape varieties resistant to Pierce's disease 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 Adam Tolmach owner and winemaker of Ojai vineyard. Thanks for being on the podcast, Adam.   Adam Tolmach  0:06  It's my pleasure, Creg. Great to be here.   Craig Macmillan  0:09  I want to give a little background. Before we get into our main topic. We're gonna be talking about Pierce disease resistant grape vines today, but I think your location has a lot to do with how this came about. I don't think it's an overstatement to say that you are a pioneer and innovator and quite frankly, legend in the history of the Central Coast. And one of the pioneering things that you did was you planted a vineyard in Ojai, California, why Ojai? And what is the what's the environment, like, you know, hi.   Adam Tolmach  0:33  Ojai because in 1933, my grandfather bought a piece of property in Ojai while I grew up in Oxnard, we, you know, on weekends, we'd come up here and chase lizards and snakes and stuff like that. And so I'm pretty familiar with the area and then I lived in Ohio for a few years after I finished studying at UC Davis getting a basically a viticulture degree. I came down here and and ran a truck farming operation, we grew vegetables and sold sold them in a roadside stand. And after doing that for two years, I made $4,500 After two years of worth worth of work. So I had said well maybe I should try to get a job in my my field. So my second job in the field was was working at at Zaca Mesa, 79 and 80. And then so as far as the place to plant grapes, you know, that's the reason we're in Ojai because we the family owns property.   Craig Macmillan  1:30  What is the environment like in Ojai? Because I think it's a little bit different than many grape growing regions.   Adam Tolmach  1:34  Yeah, you know, it's actually not that different than I would say the east side of the Santa Ynez Valley like the happy Canyon area or you know, or Paso Robles. Really as far as climatic goes. thing that's a little bit different about Ojai is the wintertime lows aren't as low as they are up in the Santa Ynez Valley or up in Paso. And that's that's a big deal, especially when it comes to Pierce's disease.   Craig Macmillan  2:01  That's where we're gonna go next. When you planted, were there things that you were expecting? And then were there things that came out that were unexpected? And then thinking maybe Pierce's disease is one of those?   Adam Tolmach  2:11  Well, yeah, certainly was, you know, as I've started, you know, pretty ignorant. As young people tend to be, I knew that there was a history of winemaking and grape growing in Ojai, which pretty much died off with prohibition. Actually, after Prohibition, there was a good sized Zinfandel vineyard that ended up being buried in the bottom of Lake Casitas. That sort of what I knew a little bit about grapes. And I didn't really realize it. Pierce's disease also worked into all that that, you know, you plant a vineyard around here, and it's pretty difficult to keep them alive  for the long term.   Craig Macmillan  2:48  Just cover the bases. What is Pearson's disease?   Adam Tolmach  2:51  It was originally discovered in Anaheim, California, you know, back in the I believe it's 1880s or so there were 10s of 1000s of acres of grapes in that area 10 or 20 or 30 years out. In fact, it was a much bigger growing area than, than say Napa, up north was for for grapes. And those vines all died. And at the time, it was called Anaheim's disease. Yeah. And so later on, Mr. Pierce, I think, discovered a little bit about the disease. And what we know today is that it's a bacterium that is spread by an insect, typically from a sharpshooter. But there are other insects that also spread this disease. In our case, we're not too far from a river habitat, a riparian habitat, these bugs like lush, green growing areas, and they live in the river bottom, all they have to do is get blown by the wind up to our place. If the insect is carrying this bacterium, it just takes one bite. And then within two or three years, the vine dies because basically the bacteria clog up the water conductive tissues.   Craig Macmillan  3:59  Exactly. When you were first addressing this problem. What kinds of management things did you do to try to manage this?   Adam Tolmach  4:06  Well, we didn't back then. And as we are now we're reasonably committed organic growers. So you know, we don't use herbicides, we don't use insecticides. And you know, I learned as the vineyard died, basically what was going on? So we didn't really do anything, preventative wise. And so the vineyard just slowly declined, right, which is pretty sad thing to see that really considering that I planted you know, every one of the vines in the beginning back in 1981.   Craig Macmillan  4:37  Yeah, yeah, exactly.   Adam Tolmach  4:39  And then so we went on, after that, and for years, you know, so the vineyard grew from planted in 81. And then in 1995, after the harvest, we pulled the vineyard because it's so much of it was gone from the disease and then and then there are many years where we you know, didn't grow any grapes on our property. We purchase grapes from mostly, you know, I'm from the Ohio area a little bit, but also mostly from the Northern Santa Barbara County. That area from Santa Maria to Lompoc is really where ideal grapes grow. But I'd always have a hankering to have, you know, to continue to have a vineyard here because we do have the winery right on site here. Close friends and family knew Andy Walker, who was the one who was developing these grapes that were at UC Davis that were resistant to Pierce's disease. You know, I kept kind of pushing the friends to see you if I could get some of these cuttings or plants. And then finally, really just a year or two before they were actually officially released to the public for sale. I was able to get enough to plant a very small vineyard here which is just 1.2 acres, and it's planted to four different varietals. All four of them were developed by by Dr. Walker that He basically took Vitus vinifera the European grape variety and crossed it with Vitis Arizonica in Arizona is a native of the southwest and there are some plant breeding advantages to using Arizonica, it carries the resistance, they can somehow see that really well in my days of knowing how all this stuff works is a little bit past but but there were there are certain advantages that Arizonica provided a one of which was it's a pretty neutral tasting grape. And then also the the second thing was, they were able to pick out right away if they did a cross whether they can tell whether it had the resistance or not. So they did worked on that he's worked on it for about 25 years. And in the end, he had these varietals that were that are 97% vinifera. And only 3% of the American stock, which is pretty important for the flavor profile. They taste very much like the different wines, not like you know, the native wines.   Craig Macmillan  6:53  And then you've expanded that vineyard, I'm assuming you had your trial vineyard and expanded it.   Adam Tolmach  6:57  No, no, no, it's all it's all we have is this 1.2 acres. Yeah. And so you know, we mostly make conventional grapes. So you know, we make Pinot Noir Syrah Chardonnay Sauvignon Blanc and a few other things. And we get some of those grapes from the Ojai area and in spots where they're when they're where there's less Pierce's Disease pressures. And then also up in Northern Santa Barbara County, as I said before, and so yeah, we're just we're still working with, with what we have, we found that the vines are very productive. And we are currently making really just the right amount that we need to provide our direct customers with the wines. It's been a fabulous experiment and great fun, because basically knew, but nobody knew how to grow these grapes. And each grape variety grows a little differently. And so then that was that was a real challenge there. Because I had grown grapes in the same spot before I knew some of the problems and challenges and they had a real strong sense of how I wanted to grow them a second time around. And so that was super helpful. But it's still they still were unknowns for for us, you know, the bigger the crop level, all that stuff, the taste. And then so that was great fun. And then in winemaking wise, Andy Walker had done a number of public tastings of these experimental varieties, I think I went to four of them, where they're mostly were three gallon lots that were fermented by the university. And so it's a little hard to tell from that, but they just seem like there was some potential there. Interestingly, Camus vineyard early on, got some of the vines have this one variety paseante noir. And so they made a really almost commercial size lot of that one, and I was able to taste that before I planted it. And while their winemaking style is a little different than mine, there was it was clear that there was like lovely potential in those grapes. So that was encouraging. But still, we knew nothing, we had no idea. It's still a work in progress it. You know, after five years of producing wine, there's a lot more to learn about how to best make these works. But so anyway, we planted four varietals one is passeante noir, which I think is sort of the best of the ones that I've I've tried. We also had a red, that is really it was never released to the public. So it's a you know, it's our own little thing. We have a small amount of that we call it Walker red. And then we have two whites caminante blanc and ambulo blanc and they're both to go back. Well to go on, I guess is the ambulo blanc and the caminante blanc are distinctively different. They're a bit on the Sofia and blanc side of life, I suppose. But not exactly. And then going back to the passeante noir that's I feel like it sort of tastes like a cross between between syray and maybe cab franc And then possibly some mouved you know, it's a little hard to, to read exactly what's there, but they're unique and different. And you know, in a world from 30 years ago, people wouldn't have known what to do with them. But these days, there's a lot of interest in unique grape varieties, you know, all over Europe, people are, are reviving ancient varietals that nobody's ever heard of, and they all have unique flavors and unique characters. Here are some newly bred ones that that are available now.   Craig Macmillan  10:27  What is the response from consumers have been like?   Adam Tolmach  10:29  Well, that's, that's been super encouraging. Because so you know, we're selling almost exclusively directly to our, our consumers, we have a tasting room, and we have, we do mailorder as well. And but I mean, it's been very positive, we've been able to sell out the wines, people seem to really enjoy them. So it that's been a thrill to, you know, have that consumer acceptance, I think it would be much more difficult if it was, you know, in a grocery store, for instance, but because nobody would know what the name meant. When we're able to hand sell it, it has not been difficult to sell. So that's, that's been super fun. Now, Dr. Walker, also, he had the idea that these varieties, you could grow them and use them as blending material, you know, like if you're making Cabernet Sauvignon in the Napa Valley. It's well known that in the Napa Valley near the Napa River, there's huge Pierce's disease problems. And so is one of his ideas is well you could you know, plant strips of of these varietals be able to have at use the ground productively and then blend them with Cabernet Sauvignon as long as you're over 75% You could call it Cabernet. But what's amazing to me is that the this Passeante Noir is really it's it's it works pretty well as a standalone varietal.   Craig Macmillan  11:41  Were you tempted to to blend we attempted to use these as blenders? Or were you committed to single varietal all along?   Adam Tolmach  11:48  I was much more interested in what they had to say. Yeah, so there wasn't very much interest in my part of of using them to stretch of wine or whatever to you know, to add to something else. It was an option I you know, if they weren't as good as they are, I would definitely could put them into you know, inexpensive bland we make it Ojai read or Ojai white. And so that was definitely an option. But I'm kind of thrilled that they you know, they're interesting enough, they can stand alone.   Craig Macmillan  12:13  Do you think that you'll expand your planting?   Adam Tolmach  12:15  Possibly right now, No, I've got too many things going on. And in this little vineyard year, being small as I do, I do all the pruning, and do some of the work out there. And so it's kind of a family affair. I'm not sure if I want to overwhelm my family with more. For our needs, we don't need too much more. As as things stand. We're we're pretty small size operation. And this is pretty much, well takes care of it. Interestingly, in the same vein, I own a small vineyard, up in the Lompoc area in Santa Rita Hills called Vaciega that's planted to Pinot Noir. And there's one area of the vineyard is kind of up on a little bit of up on a, a mesa or something in between, you know, above quite a bit above the river. The Santa Ynez river. But there's one small section of the property. That's right, basically, in the river bottom, it had been planted to Chardonnay and died of pierces within eight years of its planting. So it was pretty, pretty devastated. And so we actually planted the passeante noir down there and got our first crop this year into that world last year in 2013. And we're pretty excited by that. So really different climate to grow in. So you know, cool climate versus pretty warm climate. It seems pretty, pretty fascinating right now, I'm pretty excited by that. So we do you know, we do have more just not here in Ojai.   Craig Macmillan  13:43  Would you commit like, what are you going to cultural notes on each variety? And then also what are your like winemaking notes on each variety because this podcast is growers and winemakers and we can get a little bit more technical if you like.   Adam Tolmach  13:54  Oh, sure. Yeah, absolutely. Yeah. So Andy Walker released five different varietals, three red, and two whites. I have the two whites and I have only one of the Reds that are commercially released. And that one is paseante noir and paseante Noir is a very vigorous grower. We're on pretty rich soil, I mean, richer than you need for grapes, mostly eluvial stuff. You go down three and a half, four feet, and it's, you know, it's river rocks, and then there are shaley areas, but it's rather richer than you need. We haven't planted on one 114 rootstock which is quite deinvigorating. But in our site, it's still exhibits lots of vigor. And so the paseoante noir grows like crazy. We have planted pretty close together. So our rows are five and a half feet apart, rather than, you know, six or eight or 10. And I did that specifically, for climatic reasons, you know, you get these rows a little bit closer together. You get a fairly tall vertical trellis. And what you end up with is, is a little more shading. And we have this really narrow canopy, the grapes all get some direct sun, but just not for very long, a little bit in the morning a little bit in the afternoon, the rest of the time, they're shaded, also the ground is shaded a lot, because they are so close together. And I think that keeps the temperature down. And I think that's really better for quality. And that's, you know, my personal view on it. And, and that's worked really well we've never, we've never had a situation yet where, you know, it's gotten so hot that the grapes have rasined up, you know, just like overnight, it's not just not happened. So yeah, so here we have the paseante noir it's you know, it's a real vigorous grower, I have a quote on pruned it's incredibly productive. We've been dropping, you know, 50% or more of the grapes as a as a green drop every year and I think I need to double down and drop even more as it turns out, they really want to produce in part of its, you know, part of it is our rich soil, but I think they're also bred to be quite productive. So that's, that's really nice. You know, better than too little, which is, you know, kind of Pinot Noir is problem, generally speaking, the walker red is this one that nobody really knows about, but it's, it's a little more like if the paseante is is a cross between, in my mind a cross between Syrah and cab franc and the walker read is a little more Zin and Grenache kind of character grows a little more upright and with less vigor, a lot more like how Grenache grows. And then the two whites the caminante blanc produces these little tiny clusters that somehow end up always produced, you know, the yields are still high, even with the small berries, small clusters, they give a little bit of a blush to them almost, they're not completely green when they're fully ripe. And they have a really distinctive spicy character, they're quite interesting. And that one is the weakest growing, there's no bigger problem there, it grows along fine with it, it fills up the canopy, but just barely every year, because of the size of the clusters, you just don't expect there to be much crop, but it always turns out to be very generous. And then the other varietals is called ambulo blanc. And it's a little, maybe has a bit of Sauvignon Blanc, spiciness to it. But it also is it's got a much more sort of Chardonnay ish, like, produces large clusters. And it also grows vigorously. So it requires a lot of the trellising is really, really important. And so we spend a lot of time in the ambulo blanc and paseante noir, you know, weaving weaving the canes up, right.   Craig Macmillan  14:06  Based on your experience, would you say, Hey, this is a great idea. If you live in a Pierce's disease area, you should definitely try this out.   Adam Tolmach  17:55  Oh, yeah, definitely. Yeah. Because I mean, if the if Pierce's Disease is pretty strong, you're you know, you're left with, you know, having to use a lot of insecticides, and they're very bee unfriendly insecticides. And so, you know, we're able to grow here completely organically. That's worked out really well. So that's, that's, there's a great advantage there. I noticed in your questions at the you had to get sent me a list of questions. And one of them is like, what else should they be working on at the university? And definitely, my opinion is, you know, the biggest disease problem of grapevines in California is called powdery mildew. Everybody knows about it, why there aren't more powdery mildew resistant vines out out here yet is, is is interesting, you and every other trade, people that are kind of, you know, they, they praise, the new things that are coming along, the progress has been made in the wine business, everybody wants to just the old thing, just the way it's always been, that's a little bit of a stumbling block in a world where the climate is changing. So that's what that's why I really recommend that's what should be worked on is is resistance to powdery mildew, because it's not going to get better with climate warming. And also, it's it's the reason that we drive through our vineyards, you know, five or 10 times in a season just for powdery mildew control, it would be an incredibly great environmental thing if we could grow great tasting grapes and make great wine out of powdery mildew resistant varietals.   Craig Macmillan  19:27  And I think people are starting to move that direction.   Adam Tolmach  19:30  Oh, yeah.   Craig Macmillan  19:31  But you're right, bring it on. You know, let's, let's try where can people find out more about you?   Adam Tolmach  19:36  You can go to our website, you know, Ohiovineyard.com. And there's, there's lots there's tons of information about about us and me and what we're doing and we have, there's a whole article on on the site about the Pierce's resistant vines that we're growing.   Craig Macmillan  19:52  Very cool. Well, um, so our guest today has been Adam Tolmach owner, winemaker. Oh, hi, vineyard. Thanks so much for being on the podcast. This is great. Right   Adam Tolmach  20:00  Yeah my pleasure I've been listening to your show now for quite some time I really enjoy it   Craig Macmillan  20:04  oh good fantastic thank you and for all of our listeners out there thank you for listening to sustainable winegrowing with vineyard team   Nearly perfect transcription by https://otter.ai

Well, this could be awkward: when we last featured a story on the podcast a year ago, it also focused on parasocial relationships and included masturbation! This time around, we are again in deft hands. Marie Manilla's short story “Watchers”, set in 1968 Pittsburgh with both the steel mills and Andy Warhol as vital elements, is replete with narrative and thematic echoes that satisfy and leave us wanting more at the same time. Tune in for this lively discussion which touches on budding creative and identity-based aspirations, celebrity, performance art, pain in public and private, and much more. Give it a listen -- you know you want to! (Remember you can read or listen to the full story first, as there are spoilers! Just scroll down the page for the episode on our website.)   (We also welcome editor Lisa Zerkle to the table for her first show!) At the table: Kathleen Volk Miller, Marion Wrenn, Lisa Zerkle, Jason Schneiderman, Dagne Forrest   Listen to the story Watchers in its entirety (separate from podcast reading)   Parasocial relationships https://mashable.com/article/parasocial-relationships-definition-meaning   Andy Warhol's childhood home in Pittsburgh (the setting of this story) http://www.warhola.com/warholahouse.html   “History” article about Andy Warhol's shooting by Valerie Solanas https://www.history.com/news/andy-warhol-shot-valerie-solanas-the-factory    I Shot Andy Warhol, 1996 film https://en.wikipedia.org/wiki/I_Shot_Andy_Warhol      ** Fun Fact 1: the original poster for the 1996 film hangs in Jason's apartment.   ** Fun Fact 2: the actor who portrayed Valerie Solanas in “I Shot Andy Warhol”, Lili Taylor, is married to three-time PBQ-published author Nick Flynn.   Nick Flynn's author page on PBQ http://pbqmag.org/tag/nick-flynn/   Dangerous Art: The Weapons of Performance Artist Chris Burden https://www.theartstory.org/blog/dangerous-art-the-weapons-of-performance-artist-chris-burden/ In her fiction and essays, West Virginia writer Marie Manilla delights in presenting fuller, perhaps unexpected, portraits of Appalachians, especially those who live in urban areas. A graduate of the Iowa Writers' Workshop, Marie's books include The Patron Saint of Ugly, Shrapnel, and Still Life with Plums: Short Stories. She lives in Huntington, her hometown, with her Pittsburgh-born husband, Don.   Instagram and Facebook: @MarieManilla, Author website    Watchers        Zany lies amid clutter on the floor beneath the dining room windows hugging her bandaged arm. She huffs loudly enough to reach the front porch where Mom and Aunt Vi imbibe scotch. Vi still isn't used to afternoon drinking. They can't hear Zany over the Krebbs' crying baby on the other side of the duplex wall. Stupid baby. Plus Zany's little sister overhead dancing to the transistor radio, rattling the light fixture dangling from the ceiling.        The fingertips on Zany's bandaged arm are cold and maybe even blue. This is slightly alarming. She considers running to Mom but knows better. Take the damn thing off then, Mom will say.        There's nothing wrong with Zany's arm, but that isn't the point. At breakfast, without preamble, she wound an Ace bandage from her palm to her armpit. The family no longer asks what she's up to. Last week during Ed Sullivan she sat at her TV tray dripping candle wax over her fist. Aunt Vi blinked with every splat, but Mom only said: “If you get that on my rug I'll take you across my knee. I don't care how old you are.” Zany is thirteen.        Week before, Zany taped a string of two-inch penny nails around her throat at the kitchen table where Dad rewired one of Mom's salvaged lamps. “Why don't you do that in your room?”  Dad didn't like sharing his workspace. Zany shrugged and the nail tips jabbed her collarbones.  She could have done it in her room, but doing the thing wasn't the point. It was having someone watch that mattered. If no one watched, who would believe she could endure that much discomfort?        Nobody is watching now, so Zany grips a dining table leg and pulls it toward her, or tries to. It's hard to budge through Mom's junk piles, plus the weight of the extra leaf Dad inserted when Aunt Vi and Cousin Lester moved in after their apartment collapsed. Aunt Vi brought cans of flowery air freshener to hide the hoard smell—rotten food and cat piss. They don't own a cat.  Lester, sixteen, bought a box of rubble-rescued books.        “You better be setting the table!” Mom calls through the screen.        Zany hates Mom's manly haircut and has said so. “It's Gig's turn!”        Overhead, Gig stomps the floor in the bedroom they now share. Aunt Vi got Zany's attic where Mom's hoard had been disallowed, but it's begun trickling up. “No, it's not!” Gig's transistor blares louder.        “Zany!” Mom calls. “I swear to God! And close those drapes!”        Mom can't stand looking at the neighbor's wall she could reach across and touch, but Zany craves fresh air, as fresh as Pittsburgh air can be. Plus, she likes counting the yellow bricks Andy Warhol surely counted when this was his childhood home, the dining room his make-shift sickroom when he suffered St. Vitus Dance. Zany is certain his bed would have been right here by the window where he could see a hint of sky if he cricked his neck just right. She lies in his echo and imagines the day she'll appear at his Factory door in New York City and say: “I used to live in your house.” Andy will enfold her in his translucent arms before ushering her inside, not to act in his films or screen print his designs, but to be his equal. Partner, even. Zany just has to determine her own art form. It sure won't be cutting fruit cans into flowers like Warhol's mother did for chump change.        Zany's legs start the herky-jerky Vitus dance as if she's running toward that Factory dream. Her pelvis and hips quake. The one free arm. The back of her head jitters against the floor. It's a familiar thrum even Aunt Vi and Lester are accustomed to now. Mom yells: “Stop that racket!” She mutters to Vi: “We never should have bought this place.”       A kitchen timer dings and Aunt Vi comes in to disarm it. Her cooking is better than Mom's, and Vi wears an apron and dime store lipstick while she does it. Fresh peas instead of canned. Real mashed potatoes instead of instant. Vi is a better housekeeper, too, organizing Mom's trash into four-foot piles that line the walls. Every day Mom trolls back alleys and neighbors' garbage in dingy clothes that make her look like a hobo. That's what the kids say:  Your mom looks like a hobo. She pulls a rickety cart and loads it with moldy linens, rolled-up rugs, dented wastebaskets. Zany wonders if Dad regrets marrying the wrong sister. She knows he regrets not having a son, a boy who could have been Lester if Dad had a different heart. Instead, Dad got Lester on at the blast furnace, because “No one sleeps under my roof for free.” Who needs a high school diploma?        In the kitchen, Aunt Vi lets out one of her sobs. She only does that in private after Mom's third scolding: “He's dead, Vi. Crying won't bring him back.”        Zany misses Uncle Mo, too. His pocketful of peppermints. The trick coin he always plucked from Zany's ear. The last time Zany's family visited, she walked through their decrepit Franklin Arms apartment with its spongy floors and clanking pipes, but no maze of debris to negotiate. No cat piss smell or sister blaring the radio. She found Lester in his room at a child's desk he'd outgrown, doughy boy that he then was, doing homework without being nagged.  Astounding. His room was spartan, plenty of space for a second bed if Zany asked Aunt Vi sweetly enough. But no. Zany couldn't abandon Andy in his Dawson Street sickbed. Lester's only wall decoration was a world map strung with red yarn radiating from Pittsburgh to France, China, the South Pole. She wanted to ask why those destinations, but didn't, entranced as she was by all that fresh-aired openness, plus his feverishly scribbling hand.       Now, Aunt Vi leans in the dining room dabbing her face with a dishtowel. She's aged a decade since moving here and it isn't all due to grief. She targets Zany on the floor. “Everything all right in here?”        Zany has stopped breathing. Her eyes are glazed and her tongue lolls from her mouth.  She's getting better at playing dead.        “All right then.” Aunt Vi is getting better at not reacting. The screen door slams behind her.        Zany pulls in her tongue and inhales. She starts counting bricks again until Aunt Vi calls: “There they are!” as she does every workday.        Zany pictures Dad and Lester padding up Dawson. Wet hair slicked back because they shower off the stench before coming home. Zany appreciates that. Their boots scrape the steps to the porch where Aunt Vi will take their lunchpails. And there she is coming through the door and dashing to rinse their thermoses at the kitchen sink. Mom will stay put and pour Dad a finger of scotch.        Lester bangs inside and pauses in the dining room entryway. He's leaner now on account of the physical labor. Taller too. He eyes Zany's bandaged arm, not with Aunt Vi's alarm, but with the kind of baffled wonder Zany has always been after. Their eyes meet and it's the same look he gave her the day she walked backward all the way to the Eliza Number Two—not  because Dad and Lester worked there, but because it was lunchtime, and a gaggle of men would  be eating beneath that pin oak by the furnace entrance. And there they were, her father among them, not easy to see having to crane her neck as Zany picked her way over the railroad tracks.        “What the hell is she doing?” said Tom Folsom. Zany recognized her neighbor's voice.  “She's off her nut,” said another worker.       Zany twisted fully around to see if her father would defend her, but he was already hustling back to the furnace.        “Something's not right with that girl,” said Folsom.        “Nothing wrong with her,” said Lester from beneath a different tree where he ate his cheese sandwich alone.        Folsom spit in the grass. “Shut up, fairy boy.”        Lester wasn't a fairy boy, Zany knew.        Today, leaning in the dining room, Lester looks as if he can see inside Zany's skull to the conjured Factory room she and Andy will one day share: walls scrubbed clean and painted white.  Her drawings or paintings lining the walls in tidy rows. Maybe sculptures aligned on shelves. Or mobiles overhead spinning in the breeze. Lester nods at her fantasy as if it's a good one. He has his own escapism. Zany knows that too, and she looks away first so her eyes won't let him know that she knows.        Lester heads to the cellar where he spends most of his time. Mom partitioned off the back corner for him with clothesline and a bed sheet. Installed an army cot and gooseneck lamp on a crate. Andy Warhol holed up in the cellar when he was a kid developing film in a jerry-rigged darkroom. Zany constructed one from an oversized cardboard box she wedged into that shadowy space beneath the stairs. She cut a closable door in the box and regularly folds herself inside to catalogue her achievements in a notebook. Stood barefoot on a hot tar patch on Frazier Street for seventy-two seconds. Mr. Braddock called me a dolt, but I said: You're the dolt!        From below, the sound of Lester falling onto his cot followed by a sigh so deep Zany's lungs exhale, too. Whatever dreams he had got buried under apartment rubble along with Uncle Mo.       Outside, Dad has taken Aunt Vi's creaky rocker. “He's a strange one,” he says about Lester. “What's he up to down there?”        Mom says, “Who the hell knows?”        Zany clamps her unbandaged hand over her mouth to keep that knowledge from spilling.  She saw what he was up to the day she was tucked in her box and forgot time until footsteps pounded the stairs above her. She peeked through the peephole she'd punched into her cardboard door as Lester peeled off his shirt, his pants. He left on his boxers and socks. Didn't bother to draw his sheet curtain, just plopped on the cot and lit a cigarette. His smoking still surprised her. The boy he once was was also buried under rubble. Zany regretted not making her presence known, but then it was too late with Lester in his underwear, and all. Plus, she was captivated by his fingers pulling the cigarette to his lips. The little smoke rings he sent up to the floor joists. She wondered if he was dreaming of China or the South Pole, or just sitting quietly at his too-small desk back in his apartment inhaling all that fresh air. Finally, he snubbed out the cigarette in an empty tuna can. Zany hoped he would roll over for sleep, but he slid a much-abused magazine from beneath his pillow and turned pages. Even in the scant light Zany made out the naked lady on the cover. Zany's heart thudded, even more so when Lester's hand slipped beneath his waistband and started moving up and down, up and down. She told her eyes to close but they wouldn't, both entranced and nauseated by what she shouldn't be seeing. She knew what he was up to, having done her own exploring when she had her own room. She'd conjure Andy Warhol's face and mouth and delicate hands—because those rumors weren't true. They just weren't. Harder to explore in the bed she now shared with Gig. Stupid Aunt Vi, and stupid collapsed Franklin Arms.       What Lester was up to looked angry. Violent, even. A jittery burn galloped beneath Zany's skin and she bit her lip, drawing blood. But she couldn't look away from Lester's furious hand, his eyes ogling that magazine until they squeezed shut and his mouth pressed into a grimace that did not look like joy. The magazine collapsed onto his chest and his belly shuddered. Only then did Zany close her eyes as the burn leaked through her skin. When Lester's snores came, she tiptoed upstairs to collapse on Andy's echo. She caught Lester seven more times, if caught is the right word, lying in wait as she was, hoping to see, hoping not to.  “You better be setting the table!” Mom yells now from the porch.        Zany grunts and makes her way to the kitchen where Aunt Vi pulls a roast from the oven.  Zany heaves a stack of plates to the dining room and deals them out like playing cards.  “Don't break my dishes!” Mom calls. I hate your hair, Zany wants to say.  There is a crash, but it's not dishes. It comes from overhead where Gig screams.  Thumping on the stairs as she thunders down, transistor in hand. “Zany!”  Gig rushes into the dining room, ponytail swaying, eyes landing on her sister. “He's been shot!”        Zany's mind hurtles back two months to when Martin Luther King was killed. Riots erupted in Pittsburgh's Black neighborhoods: The Hill District and Homewood and Manchester.  “Who?” Zany says, conjuring possibilities: LBJ, Sidney Portier. But to Zany, it's much worse.        “Andy Warhol!”        Zany counts this as the meanest lie Gig's ever told. “He was not.”        “Yes, he was!” Gig turns up the radio and the announcer confirms it: a crazed woman shot Warhol in his Factory.       Aunt Vi comes at Zany with her arms wide, because she understands loss. “Oh, honey.”  Zany bats her hands away. “It's not true.”        Vi backs into Mom's hoard. “Is he dead?”        Gig says: “They don't know.”        Zany can't stomach the smug look on Gig's face, as if she holds Andy's life or death between her teeth. Zany wants to slap that look off, so she does.        Gig screams.        “What the hell's going on in there?” Mom calls.        “Zany hit me!” Gig says at the very moment Aunt Vi says: “Andy Warhol's been shot!”  “No he wasn't!” Zany says again, wanting to slap them both.        Mom and Dad hustle inside where Gig cups her reddening cheek and bawls louder.  “It's nothing,” Mom says at the sight of her sniveling daughter, but Dad enfolds Gig in his arms. “There, there.”        “Don't coddle that child,” says Mom, and for once Zany agrees.        “Now, Mae.” Dad cups the back of Gig's head and there's a different look on her face.  Triumph, maybe.        Pounding on the shared duplex wall, Evie Krebbs, who never could shush that wailing baby. “Andy Warhol's been shot!” she calls to them. “Did you all hear?”        “We heard,” Mom answers as the baby cries louder, and so does Gig, who won't be upstaged. Mom says: “That's the price of fame I guess.”        “Being shot?” says Aunt Vi.        “Put yourself in the public eye and anything's liable to happen. Lotta kooks in this world.”       The neighbor kids' chant sounds in Zany's head: Your mother's a hobo.        “I'd rather be shot than a hobo,” says Zany.        Mom's head snaps back. “What the hell's that supposed to mean?”        Zany doesn't fully know what she means, or maybe she does.        Dad says, “Turn up the radio and see if he's dead.”        Zany doesn't want to know the answer, and to keep him alive she runs to the basement where Andy will always be a sickly boy developing film. Never mind Lester in his bed sending smoke rings up to the floor joists. Never mind her family still jabbering overhead.       Zany dashes to her cardboard box and closes the door, her body shaking, but not from any disease. Andy can't be dead. He just can't, because if he is Zany will never make it to New York. Will never pound on his Factory door. She will never be famous enough for someone to shoot.        She doesn't know she's sobbing until Lester's voice drifts over. “Zany?”        It's hard to speak with that hand gripping her throat and her father overhead still babbling: “Turn it up, Gig.” All Zany eeks out is a sob.        Lester's skinny voice slips through that slit in her door. “Zany?”        The grip loosens and Zany puts her eye to the peephole.        There he is, Lester, on his narrow cot in the windowless cellar where he now lives. He slides his hand into his waistband and he tilts his head toward her. “Are you watching?”  Zany's breathing settles, and the overhead voices disappear taking with them the possibility of Andy's death. Her eyes widens so she can take it all in, the violent strokes, his contorting face, because she won't look away from Lester's pain, or hers.  Finally, she answers him: “Yes.” 

In dieser Folge von BierTalk entführen wir Sie auf eine geschmackvolle Reise quer durch Europa – von den Hopfenfeldern Deutschlands über die Brauereien Polens bis hin zu den Craft Beer Pubs Frankreichs. Unser spezieller Gast, der weitgereiste Braumeister Jonas Trummer, teilt seine Anekdoten aus der Welt des Bieres mit uns und geht mit uns auf eine Reise durch die Geheimnisse der aktuellen europäischen Bierkultur, von traditionellen Brauverfahren bis zu experimentellen Craft Bieren. Schenken Sie sich ein kühles Glas ein und stoßen Sie mit uns an – auf eine Episode voller Entdeckungen und leidenschaftlicher Bierliebe...

¿El baile es una enfermedad? ¿Puede una persona contagiarse de bailar? En este vídeo, aprenderás la historia del "baile de San Vito", una epidemia de baile compulsivo que se extendió por Europa durante la Edad Media. En este vídeo, practicarás tu comprensión auditiva en español mientras escuchas una historia fascinante y misteriosa. ¿Qué crees que causó esta epidemia? ¿Fue una enfermedad real, una histeria colectiva o una combinación de ambas? ¡Escucha el vídeo para averiguarlo! The dance of St. Vitus: A tale of mass hysteria Is dancing a disease, and can a person catch it from dancing? In this video, you will learn the story of the "dance of St. Vitus," an epidemic of compulsive dancing that swept through Europe during the Middle Ages. In this video, you will practice your listening comprehension while listening to a fascinating and mysterious story. What do you think caused this epidemic - was it a real disease, mass hysteria, or a combination of both? Listen to the video to find out!

In this episode of the podcast, our testing team of Tom Marvin, Alex Evans, Luke Marshall and Tom Law talk through the six bikes that have made it into our 2024 Headline Bike Test. The broad range of bikes featured in this test all represent the direction mountain biking is heading in, and we've been putting them through their paces over the past few months. Featured are the XC-focussed Cervélo ZFS-5, the ready-to-rally Norco Sight, Trek's high-pivot enduro Slash, the pocket-friendly Merida One-Twenty, Scott's electric Lumen and Vitus' long-travel, Bafang-powered e-Mythique LT. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Happy Monday! Are we late from last week, or early this week? Who knows. Look, we aren't JUST telling you what happens in chapters 26 through 45 of Moby Dick this week. We're also inviting you to a party that is DEFINITELY NOT A WEIRD SEX THING, explaining how to make bathtub crank, and telling you which apartments don't have glory holes in them. We thank you for your patience during the gap between this episode and the last, by the way - as Rachel's wedding nears, and Jackie is felled by the plague, time has been tight. We hope to be on a more regular schedule in October!Bekah gets on Jackie's bad side. Jackie finds out she has Covid in real time. Rachel makes a slight concession to scholars of straightness. Topics include: decorating with a lot of pineapples, Fifty Shades of Grey, whale misunderstandings, slurpin' out of harpoons, honorable kicks, a soul trying to escape a brain, St. Vitus' Imp, janky throats, men without butter, pretty privilege, completely incomprehensible Pidgin, and juicy little pears.Content warnings: drugs, sexual language, racism ★ Support this podcast on Patreon ★

Bridget has a deeply fascinating and important conversation with the brilliant Vitus Spehar from Under The Desk News about “the news.” TikTok and social media have changed who gets to tell the news, for good and for bad. On the positive side, engaging creators are making important issues resonate with their communities more deeply than Walter Cronkite ever could have dreamed. On the negative side, social media algorithms reward outrage and encourage disinformation that entrenches polarization. It's complicated! Fortunately we have people like V who can succinctly tell us, and legislators, what we need to know. See omnystudio.com/listener for privacy information.

In this episode, Cody talks to musician Zane Penny. He says that every creative endeavor he's been involved in has led him to where he is right now. It goes back to 5th grade, when his mom heard about an audition for a short film. Zane was interested, but he'd never acted before, so he was nervous. So nervous, and full of doubt, that he almost skipped the audition all together. But then, at the last minute, he decided to go. Everything else has flowed from that moment. More acting gigs, filmmaking, creating music and joining Vitus Collective, a group of young musicians and artists based in Anchorage.   Joining Vitus Collective was an important milestone for Zane. It introduced him to a group of likeminded youth and it also helped him realize the importance of young artists, that their message and their perspective matters. There was a problem though, there was nowhere for them to perform. So, in high school, Vitus began hosting all ages shows. These shows were a success, at times bringing in around 300 people. Reflecting on it now, Zane says that when kids have the opportunity to support their friends, they show up.   A big part of the music, for him, is the fashion that goes along with it. When he was younger, he wore clothes that made him stand out — a hood with bunny ears, tank tops and metal chokers. He looks back on those choices now and he laughs, but he understands that that was his way of expressing himself back then. In fact, he keeps a lot of those clothes around his house to remind himself of where he comes from. The clothes, and other pieces of his past, help him fight his fear of forgetting. This fear of waking up one day and realizing that the world has gone on without him. Everything is different, but he's the same. He thinks this fear stems from some of his family's issues involving alcoholism. So, in general, he stays away from alcohol, and instead focuses on the thing that helps quiet that fear, his music.

In today's VETgirl online veterinary continuing education podcast, we interview Dr. Colleen Wegenast, DABT from the ASPCA Animal Poison Control Center on her recent publication entitled "Acute kidney injury in dogs following ingestion of cream of tartar and tamarinds and the connection to tartaric acid as the proposed toxic principle in grapes and raisins" which was published in the Journal of Veterinary Emergency Critical Care in 2022. As the toxic agent alluded toxicologists for decades, this paper discusses how the ASPCA APCC suspected tartaric acid was the toxic component in Vitus spp (e.g., grapes, raisins). Find out where else tartaric acid can be found, and how to manage tartaric acid or tamarind fruit toxicity in dogs.

If you've ever been to a great concert or a banging dance party, then you know sometimes the spirit can overwhelm you -- you might feel compelled to dance. For most people this is a delightful experience... however, this wasn't the case for several unfortunate communities in Medieval Europe. In today's episode, Ben, Noel and Max explore the strange store of Europe's Dancing Plagues, also called St. Vitus' Dance.See omnystudio.com/listener for privacy information.