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A new master’s degree program in energy and petroleum engineering will be the first to offer graduate courses in blockchain starting in fall 2023 at the University of Wyoming.
“If you have any B.S. degree and fulfill the admission requirements of UW, you can apply for our course-based Master of Petroleum Engineering degree,” says Vamegh Rasouli, professor and head of the UW Department of Energy and Petroleum Engineering.
Rasouli says the program will be offered in person on campus or remotely via distance delivery mode, or a combination of both, to meet the needs of students. He adds that the program is structured to be affordable compared to similar graduate programs offered by other institutions.
“And the program is available to interested students around the world,” Rasouli says.
Including blockchain courses in an energy and petroleum engineering master’s degree program combines topics important to Wyoming and other regions worldwide, he says. The program is designed so that someone without an energy and petroleum engineering background, or without knowledge of blockchain, can take fundamental courses to understand how the degree applies to energy and the oil and gas industry, Rasouli says.
“One of the blockchain courses, for example, relates to carbon capture and sequestration, which is everywhere now,” he says. “Another one is about the economy and law.”
Blockchain courses to be offered in the master’s degree program include “Fundamentals of Blockchain”; “Business Application of Blockchain”; “Case Studies in Blockchain”; “Blockchain in Energy”; and “Blockchain for Oil and Gas.”
Students enrolled in the program without an energy and petroleum engineering degree will take five core courses in petroleum engineering from the list of existing courses offered in the department, Rasouli says. These include geology and geophysics, drilling engineering, reservoir engineering, production engineering, completion and stimulation, with remaining courses from a combination of the specialized paths.
“So, they learn the basic concept for petroleum engineering that allows them to apply for a job,” Rasouli says. “The industry would be more than happy for someone who knows about five or six topics, give them on-the-job training and then take them as a petroleum major because, right now, there is a desperate need for petroleum engineers.”
In addition to careers in carbon capture, utilization and storage, Rasouli says the new master’s degree program in energy and petroleum engineering can be applied to careers involving hydrogen production technologies, petroleum and geothermal energy, data analytics, deep-water drilling and much more.
The UW Center for Blockchain and Digital Innovation (CBDI) is helping to facilitate the blockchain courses at a graduate-degree level. Steve Lupien, CBDI director, says student enrollment in courses offered in the undergraduate minor in blockchain degree program has more than quadrupled in the past three years.
“Initiating graduate-level courses with the Department of Energy and Petroleum Engineering is a major step toward expanding blockchain offerings to other UW advanced degree programs,” Lupien says.
In presenting the new master’s degree program to the department’s industry advisory board, Rasouli says there was an overwhelmingly positive response by industry members who hope it can help alleviate the demand for energy and petroleum engineers and expand the knowledge base of innovative technologies, all at a low cost to students.
“This is not a certificate program like those offered by other schools,” Rasouli says.
For more information, visit the UW Department of Energy and Petroleum Engineering website at www.uwyo.edu/petroleum; download an informational flyer; or email [email protected] or [email protected].

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Phone: (307) 766-2929
Email: [email protected]
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If Elon Musk hopes he can persuade Twitter’s users to pay extra for a coveted blue check mark, he may need to go back to the drawing board.
The initial results of a Twitter poll conducted by Jason Calacanis, a venture capitalist and podcaster angling to be CEO, suggest there is precious little appetite for the privilege of simply tweeting as a verified account. This could deal a considerable blow to Musk’s hopes.
With over 800,000 responses and counting, four out of five accounts surveyed said they were unwilling to fork over a minimum of $5 dollars per month. Users still have plenty of time to cast their vote, though, as the poll will close in just under a week.
The verification feature is intended to distinguish credible accounts from impostors adopting a similar name and avatar: These can vary from parody or fan accounts to scammers looking for victims on which to prey.
Supporters believe a monthly fee for this service may be a good fit for businesses and influencers looking to expand their reach, while others claim it is already a broken system with Twitter unevenly applying the verification policy.
Acclaimed horror author Stephen King was particularly damning about the prospect of paying for verification.
Political activist and Democratic Party supporter Max Berger, who himself tweets from a blue check account with 73,000 followers, blasted the idea and compared it to paying for Super Likes on the hookup app Tinder.
“The idea of forcing people to pay for blue checks gets Twitter’s value proposition totally backward,” he argued. “For Twitter to have value it needs to provide valid information from legitimate sources. If anyone can pay for the appearance of validity, the site loses all value.”
The CEO of Complexly media company, Hank Green, with 1.4 million followers, called the proposition “100% cringe.”
Notably, however, the other fifth polled did signal a willingness—in theory at least—to pay for verification.
A very small number, under 6%, voted they were even prepared to shell out $15 just to tweet from a blue check account.
Nevertheless, the platform boasts 238 million users worldwide, including nearly 42 million in the United States alone, so even a small number willing to subscribe would generate significant revenue.
Responding to the poll, Elon Musk simply wrote, “Interesting,” without elaborating further.
The company’s “chief twit” as he calls himself splashed out $44 billion as part of the deal, much of it from selling his Tesla stock, to acquire a social media platform almost exclusively funded by ad spending.
This is proving problematic, especially as companies tend to cut their marketing budget when economic conditions darken.
To generate a return on his hefty investment, Musk told his wealthy clique of coinvestors he wants more stable recurring revenue going forward. According to the New York Times, subscriptions should generate nearly $10 billion in revenue come 2028.
A pitch deck sent to third party financiers like Andreessen Horowitz back in May refer to a 2023 product called “X” that should boast 9 million users in its first year before growing to 104 million five years later.
The social media platform, which posted a first-half net loss of $400 million excluding disposal effects, does currently offer a premium service called “Twitter Blue.”
Subscribers can better organize bookmarked tweets and remove a tweet before it is posted, rather than simply delete it afterward and try again. Nevertheless, it lacks the edit function so many have called for, and does not remove ads or promoted content from user feeds.
With so few killer features, it has enjoyed very limited success, and has thus far only been rolled out to the United States, Canada, Australia, and New Zealand.
According to data from app market researcher Sensor Tower published in July, consumer spending captured through vendors like the App Store and Google Play amounted to just $3.7 million worldwide since Twitter Blue launched in June 2021.
By comparison Snapchat’s premium service garnered $6 million, it found, eclipsing Twitter Blue in the space of just three weeks after going live.
Despite the seemingly stunning failure, Twitter hiked the price from $3 to a hefty $5 per month for U.S. users effective the end of July.
A report from The Verge suggests this could soon soar to $20 a month, according to current plans. That would price it well over the cost of entertainment subscriptions such as a premium Netflix or ultimate Xbox Game Pass account.
Allegedly those who fail to sign up within 90 days will lose their verified account status.
“Apparently Elon Musk greatly overestimates how much I care about my blue check mark,” said Phil Williams, an investigative journalist and Pulitzer finalist working for Nashville’s NewsChannel 5, in response to the story.
This story was originally featured on Fortune.com
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Jimmy Jam and Terry Lewis are kind of a big deal.

In the decades since Harris’ humble beginnings as the 16-year-old secret weapon behind the Minneapolis-based funk outfit Mind & Matter, the legendary production duo has accrued over 100 platinum certifications, 16 Billboard Hot 100 number ones (and counting), five Grammys, a star on the Hollywood Walk Of Fame, countless other awards, and the unwavering respect and adulation of their peers. They’ve also had the privilege of helping to thrust burgeoning talent like Janet Jackson into superstardom, while also handing out hits like Halloween candy to everyone from Elton John, to Michael Jackson, to George Michael, to…well, everyone.
As such, it’s an impossible feat to encapsulate such an illustrious, 40-year career over the course of a single conversation—so I didn’t even try. But with Jam and Lewis—two literal pillars of contemporary music—set to be inducted into the Rock and Roll Hall of Fame on Saturday, what I did try to do was get a deeper understanding of their brotherhood, the “comfort zone” they create while working with your favorite artist’s favorite artist, their candid thoughts on the legacy they want to leave behind, and who could possibly be on the bucket list of artists that they’d still like to work with.
This interview has been edited and condensed for clarity.
The Root: First and foremost, I want to congratulate y’all for such an amazing accomplishment. And I guess I’ll start with this: How does it feel to know that after your humble beginnings with Mind & Matter, that nearly five decades later, you’re about to be inducted into something as prestigious as the Rock and Roll Hall of Fame on Nov. 5?
Jimmy Jam: It feels great! People have asked if it’s something we aspired to and it wasn’t.
Terry Lewis: I don’t think it even existed when we were young. [Laughs]
Jimmy Jam: Yeah, that’s true. It didn’t exist. But we do feel like it’s an acknowledgment that when you write music history, you can’t leave us out. You have to include us in at least a paragraph or a chapter or somewhere in there. So, for that reason, I think it is very prestigious. Also, the artists we’re going in with are people that we respect and admire, and either grew up listening to or became fans of when they came out. So for all of those reasons, it’s very significant and we’re really excited about it. It’s very surreal.
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The Root: Yeah, I can’t even imagine. But with that being said, 40 years is a lot of damn music. So one of the things I’ve always wondered is what inspires the two of you creatively?
Terry Lewis: Well, these days, just waking up every day is a good thing. [Laughs] We’ve happened to work with some amazing artists, and they’re always inspiring because whatever they’re going through becomes the thesis or theme of our creations. That’s always an interesting venture.
Jimmy Jam: Yeah, the artists are the inspirational part. We rarely write songs without having someone in mind for those songs. I mean, we occasionally do, but normally we know who we’re going to work with or who we want to work with, then the songs are inspired by that. So, as Terry said, we get a chance to work with such great people and they make us look really good.
The Root: I would argue that you make each other look really good. I’m just sayin’.
Jimmy Jam: But that’s what collaboration is though. It should always be a win-win. And with the best collaborations that’s exactly what it is.
The Root: For sure. And to that point, throughout the course of your careers, you’ve had plenty of collaborators. From fellow The Time bandmate Jellybean Johnson to Big Jim Wright and plenty of others. But of all the amazing talent you’ve had the privilege to work with, who’ve been some of your favorites? 
Jimmy Jam: There are too many! I mean, everybody’s been a favorite. We’ve done a really good job over the years of picking people to work with who bring something to us, and we bring something to them. We haven’t had any bad relationships with anybody, and even a couple that got off to a rocky start ended up still being good in some way. So it’s all worked out really well. [But to answer your question,] I think Janet is probably the obvious person for many reasons.
We’ve been on a journey with her for almost 40 years now at this point. Also, the fortunate thing with Janet was back when we first started working with her, we were able to do full albums together, rather than just two songs here or three songs there. We were able to really create bodies of work. So when you listen to Control and Rhythm Nation, or Janet, The Velvet Rope—which just celebrated its 25th anniversary—or All for You, those albums were complete thoughts. It wasn’t about, “Let’s try to make a hit.” It was about, “Let’s try to make an album of songs.” And then, there’d be certain songs that we’d raise our hands and go, “Hey, that’ll be the first single.” But we weren’t doing it with that intent, which is the reason our body of work stands so strong and our relationship with her has been so great over the years. Because we created a comfort zone for her to enjoy doing music, which started off as her dad’s idea. That wasn’t really what she aspired to do; she wanted to be an actress.

When we got with her, she was at the point where she wanted to give music a try. But we made it fun for her because we opened her up to the creative process of actually writing songs. It wasn’t like we were just giving her songs. We hung out with her for a week, got to know each other, she told us stories, [shared] what she was thinking, and then she said, “When are we going to get to work?” And we said, “Oh, we’re already working.” And then we started the beginning of [what became] Control. That’s when she realized that whatever we talk about, that’s what we’re going to write about. And that’s what made it fun for her. So she’s [the] obvious person for all the right reasons.
The Root: Terry, does anyone else stand out to you as far as people you’ve worked with throughout the course of your career?
Terry Lewis: You could name dozens for different reasons. Mariah, just a great vocalist and songwriter; Mary J. Blige, just the heart of a lioness who gives you everything she has. Usher, Charlie Wilson, who’s arguably one of the top five vocalists of all time. Ron Isley, Rod Stewart, Sting. I mean, it just goes on and on. [Trumpeter] Herb Alpert. They’ve all been special in their own way.
Jimmy Jam: They’ve all contributed to our longevity in some way also. It’s funny. Right after Control came out, [Minneapolis Star-Tribune music columnist] Jon Bream—who did one of our first interviews back in the day—said, “How does it feel to be the hottest producers?” And I said, “We don’t want to be the hottest producers. We want to be warm for a long time.”
The Root: Mission accomplished. [Laughs]
Jimmy Jam: We joke every time we talk to him now, because he’s been covering us for the last 40-plus years, and it’s like, “Yeah, warm for a long time.” That was really what we set out to do. But each of those people that Terry mentioned along the way, and obviously the influence of [music exec] Clarence Avant in our lives, along with the S.O.S. Band, Cherrelle, and Alexander O’Neal, was pivotal to us. As were things like Krush Groove, where [we provided] the intersection between R&B and hip-hop with Force M.D.’s “Tender Love.” So we’ve been fortunate to be in the middle of a lot of intersections of different generations, different genres of music, and put that together. Think about a song like “Got Til It’s Gone,” with Janet and Joni Mitchell. We sampled an old folk song, put the hip-hop beat on it, and then [added] Q-Tip. Those are the kinds of things that we’ve explored over the years, that have been wonderful to do: make those intersections when people think [they] don’t even exist.
The Root: That’s also a testament to your staying power, you know what I mean? But to that point, longevity is something that’s incredibly hard to sustain, yet even harder when you’re part of a duo or group. How have you two been able to maintain your brotherhood throughout the years without it impacting your ability to churn out so much timeless music?
Terry Lewis: Brotherhood is easy when you love your brother. One thing I always say is respect respects respect. You should never expect something that you’re not willing to give yourself. We’ve had a great relationship because it’s built on that and honor. We have each other’s back all the time. So I’m always going to do the right thing on his behalf, as well as my behalf, because his behalf is my behalf. So we just respect each other and our relationship is built on freedom. He’s free to do whatever he wants to do, work with whoever he wants to work with, however he wants to work with them. And I’ll chime in with whatever I can offer. Whether I’m into [the project] or not doesn’t really matter. Because I love what he loves for him. If he loves it, I love it for him. I want him to do it and vice versa. So we’re able to just be free and do the art that we want to create. And it’s been an outstanding relationship [because of that].
Jimmy Jam: I feel the same way. I think it’s funny because watching The Beatles documentary, there were so many parallels in the way [John Lennon and Paul McCartney] worked together. I just imagined them in a room together, actually hashing songs out. But a lot of times, it was just Paul’s song or it was John Lennon’s song. But at the end of the day, it was a Lennon/McCartney song. There are songs that are Jam and Lewis songs that I never even heard until they were on the radio. I’d be like, “Terry, when did you do that, man?” “Oh, I did that a couple of weeks ago or whatever.” “Oh, yeah? That’s jammin’!”
The Root: I love that.
Jimmy Jam: As Terry said, our foundation was built on trust, loyalty, and respect. But also, we shook hands and we said, “50/50.” Once you do that, you eliminate about 99 percent of anything you’re going to argue about. “Well, it’s my title! It’s my melody! It’s my track!” You take all of that out [of the equation] because you’re not picking percentages. It’s 50/50. So everything I do, even if it’s just by myself, it’s 50 percent Terry’s, and vice versa. What that does is you don’t worry about anything creatively, you just do whatever feels right to you to do. But it’s not about my way or his way, it’s about the best way. We’re individuals, but we each get to do exactly what we want to do, then share it with each other. And it’s the best. We used to say in the old days, “We have no slack.” Because we pick up each other’s slack. Whenever one of us is unable to do something or doesn’t feel strongly about it, the other one of us picks it up.
The Root: That’s what’s up. I love that you two have been able to remain committed to 50/50 for so long because like you said, that eliminates so much. Another thing I was curious about is of all the projects you guys have worked on, which one presented the biggest challenge?
Terry Lewis: Wow. Because of the obvious culture shock, I would say The Human League.
The Root: Ooooooh. Okay.
Terry Lewis: [Laughs] Because you’ve got these people from Sheffield—
Jimmy Jam: Sheffield, England.
Terry Lewis: Which is the outer banks of London or whatnot, coming into Minneapolis. This cold, cold territory with some Black men.
The Root: [Laughs] In some black fedoras.
Terry Lewis: [Laughs] Whatever we were wearing, it really didn’t matter. We were Black men and that was different for them. It was different for us too because we never really had any British people in Minneapolis. So it was just that culture shock all the way around. They had never been as cold as they were and that was our domain. [Laughs] That project had its difficult times, but the thing that made it beautiful was the music.

Jimmy Jam: Also the lead singer, Phil Oakey, was dating one of the girls in the group.
Terry Lewis: Oh yeah.
Jimmy Jam: So whatever happened at the studio went home with them. Phil was never able to get away. And then, if there was something that the girls thought was wrong—like on “Human,” they wanted to do the backgrounds on it, but we had our secret weapon, Lisa Keith, do the backgrounds—they didn’t like that “other girl” singing on the track.
Terry Lewis: [Mocking Oakey’s British accent] “I have to say!”
Jimmy Jam: Right. [Mocking Oakey’s British accent] “I just have to say!” And we said, “Oh, you just have to say.”
The Root: [Laughs]
Jimmy Jam: So we knew what that was. And another thing: When people think about producers, they think about the beat, the engineering, all of those things. But it’s the psychology and the psychiatry of the relationships that are key to being a good producer. The idea is not only to deliver the best project you can, but actually get it done and get it out. That means you have to negotiate with the artists involved and the way they like to work. Are they late? Are they early? Some people like to work a very concentrated amount of time, for like an hour, and that’s all they’re going to give you. Some want to work 12 hours. Some people like it candlelit and dark, with nobody around. Some people like spotlights blaring.
When we worked with the Spice Girls, I remember Posh Spice wanted a spotlight on her because that’s when she sang the best. So you figure out all those things psychologically as a producer: how to put everybody in the best position to make the best thing. Then also, you’ve got the record company calling, “Well, we need this for the single” or “We need this.” And the manager wants to do some other thing. So it’s really about the trust you establish with the artists. The psychology and the psychology of it is very important.
I remember there were days we’d be working with somebody like Patti LaBelle or Chaka Khan and they just weren’t hitting it on that particular day. Terry would go, “Don’t worry about it today. We’ll go to my house.” He had a lake in front of this house, so we’d hop on the Sea-Doos and do that all day because that’s what they needed. Or he’d made turkey chili—Terry makes the best turkey chill in the world—and we’d just sit out and do that. Or one day, I remember Patti came to the studio and just did a fish fry. She was like, “I just want to do a fish fry today.” “Okay, great.”
Terry Lewis: Bring your own hot sauce. [Laughs]
Jimmy Jam: So those are the things that I think people miss out on when they think about [music] production and those elements, because yes, what microphone to use, the sounds and all that, that’s part of it. But the biggest part is the human part—no pun intended. The culture shock that Terry mentioned made working with Human League a tough project. But at the end of the day, it also gave us one of our biggest records. And that’s what you’re always looking for: a great result.
The Root: For sure. With you two being producers that have worked with almost literally everybody, I gotta ask: who’s on your bucket list as far as artists that you still want to work with?
Jimmy Jam: There are so many.
The Root: Besides me, of course.
Jimmy Jam: Exactly! [Laughs] My stock answer has been the same for probably 20 years—and that’s Sade. For a while, I felt like I didn’t really care about working with her—even though I always wanted to—because I loved her records so much that I just didn’t want to mess it up. Now, I still love her records, but I feel like we know enough now to actually enhance whatever she’s doing. Terry likes to say, “A barber can’t cut the back of his own head.” I feel like our vision of her might be a little different or a little more elevated than even the way she thinks of herself. So we’d love that opportunity. There are tons of other people but she’s the one. I’ve been saying this for 20 years, so I’ll just be consistent.
Terry Lewis: Absolutely. But I always say Janelle Monae. And I say her because I just think she’s such a fantastic performer and personality. She’s like a high-test car that’s been getting regular gas. If she gets the right gas? Whoo! It’s going to be amazing.
The Root: She’d be outta here, yeah. I’ve been rockin’ with her since [Outkast’s final album] Idlewild and she should definitely be way bigger than she is.
Terry Lewis: I mean, she’s huge in her own way, but on the music side of things, with the proper songs, she’d be on another level.
Jimmy Jam: There are artists that sometimes you like more than the music they make.
Terry Lewis: Right.
Jimmy Jam: And sometimes vice versa. But you know where it can go.
Terry Lewis: I feel a kinship with her. She could have been in Minneapolis in our era.
Jimmy Jam: Oh, absolutely.
Terry Lewis: That’s why I feel that connection. It’s like, “Oooh!” Because I only see that person every once in a while. When I identify that person—H.E.R. is that kind of person as well. Like, “Oooh! I know you.” I know what to do with you. Even if I don’t, I think I do. [Laughs]
Jimmy Jam: Right. Exactly. [Laughs]
The Root: At least let me try! [Laughs]
Terry Lewis: I’ve got some ideas for you that I don’t even have to do! Just let me give you the ideas! “The rising tide raises all boats.” We just make as many people as important as we can. They say, “You’re too important not to be important.” So you got to put the work in. Let’s go.
The Root: Yeah, y’all gotta make that happen. Here’s my last question: After everything you two have accomplished, and everything you continue to accomplish, what’s the legacy you want to leave behind?

Jimmy Jam: For us, it’s the legacy of partnership. Next year, Terry and I will be going into our 50th year since we met.
The Root: Wow!
Jimmy Jam: Hopefully, that’s inspiring to people and something that they can follow. We set an example by shaking hands on a 50/50 partnership, and [allowing] the creativity and everything to work from that. So we want to be remembered for that. At this point in our career, we feel like we really have nothing to prove, but we still have a lot to say. So I feel like now’s the time where we’re really going to do some significant things because God has allowed us to stay relevant for such a long time. Now we can take all the expertise and knowledge we’ve gathered to do some really great things and leave music in a better place than we found it—because music was in a great place when we discovered it. We want to make sure that it’s there for all the future music makers and future listeners to do what they do. So I hope people come away with that.
Terry Lewis: Legacy is really hard because [my] legacy [has] more [to do] with my family than with the music. Because legacy with the music is just someone’s opinion of what I’ve created or what we’ve created. How we measured our success was an internal thing. We never let anybody steer us a certain way based on what they thought. So we created all these songs with beautiful artists that went out and performed the songs and actually made the songs hits—and there’s a whole lot of moving parts in there. So legacy of that? Whatever.
But at the end of the day, I’m just a nice guy that loves to do music. I love music and I love my family, and sometimes my family has to suffer because I love music so much. But they allowed me to do what I love because they love me. So that’s the legacy. I have six beautiful children and a beautiful wife. I have a beautiful partner, Jam, and he has a beautiful family. We actually invested in those things, not just the music, and didn’t lose anything. That’s where it turns into a beautiful Disney story. Because most people’s stories don’t end up like this. It’s a blessing just to be able to do what we love to do.
Jimmy Jam and Terry Lewis’ Rock and Roll Hall of Fame induction takes place on Saturday, November 5th, at 7 p.m. PST at Microsoft Theater in Los Angeles, Calif.

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Scientific Reports volume 12, Article number: 18141 (2022) Cite this article
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Exploring the effects of bank vegetation on fluvial morphodynamics has long been an essential part of fluvial morphodynamic-related research. In a practical sense, a central question is: does increased vegetation density increase or decrease the channel width? Several aspects concerning the role of vegetation may result in examples of both width decrease and increase. In this study, we examined more than 170 alluvial river sections. Our goal was to detect the phenomena that ultimately determine riparian woody vegetation-induced width variation. We found that bed material is a governing factor. In the case of fine-grained material, i.e. median size D₅₀ < 2 mm, increasingly densely forested riparian vegetation reduces the bankfull Shields number, and destabilizes the banks toward a wider bankfull channel. In the case of coarse-grained material (i.e. median size D₅₀ ≥ 16 mm), the effect is the opposite; increased density is correlated with a higher bankfull Shields number and a narrower bankfull channel. The extent of the role of vegetation varies depending on the ratio of characteristic root zone depth to channel depth and channel width. We present an improved estimator for bankfull Shields number, which considers riparian vegetation density. The bankfull Shields number can be estimated up to 19% more accurately with our corrected estimator.
When exploring the relationship between vegetation, flow and morphodynamic processes in rivers, a central question pertains to how vegetation influences their hydraulic geometry, and in particular their width¹. Site-specific field and laboratory studies^2,3,4,5,6,7 show examples of both vegetation-induced river channel widening and narrowing. Multiple processes come into play when vegetation interacts with rivers⁸. For instance, in the case of submerged and emergent vegetation along the river bank and floodplain, vegetation can act as obstacles that potentially cause an increment in turbulence in a zone above and around the roots or trunks. This may decrease local riverbed stability^5,7 and lead to a wider channel. Vegetation, however, interacts not only with the flow, but also directly with sediment. This interaction, in turn, can cause deposition, thus increasing the stability of the riverbed particles^9,10 and leading to a narrower channel. Ultimately, the superposition of vegetally mediated processes acts in concert with water and sediment to establish channel bankfull width. Relevant factors include vegetation density and type, and the structure of the root system itself¹¹. Here we use data analysis of bankfull characteristics to extract some form of behavioral simplicity from the complexity of river-sediment interaction.
The appearance of roots leads to additional components of shear arising between the root system and the soil in the case of river banks, in the same way as in the case of hillslopes. (The same stability model can be used in both cases)^{4,12,13,14,15}. Several experiments on root pullout force indicate that the root system induces apparent cohesion in the soil, although the precisevalue of the added cohesion cannot be directly deduced from the pullout force^14,16,17. The presence¹⁶ of the binding action of roots can significantly increase (or its absence can decrease¹⁸) the stability of hillslopes (or river banks), especially in granular, friction-dominated soil. This added apparent cohesion depends on bond failure between the roots and the soil¹⁷. The strength of root reinforcement (added cohesion) can typically fall in the order of tens of kPa. For example, Burroughs and Thomas report values between 7.5 and 17.5 kPa¹⁹, and Schmidt et al.¹⁶ present values between 21.1 and 27.0 kPa. These values were determined for granular, friction-dominated forested hillslopes, where root breakage is the typical failure mechanism. In fine-textured sediment including cohesive material, the pull-out resistance takes a significantly lower value. The model of Waldron and Dakessian¹⁷ and the riparian vegetation measurements of Yu et al.²⁰ indicate that maximum root reinforcement typically falls below 6 kPa¹⁷, because root slippage is the typical mode of failure.
Riparian plants can increase bank stability, but in so far as their weight increases the load on the bank, they can also decrease bank stability. In old-growth forests, for example trees can weigh up to 150 kN²¹. Bank stability analyses have been performed based on these values^22,23. These analyses suggest that woody vegetation may cause river bank stability to differ between granular and cohesive bank material. In the case of sufficiently coarse material, the presence of trees consistently results in overall stabilizing of the riverbanks such that the equilibrium channel width is lower than otherwise. This is because the root system delivers higher reinforcement than the loss of stability engendered by the weight of trees. However, in the case of cohesive material, trees can reduce stability²⁴ because the weight of mature trees adds a higher additional load to the bank that counteracts root reinforcement. This state of stability further deteriorates when the cohesive soil becomes saturated at bankfull water stage, and thus may result in a wider channel than otherwise. A potential explanation for this phenomenon is that the soil shearing resistance²⁵ and the roughness between the roots and the soil¹⁷ take minimum values in saturated cohesive soils¹³.
For instance, the field measurements of Abernethy and Rutherfurd²⁶ indicate that in the case of a cohesive river bank, the presence of trees can contribute to instability. Although tree weight does not play the most significant role in stability, it can be decisive where the bank itself is inherently unstable²⁶. The relevant instability mechanism may be characterized by e.g., the presence of tree trunks sliding from the shore into the bed^7,27. In contrast, Krzeminska et al.²⁸ argued that in the case of granular soil, trees contribute very significantly to stability despite their weight.
Studies on root-induced added cohesion have also shown that this added cohesion decreases with depth due to the limitation of of root zone depth itself, as well as the change in root density with increasing depth^15,29,30,31. Stromberg³² compiled a large database of 125 plant species specifically in regard to riparian vegetation. Hydroriparian species were found to have the shortest root system, being at most a few 10 cm long. The median root depth of annual and herbaceous plants is 0.43 and 0.65 m, respectively. Compared to these, the median root depth of shrubs and trees is between 3 and 4 m³² (The data set of 107 deciduous and 40 evergreen tree species (not specifically riparian) showed an average tree root depth of 3.34 m³³).
Shrubs and trees have longer root systems and more local weight per unit area than annual grasses and herbaceous vegetation (including hydroriparian specimens)³². When they are present, then, shrubs and trees may exert a strong effect on bank stability.
This study is formulated based on the following hypotheses. (1) When the bed, and thus basal bank material is sufficiently coarse (so the bank material is granular and, friction-dominated), increasing near-bank floodplain forest cover (i.e. woody vegetation including trees and shrubs) stabilizes riverbanks, and therefore reduces equilibrium bankfull width. (2) When the bed, and thus basal bank material is sufficiently fine, however the stability of the riverbank somewhat decreases, and the equilibrium bankfull width is rendered wider as woody vegetation density increases.
We validate our hypothesis below based on reported morphodynamic data for a total of 175 alluvial river sections (“Methods”). The data set covers a wide range of morphodynamic characteristics, i.e., bed material, but does not usually include separate data on bank material. Therefore, we assume that the basal bank material correlates with the reported bed material. We studied only river sections where riparian vegetation can play a role in morphodynamic processes. For this reason, we included neither bedrock rivers³⁴ nor streams in permafrost³⁵. Furthermore, in our present study, we could not take into account the fact that there are different plant species in each river section. We have taken the approach that the presence and density of woody vegetation are the key factors in our study. The bank vegetation density was determined manually, corresponding to the frontal area cover that can be determined on the basis of satellite images (“Methods” section). The statistical processing of the data set serves to demonstrate our hypothesis. Moreover, it allows us to recommend a refinement of the method of Li et al.³⁶ for estimating morphodynamic characteristics. Thus, the effect of woody vegetation on river morphodynamics that we demonstrate here takes a form that can be directly applied to the prediction of river hydraulic geometry.
Our approach is based on morphodynamic parameters in terms of which the bankfull characteristics of a graded (equilibrium) river geometry can be easily expressed. First, we introduce these variables.
River bankfull geometry is characterized by the variables: bankfull width (B_{bf}), bankfull depth (H_{bf}) and streamwise bed slope (S). River sections are also characterized by physical properties such as median bed material grain size (D_{50}), submerged specific gravity of bed material (R) and water kinematic viscosity ν. Water mass balance, sediment mass balance, and momentum balance can be described with these variables, which can be used to express the bankfull water discharge (Q_{bf}) and the bed material load (Q_{tbf}) at bankfull flow, as well as the formative dimensionless bankfull bed shear stress (Shields number) (tau_{bf}^{*}), which is here estimated as follows using the normal flow assumption³⁷:
Li et al.³⁶ and Czapiga et al.³⁸ have related τ_bf* to streamwise bed slope S and dimensionless characteristic bed material grain size D*, where
Here we show that that the density of woody vegetation on the floodplain, as measured in terms of frontal area density, also influences bankfull Shields number. We then in turn show that vegetation influences bankfull channel width via the bankfull Shields number.
Many papers have been published demonstrating the dependency of the bankfull Shields number on various morphodynamic parameters in alluvial streams^{36,37,38,39,40}. The results are consistent in that there is a strong correlation between the Shields number, the bed slope, and the bed material grain size. Li et al³⁶ analyzed a data set of 230 river sections (including the data we use). Each river section corresponds to an alluvial, non-bedrock and non-permafrost river.
We were able to use only a subset of 175 reaches from the above data set, due limitations in locating some reaches and estimating vegetation cover for others (see “Methods” section). Figure 1 shows the ratio of the bankfull Shields number to slope as a function of the dimensionless grain size (D^{*}) (Eq. 2) calculated from a data set of 175 river sections^41,42. Also, the dashed gray line presents the Shields number predicted by Li et al.³⁶, i.e.,
Regression relation of Li et al.³⁶ (dashed gray line) and (tau_{bf}^{*} , /S^{0.434}) (D^{*}), as well as data for the study river sections used here. The cases of the densest woody vegetation appears in purple (Class IV) and the tree- and shrub-free case is in blue (Class I), while the two intermediate states are in red (Class II) and green (Class III).
The exponents and coefficients in this equation were obtained from a combination of similarity and regression analysis³⁷. Equation 3 demonstrates that the Shields number increases with slope (to about the half power) and decreases linearly with the bed material grain size.
Although the line follows the trend of the points, the scatter can be as significant as a half-order of magnitude. Regardless of the accuracy of the regression, additional factors need to be considered in order to understand the scatter. The point is underlined by the more recent work of Czapiga et al.³⁸.
Hey and Thorne presented a classification scheme for floodplain vegetation based on the density (frontal area density) and type of bank vegetation⁴³. On this basis, river sections can be divided into four vegetation categories according to density. We adopt the classification scheme of Hey and Thorne, as shown in Fig. 1. Details as to how we implemented this scheme are presented in the section “Methods” section. Riparian vegetation density was determined from aerial photographs by visual inspection of trees and shrubs along banklines (“Methods” section).
In terms of sediment size, we classified river sections based on Parker’s findings⁴⁴. According to his examination of Canadian (Alberta)⁴⁵ and Japanese rivers^46,47, sand and gravel-dominated riverbeds separate from each other, and the following classification can be established: a bed with a median grain size of less than 2 mm can be classified as a fine-bedded river (sand-bed and silt-bed rivers), and a gravel-bed river with a grain size greater than 16 mm can be classified as coarse-bedded. Most river sections fall into these two classes. Between the two is a transient range (2 mm < (D_{50}) < 16 mm) with relatively few river sections. We emphasize the two cases “fine-bedded” and “coarse-bedded” here because they show (as illustrated below) a clear discrimination in behavior. The transient, or “intermediated-bedded” cases show more ambiguous behavior.
A trend reflecting the effect of the density of bank/floodplain vegetation on bankfull Shields number seems to emerge in Fig. 1. In the coarse-bedded range ((D^{*}) ≥  ~ 405, or (D_{50}) ≥  ~ 16 mm), we find that the denser the bank vegetation, the higher is the bankfull Shields number (the blue points tend below the black trend line, and the purple ones tend more above it). This supports Parker et al.’s observation⁴² that the ratio of the bankfull Shields number to the critical Shields number increases with increasing bank vegetation density.
However, in the fine-bedded range ((D^{*}) ≤  ~ 51, or (D_{50}) ≤  ~ 2 mm) we do not see the same behavior. Instead, a perusal of Fig. 1 reveals that the denser the bank vegetation, the lower is the Shields number (the blue points tend to be above the black trend line, and the purple ones tend to be below it). This range includes all the locally identifiable sand-bed reaches and all the silt-bed reaches in the compendium used by Li et al.³⁷. Thus there are three relevant ranges, the fine-bedded range, where denser bank vegetation correlates with lower Shields number, the coarse-bedded range where denser bank vegetation correlates with higher Shields number, and the intermediate-bedded range (2 mm to 16 mm) where the correlation is unclear.
These trends are more clearly shown in Fig. 2. It shows the ratio of each of the reported bankfull Shields numbers (tau_{bf}^{*})_, reported to the corresponding value (tau_{bf;predicted}^{*}) predicted by Eq. (3), versus the corresponding dimensionless grain size D*. The data have been stratified according to vegetation density class. The mean values have been calculated for each bed material size range (fine-, intermediate- and coarse-bedded streams) in Table 1. The results in Fig. 2 and Table 1, show trends for the fine-bedded material range that are opposite to what we find for coarse-bedded material: as the vegetation density increases for (D^{*}) ≤  ~ 51, the bankfull Shields number decreases monotonically. We show below that this result corresponds to channels that have wider bankfull widths as vegetation density increases.
Fitted correction relations for the four woody vegetation cover density classes. The color scheme for the symbols is the same as Fig. 1.
Mean values also highlight the importance of the vegetation effect. In the range of fine-bedded material ((D^{*}) < 51; (D_{50}) < 2 mm), the bankfull Shields number is 39% higher than the average value prevailing for a floodplain without woody vegetation, while it is 25% lower in the case of the densest woody vegetation (Table 1). Figure 2 also shows power functions fitted to the points describing the relation between the ratio ((tau_{bf;reported}^{*} /tau_{bf;predicted}^{*})) and (D^{*}), again demonstrating that increasing bank vegetation density has the opposite effect on the bankfull Shields number in the fine-bedded cases ((D_{50}) < 2 mm) than it does on the coarse-bedded cases ((D_{50}) > 16 mm). The trend is not clear in the intermediate range, but this range includes only a small fraction (9.7% of the reaches used in Fig. 2).
In Table 1, the mean standard deviations for each grain size range are also shown in parentheses. These values suggest a stronger relationship between vegetation cover and Shields number for the coarse-bedded streams than for the fine-bedded streams.
In the following, we examine the relationships between bankfull Shields number (tau_{bf}^{*}), the two main riverbed geometric parameters ((B_{bf}) and (H_{bf})) and riparian woody vegetation root depth. The relationships have been examined separately for coarse-bedded and fine-bedded ((D^{*}) > 405 and D* <  ~ 51) reaches, and for cases where woody vegetation is observed (Class II, Class III, and Class IV, following the Hey and Thorne classification⁴³). In the following analysis, we consider the bankfull depth-independent data set of discrepancy ratios of (tau_{bf;reported}^{*} /tau_{bf;predicted}^{*}) values described in Methods, so as to focus on the role of root depth.
It is not possible for us to measure rooting depths for all 175 reaches. We thus used the data subset of Stromberg³² consisting of root depth values of solely riparian woody vegetation as a benchmark for statistical purposes. To this end, Fig. 3a shows the cumulative distribution of root depth. The realistic depth of the root zone, as well as the most probable (median) value can be inferred from this figure ((H_{root_median} = 4.0;{text{m}}), indicated by a continuous horizontal line in each of Fig. 3a,b). Figure 3b,c show the trend-free discrepancy ratios (tau_{bf;reported}^{*} /tau_{bf;predicted}^{*}), where the (tau_{bf;predicted}^{*}) values were calculated according to Li et al.³⁶ (Eq. 3). In the same Figures, the horizontal axis shows the bankfull depth (Fig. 3b) and width (Fig. 3c). The solid colored lines pertain to rivers with the coarse-bedded material ((D^{*}) >  ~ 405), and the dashed lines pertain to those with fine-bedded material ((D^{*}) <  ~ 51). Points in the transitional range (51 < (D^{*}) <  ~ 405) were omitted from these figures.
(a) Probability of non-exceedance of root deth as a function of depth below surface. (b,c) Trend analysis of correction ratios τ _bf*, _reported/τ _bf*, _predicted as functions of bankfull depth (H_bf) (b) and bankfull width (B_bf) (c), respectively. Continuous horizontal black line shows the most probable root layer ((H_{root_median} = 4.0,{rm m})) in (a,b) and (10H_{root_median}) in (c). Dashed horizontal black line shows the mean root layer ((H_{root_mean} = 3.6,{rm m})) in (a,b) and (10H_{root_mean}) in (c).The data are discriminated according to vegetation class and bed material. The colors and symbols refer to the riparian vegetation density: red square—Class II, green triangle—Class III and pink star—Class IV (the densest vegetation cover). Granular ((D^{*}) >  ~ 405) bank material are denoted by a black dot in the symbol, while the symbols for finer soils ((D^{*}) <  ~ 51; D <  ~ 2 mm) are unfilled. The coloring order of the fitted curves is the same as that of the symbols. The solid lines represents the granular ((D^{*}) >  ~ 405; D >  ~ 16 mm) sediment, while the dashed lines represent the finer sediment ((D^{*}) <  ~ 51). We did not display Class 1 in the figure because there was no depth dependent trend (which is to be expected due to the lack of vegetation).
The fitted curves in Fig. 3b show that as long as the bankfull depth is less than a value near median root depth, the bankfull Shields number (a) increases as the vegetation density intensifies in the case of coarse-bedded material ((D^{*}) >  ~ 405, solid lines), but on the other hand (b) decreases for finer-bedded material ((D^{*}) <  ~ 51, dashed lines). These trends are no longer present if the bankfull channel is deeper than the value around the median of the root depths. The curves also show that the effect of vegetation is greatest when the ratio (H_{bf} /H_{root_median}) value is the smallest. As this ratio increases—i.e., the larger the thickness of the potential rootless zone in the riverbank—vegetation density classes separate the points less and less, and the role of the root zone gradually decreases. Laboratory investigation of the root reinforcement of the botanical species Picea Abies delivered the same outcome¹³. That is, the root reinforcement decreases nonlinearly with increasing vertical distance below tha bank surface, and at distances larger than the typical root length (2.5 m in the case of Picea Abies), no considerable root reinforcement can be observed¹³. Moreover, the left of Fig. 3b also suggests that the dependence on bed material (i.e. bottom bank material) is no longer present below the most likely (median) root depth: the dashed and solid lines take on the same order values.
On the right side of Fig. 3c, we can see from the logarithmic curves fitted to the points that in the range of relatively small bed width ((B_{bf}) < (10H_{root_median})), the previously established trends (Fig. 2 and Table 1) apply to river sections with different woody vegetation densities (Class II, III, and IV, following Hey and Thorne calssification⁴³) and bank material ((D^{*}) < 51 and > 405). It can also be seen that the narrower the channel (i.e. (B_{bf}) < (10H_{root_median})), the more the different points are separated from each other, indicating the increasing role of vegetation. However, as bed width increases, the curves approach each other, and the vegetation-dependent behavior postulated in the hypothesis disappears.
The ranges “fine-bedded” (D ≤ 2 mm) and “coarse-bedded” (D ≥ 16 mm) loosely correspond to sand-bed and gravel-bed streams. (Technically speaking, gravel is often defined as D > 2 mm, and there are a few silt-bedded streams in the collection used here.)
One of the most accurate relations for total bed material load of sand-bed streams is that of Engelund and Hansen⁴⁸.This is illustrated in, for example, Ma et al.⁴⁹. When applied to bankfull flows, the relation takes the form
where bed friction coefficient (C_{f}) can be estimated from the normal flow assumption as
Here U_bf denotes cross-sectionally-averaged flow velocity at bankfull flow.
Now we assume that Q_tbf, R, D and and C_f are held constant. From Eq. (4), then, higher values of τ_bf* are specifically associated with lower values of B_bf. We have shown above that in fine-bedded streams, increasing density of riparian vegetation is associated with a reduction in bankfull Shields stress τ_bf*. That is, we obtain the somewhat counterintuitive result that increased density of woody vegetation correlates with wider, rather than narrower channels in fine-bedded streams.
A similar argument can be used for coarse-bedded streams. For these, we assume that gravel moves as bedload, and sand moves as wash load over the gravel bed. Thus the volume bedload transport rate at bankfull flow can be approximately equated with the volume total bed material load Q_tbf.
For the sake of illustration, we adopt the bedload transport rate of Parker⁵⁰, which represents an approximation of the Einstein⁵¹ bedload transport relation, but in explicit form. At bankfull flow, it takes the form
where τ_c^* = 0.03 denotes a critical Shields number for the onset of motion. Again, if Q_tbf, R, D and τ_c^* are held constant, increasing τ_bf^* is associated with a narrowing channel, i.e. the same tendency as shown by the sand-bed relation of Engelund and Hansen⁴⁸. We have shown above, however, that in the case of coarse-bedded rivers, increasing density of woody vegetation causes an increase in τ_bf*. Thus according to Eq. (6) and the trends in Fig. 2, increasing woody vegetation density should result in a narrower bankfull channel. The same tendency is obtained using, for example, the gravel transport relation of Meyer-Peter and Muller⁵². This result concerning coarse-bedded streams is in agreement with analysis of Hey and Thorne⁴³ for gravel-bed streams.
For emphasis, we summarize the essential conclusion of this paper: (a) in coarse-bedded streams, increasing density of woody vegetation is associated with an increase in bankfull Shields stress, and thus a decrease in bankfull width; whereas (b) in fine-bedded streams, increasing density of woody vegetation is associated with a decrease in bankfull Shields stress, and thus an increase in bankfull width.
With the help of the functions fitted to the set of points separately for each class, we introduce an amended version of the Li et al.³⁶ equation for estimating the bankfull Shields number. This way, the effect of vegetation on the alluvial river bankfull geometry can be taken into account when estimating the bankfull Shields number. The correction, optimized using the method by Li et al.³⁶ takes the form:
where (lambda_{A}) and (lambda_{B}) are parameters dependent on woody vegetation density. The values were determined according to the best fit principle for each vegetation cover class (see the last two columns of Table 1). The validation of the derived relations is detailed in the “Methods” section. Here, instead of discrete classes, we characterize the bank vegetation cover in terms of a continuous variable useful in numerical modeling. For this purpose, the dimensionless parameter V estimates the areal bank/floodplain vegetation cover fraction, so as to extend the classification of Hey and Thorne⁴³. (V can take any value between 0 and 1, where 0 means tree- and shrub-free bank and 1 represents full tree-shrub coverage. The method of determining areal bank vegetation cover fraction is detailed in the “Methods” section. The amended bankfull Shields number can be calculated for any bank vegetation cover fraction (V) using the following regression relationships in Eq. (7):
These relationships apply to the complete range of grain sizes studied here, including fine-bedded, intermediate-bedded and coarse-bedded.
The average of the discrepancy ratios (tau_{bf;reported}^{*} /tau_{bf;predicted}^{*}), using the original form (Eq. 3) and the amended form (Eq. 7, where (lambda_{A}) and (lambda_{B}) are calculated by Eqs. 7, 8 and 9), respectively, are as follows for the four classes: Class I, 1.20 and 0.99; Class II, 1.18 and 1.03; Class III, 1.11 and 1.06; Class IV, 1.16 and 0.98. The ratios suggest that the Li et al.³⁶ prediction works most accurately in Class III; that is, it was (inadvertently) optimized for average vegetation cover fraction in the range 0.05 < V < 0.5. Therefore, if the effect of woody vegetation is ignored, the smallest error is expected for Class III. Otherwise, the correction presented here can still significantly improve the prediction of bankfull Shields number, i.e., up to 19%.
The effect of the correction is illustrated in Fig. 4. The horizontal axes show the reported Shields numbers. The vertical axes of the left figures show the Shields numbers corrected by Eq. (7) and the vertical axes of the right figures show the Shields numbers estimated by the original Li et al.³⁶ relation. In the upper two figures, the range of axes is 0.01 to 100, while in the lower figures, they are 0 to 0.2. [The figures show that a noticeable improvement is seen mainly in the range below 0.2, i.e., for coarser material (D* >  ~ 51). This is consistent with the standard deviation discrepancy ratio values for coarse and fine material in Table 1: since the average error can be described typically with a smaller standard deviation in the case of coarser material (D* >  ~ 51), thus a better improvement with the correction equation is also expected in this range.
Panels (a,c) show points predicted by Li et al.’s estimation versus the reported bankfull Shields number (tau_{bf}^{*}). (b,d) show predictions from Eq. (2) versus reported bankfull Shields number (tau_{bf}^{*}). The colors and symbols refer to the riparian vegetation density, as shown in the legend. The two figures on the left show the prediction by Li et al., and the figures on the right show the results of the improved relationship (Eq. 2). The lower two figures (c and d) show the range 0–0.2 of the vertical axis. This range more clearly illustrates the improvement. The solid black line shows equality, and the gray lines the 20% margin of error.
It can be seen in Fig. 2 that the expected effect of riparian vegetation in the case of sand-bed rivers is observed clearly for a range of about D* < 100, since the trend lines intersect around 100. Similarly, the expected behavior observed for gravel-bed rivers is observed clearly for D* > 600. The range 100 < D* < 600 (4 mm < D < 24 mm) appears as a transition where the effect of riparian vegetation is not clear. This range shows a substantial overlap with a transitional range of 51 < D* < 405 (2 mm < D < 16 mm) according to the classification established by Parker⁴⁴. The transitional range obtained according to our study and determined by Parker thus at least loosely correspond: the sand- and gravel-bed rivers can be separated from each other, and there is a transition between the two (corresponding to a range where reaches are rather rare) in which the bed material is neither sand- nor gravel dominated, and thus the role of riparian vegetation is also unclear in terms of impact on bankfull Shields number.
The following is a simple example of the applicability of the riparian vegetation-based relationships (Eqs. 7, 8 and 9) introduced in this paper. The Wilkerson et al.⁴¹ data set includes a river section of the White River at Interior, South Dakota, which has a bed grain size D = 0.5 mm (Fig. 5). Based on the on-site tour of the authors (and also photos in Fig. 5), the river section can be classified as Class 2 (1–5% vegetation cover) following the classification of Hey and Thorne⁴³. This class yields the estimates (lambda_{A} =) 1.37 and (lambda_{B} = { } – 0.034) from Eqs. 8 and 9. Taking into account the reported slope ((S = 0.002)) and grain size ((D = 0.5) mm) values, the bankfull Shields number is obtained as (tau_{bf}^{*} = 3.802) (Eq. 7), from which (applying the Engelund and Hansen formula, Eq. 4 and 5) (B = 121) m can be estimated. The reported values⁴¹ are (tau_{bf}^{*} = 4.286) and (B = 89) m, while the values estimated by the original relation of Li et al.³⁶ (combined with Engelund and Hansen) are (tau_{bf}^{*} = 3.029) and (B = 213) m. With the help of the correction equation (Eq. 7), the section width belonging to different degrees of riparian bank cover can be estimated: (B = 114) m (decrease to 94% of the width calculated for the current woody vegetation cover – Class 2) in the case of very sparse woody bank vegetation (V = 0), while in the case of V = 0.3 (30% woody vegetation cover), the width (B = 213) m estimated by the relation of Li et al.³⁶ would be obtained (corresponding to a 76% increase compared to the current woody vegetation cover – Class 2).
White River at Interior, South Dakota, USA (top image: Maps Data: Google, © 2022, lower images: own photos).
As noted above, the regression relation of Li et al.³⁷ has been used as the basis for the analysis. Czapiga et al.³⁸ offer a similar relation. The use of this latter relation yields similar results that do not change our essential conclusions.
In this study we investigate how riparian woody vegetation affects the morphodynamic characteristics of rivers. Our key results can be stated as follows.
In a fine-bedded range (D ≤ 2 mm), increasing woody vegetation density tends to cause a decrease in bankfull Shields number, and a corresponding increase in bankfull width.
In a coarse-bedded range (D ≥ 16 mm) increasing woody vegetation tends to cause an increase in bankfull Shields number and a corresponding decrease in bankfull width.
The behavior is mixed in an intermediate range (2 mm < D < 16 mm).
We provide a set of dimensionless, empirical relations with which to estimate the effect of increasing woody density on bankfull Shields number across the entire range of grain sizes studied here (0.094 mm ≤ D ≤ 175.8 mm).
The effect of vegetation on equilibrium bankfull geometry can be significant. It affects not only the bed width but also the water depth. According to the calculation for the White River at Interior presented above, it can cause an increase or decrease on the order of 10% of bankfull width and depth, but in extreme cases, it can even result in an order of magnitude change. Such variation is also pertinent to the prediction of flood water levels, as well as the management of temperature in rivers. The analysis presented here has a potentially useful application as regards climate change. Climate change is predicted to have major effects on vegetation regime⁵³. Specifically, possible effects of climate change might be a decrease in riparian hardwood species or density, and the spread of more drought tolerant shrubs⁵⁴. Our analysis can help predict how changing bank and floodplain vegetation can affect river channel geometry.
Our findings merit consideration by river managers. The result concerning coarse-bedded rivers, i.e. that increasing vegetation density is correlated with a narrower channel, is straightforward. The result concerning fine-bedded rivers, i.e. that increasing vegetation density is correlated with a wider channel, is counterintuitive, yet supported by our data analysis. We suggest that river managers take these trends into account, while balancing them against other factors such as ecosystems management, flood control, recreational use etc.
The data used in this study were generated, as a first step, by filtering the data employed by Wilkerson et al.⁴¹. From that set we selected only the river sections whose exact location we were able to determine. Thus, 85 river sections were assigned to a fine-bedded range (bed material median size D₅₀ ≤  ~ 2 mm), 56 were assigned to a coarse-bedded range (bed material median size D₅₀ ≥  ~ 16 mm) and 16 more were assigned to an intermediate-bedded range (2–16 mm). The rest of the data used here are 61 river sections from the database in the publication by Hey and Thorne⁴³; i.e., the database referred to in Parker et al.⁴² publication as the Britain II data set. All data used in this analysis are part of the Li et al.³⁷ data set, and are available in the referenced publications.
As opposed to bedrock rivers, vegetation is expected to play a significant role in the morphodynamic processes of alluvial rivers³⁴. Therefore, we investigated only alluvial channels in order to quantify the role of riparian vegetation. The data set includes both temperate and tropical streams, as shown in Fig. 6. All the streams are between ± 66.5° latitude. No streams in permafrost are included in our set. In such streams, the effect of ice likely plays a more important role in channel morphology than vegetation, the root depth of which may be severely restricted by permafrost³⁵. We have thus chosen reaches such that the effects of polar climate and bedrock can be neglected, and so the morphodynamic processes are primarily determined by the interaction of water, sediment and vegetation⁵⁵. In this regard, we follow the lead of several studies^37,38,41,42.
Locations of the investigated river sections.
Typical plant species may be different in different river sections, in particular if they are located in different climate regimes. In this study, there was no universal and straightforward way to identify the vegetation type at each site via remote sensing, and visiting all river sections would have been an unrealistic undertaking. Although different tree species have different physiological properties⁵⁶, they show the same behavior in that the denser the plant, the higher the load for the bank and the more branched the root system in the channel bank. The basis for our study of the effect of riparian woody vegetation on river morphodynamics is an analysis of our data set.
The vegetation coverage for each river section presented in the data set of Wilkerson et al.⁴¹ and Parker et al.⁴² was determined using Google Earth. The examined sections are marked by yellow stars in Fig. 6.
The classification of Hey and Thorne⁴³ for vegetation cover was determined by visual inspection. To determine the vegetation cover, a fairly long bank section of a few hundred meters at any given river section was examined, and the vegetation along banks was considered with equal weight. The first class includes those river sections on the banks of which neither trees nor bushes are visible at all (Fig. 7a). In the second class, similarly to the first, the undergrowth may be more widespread, but rarely and erratically, with as little as a single tree appearing on the bankline in the image we used. (Figs. 5, 7b). In the third group, the trees are more dense, forming a forest; but for the two banklines of the entire studied section, they may cover a maximum of half of the bankline (Fig. 7c). Vegetation with a density and bankline in excess of the above was classified as Class 4 (Fig. 7d). An example of each member of the four classes is shown in Fig. 7.
(a) Ramganga River, in Uttar Pradesh state, India—Class I (Maps Data: Google, © 2022 Maxar Technologies) (b) White River at Interior, South Dakota, USA—Class II (Maps Data: Google, © 2022) (c) Pembina River near Paddy Creek, Alberta, Canada—Class III (Maps Data: Google, © 2022 Maxar Technologies) (d) Rio Parana, Argentina—Class IV (Maps Data: Google, © 2022 Image Landsat/Copernicus).
Characteristic bankfull geometry can be examined based on a consistent equation system that can be constructed from the following three equations:
Water mass balance equation:
(Q_{bf}) is bankfull water discharge [m³/s], (U_{bf}) is the bankfull flow velocity [m/s], (B_{bf}) [m] and (H_{bf}) [m] are the bankfull width and depth, respectively.
Normal flow momentum equation:
(tau_{bf} left[ { = tau_{bf}^{*} left( {rho_{S} – rho } right)gD} right]) is the bankfull bed shear stress [N/m²], (rho_{S}) is the density of sediment (2650 kg/m³), (rho) is water density (1000 kg/m³), (C_{f}) is the dimensionless bed friction coefficient, g is gravitational acceleration (9,81 m/s²) and S is slope [-].
Sediment mass balance equation (see Eqs. 4 and 6).
Using the behavior of the data in Fig. 2, we attempt to improve the Li et al.³⁶ equation for estimating the bankfull Shields number. Our investigation is based on the calculation of discrepancy ratios (tau_{bf;reported}^{*} /tau_{bf;predicted}^{*}): we sorted them into four classes according to vegetation density. We then fitted a curve to each of the four classes (Fig. 2). The values of (lambda_{A}) and (lambda_{B}) (woody vegetation density-dependent parameters, Eqs. 7, 8 and 9) were obtained accordingly (Table 1).
The correlations we extracted from the data were verified as follows: the values of discrepancy ratios were randomly split in a ratio of a) one-third to b) two-thirds, separately for all four vegetation classes. Then, power functions were fitted to the data for group b) (two-thirds), based on the values of (lambda_{A}) and (lambda_{B}) calculated with that group. Finally, the accuracy of the fitted curve was tested using data group a), here considered as data independent from group b). This process was repeated 1000 times: the cumulative accuracy ratios ((tau_{bf;reported}^{*} /tau_{bf;predicted}^{*})) (i.e. within a given class, the average of the accuracy ratios calculated up to a given number of cycles) were also calculated after each cycle.
Figures 8a (upper) and 8b (lower) show the calculated values of (lambda_{A}) and (lambda_{B}) for each cycle (a total of 1000 calculation cycles, as shown in the x axes). According to the results of the t-test performed separately for a total of 8 sets of points, the null hypothesis is rejected at the 5% significance level. In other words, since there is less than a 5% probability that the value obtained for the λ values is the result of chance, the function fitting can be considered statistically significant (Fig. 8c,d).
The values of parameters (lambda_{A}) (a, upper left) and (lambda_{B}) (b, lower left) are calculated from the power curves fitted to the randomly selected points. Random selection and determination of parameters were performed 1000 times. Figures 8c and 8d on the right respectively show the normal distribution fitted to the (lambda) values.
It can be seen in Fig. 8 that although the scatter of the points belonging to each class is significant, the point clouds of different classes typically fall into different ranges. The symbols in Fig. 8a show at which value the fitted correction curves cross the y-axis in Fig. 2. Based on this, the relative positions of the differently-colored clouds confirms the earlier finding: in the case of fine-bedded material, the denser the bankfull vegetation, the smaller the Shields number and the wider the channel. Figure 8b represents the exponent of the correction power functions. Despite the significant variance, there is a clear trend in the relative position of point clouds of different colors. Based on interpretation of the exponents (see Fig. 2 and Eq. 2), it is found that in coarse-bedded material, vegetation increasingly raises the Shields number and narrows the channel. The average values of the point clouds are displayed in Table 1 ((lambda_{A}) and (lambda_{B})), and the correction curves fitted to them are shown in Fig. 2.
These findings show that that the expected error of the relation by Li et al.³⁷ can be characterized in terms of riparian vegetation density. Accordingly, correction can be made using Eqs. (8) and (9).
The values for cumulative accuracy also serve to validate our relations for correction, Eqs. (8) and (9), based on woody vegetation cover. The following accuracy ratios ((tau_{bf;reported}^{*} /tau_{bf;predicted}^{*})) were obtained for an arbitrary computation: After 10 cycles: Class 1: 1.12; Class 2: 0.86; Class 3: 1.09; Class 4: 1.17. After 100 cycles: 1.02; 0.99; 1.04; 0.98. After 1000 cycles: 1.02; 1.01; 1.00; 1.01. Based on these numbers, it can be seen that on the one hand, there is a significant scatter and a perfect match is not expected. On the other hand, the significant trend in cumulative accuracies toward unity confirms that the density of riparian vegetation does indeed affect the Shields number, according to our hypothesis.
We investigated the dependency of the discrepancy ratios of (tau_{bf;reported}^{*} /tau_{bf;predicted}^{*}) on bankfull depth (H_{bf}), so as to determine whether the error of the estimate proposed by Li et al.³⁷ can be predicted as a function of (H_{bf}). Figure 9 shows the relationship between these values.
Determination of the water depth-dependent trend (Tleft( {H_{bf} } right)) in the (tau_{bf;reported}^{*} /tau_{bf;predicted}^{*}) data set. The solid line shows the prediction of (tau_{bf;reported}^{*} /tau_{bf;predicted}^{*}) as the function of (H_{bf}). See Eq. (12) below.
Using all of our points, we found a logarithmic trend for the discrepancy ratio (left( {tau_{bf}^{*} } right)_{reported} /left( {tau_{bf}^{*} } right)_{predicted}) as a function of bankfull depth (H_{bf}) for all the points. The value of each point ((Y)) can be partitioned into a bankfull water depth-dependent trend ((T)) and a scatter ((S)) term, in accordance with the following form:
According to the equation, each value ((Y)) can be written as the sum of (Tleft( {H_{bf} } right)) and an irregular term, representing the water depth-independent term ((S)).
The trend we detected in Fig. 9 can be described by the following equation:
This trend suggests that the accuracy of the bankfull Shields number prediction introduced by Li et al.³⁷ depends on bankfull depth. On the other hand, the coefficient of determination ((R^{2})) of 0.39 also shows that additional factors likely play roles in the establishment of the bankfull Shields number. To detect them (in our specific case: the impact of riparian woody vegetation), we filter out the dependence of the discrepancy ratios on the bankfull depth. Thus, the bankfull depth-independent data set can be calculated as follows:
All data used in this examination are available in Wilkerson et al.⁴¹ and Parker et al.⁴².
Bankfull width
Bankfull depth
Bankfull water discharge
Cross-sectional-averaged bankfull flow velocity
Bed slope
Median bed material grain size
Submerged specific gravity of bed material
Water kinematic viscosity
Gravitational acceleration
Bankfull channel Shields number
Bankfull bed shear stress
Sediment density
Water density
Critical Shields number for the onset of particle motion
Dimensionless bed material grain size
Bed friction coefficient
Parameters dependent on woody vegetation cover
Frontal bank/floodplain woody vegetation cover fraction
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Open access funding provided by Budapest University of Technology and Economics. Nemzeti Kutatási,Fejlesztési és Innovaciós Alap (Grant No. OTKA_PD 135037), Magyar Tudományos Akadémia (Grant No. János Bolyai fellowship 00265/20). The research presented in the article was carried out within the framework of the Széchenyi Plan Plus program with the support of the RRF 2.3.1 21 2022 00008 project nad MTA Distinguished Guest Fellowship Programme in Hungary.
ELKH-BME Water Management Research Group, Eötvös Lóránd Research Network, Budapest, Hungary
Gergely T. Török
Department of Civil and Environmental Engineering, Department of Geology, University of Illinois at Urbana-Champaign, Urbana, USA
Gary Parker
National Laboratory for Water Science and Water Security, Department of Hydraulic and Water Resources Engineering, Budapest University of Technology and Economics, Budapest, Hungary
Gergely T. Török
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T.G.T. and G.P. wrote the manuscript text. T.G.T. made the calculations and analysis and prepared the figures. All authors reviewed the manuscript.
Correspondence to Gergely T. Török.
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Török, G.T., Parker, G. The influence of riparian woody vegetation on bankfull alluvial river morphodynamics. Sci Rep 12, 18141 (2022). https://doi.org/10.1038/s41598-022-22846-1
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(Full program details for all events are provided below below.)
While the Hermitage’s nationally renowned residency program brings leading artists from across the United States and around the world to create work on its beachfront Manasota Key campus, the Hermitage also seeks to enrich the incredible and growing arts scene in Sarasota, as showcased by performing arts institutions such as Florida Studio Theatre and Westcoast Back Theatre Troupe, along with others in future seasons.
“We wanted to offer this one-of-a-kind opportunity to some of the leading artists in Sarasota, creating space for a talented performer to focus on being a generative artist,” said Hermitage Artistic Director and CEO Andy Sandberg. “There are actors, dancers, musicians, and performing artists working amidst our circle of collaborators who have passion projects waiting in the wings. This could be an actor writing a play between productions, a cellist composing a symphony after rehearsals, a dancer yearning to expand into the choreographer’s space – or someone looking to work across an entirely new genre. This residency is designed for an artist who is hungry to expand their creative practice and explore a new ‘hat’ within the arts and entertainment space.” Sandberg added that this new Cross Arts Collaborative initiative would not be possible without the generous support of the Koski Family Foundation, longtime supporters and champions of the Hermitage.
“We are proud of our long history of collaboration with the Hermitage and the collective impact we have on the Sarasota community,” said Westcoast Black Theatre Troupe Founder and Artistic Director Nate Jacobs. “The Cross Arts Collaborative is an exciting new way to gather resources in service of wonderful artists like Derric who consider Westcoast Black Theatre Troupe their creative home.”
“Every time we partner with the Hermitage, the result is a unique look into the creative process of making theater through the eyes of a leading artist in the field,” added Florida Studio Theatre Founder and Artistic Director Richard Hopkins. “I’m so pleased we are able to collaborate once more to provide this opportunity to Tsebiyah who is quickly making a name for herself as one of those leading artists. We are honored to call her an FST creative family member and cannot wait to see what this dedicated time and space to delve into her richly varied artistry has produced.”
On Saturday, November 12th, the Hermitage hosts the annual Artful Lobster: An Outdoor Celebration. Now in its 14th year, this signature event raises valuable funds for the Hermitage. In the aftermath of Hurricane Ian, proceeds from the 2022 Artful Lobster will go toward campus repairs, in addition to providing support for the Hermitage’s internationally renowned artist residency initiative and free community programming. The Artful Lobster is the only Hermitage benefit to take place on the grounds of the historic Gulf front campus – outdoors from 11:30am to 2pm beneath a large tent – located at 6660 Manasota Key Road in Englewood. Michael’s On East offers a lobster feast, this year with performances from award-winning Hermitage Fellows Adam Gwon and Reggie Harris. Adam Gwon‘s Hermitage residency is generously sponsored by the Huisking Family Foundation. Tickets for this fundraiser and sponsorship details can be found at HermitageArtistRetreat.org.
Nearly all Hermitage programs are free and open to the public (with a $5/person registration fee), offering Gulf Coast audiences a chance to engage and interact with some of the world’s leading talent. Due to capacity limitations and social distancing, registration is required at HermitageArtistRetreat.org.
The Hermitage hosts artists on its Gulf Coast Manasota Key campus for multi-week residencies, where diverse artists from around the world and across multiple disciplines create and develop new works of theater, music, visual art, literature, and more. As part of their residencies, Hermitage Fellows participate in free community programs, offering audiences in the region a unique opportunity to engage with some of the world’s leading artists and to get an authentic “sneak peek” into extraordinary projects and artistic minds before their works go on to major galleries, concert halls, theaters, and museums around the world. These free and innovative programs include performances, lectures, readings, interactive experiences, open studios, school programs, teacher workshops, and more, serving thousands in our regional community each year.
See below for complete program details and artist bios.
For more information about the Hermitage and upcoming programs, or to support the Hermitage’s hurricane repair efforts, visit HermitagArtistRetreat.org.
Newly announced program descriptions:
“Cross Arts Collaborative: New Voices and New Work” Wednesday, November 30 @ 5pm: Designed to inspire and encourage generative work created by some of the best and brightest performers in our vibrant performing arts community, the inaugural year of the Cross Arts Collaborative celebrates the work of Tsebiyah Misheal Derry and Derric Gobourne Jr. Join these two remarkable performers as they share excerpts from the songs, poems, and other works that were developed during their residency at the Hermitage Artist Retreat. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Westcoast Black Theatre Troupe, 1012 N Orange Ave, Sarasota, FL 34236

Previously announced program descriptions:

• “Richard Kennedy: Performance and Conversation” Wednesday, November 2 @ 6pm: Returning Hermitage Fellow Richard Kennedy is a genre-defying creator working across dance, opera, and visual art. Just as their career has spanned Broadway and gallery spaces, museums and clubs, New York and Berlin, their interdisciplinary work is “…at once light with a sensual joy and heavy with mournful emotion” (ARTnews). Their wide variety of skills challenges and invites an audience to reimagine more traditionally defined boundaries of art. In a program combining performance and conversation, Kennedy reveals selections of past and upcoming work while also providing contextual insight. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). The Ringling Museum of Art, Historic Asolo Theater, 5401 Bay Shore Rd, Sarasota, FL 34243

• “Hermitage @ Booker: Reggie Harris and the Power of Music” Friday, November 4 @ 5:30 pm: Returning Hermitage Fellow Reggie Harris believes that music has the power to unite, the power to uplift, and the power to heal. An international leader in the folk and acoustic music scene for more than 40 years, Harris brings all his skill and charm to Booker High School and is inviting the community along for the joyful ride. Join this incredible musician and storyteller to rediscover the essential power of music to move us all. Presented outdoors and socially distanced in the Booker Highschool courtyard in partnership with Booker High School VPA. Reggie Harris’ Hermitage residency generously sponsored by Sondra and Gerald Biller. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Booker High School Courtyard, 3201 N Orange Ave, Sarasota, FL 34234

• NEWLY Announced Partnership with Oak Street Stage “Keyed In: A Piano Performance and Conversation” featuring Hermitage Fellow Conrad Tao Thursday, November 17th @ 6pm: In this piano performance and discussion, Hermitage Fellow and consummate pianist Conrad Tao pushes the boundaries of how we hear the sound of classical music. In an exploration of the full range of sound the piano is capable of, including its nuanced harmonics and resonances between notes, Conrad is working to make the piano sing beyond the keys; drawing attention to the inherent sound of the piano beyond how we ordinarily perceive it. Don’t miss this award-winning musician transforming the artform in front of our eyes and ears. Presented in Partnership with Oak Street Stage. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Oak Street Stage on the campus of First Presbyterian Church, 2050 Oak Street, Sarasota, FL 34237

• “Radio Opera Workshop” featuring Hermitage Fellow Yvette Janine Jackson Friday, November 18th @ 2:30pm at New College of Florida: Hermitage Fellow and acclaimed composer Yvette Janine Jackson creates narrative and entire worlds out of sound. Whether radio opera or sound installation, her work has been described as “immersive, nonvisual films” by The Guardian. Hear selections of work inspired by cultural and historical events from this innovative creator and dive into the imaginative process of creating a world purely out of sound. Presented in Partnership with New College of Florida. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). 5800 Bay Shore Rd, Sarasota, FL 34243

• “Multihyphenate Multimedia: Music, Visual Art, and Theater” featuring Hermitage Fellows Raquel Acevedo Klein and Guadalís Del Carmen Friday, December 2nd @ 5pm on the Hermitage Beach: Join us for a sunset beach program featuring two Hermitage Fellows whose talents cannot be contained in a single medium, style, or language. Raquel Acevedo Klein was named by The Washington Post as one of “2022’s Classical Composers and Performers to Watch,” and she is also an immensely talented visual artist. Award-winning playwright and screenwriter Guadalís Del Carmen creates original work across stage, screen, and film that doesn’t shy away from the multifold perspectives of contentious issues, giving her audiences “no easy answers and no one to hate” while leaving them “more than a little entertained and a whole lot wiser,” (ChicagoOnStage). See and hear works from this incredible duo and dive into the unique, intersectional voices driving their work. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Hermitage Beach, 6660 Manasota Key Rd, Englewood, FL 34223

• “Angélica Negrón: Playing a Plant” featuring Hermitage Greenfield Prize Winner Angélica Negrón Friday, December 9th @ 5pm on the Hermitage Great Lawn: 2022 Hermitage Greenfield Prize Winner Angélica Negrón is inspired by nature and the music all around her. Her wide-ranging performance and compositional practice extends beyond the traditional repertoire to include unconventional instruments such as plants and found objects, often layering in vocals and other electronics. Be among the first to hear a demonstration from this revolutionary artist and learn about her creative process before the outdoor orchestral string presentation of her Hermitage Greenfield Prize commission in Sarasota in 2024. Presented in partnership with CreArte Latino, ensembleNew SRQ, UnidosNow, and New Music New College. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Hermitage Beach, 6660 Manasota Key Rd, Englewood, FL 34223

• “Notes: On Writing and Music” featuring Hermitage Fellows Chigozie Obioma and Levy Lorenzo Thursday, December 15th @ 5pm on the Hermitage Beach: Featuring two artists who both bring an international perspective, the program spans literature and music. Nigerian-born Chigozie Obioma, whose two novels The Fisherman and An Orchestra of Minorities were both shortlisted for the Booker Prize in Fiction, reads selections of his work and discusses his creative process. He is joined by Filipino-American musician, instrument designer, and returning Hermitage Fellow Levy Lorenzo, whose quirky and innovative work has been described as “a potent force on the side of exuberance, pleasure and awe of virtuosity” by The New York Times. Join these two incredible artists as the sun goes down on the Hermitage Beach. Presented in partnership with The Johann Fust Library Foundation. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Hermitage Beach, 6660 Manasota Key Rd, Englewood, FL 34223

“Richard Kennedy: Performance and Conversation” Wednesday, November 2 @ 6pm: Returning Hermitage Fellow Richard Kennedy is a genre-defying creator working across dance, opera, and visual art. Just as their career has spanned Broadway and gallery spaces, museums and clubs, New York and Berlin, their interdisciplinary work is “…at once light with a sensual joy and heavy with mournful emotion” (ARTnews). Their wide variety of skills challenges and invites an audience to reimagine more traditionally defined boundaries of art. In a program combining performance and conversation, Kennedy reveals selections of past and upcoming work while also providing contextual insight. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). The Ringling Museum of Art, Historic Asolo Theater, 5401 Bay Shore Rd, Sarasota, FL 34243
“Hermitage @ Booker: Reggie Harris and the Power of Music” Friday, November 4 @ 5:30 pm: Returning Hermitage Fellow Reggie Harris believes that music has the power to unite, the power to uplift, and the power to heal. An international leader in the folk and acoustic music scene for more than 40 years, Harris brings all his skill and charm to Booker High School and is inviting the community along for the joyful ride. Join this incredible musician and storyteller to rediscover the essential power of music to move us all. Presented outdoors and socially distanced in the Booker Highschool courtyard in partnership with Booker High School VPA. Reggie Harris’ Hermitage residency generously sponsored by Sondra and Gerald Biller. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Booker High School Courtyard, 3201 N Orange Ave, Sarasota, FL 34234

• NEWLY Announced Partnership with Oak Street Stage “Keyed In: A Piano Performance and Conversation” featuring Hermitage Fellow Conrad Tao Thursday, November 17th @ 6pm: In this piano performance and discussion, Hermitage Fellow and consummate pianist Conrad Tao pushes the boundaries of how we hear the sound of classical music. In an exploration of the full range of sound the piano is capable of, including its nuanced harmonics and resonances between notes, Conrad is working to make the piano sing beyond the keys; drawing attention to the inherent sound of the piano beyond how we ordinarily perceive it. Don’t miss this award-winning musician transforming the artform in front of our eyes and ears. Presented in Partnership with Oak Street Stage. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Oak Street Stage on the campus of First Presbyterian Church, 2050 Oak Street, Sarasota, FL 34237

• “Radio Opera Workshop” featuring Hermitage Fellow Yvette Janine Jackson Friday, November 18th @ 2:30pm at New College of Florida: Hermitage Fellow and acclaimed composer Yvette Janine Jackson creates narrative and entire worlds out of sound. Whether radio opera or sound installation, her work has been described as “immersive, nonvisual films” by The Guardian. Hear selections of work inspired by cultural and historical events from this innovative creator and dive into the imaginative process of creating a world purely out of sound. Presented in Partnership with New College of Florida. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). 5800 Bay Shore Rd, Sarasota, FL 34243

• “Multihyphenate Multimedia: Music, Visual Art, and Theater” featuring Hermitage Fellows Raquel Acevedo Klein and Guadalís Del Carmen Friday, December 2nd @ 5pm on the Hermitage Beach: Join us for a sunset beach program featuring two Hermitage Fellows whose talents cannot be contained in a single medium, style, or language. Raquel Acevedo Klein was named by The Washington Post as one of “2022’s Classical Composers and Performers to Watch,” and she is also an immensely talented visual artist. Award-winning playwright and screenwriter Guadalís Del Carmen creates original work across stage, screen, and film that doesn’t shy away from the multifold perspectives of contentious issues, giving her audiences “no easy answers and no one to hate” while leaving them “more than a little entertained and a whole lot wiser,” (ChicagoOnStage). See and hear works from this incredible duo and dive into the unique, intersectional voices driving their work. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Hermitage Beach, 6660 Manasota Key Rd, Englewood, FL 34223

• “Angélica Negrón: Playing a Plant” featuring Hermitage Greenfield Prize Winner Angélica Negrón Friday, December 9th @ 5pm on the Hermitage Great Lawn: 2022 Hermitage Greenfield Prize Winner Angélica Negrón is inspired by nature and the music all around her. Her wide-ranging performance and compositional practice extends beyond the traditional repertoire to include unconventional instruments such as plants and found objects, often layering in vocals and other electronics. Be among the first to hear a demonstration from this revolutionary artist and learn about her creative process before the outdoor orchestral string presentation of her Hermitage Greenfield Prize commission in Sarasota in 2024. Presented in partnership with CreArte Latino, ensembleNew SRQ, UnidosNow, and New Music New College. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Hermitage Beach, 6660 Manasota Key Rd, Englewood, FL 34223

• “Notes: On Writing and Music” featuring Hermitage Fellows Chigozie Obioma and Levy Lorenzo Thursday, December 15th @ 5pm on the Hermitage Beach: Featuring two artists who both bring an international perspective, the program spans literature and music. Nigerian-born Chigozie Obioma, whose two novels The Fisherman and An Orchestra of Minorities were both shortlisted for the Booker Prize in Fiction, reads selections of his work and discusses his creative process. He is joined by Filipino-American musician, instrument designer, and returning Hermitage Fellow Levy Lorenzo, whose quirky and innovative work has been described as “a potent force on the side of exuberance, pleasure and awe of virtuosity” by The New York Times. Join these two incredible artists as the sun goes down on the Hermitage Beach. Presented in partnership with The Johann Fust Library Foundation. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Hermitage Beach, 6660 Manasota Key Rd, Englewood, FL 34223

NEWLY Announced Partnership with Oak Street Stage “Keyed In: A Piano Performance and Conversation” featuring Hermitage Fellow Conrad Tao Thursday, November 17th @ 6pm: In this piano performance and discussion, Hermitage Fellow and consummate pianist Conrad Tao pushes the boundaries of how we hear the sound of classical music. In an exploration of the full range of sound the piano is capable of, including its nuanced harmonics and resonances between notes, Conrad is working to make the piano sing beyond the keys; drawing attention to the inherent sound of the piano beyond how we ordinarily perceive it. Don’t miss this award-winning musician transforming the artform in front of our eyes and ears. Presented in Partnership with Oak Street Stage. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Oak Street Stage on the campus of First Presbyterian Church, 2050 Oak Street, Sarasota, FL 34237
“Radio Opera Workshop” featuring Hermitage Fellow Yvette Janine Jackson Friday, November 18th @ 2:30pm at New College of Florida: Hermitage Fellow and acclaimed composer Yvette Janine Jackson creates narrative and entire worlds out of sound. Whether radio opera or sound installation, her work has been described as “immersive, nonvisual films” by The Guardian. Hear selections of work inspired by cultural and historical events from this innovative creator and dive into the imaginative process of creating a world purely out of sound. Presented in Partnership with New College of Florida. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). 5800 Bay Shore Rd, Sarasota, FL 34243

• “Multihyphenate Multimedia: Music, Visual Art, and Theater” featuring Hermitage Fellows Raquel Acevedo Klein and Guadalís Del Carmen Friday, December 2nd @ 5pm on the Hermitage Beach: Join us for a sunset beach program featuring two Hermitage Fellows whose talents cannot be contained in a single medium, style, or language. Raquel Acevedo Klein was named by The Washington Post as one of “2022’s Classical Composers and Performers to Watch,” and she is also an immensely talented visual artist. Award-winning playwright and screenwriter Guadalís Del Carmen creates original work across stage, screen, and film that doesn’t shy away from the multifold perspectives of contentious issues, giving her audiences “no easy answers and no one to hate” while leaving them “more than a little entertained and a whole lot wiser,” (ChicagoOnStage). See and hear works from this incredible duo and dive into the unique, intersectional voices driving their work. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Hermitage Beach, 6660 Manasota Key Rd, Englewood, FL 34223

• “Angélica Negrón: Playing a Plant” featuring Hermitage Greenfield Prize Winner Angélica Negrón Friday, December 9th @ 5pm on the Hermitage Great Lawn: 2022 Hermitage Greenfield Prize Winner Angélica Negrón is inspired by nature and the music all around her. Her wide-ranging performance and compositional practice extends beyond the traditional repertoire to include unconventional instruments such as plants and found objects, often layering in vocals and other electronics. Be among the first to hear a demonstration from this revolutionary artist and learn about her creative process before the outdoor orchestral string presentation of her Hermitage Greenfield Prize commission in Sarasota in 2024. Presented in partnership with CreArte Latino, ensembleNew SRQ, UnidosNow, and New Music New College. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Hermitage Beach, 6660 Manasota Key Rd, Englewood, FL 34223

• “Notes: On Writing and Music” featuring Hermitage Fellows Chigozie Obioma and Levy Lorenzo Thursday, December 15th @ 5pm on the Hermitage Beach: Featuring two artists who both bring an international perspective, the program spans literature and music. Nigerian-born Chigozie Obioma, whose two novels The Fisherman and An Orchestra of Minorities were both shortlisted for the Booker Prize in Fiction, reads selections of his work and discusses his creative process. He is joined by Filipino-American musician, instrument designer, and returning Hermitage Fellow Levy Lorenzo, whose quirky and innovative work has been described as “a potent force on the side of exuberance, pleasure and awe of virtuosity” by The New York Times. Join these two incredible artists as the sun goes down on the Hermitage Beach. Presented in partnership with The Johann Fust Library Foundation. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Hermitage Beach, 6660 Manasota Key Rd, Englewood, FL 34223

“Multihyphenate Multimedia: Music, Visual Art, and Theater” featuring Hermitage Fellows Raquel Acevedo Klein and Guadalís Del Carmen Friday, December 2nd @ 5pm on the Hermitage Beach: Join us for a sunset beach program featuring two Hermitage Fellows whose talents cannot be contained in a single medium, style, or language. Raquel Acevedo Klein was named by The Washington Post as one of “2022’s Classical Composers and Performers to Watch,” and she is also an immensely talented visual artist. Award-winning playwright and screenwriter Guadalís Del Carmen creates original work across stage, screen, and film that doesn’t shy away from the multifold perspectives of contentious issues, giving her audiences “no easy answers and no one to hate” while leaving them “more than a little entertained and a whole lot wiser,” (ChicagoOnStage). See and hear works from this incredible duo and dive into the unique, intersectional voices driving their work. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Hermitage Beach, 6660 Manasota Key Rd, Englewood, FL 34223
“Angélica Negrón: Playing a Plant” featuring Hermitage Greenfield Prize Winner Angélica Negrón Friday, December 9th @ 5pm on the Hermitage Great Lawn: 2022 Hermitage Greenfield Prize Winner Angélica Negrón is inspired by nature and the music all around her. Her wide-ranging performance and compositional practice extends beyond the traditional repertoire to include unconventional instruments such as plants and found objects, often layering in vocals and other electronics. Be among the first to hear a demonstration from this revolutionary artist and learn about her creative process before the outdoor orchestral string presentation of her Hermitage Greenfield Prize commission in Sarasota in 2024. Presented in partnership with CreArte Latino, ensembleNew SRQ, UnidosNow, and New Music New College. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Hermitage Beach, 6660 Manasota Key Rd, Englewood, FL 34223

• “Notes: On Writing and Music” featuring Hermitage Fellows Chigozie Obioma and Levy Lorenzo Thursday, December 15th @ 5pm on the Hermitage Beach: Featuring two artists who both bring an international perspective, the program spans literature and music. Nigerian-born Chigozie Obioma, whose two novels The Fisherman and An Orchestra of Minorities were both shortlisted for the Booker Prize in Fiction, reads selections of his work and discusses his creative process. He is joined by Filipino-American musician, instrument designer, and returning Hermitage Fellow Levy Lorenzo, whose quirky and innovative work has been described as “a potent force on the side of exuberance, pleasure and awe of virtuosity” by The New York Times. Join these two incredible artists as the sun goes down on the Hermitage Beach. Presented in partnership with The Johann Fust Library Foundation. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Hermitage Beach, 6660 Manasota Key Rd, Englewood, FL 34223

“Notes: On Writing and Music” featuring Hermitage Fellows Chigozie Obioma and Levy Lorenzo Thursday, December 15th @ 5pm on the Hermitage Beach: Featuring two artists who both bring an international perspective, the program spans literature and music. Nigerian-born Chigozie Obioma, whose two novels The Fisherman and An Orchestra of Minorities were both shortlisted for the Booker Prize in Fiction, reads selections of his work and discusses his creative process. He is joined by Filipino-American musician, instrument designer, and returning Hermitage Fellow Levy Lorenzo, whose quirky and innovative work has been described as “a potent force on the side of exuberance, pleasure and awe of virtuosity” by The New York Times. Join these two incredible artists as the sun goes down on the Hermitage Beach. Presented in partnership with The Johann Fust Library Foundation. Registration is required at HermitageArtistRetreat.org ($5/person registration fee). Hermitage Beach, 6660 Manasota Key Rd, Englewood, FL 34223
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Travis is back for another victory Monday edition of the Drive Time Podcast. Today, we’ll break down the five key takeaways from the game including record-setting performances from Tua Tagovailoa and Tyreek Hill. Plus, the defense responds, Waddle finds pay dirt, we give some love to the unsung heroes and we learn a valuable lesson in a win. Plus, audio from Mike McDaniel, Tua and Cheetah and the play-before-the-play and teaching tape.
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Subscribe for full access to The Hollywood Reporter
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From Columbia College to Juilliard, these institutions can take aspiring composers from the practice room to the scoring stage.
By Jeff Bond
The aftermath of COVID-19 continues to be felt in the world of academia, and its impact has extended to The Hollywood Reporter‘s annual list of the world’s best music schools. Some programs, like the Sundance Institute Film Scoring Program, have shut down, while others have managed to launch and survive during the pandemic. The Film Scoring Academy of Europe makes its debut on this list, and another new program, at Brooklyn College/CUNY’s Feirstein Graduate School of Cinema, offers a master of fine arts degree in media scoring. The past year also has upended THR‘s top rankings a bit as ascendant Columbia College Chicago moves into the top spot, overtaking perennial leaders USC Los Angeles Thornton School of Music and The Juilliard School.

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To achieve the rankings this year, THR reached out to insiders in the film and television music community and polled members of Hollywood’s Society of Composers and Lyricists, the Composers Diversity Collective, the Alliance of Women Film Composers and the music branches of the Academy of Motion Picture Arts and Sciences and the Television Academy.
Chicago
Columbia has been trending steadily upward on THR‘s survey for the past few years and in 2022 finally hits the top of the list. The Illinois-based school offers a two-year master of fine arts program in music composition for the screen, headed by Kubilay Uner, focusing on film, television, advertising, video games and other interactive media. Students attend a five-week semester in Los Angeles, interning with professional composers and employing professional musicians and engineers in studio recording and mixing sessions. Says Uner: “The goal of this program is for everything that we do to enable and facilitate the direct employment of our graduates in media music.”
Some of the program’s graduates include DeAndre James Allen-Toole (God’s Country, starring Thandiwe Newton); Jesi Nelson, who wrote the music for Star Wars Biomes as the first female and first person of color to serve as a composer on a Star Wars property; and Batu Sener, who wrote the music for The Ice Age Adventures of Buck Wild.
One seasoned Hollywood composer impressed by Columbia College alumni and by Uner himself is Harry Gregson-Williams (House of Gucci, The Last Duel), who first met Uner at the Sundance composer lab. “He’s so passionate, and he’s a very accomplished composer himself,” Gregson-Williams says. “I was supposed to be mentoring him, and I could tell that he was hugely talented. I’ve noticed that, more so than any students I usually interact with, the Columbia students impress me with their razor-sharp attitude toward film music.”

TUITION $29,270
NOTABLE ALUMNI Paul Broucek (Warner Bros. Pictures president of music, in charge of three Lord of the Rings films); Liz Mandeville (blues musician)
Boston
Berklee’s screen scoring program, chaired by Sean McMahon, offers bachelor’s degrees in film and media scoring and game and interactive media scoring as well as options to minor in screen scoring or take a specialization in the video game scoring course. Berklee alumni and Stranger Things music editor Lena Glikson helped create one of the year’s most talked-about visual music moments when she incorporated Kate Bush’s “Running Up That Hill” into fourth-season episodes of the Netflix horror series and won an Emmy in the process. Composer Joe Kraemer (Mission: Impossible — Rogue Nation) credits his time at Berklee in the ’90s with giving him the tools to excel as a composer. “I was a sort of self-trained wannabe Paul McCartney when I went in, [and] when I left, I felt like I could conduct an orchestra and write a score.”
International students can take advantage of Berklee’s scoring program and facilities at Berklee’s campus in Valencia, Spain.
TUITION $46,950
NOTABLE ALUMNI Ramin Djawadi (House of the Dragon composer), Alan Silvestri (Ready Player One composer)
USC’s 20-student master’s degree program in screen scoring is now run by Jeanine Cowen, the previous assistant chair at Berklee College, succeeding interim director Patrick Kirst. Cowen and Kirst point out that USC’s faculty and student body has grown substantially more diverse this year, with Sony/ATV Music Publishing and Bleeding Fingers Music specifically sponsoring African American students each school year. “We are hoping to change the face of the industry, and I think we have the ability to do so,” Cowen says. “Not only did Sony/ATV continue their support for the scholarship, but they doubled it. So we now have two Bleeding Fingers Sony grants — full rides, including housing, living expenses and technology budgets so that they can make sure that they’re up and running when they start the program.”

TUITION $51,442
NOTABLE ALUMNI Michael Abels (Nope composer), Jerry Goldsmith (Chinatown composer)
New York
As one of the world’s most renowned conservatories, Juilliard has been known more for pure music education, with even some graduates acknowledging that the school hasn’t dipped its toes in media scoring until the past few years. Its Center for Innovation in the Arts originally promoted interdisciplinary work and experimental art projects that incorporated new technology, but under program director Edward Bilous, Juilliard has developed impressive media scoring classes, including composing for visual media, an independent study in emerging and collaborative arts and a scoring-to-picture workshop. “We kind of got into doing the traditional film scoring route through the back door,” Bilous says. “Juilliard doesn’t have filmmakers. So it’s not like USC or UCLA or NYU or any of these other big universities where they just walk across the hall and there’s a whole film department. So instead, we reached out and developed a partnership with film schools all around the country. And we pair our composers with filmmakers in Australia and London and, this year, Iceland, Hong Kong and Korea.”
TUITION $52,250
NOTABLE ALUMNI Bill Conti (Rocky composer), John Williams (Star Wars composer)
Los Angeles
While the Herb Alpert School is a more traditional conservatory, its master’s and Ph.D. programs offer a specialization in either composition or composition for visual media.

“[Students are] being fully trained as composers in the big picture,” says Peter Golub, who teaches film scoring at UCLA and USC. “I work with the ones who are interested in music for visual media, master’s and doctoral students, occasionally undergrads. The classes are fairly small, so it’s pretty in-depth work. There are typically about eight in the class, and then as they go on, they also do work with me privately. I connect them to filmmakers at UCLA, both live-action and animation. So I create mixers where composers and filmmakers get to meet and share each other’s work.”
The conservatory-style learning environment also features an abundance of state-of-the-art recording and performance facilities. “There is a full complement of all the orchestral instruments and singers, plus the jazz program,” says Golub. “So there are a lot of people around that they can tap into to record their stuff.”
TUITION $13,239 (in-state)
NOTABLE ALUMNI Randy Newman (songwriter, Toy Story composer), Nancy Sinatra (singer)
SFCM composition chair David Conte teaches a music for film class, and the school also partners with the San Francisco International Film Festival to allow students to work directly with filmmakers. A one-year professional studies diploma provides studies in workflow technologies, including composing at the keyboard; sound recording and sound design; production techniques in Apple Logic Pro X; and others. SFCM’s Technology and Applied Composition (TAC) program boasts a “mothership” recording studio so sophisticated that the Recording Academy hosted listening sessions for its annual Grammy Awards competition at the venue. But it’s the school’s location in Silicon Valley that fuels the TAC program with talent, technology and funding from the video game industry, and boasts a direct path for students into the world of scoring for games. TAC students get firsthand experience scoring in-development games and the opportunity to record their music at Skywalker Sound.

TUITION $51,300
NOTABLE ALUMNI George Duke (composer and songwriter), John Adams (composer/conductor)
Rochester, New York
Founded by composer Jeff Beal (House of Cards) and directed for the past two years by composer Mark Watters, Eastman’s Beal Institute for Film Music and Contemporary Media offers a two-year master’s program that accepts no more than six students a year. The school boasts a strong working relationship with the Rochester Institute of Technology and its film, animation and video game schools and hosts a biannual “Artist Call,” in which composers are teamed with filmmakers to collaborate on projects.
Watters says the program’s number of applicants doubled this year. “I suspect the lessening of COVID-related issues contributed to this, but I’d like to think that word is getting out about the program,” he says.
TUITION $60,550
NOTABLE ALUMNI Chuck Mangione (flugelhorn player), Laurence Rosenthal (Man of La Mancha composer)
Oberlin, Ohio
Chaired by Tom Lopez, Oberlin’s bachelor of music: technology in music and related arts degree trains students for graduate study in electroacoustic music, interdisciplinary performance and digital media. The program combines music technology studies with conservatory classes in music theory, aural skills and musicology as well as extracurricular projects like dance and theater performance. The student-to-teacher ratio is a generous six-to-one, and the school offers financial aid through grants, loans and student employment intended to meet the financial needs of all its students. The school recently partnered with the United Nations Institute for Training and Research and the Global Foundation for the Performing Arts to expand access to international students.

TUITION $61,106
NOTABLE ALUMNI David Amram (composer of 1962’s The Manchurian Candidate), James McBride (novelist/musician)
Boston
NEC celebrates its 255th year as one of the nation’s most venerable and prestigious music schools. Located a block from Boston’s Symphony Hall, NEC boasts long-established working relationships with the Boston Symphony, Tanglewood Festival Chorus, Emmanuel Music and the Boston Chamber Music Society. The school’s Robert Ceely Electronic Music Studio is an electronic music composition suite that includes mixing hardware and software and a collection of hardware synthesizers that range from the newest designs available back to fascinating and iconic relics of the 1960s.
TUITION $54,210
NOTABLE ALUMNI Conrad Pope (My Week With Marilyn composer-arranger), Ralph Burns (All Dogs Go to Heaven composer)
Bloomington, Indiana
Jacobs’ music scoring for visual media program director is associate professor Larry Groupé, who modified the program in 2019 to include a master’s degree, undergraduate and doctoral minors and two certificate degrees. Students engage in recording sessions at the Joshi Studio, work with the Media School and IU’s film program on film projects, attend special presentations with film industry guests and collaborate with the student body of trained instrumentalists who perform their music. “The scoring program here has yet again doubled its enrollment this fall, with 23 new master’s students here for their scoring degree,” Groupé says.

TUITION $36,932
NOTABLE ALUMNI Joshua Bell (violinist/conductor), Leonard Slatkin (conductor)
Sofia, Bulgaria
The school, which was launched by former Disney music executive Andy Hill in fall 2019, managed to survive the pandemic that decimated others — particularly music programs — worldwide. Hill has made it his mission to grant students access to the kind of large-scale symphonic orchestras that only major film productions can afford. “Economically, Bulgaria’s still emerging from the Soviet shadow of three decades ago — their economy has never quite found its proper footing,” he says. “They’re part of the European Union, but they aren’t on the currency yet. And for the moment, at least, that makes the services of people like recording musicians, engineers in studios very, very economical.” That’s not all that’s economical — tuition and living expenses are also reasonable.
TUITION $33,892
Steinhardt offers bachelor of music and master of music degrees in music theory and composition: screen scoring — co-directed by Dr. Ron Sadoff and Mark Suozzo — where students get the opportunity to work on 25 recording sessions per year involving orchestras in what Suozzo describes as “a laboratory for the professional world.” The school also brings in professionals like Howard Shore (The Lord of the Rings) and Sean Callery (Jessica Jones) to critique student compositions and recordings.

TUITION $26,885
NOTABLE ALUMNI Gavin Brivik (How to Blow Up a Pipeline composer), Ariel Marx (Sanctuary composer)
Seattle
The Pacific Northwest Film Scoring Program offers a master of music in film composition run by Hummie Mann. Students work on 10 scoring projects, conduct live recording sessions, work on remote sessions, produce electronic and synth scores, learn to handle all the major industry-used software and collaborate with student directors. The program also offers instruction in mixing; songwriting; business and networking; and composition and sound design for interactive video games. Students can earn a master’s degree in 40 weeks and leave with a professional skill set and demo reel.
TUITION $40,040
NOTABLE ALUMNI Brendon Williams (League of Legends video game composer); Bobby Brader (Trolls orchestral assistant)
Winston-Salem, North Carolina
UNCSA offers a two-year master of fine arts in film music composition degree as part of its School of Filmmaking. Alumnus Chris Heckman is chair of the film music composition program. His credits include Shifting Gears (composer), Red Dead Redemption (additional composer), Abundant Acreage Available (music editor) and The Arbors (contractor/engineer). Film music composition students collaborate with undergraduate directors, producers and editors and graduate producers and are provided opportunities to score more short films than any comparable program in the world. Students collectively score 30 or more visual media projects each year in a range of styles including live-action, animation, video games, virtual/augmented reality, documentaries and commercials and advertising. The small program (16 students) ensures one-on-one mentorship and training.

TUITION $9,196 (in-state); $23,899 (out-of-state)
NOTABLE ALUMNI Atli Örvarsson (Hitman’s Wife’s Bodyguard composer), Kim Planert (Skid Row Marathon composer)
New Haven, Connecticut
In an era when even Juilliard has begun to offer media scoring classes, Yale remains a stubborn conservatory holdout still dedicated to the study of pure (read: acoustic) music. But with its intimidating faculty that includes two Pulitzer Prize winners (David Lang and Aaron Jay Kernis, professors adjunct of composition), the school doesn’t need to worry about attracting students. The institution prides itself on its collegiate and collaborative atmosphere, with students choosing the teachers with whom they want to study.
TUITION $36,800
NOTABLE ALUMNI Marco Beltrami (Ford v Ferrari composer), Quincy Porter (classical composer)
Columbia CNY’s sound arts MFA program offers a curriculum of individual or collaborative research projects that focus on integration of sound in media, but the program admits just a handful of students each year, so competition to enter is fierce. Students work in the studio with visiting artists and spend a full week engaging with a visiting artist each semester. Columbia CNY’s music performance program offers concentrations in composition, ethnomusicology, historical musicology and music theory.
TUITION $61,216
NOTABLE ALUMNI Wendy Carlos (The Shining composer), Alicia Keys (singer)

Los Angeles
While the school promotes its affordability with a tuition less than $30,000 for its music master’s degree, the cost for its composition degree, including a bachelor’s degree program in music composition for visual media, is substantially higher at a little less than $90,000. Its composition for visual media program provides instruction in arranging, scoring, orchestration, music theory, ear training and music history, with online classes as well as in-person teaching available. Students couldn’t ask for a more convenient location to break into the industry since the “campus” is located in a facility in the heart of Hollywood. And while plenty of students at the school may want to be rock stars, with so many rockers going into film scoring these days, that could be a major plus.
TUITION $29,700
NOTABLE ALUMNI David Becker (jazz guitarist), Kevin Fowler (songwriter)
London
RCM’s two-year postgraduate level master of composition — composition for screen offers students face time with production pros from film and television as well as students from the distinguished film schools also located in London, such as London Film School and the Met Film School. The British capital is a pretty good place to network, boasting more than 113,000 creative media companies, including motion picture, television and advertising production hubs, while the venerable RCM conservatory teams composition students with student instrumentalists and professional ensembles visiting and in residence at the school. RCM’s Creative Careers Centre partners with consultants, arts organizations and communities to deliver networking and career-building opportunities and a direct line into the music industry, affording students working experience, teaching them how to work with music as a business and building a professional portfolio. Recent visiting artists include Michael Giacchino (Thor: Love and Thunder), Rachel Portman (Chocolat) and Hans Zimmer (Dune).

TUITION $29,000
NOTABLE ALUMNI Andrew Lloyd Webber (Cats composer), James Horner (Avatar composer)
Coral Gables, Florida
UMF’s media scoring and production major is a four-year, 121-credit program that allows students flexibility in focusing on their preferred areas of expertise to reach the career they want. Students must provide examples of “outstanding writing and production creativity” and music notation abilities to qualify for the program. By sophomore year, students can branch out into other areas of the music school or the university in general to broaden their education.
TUITION $55,440
NOTABLE ALUMNI Ben Folds (pianist/performer), Joel McNeely (The Orville composer)
Denton, Texas
UNT’s College of Music boasts a strong composition program with about 70 students taught by nine faculty members, with regular guest composer residencies, including Bruce Broughton (Silverado). The Center for Experimental Music & Intermedia (CEMI) focuses on the integration of electroacoustic music, live performance, video and film, with students exploring projects in CEMI’s six production studios and the Merrill Ellis Intermedia Theater. Graduates of the school’s composition program are prepared for work as orchestrators, arrangers, music copyists (who prepare written music for musicians), audio engineers, conductors and teachers, with opportunities at advertising firms, recording companies, symphony orchestras and in academia. Tuition is extremely affordable, even for out-of-state students. (Texas residents pay $5,496).

TUITION $11,497 (out-of-state)
NOTABLE ALUMNI Christopher Young (Guillermo del Toro’s Cabinet of Curiosities composer), Meat Loaf (singer)
This story first appeared in the Nov. 2 issue of The Hollywood Reporter magazine. Click here to subscribe.

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It can safely be said that Daniel Avery doesn’t make dance music—rather, music where the dance element is a secondary byproduct. Straight out of the gate, with 2013’s Drone Logic, it was clear that Avery had as much in common with shoegazey acts like A.R. Kane and Flying Saucer Attack as he did with the techno artists he’s often connected with. Music that positively answered the question: “Can an electronic creator be equally influenced by Underground Resistance and My Bloody Valentine?”
Avery’s music has changed with each release—presenting as ambient-leaning one time, more hard-hitting at others—but a disorienting dreaminess has always been part of the equation, particularly in a live context. This year’s Roskilde performance was a pleasant sensory assault, with Avery acting as a guide though set and setting.
“I think I’m mostly known as a techno DJ, but if you consider the music I’ve released, none have been straight-up techno records,” says Avery. “I definitely would not call myself a ‘techno producer.’ What actually comes out is far more song-based, even the stuff that has become known in the club world. So much of it is based on verse/chorus, verse/chorus, because that’s where I come from. Those are my roots.”
“It’s actually led to a lot of frustration over the years. Why am I unable to just make a looping, hypnotic, techno track that doesn’t do very much for eight minutes? All of this being said, I love that music, and while Ultra Truth isn’t a techno record, it has a techno heart. A lot of that make-up is in there somewhere.”
So are elements of drum and bass, the softer side of krautrock, dreampop, found sound, and deterioration pieces that could sit side-by-side with the music of William Basinski. Rather than feeling like an unfocused mélange of ideas, though, Ultra Truth follows a long, compositional arc. Still, tracks like “Devotion” and “Higher” are complete bangers. The two tracks featuring HAAi, “Wall Of Sleep” and “Chaos Energy” (which also features longtime collaborator Kelly Lee Owens) almost stand alone as pocket-sized opuses contained within the greater work.
Ultra Truth is out November 4. Pre-order and pre-save it here.
Do you consider your music psychedelic?
It’s the word I always return to. I often say that all of my favorite music, from wherever it comes, has a strain of psychedelia running through it. Whenever I’m making anything—particularly when I’m finishing it—that is what I would like to inject into it in some way. So short answer, yes, I would call it psychedelic.
I think it began from my dad playing me the first Black Sabbath record. All roads lead back to that. From there it’s less easy to define. Acts like My Bloody Valentine and Aphex Twin share some form of psychedelia that are difficult to describe, but I get a similar sense from both of them.
I would firmly place the unapologetic repetition and hypnotism of Detroit Techno—something else I was drawn to at an early age—right in that psychedelic camp too. Music in which to get fully lost when you’re in a club, closing your eyes, and nothing else seems like it matters anymore. That’s what I get from it. I love everything it stands for. I love the hypnotism of it all. It’s in my music somewhere.
When did you first become aware of the early techno artists? How did it come into your life?
Guitar music was my first love. In terms of club music, I loved things like Underworld, The Prodigy, and Björk. Those were the first electronic records that came into my vision. The big change came when I started following DJs like Andrew Weatherall, or Richard Fearless with Death in Vegas. People who were into things like early techno records, but doing it with an outsider’s perspective. At least that’s how I viewed it. It was thanks to them, mixing so many elements together, that I first realized it was something I could really go for.
To this day you can hear real, forward-facing futurism in the early techno releases. They were reaching for something that’s just out of grasp, in the future, or just beyond our world in some way. A lot of modern electronic producers fall into the trap of trying to be “real” or “genuine” by insisting on only using old equipment, like those artists did; an actual TR-909 or whatever. To me, that’s the exact opposite to what all these original techno pioneers were going for. I think they would balk at such an idea. I like that idea of making something that feels a bit beyond your reach, a bit beyond what you know, and has that psychedelic edge to it.
What made you transition from being a “rock guy” to an electronic musician?
That’s a really good question. I actually still consider myself really to be a rock guy; an indie guy at heart. It’s what I believe my true identity is—strange, seeing as I’ve now made a career out of electronic music.
It’s difficult for me to pinpoint one moment, but there was a time, in the mid-to-late ‘90s, when I was growing up, where those two worlds were intersecting all over the place in interesting ways. You heard The Chemical Brothers talking about New Order as an influence, or Death in Vegas mentioning a deep love for Detroit Techno. Portishead had the darkness and energy of a rock band, but they were also using electronics. Plus Massive Attack, Björk, and all these acts where it was hard to define exactly what they even were. They were melding all of these different elements together. As a teenager it all felt so formative to me.
Nine Inch Nails is a really good example of a band that took both those worlds and combined them into one. You read interviews with Deftones, even now, and they talk about Kevin Shields, or Kode9, as much as they do about their guitar world. I was fortunate to grow up knowing none of these worlds have to be separate.
On top of that, I think the thing that really did it was me moving to London the second I finished university, being led by the hand into these techno nightclubs and the escapism they provided. The community, and the way a nightclub can make you feel like you can represent your true self within them. There’s that moment you’re inside, and the outside world doesn’t really matter that much. I fell in love with that idea immediately, and it really sunk in deep.
To go right back to the first question, to me all of those things share a psychedelic feeling. I get the same sensation from hypnotic techno tracks as I do from a shoegaze record, or Autechre, and Deftones records don’t seem that different in terms of how they make me feel. I cling to that, and believe you can hear all of those influences in what I do.
When you’re on tour do you experience a strong itch to return to your creation space to get going on the next project?
I’ve realized that they have to live in harmony. In the past, those two worlds fought for my attention too much, and it was frustrating. Either I’m not releasing that energy enough by touring, or I’m not spending enough time on the music itself. I think the whole lockdown process rebalanced the two in my head. I know what makes me most content is having a finished track, or record, in my hands. Something that I know is going to last beyond me. I love the touring life. It’s literally taken me around the world, and shown me things that I never thought I’d see, but really the biggest joy comes from making and finishing records. I can safely say that.
Do you ever find that difficult to get to that point where you consider a record finished?
It’s something I’ve had to force myself into. The first album, Drone Logic, is coming up on ten years old. I can’t believe it’s been a decade of this. That was simple, relatively straightforward to make. It was done with a lot of energy, but also naïveté and low expectation. Your standard story of a debut album, and it happened pretty quickly. What came next was that I fell into every single pitfall of making a second album. I did not know how to finish anything. I couldn’t tell if anything was even any good.
Drone Logic launched me into the world as a busy, touring, techno DJ. I’d return home, thinking I was just a DJ now, try to make techno records, fail at it, and become more frustrated. Therefore the second album took five whole years to make. I finally decided this just has to be a time capsule of where I am at the moment, rather than some sort of perfect statement.
Song for Alpha sounds like the search for the quiet moments in between the chaos of tour life, but it took me five years to get to a stage to understand that. Once I realized that, and it was done, it felt like the floodgates had been opened, and I felt so much more comfortable just releasing music. I have a much calmer, healthier way of doing things now.
Ultra Truth has some little nods to the work that led up to it. The opener “New Faith” feels like it could have only happened after your collaboration with Alessandro Cortini on Illusion of Time.
I had an epiphany when I started making music with Alessandro. His process was different to how mine was back then. We’d send each other ideas, and I’d send notes about what I thought should be tidied up. Things I perceived to be mistakes. Alessandro views music in an entirely different fashion. He often believes in the first take. He believes in leaving a lot of humanity in his records. That was an enormous turning point for me. I went from being something of a perfectionist to not only learning to leave in human elements, but even exaggerating them. To turn up the hiss you get from an old machine or to push a bit of distortion that tape gives you. It’s actually now one of my favorite things about making music.
Do you think it’s because of his preferred media? Among other things, he’s a Buchla guy who likes using 4-track machines. You were coming from more of a DAW-oriented world, which often pushes people into some idea of “perfection” perhaps?
I think that had something to do with it, but my issue back then probably ran a bit deeper than just a process. I think I was paralyzed by fear that everything I made had to be a perfect mission statement, rather than what all music and all art actually is: taking an internal idea, then externalizing it, and showing it to the world. I was convinced that I could only offer something I deemed to be a perfect representation of who I wanted to be.
That project was also one of the first things I’d done where it was going to be very much a joint collaboration. Both of our names were going to be front and center. It became an exercise in trust and experimentation, because the majority of it was all made remotely. Most of the tracks were either something that I started and he finished, and that was it, or vice-versa. It was never specified how we were going to work together, we just quickly realized that was how we were going to do things. Then we spent one day in the same studio, piecing together everything we had.
Have there been projects presented to you that you had to warm up to?
I’ve been fortunate that most things have come about pretty naturally, and the timing has felt good. Over lockdown I worked on a few short film scores. That’s something I would like to explore much further, in fact. Just before then I worked on a score for a light installation called Falling Light. Again, it just came about pretty organically. I do firmly believe that if you keep people you feel comfortable with close to you, and keep doing everything in a genuine fashion, then stuff does seem to happen naturally.
How important is it for you to have time to gather input outside from music? Experiencing other forms of art, or listening to the musique concrète aspects of your surroundings?
It’s enormously important. I didn’t give enough weight to it in my younger years. It’s definitely become so much more apparent and important to me in recent times.
I should talk about my studio as it relates to this. It’s a converted shipping container; a metal box in a wharf, right next to the water, in London. It’s in a very secluded, quiet area, and pretty peaceful for being in the middle of the city. I spend as much time down there as I can, even if I have no intention of making any music that day. I might just read a book, or put on someone else’s record, just being down there, in a space that is entirely my own, trying to absorb the world in a different way. I became obsessed with running during lockdown, which I still keep up. I feel that has a very similar effect.
I choose to run with no music. It’s a complete escape for me. It’s one of the rare times where I don’t have anything in my ears other than the surroundings of nature, and that’s become a hugely important part of my life as well.
When you get ideas, during a burst of inspiration, how do you log and scratchpad things so you don’t lose them?
I always carry a notebook with me. Even though most people know me as a musician, I find that writing words down, long-form, is a way that I’m able to express myself best. I studied English at university, and words were important for me from an early stage. Other than a few musical ideas I record to my phone, I would say that the majority of the actual concrete ideas only happen or crystallize in the studio. They are just sort of ideas or concepts before that stage. I’ve never really been able to make music on the road, on a laptop or a plane for instance. I like being in the studio and feeling it that way.
How involved are you in the final mixing and mastering of the music?
The last few records and the new one, Ultra Truth, have all been mixed by Marta Salogni, an unbelievable Italian mix engineer based in London. It’s still a collaborative process. I have a pretty firm idea of how I would like things to be finalized, but she is some sort of magician in terms of actually realizing that, particularly on Ultra Truth. I kept repeating this idea of wanting things to be pushed as far as they can, just before a breaking point. I find that moment, just before something cracks, really exciting. She completely loved that idea and really grabbed it with both hands. Her sound is an enormous part of the record. I don’t have any technical knowledge in terms of mastering itself. I know what I want it to sound like, though. It’s a collaborative process, so I’ve always worked with trusted people.
What are some collaborative moments that stand out as particularly constructive to you, or even direction changing?
There are two big figures in my life I should mention. Manny D is mostly known for being an industrial techno producer, but he also makes anything from hip-hop to hyperpop. His fingerprints are on every single track of the new album. I turned to him for a lot of finalizing moments related to the sound design itself. He lent his expertise, and input, to the overall sound of the past few records really, but particularly Ultra Truth.
It was Manny who encouraged me to keep pushing this idea I had in my head of a distorted, yet beautiful record, that I knew I wanted to make. I wanted it to sound like it was on fire for its duration. When I took a step back from Ultra Truth I really felt I’d achieved what I set out to do, more so than any other record that I’ve finished. Manny’s encouragement was a big part of it.
The other constant bit of collaboration that I’ve done, since even before Drone Logic, is with a guy called James Greenwood, who goes under the artist name Ghost Culture. I met James and Kelly Lee Owens at the record shop where I worked, 15-odd years ago. When I first met James he was 18, and fresh out of music production college. Someone suggested we get into the studio together. It started as him just helping me engineer, but then some magic appeared. He was throwing out ideas, and I was throwing them right back. It quickly developed into something far more fruitful, to the point where Drone Logic is very much a collaboration with James. It’s my record, but James has writing credits on everything, because it wasn’t enough for him simply to be listed as the engineer.
My favorite experiences are when I’m not just on my own in the studio. I really love the energy when someone else is there, and things can be achieved quickly. I don’t know anything about filmmaking, but I’d imagine it has some similarities to how a director may feel when working with an editor or a cinematographer, and ideas are flowing back and forth. The director still has the final say about the final cut, but bringing in trusted people who can add something to the finished product is really exciting.
There is a lot of mystery related to the process of doing a remix. Can you walk us through that?
Yeah, of course! I’ve always been fascinated by the idea of a remix, and what defines one. I think of it as taking another artist’s track and putting it through your own filter; through your lens, and seeing what comes out the other side.
In terms of how it actually works, say a band or label comes to me and asks me to remix a track. Since I spend a lot of my time out on the road as a techno DJ, more often than not people ask me to take the song from one environment, and turn it into something that can fit into a club set. They give me the stems – the parts to their track – then I get into the studio and go through all of them. I find the things that immediately jump out as interesting, and can be manipulated, then discard the rest. I like to work very quickly and think, for me anyway, the sweet spot is spending between one and two days on it. Any longer and it starts to lose energy for me. Then I hand it back to the label or artist for final approval. I feel fortunate that I’ve reached a stage where people trust me to do something interesting with their music.
I should say that whilst I mention making things that are playable for a nightclub, I don’t think that’s the sole reason, at all, for doing a remix, and not everything I do comes out as a club track. I just believe in the ethos that it’s simply one artist’s vision fed through another’s. Whatever comes out the other side comes out.
To reverse the roles, I’ve had many remixes done of my tracks. I only ask people I massively respect and quite often it’s someone I’ve had some form of contact with, from traveling, or meeting along the way. I prefer to give zero notes to whoever’s doing it, and embrace whatever comes back. It’s fascinating to give your ideas to someone and have them create something with it. It’s not about tidying up or improving anything, it’s a completely artistic transaction. How do you see it, and what’s your take on this music?
I love it when a remix of my music comes back and it’s entirely different from what I sent them. I’d actually be a little disappointed if it had just been returned to me slightly shifted about, and didn’t show some genuine vision. I like it when things come back warped, manipulated, and shaped in a way I’d have never have thought of. That’s the exciting bit! A kick can sound like that, or that vocal could be used in that way? That’s inspiring.
How do you arrange your set for live performance? How is it different from a DJ set?
So this is a world that’s still pretty new to me. I started DJing, and making music in my bedroom, as a teenager. I played in bands as a kid, and that’s the path I thought I was going to go down, but DJing really took over my life when I was 18. I just turned 37, and I’ve been DJing pretty much every week the entire time, so that’s half my life. It is very much a part of me. To present myself as “Daniel Avery Live” was something I wanted to do all along, but I only started a couple of years ago, because I didn’t know how I wanted to do it. There are so many different ways to do it! I truly admire people who take all of their gear on stage and improvise, leaving so much to chance. I’m so fascinated by artists who do that.
I knew when I finally took the plunge I wanted to present an experience above everything else. What I’m presenting now is as much a light installation as anything. Moving forward, it’s going to become even more of an AV installation, and full body experience. It’s still a work in progress, but the idea is to make it something with a different weight and energy than a guy who is just standing behind a table.
When I play live, I purposefully leave gaps between sections between songs, like a band would. The DJ thing is still a hugely important part of what I do, but that’s about slow builds, gradual transitions, and something you can get lost inside. I’ve done 8 or 9 hour DJ sets where there is not not one gap. Every track is blended in some way into the previous one.
For the live show I want to offer something totally different from that. I want to go back to those gigs that blew my mind as a kid. Rock bands, metal bands, shows where you walk away with your eyes full of strobes, your ears are ringing, and it’s been the most intense, unforgettable hour of your life. That’s the goal for the live show: something you can’t ignore. That’s how I’m differentiating the two in my mind.
It all means a lot of the work gets done in pre-production. On stage, of course stuff is being triggered, manipulated, and processed live, but there has to be an element that is synced up in order for it to feel like an experience, above everything else. This summer’s Roskilde show was one of the very first of this iteration, and it’s already grown beyond that.
Has there ever been a time where a piece of equipment malfunctioned, didn’t work as planned, or created a happy accident that absolutely made the track?
It’s been particularly interesting going back to the stems from Drone Logic. Hearing how bizarre the timing is on some of the tracks has been eye-opening. It’s because so much of it was written using sequencers. The whole album was made with a Korg Mono/Poly and a Roland SH-101. There were a couple of other things, but the engine of that album is Mono/Poly and 101, including all of the drums. Basically every single kick on Drone Logic is made by a Mono/Poly. Going back through the stems you can hear that, because every hit is different. Everything is being fed through sequencers and has a really strange groove to it.
It’s created some issues putting it into a live set. The timing is so loose that it’s been a bit of an uphill battle getting it to work with some of my newer stuff, but I also feel very good about that. It makes me feel happy, and shows Drone Logic was not an album that was labored over. Whatever came out, came out, and it sounded good to my ear at the time. So I wouldn’t call them mistakes but, I don’t know, if you were to just place them on a grid, a lot of it really wouldn’t make much sense! In some ways, that entire first album is something of a happy accident, or at least a naive way of making club music.
This also speaks to the question of is it necessary to spend $5,000 on a TR-808 rather than finding the next 909 for $100, or working with what you have?
I completely agree! And to push that idea even further, I think the most interesting sounds I’ve come across, or made myself, have been with found sounds. From the Cortini record onwards, I’ve become fascinated with the idea of contact microphones, and making a snare drum out of a bit of metal, or using a layer of ambient noise, or hiss, just recording the sound of air from outside my studio. You would never be able to write anything like that. I wouldn’t, at least.
Using found sounds for kick drums and hi-hats? That’s how you change the whole dynamic. As with anyone, there have been times when I’ve thought I needed more technical know how. I watched videos on tuning kick drums to a track, tried it, and I just thought “this is fucking boring!” It’s so boring! All I’d done was make the track sound more generic. I would say, to anyone who is interested in making music, just scrap those ideas immediately. You’ll drive yourself crazy trying to tune your snare drums to your synths, and all the rest of it.
Dissonance is something that should be celebrated, not hidden. That’s where ideas can come from. That’s where things that really excite me all lie.
When you collect these hisses and sounds of whacked pieces of metal do you tend to throw them into a sampler, then play with them organically?
Yeah, I like doing that. I also love distorting things in quite extreme ways, stretching, warping them, just taking something that you had no idea could sound a certain way, and turning it into something else entirely. I’ve really fallen in love with quite a few plug-ins over the past few years that do things like that.
There’s a distortion unit from FXpansion called Maul. There’s the Saturn distortion unit that FabFilter makes—basically a distortion and an EQ unit in one. Distorting different parts of a found sound has just changed so much for me. I’m fascinated with the idea of taking things from the real world, forcing them into what you’re doing, and seeing what comes out.
You seem to get a lot of use out of the Roland JX-3P.
Oh, that’s across so much of my stuff. Taking that and just flooding it with reverb from the Valhalla Vintage Verb? That alone has been such an enormous part of my sound for several years now. It’s all over the new record. I prefer them [over synths like Juno 60s]! There’s something about the tone of them that is perhaps a little less harsh.
I’m lucky my JX-3P has the PG-200 so I have more control. I feel like the JX-3P has a duller sound than a Juno, but that’s what I like. It’s a floatier, spacier sound that I can get to sit well within a track. It’s not necessarily as good for a lead as a Juno, but perfect for creating ambience or a layer. I just love layers within tracks, and the JX-3P is wonderful for that.
What aspects of your career do you consider to be a product of the Internet or streaming age that maybe wouldn’t have existed had you been an artist in a previous time?
Well, I have two answers here. From Drone Logic onwards things happened very, very quickly for me. I went from someone who nobody knew to being able to touring the world, playing sold out shows in Tokyo or Sydney. Who knows if that could have happened with music like mine, previously. Maybe, but I get the sense that Drone Logic was a word-of-mouth record, and people were sharing files with each other. That’s certainly how it felt.
Another real standout moment for me was the creation of Illusion of Time with Alessandro. As I mentioned, we were not in the same room for 90 percent of the creation of that record. Instead, we were both traveling around the world touring, waking up in different countries, different cities, and passing these ideas to each other. I’ve described it before as sending these electronic bolts of energy to each other in different time zones, then reacting to them. It would have been so much more difficult to find the time and space to have made that record if we’d had to be in the studio together. I don’t think that record could have been made any other way. It felt free, and we did not have the burden of pressure. It just felt like a love letter to electronic music itself. Every incremental moment in its creation was nothing but a joy. It happened in an extremely modern way, and I really love it for that.
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Project at 9431 Venice Boulevard would include 47 apartments and 2,000-square-foot restaurant.
By Dolores Quintana
A new mixed-use apartment structure is planned in Palms as an application has officially been submitted to the Los Angeles Department of City Planning as reported by Urbanize Los Angeles. The site is across from the downtown Culver City area at 9431 W. Venice Boulevard in Los Angeles and is currently the site of a small commercial building. The planners intend to demolish the building, which was built in 1979 and propose a seven-story building that would hold 47 units, divided between studio, one and two-bedroom apartments. The ground floor would host about 2,000 square feet of commercial space suitable for restaurants and a partially underground parking lot that would hold 38 parking spaces. 
This is another project that seeks to take advantage of density bonus incentives to build a structure much larger than local zoning will allow. Developer Paul Hendifar from Venice Cardiff, LLC has applied for those entitlements to get approval for the larger structure. The developer would only be required to reserve five of the 47 apartments as affordable housing for very low-income level residents. 
The building’s design, by Kevin Tsai Architecture, is shown in renderings, according to Urbanize Los Angeles, and is of the incredibly popular contemporary podium-type building. Some units would have private balconies, but the amenities are the usual kind, a courtyard, recreation room and rooftop deck. 
TGP Inc will handle the landscaping design.
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Nashville businessman Mahan “Mark” Janbakhsh, owner of Plaza Mariachi and former owner of Auto Masters, was charged Thursday in what federal investigators called a multi-million-dollar bank fraud scheme.
Also charged was former Auto Masters chief financial officer Steven L. Piper.
Janbakhsh, 47, of Brentwood, and Piper, 51, of Joelton, were arrested Thursday morning by the FBI.
Janbakhsh denied the allegations in a statement sent to The Tennessean on Thursday.
No. The current owners of the Auto Masters chain were not included in these charges.
Freeland Auto Group bought the company in 2018 after Janbakhsh filed for bankruptcy. Although they bought the company’s name, logo and stock, a representative confirmed to The Tennessean on Thursday they did not buy the former loan portfolio and have no connection with how things were previously run.
“The previous owners’ actions are deeply disappointing and are no reflection on our organization or its leadership today,” a statement from the company read.
FEDS:Plaza Mariachi, Auto Masters owner led multi-million-dollar bank fraud scheme
No business operations tied to Plaza Mariachi or Janbakhsh’s other businesses are mentioned in the federal indictment.
A spokesperson for Plaza Mariachi said Friday that operations will continue as normal. The same is true for the Hispanic Family Foundation and Activa Nashville, a Spanish-format radio station, that Janbakhsh helped launch. Both are headquartered at Plaza Mariachi.
Since a 2019 bankruptcy settlement, “Mark has been active in the philanthropic world, attempting to serve Nashville and better the lives of its residents,” a representative of his defense told The Tennessean.
Janbakhsh and Piper are accused of conspiring to defraud two banks, Capital One and First Tennessee Bank (now known as First Horizon).
Investigators claim the pair used a used car dealership chain in the Nashville area, Auto Masters, to overstate their collateral by more than $37 million and defraud the banks out of lines of credit — $24 million in total — based on the falsified collateral.
Janbakhsh was the majority owner of nine used car dealerships and six related finance companies in Middle Tennessee that did business as Auto Masters.
Piper, a certified public accountant, was the chief financial officer of all the Auto Masters entities and prepared the tax returns for Auto Masters and for Janbakhsh personally, according to details released by the U.S. Attorney’s office.
Janbakhsh and Piper are each charged with five counts of defrauding these financial institutions; five counts of making false statements and over-valuing property and securities for the purpose of influencing these financial institutions; and three counts of making false representations during official proceedings.
Separately, Janbakhsh faces a charge of witness tampering and Piper faces three counts of filing false tax returns. 
Janbakhsh and Piper are accused of misusing Auto Masters’ sideline of providing car loans financed through lines of credit from the banks. Investigators say they falsely inflated numbers in monthly reports on the total value of eligible loans that made up the collateral for that credit.
Janbakhsh’s defense said he denies all allegations. A listed attorney for Piper declined comment when reached by phone.
Auto Masters, at the time owned by Janbakhsh, entered a loan agreement with Capital One in 2011, Janbakhsh’s legal team wrote in a statement provided to The Tennessean. The agreement’s backing included stock collateral as well as a personal guaranty by Janbakhsh.
Six years later, Capital One began to remove itself from parts of the auto market and called in its line of credit from Auto Masters. While attempting to refinance, Janbakhsh “discovered that a collateral shortfall had developed,” according to his statement.
The discrepancy was reported to Capital One.
In October 2017, Piper submitted another report to Capital One disclosing that Auto Masters had overstated its collateral by over $33 million, court records show. In that report, the company admitted it it had drawn $26.4 million more than it was permitted.
A week later, the company filed for bankruptcy. During those hearings, investigators believe the pair falsely testified they had no knowledge of the false information.
But Janbakhsh insists everything was above board and the bankruptcy proceedings were settled with a $10.2 million payment in August 2019, according to his statement.
A release from the U.S. Attorney’s office stated that during the bankruptcy proceedings, Janbakhsh tried to pay the former Auto Masters portfolio manager $10,000 and promised him an additional sum of approximately $300,000 to leave the area and not give further information to federal agents.
Janbakhsh did not address that allegation in his emailed statement.
Piper is also accused of underreporting his income in personal taxes in 2016, 2017 and 2019, the indictment shows.
Janbakhsh and Piper pleaded not guilty in their initial appearances before a federal magistrate judge on Thursday in Nashville.
The next hearing in the case had not been set as of Friday afternoon.
Reporter Rachel Wegner contributed to this story.

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Every year student entrepreneurs participate in the Tsai CITY Accelerator, a program that offers resources to guide them through the process of building effective organizations, projects, and ventures.
Every fall and spring semester, Yale students working on startups have the opportunity to participate in the Tsai CITY Accelerator, a program that offers resources to guide the process of building effective organizations, projects, and ventures. The Accelerator provides workshops, mentorship, and funding.
Among this fall’s Accelerator cohort of 14 teams are several Yale School of Management students.
Startup teams with Yale SOM students include:
Alex Royalty ’17 and Nathan Tsoi, a Yale PhD student in robotics
Amplify AI is an artificial intelligence-driven platform to enhance the human-centered process for more effective and efficient product design. 
Creative Juice Entertainment 
Albert Liao ’24
Creative Juice Entertainment is a music production company and label with a social platform that helps creatives find collaborators with whom to produce and publish music.
DXPOS 
Nicki (Jingjing) Xu ’23
DXPOS is the world’s first AI company to provide reality-level digital synthesis based on lighting reconstruction technology.
Global Tutoring System
Wenyan Jia ’23
The Global Tutoring System provides university applicants with a comprehensive system of tutoring and consultancy.
JuJu
Xue Lin ’23 and Kent Wang, a Yale master’s degree student in computer science
JuJu offers customers and restaurants that are facing higher-than-ever food delivery expenses both a much more affordable bulk delivery and order pickup service.
Yale School of Management
Edward P. Evans Hall
165 Whitney Avenue
New Haven, CT 06511-3729
© Copyright 2022 Yale School of Management. All rights reserved.

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Opinion: The damage Kanye West is doing is devastating  CNN
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Interior Minister Rana Sanaullah on Saturday played an allegedly audio call recording between Pakistan Tehreek-e-Insaf (PTI) leader Ali Amin Gandapur and an unknown person, in which he can be heard talking about bringing weapons and manpower for the march, ARY News reported. 

The Interior Minster held a press conference in Islamabad and released an alleged audio leak of PTI leader Ali Amin Gandapur and an unknown man.
In the purported audio, the PTI leader can speak about bringing ammunition for the long march.
He said that Imran Khan is planning to stage bloodshed, his purpose is not to stage a protest but induce violence. He wants to lead the country into a tragedy, he added.
Rana said that the purported audio leak of the former federal minister could not be ignored. Imran Khan wants a clash between people and security forces, he added.
The Interior Minister told that they have identified the person talking to the PTI leader in the audio leak. The PTI leadership wants dead bodies, and blames the institutions for them, he added.
Why is the PTI Chief gathering people on the Rawalpindi-Islamabad border? asked Rana Sanaullah. Imran Khan’s claims about a peaceful protest are all lies, Rana said.
He said that there were armed men in the PTI long march yesterday as well, they have gathered arms and ammunition from Gujrat too.
Also Read: PTI kicks off long march towards Islamabad
He added that the people of Lahore rejected PTI as not many people attended their march. Lahore’s population is 20 million while only 10,000 people joined the PTI march, he added.
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Sacha Dhawan promises the Doctor Who Centenary Special will feature a Master who’s dangerously out of control – and has nothing to lose.
Doctor Who star Sacha Dhawan has teased an out of control Master in the upcoming Centenary Special. The Doctor and the Master first met at the Prydonian Academy on Gallifrey, and they initially became firm friends. Their friendship soured after the two turned renegade, however, and they became the most bitter enemies. They have clashed on countless occasions, with the Master desperately attempting to prove himself the Doctor's superior.
The Master's hatred has increased after the Timeless Child reveal. He learned the Doctor was not a Time Lord at all, but rather she is the Timeless Child, a being over a billion years old whose power of regeneration made her the base genetic code for the entire Time Lord race. This means the Master can never be the Doctor's equal; he would not exist without her, for the Master's power of regeneration is owed to the Doctor. In Doctor Who: Flux, the avatar of Time itself prophesied a coming storm in which the Master led an alliance of the Doctor's greatest foes against her.
Related: Doctor Who's Original Post-Tennant Plan Makes Smith's Doctor Even Better
The BBC has released an official interview with Dhawan ahead of next week's Doctor Who Centenary Special (via TVZone) and in it the actor promises a version of the Master who is dangerously out of control. It stems from one fascinating line, which Dhawan says indicates the Master's shifting mindset. Dhawan explains:
"There is a line that The Master says to the Doctor, ‘This is the day you die.' In fact, it's the day that puts both their lives on the line because The Master has no real control over its outcome, which makes it all the more terrifying. The Master will set out his masterplan with plenty of room for spontaneity and chaos. He's really pushes the dial to its limits, because the truth is, he has nothing left to lose."
Dhawan's Master has already established himself as an iconic version of the Doctor Who character, with a manic energy evoking the best of Anthony Ainley and John Simm. Dhawan's comment hints that something has changed, something has pushed the Master to the brink, and that he believes this time only one of the time travelers will walk away alive. It's possible this flows from the end of Doctor Who season 12, which saw the Master apparently die when Gallifrey was destroyed (again). The Master has cheated death so many times, but it is possible that this time his survival came at a cost. It's interesting to note the Master isn't the only unexpected survivor from season 12 to appear in the Doctor Who Centenary Special; the Lone Cyberman is returning as well, and that makes even less sense, given he was actually killed by the Master on-screen.
The Master has often been compared to Sherlock Holmes' nemesis Professor Moriarty, and the comparison seems more appropriate than ever before. In "The Final Problem," Holmes successfully brought down Moriarty's entire empire – leaving him with nothing left to lose. This led to a fateful confrontation at the Reichenbach Falls, where Sherlock Holmes and Moriarty grappled, and apparently both fell to their deaths. It sounds as though "The Power of the Doctor" is intended to be the ultimate fulfillment of the Moriarty parallel, with the Doctor and the Master battling for what each believes to be the last time. This could be the most explosive story for Dhawan's Master to date, bringing a tremendous conclusion to Jodie Whittaker's tenure as the Thirteenth Doctor in Doctor Who.
Next: We Might Know How David Tennant Returns To Doctor Who Now
Source: TVZone
Tom Bacon is one of Screen Rant's staff writers, as well as a Peer Mentor for new writers and a member of the Care Team, offering support and a listening ear to members of the Comics group. A lifelong fan of major franchises including Star Wars, Doctor Who, and Marvel, Tom is delighted his childhood is back – and this time it's cool. You can find him on Twitter @TomABacon. A graduate of Edge Hill University, Tom remains strongly connected with his alma mater as a volunteer chaplain. He's heavily involved with his local church, and anyone who checks him out on Twitter will swiftly learn he's into British politics too.

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We explain and teach technology, solve tech problems and help you make gadget buying decisions.
The Voice Memos app on your iPhone can record audio files in compressed and lossless formats. You can also reduce background noise while recording conversations at a public place or where the ambient noise is high. You can tweak that after recording everything. But what if the Voice Memos app is not recording audio on your iPhone?

Sometimes the Voice Memo app can cause trouble for you and stop recording audio files properly. If you are facing any issues on your iPhone, here are the best ways to fix Voice Memos not recording on your iPhone.
Before you begin troubleshooting, check the internal storage situation on your iPhone. If you plan to record and store many audio files, you’ll need to have enough internal storage space. Refer to our guide on freeing up storage space on iPhone without deleting apps. After that, check the internal storage situation on your iPhone with these steps.
Step 1: Open Settings on your iPhone.

Step 2: Scroll down and tap on General.

Step 3: Scroll down and tap on iPhone Storage.

You’ll get to view the storage details for your iPhone on the top. You can also enable the ‘Offload Unused Apps’ feature to make your iPhone automatically offload unused apps.

If you want to remove an app manually, select it and tap on Delete App.
 
You can take a backup and save your audio recordings in iCloud instead of letting them bloat up your iPhone’s storage. Here’s how to do it.
Step 1: Open Settings on your iPhone.

Step 2: Tap on your profile name at the top.

Step 3: Tap on iCloud.

Step 4: Under ‘Apps Using iCloud,’ tap on Show All.

Step 5: Scroll down and tap the toggle next to Voice Memos to sync it with iCloud.

This is helpful to solving many app-related issues on your iPhone. If the Voice Memos app has been running in the background, we suggest you force quit and relaunch it on your iPhone.
Step 1: On your iPhone’s home screen, swipe up and hold to reveal the cards of the apps that are running in the background.
Step 2: Look for the Voice Memos app and swipe up to stop it from running in the background.

Step 3: Reopen the Voice Memos and try recording your audio.

You’ll need to enable the Background App Refresh for the Voice Memos app on your iPhone. So you’ll need to check whether Background App Refresh is enabled. Here’s how to do it.
Step 1: Open Settings on your iPhone.

Step 2: Scroll down and tap on Voice Memos.

Step 3: Check if Background App Refresh is enabled. If not, tap the toggle to enable it.

Step 4: Close the Settings app and open Voice Memos to check if the problem is solved.

Next, you can try to reset all settings on your iPhone to see if the Voice Memos app starts working. This method will restore all the default settings for your iPhone. You don’t have to worry at all about data loss.
Step 1: Open Settings on your iPhone.

Step 2: Scroll down and tap on General.

Step 3: Scroll down to the bottom and select Transfer or Reset iPhone.

Step 4: Tap on Reset at the bottom.

Step 5: Select Reset All Settings.

Step 6: Enter your iPhone’s passcode.
Step 7: Tap on Reset All Settings to confirm your choice.

Step 8: Once your iPhone reset is complete, check if the problem is solved.

The last resort for you to fix this problem is the iOS version on your iPhone to eliminate any possible issues. Also, that’ll let you install or update to the latest Voice Memos app version and enjoy new features.
Step 1: Open Settings on your iPhone.

Step 2: Scroll down and tap on General.

Step 3: Tap on Software Update.

Step 4: If there’s an update available, download and install it.
Step 5: Open the Voice Memos app after iOS installation to check if the problem is solved.

The Voice Memos app lets you record audio on your iPhone and share it using AirDrop, WhatsApp, Telegram, and more. If that’s your primary purpose, check our a list of the best audio recording apps for iPhone.
Last updated on 20 October, 2022
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