Plant Communication - the Strange Case of the Elephant and the Mopane

HI folks, Gus here, the African Plant Hunter. I'm gonna share with you a fact you probably didn't know: plants communicate with each other! I know - it's extraordinary - but it's true! Here's some evidence. Behind me these are mopane trees these big beautiful butterfly-leaf shape tree. Mopane trees are a staple food of elephants. They have a kind of symbiotic relationship with elephants: they actually need the elephants as it helps them to reproduce. But they don't want to be completely chowed by an elephant, so they've evolved a defense mechanism.

When an elephant comes along and starts browsing their leaves, the Mopane tree releases a tannin from its roots. It goes up into the leaves and makes the plant unpalatable. Remarkably mopane trees are able to communicate the fact that they are being browsed to neighboring trees. The neighboring trees release their tannins before they are browsed by the elephant. You can quite often see - and you can actually physically see this - when elephants are browsing, they'll come to a tree they'll start browsing then they move away from it.

Then they go to the next tree or they take one mouthful and then they're gone. It doesn't taste good. The way that mopane trees communicate with each other is using some kind of pheromone. The pheromone is airborne in the wind so they can't control the direction that it goes in. and it will move downwind. So what happens is, an elephant comes along, starts browsing on a mopane tree. The mopane tree releases pheromones to say to the other trees around it "whoa! We're under attack released tannin!" Tannin goes into the leaves. Then all the trees downwind of them release the tannin and become unpalatable to the elephant. So what is the elephant do? Well the elephant comes in from a downwind position and starts browsing upwind - because the trees can't communicate with each other upwind.

Pretty remarkable series of little micro adaptations over time! If ever there was evidence that plants can communicate with each other, this is categorically it! Thank you for watching that guys. If you don't know me I am Gus, the African Plant Hunter, and it's my mission in life to try to bring a little bit of awareness and knowledge around African plants to the rest of the world. If you do know me you'll probably recognize that I'm wearing a new shirt because it's 2019 and I think it's a new year and I get to wear a new shirt! This is gonna be very short because the thunder and lightning is about to come. Alright guys it's been great talking to you. I'll catch you later. Thank you! Please subscribe! Bye..

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Exhibition Tour—In America: An Anthology of Fashion with Andrew Bolton

https://www.youtube.com/embed/hZ4uLoWiA3I

i'm andrew bolton curator in charge of the costume institute and i'm taking you on a tour of our most recent exhibition in america an anthology of fashion which explores defining moments in 19th and 20th century american fashion the show centers around the complex and delayed histories of the mets american wing period rooms which provide curated windows into over 300 years of domestic life for the exhibition we've transformed the period rooms into a series of focused narratives that reflect larger developments such as the emergence of an identifiable american style and the rise of the name designer as an individual recognized for their distinct creative vision in this way anthology also provides a historical grounding the companion exhibition in america a lexicon of fashion currently on view in the anna wintour costume center which offers an expansive reflection on defining qualities of fashion in the united states these period room installations take the form of cinematic vignettes that enliven the stories and highlight the intimate and immersive aspects of the rooms these fictional tableau were created by nine film directors roda blanc janix bravo sophia coppola julie dash tom ford regina king martin scorsese orton de wilde and chloe jowl in addition to the vignettes we've also included seven case studies offering in-depth forensic analyses of individual costumes that function as connecting threads together they comprise an anthology that challenges and complicates received histories offering a more nuanced and less monolithic reading of american fashion and of american culture more broadly the first major theme we examine is the emergence of a distinct american style brought to life by the film director autumn de wilde in both the baltimore dining room and the bencar room which had both crafted in the neoclassical style popular in early 19th century america by the early 19th century baltimore was an artistically and commercially vibrant city as in other urban centres in the us the latest styles in paris and london influence local trends in france a revived interest in classical antiquity resulted in the popularization of dresses with narrow silhouettes and high waistlines most fashion conscious american women modified parisian styles for greater simplicity or modesty french style continued to provide inspiration in the us throughout the 19th century moving over to the richmond room we explore the theme of the emergence of a name designer with director regina king here we feature three designs by fanny chris payne a leading designer in the virginia capital at the turn of the 20th century the dresses reveal the designer's precise technical skill and refined artistic sensibility including her expert tailoring careful composition of embellishments and use of delicate materials with fine pintucks and lace insects born in about 1867 to formally enslaved parents chris belonged to a generation of black virginians who built their livelihoods following the abolition of slavery in the u.s she established herself as one of richmond's premier fashion professionals in the face of segregation laws that barred members of the black community from entrepreneurship dressmaking was one of the few occupations accessible to women in this period that offered opportunities for economic independence and social advancement it was also increasingly recognized as a creative endeavor and thus signing one's work with a label became a common practice regina king seen reimagines the context of chris's career presenting her wearing one of her designs as her own muse and a muse for her clients the exploration of this theme continues with vignettes in the haverhill room by director radha blank featuring a wedding dress by l p hollander as well as in the mckim mead and white stair hall and the washing rockefeller dressing room by director sophia koppler with designs by lucy monae and others we also explore the emergence of a named designer in one of our case studies featuring this striking dress by new orleans dressmaker olympus which is made with two bodices one for afternoon which you see in the display and an alternative one per evening with short sleeves and a low cut neckline in the 1860s it was rare for american dressmakers to label their designs by doing so a limp followed the example of french couturier charles frederick worth who saw labeling as a promotional tool and a mark akin to an artist's signature a large part of the exhibition centers on the theme of the birth of american sportswear we see this theme explored through minimalism in the designs by clay mccardle in a scene in the shaker room by director chloe zhao and the emergence of an individual spirit in elizabeth hall's designs in the gothic revival library staged by director ginix bravo as well as in charles james's elegant gowns in the frank lloyd wright room in a scene created by martin scorsese another aspect of this theme is historicism explored here in the rococo revival parlor with a party scene by director jenix bravo the opulent historicism of the bricoka revival parlor is paralleled in this lavish 1960s evening dress by marguerite balhagan which echoes the emphatic silhouette of mid 19th century fashion volhagen who was largely based in the washington dc area specialized in custom garments and was known for sculptural designs made from exquisite fabrics austin hearst wife of newspaper mogul william randolph hearst junior wore this design to john f kennedy's inaugural ball in 1961.

the creative synergy between the two women resulted in some of the designer's most distinctive work other examples of historicism in american fashion are featured in the renaissance revival room with designs by anne lowe and in the greek revival room with evening dresses by madame etta hence both vignettes created by director julie dash another pivotal moment for american fashion is exemplified in the vandaling panorama with director and designer tom ford's imaginative and dynamic staging of a major fashion event known as the battle of versailles american fashion took its rightful place on the world stage on november the 28th 1973 at the transatlantic fashion show great entertainment at versailles conceived by fashion publicist eleanor lambert and palace curator gerald van der kemp as a fundraiser for the host palace then in significant disrepair the battle of versailles pitched five couturios from france mark bowen for christian duo pierre cardan givenchy yves saint laurent and emmanuel angaro against five ready to wear designers from the us bill blass stephen burroughs holston ancline oscar de la renze while the french stage an elaborate presentation the americans captivated the audience with the modernity of their clothes and the vitality of their choreography the american models many of whom are women of color stole the show the event shifted the dynamics between the reigning capital of couture and the emergent epicenter of sportswear the ensembles displayed here against john vanderlin's panoramic view of versailles were shown either at the original event or in the participating designers concurrent seasonal runway presentations together lexicon and anthology present a dialogue spanning the evolution of american fashion how it began and where it is today in all of its nuances diverse aesthetics and inspirations we hope you come to view this immersive experience for yourselves and grow your own relationship to american fashion you

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BRITISH TRY NIGERIAN FOOD|FUFU AND EGUSI MUKBANG|AFRICAN FOOD MUKBANG|FUFU MUKBANG|#SHORTS|BETA|FUFU

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hi my lovely friends today we are eating fufu  egusi soup tilapia fish please come and join us   remember to share like and subscribe thank  you very much look at that amazing lovely it's really nice look at the tilapia fish very big lovely i'll see you next time my friends cheers bye bye.

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Snare Drum Double Hit Variations : Left Hand Isolated Double Drum Beats: Strokes 1, 2 & 3

https://www.youtube.com/embed/lEbBhAYRvWg

Right here we have dual left strokes on one, 2, and three, right, left, right, left, right, left, right, left. The initial second and also 3rd times we are going to play a dual on the left hand. It is commonly referred to as the drummer kid rhythm. Let'' s go on and also move the right-hand man around a little bit on to the toms while keeping the left hand on the snare.

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The Kiffness x Mr. Coca Cola / Faisan (Live Looping Remix)

https://www.youtube.com/embed/OWcf7RN7mdQ

Songs] Music]

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2 Designers Transform Each Other’s Work (ft. Valentino's Pierpaolo Piccioli & Thebe Magugu) | Vogue

https://www.youtube.com/embed/Swrr92xQy2w

i think the concept of reworking and reinterpreting another designer's work is very exciting i think it creates an opportunity for there to be creative tension i love the idea of reinterpreting that actually i even more love the idea of creating a moment between two identities to culture a moment of meeting whatever this is in my favorite color already rice wow gorgeous when i opened the box from valentino for the very first time i was incredibly nervous because i'm a bit of a planner so i like to know what i'm getting in advance beautiful but it was completely kept a secret so when it arrived i opened up the box and was this beautiful fuchsia pink oat couture dress with these incredible pleats laying it on the table you really start to appreciate the level of work and craftsmanship that has gone into this garment and it's quite a lot of fabric on it not only the silk taffeta but inside it's lined with a very soft pink teal and then under there a very hard and even harder tool it really is a work of art and you almost have to just stand and be really arrested by its beauty even if it does come apart i think we will just replete the section that we need yeah stressful but it'll be okay it was very exciting this idea of reworking and recontextualizing another designer's pieces because it speaks to the conversations we're having already around this idea of overproduction you know instead of making new things let's look at what we already have and try and upcycle and reinterpret and change that the look that tab sent me was the very classic contemporary suit done with the blankets from his history his heritage i love the idea of reinterpreting i even more love the idea of creating a moment between two identities to culture i'm italian we are here in roma and we're working on a work of a human that comes from another part of the world and i wanted to get this heritage into my own culture which is the culture from a conversation always comes something something different especially when when you talk with people that are different from from you that have different stories of course i still feel that fashion is a self-expression is a language actually the the things that impressed me the most was this letter the one that tebby sent me he says something that is very moving to me and parallel tribe called the bassot and blankets form a very big part of our culture so i wanted to light this fabric but also this his culture and so that was the very starting point of this collaboration work or interpretation whatever you are calling i often say i'm not a great verbal communicator so to make up for that i use my clothes in a way to almost speak on my behalf i really wanted to take this out couture piece and move it into my universe my context and especially my way of working which is more in a really to wear context so for the dress i'm thinking it's going to break my heart but i'm going to completely unpick it remove the skirt part remove the top part and use one of my patterns to re-cut it as a very elevated trench coat and with the leftover fabric i think we're going to create a wide leg pair of pants with a very generous cuff on it and a matching shirt the cape is the the purest expression of future because it's so simple so pure and it's done with uh just cut and super knot decoration we deconstructed the suit actually and we we are applying the suit the the fabric on top of the cape giving shape to the cape but using the blanket as an embroidery saw between the cape as expression of couture and the blanket that is expression of debbie's culture i think this creates a conversation and a good tension between our history and his heritage i was very excited to work with pia paolo on this project i deeply respect what pierre paulo does as a as a designer i think his relationship to color his relationship to proportion is so fresh and i think he's certainly contributed to the changing conversation around what old creature is i love it clip there and it creates a really beautiful shaped hat i thought tepe has something to say he's from south africa which is i think it's difficult it's not exactly in the middle of fashion i think we share same values because talking about identities being faithful to who you are trying to face another world i think it's it's interesting i think the connection has to be human first of everything actually i don't have idea of what tev will do i sent him a very say classic in volume future tough address and i hope that he will handle it in his own way i think i've been respectful of his work but i've worked with my own instruments and i hope he will do the same i expect that he's going to do the opposite of what i'm doing so taking something uh and ready to it and moving it into his very high old couture universe i'm almost doing the opposite in a lot of ways taking this incredible piece that he's created at valentino and moving it into ready to wear where more people essentially can't see themselves in it what i did there was a exactly the mix between creating something which was the connection between your uh identity and my own identity it was actually quite intimidating because it arrived in like a very big metal flight case with not only one but like two keys but once we opened it you really get such a even bigger appreciation of like okay turn what uh pia pilot does because you know it's it's precision to look absolutely effortless you know and everything like nothing was out of place and i think the exciting challenge with it was using absolutely everything the zips the corsetry um the construction the tube i felt like if i was going to un-pick the beautiful cleats um on the waist i was going to just get struck down by lightning so we just preserved all the plisay pleats and moved it into the armhole and then the white tube that was inside the dress um we took for dying with this incredible dye master called paul in the south of johannesburg and we matched the pink to the exact level um as the as the original fabric on top so there was a lot of there was a lot to play with it was a lot of fabric right it was a lot of memory as i told you i love the the fact that this this fabric was originally a blanket and was it was definitely part of your culture i i wanted to be to yes to light the your identity your culture and your heritage with something that could be uh more like italian kind of cucu it's like a melting between the two the cape is a symbol of you know italian madonnas the renaissance culture and it's also a symbol of cujul because it is the purest shape in couture the fabric was the the starting point of the process and so what we did was to cut the the fabric in order to give it a different placement to a light the the fabric itself so i used a different fabric because there were not as much to to yeah i wanted to use the fabric as the embroidery itself or the of the game i'm very happy of you know this this the connection we created because i felt that even in yours there's something something that came out from our meeting and that's it so it's not something that i could do alone or nor you could do alone so yeah it's the result of the meeting of two humans which i like in my own work i really do love throwing opposites together just that idea of things that shouldn't even be together just like being meshed into one thing i think that's where a certain magic can happen the final look reflects the respectful conversation we we have in a way it reflects the roots of table his tribe it became a suit and now he had a new transformation becoming a cape because of how i grew up i used to be so embarrassed about everything around me but like i've made it my own personal mission to almost take that and move it into the echelons of luxury you know i think people have really stale ideas about what african fashion is i just want to show people that we're very nuanced so it's like a cape in a facing contemporary and it's of course the end of this path we had with tabeth i just hope that tebbe will recognize himself i think when you explore collaborative efforts like that and you test things that are very disparate i think when they come together it forms something new altogether something challenging and i think this project was exactly that i'm very happy i have to say that what i saw because at the end the challenge was to to reflect two stories to identities two big cultures melting together into something that could reflect both together you

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Young, Famous & African | Official Trailer | Netflix

https://www.youtube.com/embed/OF9z_Yibuxk

To us. To us being more fabulous, gorgeous, making more money. This is Sandton, Johannesburg. The richest square mile in Africa. Not one person here is a weak . We're African all-stars. To be young, African, famous. That's the most beautiful feeling. I don't know what you do to men. Men never get over you. Girl, it's the Ugandan sauce. You gotta give me some of that . They call me the OG, and I'm just a winner in general. I know myself, I'm a player.

You will know about me. -I feel it. -Let's see what the vibes are. I always come out on top, and that makes me a boss lady. Being rich and famous is not easy. You messed up. Diamond has kids with this woman. He said, "I want to jump your bones now." Zari's looking good. How could you break the bro code? -You don't touch your friend's ex. -Keep your hands off her titties. It just went zero to 100 real quick! I want castles where you expect to see princesses. -Yes. -But you're getting this. There's some bones to be picked between the women. You can't tell my husband I'm insecure. How do you know him? -You are very insecure. -Pow! -And he is not even my type. -Pow, pow! -Do you think there's gonna be fire? -So much fire. -Let's go. -You're coming across as a little girl. Is this how we want everybody to speak? You guys are dividing this friendship and this group.

Follow and like, and shut your mouth. We're in the thick of the war. -Bye, . -Have a nice day. Shoot me right now..

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