Metapopulation Genomics of American Goshawks in the Intermountain West

Understanding a species dispersal ecology and population dynamics is essential to effectively manage and conserve a species. As advancing technology improves our knowledge of species movements, it is becoming clear that many species form metapopulations to some extent. A metapopulation is a network of interconnected subpopulations that exchange reproductive individuals with subpopulations occupying nearby patches. Metapopulations have been observed in a variety of species, ranging from plants to vertebrates, and can vary greatly in their dynamics (level of connectivity and gene flow) based on the species behavior and life history strategy. Forming a metapopulation can add much resilience to the subpopulation. A steady inflow of new individuals can protect the subpopulation from inbreeding depression and adds more standing variation for natural selection to work on. However, as the metapopulation breaks down and patches become isolated, that resilience is quickly lost. Habitat fragmentation due to anthropogenic changes poses a significant danger to metapopulations. Understanding these metapopulation dynamics is of key importance to formulating effective and efficient conservation and management plans. Information such as where, when, and how these species are dispersing can tell us how to best preserve these paths and maintain the metapopulation structure. One species that forms a highly extensive metapopulation, is the American goshawk (Accipiter atricapillus). In this study we evaluated the metapopulation genomics of American goshawks in the Intermountain West by investigating the genetic diversity and differentiation, as well as gene flow and connectivity, of four subpopulations. The goshawk metapopulation is connected mainly through the natal dispersal of juveniles. Natal dispersal has been and continues to be very hard to track due the technological limitations. Here we show that genomics can offer an alternative when species cannot be easily tracked. While specific dispersal routes cannot be elucidated, we were able to discover the level and direction of gene flow between subpopulations, giving a rough idea of where and how far individuals were dispersing. We found little to no differentiation and very high gene flow between these subpopulations despite the hundreds of kilometers between them. There was no geographic structuring shown both by an isolation by distance test and a correlation test between geographic distances and the estimated number of migrants exchanged. This information is vital to understanding the species movements and ecology in order to create an effective management plan

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Interview with Mose Allison

Interview with Mose Allison for Jazz Profiles. Allison discusses his musical life as a child, his father playing piano semi-professionally, preferring to play by ear rather than with notation, hearing his cousin's jazz records; repertory on the jukeboxes when he was 12 and electricity came to his hometown (Tippo, Mississippi), the lack of live acts and reliance on recordings, influence on him by the King Cole Trio and Louis Jordan and his Tympany Five, people thinking he was African American, racial dynamics and poverty in his hometown, when he wanted to become a professional musician, college and his Army experience, influence of his education at Louisiana State University and with Dr. Carmichael, R.J. Collingwood's definition of art, how he was received in New York, the scene at Nola Studios, rehearsing with Gerry Mulligan, and the 34th Street Loft, his Back Country Suite, Detribalization, his life in New York as a native of the South, his thoughts on genetics versus environmental influences, his songwriting process, remembering tune material, the tunes The Sentimental Fool and Ever Since I Stole the Blues, his impact in England, his work on different record labels over time, how he views studio work, an anecdote about Jet Magazine calling him for an interview thinking he was Black, CBS wanting him to sing Rudolph the Red-Nosed Reindeer and moving to Atlantic Records, his categorization of songs as "social comment, personal crisis, and slapstick,", the song I Feel SO Good, his piano style and hand coordination, hearing recordings of himself, traveling, his relative obscurity, being mischaracterized, returning to Tippo, his songs Stop This World, Parchman Farm, and Numbers on Paper

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