#moog city 2
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Game recommendation
Hi. I made an edit about a Taiwanese horror game called detention. The edit is a little bit spoiler if you look too much into it though, so maybe just watch it once…? I would recommend 100% because the story is SO good and the atmosphere, gameplay, and puzzles are so cool and it just captures the essence of horror. It’s really sad and there are some dark topics, but it’s really good. If you’re sensitive to some topics, you should be weary. The game takes a little less than 3 hours to beat, there’s four main parts. So if you like dark and sad, play this game or watch an YouTuber play it. Also, my mind has been refusing to focus lately, but do not worry. I’m planning out my next fic, it’ll be about 36 chapters and I’m pretty excited for it. Have a good day
#Update#edit#video game#detention#taiwanese horror game#Horror game#Detention game#Fanfiction update#detention edit#Moog city 2
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I listen to Minecraft music to fall asleep at night.
my mother (an avid Minecraft player) though she was hallucinating Minecraft music. For the past two weeks.
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honestly i think minecraft volume beta will always have the best music to me. i get ppls love for vol alpha for nostalgia reasons and the new albums are also really pretty but.. idk... beta is just Banger after Banger after Banger nothing beats it to me
#like come on. taswell. the end. aria math. alpha. moog city 2. concrete halls. eleven. excuse. blind spots. dead voxel#not a SINGLE bad track. well ok im not a huge fan of floating trees or biome fest but thats just personal preference#text#minecraft#also unrelated but my fav non-c418 track is ancestry i like the vibe. or chysopoeia
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Why the FCUK does Minecraft music go so hard???
It’s a game about building with low textured blocks the music shouldn’t make me sit alone in my room contemplating my existence in the universe ffs!!
#heard the ballad of the cats for the first time#but quite a few of my absolute favorite pieces of music are from#Minecraft#aria math#warmth#moog city 1+2#far#living mice#alpha#THEYRE ALL SO GD GOOD!!
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shuffle your favorite playlist and post the first five songs that come up. then copy/paste this ask to your favorite mutuals <3
okie dokie
my favourite playlist is my Autumn/Winter 2021 playlist because I was fuckin cooking that year and it was a pretty good time in my life. here are the first 5 shuffled songs
1: Kiltro - The Hustle
2: C418 - Moog City
3: The Jezabels - Endless Summer
4: Broken Bells - The High Road
5: Stephaniesǐd - Hey Hey Hey (It's Gonna Be OK)
some highlights from the playlist I also recommend are Half•Alive - Maybe, The Correspondents - Who Knew, and Left at London - My Eyes Are Going Anyway
uhhh idk who my mutuals are smh imma just go with @merinarasauce and @chemicalbrew but no pressure
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12 + 28 for ask game!
yipiee! thank u!
12. three favourite songs from video games
➀ anything by c418 is a masterpiece but this song makes me want to climb a feckin mountain or somethin
➁ skyrim is like the first ever game i hyperfixated on and this song is literally the anthem of my childhood
➂ thank u lizzy wizzy
28. three best songs to get drunk or high to
➀ OKOK imagine this, it's like 1am, you're completely gone, the bridge of this song (around the 2:30 mark) blasts in the club and u just ascend,,,
➁ me floating thru my room at 3am
➂ this song has good vibe for a good time
honorary mention: ily alice glass <3
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Sad music you say-?!
*pulls up minecraft soundtrack*
Intro
Floating Trees
Moog City 2
Excuse
Some quick thoughts ^^
SO TRUE - starting with intro and going down the list i love the vibes already ough <3 <3
#i feel like. i didn't like moog city but the last time i listened to it was probably about a year ago#thank you !!!#love the minecraft soundtrack#asks#if you're reading this send me sad piano music#BESTIE IS SOMEONE HUMMING IN INTRO. oooooooh. oh i am. oh. oooough. hrrrrrnrnrnrnrnhgn
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MIDNIGHT SONGS
I have no words to describe these.
Also, rubedo, that isn't from this album but should be.
These songs are sooo imersive, I always get lost when listening to them.
I personally think that the Volume Beta album is better them volume alpha. Well, at least in the moment, I like more ambient and imersive songs, and volume beta gives it in a better way.
This album has the right amount of darkness.
#don't know y; but my fav is Aria math#Aaaa; I just want to put all of the album tracks here#minecraft music rule number 1: always listen to it on the highest volume#rule number two: just close your eyes and listen#Spotify#music#fvck; I need to sleep#minecraft
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Out of all the songs in Minecraft I think Moog City 2 is by far my favorite one
It really takes me back 2-4ish years. It's such a surreal nostalgia, a mixture of Christmas and a late summer night, both during school breaks.
Kind of like WaterFall from undertale, actually
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moog city and moog city 2 are literally the realest minecraft songs
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Anna B Savage Interview: Curated Vulnerability
BY JORDAN MAINZER
Over a Zoom call with Anna B Savage in March, I tell her that “Say My Name”, an acoustic, whispered, creaking highlight from her sophomore album in|FLUX (City Slang), reminds me of Radiohead’s “Street Spirit (Fade Out)”. Like that song, “Say My Name”, pattering drums and free saxophone nonetheless, is essentially a song-long crescendo. The first time Savage recorded the song, she burst into tears when finished. I tell her the story of how Thom Yorke did the same, a night after seeing Jeff Buckley and laying “Street Spirit” down to tape, but that I could be wrong. “No way! I’ll choose to believe the legend,” Savage said. Immediately after our conversation, I realize I did get it wrong--not the crying part, but the specific song. (Purportedly, the Buckley-to-recording-to-weeping pipeline happened with “Fake Plastic Trees”.) In a way, my error felt fitting when talking about in|FLUX, an album that saw Savage learning to not worry about, and ultimately embrace, uncertainty and imperfection.
While the themes of in|FLUX jive with Savage’s previous material, there’s a newfound openness to her approach. The dissolved relationship blues of Savage’s debut A Common Turn and subsequent ups and downs of her These Dreams EP presented a stunning new artistic voice, one unafraid to share her deepest insecurities, buoyed by details at once hilarious and cringeworthy. in|FLUX is more all-encompassing. She still explicitly refers to sex and sexuality, on tracks like the “Touch Me”, “Pavlov’s Dog”, and the title track, but she ranges from desire to self-sufficiency. She revels in the foreplay on “Touch Me”. “Just call me Pavlov’s Dog / I’m here, I’m waiting, I’m salivating,” she sings on the jazzy “Pavlov’s Dog”, literally panting in the background. On the title track, she recalls, “Last night I dreamt we were one / We had sex / I didn’t come,” a blunt, straightforward contrast to erotic songwriting. Beginning with voice and woodwinds, stop-starts of silence, the song transforms into a dance track with Moog synthesizer filling the spaces in between. “I want to be alone,” Savage sings, dancing on her own. It’s one of many aesthetic about-faces on in|FLUX.
in|FLUX was co-produced with tunng’s Mike Lindsay, introduced to Savage through City Slang, and the album was built up methodically, flushed out in the studio on a week by week basis. Though Lindsay certainly got to know Savage and encouraged her therapeutic songwriting, her ability to push herself made the record what it is. During the pandemic, she pursued a Master’s in Music and requested her mentor to force her to write a song on a Digital Audio Workstation, which ended up being the title track. The saxophone and clarinet that pepper the album were played by Savage herself, choosing to throw caution to the wind and pick up instruments she hadn’t played since her teenage years. She sung final track “The Orange” in the wrong key but ended up keeping it, turning a mistake into an artistic choice. “It’s a small miracle to finally enjoy being me,” she sings, “And if this is all that there is / I think I’m gonna be fine.” in|FLUX seems to be a touchpoint for Savage’s musical career, one where she’s less concerned about defining herself than being herself.
Read our conversation below, edited for length and clarity.
Since I Left You: At what point did you realize the writing process for in|FLUX needed to be more stream-of-consciousness?
Anna B Savage: I don’t really see it as a stream-of-consciousness thing. It was definitely easier than [A Common Turn], which makes it feel like it could have been stream-of-consciousness, but annoyingly, I probably made it a bit harder than I needed to on myself, going in and reworking it at times, wanting the right things to come to the foreground. I wanted it to be looser, and I didn’t want it to take me as long. Some of the songs on A Common Turn took me 2-3 years of rehashing and reiterating. I wanted this to be a speedier process. But they’re--and me and my therapist joke about this--curated, but vulnerable. I get to choose what people see and hear.
SILY: You hadn’t necessarily finished writing the songs before going into the studio with Mike, though, right?
ABS: That’s correct. It was a quick process, but I’d go in for a week, and go away for a week, working on all the songs myself before going back in with Mike. So it was definitely not an easy process, but much easier than the first one.
SILY: At what point did you pull out the clarinet and saxophone you hadn’t touched in forever?
ABS: [laughs] Mike and I, when we talked about doing the record--we hadn’t even tried working together yet--he asked, “What kind of things do you think you want [on the record]?” and I tossed out I wanted some clarinet and saxophone. He said, “We’ll try and find some players,” and I said, “No, I can play that.” He said, “Okay, you should bring them next week.” That was quite entertaining as well. I was like, “Oh, fuck, now I have to make noise out of these things.” The ideas were far-reaching and fanciful. I really should have practiced before I went there, but I made it work.
SILY: When did you first start playing those instruments?
ABS: When I was really little. I was maybe 10. I stopped when I was about 16.
SILY: What else can you play?
ABS: There are other instruments I’ve learned, but whether I can play them is a different matter. The violin, soprano recorder, treble recorder, piano, guitar, voice, clarinet, and sax.
SILY: Your playing is definitely expressive. Some reviews I read describe the saxophone as “purring,” like a big cat.
ABS: That’s so nice! I don’t read reviews ever, because they make my mind melt, but that makes me very happy. That’s lovely. Thank you for telling me that.
SILY: When were you first aware of Mike, and how did you come to work with him?
ABS: I was aware of Mike when I was a teenager at school. I listened to tunng. That was when music was completely inaccessible and this alien planet I had no idea how to get close to or facing towards. Simon [Morley], from my label, lives quite close to Mike, and suggested him [to me] after the first one because he thought I’d enjoy working with him. I’d listened to the LUMP records but hadn’t realized it was him. I didn’t know he was the same guy from tunng, so I had to go back and do my homework piecing together it was the same guy I listened to when I was little. It was a straightforward process, though. We met, we tested each other out for a couple days, and said, “Okay, let’s do it!”
SILY: Overall, the record has such a varied instrumental palate. Sometimes, in a good way, the songs can’t decide what they’re trying to be. Similarly, the themes of the record are all about you embracing uncertainty and indecisiveness. Was that an intentional mirror?
ABS: I have zero qualms with that kind of label or idea being thrown around, that I’m a bit indecisive and I like all the things. I’m greedy! [laughs] I want all of these things. I’d be doing a disservice to not follow all of the things I like. I’ve always aspired to be a curated minimalist, but I actually like loads of different things from loads of different places, and I want to put them next to each other.
SILY: You use spoken word on “The Ghost” and “Crown Shyness”. How did you decide to include spoken word, especially at the start of the album?
ABS: The bridges of both of those songs were quite interesting. I knew the framework of the songs before I finished them. In both songs, there was this moment where I wanted something to happen. I wanted it to change to a different atmosphere, but I didn’t quite know how to do it. In both instances, [spoken word] ended up being what I wanted to bring into it. I didn’t want to crowbar in another verse or bridge when it didn’t feel natural. For some reason, for those songs, it didn’t feel natural. But I wrote the lyrics, especially in “Crown Shyness”, and they felt like the crux of the song. I needed to express it in the most straightforward, simplistic way possible. The spoken word at the beginning of “The Ghost” is actually a voice note from my phone of a dream I had. It was me, immediately after waking up, recording the dream for myself. I have a tendency to record my dreams quite a lot. When I was younger, I wanted to teach myself how to lucid dream, and that’s the number one way to get to that point. I think it’s interesting as a therapeutic tool, too, but I used to not think I had an imagination, and then I’d have these completely fucking wild elaborate dreams, which made me think I had some imagination in there.
SILY: Were you ever successful in lucid dreaming?
ABS: Yes. I knew I was successful because I looked at my hands, and they looked mad, so I decided I was gonna fly, and I lifted up off the floor for maybe two seconds, and then I woke up. I think it’s a win, but I don’t think it’s the most exciting win of all time in terms of lucid dreaming.
SILY: We’ll count it.
ABS: Thank you.
SILY: There are a few places on here, whether you’re talking about relationships or sex, where you’re placing the listener exactly where you are. When I hear, “Dissolving in the car with you on the A1 Southbound,” I can look up where that is. How important is it for you to have these moments on a record, where you hone in on something so specific?
ABS: For me, that’s where things start to really come alive. I’ve read a fair bit of poetry, and all of my favorite poems have moments like that where you’re suddenly dropped into a very specific scenario. I always found those the most affecting, which leads me to believe they’re the most universal even though they’re the most specific. I really love adding that color and flavor to it. You can locate it geographically or in a specific time or season. It’s the kind of lyricism or songwriting or poetry or writing I always find really exciting. I’m basically trying to emulate what I like and respond to. Maybe that’s what I like and respond to at the moment, and in four years I'll think it’s so passé and I should be theoretical and nonsensical.
SILY: These documents of times or moments in your life are truly the most honest, and ironically have the bigger change to become long-lasting.
ABS: It makes me think of Joni Mitchell, when I think of incredible specificity. “A Case of You” is an example of that. “I met a woman. She had a mouth like yours.” What the fuck?!?
SILY: Who thinks that, right?
ABS: I’ve thought that. My friend brought home a new girlfriend who had the same mouth as one of my old friends. I was like, “What is going on?” I think it’s wild when something like that happens in songs.
SILY: Did you say anything?
ABS: Not until years later. It was quite funny.
SILY: The title song was the first track you wrote on a DAW. What were the circumstances behind that?
ABS: It was my homework. I was doing a music Master’s program during the pandemic. I was on this course, and one of the modules was the tech side of music, which has always terrified me. I’m not sure whether I’ve internalized all the bullshit chauvinist, misogynist stuff about women not being able to be as good as men at the technical side. I’d been physically responsive in my fear; I was at such a disadvantage, I’d need to be the best in the world or I wouldn’t touch it.
My tutor, who I love so much, ended up marginally having to coach me for three weeks. We became friends, and he said, “What do you need from me?” and I said, “I need you to be really rigid with me and say, ‘You need to write a fucking song on a DAW by Thursday at 9 PM next week.’ And I need you to enforce that and keep enforcing that.” This was the first one I wrote, which pales in comparison to [the final version that appears on in|FLUX]. It was a little confusing. When I brought it to Mike, he said, “I’m gonna need to get more in touch with the way you write before we can tackle this song.” It was one of the last ones we did. I really thought it had something in it, so I kept bringing it to Mike, and he said, “I don’t think we’re quite there yet,” and one day he said, “Fuck it, let’s try it.” I don’t quite know how to express how it came out. I was just playing around.
SILY: I think it’s fitting that specific song is where you sing, “I’m happy on my own,” and you have a strength in individuality. When you sing that, your vocals are layered, and it’s like you are multitudes.
ABS: Exactly. I’m all of the different things all at the same time.
SILY: You reference John Luther Adams in “Hungry”. Are you a fan of or influenced by naturalist classical music in your work?
ABS: Yeah. I only really got to know it through my friend I met at Banff. He put me onto his stuff and so much different stuff. I definitely am very influenced by it even if not in any way knowledgeable about it. I love [The Wind in High Places], and I love the podcast Meet The Composer. I listened to the ones about John Luther Adams which are around The Wind In High Places. Anything that weaves in the landscape in non-lyrical audio is quite a feat.
SILY: Is there another hilarious story behind this album’s cover art?
ABS: Not really. When I spoke to Katie [Silvester], the photographer, and Sophie [Louise Hurley-Walker], the Art Director and Designer, I had all these different things I collected over the years that had a sense of flux in them anyway. The duality in the cover image was very important to me. We did it by playing with a mirror. The photograph is upside-down, which was important to me, because it feels slightly uncanny. The figure on the back, the creature outfit, you can’t even see an inch of skin. On the front cover, I might as well be naked. There’s a duality across the whole record for me, that feels so good and so cohesive and expressed in such a better way I could do on my own. There is a bum in my pictures, but it’s not on the front cover this time.
SILY: How are you playing these songs live?
ABS: Either with a band or solo, with a guitar. Some don’t work because they were never played on a guitar, like “in|FLUX”, which wasn’t written on a guitar.
SILY: Do you find it a seamless process to build up the songs from the guitar to a full band?
ABS: Yes? No? It’s a lot easier than if it was on the clarinet or the flugelhorn or something. You have the basic structure, the rhythm or main instrument. But a lot of the stuff did just have bass and drums on it, and the rest of the stuff is synths and analog machines. It gets to a point where it’s about paring down stuff and testing stuff out in the rehearsal room and seeing what works. I don’t feel entirely weathered to making stuff sound like it does on the record, even though I used to hate that when I was a teenager going to gigs. It’s not the same anymore. We have so many tools at our fingertips, it’s not the most feasible thing to make it sound exactly like it does on record, and it’s not the most interesting, either.
SILY: I used to be the same way, and these days, when I hear a band where it sounds just like the record, I think, “Why did I even come?” It’s like they just pressed play.
ABS: Exactly. And I want my band to have fun. I don’t want it to sound like they’re just pressing buttons, I want them to properly play their instruments.
SILY: Are you the type of songwriter who is always writing? Anything in the short or long-term coming up?
ABS: I am absolutely the opposite of a songwriter who’s always writing. I write for the equivalent of two months of the year. I used to feel ashamed about that and thought I was really lazy, but now I realize I’m not not writing in those 10 months, I’m just collating. It helps the process of writing go really fast, because I have everything squared away.
I have a skeleton idea for the next album, which I had before I started recording in|FLUX. I really should have worked more on that. It’s gonna be completely different again. I’ll make it completely hard to play live.
SILY: It’s always cool to hear the evolution from debut album to EP to second album, artists that grow without moving away from what makes them, them. Do you think about that at all when deciding what to do next?
ABS: I wouldn’t say I do. I definitely felt quite nervous putting in|FLUX out. People who had been real champions of [my previous work,] I thought, “They’re gonna fucking hate it.” It’s the same thing as being a content creator or being on social media. I’m not interested in rehashing the same thing over and over again. It doesn’t bring me any joy. I like learning and expanding and testing myself. Even when I think I’m being lazy, I’m constantly testing myself. For me, I want to be able to express the ideas I have for these albums audibly. I don’t feel like the personality of in|FLUX, which I knew before I even started recording, lended itself to the same stuff A Common Turn did, and my next one, I already know doesn’t have the same aural personality as the others do. It’s quite exciting.
SILY: Any plans to come to the U.S. for a tour?
ABS: I wish. I really, really want to. Fingers crossed.
SILY: Anything you’ve been listening to, watching, or reading lately?
ABS: The Madison Cunningham record absolutely fucks me up. I went to see her last night, and she exploded my brain into tiny pieces. I’m so inspired and amazed by her. She’s absolutely unbelievable.
I’ve basically just been watching RuPaul’s Drag Race All Stars since I finished Schitt’s Creek.
Reading-wise, I just finished Madeline Miller’s The Song of Achilles. I read Anne Bronte’s The Tenant of Wildfell Hall. I love winter for the hibernation and the reading and watching TV. It’s a good time to ask me this question.
youtube
#interviews#anna b savage#city slang#bodega social#strange brew#the deer's head#whelan's#kino Šiška#ancienne belgique#in|flux#radiohead#thom yorke#jeff buckley#a common turn#these dreams ep#tunng#mike lindsay#simon morley#lump#joni mitchell#john luther adams#the wind in high places#meet the composer#katie silvester#sophie louise hurley-walker#madison cunningham#rupaul's drag race all stars#schitt's creek#madeline miller#the song of achilles
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10 Songs
thanks for tagging me!! @undisclosed-serendipity
Rules: You can usually tell a lot about a person by the type of music they listen to. Put your playlist on shuffle and list the first 10 songs, and then tag 10 people. No skipping!
(I'm using my Spotify Liked Songs which has around 1700 songs at the moment. I usually just throw all kinds of stuff in there so this is gonna me fun!)
1. Isn't she lovely by Stevie Wonder
2. One of those summer days by Rhye
3. Runnin' by Blood Orange and Georgia Anne Muldrow
4. Back to the old house by The Smiths
5. Lay me down - BBC live Lounge by Hozier
6. En ung mor by Mando Diao
7. Uwa!! So HEATS!! by Toby Fox
8. My baby just cares for me by Nina Simone
9. Smooth by D'Angelo
10. Moog city by C418
Afterword: omggg this brought back som old songs I kinda forgot about! Also the video game music? bangers! I guess this gives a good representation of me except I'm listening to a lot of hiphop right now
I'm too shy to tag anyone so pls if u wanna do this one just do it and tag me!!
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cemetery gaits is like moog city 2 for british people….
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On the "The King Of Limbs From The Basement" version of "Separator" there is an ear-crushing low bass in the right channel. What is that? The Moog perhaps?
Watching the video of Separator, it should be clear that nobody is playing the Moog, which sits untouched to Thom’s right.
Those synthy sounds are created by Ed playing his guitar through an Electro-Harmonix HOG pedal (see Ed’s page for a full list of his pedalboard during that performance, plus many others). The HOG is capable of a wide variety of sounds, from organ to synth to spectral freeze (Electro-Harmonix’s Freeze pedal is in fact based on one of the HOG’s modes). To get the sound on Separator, turn up the sub-octave (-1 octave and -2 octave) sliders and turning down all the other sliders, so none of the original guitar is audible. Then set the filter sliders to cut most of the overtones from the sub-octaves, and you’re good to go. There may be some extra compression and some gentle reverb added by Nigel, but the core sound is just the HOG.
Ed used the HOG heavily during touring for The King of Limbs: his HOG foot controller pedal (on the left board) has presets for Morning Mr Magpie, Lotus Flower, Codex, and Separator. Photo from Radiohead’s Austin City Limits performance on March 6, 2012.
The album version sounds a bit different, with some extra layers with more modulation. Some of those layers might be Ed, or they may all be synths. They noticeably loop every 4 measures, so they were almost certainly sampled and layered using Ms Pinky (a turntable-controlled sampler built in Cycling74 Max/MSP). Either way, Ed does a great job replicating it live.
#Radiohead#Ed O'Brien#Separator#Morning Mr Magpie#Lotus Flower#Codex#The King of Limbs#Ms Pinky#From the Basement
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Minecraft Volume Alpha, By C418
Minecraft Volume Alpha is now available on Vinyl!
Download the official soundtrack now! For merely four bucks!
This album contains most of the songs from Minecraft! There are also some unreleased songs. It's top quality! FLAC is what you require!
You can email me at [email protected] for any issues or questions.
Also, if you're wondering where the other songs are, they will be available in Volume Beta! Purchase Digital Album using Gift Card $6 USD or More
- Full Digital Discography
22 releases
Get all 22 C418 releases on Bandcamp and save 40 percent.
Unlimited streaming through the free Bandcamp app, plus high-quality downloads of Cookie Clicker, Excursions, Dief, two years of failure, 148, 0x10c, Minecraft Volume Beta one, and 14 more. And , . Purchase Digital Discography using the gift card option for $26.99 USD or More (40% Discount)
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Green Vinyl, Standard Jacket Record/Vinyl + Digital Album
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BACK IN STOCK 8/11/2021 - SHIPS WORLDWIDE FROM US - STRICT LIMIT OF 1 PER CUSTOMER - ORDERS IN VIOLATION WILL BE TERMINATED.
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- Standard weight transparent vinyl in to paper dust sleeves and inserted into a 2-panel, 3mm spine matte printed jacket – Vinyl comes with download card - C418's artwork
Includes unlimited streaming of Minecraft Volume Alpha. Volume Alpha via the free Bandcamp app, as well as high-quality download in MP3, FLAC and more. Sold out
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1. Key 01:05
2. Door 01:51
3. Subwoofer Lullaby 03:28
4. Death 00:41
5. Living Mice 02:57
6. Moog City 02:40
7. Haggstrom 03:24
8. Minecraft 04:14
9. Oxygene 01:05
10. Equinoxe 01:54
11. Mice on Venus 04:41
12. Dry Hands 01/08
13. Wet Hands 01:30
14. Clark 03:11
15. Chris 01:27
16. Thirteen 02:56
17. Excuse 02:04
18. Sweden 03:35
19. Cat 03:06
20. Dog 02:25
21. Danny 04:14
22. Beginning at 01:42
23. Droopy likes ricochet 01:36
24. Droopy likes your face 01:56
Buy track
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Minecraft Volume Alpha is available on Vinyl too!
You can find the tracklist by clicking the link below!
The OFFICIAL soundtrack to the critically acclaimed and multi award-winning indie block!
Features 15 additional exclusive soundtrack minutes of music you haven't heard before!
Features Cat! In Stereo
It includes CD quality music! Youtube videos with very low bitrate soundtracks are no longer feasible!
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UF/IFAS Pasco Extension Upcoming Events
Ready, Set, Podcast
Horticultural knowledge from University of Florida faculty and expert guests. This podcast coincides with a monthly segment on WFTS ABC’s ’The Morning Blend’ television show covering Tampa Bay. Check it out! https://rootedinflorida.podbean.com/
UF/IFAS Pasco Extension Upcoming Events
March Events
Career Resource Workshop
Location: One Stop Shop (formally Stallings Bldg.) 15029 14th Street Dade City, FL 33525Date/Time: Thursday, March 14 · 3:00pm – 4:30pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/career-resources-workshop-tickets-810169999277?aff=ebdsoporgprofile
Turf for Florida Lawn
Location: Centennial Park Branch Library 5740 Moog Road Holiday, FL 34690Date/Time: Monday, March 18 · 2:00 – 3:00pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/3-18-2024-turf-for-florida-lawn-tickets-734752162497?aff=ebdsoporgprofile
Care and Propagation of Succulents 101
Location: New Port Richey Library 5939 Main Street New Port Richey, FL 34652Date/Time: Tuesday, March 19 · 5:30pm – 6:30pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/3-19-2024-care-and-propagation-of-succulents-101-tickets-737298919917?aff=ebdsoporgprofile
Migration: Birds over Pasco
Location: Starkey Ranch Library 12118 Lake Blanche Drive Odessa, FL 33556Date/Time: Wednesday March 20 · 11am – 12pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/3-20-2024-migration-birds-over-pasco-tickets-743597077877?aff=ebdsoporgprofile
Pasco 4 – H County Events
Location: UF/IFAS Pasco County Extension Office 36702 County Road Dade City, FL 33525Date/Time: Monday, March 25 · 3pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/pasco-4-h-county-events-2024-tickets-857057430847?aff=ebdsoporgprofile
Trailblazing Women of East Pasco County
Location: One Stop Shop (formally Stallings Bldg.) 15029 14th Street Dade City, FL 33525Date/Time: Wednesday, March 27 · 6 – 8pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/trailblazing-women-of-east-pasco-county-tickets-857197178837?aff=ebdsoporgprofile
Edible Landscaping
Location: New River Library 34043 State Road 54 Wesley Chapel, FL 33543Date/Time: Thursday March 28 · 2pm – 3pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/3-28-2024-edible-landscaping-tickets-830388864447?aff=ebdsoporgprofile
Expressive Art with Flowers
Location: Hugh Embry Library 14215 4th Street Dade City, FLDate/Time: Saturday, March 30 · 11am – 12pm EST
Expressive Art with Flowers
Location: Hugh Embry Library 14215 4th Street Dade City, FL 33523Date/Time: Saturday March 30 · 11am – 12pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/3-30-2024-expressive-art-with-flowers-tickets-758945054087?aff=ebdsoporgprofile
April Events
Good Bug, Bad Bug
Location: Centennial Park Branch Library 5740 Moog Road Holiday, FL 34690Date/Time: Monday, April 15 · 2 – 3pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/4-15-2024-good-bug-bad-bug-tickets-847078232797?aff=ebdsoporgprofile
What are Florida Native Plants
Location: New Port Richey Library 5939 Main Street New Port Richey, FL 34652Date/Time: Tuesday, April 16 · 5:30pm – 6:30pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/4-16-2024-what-are-florida-native-plants-tickets-851587871247?aff=ebdsoporgprofile
House Plants
Location: Starkey Ranch Library 12118 Lake Blanche Drive Odessa, FL 33556Date/Time: Wednesday, April 17 · 11am - 12pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/4-17-2024-houseplants-tickets-820295234127?aff=ebdsoporgprofile
Why Insects Are Good
Location: New River Library 34043 State Road 54 Wesley Chapel, FL 33543Date/Time: Thursday, April 25 · 2 – 3pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/4-25-2024-why-insects-are-good-tickets-830529214237?aff=ebdsoporgprofile
Earth Day Free “Compost Happens” Workshop – Crews Lake Park
Location: Crews Lake Wilderness Park 16739 Crews Lake Drive Spring Hill, FL 34610Date/Time: Saturday, April 27 · 10am – 11am EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/04-27-2024-earth-day-free-compost-happens-workshop-crews-lake-park-tickets-841657328727?aff=ebdsoporgprofile
Earth Day Rainwater Harvesting Workshop with Rain Barrel
Location: Crews Lake Wilderness Park 16739 Crews Lake Drive Spring Hill, FL 34610Date/Time: Saturday, April 27 · 11am – 12:30pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/4-27-2024-earth-day-rain-water-harvesting-workshop-with-rain-barrel-tickets-841790456917?aff=ebdsoporgprofile
Nurture Your Body & Your Plants – Yoga in the Garden
Location: Hugh Embry Library 14215 4th Street Dade City, FL 33523Date/Time: Saturday, April 27 · 11am – 12pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/4-27-2024-nurture-your-body-your-plants-yoga-in-the-garden-tickets-820474018877?aff=ebdsoporgprofile
May Events
Your Turf Grass
Location: Hudson Library 8012 Library Rd Off Fivay Rd. Hudson, FL 34667Date/Time: Wednesday, May 1 · 6 - 7pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/5-1-2024-your-turf-grass-tickets-847145654457?aff=ebdsoporgprofile
Mosquitoes in Florida
Location: Land O’Lakes Library 2818 Collier Parkway Land O’Lakes, FL 34639Date/Time: Wednesday, May 1 · 6pm – 7pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/5-1-2024-mosquitoes-in-florida-tickets-852326831497?aff=ebdsoporgprofile
Rain Barrel Workshop – UF/IFAS Extension Pasco County
Location: UF/IFAS Extension Pasco County Office 36702 County Road 52 Dade City, FL 33525Date/Time: Saturday, May 4 · 10am – 12pm EST
Please click this link for more information and to register for the event: https: https://www.eventbrite.com/e/5-04-2024-rain-barrel-workshop-ufifas-extension-pasco-county-tickets-809366786847?aff=ebdsoporgprofile
Career Resources Workshop
Location: One Stop Shop (formerly the Stallings Bldg.) 15029 14th Street Dade City, FL 33525Date/Time: Thursday, May 9th · 3 – 4:30pm EST
Please click this link for more information and to register for the event: https://www.eventbrite.com/e/career-resources-workshop-tickets-810169999277?aff=ebdsoporgprofile
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