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Nowadays, scrappy pirate broadcasters rule over shortwave radio. On this week's On the Media, an unlikely group of finance bros have plans to take over the frequencies for their own gain.  In recent years, creative, often music-focused pirate broadcasting has been thriving on shortwave radio. But these surreptitious broadcasters are up against a surprising enemy: Not the FCC, but a deep-pocketed group of finance bros that is trying to wrestle the airwaves away from the public, and use them for a money-making scheme completely antithetical to broadcasting. This week we share an episode of The Divided Dial, which first aired last year. Reporter Katie Thornton asks: What do we lose when we give up our public airwaves?  On the Media is supported by listeners like you. Support OTM by donating today (https://pledge.wnyc.org/support/otm). Follow our show on Instagram, Bluesky, TikTok and Facebook @onthemedia, and share your thoughts with us by emailing onthemedia@wnyc.org. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

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.

It's just Will and Sam holding down the People's Airwaves tonight, which means any semblance of structure is abandoned almost immediately. After going thoroughly off the rails, the comrades manage to drag themselves back on topic for a quick dive into the Soviet SVT-40, its history, quirks, and place in the Red Army. Then they debut a new segment dedicated to the weird, wonderful, and occasionally questionable world of random Russian military vehicles. It's rifles, Soviet machinery, and two guys demonstrating exactly why they probably shouldn't be left unsupervised with microphones.

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: A poem about a map opens north and south, the first collection of the great 20th 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 handheld, 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. Over the next few episodes, we'll 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. This is Erin O'Luanaigh. And this is Wes Alwan, and you're listening to Subtext. Wes, have you ever seen a moose in the wild? 1:12 Wes: I have not, but I have seen Instagram videos of them and people getting too close, and I've heard that they actually are quite dangerous. 1:23 Erin: Oh, perfectly harmless. 1:24 Wes: As cute as they look. So not safe as houses. Which is a very surprising line, unless you think that houses maybe aren't as safe as they seem or ought to be. But that's something we'll talk about later. How about you? 1:38 Erin: I have not. And I actually, it's become a running joke among certain friends of mine that I haven't seen a moose because I long to see a moose in the wild. This is my dearest wish. 1:52 Wes: Is that the first time anyone said that in history? I long to see. 1:56 Erin: I don't know. 1:57 Wes: It's a good first line for a poem, actually. Why do you long. Long to see a moose in the wild? 2:03 Erin: Really? Maybe because of the poem. I don't know. I just really want to, but I. Maybe this will become significant without getting too personal or maybe with getting too personal. With apologies to the listeners. Ten years ago now, when my grandfather passed that summer, my grandmother wanted to go up to Maine and revisit certain places that she had been with him. And we ended up going to Acadia. And I was so excited to see. Am just. I got it into my head that I had to go to Acadia and see a moose. And I even bought a sweatshirt. I'm not wearing it right now. I looked down to see if I was wearing it. It's the same size and shape as this one. This is a Yankees, 1996 World Series sweatshirt. 2:42 Wes: It's not a Rocky and Bullwinkle sweatshirt, is it? 2:45 Erin: No, no, no. It's an acadia and it has a. It has a mousse on it. And so I bought it the first day that I was there and I was like, this is my sweatshirt and it has a moose on it. And I'm gonna. I'm gonna see a moose. And I did not see a moose. And then I. I bought a moose sweatshirt in, I think Grand Teton, and I was like, I'm gonna see a moose. And I did not see a moose. And then I lived obviously many years in Utah, and things would happen. Everybody knew I wanted to see a moose. And I would go to these trails where you could see moose. And I would like be going up a trail and someone would be coming down saying, there are moose up there. We just saw a moose. You just saw baby moose. I'd get all upsided and I would. I would run up and it was gone and people would taunt me. 3:32 Wes: So you don't want to see like a magic white heart or something like that? 3:38 Erin: No, no, I just want to see him. Even the garden variety moose? No, no. Just a humble moose will hide itself from me when. When it knows that I am after it. 3:49 Wes: Because they are a goofy, right? Are they majestic? Are they goofy looking? Are they both? 3:55 Erin: I think they're both. And I think that kind of qual quality is really well captured in the poem. No, I mean that quality of if not being then looking safe as houses or being a gargantuan size, and yet having. I know this is a female moose, which I believe is called a cow, as opposed to a bull. Right. But the bulls, even their horns have that hand like quality to them. You know, it looks kind of like an outstretched hand. 4:22 Wes: Interesting. 4:24 Erin: Yeah. They're not majestic. 4:25 Wes: Yeah, I think that's important to the poem. It's not some obviously majestic creature, although it is large and there is majesty in it in the poem, but it's not the typical majesty that you can just get from, oh, look at this beautiful animal. 4:41 Erin: Yeah. And this is kind of why I brought up my grandfather. There was some connection for me as I think there is something quite personal going on with the moose at the end, other than the shared experience of everybody in the bus, all of that. Like there's something bigger than us, more than us, and yet familiar in a way. And it's magical in a sense, because to see it is kind of a rare thing. Yet it also comes out of the landscape that she's that she's grown up in and that she's part of. I think there's a. Yeah. A lot of interesting dualities going on. 5:17 Wes: Okay. So maybe you can read the whole thing and then you could give a little bit. Or we could give a little bit of the biographical background because this is a bus trip she actually took. Right. 5:26 Erin: Yeah. 5:27 Wes: The significance of Nova Scotia, which is where she's departing from in the poem and all of that stuff. But. Yeah. Do you want to start by reading? 5:35 Erin: Sure. The moose from narrow provinces of fish and bread and tea, home of the long tides, where the bay leaves the sea twice a day and takes the herrings long rides where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home, where silted red sometimes the sun sets facing a red sea and others veins the flats. Lavender rich mud and burning rivulets. On red gravelly roads, down rows of sugar maples, past clapboard farmhouses and neat clapboard churches, bleached ridged as clam shells, past twin silver birches through late afternoon a bus journeys west, the windshield flashing pink, pink glancing off of metal, brushing the dented flank of blue beat up enamel, down hollows, uprises and waits patient, while a lone traveler gives kisses and embraces to seven relatives and the collie supervises goodbye to the elms, to the farm, to the dog. The bus starts. The light grows richer. The fog shifting, salty, thin, comes closing in. Its cold round crystals form and slide and settle in the white hen's feathers in gray glazed cabbages on the cabbage roses and lupins like apostles. The sweet peas cling to their wet white string on the whitewashed fences. Bumblebees creep inside the foxgloves and evening commences. One stop at Bass river, then the economies, lower middle, upper five islands. Five houses where a woman shakes a tablecloth out after supper. A pale flickering gone the Tantramar marshes and the smell of salt hay. An iron bridge trembles and a loose plank rattles but doesn't give way. On the left a red light swims through the dark. A ship's port lantern. Two rubber boots show illuminated, solemn. A dog gives one bark. A woman climbs in with two market bags. Brisk, freckled, elderly. A grand night. Yes, sir. All the way to Boston. She regards us amicably. Moonlight as we enter the New Brunswick woods. Hairy, scratchy, splintery moonlight and mist caught in them like lamb's wool. On bushes in a pasture the passengers lie back, snores some long sighs. A dreamy divagation begins in the night, a gentle auditory slow hallucination in the creakings and noises, an old conversation not concerning us but recognizable somewhere back in the bus, grandparents, voices uninterruptedly talking in eternity, names being mentioned. Things cleared up finally. What he said, what she said, who got pensioned. Deaths, deaths and sicknesses. The year he remarried, the year something happened, she died in childbirth. That was the son lost when the schooner foundered. He took to drink. Yes, she went to the bad when Amos began to pray, even in the store and finally the family had to put him away. Yes, that peculiar affirmative. Yes, a sharp indrawn breath, half grown, half acceptance. That means life's like that, we know it. Also death talking the way they talked in the old featherbed, peacefully on and on, dim lamplight in the hall, down in the kitchen, the dog tucked in her shawl. Now it's all right now, even to fall asleep, just as on all those nights. Suddenly the bus driver stops with a jolt, turns off his lights. A moose has come out of the impenetrable wood and stands there, looms rather in the middle of the road. It approaches, it sniffs at the bus's hot hood, towering antlerless, high as a church, homely as a house or safe as houses, a man's voice assures us, perfectly harmless. Some of the passengers exclaim in whispers, childishly, softly, sure are big creatures. It's awful plain. Look, it's a she. Taking her time. She looks the bus over, grand, otherworldly. Why. Why do we feel. We all feel the sweet sensation of joy? Curious creatures, says our quiet driver, rolling his Rs. Look at that, would you? Then he shifts gears for a moment longer by craning backward. The moose can be seen on the moonlit McAdam. Then there's a dim smell of moose, an acrid smell of gasoline. 11:05 Wes: Thank you. Very nice. It's really great to hear it spoken out loud. Spoken is the wrong word. It's the word read, performed. Do you want to say anything about the form of the poem before I ask you about some of the autobiographical background? 11:22 Erin: Yeah. Short lines, six line stanzas, 20, I believe. 28 stanzas in all. Irregularly rhymed, should we say? Kind of like a lot of bishop, you know, we get A, B, C. Then sometimes not rhymed where you might expect. So the rhymes peek their heads out and then. And then recede. Chatty a little bit in places, lots of repetitions of words. But that. That's something we could talk about More. But, yeah, kind of. Kind of mysterious form. One of the best things I've ever heard or read, I guess, about Bishop was by Michael Hoffman, who wrote quite a bit about her. And he said that it seems as though every time Bishop is writing, whether in form or in a kind of nonce form that she's creating, that she seems to be just inventing every form, like from scratch. You know, there's no blueprint. She doesn't have a familiar style in which she writes or particular kind of verse form that she seems to gravitate to. And when she writes, you know, a sistina or a villanelle or a sonnet or something like that, it seems like she's almost inventing the form as she goes along. And in this instance, there's a real. I keep wanting to say homemade after Crusoe in England. But, yeah, I think that's maybe what he was trying to get at, that homemade quality, that sort of bespoke kind of quality. And in the places where the rhyme goes in and out, I think that's really exemplified. 12:53 Wes: Well, it better be bespoke. She took forever to write it. 12:55 Erin: Yeah, that's right. She started this in, I think, 1946. 13:01 Wes: And then she finished it when this 13:04 Erin: was published in Geography 3. So she finished it in the 70s. 13:07 Wes: Okay. 13:08 Erin: Geography 3 came out in 1977. And this must have been published before then, individually, perhaps in the New Yorker, I think. Oh, geography three is 76. I would say maybe 72 is the date that comes to mind. Don't quote me on that. 13:24 Wes: Do we know why it took her so long? Obviously, she put it down for a couple days here and there. 13:29 Erin: It was the July 15th issue, 1972. So close to the day that we're recording. Why did it take her so long? She just worked on things forever and ever and ever. You see it, if you read. I highly recommend to listeners that they Get Words in Air. A very, very thick book of all the letters between Bishop and her friend Robert Lowell. You see her bringing up things or even mentioning in a description that she's writing to Lowell in a letter, a line that will later show up in a poem. Yeah. Low rate of productivity is great to. 14:08 Wes: You know, I can relate to that. 14:11 Erin: I take it as my model, honestly. Like, you know, live. Live Large and die with a slim Collected is kind of a. 14:19 Wes: Kind of a great Monroe Doctrine. But call it. What's another name? Bishpro. 14:28 Erin: That's right. 14:29 Wes: Is it right that she was forced to complete it because she agreed to read it this is something for deadlines. Right. At Harvard's Phi Beta Kappa ceremony. 14:38 Erin: I didn't know that. I know she read it at that ceremony, but I didn't know that that's what. The impetus for completing it. But that doesn't surprise me. 14:45 Wes: Yeah. So deadlines help every once in a while. 14:47 Erin: Absolutely, absolutely. 14:49 Wes: And then biographically. Right. This is based on a trip that she actually took, and she. She'd been to visit relatives in Nova Scotia and then came back on this bus trip. And the. There really was a moose. There really was a collie. Seven relatives for the rest of it. Yeah, yeah. Seven else. 15:11 Erin: Yeah, yeah. The specificity and all of it's. You know, there is a kind of like a photo realism, not just in the style, but in the. You know, we could sort of be certain that these things happened the way that she is recording them somehow, and yet she's spinning it into something more than just reportage. 15:30 Wes: So she was raised partly by her grandparents in Great Village, Nova Scotia. Right. Her. Her father had died in infancy and her mother was institutionalized. 15:41 Erin: That's right, yeah. 15:41 Wes: She aged at. When she was 5. 15:43 Erin: That's right. 15:44 Wes: So it's important just because. Yeah. The bus is leaving Nova Scotia, but go. Go ahead. 15:48 Erin: Yeah, it is important. She was born in 1911 in Worcester, Massachusetts, and she's buried there. I've seen her grave up there. It has a line or two lines from the bite on her tombstone. All the untidy activity continues. Awful but cheerful. Yeah. So she was born in 1911. Her father died, I think, of Bright's disease when she was 8 months old. And then her mother was institutionalized when she was 5, and she never saw her again. She didn't die until the 30s, I think, while Bishop was at Vassar. 16:23 Wes: Do we know what she was institutionalized for? Mental illness in general? 16:28 Erin: Yes. I don't know exactly what. In a short story of Bishop's, she describes as her. A scream coming from her mother. And whatever was wrong was exacerbated by her husband's death. And so then Elizabeth was left to be raised by her grandparents in Nova Scotia who were quite poor. And I guess she was kind of running around barefoot on the farm and stuff like that. And her father's family were very wealthy, and so when they came up to visit Elizabeth, they were, I guess, horrified by the fact that she was just like, you know, running around, hanging out with farm animals. And they took her to. Back with him to Worcester, and she was very unhappy there. Very ill child. She had asthma and eczema. And really, like, I think almost died of both at one time or other, very unhappy. And then eventually she moved to an aunt's house in, I want to say, in Revere, Massachusetts, and she was a little happier there. And then she went to Vassar, and I've been to the Vassar campus to see various buildings associated with Bishop and also to see. They did a really fabulous exhibition of her postcards at the Vassar Library a couple of years ago, which I really loved, seeing her hand and her little. In jokes and asides and really amazing to see. Anyway, at Vassar, the librarian there set up a meeting between Bishop and Marianne Moore, who became a mentor to her. They were very close. And then also over the course of her life, she was very close with and had an important friendship with Lowell. Hence the enormous book of letters. I have it here. It's so heavy I could barely pick it up. But this is a great book. It's kind of like an epistolary novel. Yeah. And she was. I think it's important to say, too, that she was a lesbian who had a very long relationship with a Brazilian architect named Lota de Mecedo Soares, who was her partner in Brazil for 15 years. She lived down there, known for travel. A lot of her collections, whether it's Geography three, which is the most obvious one, or north and south, have. There are a lot of Brazilian pumps. There are a lot of geographical poems. The first poem in her first collection, north and south, was the Map, which is often read as a kind of ars poetica. She's known for these types of, you know, sweeping landscapes that the moose begins with, and an interest in landscape and in this kind of bird's eye view. But then also you get these telescoping details, like a cinematic close up interspersed. Much is made of that in Bishop, of that kind of vision of hers, and specifically of, I don't know, the idea that she creates these. These beautiful miniatures, which is true, but maybe sometimes can be a little. I mean, she's revered, as she should be, and she's one of the most popular poets and she also has a great ear and she has so many other great things going on. So I don't want to exclusively focus on that kind of visual element, though it's there and it's very rich. 19:43 Wes: So from narrow provinces of fish and bread and tea. That's a very good opener. Why are they narrow provinces? And what is the. What are the fish and bread and tea doing? Fish and bread sounds vaguely like it could be a biblical reference, but maybe it's not. But you add tea. Right. There's something mundane here and perhaps restricted, provincial. And that's what she's going to be departing from. I mean, well, begins with the tides, but. 20:12 Erin: Yeah, right. Yeah, that's right. Narrow in a few kinds of ways. Because there's a strange. Because of the Bay of Fundy, there's almost that like U shaped corridor of land around it. So Nova Scotia is kind of narrow. And then up into. Then there's the narrow isthmus. I don't know, I don't know if I'm using that word correctly. Up into New Brunswick. Yeah, so there's something maybe a little, I don't want to say spiritually narrow, maybe somewhat limited or like practical. Practical and, you know, just the necessities and a place we learn that that is. That maybe has to be stalwart in response to the vagaries of the water around it. The Bay of Fundy, I was reading online, the tide, over the course of just one tide, can rise and fall 50ft because the bay is like a giant funnel. When it goes out, it just leaves this vast, open, muddy plain basically behind it. 21:16 Wes: She portrays this very beautifully. We get the image of the tide retreating and then the flats that are being illuminated by the setting sun as burning rivulets. And then there's almost a transition into the bus ride when she says on red gravelly roads, eventually the subject of that is going to be the bus. Although in the beginning, before we get to the bus, it looks like the rivulets have almost become roads. So you almost get the sense like the tides come in and it's going to go further inward, it's going to go all the way to Boston, but it's going to become the inhabitants of the bus who are much like the herrings. Right. In the first stanza. The herrings on the tides take herrings on long rides. So it's almost as if as the tide comes in, she is caught in the tide and brought along with it towards her destination. 22:08 Erin: That's right, yeah. And the bay itself, the water itself is also like a traveler, you know, you might go to visit it and find it's not at home, it's gone out for on a trip or something. So there's also that connection as well. Whereas the roads are part of this more solid and dependable and the water being fickle and not always depended on to be there. 22:31 Wes: Well, I was going to say there's something very poignant about the way she describes the tides and whether they're in or out. And I can't put my finger on it exactly. It's almost. It's this idea of. Right. Where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home. If the tide is in or coming in the river clashes with it in a wall of brown foam. Is that the idea now? And what's the image there? Is it always a wall of brown foam? Well, either way, I just. Something about this idea of. It depends on whether the bay is at home or something like that. It's a poignant image. 23:12 Erin: It is. It's that sense of just. Of disappointment or just missing someone, like a missed opportunity. Seems kind of surprisingly emotionally resonant, considering that she's talking about a tide. 23:25 Wes: And we. You know, it introduces the idea of home and. Which I think will be significant. And later on we'll talk about whether the moose is safe as houses and the reflections of the elderly and all that stuff. But. 23:40 Erin: And boundaries, too, right. You have very slippery boundary between the bay and the. And the sea, between the rivers and the bay that feeds them. And I think that boundary very much plays into the idea of home. And you could say that the bus seems to be a part of that too. Right. Like the bus becomes the home. So there's a little bit of the slippery idea of this transposition of home life into the bus, or the people on the bus all becoming the. We like a family within it. The way that it can literally cross national boundaries. It's going to Boston across the border. 24:18 Wes: Yeah. And then they'll be observing provincial life, I guess, from within the bus. And. And, you know, a woman shaking out an apron, for instance, or home life. But, yeah, I had the same thought to you. The bus. The interior of the bus becomes its own kind of mobile home, I guess. I guess the wall brown foam part. There's that push and pull, or it's a matter of who's doing the pushing. Right. In one case, the brown foam. The wall of brown foam is caused as. As the river pushes on the retreating tide. And the other case, it's the tide pushing back against the river as it comes in. But in either case, there's a clash there. 24:58 Erin: Then there are places, though, where there's blurring of boundaries. Like one of my favorite lines in the whole poem, the idea of the churches as ridged as clamshells. She always takes that. This is much remarked upon among scholars of Bishop. Where you get the thing that's. That's really big, suddenly reduced in size to the handheld, but coming out of the same idiom. You know, both the clamshell and this clapboard church are in a way equally native to Nova Scotia. The brilliance of connecting those two things and fishing being an industry in the area, you know, sort of springing out of the fishing industry. 25:42 Wes: Yeah. And shells are what's left as the tide retreats. Right. As it's as if the houses are just the natural residue of a retreating tide. 25:52 Erin: That's great. 25:52 Wes: From the beginning of the poem, there's a sense of momentum, and almost like you, at least in my case, I felt like I'm on a camera moving over the landscape, and it starts with the tide, and then it moves to the burning rivulets. Right. So now we're hovering over. I don't know what you would call it, a. A tidal plane. Anyway, she calls it the flats. Right. So all the silt, and we're moving along there, and then suddenly we're on a gravelly road. So the sun takes over from the sea. The redness of the sun. And then the bus takes over from the sun. But that's the momentum of the poem is from sea to sun to bus. 26:37 Erin: Yeah. The bus flashes pink. We get lots of pairs of the same word, creating a kind of chime with each other. So we get the windshield flashing pink. Pink glancing off of metal. And we wonder, I suppose, because part of the reason why the roads are red is because of the clay content. Right. Of the road itself. So we get that combination of, like, something red in the road or in the composition of the soil and rock of the area. 27:07 Wes: Laterite, I think, which I only know because of Graham Green, who I've been reading. Oh, and what heart of the matter. He's talking about laterite houses, like. So from the red clay, you can make, you know, homes from as well, and common in Sierra Leone. So he used the word like a hundred times before he finally looked it up. All right. There must be something that's going to not know what he's talking about. I'm like, oh, okay, now I get it. Yeah. 27:41 Erin: So that's the mineral, the. 27:44 Wes: It's reddish. Yeah. Reddish clay type of soil, topsoil or something like that. I should know more about this because I used to write about this, too, when I was writing about transportation and engineering. 27:56 Erin: Right. 27:57 Wes: It's important what kind of soil you're building on. But anyway, I remember nothing about that. But, yeah. So it could be the right word. Who knows? But. But, yeah. So you're getting at the. Yeah. The way the redness of the sun is interacting with the. 28:12 Erin: Yes, it's coming. 28:13 Wes: The redness of the soil. 28:14 Erin: Yeah. And that kind of redness coming from below and above to glint off of the bus. The windshield is flashing pink from the sun and the metal is flashing pink from the road. They're both brushing the dented flank of the blue beat up enamel from one direction or the other, it seems. Yeah. Sort of tunnel of red in which the. In which the bus is traveling. 28:41 Wes: Such a vivid image that she gives us. It made me think, you know, sometimes it's almost better than film. It's more vibrant or more. Don't know how to say it, but I was thinking about this because in some of the philosophy podcasts we do, there are philosophers who deny that we have imagery in our head. Exactly. Or we can never. Which seems true. Right. We can't imagine anything with the vividness that we would have if we actually saw it. But it makes me think when I read a poem like this, but also. And also reading some of the novels I've been reading. Well, there's a special kind of vividness to figurative language that perception can't capture. In some ways it's more. More vivid, definitely. 29:26 Erin: I think the sonic quality of the word, the repeated. Right. It's on the one hand a repeated image, but then it also creates that kind of just the soundscape, makes them feel somehow more synesthetic to say, but somehow more picturable or more tangible or more. I don't know, the pink glancing off metal, the dented flank beat up enamel. You know, there's just. It's like. I think that's contributing to it, to the vividness of the image. And yeah, you talked about momentum, too. I mean, this entire. This whole first sentence is six stanzas long. It ends with. And Akali supervises. So there's also that kind of. Yeah. Locomotive propulsion of the camera work, so to speak, Zooming in and then following the road into the bus. And then the bus arrives to sort of catch again, quite cinematically the scene that's actually happening or the place where the eye, if there is an eye in the poem, actually is the lone traveler embracing these relatives with the collie watching on. So there's a sense in which the I eye of the poem doesn't actually catch up with the speaker until stanza six and the end of this first sentence until we get goodbye to the elms, to the farm, to the dogs. So there's kind of lamination at that moment of the I eye and the capital I. 30:49 Wes: We seem to be gradually getting more of a point of view. Right. It's very omniscient in the beginning, hovering over the landscape. And I think gradually we're going to be getting a her point of view in the bus and then a we. But also just to note, this is one. I think this is the first of three pauses. Right. There's gonna. It's gonna pause here, the bus. The momentum is gonna stop as the bus lets on the lone traveler, which I presume is her. Right. Her saying goodbye. And then there'll be a pause when the amicable freckled woman gets on. She's there because we need everything to be in threes. And then we. Then we're gonna pause for the moose in the very end. I didn't miss anything. Right. There's not other places where we stop? 31:32 Erin: No. I mean, there are, of course, stanzas that end some more definitively than others and stopped with a period. There's a stop at Bass River. Right. So there is a little bit of that kind of start. Stop syntactically. But I think you're right that those are the stops where there's content. 31:49 Wes: Content goes. 31:50 Erin: Yes. And where there's a very particular. Yeah, the content of the bus, except for the moose obviously doesn't get on the bus. But there's a stop that's motivated, let's say, rather than just being described as various stops along the way where we don't know who got on and who got off or whatever. Certainly there's also a movement toward that more personal experience of the speaker. But then there are also things that the speaker couldn't possibly know or you know, because once she's said goodbye to everyone and gets on the bus, then we also get the sort of nature show close ups. The crystals of fog, the lupins like apostles, the sweet peasants clinging. One of my favorite parts, clinging to their wet white string on the whitewashed fences. Again, we get two uses of white right next to each other. Bumblebees creeping in the foxgloves. All things you really can't see from certainly from a moving bus. 32:43 Wes: Yeah, the point of view gets focused very, very gradually, maybe through the whole palm. Maybe it's not fully focused until the very end, but. Yeah. So you're pointing out something important which is at the sort of omniscient point of view is still here in these very. What do you call it when you take a close up with your phone? Macro, ironically. Yeah. These very close up pictures of flora and fauna and very Beautiful. 33:12 Erin: Yeah. They compound and then they get more and more loaded and mysterious. And just when we're about to maybe go over the edge, we get recalled back a little bit. That's at least how I'm reading, for instance, stanza 12, about the ship's port lantern and the boot and the bark of the dog. And then suddenly a woman climbs on the bus. And so we're sort of stopped from going off into some sort of train of thought that you could follow there down a rabbit hole. But I love that stanza on red light swimming through the dark. It reminds me of the last stanza of disillusionment, of 10 o'. Clock. Do you know the old sailor, drunk and asleep in his boots, catches tigers in red weather? I think that's how it goes, the Stevens bomb, because we get the boots and the red light in the ship, so they're probably. No. No real connection there. 34:07 Wes: So all of these little intricate descriptions that she's giving, right. It begins with the light growing richer, which I take it mean, means we're approaching dusk and evening, or we're in dusk and it's evening is approaching and a kind of mini winter, Right. Something. It's a diurnal cycle, but there's a bit of a parallel to something seasonal. Right. So we get crystals forming and the images like sweet peas clinging and the bumblebees inside foxgloves. As evening commences, it's almost like. I don't know if this is true, but it's almost as if we're getting the response of the animals and flora and fauna to the commencement of evening. That's our first indication of it. So I was surprised to see, okay, it's still light out enough for us to see a woman shaking a tablecloth out after supper. And that is beautifully described as a pale flickering. Right. Almost as if that's something like the light reflecting off the enamel bus, or not pink anymore, but just a flickering of pale light and then gone, I suppose. Does that mean that we're now without light? Is that sort of the way nighttime is ushered in by the end of the next stanza? And it's in the next stanza that we see a red light in the dark. Now we have a ship in the dark. So it's almost as if. Yeah, the shaking of the tablecloth is like a magician. Abracadabra. Now it's nighttime, Right? 35:39 Erin: Yeah. I love that. Yeah. You're making me realize how many connections there are to Keats in this poem. Right. There's something Keatsian about it, very. To Autumn, you get the sweet peas clinging on the fence. You get that image of fecundity things on top of other things. You know, the mossed cottage trees and the late flowers for the bees. And then the shaking out of the tablecloth is like the hair lifted by the winnowing wind. Right. Because there's. There's wind, there are flowers and bees. And then there's also, of course, redness and that image of, you know, like the evening. Autumn. Evening redness. And maybe this is. Yeah. Rows of sugar maples. Those could be red as well. If we're in an autumnal landscape, can't be too late because everything is, you know, it's got to be like August, maybe because we have this. Or. No, I guess maybe not. Gray glazed cabbages. I don't know enough about cabbages to know at what point in their development. 36:40 Wes: Yeah. Whatever season it is. I just think that the evening is almost like a mini winter. It gets colder and we see the. 36:46 Erin: Definitely. 36:47 Wes: We see the effects of it. But, yeah, maybe autumn is probably the logical season for. 36:53 Erin: Right. Yeah. And that point. Or that point in the transition from summer to autumn where, I mean, even on a summer night in Nova Scotia, the evening temperature is quite autumnal regardless. And so when the woman climbs on with the market bags, we get. 37:09 Wes: Shall we take a. Shall we? 37:12 Erin: Oh, yes. 37:13 Wes: Let's let the freckled amicable woman on in part two. 37:17 Erin: She'll have to wait. 37:18 Wes: Let's not let her on the bus yet. 37:20 Erin: You have to wait for everyone else to get off before you can get on. It's one of the cardinal rules of public transportation. Okay, we will continue in part two. Thank you. 37:29 Wes: Thank you.

In this episode of the Ayn Rand Institute podcast, Itamar Feldman interviews Mike Mazza about his new book of essays, Freedom to Launch, which explains how deregulation in the space industry enabled today's space renaissance and what the government's role in space exploration should be going forward. Among the topics covered are:Why Freedom to Launch was written The space industry's current state Space law and property rights Private vs. Commercial space industry The government's historic role in space What's next for the space industry? Should NASA exist? Resources recommended in the episode: Mike Mazza, Freedom to Launch Ayn Rand, “The Property Status of the Airwaves” in Capitalism: The Unknown Ideal

Andreyka and Monica discuss China's missile test, shifting Pacific security dynamics, and the latest regional developments. This episode was recorded on August 3, 2026.

The very apparatus of the mummy's tomb—his body locked in box upon box, his organs apportioned to canopic jars, hieroglyphic inscriptions on every surface—suggest the complexity of the undertaking. What might these two strands of the mummy's DNA—in Shakespearean terms, part-Antony, part-Cleopatra—reveal about the relationship between colonizer and colonized, and about our own desires, fears, and guilt? Wes & Erin continue their discussion of the 1999 film, “The Mummy.” Upcoming Episodes: Elizabeth Bishop poetry, including “The Moose” 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

During the communist era Radio Prague functioned as a highly effective Cold War propaganda tool, tailoring communist messaging to audiences around the world, while operating under strict censorship and centralized control. Yet amid the ideological campaigns and bureaucratic machinery, occasional human moments and the haunting sound of a Slovak fujara closing the day's broadcast offered rare glimpses of authenticity behind the propaganda.

Episode 71: Gateway Association Today, Morgan interviews Samantha Grabinsky, who is the Senior Manager at Gateway Association. Gateway Association is an Alberta based, non-profit organization established in 1975 that empowers individuals with disabilities and their families. Operating in Edmonton and Calgary, it functions as an Employment Resource Centre and Family Resource Centre.

Episode 71: Gateway Association Today, Morgan interviews Samantha Grabinsky, who is the Senior Manager at Gateway Association. Gateway Association is an Alberta based, non-profit organization established in 1975 that empowers individuals with disabilities and their families. Operating in Edmonton and Calgary, it functions as an Employment Resource Centre and Family Resource Centre.

In the 1980s, artists like John Mellencamp and Bruce Springsteen sang swelling anthems about working people, family farms and factory towns. But heartland rock is also deeply political -- and often misunderstood. *** Thank you for listening. Help power On Point by making a donation here: wbur.org/giveonpoint

Unfortunately, episodes 247 and 248, whilst recorded...seem to have been lost to the warp. Booo But the good news is we are back with more podcast goodness! Join Dave and Matt as they discuss their first opinions now they both have a few games of 11th Edition Warhammer 40k under their belts. They also chat about what has been keeping them busy in the hobby since the last (released) show and some of the recent news, including Nazdreg's new model. We also have our regular Top 3 feature, which this weeks focuses on our Dream Hobby Projects. We also read the community top 3 choices out too. Sprues & Brews Music Created by Dave Sheard Website: DaveSheard.com Twitter: twitter.com/dave_sheard

7-29-26 Henry Varela joins the program & the 101.7 Family as 'ID My Athlete' debuts our airwaves this August

As a cinematic monster, the mummy seems less an embodiment of revenge against colonial forces than a figure invented by colonialism itself. On the one hand, the mummy represents mystery, romance, magic, and the East. His wrappings suggest to the imagination that he's not just dead, but wounded—ripped from a lost time and a broken narrative. Conveniently for the colonizer's psyche, the mummy actually longs for someone to violate his tomb and wake him—not least so that his curse can lay systematic waste to its victims. And that brings us to the other hand: the mummy as a scientific and historical artifact, an ancient puzzle which requires anthropological, archeological, and linguistic knowledge to solve. The very apparatus of the mummy's tomb—his body locked in box upon box, his organs apportioned to canopic jars, hieroglyphic inscriptions on every surface—suggest the complexity of the undertaking. What might these two strands of the mummy's DNA—in Shakespearean terms, part-Antony, part-Cleopatra—reveal about the relationship between colonizer and colonized, and about our own desires, fears, and guilt? Wes & Erin discuss the 1999 film, “The Mummy.” Upcoming Episodes: Elizabeth Bishop poetry, including “The Moose” 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

Welcome to another exciting episode of Airpower Airwaves, where we dive deep into the intriguing world of manufacturing solutions that impact you. Hosted by Travis Stirewalt, this episode marks a special occasion—it's the first time that we've had Jesse from Fume Dog joining us on the podcast. We're thrilled to have her onboard to discuss everything about welding fume extraction and the health implications associated with it.Fume Dog, a branch of Cleaner Industries based in Rome, Georgia, has become a significant player in the field of fume extraction, providing innovative solutions to keep your work environment safe and healthy. Air Power is excited to have partnered with Fume Dog, and today, we're here to explore the fascinating world of fume collection, its importance in the welding industry, and how it can drastically improve worker safety. So, buckle up and join us as we delve into this informative discussion on how Fume Dog is making a difference in manufacturing environments across the nation.Guest InformationJesse: Head of Sales at Fume Dog, a division of Cleaner Industries.Kyle: Sales and Marketing Leader for Air Power, contributing to the discussion with insights on market trends and product positioning.Related Resources and LinksAirpower-USA WebsiteShop Airpower WebstoreFume Dog Product PageCleaner Industries InformationContact: 1-800-334-1001Episode SummaryIn this episode, we explore Fume Dog's innovative approach to fume extraction from the perspective of both product functionality and the health benefits it provides to industrial workers. Jesse, Head of Sales for Fume Dog, enlightens us on their product lineup, including mobile and stationary units designed for different size operations from small workshops to large industrial sites.The episode dives into the health risks associated with welding fumes, such as welder's flu, lung cancer, and other respiratory issues. Jesse shares incredible insights into how Fume Dog products help mitigate these risks with effective fume extraction solutions that are OSHA-compliant.We also learn about exciting features like their convertible fume extractor, which can be easily transitioned from a portable unit to a wall-mounted unit. The conversation turns towards the newer generation's increasing focus on health and safety, which is driving demand for these advanced solutions. The hosts also highlight the importance of educating younger welders on the significance of protecting themselves from hazardous materials in a manufacturing setting.Key TakeawaysFume Dog provides critical equipment for fume extraction, ensuring a safer working environment in manufacturing industries.Welding fumes pose significant health risks, making fume extraction a necessary safety measure.Fume Dog's products are versatile, catering to both large industrial sites and small workshops.Education on the health implications of welding fumes is crucial for the newer generation of welders.Regular exposure to welding fumes, without proper protection, can lead to severe health consequences.Notable Quotes and Examples"Welder's flu is a real thing—drink whole milk when you're welding galvanized steel to help with the symptoms. It's caused by zinc in the steel." - Jesse (21:44)"In Georgia, you can kind of open your shop doors, put some exhaust fans in and blow it out." - Jesse (32:10)"Even if you're welding one to two hours a week on stainless steel, you're still breathing it in." - Jesse (23:40)Detailed Episode Breakdown00:09 IntroductionThe episode kicks off with Travis Steuerwalt introducing the Airpower Airwaves podcast. There's an emphasis on how manufacturing and production innovations affect today's industries, setting the stage for a detailed exploration of fume extraction.00:54 Fume Dog OverviewJesse explains how Fume Dog, a division of Cleaner Industries, has been instrumental in providing effective solutions for fume collection in welding environments.01:14 Guest IntroductionsListeners are introduced to the knowledgeable podcast participants: Jesse, Head of Sales for Fume Dog, and Kyle, Sales and Marketing Leader for Air Power.02:10 Resources & Contact InfoTravis shares valuable resources for further information, eagerly recommending listeners to visit Airpower-USA's website and shop.04:29 Fume Dog ProductsJesse outlines the various products offered by Fume Dog, emphasizing their functionality and benefits in maintaining a healthy work environment.05:17 Health ImplicationsThe discussion shifts to the health risks of welding fumes, such as short- and long-term respiratory issues and the carcinogenic risks they pose.14:19 Product Lines ExplorationAn exploration of the Fume Dog product lines reveals the versatility and adaptability designed for diverse manufacturing environments.22:14 Welding Booth FeaturesJesse talks about some unique features of their welding booths, including durable materials and adaptability for various working conditions.30:24 Closing RemarksTravis wraps up the session by reiterating the importance of workplace safety and Fume Dog's role in it. Contact information is shared again to encourage engaging with these solutions.Social Media HighlightsFume Dog provides versatile fume extraction solutions that meet industrial safety standards and fit various manufacturing environments.Fume extraction is crucial for protecting welders against long-term health risks such as lung cancer and welder's flu.The innovation of convertible extraction units shows Fume Dog's commitment to user-friendly and versatile safety solutions.Promoting workplace safety starts with understanding the risks and using solutions like Fume Dog's extractors.Education in welding safety is vital, and organizations like Fume Dog are at the forefront of this important mission.Wrap upTo learn more about fume extraction solutions and how to improve your workplace safety, visit Fume Dog's Product Page today. For inquiries, reach out to Air Power at 1-800-334-1001 and make sure the air your team breathes is safe and clean. As always, don't forget to visit our website for detailed resources and updates. Keep manufacturing it a great day!Connect with Air Power Manufacturing Solutions on:  LinkedIn  |  Facebook  |  Instagram  |  Twitter

Funk meets Progressive House--a consummation devoutly to be wished. Donations, Merchandise, Newsletter, more: https://www.groovelectric.com Podrunner: Workout Music mixes: https://www.podrunner.com PLAYLIST 01. Zisis D - Blue Moon 02. Fine Lines - House Music is a Feeling (acapella) 03. Durante, Amtrac, Reva Devito - Contrast (Durante Extended Remix) 04. Maty Owl - Green & Blue (Extended Mix) 05. Pecoe - Make It Bounce 06. Oleg Espo, Deseo - Acid City 07. Leon - Diskotaki 08. Super Flu, Harden - Breathe (Super Flu Remix) 09. Massimo Vanoni - I See You (Fingerman's Disco Odyssey Edit) 10. Idin Gorji - Iran 11. Deborah Aime La Bagarre - Nuit Forever 12. Max Fishler, Congnito - Get Up 13. Hot Since 82, Kuuda - Forever 14. Mark Row, Jame Starck - Bless (Extended Mix) 15. Durante, Ezequiel Arias - Dream Controller 16. Alaia & Gallo - Perfect Love (Extended Mix) 17. Parasol Stars - Parallax (Sher M@n Remix) 18. Meat Katie, Elite Force - Fabulous Mint 400 19. Airwave, Ludovic Meyer - Batignolles Blues == Please support these artists == Music copyright the respective artists. All other material c2006, 2026 by Steve Boyett. For personal use only. All rights reserved. Any unauthorized copying editing, exhibition, sale, rental, exchange, public performance, or broadcast of this audio is prohibited. No part of Groovelectric or its website and associated content may be used or reproduced in any manner for the purpose of training artificial intelligence technologies or systems.

Join Suz and Rob this week as we look into a UFO cult centred around one being, Ashtar Sheran! Is this entity really an alien who took over the airwaves to deliver a message to all of humanity? Do his followers know something more than we do? Is Rob really just going to keep outing himself as being too deep down the rabbithole already??Let us know what you think!All our links here - https://www.linktr.ee/spookyafMusic: Dank Halloween by Shane Ivers - https://www.silvermansound.com Hosted on Acast. See acast.com/privacy for more information.

This is one of the best bits from Take 5.Founding member of Blink-182, Angels and Airwaves, and UFO enthusiast, Tom DeLonge hung out with Zan Rowe back in 2012, while in the country to play Soundwave Festival.You don't create a career like that without loving music, so Zan dived into the music that changed his life.Listen to the full episode here: https://www.abc.net.au/listen/programs/take-5/tom-delonge-take-5/9035742SONGSThe Cure - ‘Friday I'm In Love'The Police - ‘Every Breath You Take'

Mark welcomes Matt Rubano (Angels & Airwaves, Taking Back Sunday) to talk about his first album, Licensed to Ill by the Beastie Boys (1986). Hosted on Acast. See acast.com/privacy for more information.

Andreyka and Monica discuss Prime Minister Matthew Wale's foreign policy, ocean governance, and other regional updates. This episode was recorded on June 29, 2026.

On this edition of The Federalist Radio Hour, Federal Communications Commission Chairman Brendan Carr joins Federalist Senior Elections Correspondent Matt Kittle to discuss Americans' devastatingly low trust in corporate media and explain the FCC's strategy to bring accountability back to the airwaves. Carr also shares an update on the FCC's investigation into Disney-owned TV stations' discriminatory diversity, equity, and inclusion policies. The Federalist Foundation is a nonprofit, and we depend entirely on our listeners and readers — not corporations. If you value fearless, independent journalism, please consider a tax-deductible gift today at TheFederalist.com/donate. Your support keeps us going.

Who is Godot? Whether God, objet a, or an abstraction from any object that is supposed to resolve dramatic suspense, it is clear that Vladimir and Estragon imagine him to be an agent of salvation (even if they can't remember exactly what it is that needs saving). Perhaps the name is meant to satirize any states of expectancy—aspirational, libidinal, political, or religious—insofar they seem to be a means to a kind of spiritual completion that is impossible. Except, arguably, in the imagination, including its refinements in the products of the arts. If Samuel Beckett is too cool to provide us with ordinary entertainment and edification, does he mean to bore us, berate us, or do nothing at all? Erin & Wes pass time by discussing “Waiting for Godot,” and whether frustrating expectations is sometimes better than either violating or gratifying them. Upcoming Episodes: The Mummy 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

4:44:46 – “Mad” Mike and Frank Nora “Master of the Airwaves” are back with another installment of the Anything But Monday Show, coming to you from Mike’s astonishing dungeon gaming room in South Jersey. 40th anniversary of the show, origins of the show, Analysis of Many Things (TMNT Magic cards, Chartreuse Elixir, Corx, Fillo’s Walking Tamales, […]

The GOP and Ken Paxton drop blistering ads against democrat senate candidate James Talarico as the left's lunge towards socialism gives the GOP plenty of juicy fodder. Zohran Mamdani scores a political win as rent for 1-million residents is frozen across NYC. The hidden truth about who really benefits. A New York school board election has to be redone after a school clerk is found tearing up and throwing away ballots. Steve Hartman revisits the dog who walks like a human who's become an American sensation.    

Robin's stories highlight the power of being proactive, standing up for oneself, and not being afraid to speak up. Robin Quivers shares her journey from childhood to big-time radio, discussing her experiences in the Air Force, as a nurse, and landing in and conquering the world of broadcasting. She emphasizes the importance of being true to oneself and not seeking validation from others. Robin and Josselyne share their passion for stock trading and the importance of financial education. The conversation highlights the themes of mentorship, personal growth, and taking control of one's own destiny.Freedom With Money Workshop with Tyrone Jackson, Josselyne and Robin Quivers from The Howard Stern Showhttps://tremendous-builder-5717.ck.page/c053ffc9c6Find Robin at:Facebook InstagramConnect With JosselyneWebsite: beunmessablewith.comInstagram: @beunmessablewithFacebook: UnmessablewithnessLinkedIn: josselyneherman-saccioYouTube: @beunmessablewith

Who is Godot? Whether God, objet a, or an abstraction from any object that is supposed to resolve dramatic suspense, it is clear that Vladimir and Estragon imagine him to be an agent of salvation (even if they can't remember exactly what it is that needs saving). Perhaps the name is meant to satirize any states of expectancy—aspirational, libidinal, political, or religious—insofar they seem to be a means to a kind of spiritual completion that is impossible. Except, arguably, in the imagination, including its refinements in the products of the arts. If Samuel Beckett is too cool to provide us with ordinary entertainment and edification, does he mean to bore us, berate us, or do nothing at all? Erin & Wes pass time by discussing “Waiting for Godot,” and whether frustrating expectations is sometimes better than either violating or gratifying them. Upcoming Episodes: The Mummy 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

The Peter Boyles Show June 13, 2026 HOUR 3: Peter takes a heartfelt walk down memory lane as former colleagues, broadcasters, and longtime friends return to the studio to reflect on the careers, friendships, and life-changing moments that defined Denver radio. Peter welcomes Kevin, Efren, and Tommy Moller for a candid conversation about the early days of broadcasting, the evolution of radio, and the mentorship that helped shape successful careers in media. The group shares stories from the industry's golden era, unforgettable on-air moments, and the personal bonds that turned coworkers into family. The discussion turns to the true power of radio, including a moving story about helping a listener in crisis and the impact a voice behind a microphone can have on someone's life. The conversation also explores creativity, leadership, and the importance of building strong teams both in broadcasting and beyond. Then, Peter welcomes Arapahoe County Commissioner Leslie Summey and her husband Harold for a wide-ranging conversation covering military service, Colorado history, Washington D.C. culture, public service, and her reelection campaign. The discussion highlights community leadership, family, and the responsibility of serving local residents.See omnystudio.com/listener for privacy information.

On this PST SPECIAL podcast, Jeff, Erik, and friend of the show Mark Lacasse went back 20 years into their music vault. They each gave their top-5 albums from 2006. Some of the bands and artists that made the guys' lists: Angels and Airwaves, Clipse, The Sword, Lamb of God, and Boris, just to name a few.SUBSCRIBE on YouTube: youtube.com/@thephiladelphiasportstableHead over to our website for all of our podcasts and more: philadelphiasportstable.comFollow us on Threads: @philadelphiasportstableFollow us on Twitter/X: @PhiladelphiaPSTFollow us on Instagram: @philadelphiasportstable.Follow us on Facebook: facebook.com/PhiladelphiaSportsTable

In 1977, a calm, otherworldly voice broke into the British evening news across five transmitters at once, identified itself as an alien envoy, and warned humanity to abandon nuclear weapons before time ran out. Was it a hoax, or first contact?EPISODE BLOG PAGE (includes sources): https://weirddarkness.com/AlienVoicesOnTVAndRadioREAD or DOWNLOAD the full transcript of this episode: https://weirddarkness.tiny.us/mrxcfak4FEATURED STORIES IN THIS EPISODE: While scientists at SETI are continually monitoring for extraterrestrial contact from the cosmos, ordinary people are already hearing from them – via radio and television. (Aliens Voices Over Radio and Television) *** 
The death of a Hollywood movie producer is still unsolved – and his spirit on the lot is still at unrest. (The Mysterious Death of Thomas Ince) *** A family moves into a new home, and it's not long before they begin hearing strange sounds coming from the home bar in their living room. (Something In That Part of the House) *** In years past, baby boys were dressed in pink. So why the change to the color blue for boys? The answer is a dark one. (Baby Blues) *** In just 30 seconds, 30 rounds were fired when the tension between a crew of thieving cowboys and vigilante lawmen came to an explosive head in the frontier town of Tombstone, Arizona. (The True Story Behind the Gunfight at the O.K. Corral)CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = Klaatu's speech from “The Day The Earth Stood Still” (1951)00:02:45.959 = Show Open00:04:39.005 = Alien Voices Over Radio And Television00:16:13.874 = The Mysterious Death of Thomas Ince and the Haunting of Culver Studios00:33:04.222 = Something in That Part of the House ***00:39:31.873 = Baby Blues00:45:22.653 = The True Story Behind the Gunfight at the O.K. Corral ***00:54:32.710 = Show Close*** = Begins immediately after inserted ad breakLISTEN ON PODCAST APPS: Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.com/wdapps*No AI Voices Are Used In The Narration Of This Podcast*SOURCES and RESOURCES:“The True Story Behind the Gunfight at the O.K. Corral” by Mark Oliver: http://ow.ly/RmAm30oaHWt“The Mysterious Death of Thomas Ince” by Troy Taylor: http://ow.ly/WVUu30oaHvS“Something In That Part of the House” by Haven: http://ow.ly/qMeU30oaHxn“Baby Blues” by Conny Waters: http://ow.ly/zcGj30oaI32“Alien Voices Over Radio and Television” posted at the Conspiracy Journal: https://tinyurl.com/y2ht47pt“Klaatu's Speech From ‘The Day The Earth Stood Still'”: (link no longer available)(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.Originally aired: November, 2021Weird Darkness moves across five unsettling true tales — alleged alien voices breaking into broadcast signals, the unexplained death of a Hollywood pioneer, a possessed home bar in Mexico, the superstitious roots of dressing infant boys in blue, and the bloody thirty seconds behind the O.K. Corral.It opens with the alleged extraterrestrial transmissions that have arrived through ordinary radios and televisions rather than from deep space. On November 26, 1977, at 5:12 PM, a deep, water-logged voice overrode five Southern Television transmitters across southern England, speaking over news reader Ivor Mills for five and a half minutes; the voice named itself Gramaha — also transcribed as Vrillon, Gillon, or Glon — a representative of the Ashtar Galactic Command, and warned humanity to abandon nuclear energy before the dawning New Age of Aquarius. The Independent Broadcasting Authority never logged the interruption and could not explain how its instant switch-off monitoring was bypassed. Years earlier, in July 1961, an eighteen-year-old ham radio operator named Robert P. Renaud had picked up a soft feminine voice high in the 25-meter band claiming to broadcast from a planet called Korendor, eventually trading images on his television's vidicon tube with a contact named Lin-Erri, an episode investigator Allen Griese found oddly free of showmanship or profit. A decade after Renaud, in January 1971, British UFO researcher Rex Dutta took a call on a radio talk show from a voice that registered no echo, no feedback, and no movement on the station's VU meter.From there the episode crosses to November 1924 and the death of Thomas Ince, the producer who founded Culver Studios in 1918 and earned the title Father of the Western. Ince died days after celebrating his birthday aboard William Randolph Hearst's yacht, the Oneida, on a weekend cruise to San Diego that also carried actress Marion Davies and, by rumor, Charlie Chaplin. The official account blamed acute indigestion, but Hollywood whispered that Hearst, jealous over Davies, fired a diamond-studded revolver in the dark and put a bullet meant for Chaplin into Ince's head instead. The body was cremated, no inquest was held, San Diego district attorney Chester Kemply closed the case after a single session, and gossip columnist Louella Parsons soon received a lifetime Hearst contract. Decades later, workers at Culver Studios reported a man in a bowler-type hat watching them from the catwalks during 1988 renovations, frowning, declaring that he disliked what they were doing to his studio, and walking through a wall.Next comes a listener's account of a house in Mexico, bought by the family about twenty years earlier, where a heavy tavern-style wooden bar in the living room became the source of growling, clinking glassware, and slamming cabinet doors that sounded like two animals fighting inside an empty cupboard. The housekeeper, Letty, threw the cabinet open to find nothing disturbed. Weeks later the mother and Letty dug up jars in the front yard containing rag dolls pierced with pins, buried directly on the other side of the wall behind the bar. A framed mirror reading BAR shattered at three in the morning during a housewarming party, a barred window slid open on its own after being latched, and a photograph of a single bar stool showed a clear horned, devil-like face the family begged to have deleted. Letty, it turned out, was a bruja — a witch.Color superstition drives the next story: infant boys, dressed in blue today, were once dressed in pink, and a June 1918 article in the trade journal Earnshaw's Infants' Department called pink the stronger, more decided color suited to boys and blue the daintier choice for girls. The return to blue revived a far older practice, since the ancient Egyptians and Greeks regarded blue as divine and used it to repel evil spirits, dressing pharaohs in it and, as author Douglas B. Smith recounts, painting nurseries to keep satanic spirits from slipping into young children's bodies. Boys received that protection because they were valued above girls, who were thought too unimportant for evil spirits to trouble. The same fear survives in the Evil Eye and in protective amulets like the Hamsa and the Turkish Nazar, hung in homes and cars and worked into jewelry across the Balkans and the Middle East.The episode closes behind the O.K. Corral on October 26, 1881, where thirty rounds were fired in roughly thirty seconds. Tombstone, Arizona had been founded in 1877 by prospector Ed Schieffelin, who struck a silver vein worth more than thirty-seven million dollars after being warned that all he would find out there was his own tombstone. Wyatt, Virgil, Morgan, and James Earp, joined by the gun-slinging ex-dentist Doc Holliday, clashed with the Cochise County Cowboys, a feud that hardened after Curly Bill Brocius accidentally killed city marshal Fred White in 1880 and Virgil took the post. The gunfight left Frank McLaury, Tom McLaury, and nineteen-year-old Billy Clanton dead while Ike Clanton and Billy Claiborne fled, and Judge Wells Spicer afterward released the Earps as having committed an unwise but not criminal act. The reckoning continued past the verdict, with Virgil shotgunned in the back, Morgan assassinated over a game of pool in a plot tied to Ike Clanton, and Wyatt Earp drifting west until his death in California in 1929 at the age of eighty.

It's a massive Monday edition of What's On Your Mind as host Scott Hannon counts down to tomorrow's crucial 2026 primary election. Scott fires up the microphone to challenge the traditionally low voter turnout and provides a comprehensive breakdown of the key conservative candidates on the local ballot. State Representative Ben Koppelman drops by to discuss the growing legislative rift with Governor Armstrong over primary endorsements and unpacks a bold new structure to transform future party conventions. Scott also chats with Soybean Council leaders about navigating the trade cold shoulder from China, introduces the District 13 legislative incumbents, and sits down with outspoken Fargo School Board candidate Carissa Jeske. Plus, a deep-dive look into election integrity, a preview of North Dakota's Supreme Court race with Justice Jared Tufti, and a sharp critique of mainstream media "interrogations." Show Notes & Timestamps [00:00] – The 20% Embarrassment & The Governor's Primary Battle Scott kicks off the show with a direct plea to listeners, calling the region's typical 20% primary voter turnout "embarrassing." State Representative Ben Koppelman joins the studio to voice his disappointment with Governor Armstrong's unprecedented involvement in local legislative primaries. The duo debates whether the executive branch is stepping over the line or simply exercising free speech. [04:45] – Overhauling the Party System: Moving Conventions Post-Primary Representative Koppelman introduces a radical legislative idea for the next session: combining the traditional delegate convention system with the primary ballot. Koppelman explains how sealing primary votes and unveiling them at a late-June convention would eliminate party pettiness and incentivize a massive surge in local political engagement. [07:15] – Transparency and Dark Money in Political PACs The conversation turns to campaign finance reform. Koppelman calls out the flaws in current PAC disclosure rules that allow organizations to shield either their donors or their explicit spending trails, demanding total top-to-bottom financial transparency from all active political groups. [11:00] – Soybean Diplomacy: Out-pacing the China Target Market Jim Thompson (North Dakota Soybean Council) and Justin Sherlock (Soybean Growers Association) call in from the fields to deliver a crucial agricultural trade update. With China stalling on Pacific Northwest trade agreements, the leaders detail how they are aggressively opening doors in alternate Southeast Asian markets like Vietnam and Thailand. [14:00] – USMCA Renewal & Local Crushing Plant Victories Justin Sherlock sounds the alarm on potential tariff delays hitting the upcoming USMCA review with Canada and Mexico. On a…

Today, we're diving into a generational change for Naval Aviation: the rollout of the Portfolio Acquisition Executive for Aviation, or PAE(A). This new structure is designed to drive speed, accountability, and better outcomes for our warfighters.

For too long, people have thought of the airwaves and waterways as “public” property that is best controlled by government. However, Murray Rothbard and others held that one could apply the institution of private property to both.Original article: https://mises.org/mises-wire/who-owns-airwaves-and-sea

For too long, people have thought of the airwaves and waterways as “public” property that is best controlled by government. However, Murray Rothbard and others held that one could apply the institution of private property to both.Original article: https://mises.org/mises-wire/who-owns-airwaves-and-sea

A journey through the golden era of Ibiza trance. Episode 003 drifts through melodic progressive house, emotional vocals and euphoric trance classics from the late 90s and early 2000s — the sound of sunrise sets, warm nights and unforgettable dancefloors. Featuring music from Three Drives, Delerium, Airwave, Kamaya Painters, Jan Johnston and more. If you're after tracklists or want to listen to other mixes in the archives, you can find me over on Mixcloud: https://www.mixcloud.com/Tezshouse/

01. 2Fass, Zaleon - Break 02. Maz, Antdot, Ginton, Layefa, Bhaskar - Jolie Fille 03. Helsloot Beacon, Booka Shade - I Was There 04. Anuqram - Sun Town 05. Nick Devon - The Day You Decide To Change 06. S-Co - Say Less 07. Sidepiece, Bobby Shmurda - Cash Out 08. Tinlicker - Mothership 09. Felipe Novaes - Enhance 10. Zenon - We Are One 11. Dilby, Sngi - Lift Up 12. Frezz - Fish Koi 13. Max Wexem - Aliens 14. Hoten - Relentless 15. Daniel Testas - Hide in the Light 16. Fm Radio Gods, Plastic Robots - Paraphonic 17. Estiva - Mistika 18. Pablo Gargano - Midnight Shadows 19. Emmanuel Dip - Clotyh 20. Khen, Yotam Avni - Do I Feel 21. Kellerkind - Together 22. Matan Caspi - Life Is A Paradox 23. Volen Sentir, Krasa Rosa - Mist 24. Luciano Scalioni, Benesh, Fran Baigo - Cruel World 25. Alex Wann, Juno - Allo 26. Jp Mantero, Victor Crain - Shallow 27. Hobin Rude, Monojoke, Amaare - Seraph 28. Kamilo Sanclemente, Haft - Iceberg 29. Sinan Arsan, Monojoke, Amaare - Plethora 30. Redspace, Baryboo - That Same Rave 31. Jiminy Hop - Revizor 32. Alessa Khin, Dikiye Sound, Funko! - The Drill 33. S-Co - Que Rico 34. Modbit - Ta Du 35. Tonaco - Solatium 36. Yordee - Sopeira 37. Randle, K Loveski - From Birgu to the Stars 38. Aieou, Bodmod - Mirror 39. Camila - Impetus 40. Dave Shtorn, Yonsh - Space Odyssey 41. Kenzo - Strange Dream 42. Redspace, Sam Borski - Last Call 43. Phillosopher, Vegaz Sl - Seculum 44. Guy Mantzur, Kamilo Sanclemente - The Future is in the Past 45. Dhany G, William Rizz, Havjers, Soulmade - Thunder Of The Sands 46. Paraframe - Strong 47. Sasha Sound - Empathy 48. Monojoke, Amaare - Neverend 49. Maze 28 - This Is Just a Dream 50. Sanckler - Tresor Code 51. J Lauda - Lifeline 52. Artaria - Eliminate 53. Limetra, Ranta - Bloom 54. Das Pharaoh, Supacooks - Blissful Thinking 55. Airwave, Soniddo, Imal - The Final Simulation 56. Stani Stern - The Sky Remains Open 57. Notre Dame - Troublemakers 58. Raz Alon - Hustler 59. Final Request - Aye Aye Aye 60. Aryiss - Loca 61. Eran Hersh, Tekkman, Juany Bravo - Coco Loco 62. Tomas Garcia, Digital Mess - The Slave I 63. Agustin Pietrocola, Tiefstone - Wild 64. Karpovich, Armis - Midnight Totem 65. Fabri Lopez - Hite 66. Audiojack - Reset 67. Soulmade - Moonpark 68. Hidden Empire - Turnout 69. Cid Inc., Dmitry Molosh - Impending Storm 70. Exile - Destiny Or Chance 71. Yuvee - Freydies 72. Ruben Karapetyan - Synesthesia

Wes & Erin continue their discussion of the cult classic “Withnail and I,” and whether our capacity for sublimation suffers less from the crisis of modernity than from our attempts to transcend it. Upcoming Episodes: Waiting for Godot, The Mummy 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

There is an invisible resource that powers our smartphones and connects our devices: spectrum airwaves. But regulations governing these airwaves were set decades ago, long before the age of smartphones and autonomous vehicles. With technology changing at a rapid pace, are these regulations for this finite resource outdated? What is the growing importance of airwave spectrum in an economy that is increasingly wireless? And what does a property-rights regime for spectrum look like in practice?Shane is joined by Professor Thomas Hazlett, author of the best-selling book The Political Spectrum: The Tumultuous Liberation of Wireless Technology, from Herbert Hoover to the Smartphone (2017) and a leading voice in telecommunications, media, and the internet. He is currently the H. H. Macaulay Endowed Professor of Economics and director of the Information Economy Project at Clemson University. He previously served as chief economist at the Federal Communications Commission. His extensive knowledge makes for an excellent conversation.

WQNA is coming back to Springfield's airwaves. After 7 years, the eclectic, community-driven station is weeks from relaunch. Here's what to expect.

It's 1969, and as drug guru Danny tells us, “the greatest decade in the history of mankind is over.” There will, he says, be many refugees, and the film's implication is that Withnail—who combines self-importance and lofty ambition with substance abuse and urban squalor—will not be one of them. Marwood, by contrast, has seen the writing on the wall, in the form of the salacious tabloid stories that, while they threaten to outcompete the world's attention for the arts, ultimately can't be used to excuse the pair's failure to find work as actors. Countering this attentional collapse perhaps requires getting serious: leaving bohemian pretensions behind—and along with them, as Marwood finds out in their jaunt to the countryside—a backward-looking romanticism that can be used as a cover not just for artistic paralysis but upper class predations, both economic and sexual. Wes & Erin discuss the cult classic “Withnail and I,” and whether our capacity for sublimation suffers less from the crisis of modernity than from our attempts to transcend it. Upcoming Episodes: Waiting for Godot, The Mummy 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

HOUR 1: She's incredible. Her voice will give you chills. 2x Grammy Nominee Samantha Fish blesses our airwaves. full 2203 Fri, 08 May 2026 19:00:00 +0000 oQVqdg9TKvGqoDEsAvkGZQye1o2XLwE9 news The Dana & Parks Podcast news HOUR 1: She's incredible. Her voice will give you chills. 2x Grammy Nominee Samantha Fish blesses our airwaves. You wanted it... Now here it is! Listen to each hour of the Dana & Parks Show whenever and wherever you want! © 2025 Audacy, Inc. News False

On this episode, David Wollen and Danny Rojas share how radio is still reaching Cuba—and how the message of Christ is bringing hope, even in the most remote places.

When, how to properly tip takes over the airwaves.

On this episode we hear band "Meet & Greet" stories from the listeners! Included are experiences with blink-182, Alkaline Trio, Angels & Airwaves, Simple Creatures and more.Host/Produced by: http://instagram.com/poppincurbs

     What's up everyone — this episode of Unknown Airwaves feels special, not just because it was banned on YouTube.  We're also celebrating a huge milestone as the channel pushes past 10,000 subscribers, and that only happened because people who love underground music, counter culture, and real music videos keep showing up, sharing, and supporting the movement. Seriously — thank you.      Part 16 is another hand-curated mix from The Alex at Green Coast Radio, packed with artists who are making noise outside the mainstream and keeping the spirit of independent music alive. This episode plays like a late-night mixtape from a friend who just discovered something incredible and can't wait to pass it along.      You'll hear a wide range of sounds — soul, hip-hop, punk, orchestral bass, indie, and classic proto-punk influence — all tied together by a shared thread of authenticity and message-driven music. Along the way, Alex digs into conversations that matter, including the ongoing issue of Spotify censoring music and a look at the Powell Memorandum, exploring how media, power, and culture intersect in ways that still affect artists today. He also encourages viewers to look up the Powell Memorandum themselves if they feel like they need deeper insight into what's going on in the world today. Powell Memorandum: Attack On American Free Enterprise System       And keeping it local, our buddy Rodney drops in with a community update for the 805, sharing what's happening around the scene and reminding us that underground culture isn't just online — it's happening right here in our neighborhoods. Featured Artists & Music Videos Goldford: https://www.youtube.com/watch?v=Rqct9Hn9X_E  Celeste: https://www.youtube.com/watch?v=Ec3utUm-X-w  Thee Lakesiders: https://www.youtube.com/watch?v=SX6kOC_4Zyw  Residente: https://www.youtube.com/watch?v=GK87AKIPyZY  Dead Pioneers: https://www.youtube.com/watch?v=zjUUZxozCic  Soft Play: https://www.youtube.com/watch?v=nMOgilf4WX4  Apashe: https://www.youtube.com/watch?v=gM4xZy39kNE  Coast Contra: https://www.youtube.com/watch?v=NjRvXjSHze4  The Modern Lovers: https://www.youtube.com/watch?v=blJldvAPwpQ       This episode's New Classic takes us back to a track that feels more relevant every year: Disposable Heroes of Hiphoprisy — "Television, the Drug of a Nation."A sharp, prophetic piece of political hip-hop that perfectly captures the spirit of questioning media, authority, and the systems shaping our culture.      Unknown Airwaves is about discovery — the kind you don't get from algorithms alone. It's about digging deeper, sharing what matters, and keeping the underground visible. Whether you're here for new music, counter culture ideas, or powerful music videos that say something real, this episode delivers.      If you've been riding with us since the early days or just found the channel, you're part of the reason this community keeps growing. The underground isn't a place — it's a network of people who care about music enough to seek it out and pass it on. Stay curious. Keep listening. Support local. Share the signal.  

Welcome to WEEI Rich!

Ryan SinnTake a walk with me down Fascination Street as I get to know Ryan Sinn. Ryan Sinnott is the bass player for the pop punk band The Distillers, and the founding bass player for the pop punk band Angels & Airwaves. In this episode, we chat about how he came to be a bass player in the first place, and how important it is to him to maintain the structure of the role of a bass player. We talk about the fancy flourishes and fills that some bass players get overly enthusiastic about, and how there can only be one Les Claypool! As Ryan is bound by an NDA, he cannot really discuss his time with Angels & Airwaves; so instead, I tell him about the first time I heard that debut album. It was a magical experience for me and one that I remember to this day. Next, we dive into where I first heard his band The Distillers, and how he came to be part of that project. He does let me play that first song by The Distillers that caught my attention (thank you Ryan). Ryan is a certified audio engineer, and he does explain why he felt the need to go that route, and he gives some less expensive shortcut tips for anyone out there who wants to go to audio engineering school. Lastly, we discuss some of the interesting paydays that come along with songs being selected for video games. The Distillers had a song on the video game Tony Hawk Pro Skater 4. Follow Ryan and follow The Distillers everywhere and tell Ryan you heard him on Fascination Street Podcast!

Photography is a technology of contradictions. It is at once mechanical and mysterious, even magical. It furnishes evidence of presence while being a token of absence. It can show us proof but can't, without accompanying narration or context, make us understand. And perhaps most perplexing of all, it is an imperialistic technology which, paradoxically, atomizes the world and democratizes all events and experiences, making each viewer of photographs the owner of a facsimile-world in his or her head. Wes & Erin discuss two essays from Susan Sontag's collection, “On Photography,” “In Plato's Cave” and “America, Seen Through Photographs, Darkly,” and ask what constitutes photography's “ethics of seeing,” and whether Sontag suggests an alternative comportment towards the camera, the subject, and the photographic image. Upcoming Episodes: Withnail & I; Waiting for Godot 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

In this special edition of CyberWire Daily's 10th anniversary series, Maria Varmazis hosts a thoughtful and engaging conversation with N2K CyberWire CEO Peter Kilpe and CyberWire Daily host Dave Bittner, exploring the origin story of the podcast that started it all. From early ambitions to behind-the-scenes turning points, they trace how the show found its voice and evolved from a startup experiment into a trusted cornerstone of the cybersecurity community. Along the way, they share candid anecdotes, hard-earned lessons, and reflections on how both the industry and CyberWire Daily have transformed over the past decade. Learn more about your ad choices. Visit megaphone.fm/adchoices

There are two different fronts in the ongoing Iran conflict: The air war in the Middle East, and the airwaves war to convince the public back home. Andrew and Blake discuss the big success on the first front and how it contrasts with the work that still needs to be done on the second. North Carolina journalist and ex-nuclear engineer Matt Van Swol talks about crime, corruption, and Iran's potential to get a nuclear weapon. Plus, the show tracks the crumbling fortunes of DHS Secretary Kristi Noem, whose replacement by President Trump is announced live during the show. Watch every episode ad-free on members.charliekirk.com! Get new merch at charliekirkstore.com!Support the show: http://www.charliekirk.com/supportSee omnystudio.com/listener for privacy information.

February 17, 2026; In his latest effort to undermine free speech in the U.S., President Trump's FCC prevented an interview with James Talarico on “The Late Show with Stephen Colbert” from airing ahead of a contentious Texas midterm. Nicolle Wallace unpacks what this means and its political context with Alex Wagner, Oliver Darcy and David Frum. Later in the hour, the panel examines Les Wexner's connections to Jeffrey Epstein. For more, follow us on Instagram @deadlinewh For more from Nicolle, follow and download her podcast, “The Best People with Nicolle Wallace,” wherever you get your podcasts.To listen to this show and other MS podcasts without ads, sign up for MS NOW Premium on Apple Podcasts. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.