SHARE SHARE The U.S. Department of Agriculture (USDA) will invest $56 million this year to help agricultural producers improve water quality in more than 300 high-priority watersheds across the country. USDA’s Natural Resources Conservation Service (NRCS) is continuing two of its successful landscape-level water quality efforts, the Mississippi River Basin Healthy Watersheds Initiative (MRBI) and National Water Quality Initiative (NWQI).“We’ve learned that when we partner with producers to deliver conservation practices to critical watersheds, we see a positive impact,” said NRCS Chief Matthew Lohr, who made the announcement at the Hypoxia Task Force meeting today. “Through these partnerships we maximize the delivery of our conservation efforts which yields greater results to water quality and benefits the public, our natural resources and farmers’ bottom lines.”NRCS launched MRBI in 2009, focusing on watersheds in the Mississippi River Basin, then took the concept nationwide in 2012 with the launch of NWQI. Since then, priority watersheds across the country have seen improvements, including the delisting of once impaired streams.Through these initiatives, NRCS offers technical and financial assistance to farmers and ranchers to implement practices that avoid, control and trap nutrients and sediment, which in high quantities negatively impact water quality. Practices include filter strips, cover crops and manure management, which promote soil health, reduce erosion and lesson nutrient runoff.NRCS has strengthened focus on watershed assessment and partner engagement in priority small watersheds in fiscal 2020. NRCS will soon solicit state partners for new MRBI and NWQI watersheds and source water protection areas for fiscal 2021. See NRCS website for a list of the watersheds for MRBI and for NWQI.Mississippi River Basin Healthy Watersheds InitiativeThis year, NRCS will make available $17.5 million to producers in 13 states: Arkansas, Illinois, Indiana, Iowa, Kentucky, Louisiana, Minnesota, Mississippi, Missouri, Ohio, South Dakota, Tennessee and Wisconsin.MRBI supports each state’s nutrient loss reduction strategy with overall goals of improving water quality, restoring wetlands and enhancing wildlife habitat while ensuring economic viability of agricultural lands along the nation’s largest river. The nation’s largest hypoxic zone, or low-oxygen area, sits at the mouth of the Mississippi River.Since its launch, MRBI has:Helped producers implement conservation on nearly 1.5 million acresReduced sediment loss by 2.1 million tonsReduced phosphorous loss by 4.1 million poundsReduced nitrogen loss by 16 million pounds.National Water Quality InitiativeAdditionally, NRCS will make available $38.9 million this year through NWQI. The Initiative is a partnership among NRCS, state water quality agencies and the U.S. Environmental Protection Agency to identify and address impaired water bodies through voluntary conservation. Through the Initiative, NRCS provides targeted funding for financial and technical assistance in small watersheds most in need and where farmers can use conservation practices to address impaired surface water. In 2019, NWQI was expanded to include protection of both surface and ground sources of drinking water.Water quality is improving in NWQI watersheds. State water quality agency partners report that 27% of NWQI monitoring watersheds show an improvement in water quality in at least one of the NWQI-monitored pollutants (based on 2016 data). Further, 81% of these improvements can be attributed to or associated with agricultural conservation practices implemented by farmers and ranchers.Since its launch, NWQI has:Helped producers implement conservation on 825,000 acresReduced sediment loss by 850,000 tonsReduced phosphorous loss by 2 million poundsReduced nitrogen loss by 9.6 million poundsParticipating in MRBI and NWQINRCS accepts applications for conservation programs year-round, but applications are ranked and funded by enrollment periods that are set locally. Producers interested in technical and financial assistance should contact their local NRCS field office. USDA to Invest $56 Million in 2020 to Help Farmers Improve Water Quality Home Indiana Agriculture News USDA to Invest $56 Million in 2020 to Help Farmers Improve Water… By USDA Communications – Feb 9, 2020 Facebook Twitter Previous articlePOET’s Jeff Broin Named The American Biofuels Visionary by Growth EnergyNext articleHoosier Voyles Elected to Cattlemen’s Beef Board Officer Team USDA Communications Facebook Twitter
Community News EVENTS & ENTERTAINMENT | FOOD & DRINK | THE ARTS | REAL ESTATE | HOME & GARDEN | WELLNESS | SOCIAL SCENE | GETAWAYS | PARENTS & KIDS 51 recommended0 commentsShareShareTweetSharePin it Get our daily Pasadena newspaper in your email box. Free.Get all the latest Pasadena news, more than 10 fresh stories daily, 7 days a week at 7 a.m. Pasadena Humane will be hosting a free food bank at 8:30 a.m. Saturday, June 5, for pet owners who may be struggling with their finances to get some extra help for their pets.The Pet Food Bank is by appointment only. Current food bank members should have received an email with instructions on how to book an appointment. If you haven’t received an email, call Helping Paws directly at (626) 792-7151 ext. 281 or email [email protected] you’re new and have not previously applied for the food bank, you will need to complete the online application through this link. A Pasadena Humane staff member will contact you within the next three days with instructions on how to proceed.For more information, visit www.pasadenahumane.org/services/owner-assistance/pet-food-bank. Business News Your email address will not be published. Required fields are marked * Community News CITY NEWS SERVICE/STAFF REPORT Pasadena Will Allow Vaccinated People to Go Without Masks in Most Settings Starting on Tuesday Make a comment Top of the News Home of the Week: Unique Pasadena Home Located on Madeline Drive, Pasadena Non-Profits News Pasadena Humane Hosts Free Food Bank for Pets By ANDY VITALICIO Published on Tuesday, June 1, 2021 | 3:07 pm STAFF REPORT Pasadena’s ‘626 Day’ Aims to Celebrate City, Boost Local Economy STAFF REPORT First Heatwave Expected Next Week HerbeautyRed Meat Is Dangerous And Here Is The ProofHerbeautyHerbeautyHerbeauty5 Things To Avoid If You Want To Have Whiter TeethHerbeautyHerbeautyHerbeautyWomen Love These Great Tips To Making Your Teeth Look WhiterHerbeautyHerbeautyHerbeauty6 Lies You Should Stop Telling Yourself Right NowHerbeautyHerbeautyHerbeautyCouples Who Stuck With Each Other Despite The Cheating ScandalHerbeautyHerbeautyHerbeautyThis Trend Looks Kind Of Cool!HerbeautyHerbeauty More Cool Stuff Name (required) Mail (required) (not be published) Website faithfernandez More » ShareTweetShare on Google+Pin on PinterestSend with WhatsApp,Pulse PollVirtual Schools PasadenaHomes Solve Community/Gov/Pub SafetyCitizen Service CenterPASADENA EVENTS & ACTIVITIES CALENDARClick here for Movie Showtimes Subscribe
There are few experiences that can top a music festival weekend.Something that was once a counterculture, hippie escape from the lulls of the rat race is now a key cog in mainstream society and almost a rite of passage for young people. And make no mistake, the exponential growth of the scene has been nothing short of extraordinary.According to Nielsen Music, in 2014, 32 million people attended at least one music festival, and nearly half of them were millennials.That statistic is particularly telling, because it explains the heavy amount of sponsorship dollars that flow into these events, seeking the approval of the most desirable demographic on the market. An AEG, LLC report said that North American-based companies spent $1.34 billion sponsoring music venues, festivals and tours in 2014, and that number has increased like clockwork over the past five years. Anheuser-Busch was responsible for a third of it.These days we have over 800 festivals to choose from, and that number is constantly changing. Still visible in the rear-view mirror are the years when regionally-based offerings like Bonnaroo, High Sierra, Sasquatch! and Austin City Limits (ACL) were all that we had.While each festival had its own unique aesthetic, at the core, they were all the same. They provided a rare opportunity to separate from society and submerge in another world, where you could explore the simplest pleasures in life without judgment or consequence.A decade ago, there were no smart phones or selfie sticks in the air — just hands and gravity-friendly fans seeking a better view. Social media hadn’t been invented yet. Silent disco was the only way you could describe the 3 a.m., music-less dance party at your neighbor’s campsite.Festivalgoers had nothing but good vibes, memories and stories to take home. They fostered communal relationships and created festival families through shared experiences that brought them back each year. Thankfully, those elements have not and will not change.But it’s not all sunshine and smiles. Behind the scenes, the economics of this boom have created a hierarchy that’s replaced grassroots events with corporate ones, as entities like AEG and Live Nation have become major players. We’ve seen many familiar and beloved staples fall by the wayside at a much higher rate since.So, how did all this happen? What factors sparked this exponential boom? And beyond that, what are the effects — both good and bad — of this seemingly oversaturated space?In an attempt to answer these questions, we spoke with industry members on different sides of the phenomenon to gain some perspective on the fascinating and rapid evolution of music festivals in the 21st century.FROM LAST LINE TO HEADLINEAs Umphrey’s McGee was picking up steam in South Bend, Indiana in the late-1990s, getting to play music festivals was a priority.It’s a strategy many bands employ early in their career, and UM was no different, hoping to put their progressive rock jams in front of larger audiences in new markets. After UM built a respectable network, the doors were opened to Quincy, California’s High Sierra Music Fest in 2001.“That was our first glimpse into what the festival world was and, of course, a year later Bonnaroo happened,” said UM keyboardist Joel Cummins. “At least — for our scene — that felt like it really changed everything.”The inaugural Bonnaroo was a much different animal than its present-day form. In 2002, Widespread Panic, Trey Anastasio, Ben Harper, The String Cheese Incident and Phil Lesh stood atop the lineup. Its supporting cast resembled something more akin to Mountain Jam or Summer Camp.The first Bonnaroo SuperJam consisted of Michael Kang from SCI, Béla Fleck, and Robert Randolph. To put that in perspective, last year’s ensemble featured over a dozen artists including Pretty Lights, Run DMC, Rob Trujillo (Metallica), and Chance the Rapper. Cummins was actually part of the SuperJam madness in 2014.With 70,000 people attending the ‘02 Bonnaroo, that afternoon set provided one of the largest crowds UM had ever played in front of. What made it even better was that it was at a festival with a cohesive, complementary lineup that reeled in an audience that embraced their sound.“The difference between a festival, which we call a soft-ticket play, versus an ‘Evening with Umphrey’s McGee’, is somebody’s buying a ticket just to come see you at a club or theater,” said UM manager Kevin Browning. “At a festival, that’s part of the experience. You pay one price and you go and you’re excited about the bands that you’re excited about, but it’s also an opportunity to discover. For us, that was huge because it’s hard to get the word out. It was hard then and it’s hard now. If you’re good enough and you’re entertaining enough, when you go play these places and there’s new ears and eyes — we gained a lot of fans over the years from those festivals.”The rise of UM has been on a parallel path beside American music festivals, as the infrastructure beyond the gates flung them from their beaten path onto the paved one. They went from a last-line Bonnaroo artist to a festival headliner and a band that could sell out arenas and fill amphitheaters.FROM COUNTERCULTURE TO SUBCULTUREThere’s no correct or, for that matter, simple answer as to what caused the music festival boom. What is clear is that there are a number of factors that created this live music super cell.The most glaring of them is money. As ticket prices have soared, so have the profits.Complex Magazine reported that in 2014, in terms of gross revenue, Electric Daisy Carnival generated $322 million and Coachella raised $254 million. Ultra, which had nearly 200 less artists than its West Coast peers, was able to bring in $200 million.“You see the opportunity that promoters saw in large-scale events like this. They’re high-risk but they’re very high reward,” Browning explained. “From a promoter’s standpoint, if they’re doing hundreds of shows a year at bars and clubs and whatnot, the margins on a festival are a lot better than the margins on a club show. Everybody wants to throw cool events and everyone wants to throw parties, and at the end of the day, it became clear that people want to go to live music festivals and there was a demand that wasn’t being met based on the amount of traffic that they could support.”Advancements in mobile technology and the rise of social media have also played a massive role in filling out these events . Following artists and the entire music scene has never been easier, thanks to blogs (like this one) and social media platforms.Listening to music and expanding one’s palate has become an instantaneous exercise with a few swipes and thumb punches on a smart phone standing in the way. As the artist impressions stack up, so does our desire to see them beyond the screen.Since our networks are accessible within our pocket, the subconscious fear of missing out has become a potent undercurrent within the culture. Festivals like Coachella, New Orleans Jazz Fest, and Hangout began putting on live broadcasts and, since then, it’s become an integral part of extending their reach. Recap videos have become a trademarked part of the experience, helping relive the scenes and moments in a different perspective days and weeks after they’re over.Festivals offer a perfectly-packaged, sharable experience that can be linked to a hashtag and sent out into the world in a matter of seconds, creating a conversation without borders. The first weekend of Coachella 2015 garnered 3.5 million tweets. #WarpedTour was used more than 1.2 million times on Instagram last year.This technological revolution isn’t limited to our end, either. Production capabilities have bolstered performance standards, creating countless ways to deliver music that touches on all our senses.Producers and DJs have become so talented and so undeniable that electronic dance music has come out of the warehouses and into the daylight, transforming the festival culture.The IMS Business Report 2015 stated that the EDM market had reached an eye-popping $6.9 billion, and 26 percent of all nightlife events around the world were EDM related.So it’s no coincidence that some of the largest and most lucrative festivals on the planet are centered around EDM and, as it’s evolved, the drug movement that followed is simply a natural progression of it.Like LSD was to the 1960s and ‘70s, MDMA is to the right now.“This is basically the mass commercialization of an underground culture that was already alive and well,” Browning said. “There’s no doubt (the EDM) scene has been responsible for a ton of the growth, because you’re talking about a captive audience that has a relatively large disposable amount of income and they like to come together and do drugs and that was apparent to (many successful promoters out there).”For UM, climbing lineups required some sonic evolution as society’s preferences began to change. They never made a conscious effort to change their sound, but there was some natural selection involved. The desire to experiment and incorporate different equipment opened the doors to untapped electronic potential with the band’s improvisation.Many of those elements gave way to originals like “Cemetery Walk II” or “Day Nurse,” and helped UM feel comfortable in festivals like Counterpoint and Electric Forest.“I love the fact that we can cross-pollinate here and do events like Summer Camp in Illinois that are still very rooted in the live music thing … or we can be just as much as home in a more electronic environment,” Cummins said. “For that matter, I can say that we’d be just as comfortable doing an acoustic set at Telluride Bluegrass Festival. I think our versatility is something that’s really helped us continue to prosper in the festival game.”UM is just one small piece of the overall scale that began tipping toward that world.Purple Hat Production’s Paul Levine, one of the biggest forces behind Florida’s Spirit of Suwannee Music Park (SOSMP), who’s been putting on shows for more than two decades, has had a front-row seat to this shift.Levine’s view of the EDM takeover echoes Cummins’ analogy of it being a “gateway drug to more of the live performances.”“It’s not everyone’s cup of tea, but people just want to dance, and that music appeals to them. Some EDM appeals to really young people, but when we were all young, we had to be introduced to music in a certain way. Some of it is more sophisticated (than others),” said Levine. “Whatever gets people out to music festivals, hopefully they have an opportunity to be exposed to lots of new things. As people grow up, their tastes evolve. Some will be EDM fans for life and some may move on from that and start loving folk music or afrobeat — who knows. What I’m seeing is a lot of music fans that like all sorts of music so I think it’s important that, as time goes on, everybody is more open-minded to new music, new mediums, and new forms of creativity.”And that might be the most important place to look — at the communal mindset of people who go to festivals.“It’s generally good-willed people,” Cummins said. “I think it starts with the notion of the band, a group of musicians who are trying to create something together that is bigger than the sum of the parts … there’s some sort of interaction between the band and the audience that can be this really magical, powerful thing.”Beyond the social media or opportunities to eat drugs or chase experiences, it’s the unique chance to bond through live music with other like-minded people that’s bringing festival fans back for more.“There really is a special love that’s there that’s not the same for a big Metallica festival (for example). There’s a little more aggression and a little more angst and a little more frustration that people are taking out, and our music seems to be based on more of the ‘love your brothers and sisters’ model,” Cummins said. “In today’s times it’s become even more important and relevant. There’s just so much hate and awful bigotry out there in the world, and music is really something that brings people of all different beliefs and ethnicities and all this together. They can come together and embrace something and enjoy something without having to judge. I wish that more people were able to experience that and be able to feel that and be a part of something. The world would definitely a better place.”EFFECTS OF AN OVERSATURATED FESTIVAL SCENEObviously, there’s a cost associated with everything and, like every space that sees exponential growth, there are positive and negatives that follow.As the number of festivals continued to rise in the late-2000s, the competition and pricing market amongst them became more intense.That’s not just on tickets, either. Booking artists became increasingly difficult as the country became more densely populated with music fests. A contract’s radius clause, which limit shows an artist can play within a certain time and distance of an event, made the selection process a delicate balancing act.Naturally, the deeper the pockets a production company has, the more likely they are to win the battle.“Everyone wants to have a festival. The reason there’s so many and — particularly the big ones — there’s a lot of corporate money and sponsorship dollars (invested),” Levine said. “Businesses are putting up large amounts of money to do certain things and perhaps overpaying artists, which inflates the price structure. It’s become harder and harder for smaller, grassroots promoters to get fairer deals on headliners because they don’t have as much buying power as the bigger interests.”That’s diminished the complementary nature the festival circuit once had, and the hierarchy that’s followed has affected the sustainability of smaller, boutique events.The last year alone we’ve seen many longtime staples and household names in their respective corners of the country shut down.On June 24, 2015, one of the most beloved festivals in the Southeast, Bear Creek, had to cancel its ninth installment at SOSMP. Specifics weren’t provided with the announcement, but it’s not far-fetched to imagine the potency of Suwannee Hulaween, which drew in 20,000 people last fall, played a role. BC even tried to change its date to the first weekend in October, but it wasn’t enough to keep it afloat.Phases of the Moon moved from the headache that was Danville, Illinois to Mulberry Mountain in Ozark, Arkansas for its second year, but went down in flames in September, citing “a significant number of unforeseen obstacles, including the continued closure of the only road leading into the festival site.”In the aftermath, Pipeline Productions failed to refund tickets within the 90-day window it promised, which indicated financial woes were likely to blame. According to the ongoing discussion on the Phases Facebook page, many ticket buyers have still not received refunds.That situation has even affected Pipeline’s most successful event, Wakarusa, which, after 12 years, recently announced that it will not take place in 2016. The December announcement stated that the company “was significantly damaged by partners claiming to share our vision. Sadly, they lied. They are being dealt with appropriately through the legal system.”After nearly two decades, All Good Festival announced its retirement and that it would be devolving into a two-day event at Merriweather Post Pavilion in July.“You hate to see something that’s established go, but there’s only room for so many players,” Browning said. “It’s a cutthroat world out there.”But even some of the biggest events in the country aren’t immune to the unsympathetic ways of the festival market.TomorrowWorld — one of the largest EDM festivals in the country that reeled in more than $85 million in revenue in 2014 — is not happening this year, stating last week that “unfortunately in the current environment, it is not possible to give you the best and unique experience you deserve.”TomorrowWorld came under fire on its swing day last year, after thousands of single-day festivalgoers were stranded without food, water and shelter overnight because weather conditions made roads into the festival grounds unsafe. In fear of a repeat, the festival closed the third day off to commuters, which led to refunds of 150,000 tickets for Sunday.No matter how big or how small, any festival can go under in this climate. Whether it is competition, poor money management, a disjointed lineup, a failed location change, or a haphazard planning — as the saying goes, the road to hell is paved with good intentions.As ugly as the economics and the corporatization of music fests might be, their existence still transcends all of the negative things that might be happening at the top.Sure, smaller festivals are becoming obsolete, but Browning doesn’t believe the oversaturation of the scene is detracting from the end-goal that inspired it.“I’m not overly-cynical about it because ultimately the experience that one person has or a group of friends has is no less powerful if it’s at an event with 1,000 people in rural Arkansas or with 100,000 people at Lollapalooza in downtown Chicago,” he said. “You’re creating moments and memories with your crew. I don’t value the experiential elements of the bigger, wealthier festivals as better than the small, more intimate, less-funded ones. It’s entirely up to the music fan. It’s what gets them off and that’s all that matters.”The festival landscape is constantly changing, and we’ll be saying goodbye to sacred grounds where countless memories were forged each and every year.For a day or maybe a week after the news breaks, we’ll reconnect with those who were with us that weekend and mourn the loss, but eventually we’ll move on because the beautiful thing about this explosion is that there’s another festival we’ve considered going to and a new lineup announcement to gush over next week.It might not be as intimate as Bear Creek or as inviting as All Good, but with your festival crew nearby, cold drink in-hand and good music on-stage, it’s still going to be one hell of a weekend.[Photos reprinted, by Dave Vann, Phierce Photo, and Patrick Hughes]
The Fannie and John Hertz Foundation announced the selection of its 2011-12 Hertz Fellows, including Harvard students Megan M. Blewett ’11 and Jesse Engreitz, a graduate student at Harvard-MIT Division of Health Sciences and Technology (HST). The fellowship, valued at more than $250,000 per student, was also awarded to 13 other recipients, who will receive financial support lasting up to five years of their graduate studies.Since 1963, the Fannie and John Hertz Foundation has focused on empowering young scientists and engineers with the freedom to innovate in their doctoral research.For more information on the award.
Tipperary man, and former Irish rugby player, Alan Quinlan says it was a disappointing end to a good game. Photo: © lionsrugby.com Lions Head coach Warren Gatland says he didn’t use his front row replacements during today’s draw because he wanted to give potential test players as much game time as possible.The visitors drew 31-all with the Hurricanes in Wellington with Tommy Seymour scoring two tries and George North also going over.The Lions were 31-17 up in the second half however Iain Henderson was yellow carded, and during that time the Canes scored two converted tries.
By John BurtonSEA BRIGHT – There’s plenty to be done as the borough continues to work its way back after Super Storm Sandy and Mayor Dina Long is glad for the help Sea Bright received from a handful of county inmates.“There is no shortage of projects in Sea Bright,” Long said as she and representatives from the Monmouth County Sheriff’s Office joined seven inmates from the Monmouth County Correctional Institution, Freehold, as the inmates provided the labor for some work on the borough’s beachfront.Monmouth County Sheriff’s Officer Thomas Johnson is joined by Sea Bright Mayor Dina Long while overseeing inmates from the county correctional institution cleaning the beach in Sea Bright.Five to seven inmates traveled to the borough for much of the week of Jan. 28-Feb. 1 and cleared mounds of sand; cleaned up debris and trash; shoveled sand off of walkways along the borough’s sea wall along Ocean Avenue; and other needed work, according to Cynthia Scott, public information officer for the sheriff’s office.The group also worked on cleaning up the borough’s police headquarters that had been damaged in the late October storm, Long noted.The seven men, clad in orange jumpsuits, were stringing a length of dune fencing on Thursday, Jan. 31, along a section of beach located behind the borough hall and the former Donovan’s Reef bar site on Ocean Avenue.The fence is being erected in a zigzag pattern along that stretch to catch shifting sand and to build up the dunes. It’s an important step in helping rebuild the beaches, Long said.The mayor was happy to get the help. “We’re real lucky that Monmouth County has this program,” Long said.Over the last few weeks crews from the sheriff’s Inmate Labor Program have been working in Belmar and Bradley Beach, helping with those towns’ recovery and cleanup efforts. They are scheduled to be in Millstone the next week, Scott said.“I think this program is a good opportunity to help these towns” impacted by Sandy, Monmouth County Sheriff Shaun Golden said in a phone interview.The sheriff’s office has had the labor program for about 10 years. During his time as sheriff, Golden, who was elected in 2010, said he has increased it, with an average of three crews of five to eight inmates each, out in the field in any given week.The sheriff’s office operates the county’s 1,328-bed correctional facility and permits inmates incarcerated for minor offenses, usually first-time offenders, to participate in the program. It allows the inmates access outside of the facility, usually for five to six hours a day, and permits them to accumulate credits which could result in an overall reduction of their sentences, Golden said.The workforce is available at no cost to the communities, according to Scott.Sea Bright has benefitted from the program previously with crews coming to the borough to participate in the annual spring Project Clean Shores program, according to Long.