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Gore filled a Westin Crown Center ballroom with a 90-minute presentation, using photos and videos to illustrate a litany of floods, wildfires, torrential rains, droughts, dust storms, rising sea levels and increasing world temperatures.

They had never seen anything like this in Manitou Springs,”

“Think about that,”

(words & music by R. Rodgers - L. Hart) Blue moon, You saw me standing alone, Without a dream in my heart, Without a love of my own. Blue moon, You knew just what I was there for. You heard me saying a pray for Someone I really could care for. Blue moon, You saw me standing alone, Without a dream in my heart, Without a love of my own. Blue moon... Without a love of my own.

In each chamber of a standard single reed diatonic harmonica, there are two reeds. During "normal" play, one of them responds to positive pressure (blowing) and one of them responds to negative pressure (drawing). However, the two reeds can be made to interact in very interesting (and useful) ways, the most well-known being the typical blues-style bend. In this, the higher pitched reed of the pair can be lowered in pitch to somewhere just above the lower pitched reed in the same hole. In the case of a draw bend, when the note is bent to its lowest pitch, most of the sound is coming from the blow reed, vibrating at slightly higher than its normal rate. In the case of a blow note being bent as far as possible, most of the sound is coming from the draw reed. This can be verified by playing the harp without covers and blocking the reeds with the fingertips. The reverse can also be made to happen, which results in an overblow or overdraw. In the case of the former, by blowing in a particular manner, the blow reed can be made to "stall" and the draw reed vibrate at a higher pitch. With overdraws, the draw reed is stalled and the blow reed is made to vibrate at a higher pitch. By use of this technique in addition to note bending, a complete chromatic scale can be played on the humble diatonic instrument. However, the challenge to the player is to make this all happen in a controlled and musical way - easier said than done.

One of the methods used to teach overblows is to play the harp without covers and stop the appropriate reed using the fingertips, then adjust your embouchure until you can get the opposite reed to sound. For example, when learning to play the overblow in hole 4, you would stop the 4 blow reed with your finger, or to play a hole 7 overdraw, you would stop the 7 draw reed. In fact, as well as helping to learn the technique, stopping the reeds with your fingers allows even an experienced player to do things that are difficult to do whilst playing the harp normally - bending the overblows upwards in pitch, adding vibrato, etc.