Podcasts about Voices

Dustin Lynch stops by the studio to celebrate his ten #1 songs and share the stories behind them. Bobby expresses his concern about Dustin flying himself home after his concerts. Dustin also talks about his love for dance music and why he’s become so invested in it. Bobby shares the only movies he considers to be a 5 out of 5. We also play a round of Bobby Feud featuring celebrities you’d recognize just by hearing their voices.See omnystudio.com/listener for privacy information.

In this episode of The Next Chapter, I welcome survivor advocate and former law enforcement officer Kara Robinson Chamberlain back to Voices for Justice. Since Kara's first appearance in 2022, she has co-created and hosted Survivor's Guide to True Crime, helped shape a scripted film about her life, worked on a documentary exploring ethics in true crime, and stepped into a new role as the host and investigator of Somebody Knows Something. Kara shares how motherhood pushed her beyond coping and toward healing, and how her lived experience influences the way she approaches families, witnesses, law enforcement, and the online true crime community. We discuss the responsibility of telling real people's stories, the complicated balance between public participation and speculation, and why ethical storytelling requires care, nuance, and a clear call to action. I also ask Kara about the families and moments that stayed with her while filming, and why this next chapter is about using her platform to help other people find answers. Somebody Knows Something airs Mondays on Freeform and streams the following day on Hulu and Hulu on Disney+ for eligible United States bundle subscribers. If you have information about any case featured in the series, please contact the appropriate law enforcement agency directly. Watch and learn more about Somebody Knows Something Watch on Freeform or ABC Stream on Hulu Stream on Disney+ Watch bonus interviews and discussions on Ample Originals Additional reporting and case information from ABC News Kara's Somebody Knows Something project page More from Kara Kara Robinson Chamberlain's website Survivor's Guide to True Crime Escaping Captivity: The Kara Robinson Story The Girl Who Escaped: The Kara Robinson Story Survivor's Guide to True Crime: A Feature Documentary on the Ethics of True Crime Media Follow Kara Instagram TikTok Facebook YouTube For more information about the podcast and the cases discussed, visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠VoicesforJusticePodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   For even more content or to further support the show, join the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Voices for Justice Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow us on social media: Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@VFJPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@VoicesforJusticePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@VoicesforJusticePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@VoicesforJusticePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   Voices for Justice is hosted by Sarah Turney Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SarahETurney⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SarahETurney⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SarahETurney⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SarahETurney⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SarahTurney⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   The introduction music used in Voices for Justice is Thread of Clouds by Blue Dot Sessions. Outro music is Melancholic Ending by Soft and Furious. The track used for ad transitions is Pinky by Blue Dot Sessions. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This is a Grave Talks CLASSIC EPISODE!Some people chase ghost stories. Others capture them.For the mind behind the Mondo Docs YouTube channel, documenting the paranormal isn't just about scares—it's about uncovering the forgotten spaces where silence and history collide. His passion for horror films and true documentary storytelling has taken him into abandoned houses swallowed by time, legendary hotspots like the Conjuring House, and the eerie halls of the Wildwood Sanitarium. But what he brought back wasn't always just footage.In this episode of The Grave Talks, he pulls back the curtain on what truly happens behind the scenes—where EVPs whisper through the static, camera rigs shift on their own, and soft, disembodied sighs drift through empty rooms. These aren't dramatizations. They're moments caught in real time, recorded long after the living have left.We explore what drives a creator to step into places most people avoid, what keeps him returning to locations shaped by tragedy and fear, and why some spirits seem eager to make their presence known when the red light on the camera flickers on.Some houses are abandoned. Some are only waiting.For more information, visit his YouTube channel, just search Mondo Docs, or click here.#ParanormalDocs #ParanormalInvestigations #HauntedLocations #TheGraveTalks #ConjuringHouse #WildwoodSanitarium #EVPs #GhostStories #SupernaturalEncounters #HauntedHistoryLove real ghost stories? Want even more?Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

This is a Grave Talks CLASSIC EPISODE! PART TWOSome people chase ghost stories. Others capture them.For the mind behind the Mondo Docs YouTube channel, documenting the paranormal isn't just about scares—it's about uncovering the forgotten spaces where silence and history collide. His passion for horror films and true documentary storytelling has taken him into abandoned houses swallowed by time, legendary hotspots like the Conjuring House, and the eerie halls of the Wildwood Sanitarium. But what he brought back wasn't always just footage.In this episode of The Grave Talks, he pulls back the curtain on what truly happens behind the scenes—where EVPs whisper through the static, camera rigs shift on their own, and soft, disembodied sighs drift through empty rooms. These aren't dramatizations. They're moments caught in real time, recorded long after the living have left.We explore what drives a creator to step into places most people avoid, what keeps him returning to locations shaped by tragedy and fear, and why some spirits seem eager to make their presence known when the red light on the camera flickers on.Some houses are abandoned. Some are only waiting.For more information, visit his YouTube channel, just search Mondo Docs, or click here.#ParanormalDocs #ParanormalInvestigations #HauntedLocations #TheGraveTalks #ConjuringHouse #WildwoodSanitarium #EVPs #GhostStories #SupernaturalEncounters #HauntedHistoryLove real ghost stories? Want even more?Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

Welcome to another edition of This Week in Autistic Culture, our Sunday magazine podcast that brings together the stories, conversations and ideas shaping Autistic culture each week.This week, Angela and Simon turn their attention to Channel 4 documentary The Great ADHD Myth and the backlash it has received from the ADHD community. They discuss its claims around diagnosis and medication, the decision to centre the experiences of a ten-year-old boy, and what happens when mainstream media tells stories about neurodivergent people without meaningfully including the communities at the centre of them.Simon also reflects on his own experience of ADHD medication, from finding the right dose to the difference it has made to his life, as Angela and Simon explore the wider narratives around overdiagnosis, masking and the idea that people must be visibly struggling for their neurodivergence to be considered legitimate.As always, we'll also take you through everything coming up across the Autistic Culture Podcast Network this week, including the launch of The Still Growing Up Film Club, a new Mindful Mondays, Autistic Menopause and plenty more from across the network.Plus, we head to the Community Notice Board for books, events and opportunities from across the wider Autistic community.

If you've been telling yourself you'll pitch the conference, keynote, or TEDx talk once you feel more confident, I want you to reconsider the order. Public speaking isn't something you do after you become confident. It's one of the ways confidence is created.I'm sharing three practical ways to build real speaking confidence: say yes and get the reps, experiment with different formats and time constraints, and use podcasting to strengthen your ability to speak naturally. I tell the story of walking into a TV studio for the first time with my heart pounding - and how becoming a regular political analyst years later finally gave me the repetition I needed to trust myself.And then there's the thing that surprised me most: taking an eight-week improv class. Even after decades of speaking, improv helped me get out of my head, into my body, and more comfortable not knowing exactly what would happen next.In this episode, you'll learn:Why confidence is created through speaking rather than perfected in privateWhat it means to embody your message instead of delivering it only from your headWhy repetition builds the muscle memory that makes speaking feel more naturalWhat my first TV political panel taught me about saying yes before I felt readyWhy relying on a script can interrupt your connection with the audienceHow PechaKucha, Ignite, DisruptHR, workshops, and keynotes develop different speaking skillsWhy hosting a podcast or becoming a regular podcast guest strengthens impromptu speakingWhat an eight-week improv class taught me about uncertainty and presenceHow speaking confidence can help you claim the identity of “speaker”Why women's public voices matter to gender equalityAbout Us: The Speaking Your Brand podcast is hosted by Carol Cox. At Speaking Your Brand, we help women entrepreneurs and professionals clarify their brand message and story, create their signature talks, and develop their thought leadership platforms. Our mission is to get more women in positions of influence and power because it's through women's stories, voices, and visibility that we challenge the status quo and change existing systems. Check out our coaching programs at https://www.speakingyourbrand.com. Links:Show notes at https://www.speakingyourbrand.com/487/ Discover your Speaker Archetype by taking our free quiz at https://www.speakingyourbrand.com/quiz/Enroll in our Thought Leader Academy: https://www.speakingyourbrand.com/academy/ Learn more about our speaking retreat in Orlando: https://www.speakingyourbrand.com/live/Connect on LinkedIn: https://www.linkedin.com/in/carolcoxRelated Podcast Episodes:Speak with Confidence podcast seriesEpisode 379: How to Develop Stage Presence and Build Confidence as a SpeakerEpisode 378: The Power of Women's Voices and Stories to Change the World

Why can two people experience the same conversation, meeting, or problem so differently? In this episode, Gem talks with Enneagram teacher, management consultant, and executive coach Joey Stabile Schewee, author of When Working Together Doesn’t Work, about what’s happening beneath our behavior and why understanding how we process the world can transform our relationships. Joey explores the Enneagram’s three Processing Centers: Doing, Feeling, and Thinking, including what she calls the “processing divide.” She also unpacks the three stances, Independent, Responsive, and Solitary, and how they influence our relationship with time, our reference point, and the ways we engage with others. Then Joey walks through all nine Enneagram types, offering a brief, accessible description of each and helpful clues for recognizing your own type. Whether you’re new to the Enneagram or have been using it for years, this conversation offers practical insight for greater self-awareness, healthier communication, and more gracious relationships at work and beyond. Connect with Joey on IG @enneagramparents ______________________________________ Connect with Gem on Instagram and learn more on the Unhurried Living website and her new book, Hold That Thought: Sorting Through the Voices in Our Heads Learn about PACE: Certificate in Leadership and Soul Care Discover more Christian podcasts at lifeaudio.com and inquire about advertising opportunities at lifeaudio.com/contact-us.

What happens when years of medical training teach you to undervalue your own time—and how can that affect the way you earn, spend, and build wealth? In Part 2 of our conversation, Dr. Billina Shaw explores the financial boundaries, money scripts, and deeply ingrained beliefs that can shape women physicians' financial decisions. She discusses why it can be so difficult to charge what your work is worth, how medical training can contribute to financial devaluation and lifestyle creep, and how to move beyond guilt and shame toward more intentional financial choices. Dr. Shaw also shares practical ways to recognize inherited money patterns, build financial resilience, and separate your net worth from your self-worth.Dr. Billina Shaw is a Yale-educated triple board-certified psychiatrist (child, adolescent, and adult psychiatry; addiction medicine) with an MPH from Johns Hopkins Bloomberg School of Public Health. She has served as a Senior Medical Advisor at the Substance Abuse and Mental Health Services Administration (SAMHSA), bringing federal-level expertise in behavioral health policy and implementation. Dr. Shaw now works with high-achievers, leaders, and organizations to move from anxious and disconnected to purposeful, peaceful, and prosperous. Through her speaker platform and financial wellness coaching practice, she bridges clinical psychiatry, behavioral health strategy, and the psychological roots of financial decision-making and well-being.In this episode, we discuss:Why do women physicians often feel uncomfortable charging for their time, expertise, and services?How can setting financial boundaries protect your time, energy, peace, and long-term financial goals?How does medical training contribute to the devaluation of physicians' time and expertise—and how can that affect financial decisions later?Why can physicians experience a pendulum swing from extreme financial deprivation to overspending after residency?How can physicians enjoy their money without falling into mindless spending or all-or-nothing financial rules?How do guilt, shame, and financial trauma influence the way we earn, spend, save, and invest?How can you recognize and reshape inherited money scripts that may have been passed down through generations?What can we learn from major financial disruptions or losses that were outside our control?How can viewing your knowledge, skills, relationships, and abilities as assets help you feel more financially resilient?How long does it typically take to make meaningful changes in deeply rooted financial beliefs and behaviors?What is the difference between your net worth and your self-worth—and why does that distinction matter for financial wellness?Ultimately, Dr. Shaw reminds us that financial wellness is about more than numbers. It begins with understanding the beliefs and experiences that shape our relationship with money—and recognizing that our net worth does not determine our worth.Interested in learning more about my telehealth direct specialty care practice? At AmazVita MD, I help patients optimize weight and metabolic health, harmonize hormones in peri/menopause, and enhance wellness and vitality. Accepting new patients now.Website:amazvitamd.comEmail:hello@amazvitamd.comLearn more about me or schedule a FREE coaching call:https://www.joyfulsuccessliving.com/ Join the Voices of Women Physicians Facebook Group:https://www.facebook.com/groups/190596326343825/Connect with Dr. Shaw:Website:www.drbillina.comLinkedIn:http://www.linkedin.com/in/dr-billina Instagram:@drbillinaText GROW to 55444 to join Dr. Shaw's email list.

This time, we're joined by Alex Ross for a conversation about Fantastic Four: Full Circle, his graphic novel that reaches directly back to the imagination and visual energy of Jack Kirby.Alex talks about revisiting the classic Fantastic Four, drawing inspiration from the Lee and Kirby era, and finding a way to honor that groundbreaking work .We'll get into the design, the storytelling, the psychedelic science-fiction imagery, and what Kirby's Fantastic Four still represents to one of comics' most acclaimed artists.

We're continuing our celebration of Jack Kirby's incredible legacy with two conversations that explore very different corners of the worlds he helped create.First, we go back to the Baltimore Comic-Con's virtual 2020 convention, held during the COVID lockdown, for a discussion of Kirby's Fourth World. Writer Tom King and Cecil Castellucci join moderator Robert Meyer Burnett to talk about the ideas, characters, mythology, and lasting impact of Kirby's sprawling New Gods saga.Then we jump back to 2012 for a Marvel press conference featuring writer Kathryn Immonen and editor Lauren Sankovitch, discussing Lady Sif stepping into the spotlight as the lead of Journey Into Mystery. Sif may come from Norse mythology, but her Marvel identity was shaped in large part by the creative imagination of Stan Lee and Jack Kirby, and this run gave her a chance to carry a book of her own.Two generations of creators, two very different takes on Kirby's characters and concepts, all part of the continuing conversation about the King of Comics.This is Voices of Kirby, Part Three, on Word Balloon.

This is a Grave Talks CLASSIC EPISODE! Some towns don't disappear all at once. They fade—slowly, quietly—until all that's left are empty buildings and the stories people can't quite explain.Henry River Mill Village was once a self-contained community, built around a single purpose. In the early 1900s, the mill provided everything—jobs, housing, even a sense of identity for the people who lived there.Then came the fire. When the mill was destroyed, the town lost more than its industry. Over time, residents moved on, buildings were left behind, and Henry River became something else entirely.Today, those who visit describe something that doesn't feel completely abandoned. Voices where no one is there. Movement in empty structures. The sense that something still lingers in a place that was never meant to be left behind.Is it simply the weight of history… or something that stayed when everything else was forced to leave?#TheGraveTalks #HenryRiver #HauntedTown #AbandonedPlaces #GhostTown #ParanormalPodcast #HauntedHistory #UrbanExploration #GhostStories #HauntedNorthCarolinaLove real ghost stories? Want even more?Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

This is a Grave Talks CLASSIC EPISODE! PART TWOSome towns don't disappear all at once. They fade—slowly, quietly—until all that's left are empty buildings and the stories people can't quite explain.Henry River Mill Village was once a self-contained community, built around a single purpose. In the early 1900s, the mill provided everything—jobs, housing, even a sense of identity for the people who lived there.Then came the fire. When the mill was destroyed, the town lost more than its industry. Over time, residents moved on, buildings were left behind, and Henry River became something else entirely.Today, those who visit describe something that doesn't feel completely abandoned. Voices where no one is there. Movement in empty structures. The sense that something still lingers in a place that was never meant to be left behind.Is it simply the weight of history… or something that stayed when everything else was forced to leave?#TheGraveTalks #HenryRiver #HauntedTown #AbandonedPlaces #GhostTown #ParanormalPodcast #HauntedHistory #UrbanExploration #GhostStories #HauntedNorthCarolinaLove real ghost stories? Want even more?Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

This is a Grave Talks CLASSIC EPISODE! PART TWOSome towns don't disappear all at once. They fade—slowly, quietly—until all that's left are empty buildings and the stories people can't quite explain.Henry River Mill Village was once a self-contained community, built around a single purpose. In the early 1900s, the mill provided everything—jobs, housing, even a sense of identity for the people who lived there.Then came the fire. When the mill was destroyed, the town lost more than its industry. Over time, residents moved on, buildings were left behind, and Henry River became something else entirely.Today, those who visit describe something that doesn't feel completely abandoned. Voices where no one is there. Movement in empty structures. The sense that something still lingers in a place that was never meant to be left behind.Is it simply the weight of history… or something that stayed when everything else was forced to leave?#TheGraveTalks #HenryRiver #HauntedTown #AbandonedPlaces #GhostTown #ParanormalPodcast #HauntedHistory #UrbanExploration #GhostStories #HauntedNorthCarolinaLove real ghost stories? Want even more?Don't just listen—join us on YouTube and be part of the largest community of real paranormal encounters anywhere. Subscribe now and never miss a chilling new story:

Three conversations with 3 writers who took Kirby's 4th World ideas to new places.Ram V Talks New GodsCecil Castalucci On The Female FuriesWalt Simonson on Thor and Orion 

Fifteen-year-old Sophie Reeder vanished in the early hours of May 20, 2017. In her bedroom, a candle was still burning. Three hundred dollars was left behind. On her calendar, one date had been marked with a mysterious “X.” Surveillance cameras captured Sophie walking alone along Davie Boulevard in Fort Lauderdale, Florida. Hours later, her phone went silent at a nearby apartment complex and Sophie was never seen again. Anyone with information about Sophie's disappearance is asked to call the Fort Lauderdale Police Department at 954-828-5700. There is a reward of up to $25,000 for information leading to her recovery.   Support her family on Facebook: https://www.facebook.com/SophieReeder15/ Support the Sophie's Light Foundation: https://www.instagram.com/sophieslightfoundation/ & https://sophieslight.org/ For more information about the podcast and the cases discussed, visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠VoicesforJusticePodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   For even more content or to further support the show, join the ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Voices for Justice Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow us on social media: Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@VFJPod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@VoicesforJusticePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@VoicesforJusticePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@VoicesforJusticePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   Voices for Justice is hosted by Sarah Turney Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SarahETurney⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SarahETurney⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SarahETurney⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SarahETurney⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@SarahTurney⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠   The introduction music used in Voices for Justice is Thread of Clouds by Blue Dot Sessions. Outro music is Melancholic Ending by Soft and Furious. The track used for ad transitions is Pinky by Blue Dot Sessions. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dan Parsley, author of “Dancing with the Devil” joins the program. In his book, Don details how he lost 250 pounds in 30 days. He guarantees his method will work for anyone that reads it. How did he do it? You have to buy the book to find out. Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

Father James McQuarters tells Phil that he allows kids to use foul language on campus until the frightening Hurricane Katrina blows over.Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

The Phil Skit Show is guest hosted by coconut water salesman and surf yoda Jeff Dowdder. Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

Marjorie Hendrie’s birthday. Happy Birthday Mom. On today's Radio Archive Feature, from April 2004, Dean Wheeler runs an operation rescuing immigrants coming across the border but he has them perform sexual at safe houses in return.Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

To celebrate 50 years of David as his fanboy, Phil and David -- the Private Eyes of podcasting and frequent "Lunch" Maneaters -- are totally X-Static to use their Voices to serve up a new mix of  David's early musical hero and longtime friend Daryl Hall for a long distance Zoom "Naked Lunch." Hear as Daryl Hall discuss his remarkable career in music and his acclaimed show "Live From Daryl's House," uses a surprising amount of Yiddish, shares his thoughts about being a part of "We Are The World" and "Sun City," answers a great guest question from Jimmy Jam, and has a classic response when Phil and David ask for his advice on how to keep their own duo act together. What's better than One On One? How about One On Two? For more on Daryl, go to https://darylhall.com. To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 668 features a solo episode in celebration of a Decade of Voices, the tenth anniversary of the #IAM911 movement. Episode topics – The 10-year anniversary and global reach of the #IAM911 movement The origins and impact of sharing dispatcher stories Introduction of imaginelistening.com as a living archive for stories The launch of the Gary Allen Legacy Collection preserving historical 911 audio Exclusive teasers and announcements about the future of Imagine Listening If you have any comments or questions or would like to be a guest on the show, please email me at wttpodcast@gmail.com.

 As summer comes to a close, another chapter begins: back to school. But with that comes a lot of different public health challenges and some muddled guidance for parents. Like how do we deal with measles in schools? When's the best time for my kids to get their flu shot? And do I need to be worried about the blueberries in my child's lunchbox? Hosts Chris Dall and Dr. Micheal Osterholm will try to answer some of these questions in this week's episode. They'll also discuss the latest on COVID-19, different foodborne illnesses, the two recent measles deaths, as well as updates on the Ebola outbreak in the Democratic Republic of Congo. Plus, a special State Fair themed closing. Links: Yes, COVID Is Still a Thing (Unbiased Science) Back to School (and the List in My Head) (Unbiased Science)At-Home OTC COVID-19 Diagnostic Tests (FDA)Coronavirus Vaccines R&D Roadmap Initiative (CIDRAP) Resources for vaccine and public health advocacy: Voices for Vaccines Families Fighting Flu Vaccinate Your Family Shot@Life Medical Reserve Corps Learn more about the Vaccine Integrity Project MORE EPISODES       SUPPORT THIS PODCAST   Music: "Beauty Flow" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License

Vernon Dozier promotes his book “The Wages of Sin.” He says with Jesus and therapy he has been cured of road rage……except when he sees women using a hands-free cell phone, flossing their teeth or putting on makeup while driving. Then……….he gets imaginative.Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

Steve Bosell says kids shouldn’t wear firefighter and police costumes because they might be mistaken for real ones. He thanked an army Ranger at a pumpkin patch for his service recently but it was just a little kid.Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

Phil Skit Show. Dr Jim Sadler, reacting to Phil’s separated shoulder, says he chops up and snorts hydrocodone.Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

Mavis is back. October 2002, Mavis Leonard says senior citizens are sad that the DC Sniper has been caught because it was so enjoyable to watch on TV. Comedy Gold with Jeff Dowdder and his haunted mansion.Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

Abby Bain stops by to discuss her recent Flannel Man sighting as well as encounters with ghosts, greys, and strange audio phenomena. Order Timothy's new book, The Keystone Hagstone: Faeries and Other Mysterious Entities of Pennsylvania here: https://lostgrave.etsy.com/listing/4509315790 If you would like to help us continue to make Strange Familiars, get bonus content, t-shirts, stickers, and more rewards, you can become a patron: http://www.patreon.com/StrangeFamiliars SpectreVision Radio is a bespoke podcast network at the intersection between the arts and the uncanny, featuring a tapestry of shows exploring the anomalous, the luminous, and the numinous. We're a community for creators and fans vibrating around common curiosities, shared interests and persistent passions. spectrevisionradio.com linktr.ee/spectrevision Learn more about your ad choices. Visit megaphone.fm/adchoices

Patrick opens with a chaotic scene: parents outside a California school bus, one shattering a window in desperation after the children wait inside for an hour, the driver following strict protocol while emotions ignite on both sides. He moves between parent outrage, drivers’ candid explanations, and stories from listeners, drawing out the tension of trust, safety, and responsibility in everyday life. Voices clash and intertwine as Patrick explores the blurred boundary where authority, fear, and instinct collide. Mother smashed the window of a school bus and crawled through the window after the driver wouldn't let the kids out in California. - https://x.com/ExxAlerts/status/2092656313641955786 (01:01) Samuel - I am a school bus driver in California. When we first pick up kids at the school the bus driver is absolutely responsible for the kid. When kid jumped out the window, we have to notify dispatch. (11:39) Martin – I’m a school bus driver. School bus is treated the same as the school as far as property. No one is going to break a window of a school. (21:14) Patrick shares some of the many emails that have come in with comments about the bus driver and the mom who broke the window to get into the bus Matt - I have a friend who is waiting on two annulments. The Church is withholding Baptism until the annulments are approved. (39:07) Richard (email) – Does the New Testament forbid the eating blood food products? (41:50) Rebecca - If there is any historical evidence from when Pope Peter's authority went to the second pope? (45:51)

Hello Beautiful, I'm so grateful you're here with me. Imagine soft angelic voices surrounding you with love, peace, and a deep sense of comfort as you drift to sleep. This guided sleep meditation encourages relaxation, emotional healing, and a gentle feeling of being supported throughout the night. Let the peaceful atmosphere carry you into beautiful dreams. Love,

A candid conversation between a professor and a Ph.D. candidate about potential funding cuts from the National Institutes of Health and their impact on the future of medical research.Guests:Yvonne Commodore-Mensah, Associate Professor, Associate Dean of Research, Johns Hopkins School of NursingLaura Mata López, PhD Candidate, Johns Hopkins School of NursingThis episode was produced by Ryan Levi, edited by Dan Gorenstein and mixed by Andrew Parrella and Cedric Wilson.The Tradeoffs theme song was composed by Ty Citerman. Additional music this episode from Blue Dot Sessions and Epidemic Sound.Additional thanks to Rachel Bender Ignacio, Jeremy Berg, Otis Brawley, Aaron Carroll, Dan Cooper, Elena Fuentes-Afflick, Robert Kelchen, Daniel Martinez, Raphe Reggie, Sarah Spreitzer and Sarah Szanton.Reporting for this episode was supported in part by Arnold Ventures.Learn more: Read the full reporting and explore additional resources on our website.Want more Tradeoffs? Join more than 5,500 readers who trust Tradeoffs for clear, deeply reported health policy insights. Sign up for our free weekly newsletter.Tradeoffs helps you cut through the noise with clear, deeply reported journalism on the forces driving health care's toughest choices — reporting you won't find anywhere else. If our work helps you stay informed, support it with a donation today. Hosted on Acast. See acast.com/privacy for more information.

You're listening to Voices of Your Village, and today's episode is part of our summer series, Honoring the Individual. Over the summer months, we'll be revisiting some of our favorite conversations—episodes that remind us of a core truth: there is no one-size-fits-all approach to supporting children. Today I got to sit down with my dear friend, Eli Harwood, who you may know as @attachmentnerd over on Instagram, to dive into a topic that comes up so often, school refusal. We talk about what's really going on beneath school refusal, how to meet our kids with connection and structure, and why scaffolding their nervous system matters more than forcing compliance. This episode is full of practical strategies that help us show up differently for our kids and ourselves. Stay tuned in September for an exciting announcement that will make it easier than ever to move beyond generic advice and access support tailored to the individual child, student, or family you're supporting. Alright folks, let's dive in. Connect with Eli: Instagram: ⁠@attachmentnerd⁠ Website: ⁠https://attachmentnerd.com/⁠ Order the book: ⁠Raising Securely Attached Kids: Using Connection-Focused Parenting to Create Confidence, Empathy, and Resilience⁠ Podcast: ⁠https://attachmentnerd.com/podcast⁠ Connect with us: Instagram: ⁠@seed.and.sew ⁠ TikTok: ⁠@seedandsew⁠ Seed and Sew's NEW Regulation Questionnaire: ⁠Take the Quiz⁠ Order ⁠Big Kids, Bigger Feelings⁠ and ⁠Tiny Humans, Big Emotions⁠  Website: ⁠seedandsew.org⁠ Credits: Host: Alyssa Blask Campbell Co-host: Rachel Lounder Production/editing: Kristin Mork-McVeigh Graphics: Kayla Kurland-Davis/ Beki Rohrig Music by: ⁠Ruby Adams⁠ and  ⁠Bensound⁠ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Gabe Ramirez and Ruthie Polinsky discussed the White Sox's 10-4 win over the Rangers on Wednesday and the Cubs' 2-0 loss to the Diamondbacks.

Doug Dannger has written a book called “Tough Love” in which he describes insulting straight families and having them thank him for the abuse because they could use the honesty. Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

The Phil Skit show is The Best of Margaret Grey’s Filth Files! Let’s see what sends Margaret's mind down the river ways of pure mental sewage! Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

The Radio Hall of Fame Archive Hour is from January 2002. It's another Christmas tree problem. Lloyd Bonafide, Korean War vet and a heating and plumbing guy, has a problem with his neighbor keeping his 12 foot spruce up well after Christmas. Lloyd thinks it's a signal the guy sends to all the women on the street saying, “yea, I got the 12 foot wood ladies…..if you know what I mean.” Lloyd actually put the guy in the hospital for scandalizing his wife with his “”huge blue spruce….” Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

Phil talked with the Dallas Cowboys fanatic Austin Amarca the day after Troy Aikman was waived and listened as the guy wandered between idle worship, homophobia, and sadistic fantasy. Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

Patrick answers questions about faith, from priests discerning their path outside ministry to the anxiety of waiting for annulments and the uncertain ground those situations create. He fields comparisons between canon law and Sharia, counters misconceptions, and addresses audience concerns on receiving sacraments while in irregular relationships. Voices of personal struggle and moral wrestling fill the hour, as Patrick threads theology and practical advice through every exchange. James (email) - Is it prudent for a priest on leave awaiting Vatican dispensation to regularly spend public time with a woman he hopes to marry, even while insisting they will not pursue a romantic relationship until the dispensation is granted? (00:47) Don - Concerning annulment, why can't the person who is not in offense be freed from the marriage when being cheated on or walked out on? (13:01) Joyce - I know someone was married in the Church, divorced, and is now seeking an annulment. She got married a second time in a Baptist church before the annulment went through. (18:58) Mike - El Sayeed brought up circumcision as compared to transgender mutilation, and canon law versus surreal law. (29:21) Audio: Sharia law survivor speaks out –https://x.com/EricLDaugh/status/2086490550060909009?s=20 (36:43) Donna – What is the definition of sharia law? (39:04) Jonathan - What are your thoughts on all the divorce and remarriages happening in regard to Amoris Laetitia written by Pope Francis. (41:31) Robert - A Lutheran mom married a Catholic guy but in Lutheran Church with a minister. (47:41)

Hello Beautiful, I'm so grateful you're here with me. When your mind keeps replaying conversations, worries, or endless to-do lists, it can be difficult to find rest. This 3 hour sleep meditation gently quiets mental chatter, eases overthinking, and helps you relax into deep, peaceful sleep. Let tonight be a break from the noise inside your mind. Love,

This week on Toon'd In!, Jim Cummings celebrates the release of Coyote vs. Acme with an unforgettable conversation featuring fellow voice actors Eric Bauza and Candi Milo! Together, they take fans behind the scenes of the highly anticipated Looney Tunes adventure and explore the timeless characters, comedy, and voice acting that bring this iconic animated world to life.Known for their incredible work across animation, Eric Bauza and Candi Milo join Jim to discuss their experiences bringing beloved characters to life, their work on Coyote vs. Acme, and what makes the Looney Tunes universe so enduring for audiences around the world.Jim, Eric, and Candi dive into the world of Looney Tunes, Wile E. Coyote, and Coyote vs. Acme, sharing fascinating insights into the voice recording process, the challenges and creativity involved in animation voice acting, and the unique experience of working with some of the most recognizable characters in cartoon history.From hilarious recording stories to behind-the-scenes memories and conversations about the craft of voice acting, this episode is packed with Looney Tunes nostalgia, animation, comedy, and plenty of laughs.The trio also discusses the enduring legacy of Looney Tunes, the art of creating memorable animated performances, and what makes characters like Wile E. Coyote and his fellow Looney Tunes stars continue to resonate with fans across generations.Whether you're a Looney Tunes fan, a Wile E. Coyote fan, an animation enthusiast, a voice acting fan, or simply love going behind the scenes of your favorite movies and cartoons, this special episode of Toon'd In! with Jim Cummings delivers a fun and fascinating conversation with three talented voices from the world of animation!Don't miss Jim Cummings, Eric Bauza, and Candi Milo as they celebrate Coyote vs. Acme and the enduring magic of Looney Tunes!

Rachel starts us off this week with an absolutely wild story about a woman who heard voices in her head that somehow knew she had a brain tumor. Kirk then goes down a mind-bending rabbit hole exploring the question of just how long can an animal live? Join us weekly for more strange nature. Our supporters on Patreon get every episode ad-free!  Support us: patreon.com/strangebynature Email us: contact@strangebynaturepodcast.com Visit us at: strangebynaturepodcast.com  where you can sign up for our episode emails.

Ted Bell and Robert Green are holding a fundraiser for a military orphans fund at Ted’s restaurant but are completely evasive on what percentage is going to charity.Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

The Phil Skit Show. Attorney Harvey Weirman warns Phil not to get all “California.” Jay Santos and Major Elvis Newton warn people not to grab their pith helmets in this heat and frisbee them.Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

Our featured Radio Archive Hour spotlights yet another man who claims he was assaulted by a Furby doll. From September 2000 Lloyd Bonafide is certain he was sexually assaulted by a Furby. Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

Bobby and Steve Dooley start off by talking about having a middle school party where 14-year-old girls are getting a big laugh seeing Steve with his pants down. David comes on to tell our Phil to stop acting like Dr. Laura. Callers yell at Bobby and Steve. Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

Money decisions aren't always just about numbers, budgets, or financial knowledge. In Part 1 of our conversation, Dr. Billina Shaw explores the often-overlooked psychological side of money—examining how childhood experiences, professional training, past financial struggles, and deeply held beliefs can shape the way women physicians earn, spend, save, and think about wealth.Dr. Billina Shaw is a Yale-educated triple board-certified psychiatrist (child, adolescent, and adult psychiatry; addiction medicine) with an MPH from Johns Hopkins Bloomberg School of Public Health. She has served as a Senior Medical Advisor at the Substance Abuse and Mental Health Services Administration (SAMHSA), bringing federal-level expertise in behavioral health policy and implementation.Dr. Shaw now works with high-achievers, leaders, and organizations to move from anxious and disconnected to purposeful, peaceful, and prosperous. Through her speaker platform and financial wellness coaching practice, she bridges clinical psychiatry, behavioral health strategy, and the psychological roots of financial decision-making and well-being.In this episode, we discuss:How do childhood experiences and past financial struggles shape the way we think about and manage money?Why can financial advice focused on what we “should have” done earlier create guilt and shame rather than lasting change?How can medical training and a career centered on serving others affect physicians' sense of worth and relationship with money?Why might women feel over-responsible for financial problems that aren't entirely theirs to solve?How can a past financial struggle continue to shape your identity even after your circumstances have changed?Why do some people continue to feel financially insecure even when they are objectively doing well?How can a scarcity mindset lead to overspending, hoarding, avoidance, or anxiety around money?What does your spending behavior reveal about the deeper needs or emotions you may be trying to meet?How can connecting your financial goals to your values and vision for your life make them more meaningful?Where do your core beliefs about money come from, and how can you begin to change beliefs that no longer serve you?Why can feeling worthy of wealth—and allowing yourself to want more—be an important part of changing your relationship with money?Drawing on her background as a psychiatrist and financial wellness coach, Dr. Shaw shares why feelings of scarcity, guilt, shame, and unworthiness can persist even when someone's financial circumstances have changed. She also discusses how understanding your relationship with money, shifting your identity, and connecting your financial decisions to your deeper values can help you move toward greater peace, freedom, and abundance.Interested in learning more about my telehealth direct specialty care practice? At AmazVita MD, I help patients optimize weight and metabolic health, harmonize hormones in peri/menopause, and enhance wellness and vitality. Accepting new patients now.Website:amazvitamd.comEmail:hello@amazvitamd.comLearn more about me or schedule a FREE coaching call:https://www.joyfulsuccessliving.com/ Join the Voices of Women Physicians Facebook Group:https://www.facebook.com/groups/190596326343825/Connect with Dr. Shaw:Website:www.drbillina.comLinkedIn:http://www.linkedin.com/in/dr-billina Instagram:@drbillinaText GROW to 55444 to join Dr. Shaw's email list.

Steve Bosell is suing Las Vegas. He says he has gone there with the sole intention of going to his hotel room, taking a shower, putting on a nice cardigan sweater and a pair of dockers and going downstairs to drink ice water but no sooner does he get off the plane then the doorman at the hotel is sending messages telepathically telling him to go to the Olympic Gardens and spend 1500 bucks on lap Dances.Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

The Phil Skit Show is hosted by astronaut Bob Begley who remembers a mission to Pluto that he aborted because the other astronauts were making faces.Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

From January 2005 comes our featured Radio Archive Hour. Dean Wheeler is with “Hands around the World,” some bullshit charity. He disputes Phil‘s claim that Thailand has a problem with child prostitution and child pornography. Also David G Hall calls in to rip Phil an ass.Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

Bob Green joined us as the white professor of black studies. He was very condescending about it and really knows nothing about black history.Sign up for a Backstage Pass and enjoy Hours of exclusive content, Phil's new podcast, Classic podcasts, Bobbie Dooley's podcasts, special live streaming events and shows, and oh so very much more…See omnystudio.com/listener for privacy information.

A poem about a map opens North and South, the first collection of the great twentieth century poet Elizabeth Bishop, and since, maps have been associated with her poetic vision—at once telescoping and binocular—and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also hand-held, man-made, intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative, and personal. For several episodes, Wes & Erin will be reading a selection of some of Bishop's most anthologized poems, starting with “The Moose” as expressions of, among other things, her map-like imagination. Upcoming Episodes: Nolan’s adaptation of “The Odyssey”; more Elizabeth Bishop poetry: “First Death in Nova Scotia,” “One Art.” Pre-order Erin’s forthcoming book “Avail” here: http://subtextpodcast.com/avail For bonus content, become a paid subscriber at Patreon or directly on the Apple Podcasts app. Patreon subscribers also get early access to ad-free regular episodes. This podcast is part of the Airwave Media podcast network. Visit AirwaveMedia.com to listen and subscribe to other Airwave shows like Good Job, Brain and Big Picture Science. Email advertising@airwavemedia.com to enquire about advertising on the podcast. Follow: Twitter | Facebook | Website Transcript 0:11 Erin: Welcome to part two of our discussion of the poems of Elizabeth Bishop. We are currently about. Oh, I'm okay. I'm proud of us. We're just about halfway through the Moose. That's not bad compared to our usual record. We're not halfway through stanza one. We're going. You know, it's about a bus trip. It's encouraging us to pick up the pace a little bit and get to our next stop. So we were just going to pick up with the woman in stanza 13 climbing into the bus. 0:41 Wes: Before you say that, I just want to make one little observation. 0:44 Erin: Oh, sure. 0:45 Wes: Just that we get right as soon as the light goes out, it's then that we get the barking of a dog and the smell of salt. First it's the smell of salt hay and then it's the barking of a dog. So smell is introduced. And is that the first time sound is really introduced in any. You know, we get the bus starting and all that, but I think that's right. It's very visual up to that point, I think. And then as soon as we lose the light, we get these new sensory modalities. The collie just supervised this dog, gives us a nice bark, and presumably we can't even see him. We just hear him. So I just love that. I just. I love the transition into darkness. It's so. 1:26 Erin: Yeah. 1:26 Wes: I don't know how else to say it. 1:28 Erin: Yeah. 1:28 Wes: And it's then that we. This really is the midpoint of the poem because now we're going to make this transition into the world of the bus, I guess. As the woman climbs in, we have 1:41 Erin: the ship's port lantern, as you said, being an indication that it's now nearly or fully dark outside. 1:47 Wes: She says red light swims through the dark. 1:50 Erin: Yeah. I'm assuming that at this point a bus would have some form of illumination, at least for when it's stopped and the doors open for people getting on and off the bus. Right. It would. It would light up on the inside interior. Yeah. 2:03 Wes: Yeah. 2:03 Erin: Or at least maybe it would stop, certainly if it were stopping at a station or a little, you know, whatever those things are called. Those little. Yeah, there's a word for it. 2:14 Wes: We need something to see the freckles by. 2:16 Erin: Right. We need something. Exactly. But wherever they would be stopping would have some form of street light illumination or something of that order. Anyway. 2:26 Wes: But it's interesting you say this, because I didn't picture a bus station at any point in this. And I just imagine people along the side of the road. 2:34 Erin: Right. But if it were a course, it 2:38 Wes: couldn't be that way. 2:39 Erin: Well, I don't think it's a station. I think it would be a stop with a. You know, like a lean to. You know, what are those things that just. 2:44 Wes: Yeah, sure. 2:45 Erin: That just protect you from the elements. 2:47 Wes: Yeah. Bust down. 2:48 Erin: Right. 2:48 Wes: Yeah. 2:49 Erin: And that would probably have at least a street light. But anyway, then we get the moonlight. Maybe my favorite. Oh, it's so hard to say, but maybe my favorite image in the poem is the hairy, scratchy, splintery moonlight and mist caught in them like lambswool on bushes in a pasture. Just. There's nothing. There's no image greater than that. That's unbelievable. 3:13 Wes: There's kind of a more wildness to this. Right. The image now, the hairiness and scratchiness and splinteriness. It's a bit less Domesticated, I guess, than the previous part of the poem. 3:27 Erin: That's a really good point. I hadn't thought of that. Even a suggestion of danger, like the lamb running. 3:34 Wes: I just thought, this is where the hobbits are entering Fangorn Forest. 3:39 Erin: Yes. Yeah, yeah, the New Brunswick. 3:41 Wes: But you go a little bit more. It's a little wilder and more primal. I think once you. Even if you're on a bus, once you get into the woods, there's something different about it. 3:52 Erin: That's right. 3:53 Wes: But yeah, you're right. The idea that the moonlight could get caught in that. That's a great image. 3:59 Erin: Something giving chase to the lamb would cause it potentially to get a little ensnared in the chase. 4:06 Wes: It's as if Lambswool has, you know, a lamb is brushed up on the bramble or whatever and left its will so that. So the moonlight, instead of making this cosmic journey and landing on articulating the environment, has been subordinated to the environment. Right. It's become. It's been captured by these hairy woods. It's caught on it and, you know, a piece of it has come off from being caught on something that's scratchy and splintery. So that. That. Yeah, this is the great reversal. And that's the place where you can really get some good sleeping. Yes, right. 4:44 Erin: Yes. And where dreamy things can happen. 4:47 Wes: Divagation. Yeah, wanderings. 4:51 Erin: I looked that up. Wandering, straying or digressing from a main course, path or topic. So like a digression as long as 4:59 Wes: the bus stays on track. 5:00 Erin: Yeah, that's right. 5:01 Wes: You do whatever you want with your mind. 5:02 Erin: That's right. And the night. I just looked on Google Maps while I was writing my little notes in the margins. And if you were to take a bus today from Great Village to Boston, it would take like 10 hours. So it definitely is a, yikes, full course of the night on this night bus. So I love what happens in stanza 16, which begins in the creakings and noises, an old conversation not concerning us, but recognizable somewhere back in the bus. So I really love that it's grandparents voices, she says, uninterrupted talking. This is where the I becomes an us. And this is a characteristic of a bishop. I think she's rather reluctant to use an I, capital I in a poem. She's more likely to use a we or an us. And here it's as if they're all part of the same family now in the bus and the adults. It's almost like everybody on the bus who isn't a grandparent is a child and the adults in the back are talking and we are all, oh, that doesn't concern us. Just go to sleep. It's none of your business. Just stop eavesdropping on us. Right, so there's some community that's been formed already by the people who are not the grandparents talking. Do you get that impression? 6:20 Wes: Yeah, it's a bit confusing. So, yeah, let's try to figure it out. Because it. So it begins. A dreamy navigation begins in the night. She doesn't say, I started dreaming or they started dreaming or we started dreaming. Although it seems almost like it's collective. Right. So that the bus is dreaming or everyone on the bus is dreaming together, which kind of lines up with the not concerning us later on, the gentle auditory slow hallucination. So that's a very interesting idea. Right. The dream is usually associated with subjectivity. Right. The cogito and Descartes. Right. The dream tells us that we might have trouble distinguishing reality from what's in our own minds. And we in our own minds are very potentially cut off from reality. But it's a. It's an alienated individual position here. The dream is. Seems to be collective. And perhaps it's collective because it's partly real. Right. Is that the conversation? I thought, okay, there's a conversation going on in the back of the bus and it is old people talking. But as you're lying back, you could sort of. You can't hear exactly what they're saying. And you might have that kind of half dream, Right. Where you're. The dream is kind of lined up with or intertwined with what's going on in reality. So she's hearing in the conversation of the old people, her grandparents voices. Is that the way you took this? Or. Or they, they're hearing the grandparents voices or. Yeah. How do we, how do we interpret this? 7:54 Erin: I interpreted it as, you know, people of the age of grandparents having a real conversation. But the idea that one could be having an auditory. I mean, we are given the word auditory slow hallucination. So the idea that there could be an auditory hallucination or kind of half dream of one's own grandparents having a conversation, or it may be superimposed on a real conversation kind of inaudible going on on the bus. I never noticed this before. The G in grandparents is capitalized. So it does seem to sit to suggest the speaker's particular grandparents rather than. 8:30 Wes: Oh, I was going to. I thought you were going to say archetypal grandparents. 8:34 Erin: Oh, yeah, I suppose it could be yeah, it could be read that way, too. I think all of these things are true, right? 8:40 Wes: Yeah. 8:40 Erin: I mean, the image works because of the, shall we say, universal particularity of this experience. 8:47 Wes: The ordinary way to write the poem would be to. And a much simpler way would be to put this in her point of view and not try to put it into a collective point of view. But that seems to be what she's doing. 8:59 Erin: Yes. The effectiveness, though, I think is the. And it could just be the speaker's perception of it, but the atmospheric quality, because everyone on the bus is going to share an experience shortly, but already they are sharing an experience and a kind of atmosphere that they're all listening to the hum and having that. You know, when you're in the car and you. Maybe when you're a kid and you put your ear up against, like, the. The car door or the window or something, and you hear orchestral music. I don't know if you ever had that. I used to always hear classical music when I would put my head up. 9:38 Wes: Yeah, I don't think I have that. 9:40 Erin: All kinds of. And I always think, like, I should write this down. But you always have, like, a hallucination of an orchestra playing songs. Different songs. Sometimes like fantastical songs. Yeah. You know, my particular experience maybe doesn't quite get at the. Yeah. The sense that this is shared. 9:57 Wes: Well, you're put into a kind of dreamy state, and yet you're getting at the auditory hallucination part. I mean, for me, I think, as a child, and this, I think, is very evocative of childhood. It's something about being half asleep or falling asleep. You're on a journey and there are adults in the car and there's some. Maybe some sense of safety, I think is very relevant to this poem. But being ensconced in the world of adults and not quite alone when you do this thing, which is potentially very lonely, which is go to sleep. And of course, a lot of kids don't want to go to sleep because that loneliness factor. But it's a much different experience if you're traveling. You're all on the way to something together. And of course, you're with people who are awake and, you know, are going 10:45 Erin: to be awake, maybe because the kids are falling asleep. Their. Their voices are lowered and softer. And maybe that also contributes Right. To the. The way in which. That lulls the children in the back simply because they're aware of not wanting to talk too loudly. Certainly that would be the case on a bus like this, where they're Having a conversation where they're talking in. In lower voices and maybe actually inducing that calm and hum for sleep in the people, the other people in the bus who aren't talking. 11:15 Wes: And the question is, what are the adults doing with their talk? Right. It's not going to work if your parents are just fighting. In this case, it's the grandparents. Voices are clearing things up and I guess bringing certain things to resolution, coming to terms with these losses. But a lot of it does sound a bit gossipy and not necessarily like the most comforting. 11:39 Erin: Yes. Yeah. 11:39 Wes: Sort of talk we could imagine. Yeah. 11:41 Erin: Well, you know, in a situation like this where you might be a child in this car, could be that you're coming back from whatever, like a, like a late night and then the adults in the car are working through whatever has just happened over the course of the night. And. Oh no, she was the one who had that long. Yeah. Who had the criminal record because of that thing, remember where they. Oh, yeah, yeah. That was like 20 years ago. So you sort of get that. But for an entire family history going back ages and ages, talking in eternity. Deaths, deaths and sicknesses. The year he remarried, the year something happened. Oh, yeah, what year was that? Right. Something about the journey afterwards or maybe away from home. If these people are also. If their home is Nova Scotia and they're departing it, you know, then there's that backwards looking quality where something about the idea of the journey and moving away from the place is giving the opportunity to then take stock and look back. So there's this sort of like dual action happening in the poem where the further the bus goes, the further back they're kind of looking from deaths and sicknesses to then remarriage and then childbirth. Son lost when the schooner found her. 12:58 Wes: These are all very blue collar tragedies, right? 13:00 Erin: Yes. 13:01 Wes: He was arrested for insider trading. 13:04 Erin: No, but I mean, you know, there's a reverse order to what's happening, you know, so we get. We have death, then sickness, then remarriage, then dying in childbirth. So there's a rewind is what I mean. Yeah. 13:17 Wes: Well, we come back in the end to death. The way it's all summed up. 13:20 Erin: Insider trading. Sorry. 13:23 Wes: Huh? 13:24 Erin: Sorry, Just insider trading. That really is funny. 13:31 Wes: And he had an affair. No. A sharp indrawn breath. Half grown, half acceptance. That means life's like that. We know it. Also death, you know, and then the question, what does also death mean there? Death knows it, we also know death. But it, you know, it made me wonder at various points I wondered. Well, Is this an element here of a journey to the underworld or to the afterlife? Maybe it's a job not claiming that that's strong thematic part of this, but maybe a hint of that type of thing. Because the journey, I mean, and it does seem like journeys are good places for this or like when I travel, it produces in me a very different state of mind. And I do find it very calming in a way, you know, especially actually being on the train or something like that, because you're in between two different locations and you maybe you're not caught up in the expectations or the constricting qualities of any particular location. If I'm at home, I have to do this and that work, or if I'm at a destination, then I'm dealing with relatives or I have to be a tourist or something like that. But there's something liberating about being in between two locations. So it does seem like a place for this type of dreamy hallucination or this reflection or this clearing of things up. It's almost like therapy. Right? That's what all of this sounds like. People are talking through their problems, but where is it that they get to in the end here? The half grown, half acceptance. So it's not fully acceptance. It sums things up with this, maybe a degree of resignation. So yeah, I don't know. What do you make of the stanza? 15:15 Erin: Well, they're traveling west significantly. Right. I do take a lot of this to be a kind of, say, pre figurement of death, even though at the same time the fact that they're in the woods, the fact that not to jump ahead too much, the fact that the moose will come out of the woods and appear notably in the middle of the road, there is a suggestion of middle age or middleness, or midway in the journey of our life, I found myself within a dark forest. So I think it works both ways, or perhaps it's working in several ways simultaneously for the various passengers. So maybe the speaker is experiencing something more akin to the Dante esque middle of the journey on the bus. And something about the bus journey is also, symbolically speaking, a kind of final bus journey for some of the other passengers. And that intersection seems significant, but I don't know how, just in the sense that there's a retrospective quality happening or maybe even a reversion to childhood that goes on for the speaker and the other people in the bus by virtue of the propinquity to these old people at the end of their life's journey. Because there is very little about middleness Here, come to think of it, other than the moose appearing in the middle of the road. Right. It seems that the other people on the bus are like children and the grandparents are the adults. 16:50 Wes: I mean, I think part of what's comforting when we're children is that feeling that adults know the answers and that adults know how to cope with all the dangers and have experience doing that and therefore can protect us. The reality, of course, as we realize as we get older, is that that's not true. So what they may have is more of this acceptance that's sort of highlighted in this stanza, which is potentially a good thing, but maybe a double edged sword because it does seem to be a form of dying. It does seem to be a form of the very thing that we want to be protected from. 17:30 Erin: There's also, though, that. What I used to call my mom, the external hard drive. I used to say back before she. 17:42 Wes: She liked that. 17:44 Erin: I think now it would make her sad because she'll say, you know, very openly that she. Her memory is gone. But it used to be that she knew all the, you know, you could ask her who said that at that one. You know, there's that kind of. I mean, that's a sort of jokey, gossipy scorekeeping thing that she would keep tabs on. But there's also just the idea of long memory being the history keeper, the record keeper, the, you know, and there's sort of settling accounts over the course of this conversation. Oh, right, it was that year. Okay. And then this happened and then, then that happened. And that's important too, I think, for, you know, it situates children in a context. Not just say this idea of death that you're referring to, but also how to situate oneself in a life. 18:34 Wes: Right. 18:34 Erin: There's a. There's a sort of frame that the grandparents or the elder relatives have that whole history up until you enter the narrative and where you fit within that. We mentioned in part one a little bit about Bishop's family history just to kind of prefigure the types of story that she inserts, I think very significantly into the poem, particularly about poor Amos who just wouldn't stop praying in the store and had to be. Had to be put away. Right. Of course she does a gender swap, but yeah, we all have family stories like this, of this kind of unruly behavior or madness of some kind or other or some sort of family drama. 19:19 Wes: Yeah. So it's universal. But the way she captures it is very clever with this talk that we don't quite know whether it's just the conversation of the people, the old people at the back of the bus, or whether it's her dream or whether it's both or somewhere in between. They're interlaced, those two things. And that. That interlacing gets at this aspect of universality. Although I think by the time we get to the stanza where she's fantasizing about the grandparents and the featherbed, this, it start. Seems to become inescapably personal, which is why I think of the. The point of view is getting more and more focused. Right. With. With time. Yeah. And potentially it's still universal, but it seems almost like a personal memory. Right. So talking the way they talked in the old feather bed. Right. The way they. Her. Her grandparents presumably in the old feather bed, peacefully on and on. Dim lamp light in the hall, down in the kitchen, the dog tucked in her shaw. Shawl. Yeah, get another. And get another dog here. 20:28 Erin: I love this. 20:29 Wes: The collie, the barking dog. And. Yeah, so this, this stanza is wonderful. And it gets at exactly this thing that you've been talking about, which is the, like, comfort of being a kid overhearing adults talking. It really, despite this talk of death. Right. A reconciliation with death. This is the point. Seems to be the point of view of a child who finds this very comforting. And. Right. She'll say in the next stanza, now it's all right now even to fall asleep, just as on all those nights, the way in which the adult world and the safety of protective figures can make sleep okay to do. And then suddenly that's interrupted. 21:07 Erin: But I love too. I mean, yes, it's so particular, but it also just in this one stanza does so many things in miniature that the poem is doing all along, this telescoping in again to a scene which. Which even as a child, if it were her childhood in particular that she's referencing, she couldn't possibly know or see. She wouldn't be able to see the grandparents in their featherbed. She would have to be picturing them in the featherbed and she wouldn't be able to see the dog in the hall. And also I wonder if this. If the stanza in its operation is kind of doing. I mean, this is just occurring to me now, but maybe it's doing that kind of hallucinatory work that has prior been described where we actually get a remix of, you know, this is the third dog in the poem. But it's also the elements in the stanza are a kind of recapitulation of the light, the red light swimming, the port Lantern becomes the lamp light in the hall. We get the dog barking now becomes the dog curled up in the shawl. And then maybe even because we also get kitchen, maybe the shawl is even a kind of transposition of the table, tablecloth shook out. Right. So there's something actually in the stanza which has that hallucinatory quality that she's describing where these three elements swim in the imagination and then become the lamplight and the dog and the shawl in this half asleep kind of dream space. Maybe that's pushing things too far, but it does seem to be. It's the dreamiest stanza perhaps in the whole poem. Maybe the following one. Now it's all right now even to fall asleep. But this gets interrupted that next stanza. So this one, I think is the real depth of the dreamy or borderline dreamy or hallucinatory moment. 23:00 Wes: Yeah, this is great because it really underlines the way deviation creates the capacity for stasis or for comfort. So the deviation of a bus trip or of the dreaming. Right. Which is movement, which is dynamic and has that momentum, forward momentum that we were talking about, sort of underwrites or grounds this ability to. For stasis, for stopping, for going to sleep, for feeling comforted as a child and safe, I think. And I keep repeating that word because of the. What's going to happen. The use of the word that's going to happen in this poem later. But yeah, I'm not sure if you were saying that explicitly, but that's what came to mind my mind as you were talking. This. The way in which this journey, devigation, motion can ground something that's going to be more static or stationary, which is what we're going to get in the moose. Because it interrupts the. It explicitly interrupts the motion of the bus and the external line of the poem in a way that parallels the comfort that's produced by the dreaming. 24:08 Erin: Yeah. In stanza 22 is where we have that break that you're describing. The moose finally appears. Well, the moose doesn't appear until stanza 23 finally appears. 24:21 Wes: We've been waiting for you. 24:22 Erin: We've been waiting for you. The title has promised that you would come and then here you are. It is foretold of your coming. 24:29 Wes: Comes through the curtains, takes his bow. Right. 24:32 Erin: We get nights, just as on all those nights. And then the moose's appearance, the lights turn on. And that rhyme you get, I mean, it's a very basic, simple rhyme. Right. But there's that sort of sudden jolt which is then also visualized where in the middle of night we have this appearance, this bright because of the headlights on it. Appearance of the moose. And it looms and sniffs at the bus's hot hood, which I'm assuming means that it thinks that the bus might be a boy moose. 25:06 Wes: No. Well, it's a very hot bus, I'll say that. 25:10 Erin: Ow. Ow. 25:14 Wes: That enamel. And it's dented and, you know, depends on if you like bad buses. No, just kidding. 25:21 Erin: Dented from its last encounter with a girl bus. 25:25 Wes: Yeah. It's funny because I wrote in my notes, but was just reading it stanza by stanza. And the previous stanza I'd said, okay to sleep, even with death looming. Looming for all of us, you know, all day one. You know, one day we all die. Blooming in that sense. And then suddenly the moose is looming, standing there, looming. And I thought, whoa, that's really interesting 25:45 Erin: that I. Oh, yes, chose. 25:48 Wes: Chose that word before I even got to the next stanza. Not to give some, you know, obvious rote sort of identification of the moose with death or the experience of the moose as having something to do with that. But obviously they're coming into contact here with something quite primal and important. It's not just, oh, look, there's a nice moose, but is he sniffing or she's sniffing the buses hot hood because she thinks it might be another moon. That hadn't actually occurred to me. 26:21 Erin: I must have been infected with that reading at some point that this was a frisky moose, that it otherwise doesn't seem frisky at all. It seems pretty. Like a pretty staid, respectable moose. 26:34 Wes: But frisky and ditzy. 26:39 Erin: That's right. Hello. 26:41 Wes: What? 26:41 Erin: Oh, look, I seem to be in the middle of the road. Pardon me. 26:46 Wes: So, towering, antlerous, high as a church, homely as a house. We're safe as houses, a man's voice assures us. Perfectly harmless. Which you presume, right, that the. The man making that assurance is. Precedes the idea of it being homely as a house and safe as houses. Even though. So. So she interestingly puts the associations before her associative responses before the actual stimulus. Right. I don't think she's the one who is thinking about how they must be safe and. And he's saying something. I mean, as far as I know. I don't know back then. But you were warned about bison and mooses, right? Or is it mooses or moose? I think we're warned because they don't. They. They seem harmless, but they're not. And so I was quite surprised by this stanza. And I thought this idea, okay, safe as houses. Well, yeah, houses ought to be safe, but they're not always safe. The bus, the moving container of the bus turns out to be, in a way safer and more conducive to reverie and dreaming and all of that. 27:59 Erin: No matter how you slice it, whether you see the moose as harmless, truly, or not so harmless, this has got to be just a little bit of a wink, right? A man's voice assures us. 28:09 Wes: I mean, I think we're definitely meant to be skeptical. 28:12 Erin: Yeah. 28:13 Wes: This perfectly harmless line, it's not there for us to nod our heads in agreement. 28:20 Erin: Oh, yeah, he's right, right, right. I think it's more like, oh, here's another mansplainer. 28:26 Wes: He's moose splaining. 28:28 Erin: Mooseplaining this woman moose to moose splaining. Just out for a good time, having her existence commented upon by another man's voice. Probably a podcaster. One of those male podcasters has a manosphere podcast. 28:45 Wes: Girl mooses are. 28:49 Erin: Then we get these childish again. The passengers are like children and having this childlike response to the appearance of the moose, including. It's awful, plain sad. So much judgment of women's bodies. 29:04 Wes: I mean, they're not good looking creatures. Let's just. They're, you know, put that on the table. Come on. They are in an ugly sort of way. 29:11 Erin: Yeah. I mean, okay, I guess they don't follow, you know, classical proportions. They don't represent the golden mean. 29:21 Wes: They're not into beauty society societal beauty standards. All right. 29:28 Erin: They are like cartoon characters. 29:29 Wes: They're miss Positive is what they are. 29:35 Erin: Well, what I love though, about the description, you know, we get several, I suppose. Yeah. Contradictory descriptions of the moose in a way, because we get homely as a house or safe as houses. We get awful plane. But then she looks the bus over grand otherworldly, so she has some gravitas. She's like a great character actress who. Who may not be beautiful in that leading lady way, but she's Kathy Bates. Yes. Yeah, well, that's maybe a bit insulting to Kathy Bates, who I do think is a very attractive woman, but. 30:19 Wes: Sorry, Kathy. 30:20 Erin: I know, I love her. 30:21 Wes: Come on the show sometime, please. 30:24 Erin: Oh my gosh, I would die. I love Kathy Bates anyway. And then we get curious creatures. Well, first we get the idea that it inspires joy and then we get curious creatures. So there's a. The joy is then immediately undercut by a kind of ambivalence. Right. So there's just all of these descriptions of the moose combine to create a kind of ambivalent portrait, such as it is, of the animal. 30:47 Wes: Are we going to be able to answer this question? Why? Why do they feel the sweet sensation of joy? I mean, I think I would probably feel it. 30:57 Erin: Why? Why do we all feel it? I mean, they have. Well, they've successfully done what I couldn't see a moose in real life. So they're like one up on Erin. Can't wait to go back and tell her we saw moose. Yeah, I've seen certain things. I can't think of a specific example of this, but I've had plenty of instances. Whether it is a wild animal or, I don't know, like a sunset or a really spectacular natural event of some kind or other. You do get that feeling of joy, kind of excitement. 31:28 Wes: Yeah. Unfortunately, most of my encounters with large animals are at zoos. I did see a bear once. I was going to the bathroom. My mom had a house in Front Royal, Virginia, at the beginning of the Appalachian Mountains. And it was up high on a. We called it a mountain, but it was, I guess, more of a hill. But so it was out, you know, it was kind of. There was a bear on the mountain, let's just put it that way. And, yeah, I was going to the bathroom one day and looking out the window. There's a window right. You know, above the toilet. And suddenly there's bear's face looking at me. Wow. What the. So, but that, you know, and. And that was majestic. No, just kidding. That it was. I. It was surprising. 32:13 Erin: Yeah. 32:14 Wes: And there's an element of fear that involved. Even if you're, you know, even if, you know, black bears are harmless and there's a wall between you. Some. Something scary about it. I didn't have time to feel like it's majestic. Yeah. You know, like you have had these experiences in. In nature, but I can't think of a encounter like this. But it. I seem sure that if I had an encounter like this, I would feel exactly the same way. So. Yeah. What is otherworldly about it? What is majestic about it? It's a big, dumb beast. And I say that with love, without any criticism in the sense that. Right. It's an encounter with something primal. And I think we have to take into account the size of the animal as well. I mean, it is interesting to run into a fox or something like that, but it's also a matter of scale here. But. Yeah. What is otherworldly about it? I mean, I think the most. The most obvious part of this is that you know, we have lost something in our humanity and becoming language using creatures and becoming self conscious creatures. And sometimes when we're confronted with an animal like this, we're confronted with that loss. We're not as connected to the environment because of the intermediation of something like language, which poetry of course tries to overcome. It tries to put language into a disintermediating. Sorry to use these business terms. I don't know why this is happening. Into a disintermediation. 33:46 Erin: Actualize. Yeah, yeah. 33:49 Wes: When it. Yeah, right. Synergize it's agenda. Often where language might put distance between us and the world. Poetry, I think, can undo that distance. Like I was saying, with the very vivid imagery, I can undo that distance with figurative language. And maybe that distance is also undone to some extent by the dreaming or the half dreaming hallucinatory state that she was in. And the comfort of that, the return to childhood, which is also a simpler time. I don't know. I'm thinking out loud here. But yeah, I wanted to try to get more at this, you know, the otherworldly status of the moose and the joy that comes from encountering it. 34:34 Erin: I was thinking to myself, is the moose's gaze really clearly encapsulated? And then I thought, yes, she regards us amicably. And then I was like, no, no, that's the passenger who gets on the bus. 34:44 Wes: Right. Does the moose have freckles? Yeah, that'd be an interesting twist, right? 34:50 Erin: But yeah, but there is one. 34:51 Wes: Turned her into a moose. 34:53 Erin: Well, I would think that this would be a more garden variety animal encounter and maybe even a more, to use a word, I don't like, problematic poem in terms of its relationship with the animal. If it were to focus on the gaze of the animal. Because I think that is the thing which is often at the core of these interactions with animals in which we project or hope to have a kind of meaningful encounter. You want to meet the gaze of the animal and in so doing understand it. Right. And of course you don't realize that you're just projecting onto it a kind of maybe mutual regard. She regards us amicably. That you are seeing it and it is seeing you. And there's an acknowledgement and there's this, you know, spiritual encounter that you have with this animal. And all of that, of course, is often quite silly. It's often quite reductive and fanciful and unrealistic. But I am thinking of an encounter that springs to mind is in Utah. I hiked the same trail almost every day. And I Would often hike it late in order to escape the full heat of the desert sun. Which is a little dangerous, right? Because sometimes the sun would be setting and then all kinds of things come out. And one time I was trying to get back to my car before it got completely dark. And what I thought was a wolf, but what must have been a coyote. And the coyotes in Utah are huge. They look like wolves and completely white. Came out from over a hill, crossed my path, turned, looked at me in the eyes for a very long time, turned and went over on the other side of the hill. I mean, curiously, then, of course, I got to the car and I actually found out that a beloved family member, an elderly family member of mine, had passed away. And I said, I think I just saw her. You know, I had this feeling of, like. I don't know, the sense of this connection, inherent connection between these two. This woman who was dear to me and this encounter. But, of course, that's all silliness. And the idea that I was having a sort of interaction through the gate. Some sort of reciprocal. Right. Interaction with this animal was also entirely just my own projecting onto the animal. However, I will say that that's an instance in which I felt fear. But then there was also this, like, joy at the encounter, I think fear because it was dark. Because I wasn't actually sure if this was a wolf because it blocked my path. It was far enough away that I didn't feel as threatened as I might have. But it was definitely a mixed perception. 37:28 Wes: You didn't shoot it and then hang it around your neck. No, because I was thinking. I just suddenly thought of the albatross poem. 37:37 Erin: Rime of the Ancient Mariner. 37:38 Wes: Rime of the Ancient Mariner. And that sort of relationship to the natural world where. I mean, I forget what we said about it, but maybe I said something about envy and wanting to kill the albatross for. Because of its freedom or something like that. I don't. I don't know. But I think it's important because, yeah, this is part of something about the encounter with the natural world. Whether it's a big moose or something else. Yes. Is otherworldly. Strangely enough, it's otherworldly to us, even though it's where we come from. It's uncanny, maybe. And Freud actually, in the German, I think uncanny is sort of like unhomelike is what the German sounds like. And Freud made a lot out of this. I think it's home, but it's a home from which we've become alienated. We're animals, we're something more than animals. And so that primal encounter brings us back to that foundation, that natural foundation in us, but we can't fully come to terms with it. And I think the other aspect of this, I think the death. Right. So there is a link to death. Just. And I was thinking about that when you described thinking of it as seeing. As seeing your departed loved one. Because if we could regress to that animal state, it would be a kind of death. I think that the association with the movement to the pre. Linguistic, natural foundation is something like the movement towards dying, but there's something comforting. 39:07 Erin: Yes. 39:07 Wes: Right. And we encounter that when we encounter the gaze. To have a. Have a gaze returned by an animal like that usually like, like our internal. Our entire psychological structure, what makes us self. Self conscious is the internalization of a human gaze. Right. To the extent that we. We get an animal gaze, I think we are returned to that more primal part of ourselves. And it does seem to me to have something to do with being reconciled to mortality. Right. Which is part of what the function of that dialogue between the elderly people is doing. 39:44 Erin: You're leading me into the one, say, reading of the moose that I wanted to get to. And I just want to say that I think the great thing about Bishop and about this poem and all her poems is that the moose is a moose. It's not a symbol. I hesitate to offer any kind of 40:03 Wes: direct reading, but that's her job on this podcast, though. 40:05 Erin: I know, I know. It's. Yeah. In the letters with Robert Lowell when he's writing to her about her poem at the fish houses, he says, alas, all my fish just become symbols. 40:16 Wes: Ah, very good. 40:17 Erin: I hesitate to reduce. I think what you've just said makes me think that it's the maternal, the mother. 40:25 Wes: Which also brings us back to the house. 40:28 Erin: Yes, the house. Yeah. It's something that comes like the clapboard churches, like clamshells seem to arise out of the ground, if you will, or are directly compared to these native creatures. The houses are then in turn used as comparisons for the moose, the maternal. The idea that this is something that returns us to nature, that this is the encounter that we would have presumably upon death. It's the loved one that is somehow comforting, maternal, and is a female moose. It's moose mom. I don't know. I don't know. Something going on there. 41:04 Wes: Moose mom. 41:05 Erin: Natural and strange at the same time, not us. And I guess that's why I. That's why I mentioned that the story of my grandfather at the beginning, because I don't know why I wanted so badly to see a moose right after my grandfather's death. But there was something, like, logical about it to me. And I was familiar with this poem, but I very much did not have. You know, it was not something that was the forefront of my mind at all. But I think there is this inherent connection, and it's silly. You know, I kind of can't believe I'm saying this, but I do. I do think there is this kind of connection between this desire that I felt to see this animal. Like the particular kind of primordial itch that the moose in particular seems to be scratching for me in that moment. For Bishop, in this poem, something that is at once safe and comforting and from another world, natural in that kind of elemental way. 42:00 Wes: Yeah. 42:01 Erin: That all kind of coalesce in that image. 42:04 Wes: Very good. 42:05 Erin: Okay. I think that's it, Wes. All we're left with is the dim smell of moose and an acrid smell of gasoline. 42:12 Wes: Oh, you know, we should have talked about that. Maybe we can start with that on our next Bishop recording. We'll. We'll begin with the smells, the smells and the significance of that image at the end. 42:25 Erin: Nice. 42:25 Wes: That smellage at the end. 42:26 Erin: Smellage. All right. Thank you. 42:29 Wes: Thank you.