And it's the potential of humans' exposure to that and other materials in the soil at the former Rocky Flats nuclear weapons plant just south of Boulder that stands as the greatest reason Moore and others believe the 3,963-acre property should be forever left to animals and the wind.
"There is no reason why we should take chances with people being exposed to plutonium if they visit the refuge," Moore said.
He added, "We live in an area that has abundant places to enjoy wildlife and nature without going to a place like Rocky Flats."
At a public "sharing" session held Wednesday night at the Broomfield Community Center, refuge manager David Lucas told a standing room only crowd of about 125 people that he did not see health risk for visitors to the planned refuge.
"If we did not believe it was safe, we would not be opening it up," Lucas told the crowd.
The DOE's Office of Legacy Management remains responsible for the long-term surveillance and maintenance of the roughly 1,300-acre Central Operable Unit at the center of the Rocky Flats site, which is closed to the public and is surrounded by — but is not part of — the refuge.
Boulder City Councilwoman Lisa Morzel is the city's voice on the Rocky Flats Stewardship Council, on which 10 local county and city governments are represented. She stops short of a full-throated endorsement of opening the refuge little more than a year from now.
"I want to see the soil sample analysis," she said, referring to testing of samples at proposed refuge public access points.
"From my perspective, I am happy having the wildlife there," she said. "DOE and CDPHE and EPA have decided the site has met all federal regulatory cleanup provisions, but one of the things that I was very adamant about with this FLAP grant program is that we do some soil sampling, and see what the state of the soil is at these access points, and if there are contaminants of concern at concentrations that might be of concern."
"Our biggest thing from Broomfield's standpoint was making sure that the plans moving forward were consistent with the Comprehensive Conservation Plan that was developed several years ago, right after the refuge was established," he said.
But as Allen said, the final trail alignment and length of the completed trails is actually still "a work in progress."
"We put in for about $6.5 million of improvements, which included a wildlife underpass," Valdez said. "That piece of the project was not considered eligible, so we were only awarded $2.84 million, and we have a formula that we used to divide up the contributions the different jurisdictions were going to make, so those contribution amounts would go down proportionately."
He qualified that statement by saying the grant committee had actually "shortlisted" the Flats-area coalition for the $2.84 million, and that a letter guaranteeing the award is still to come.
"Boulder County is committed to continuing to work with the regulators to make sure that they are adhering to the protocols and processes they agreed to, to ensure public safety," Davis said.
"We feel like it's important to monitor and really pay attention to that, and ensure that public safety is addressed now and into the future, because of the history of what has happened at Rocky Flats, and the activities at Rocky Flats. We are committed to doing that."
The safety of the soil — more accurately, the dangers posed by possible latent contaminants in any soil that might be disturbed through construction and potentially distributed by wind or rain — was very much on the minds of those who attended Wednesday night's session in Broomfield.
Even though the meeting was called only to preview and get feedback on a 3,500-square-foot, $8.3 million visitor's building — which will include 1,500 square feet of exhibit space highlighting the many-layered history of the Flats property — many on hand were far more interested in talking about whether Rocky Flats is really a good place to be welcoming thousands of members of the public every year.
Although Lucas and a meeting facilitator said repeatedly that a future "sharing session" — most likely in April — will focus on safety and risk management, numerous people still tried to push that volatile subject on Wednesday night.
Kri Gale of Fort Collins, who sat through the entire meeting holding a sign saying "Rocky Flats/ Not safe for wildlife/ Not safe for recreation / Not safe for housing," finally blurted out, "There should not be any visitors. This should not be open to the public. You're pulling the wool over people's eyes."
Gale had to be cautioned by security personnel to abandon her vocal protests to avoid being escorted from the room. Several other protesters had greeted meeting attendees arriving at the community center that evening with signs bearing messages such as, "What you don't know can hurt you."
Protester Marian Whitney of Arvada was asked if she believes the refuge will inevitably open, activists' actions notwithstanding.
"Yes," Whitney conceded. "But we want to be warning as many people as possible, to protect their health."
Focusing the conversation at the evening's meeting back on the planned Flats visitors' center, Lucas acknowledged that the long history of Rocky Flats is likely to remain a ripe topic of debate for years to come.
"Rocky Flats is, in my mind, a unique and dynamic story," Lucas said. "I'm personally pretty darned excited to construct a building where we can tell this story and have this discussion."


Distance between Cranbrook and Articlave. How many miles from Cranbrook to Articlave.
The straight distance between Cranbrook (England) and Articlave (Northern Ireland) is 412.18 mi, but the driving distance is 546.50 mi.
It takes to go from Cranbrook to Articlave.


We will once again be holding our annual cheerleading competition on November 12, 2011. This year we made the move to a spring mat and we have greatly expanded our dining and vendor areas. We look forward to seeing all our old friends and to making some new ones!


1) I understand the concept of testing different carbs for a BG response, but what about when we combine those carb sources with other foods? Won't that change the response? For instance, maybe we have a poor response to white rice, but less of a BG spike when we smother it with coconut milk. Does this change how concerned we should be about eating white rice?
2) Some folks might argue that insulin response is as or more important that BG response. I've been checking out Marty Kendall's site and I see he is looking at the insulin load of different foods. Is this as variable as BG? In other words, are the numbers on his site fairly accurate across the board, or does the insulin load vary person to person whereby one might have a bigger response to a Snickers vs. a slice of bread and vice versa?
3) I'd like to hear more about LPS and Bulletproof coffee and how we know if we fall into the group for whom fatty coffees are a bad idea. I heard Tommy Wood mention this on another podcast and I'm still trying to figure out if fatty coffee is always a bad idea or just a bad idea for some folks some of the time…and who are those folks?
Thanks for all your work! I'm loving the book launch since I get to here you on several podcasts a week instead of having to wait a whole week to hear the next Paleo Solution Podcast!
The carb test has you test these foods by themselves plain so you can get good idea of what that particular food does without many other variables. Yes, eating foods combined with other foods will make a difference, but eating the carb by itself will give you kind of a worst case scenario in a sense. That way you at least have an idea about how these different foods affect you, then you can go from there and figure out what works well for you when combining some of these carb sources with other foods in a meal and such.
Just shoot your receipt to [email protected] and you can get the bonuses (except the Thrive Market one that has now expired).
*Thrilled* to discover you live in Reno and even more excited to read the new book! Thank you for your engaging and enlightening talk today at Grassroots Books, such a treat! Wish we had more time to talk Taubes when you signed my book lol I love to geek out on controversial nutrition science.
OMG… I read your first book. I'm 20-30 pages in on the new one…and I bloody LOVE it.
Really enjoyed the Q&A as well as the book. I was interested in the part of the Q&A where you went of topic to discuss high AIC and working out with low carb leading to a stressor. Can you elaborate on this more including the solution as I am in this boat and was hoping to correct this situation. My fasting glucose is near the top of the normal range and so is my A1C but my fasting insulin is in the low range of normal. Any thoughts?
I'd like to see more on this too. I started testing my glucose and was surprised to see my fasting glucose is always between 100 and 120, and it's lower two hours after eating. My A1C is 5.8. I play hockey, which is basically HIIT, which would fit the profile Shanti Wolfe was talking about.
Sorry I forgot to add I eat a lower carb diet between 50 and 100 carbs per day and train three times per work doing weights and one day per week of sprints along with casual walks around the neighbourhood.
Wow! I am about three quarters of the way through the book. I recently switched to more of paleo(ish) diet from being pescatarian for about three years. I have noticed a huge shift in my energy and saitation. I confess that I am also very intrerested for both of my parents who have become curious about how to increase their health.
Two questions have popped up as I've been reading the book.
1) You talk a lot about gut health and the lining of the stomach, Is there any way to tell what the quality of the your gut is? Specitic tests?
2) What are your feelings on stevia? You speak about hyperpalatable foods- sugar being one fo them, and how they can diminish our health. What are your thoughts on stevia health benefits/ costs? Does it keep our palate adjusted to sweetness and wanting more? Also, any studies you're aware of that reveal how people's blood glucose levels change when eating stevia products?
Huge thank you!! So appreciate the work you are doing and passing the book along for sure!
There are some tests, but you can also tell by symptoms as well.
I am 80, in excellent overall health, good DNA (mom died at 106). My problem, paradoxically, is how to gain weight. I am 6'1″ and weighed 175 for several decades. I have cut out bread and most sugar over a few years, eating modified paleo, but gradually lost weight down to 145, not by intention. This is almost all muscle loss, although I continue to do short workouts with free weights. Will your program help me to gain weight?
Confused on 7 day test. Do I eat normal breakfast of protein and add the 50g of carbohydrates or just eat the cArbohydrates?
Just the carbohydrates by themselves with nothing else.
Loving "Wired to Eat" so far! A huge THANK YOU!! Looking forward to seeing what carbs I can tolerate in the coming months. My question is about fish/shellfish. It is such a large part of the paleo lifestyle, yet, I'm highly allergic. I didn't realize how badly, because I just never ate it, until I was cross contaminated last year and my face blew up!! Took almost 2 weeks and a lot of drugs to be "normal" again. Do you have thoughts on "replacing" these essentials? Especially when it comes to the 30 day reset, but also on an ongoing basis.
Yeah, definitely don't eat fish/shellfish if you're allergic. Stick to mostly grass-fed/pastured meats and eggs if you can and you're probably good to go. You possibly could take a little algae based DHA for omega-3's if you needed, but that might not be necessary.
1. Robb mentions butter (very briefly) as a source of fat that can be added but doesn't mention other dairy. Is the 30-day reset dairy free (strict Paleo)?
1. Ideally, yes. Especially if you're someone who hasn't cut out dairy before to see how you react to it.
2. Not necessarily. It could be different from things in the same category. You can do more than 7 days and test more than 7 if you'd like, like you said there are many carb options to try. You can sometimes get a decent picture of what your blood glucose response is like after testing 7 different foods, but sometimes there can be outliers.
Could it be useful to change the amount of carbs in the carb test based on the size of the individual, the intensity of their training, or the amount of carbs they'd usually eat in a meal? Or would you say that these parameters don't affect the test too much?
What about the first/second phase insulin response and the effect of net change in blood glucose? I'm aware this goes beyond the purposes of Wired to Eat, but testing glucose response as directed makes one begin to beg these questions.
We recommend the 2 hour mark to make it simple, it's kind of the standard for OGTT and diabetic testing, and it gives a good overall picture. If you want more data, feel free to measure more often if you're willing and want to get a better picture of initial and prolonged response.
Keep in mind in the study you listed that they're testing FPG with IVGTT.
Ok during the 30 day reset and general eating time it says the recommended amount of carbs is between 75-150g. Is this net carbs or gross carbs? I got a little confused because later with the test we need to use net carbs. Great book.
Not sure if it has been answered or in the book. Do you first get a baseline fasting BG reading before you begin the 7 day testing? If so, how many hours should I fast? Thanks in advance.
You can if you want more info. We're just telling people to measure after the test meals to make it as simple as we can, but if you want more info you can test it as much as you want.
If you wanted to get a fasted blood glucose reading, you would want to do it in the morning after you've slept overnight, at least 8 hours or more of fasting.
Hi, I'm reading Wired to eat and wandering if I have to eat quantities of food on chapter 12 during 7 days test. It seems huge (onions, carrots etc. >600g ) do we have to eat this amount (50g net) i.e. 600/700g of food or less?
Thanks a lot for sharing with us all this !
Question about the 7-day carb test. Here goes. My fasting glucose was 76. Consumed 50 effective carbs of white rice. At one hour, my BG had spiked to 175! At two hours it was at 135. So I retested at 25 effective carbs the next morning. Fasting BG on that day was 88, one hour post rice was only 112 and two hours was 114. I was surprised the two hour number was around the same as the one hour number. Anyway, in the book Robb writes that if the two-hour BG number is above 115, then the food at issue is probably not a good fit. But the converse is not necessarily always true, correct? In other words, given the massive spike the first time I tested rice, just because the second two hour test was at 114 dos not necessariy mean I should be eating sushi for breakfast the rest of my life, right 🙂 Thanks for any insight.
After watching the FAQ video I'm a little confused about exercise. Is the suggestion to completely avoid exercise during the carb test? Thanks!
I have the book on audible but was wondering about the accompanying PDF mentioned. I've searched but can't seem to find them. Where can I get These list from?
i live/eat really healthy (lchf but not too restrictive)..
what gives? is it a good or bad sign??
if your BG reading is lower after 2 hours, is that a good thing or???
yes sorry for the second comment..
i am now on my 4th day of testing and every carb i have tried has rised my BG (a little) at the 1 hour mark, but the 2hour mark has been lower than my starting point (fasting blood glucose).
That is a good thing right?? Does it mean that i am insulin sensitive??
..never forget Menckens quote about complex probs and simple answers.
1. Will the 7+ day test results be adversely affected if you eat excess calories (500-1500 onto of maintenance) while on a ketogenic or low carb diet for the 30 days prior to the 7+ day test?
2. Should we be testing food that also have a high fibre content for carb sensitivity, i.e. nuts, berries, low carb flours, etc?
Jamie- If one is doing well on keto, not sure the test is valuable. If you do want to do it, i'd eat a modest amount of carbs for 5 days before starting, just to normalize all that.
2-It's be almost impossible to reach the 50g of effective carbs in these cases. Even with cashews it'd be 1.25 CUPS!
I've been conducting a load of N=1 experiments over the last 2 years generally cycling between KD, CKD and TKD, depending on the outcomes I want at the time. Luckily I went on holiday and had a little 2 week carb and calorie binge prior to starting the reset protocol!
Re the effective carb volume, you'll be disappointed to know that I've been consuming 2-3 cups per day of Macadamia, almonds and cashews (even blend) in one sitting! Combining with 85% dark chocolate it's really not that hard even for a 68kg man ( my stomach did not thank me for it). I just wanted to confirm this volume (and/or the accompanying amount of calories) wouldn't adversely affect the challenge phase.
I am doing the 7-day carb test and started out with cold white potatoes. My fasting blood glucose was 91,8 mg/dl. My blood glucose after eating was 88,2 both at the 1 and 2 hour mark. What is your take on this? I know cold potatoes contain resistant starch and that the glucometer has some standard error. But i still didn't expect this response.
I'm actually a skinny guy and I'm reading Wired to Eat for general health, definitely not for weight loss (actually I need to *gain* weight as much as possible).
So my question is about the snacks. Robb says we shouldn't snack in the 30-day reset, unless we really feel we need it.
But considering that I can't lose any weight, I'd like to know if it's ok for me to have some avocado or nuts in between meals *every day*, so that I can reach my calorie goal for the day.
Yeah, definitely. If your goal is to gain weight, then don't try to limit yourself unnecessarily.
Thanks one more time for the wonderful job Robb and his team have been doing!
2. After I'm finished with the 30-day reset and also with the 7-day carb test: can I test some foods, following the steps of the 7-day carb test, anytime, even not doing a preparation like the 30-day reset (i.e. can I repeat the 7-day carb test in a moment of my life in which I'm not eating so correctly)?
Yes, I would say you could do both of those things. If you're already fasting and doing well with it and it's something you do anyway, then you could try it on the 30 day reset too if you wanted to see how it went.
You can do a carb test any time. It doesn't have to be 7 days, it could be more or less, or intermittently at different times in the year, etc.
So it means I don't need to be on a paleo diet if I want to do a carb test, right?
No, you don't have to be.
2) After testing our individual responses to various carbs, would it make sense to test our response to carb with protein/fat combos and more go by that, sticking with the reading range recommended in the book? So I eat an apple with a healthy green sald with lots of healthy fats (olive oil, avocado, nuts) and get a lower response than with an apple alone, then can I go by that? Eg, apple alone yields reading above recommended range, but when combined with healthful foods, it's okay, then would you recommend going by the latter, ie okay to eat if with other tested foods?
In your opinion… if I'm underweight, trying to gain muscle (and perhaps even a bit of fat), and my fasting glucose is 93, should I try to bring it down?
Hi Robb, after a few months on Zero Carbs, I noticed that I started having very low fasting blood glucose <60mg/dL, so I have introduced carbs as per your 7-day carb test.
Now that I have a CGM (Freestyle Libre) I get a better overview of how I respond to various foods, but do you think one should be concerned about the immediate blood sugar spike – or is the 2hr measure the only one to focus on?
I.e. I can have spikes up to 150-160 30mins after a certain meal of 40-50g of carbs (I also eat high protein, upwards of 70-80g per meal), but at 1hr it is usually below 120 and at 2hrs I'm always back to 80 or even lower. In fact, I'm apparently running 55-60 throughout the whole night but get a spike right around waking.


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This is probably one of the simplest recipes I've ever made, and am blown away by how well it stacks up against more traditional recipes that require a year of whisking and a possible split at the end.
Using a stick blender, blend from the bottom of the jar upwards.
Once everything is blended through you have your mayonnaise. No hassles, no whisking, and you can make it fresh in under a minute.
You can read more about recipes like this and my culinary adventures here.
Hey man, awesome 'ible. I'm sure the future will see me making a lot more of this.
Ran into a problem, though. I tried to make it and instead produced an oily, liquid substance that wasn't the right consistency at all. I don't know why. Would incorrect beating cause this kind of effect, or perhaps inadequate amounts of vinegar? The only other thing I can think of is that I used roughly 3/4 canola oil and 1/4 olive oil. Any idea what I'm doing wrong?
Hi, that's interesting. It could be too little vinegar,or even if you try blend it without a hand blender. Those are the most likely causes.
The inside of an egg is a sterile environment, most of the contamination comes from the shell. As long as you wash your eggs first you should be ok.
I make homemade mayo sometimes, and I like your recipe. I'm going to have to try it. One suggestion: try line juice instead of vinegar or lemon juice. Gives a great tang!
Thanks! will definitely try that next time.
Please tell me what that toaster is in the end of the video!!!!
I'm not sure the make but I bought it a few years ago at a 2nd hand store. It's pretty awesome... as long as you remember to turn your toast in time!
Nice! Does homemade mayo like this tend to separate over time? I've never had anything but store-bought stuff.
Thanks! Honestly, it's never lasted long enough for me to find out... I think the longest was about 3 weeks before we ate it. It really shouldn't separate unless you leave it for months.
Pasteurized eggs are available everywhere too, that would be safe for everyone. I use them to make fresh, uncooked eggnog for the holidays. No reason you couldn't use them here. I like the idea of smoked salt. Will have to try and find some.
The raw egg isn't a concern? I've never made mayo from scratch so I'm just a little reluctant because the egg isn't cooked obviously. Does the vinegar chemically "cook" the egg?
I've been making ice-cream for years with raw eggs following Ben and gerrys recipe book. I'm still alive. Probably not okay for pregnant women or people susceptible to stomach upsets though, perhaps. Definitely going to give this recipe a try.


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"Narratives Don't Have Lower Thirds and IDs, Why Should Documentaries?" Marlon Johnson and Anne Flatté on River City Drumbeat
River City Drumbeat
by A.E. Hunt
in Directors, Interviews
Anne Flatté, Marlon Johnson, River City Drumbeat
The Ohio River Flood of 1937 killed 385 people and left a million more without a home. That same year, the Home Owner's Loan Corporation (HOLC) drew redlining maps of Louisville to decline mortgage insurance and credit to the Black and immigrant communities hit hardest by the floods. In the "Clarifying Remarks" of one of the HOLC's area assessments they sum up a "D" rated region: "This area, known as 'Little Africa.' No paved streets – low type of inhabitants." Disinvestment still cripples the West Louisville community today. The "ninth street divide," the demarcation between West Louisville and downtown, places into stark relief the life expectancy difference on either side of the line: 82 years east of it, 67 years west.
Marlon Johnson and Anne Flatté's documentary River City Drumbeat captures emotionally propelled narratives in the West Louisville community's three-decade spanning non-profit Arts institution, The River City Drum Corps. Under the tutelage of Ed "Nardie" White, children learn African and African American history, family and cultural values through the music at its bedrock. They build, play and learn the origins of the drums, the instrument of the heartbeat. Broader emotional scopes and social contexts slowly reveal themselves not through editing contrivances or creative impositions, but by how comfortable people became on camera. Mr. White's late wife Zambia, once the Drum Corp's educational director and a critical influence on its teachings today, is only alluded to until the Drum Corp became comfortable enough to talk about her more directly on camera. She's revealed in the film exactly how she was to Johnson and Flatté during production: the film opens up to the neighborhood's surrounding systemic challenges and broadens its scope only so far as the people in front of its camera desire to. Johnson and Flatté were there to listen to the film's participants, to record them everywhere, to be told their story, not assume they knew it or impose their own.
Filmmaker: How did you divide directing duties?
Marlon Johnson: Anne and I have been working on music documentaries for quite some time. Our producer, Owsley Brown, is from Louisville and knew of the River City Drum Corp organization, loved Mr. White and everything he was doing in the community. He invited Anne and I to meet Mr. White. We both immediately fell in love with him, his story and the great work that they were doing [and] knew it was something worth investing in. A lot of Mr. White's experiences are similar to my own, so I had a strong vision of his story to begin with.
Anne Flatté: We've both worked on these documentaries for a long time—not together, but in the same scenes, communities of music. We met in Miami working on a short film together and really enjoyed that experience. Both of us are parents, so we both have children we're raising and know how difficult that is. Meeting Mr. White and the work that he had done with the drum corp was really inspiring and moving for us. [Having two directors] is nice when you're embarking on a documentary of this scope. We started this film in 2016 and here we are now. We were both very compatible in exploring our creative visions together and figuring out how the story was going to emerge. We really enjoyed the process. I think sharing the workload and the ups and downs of a production was really wonderful. [laughs]
We would meet in Louisville with a very small crew. Sometimes it would be both of us, sometimes it would be Marlon, sometimes it would be me, the DP and a sound person. DP Juan Carlos Castaneda was as invested in these people as we were. There was a relationship. There was also [DP] John Anderson Beaver, who Marlon worked with on some of the filming over the course of 18 months. We would go there every few weeks or few days, based on the schedule of the Drum Corp. All of the editing would happen in San Francisco where I lived. We would work together remotely, then he would come out to San Francisco and work intensively for a while with me and the editor. I think this is the way to go in documentaries.
Johnson: For the last 15 to 17 years I had only worked with two other directors exclusively, so this was a bit of a departure for me. It was just a blessing that she had some of the same fundamentals as a storyteller that I had. We had a mutual respect for each other, but challenged each other at the same time. It's allowing yourself to check your ego. It's not being egoless, it's like having enough ego to know when to let the person lead in certain circumstances. We both have an editing background too, which I believe helped the shorthand of our language as directors.
Filmmaker: Did you spend time in the space with the people before you brought a camera in? Do you both have ways you like to approach the initial process of gaining that trust and comfort?
Johnson: When I was first introduced to Mr. White and Albert [Mr. White's successor as director of the River City Drum Corp], it was essentially just three people having a conversation and sharing life experiences—again, so many that resonated with me. The older we get in our careers, it becomes more about listening to the participants in the film than just trying to get coverage. That allows the folks in the community to get invested and for us to do something beyond just tell a story. I wanted to listen. I believe we have to allow space for things to unfold, and it's refreshing when you have a partner who also works like that.
Flatté: We spent a lot of time with Mr. White and Albert before the cameras even came. I always feel with Mr. White that he chose us as much as we decided to work on this film. It was a mutual decision. Marlon and I felt that this was a cooperative thing you're doing when you're working on someone's life story. How could it not be? Especially when they're not otherwise well known. This is not a public figure, this is a person sharing very intimate moments of their life, so of course they have to feel like you're the right person to do it justice. There's a lot of communication, a lot of dinners. Those are the kinds of films I'm interested in seeing and making. It is a little bit unusual. There are a lot of different films that can be made. But this is where we have given our lives.
Johnson: Some of the participants in the film actually said that after a while we disappeared. I think if we are doing our job as best as we can, our presence isn't felt.
Flatté: We didn't want to influence it too much. Of course, having a camera around impacts reality, we all know that's true, but what was also fun working on this project with Mr. White and Albert was that they're both visual artists, they understand the artistic process. So, they were really interested in what our reasons were going to be for doing things in a certain way. They really wanted that kind of thoughtfulness going into their stories. It wasn't a news coverage story or something.
Filmmaker: Are there times you know you should turn the camera off to retain that trust?
Flatté: It's a feeling you have. It's very intuitive when you're filming. "Is it appropriate to be filming right now?" I think Marlon and I are extremely aware of that.
Johnson: I think it comes down to being a very good listener and a very good observer. If you have those, your instincts kick in and allow for those better moments.
Flatté: We never wanted to do something that wasn't what the person being filmed wanted. This is also something we think about in the edit. There are a lot of decisions made there. We wanted this to be a complex story that revealed some truth about life [laughs], so you're walking that line. You're making those decisions all along the way: when you choose to film, how, and what you choose to include in the film. We were really trying to say something true about the people involved, so that's going to involve some pretty intimate and difficult moments, in hopes that you feel you've gotten to know somebody.
Filmmaker: Trusting that the people in front of the camera will tell you the story.
Flatté: It emerges if you put in the time and effort into it as opposed to deciding what the story is first and going to get that. That's not how we approached it. I will say that there was a way into the story when Mr. White said it would be his last year. Then it was like, let's see what happens and who else we meet.
Filmmaker: I imagine it's tricky to shoot these live performances to sync with sound in the edit. You're both editors—have you developed a good way to do the music justice when you're shooting on the fly?
Johnson: I think one of the ways we approached it was to get a full performance audio bed, or as much as we could. We didn't have a lot of multi-camera. We did, but it wasn't like on every performance we had four cameras. So the key is to be able to get enough coverage, not overshoot, but know you have enough in the can to build that scene out, because they wouldn't always go from A to Z in the edit with the performance. Knowing that, you can kind of shoot around that. When one of the DPs saw it in the edit he said, "Wow!" He said it looked like multi-camera. We edited in a way that made it seem multi camera, but it's actually one. Not all the time, but often.
Flatté: One of the great things about drumming is that it does repeat, so it gives you a chance when you only have one camera. [laughs] One of the things we felt strongly about is that the viewer should feel as close as possible to the music. I can honestly say it was a challenge to film the live performances, and we did a lot of different ones. The ones that are in the film are in there for a reason. [laughs] Again, we didn't want them to have to do it for us, so we were following what they were doing for a live audience. We did a lot of performances, and I'd say we got better over the course of 18 months.
Filmmaker: Both of your collective works look at communities from its music out.
Johnson: Both Anne and I are trained musicians. We have a great appreciation for it and how effective it can be in storytelling and in people's lives. It was just a natural fit for me to bring those two worlds together.
Flatté: I think music is one of the most powerful forces in the world, how it affects us as human beings. Growing up, I played piano, it was the way that I dealt with my emotions and learned to be disciplined. The power of music to bring people together, whether you're playing together or listening to it…
Filmmaker: I like the scene where Albert declares, "We can popularize culture." The dashiki was something the community used to make fun of, but the River City Drum Corp helped normalize it, which is a very direct influence of music on the neighborhood as a whole.
Johnson: And the drum making and the music playing specifically for these kids was an entryway into everything else these kids are able to do. The teaching of life skills, the appreciation of African and African American culture, all come out of having an opportunity to play an instrument and to learn music.
Filmmaker: Can you talk about forming the arc of Zambia in the film? She's introduced very quietly and gradually and we only see footage of her in the very end.
Flatté: I love talking about Zambia's presence in the film. When we were filming with Mr. White Zambia was no longer living. All I can say is that that is how it happened for us. We started to hear more and more about Zambia from everybody we were filming. It became so clear that she was this powerful presence even though she had passed on. In fact, she was ever present in the things we were seeing people do. So, how do we include a person that is deceased in a film like this and do her story justice? I consider her a main character in the film. You eventually get to meet her, but it's not all laid out in the beginning. It's a process of discovery, discovering someone's legacy and how they live on in people. I was inspired by films that deal with characters who are absent most of the film, like L'avventura, when we were trying to do that.
Johnson: More to Anne's point, it was how it was revealed to us. And we wanted to have the audience have that same immersive and real time experience. Staying true to that process was important to us. Not having it all revealed in the beginning, but over time. That's exactly how it happened to us.
Filmmaker: In contrast to your process of receiving the story, there is the mainstream media's imposition of the one they look to tell, which someone in the film brings up. It's a joyful film, but you don't skirt the tragedies. How do you do that without becoming "news?"
Johnson: From the beginning, we wanted to make sure we were focused on all the beautiful things this community has to offer. Oftentimes the media portrays a very narrow view of communities like West Louisville. I speak to that because I'm from a community that's very similar in Miami. I grew up in a neighborhood where there were certain challenges, but where there was all of this other beauty that existed and wasn't getting covered. We wanted to have a different narrative while not shying away from the systemic challenges that exist. I think we struck a fine balance of giving dignity to the folks in this film and humanizing them on screen in a way that they don't have the opportunity to. You need to see that Mr. White has some of the same needs, wants, fears and desires that someone on the other side of the country does.
Flatté: This is said by people in the film: "This is not going to be on the 11 o' clock news." The media tells a very small part of the truth, but it's very, very dominant. So, it's important to the people in the community. When the people that are in the film saw the film they were like, "Thank you for doing this." Every night on the news they see a different representation. Media is powerful, its effect on people. The news doesn't focus on the caring adults who are trying to do right by the children in this neighborhood, so that's what we're showing.
Filmmaker: Have you seen obstacles in trying to get this in front of a larger audience? I know the cancellation of SXSW due to COVID-19 presented a curveball in doing so.
Johnson: Don't remind us Aaron!
Flatté: [laughs]
Johnson: That hurt, man. You were doing so well. You had to go there. [laughs]
Flatté: We always knew this would be an unusual film in the landscape. It's not about a huge historical event, it's about people's daily lives, struggles and successes. To us, this is the movie and emotional journey we like to see. We wanted to convey an emotional experience, not an informational experience. The whole reason I love film is because I feel connected to people when I watch films. Filmmaking is also about connecting with people at a very deep level that you just don't get in the news. I thoroughly believe there are people who will enjoy this film and want to see it. How it's treated in the commercial world is another thing, a business thing. Recent events have moved this film away from being considered a niche film to being something more people are interested in.
Johnson: There is more of an appetite for this film than there was prior to the pandemic. One of the treats of screening a film—we had a chance to screen the film in New York and Miami physically—is that there will be audience members who obviously knew nothing about the institution, or Mr. White or Albert, and come up to us and say, "I feel like I know these folks." We would do Q&As and surprise everyone by bringing some of the participants from the film up to the stage. They were treated like rock stars. People are like, "They're actually here?!" It speaks to the connection that we were able to make and that the participants were able to give us.
Filmmaker: I appreciated that the film didn't try to educate the viewer. It could have tried to educate us about something like the seven Kwanzaa principles we see being taught to the kids or lean into factoids about the community, but it doesn't and remains the emotional thing, like you say. Anything we learn about the community we learn through the people.
Flatté: There are so many people doing great things in documentary, but there's this feeling that, I guess because documentaries came out of news, it needs to be informational and identify everybody. We don't think that's true. We don't feel that there needs to be all these rules and expectations around it. We don't really use talking heads. We made aesthetic choices to make it feel more like a narrative film. You can't write this. Everything Mr. White says is amazing. We fortunately had the freedom to do that and do what we wanted to do. We hope that some of those rules about what a documentary has to be change.
Johnson: We also wanted to give the audience enough credit. Often times you can fall into the trap of spoonfeeding your audiences. Both Anne and I like a bit of a challenge. We like work that requires viewers to actively participate when watching the film. Narratives don't have lower thirds and IDs, why should documentaries? When we decided that wasn't going to be a part of our film it made it more difficult in many respects, but way more satisfying. Those are the sort of challenges we put on ourselves and the audience.
"The Gorgeous Light of LA Sunsets Always Seemed To Come Too Soon": DP Derek Howard on The Tuba Thieves by Filmmaker Staff in Cinematographers, Directors, Festivals & Events, Interviews, Sundance Responses
"What 'Motherhood' Really Means": Laura Moss on birth/rebirth by Natalia Keogan in Directors, Festivals & Events, Interviews, Screenwriters
"What Remains in the Body": Maite Alberdi on The Eternal Memory by Lauren Wissot in Directors, Interviews, Sundance
The Lost Children Experience at FilmGateMiami 2014 By Mark Harris on Apr 2, 2014
Park City Critic's Notes #2: How Should a Family Be? By Brandon Harris on Jan 19, 2014
Hacking Arts – Using Technology To Connect With Your Audience By Michael Murie on Oct 1, 2013
2012 Dubai International Film Festival Marks a Pioneering Year for Arab Cinema By Ariston Anderson on Dec 19, 2012

redpajama_set_name: RedPajamaCommonCrawl


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Home Politics Discussion about reform cannot be electoral, says Temer
Discussion about reform cannot be electoral, says Temer
Former president Michel Temer (MDB), said in an interview with CNN this Thursday (13), that the discussion on the labor reform, approved during his term in office, in 2017, cannot be used in an "electoral way".
According to Temer, the productive dialogue can be directed to improvements and some changes, as new labor dynamics emerge over time, such as the issue of application delivery.
Temer warned, however, that the debate cannot be carried out solely with a view to "revoking" the measure or, in an "electoral manner", claiming that it took away workers' rights and jobs.
At the beginning of last week, leaders of the Workers' Party (PT) said they were in favor of repealing the labor reform, and that the reform of the Spanish government should be "watched carefully".
Temer criticized PT's stance and said that shortly after the case, former president Lula only mentioned improvements. "I think they soon detected that it wouldn't be something useful for the Brazilian system," said Temer.
He also stated that the recently revoked Spanish reform did not guarantee the right to temporary workers and was introduced by decree, which did not happen in the Brazilian case.
The former president stated that workers' rights were maintained, as they "are in the Federal Constitution". Thus, according to Temer, the reform could not, and did not, take away any rights.
"[Com a Constituição] we elevate the rights of workers, we don't leave it in ordinary law", he said.
During the interview, Michel Temer pointed out that "it is not the law that creates jobs, it establishes social adjustment for the development of the country". Thus, the labor reform came to "harmonize the relationship between employer and employee".
He also stated that the reform provided the creation of jobs, saying that 529,000 registered workers were registered in the last year of his government, in 2018 – that is, after the measure was approved.
Bolsonaro and STF
In September last year, Temer helped the government to appease the relationship between President Jair Bolsonaro (PL) and the Federal Supreme Court (STF).
In a letter sent by Bolsonaro to the STF, which was written by Temer, the president denied any intention to attack the powers that be.
During this Thursday's interview, Michel Temer stated that he only collaborated with the fulfillment of the Constitution.
"What has revealed, at the moment, to me, is that the people are tired of very violent discussions. Not only verbal aggression, but also physical in nature. The gesture was only relevant because of the people's desire", said the former president.
He analyzed the recent attacks made by Bolsonaro on members of the STF.
The former president hopes that Bolsonaro can return to the period of harmony, which only emerges with dialogue between the powers.
"I think it's reasonable that criticism can be made, but mentioning names doesn't seem to be something that is useful. It does not contribute to the harmony of powers", he pointed out.
Michel Temer also said in the interview that it is important that candidates for the presidency in 2022 bring detailed agendas, so that the vote is "anchored in proposals". Only in this way would political polarization be overcome.
According to the former president, many Brazilians have made a "vote against", that is, they vote for a candidate so that the other is not elected, and not because they believe they are the most capable or with the best proposals.
Thus, he analyzed that the labor reform also raises "the quality of pre-candidates", as it is an agenda under discussion.
"I think it's important that the electorate vote in favor, convinced that he is the best, and not against A or B", he said.
The influence of political polarization on the elections, analyzes Temer, means that, most likely, there will be no results in the first round. In addition, it makes predictions difficult.
"It's still too early [para previsões]. We have nine months, a lot will still happen. The search [eleitoral] of today does not portray tomorrow. Future research may portray another reality," he said.
Regarding Simone Tebet, the MDB candidate for the presidency, Temer stated that she has "all the conditions to preside over the Republic".
Even so, he affirmed that he is not closed to dialogue with former president Lula, leader in the polls, because "the conversation typifies democracy".
Finally, he analyzed that Bolsonaro's "fight against the vaccine" is a mistake both in the field of health and in the elections.
After emphasizing the effectiveness of vaccines, Temer said that the president also ends up alienating the voting public that is in favor of immunization.
Reference: CNN Brasil
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Jacksonville Jaguars expect Cam Robinson to return 'sometime during training camp'
Posted Jun 16, 9:08 AM
Jacksonville Jaguars offensive tackle Cam Robinson (74) blocks during an NFL game against the New York Jets on Oct. 1, 2017, at MetLife Stadium in East Rutherford, N.J.
By Mark Inabinett | minabinett@al.com
When the Jacksonville Jaguars hold their first practice of training camp on July 25, coach Doug Marrone doesn't expect offensive tackle Cam Robinson to be ready for full participation.
But he does expect Robinson to "be available sometime during camp."
The former Alabama All-American tore the anterior cruciate ligament and meniscus in his left knee on Sept. 17 in Jacksonville's game against the New England Patriots. Robinson spent the rest of the season on injured reserve and the Jaguars' offseason program doing rehab work.
"We ain't really been discussing it too much," Robinson told the Florida Times-Union about his availability for training camp. "We've just been taking it day-by-day, just progressing. ... I'm just going to keep working, keep trying to build on what we've got going right now."
As the Jaguars' offseason program wrapped up on Thursday, Marrone said Robinson and wide receiver Marqise Lee were the only players that he anticipated not being ready to go at the start of training camp.
"I'd be naïve to think that someone's going to pick up where they left off," Marrone said. "But I think that they'll be ready at some time in training camp, and we'll go out there and get it. But all the things we can do in the rehab and the classroom work and things of that nature, we're on top of that, so we don't feel they'll be lost.
"But any player that's away for any period of time -- no different than every single player that's going to report to camp -- there's always going to be some rust because you can't simulate going against someone of this caliber of playing in these conditions -- you know, when it's hot -- so I think every player'll have some type of rust when they get back."
The Jaguars won three games in 2016, added LSU running back Leonard Fournette in the first round and Robinson in the second round of the draft and went to the AFC Championship Game in 2017.
With Robinson missing 14 games and Fournette missing eight, Jacksonville slumped to a 5-11 record in 2018.
"It's definitely been challenging," Robinson said of his rehabilitation. "There's good days and bad days. You try to fight through it and remember what the bigger purpose is, what you're working toward. …
"I definitely feel like I'm getting there. Just taking it day-by-day. I'm getting there, though."
With Robinson limited to his recovery work, the Jaguars used Josh Wells and Cedric Ogbuehi with the first team at left offensive tackle during the offseason program.
A four-year veteran, Wells started five games at left tackle after Robinson got hurt before he sustained a season-ending groin injury. A first-round draft choice in 2015, Ogbuehi started at right tackle in 2016 and left tackle in 2017 for the Cincinnati Bengals before playing in only two games last season. Jacksonville added Ogbuehi via free agency in March.
At Alabama, Robinson won the Outland Trophy as the nation's best collegiate interior lineman during the 2016 season.
FOR MORE OF AL.COM'S COMPREHENSIVE COVERAGE OF THE NFL, GO TO OUR NFL PAGE
Mark Inabinett is a sports reporter for Alabama Media Group. Follow him on Twitter at @AMarkG1.


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Tags: Bill Musgrave, Christian Ponder, Darrell Bevell, Donovan McNabb, Leslie Frazier, Minnesota Vikings, Minnesota Vikings
Most Affected By Lockout: Minnesota Vikings
Monty McMahon May 20, 2011
Better be a quick study.
There isn't much good news to come out of this blight of an offseason, also known as the 2011 NFL lockout, but if there's a silver lining, it's this: the [intlink id="35″ type="category"]Minnesota Vikings[/intlink] are likely to be most affected by it.
And when we say affected, we mean negatively.
The labor dispute will likely drag into late June, if not July, which means the cancellation of organized team activities, rookie camps and minicamps, which coaches use to integrate players into their system. That shouldn't be much of a problem for a stable, largely battle-tested team like the Green Bay Packers, but it could be a huge problem for a team like the Vikings.
The Vikings are entering the 2011 season with a new head coach, albeit one who served as interim head coach for the final six games of the 2010 season, a new offensive coordinator and a rookie quarterback they would like to start in week one.
Head coach [intlink id="1342″ type="category"]Leslie Frazier[/intlink] — the defensive coordinator for most of 2010 — will handle the defense, but the rest of the team has a lot of question marks. The coaching staff wants to feature first-round pick Christian Ponder at quarterback. He'll be paired with first-year offensive coordinator Bill Musgrave.
Darrell Bevell, the team's offensive coordinator from 2006-10, was kicked to the curb when Frazier had the interim removed from his title.
Here's ESPN's John Clayton's take.
Ponder had only a brief meeting with new offensive coordinator Bill Musgrave and is having to learn the playbook on his own. He's thinking of getting a couple of his wide receivers together for some throwing sessions in Florida, but there is another problem. Minneapolis, like Green Bay and Buffalo, is not an offseason home for most of the players.
Training in Houston, Adrian Peterson, for example, has spent more time with Vince Young — who won't be a Viking — than Ponder. Trying to pull all of this together without an offseason program will be tough. The longer this lockout goes, the more the Vikings will suffer.
The Vikings defense will be game. They're a veteran unit that will play the same system as 2010. Offense, on the other hand, will be an uphill battle and that could make for comical results and quite a few early-season losses.
The longer this drags on, the less likely Ponder will be able to take the reins week one, which brings us to the veteran quarterback the Vikings currently do not have.
We've discussed the possibility of Donovan McNabb, who will be released by the Washington Redskins, being the Vikings starter in 2011.
McNabb is almost perfect for the situation because he makes plays on the move. He doesn't need a robust, structured offense like the one he had in Washington. So, unlike Ponder, who's going to need to learn the system to have success, McNabb could probably have some drawing up plays in the dirt.
Still, success is a relative term here. The Vikings won't be challenging the Packers and Bears for NFC North supremacy.
This is a team that's probably going to look disjointed and confused for at least the first few weeks of the season, unless the owners and players come to their senses and hammer out a deal in the next few weeks.
Bill Musgrave
Darrell Bevell
Leslie Frazier
Jermichael Finley Has A Lot Of Reasons To Be Motivated
Ray Edwards: Boxing Better Than Playing For Vikings
Greg May 20, 2011
I listened to Ponder today on the Colin Cowherd show, he seems like an intelligent, good guy. I think it's going to be an uphill battle though, despite having good offensive weapons on that team.
12meninthehuddle May 20, 2011
cowherd sucks a dick!…….not picking a fight, just stating a point.
DevilDon May 24, 2011
I'm still relishing the NFCCG too much to laugh at the Vikings, but thanks for heading me in the right direction.
Maybe they'll "get lucky" like the Packers did according to other teams' fans.
Or maybe…..
no fukkin way!
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Anna's recent and upcoming engagements include Manon in Puccini's Manon Lescaut, Mimi in La bohème, Yaroslavna in Prince Igor, Micaela in Carmen (Bolshoi Theatre Moscow), Tatiana in Eugene Onegin for Festival d'Aix en Provence and Savonlinna Opera Festival, the title role in Iolanta for Savonlinna Opera Festival, Polina in The Gambler (Opera Vlaanderen), soprano part in Britten's War Requiem at Staatsoper Berlin (conducted by Antonio Pappano), Liza in The Queen of Spades at Teatro San Carlo di Napoli, Tatiana in Eugene Onegin at Washington National Opera, Polish National Opera, Bolshoi Theatre, Moscow and Seiji Ozawa Matsumoto Festival, Japan.
She has a busy series of engagements in the upcoming seasons including house debut at the Metropolitan Opera, NY, and her return to La Monnaie, Brussels.
She performed Tatiana in Eugene Onegin (Mikhailovsky St Petersburg, Perm, Bolshoi Theatre Moscow), Lisa in The Queen of Spades (Stanislavsky Moscow, Bolshoi Theatre Moscow), Iolanta (Perm, Bolshoi Theatre Moscow, All together Opera St Petersburg International Festival), Violetta in La traviata (Saint Petersburg Opera), Lauretta in Gianni Schicchi, Liu in Turandot, Yaroslavna in Prince Igor, Élisabeth de Valois in Don Carlo and Nastasya in The Enchantress (Bolshoi Theatre Moscow), Nedda in Pagliacci, Katya Kabanova, Dvorak's Rusalka (Mikhailovsky Theatre St Petersburg), Manon in Manon Lescaut (Staatsoper Berlin and Mikhailovsky Theatre St Petersburg), Elizabeth in Tannhäuser (Freiburg), Zemfira in Aleko and Francesca in Francesca da Rimini (La Monnaie, Brussels), Aida (Stanislavsky Moscow), Leonora in Il trovatore (Riga) as well as the soprano parts in Berlioz's The Childhood of Christ Oratorio, Rachmaninov's The Bells Symphonic Poem (Saint Petersburg Philharmonic Orchestra), and Mahler's Symphony No. 2 Resurrection (Perm).
In 2012, Anna made her debut at Bolshoi Theatre Moscow, singing the role of Nastasya in The Enchantress and the same year she became a soloist with the ensemble of the Bolshoi company.
Anna Nechaeva graduated from Saratov State Conservatory and took master classes with Elena Obraztsova, Makvala Kasrashvili, Liubov Orfenova, and Gemma Visser.
She is the laureate of Worldwide Madame Butterfly Competition in Chisinau (2nd Prize, 2007) and a nominee for the Golden Spotlight theatrical award for Rusalka (2010) and the Moscow Theatre Festival Award for Tatiana in Eugene Onegin (2004).
The sensation of WNO's cast is Anna Nechaeva, who made an outstanding U.S. debut as Tatiana. The Russian soprano had all of the vocal qualities for the role, and she imbued the Act I Letter Aria with innocence, passion, and dreaminess. The power of the performance came just as much from her acting abilities, making the character both vulnerable and exalted. Towering strength came later in Act III, when she finally put Onegin in his place, singing with a more mature vocal presence.
Washington National Opera did indeed "discover" a Tatiana for our times in the ravishing Anna Nechaeva, whose voice is as expressive and lovely as her form. She is the real deal, a singing-actress of keenly honed talent and stage presence, who at one moment timidly darts across the stage like a startled bird, then buoyantly leaps up onto a bed like a jubilant child. She holds nothing back in her portrayal of youthful warmth and romantic fervor, then makes the whole auditorium feel her anguish and humiliation at the hands of a careless man. But she endures and keeps a loving heart so that at the end she gains a noble dignity.
I had expected the soprano to possess a powerful but thrown-back vocal placement and "heavy" sound as many Russian singers do. Instead, though there are delicious dark notes and depth in that voice, it is balanced with a forward placement that keeps everything bright and every note spinning out seemingly effortlessly.
In "The Letter" aria, Nechaeva navigates the sudden emotional and musical changes, committing herself to every musical and dramatic moment and all sourced from the character's thoughts. She starts, hesitating, then chases mentally a glimmer of love but soon moves into full throttle, then commits, willing to throw herself recklessly at Onegin to save her helpless, romantic heart. At one point, she runs headlong around the stage, scooping up leaves only to fling them high into the air (and they scatter behind her,) then throws herself to the ground and rolls down the steeply raked stage, blanketed in autumn leaves. Overcome by her own exertions and realizing such passion is dangerous, she dives down into smoky dark notes of intense doubt and melancholy, accessing a strong mezzo sound.
Anna Nechaeva's Tatiana is glorious, with the recklessness of young love fully on display; with the fiery leaves of Autumn thick on the ground, when Nechaeva sings Tatiana's immortal love aria for Onegin she gets to act out her impulsiveness, rolling and flinging leaves to show the conflict of joy and dread she feels.
" ... während sich Anna Nechaeva beeindruckend aus der Chorschar heraus verausgabt."
Anna Nechaeva sang from within the chorus, giving her, too, a heightened, removed position from where her clear and melodious soprano projected over the orchestration.
" ... with the exquisite and moving voices of tenor Ian Bostridge, baritone Matthias Goerne, and soprano Anna Nechaeva"
"When soprano Anna Nechaeva entered, the texture of her fluent voice at once lifted and lightened the martial sound of Goerne's baritone, while adding a suggestion of fire and wailing."
"Die Aufführung konnte mit drei hervorragenden Solisten aufwarten: neben der Sopranistin Anna Nechaeva ... "
L'on sort de l'opéra troublé aussi bien par la voix d'Anna Nechaeva que par le final visuellement magnifique où les jetons tombent du ciel comme des bombes.
Die adrette Anna Nechaeva ist der Widerpart mit schöner und zugleich willensstarker Sopranstimme. Sie tariert die Launen und Gemütsschwankungen der Polina virtuos aus.
As Polina, Anna Nechaeva is a radiant soprano, clear and determined.
La palme revient cependant au général d'Eric Halvarson, [...] et à la dramatique Pauline d'Anna Nechaeva, brûlante dans les duos avec son amant joueur.
Anna Nechaeva mit ihrem robusten, doch durchscheinenden Sopran hält deren Fühlen spannend in der Schwebe. Immer wieder denkt man, mit ihr und dem zunehmend in Konfusion sich auflösenden Alexej könnte es doch noch was werden, aber dann schmeißt sie ihm herzlos die von ihm gewonnenen Scheine als Ablassgeld ins Gesicht.
"... but especially the extraordinary Anna Nechaeva as Polina, who makes even the sentimental love duet with Aleksej at the end of the opera seem credible, until she shatters the illusion of it efficiently."
Anna Nechaeva excellently portrays the whimsical nature of Polina.
Lisa - Anna Nechaeva, perhaps, one of the best performers of this party, who can be heard in the never-ending stream of "The Queen of Spades", one of the most performed scores in Russian, and the world opera theater. She is lyrical and ecstatic, sincere and passionate.
Anna Nechaeva's soprano is beautifully regulated, its dark chocolate colour and shimmering power coming through particularly in the middle to upper range.


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Commentary: Surface water, groundwater storage work together
By Danny Merkley
Danny Merkley
During El Niño rains this winter, University of California researchers flooded this Modesto-area almond orchard as part of a groundwater-recharge experiment.
Photo/Joe Proudman, UC Davis
"Flexibility translates to resilience."
With that simple, four-word sentence, a new academic study emphasizes the important links between surface water and groundwater storage in the West, and the need for the two forms of storage to complement each other in tackling chronic water shortages.
The study was published last month in the journal Environmental Research Letters and was led by geologists from the University of Texas, with participation from U.S. Geological Survey researchers from California and Arizona. It looked specifically at how to enhance drought resilience in those two states.
In the Central Valley of California, as we know, farmers and other water users have had to rely on groundwater to a much greater degree the past few years, as drought and endangered-species protections have reduced surface-water supplies. The researchers see that as opening opportunity to refill depleted aquifers, noting that storing excess surface water in aquifers when it's available "can greatly enhance the reliability of water supplies."
The study looks at groundwater storage using two methods, which the researchers describe as conjunctive use or managed aquifer recharge. The researchers define conjunctive use as substituting surface water for groundwater, thereby reducing groundwater pumping and retaining groundwater in aquifers. They define managed aquifer recharge as using surface water to recharge groundwater, for example through the use of "spreading basins" where water is directed during wet years to percolate underground. In California, this method is considered "groundwater banking" and requires permits from the state water board.
In the Central Valley, the study says, importation of surface water via federal and state water projects supports groundwater storage. Recharge from surface-water irrigation increases groundwater storage. The report notes experiments with flood irrigation on fallow lands and perennial crops to enhance recharge, and says studies in Arizona indicated flood irrigation "should be very effective in recharging aquifers."
"Irrigators in the Central Valley maintain surface water and groundwater-based irrigation systems, which is essential" for groundwater storage, the report says. Additional recharge occurs naturally during extremely wet periods.
For optimal management of water resources, the researchers say, "it is important to understand the similarities and differences between groundwater and surface water storage systems." Surface reservoirs can accommodate rapid storage of large water volumes, whereas recharge systems generally feature slow infiltration rates, which the study says limits their ability to respond rapidly to climate extremes.
Here's how I describe the difference in talking about the need for all types of storage, as California decides how to spend the $2.7 billion voters approved as part of the 2014 water bond: Put a stopper in your sink, fill your coffee pot with water and then pour that water as quickly as you can into the sink. The sink holds the water as a surface reservoir would. Now, fill the pot again and pour it rapidly into a coffee filter filled with grounds—and you'll have a mess. Much of that water will waste away onto your counter and kitchen floor, because the water can't percolate through the filter fast enough, just as water can't quickly reach aquifers.
It's an important distinction because some organizations want to focus all of the available bond money on groundwater storage—and groundwater storage alone simply can't handle the flashier storms that come with the tropical weather systems that often help to break California droughts. If we are to recharge groundwater basins, we need strategically placed, new surface storage to capture precipitation the way California receives it today.
The study notes that recent increases in climate extremes related to both wet and dry periods in California and Arizona require additional water storage "to buffer water supply variability related to these extremes."
Importantly, given the recent concerns in California about management of increased flows during the El Niño storms of the past winter, the study says that flood flows to the Pacific Ocean from California that exceed environmental flow requirements "could provide additional water" to support expansion of groundwater-recharge programs.
"It is important to understand that it is not surface versus subsurface reservoir storage but integrated management of both," the study says, concluding that "integrated management of surface and subsurface reservoirs should be used to optimally manage water supply variability, with surface reservoirs capturing flood flows and transferring to aquifers for longer-term storage."
In some ways, it's akin to managing a checking account and savings account: Surface reservoirs act as a "checking account" for deposits and withdrawals; groundwater storage is the savings account that we build whenever possible so it can be tapped when the checking account runs low.
As Farm Bureau has long maintained, California must continue to pursue an all-of-the-above approach for making our state's water supplies more secure, including storage both aboveground and underground, plus continued investments in water recycling, coastal desalination and enhanced water efficiency.
As the study says, flexibility leads to resiliency, and California must remain open to pursuing all strategies to provide water for its people and environment.
(Danny Merkley is director of water resources for the California Farm Bureau Federation. He may be contacted at dmerkley@cfbf.com.)
Permission for use is granted, however, credit must be made to the California Farm Bureau Federation when reprinting this item.


text:
// Copyright 2009 Jeffrey Cameron
//
// Licensed under the Apache License, Version 2.0 (the "License");
// you may not use this file except in compliance with the License.
// You may obtain a copy of the License at
//
//   http://www.apache.org/licenses/LICENSE-2.0
//
// Unless required by applicable law or agreed to in writing, software
// distributed under the License is distributed on an "AS IS" BASIS,
// WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
// See the License for the specific language governing permissions and
// limitations under the License.

using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;

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        object EvaluateExpression();
        void ProcessChildCommandsSequentially();
        bool HasChildCommands();
        void SetupChildCommands();
        void ExecuteChildCommands();
        void VerifyChildCommands();
    }
}

redpajama_set_name: RedPajamaGithub