Podcasts about Chatty

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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.

Was wäre, wenn sich eine Online-Ausbildung nicht wie eine Ausbildung anfühlt, sondern wie eine Reise durch eine geheimnisvolle Welt? Genau diese Idee steckt hinter Laurasien. In dieser besonderen Podcastfolge werde ich von Chatty interviewt und erzähle, wie aus unserer bestehenden Zukunftspaten-Ausbildung Schritt für Schritt eine interaktive Lernwelt entstanden ist. Statt einfach nur Module und Videos abzuarbeiten, betreten die Teilnehmer eine märchenhafte Welt, die zunächst noch im Nebel liegt. Mit jeder Aufgabe und jedem neu erworbenen Wissen lichtet sich dieser Nebel – und gleichzeitig wächst der eigene Zukunftsbaum. Natürlich steckt hinter der Fantasie ein ernstes Ziel: Unsere zukünftigen Zukunftspaten lernen Lernmethoden, Gedächtnistechniken, Mindmapping, Rechenmethoden und viele weitere Werkzeuge kennen. Gleichzeitig geht es aber auch um Haltung, Geduld und Verantwortung. Denn ein Zukunftspate soll einem Kind nicht sämtliche Hindernisse aus dem Weg räumen, sondern ihm zeigen, wie es seinen eigenen Lernweg gehen kann. Das schönste Ziel ist erreicht, wenn das Kind seinen Zukunftspaten irgendwann nicht mehr braucht und selbstständig lernen kann. Wir sprechen außerdem darüber, warum Storytelling und gehirngerechtes Lernen so gut zusammenpassen und weshalb auch Erwachsene von einer fantasievollen Lernwelt profitieren können. Laurasien soll Wissen nicht nur vermitteln – die Ausbildung soll erlebt werden. Eine Folge für alle, die neugierig darauf sind, wie Lernen, Fantasie, Gamification und unsere Mission, Kindern wieder Freude am Lernen zu geben, miteinander verschmelzen können.

Dee, Caitlin, and Peter wrap-up a stunning spring season in a year of anime that just keeps getting better! 0:00:00 Intro Neutral Zone 0:01:33 Ramparts of Ice 0:10:57 Daemons of the Shadow Realm 0:15:24 Botan Kamiina Fully Blossoms While Drunk It's Complicated 0:23:57 Needy Girl Overdose Feminist Potential 0:24:23 Witch Hat Atelier 0:30:52 MARRIAGETOXIN 0:35:27 Kirio Fan Club 0:42:46 A Hundred Scenes of AWAJIMA 0:44:27 Go For It, Nakamura-kun! 0:47:44 Even a Replica Can Fall in Love 0:49:17 Always a Catch! 0:53:05 Akane-Banashi 0:54:28 Agents of Four Seasons Sequels and Carryover 1:02:32 Welcome to Demon School! Iruma-kun Season 4 1:04:07 Ascendance of a Bookworm Season 4 1:11:30 Dorohedoro Season 2 1:16:35 Outro Dee: https://bsky.app/profile/deescribe.bsky.social Caitlin: https://bsky.app/profile/alltsunnodere.bsky.social Peter: https://bsky.app/profile/peterfobian.bsky.social AniFem Linktree: https://linktr.ee/animefeminist AniFem Patreon: https://www.patreon.com/animefeminist AniFem Ko-Fi: https://ko-fi.com/animefeminist Recorded Saturday 25th July 2026 Music: Open Those Bright Eyes by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/

This week we're digging into all kinds of interesting topics listeners emailed us about from body image and the glow up to being the best aunt and even some home decor topics. It's random but it's fun!   Thank you to this week's sponsor: Be prepared to save yourself a ton of time and money — just go to dupe.com and tell it what you're looking to buy.   Questions we answer: What are you doing for a "Summer Glow Up"? Has retiring from influencing affected your relationship with the way you look? Do you have any tips on how to be a great aunt? What do I do with an heirloom crib that I'm no longer using? How do I renovate without losing the history of my house? If your life was a sitcom what would your genre tags be on Netflix?   You can support us by leaving us a couple of 5 star recipe reviews this week at abeautifulmess.com Have a topic idea for the podcast? Write in to us at podcast@abeautifulmess.com or leave us a voicemail at 417-893-0011.  

Marcus' What You Know 'Bout That trivia game for Friday July 17th, 2026. See omnystudio.com/listener for privacy information.

Melde dich für 0€ an:⁠https://brandtimestories.de/human⁠Wenn KI den Markt dominiert, ist Menschlichkeit dein größter Wettbewerbsvorteil. In dieser 5-tägigen LIVE Challenge erfährst du vom 20. bis 24. Juli 2026, wie du ihn jetzt nutzt, sodass deine WunschkundInnen trotz KI Teil deiner Räume sein und dich gerne für deine Arbeit bezahlen wollen.Für:✅ Coaches, die genau wissen, dass Chatty & Co. niemals ihren Job machen können – aber keinen Plan haben, wie sie das ihren KundInnen verklickern.✅ ExpertInnen, die sich fragen, wie sie ihre Kurse und Beratungen verkaufen sollen, wenn alle Infos vermeintlich nur einen Prompt entfernt sind.✅ DienstleisterInnen, die vielleicht KI nutzen, aber keinen Bock haben, jeden 2. Auftrag an Claude zu verlieren, bis ihr Business schließen muss.Bereit, dich & dein Business unersetzbar zu machen?Dann sicher dir jetzt dein kostenloses Ticket für die ⁠SELL LIKE A HUMAN Challenge⁠ und block dir den 20. bis 24. Juli jeweils um 11 Uhr schon mal im Kalender. 

This week, the AI clown car somehow shifted into another gear. Apple is suing OpenAI over alleged trade-secret theft, newspapers accuse ChatGPT of training on stolen journalism while asking a judge to sanction the company, Anthropic is out here marketing AI with what looks like a feature-length anxiety attack, and Meta managed to launch—and kill—a creepy AI photo feature in less time than it takes to binge The Bear. Meanwhile, AI Appreciation Day wants you to thank the machines, but we'd rather thank the people still creating actual art while the rest of Silicon Valley burns cash convincing us the next chatbot is definitely different this time.Outside the AI bubble, the rest of the tech industry isn't exactly inspiring confidence. Volkswagen is cutting back on its lineup, New York paused new AI data centers before the electrical grid hits its limit, Europe and the UK are getting serious about keeping kids off social media, and publishers are finally realizing maybe feeding Google's AI isn't the best business move after all. Add in surveillance companies sulking over lost police contracts, lawsuits claiming Meta let algorithms decide who gets fired, smart glasses disqualifying cyclists, and a new pile of orbital junk threatening the satellites we depend on, and it's another reminder that "move fast and break things" eventually leaves you ankle-deep in broken glass.Of course, we still made time for the important stuff: Project Hail Mary, Black Bag, the return of Middle-earth with The Hunt for Gollum and rumors that OpenAI's "revolutionary” gadget might just be a smart speaker with delusions of grandeur. Throw in digital piano repairs, anti-data-center lawn signs, AI trying to sell solar panels, too much stuff at Downtown Disney, and you get another week where reality out-satirizes satire itself. As always, never build your house in someone else's backyard, and maybe don't let the chatbot build it either.Sponsors:CleanMyMac - Get Tidy Today! Try 7 days free and use code OLDGEEKS for 20% off at clnmy.com/OLDGEEKSDeleteMe - Get 20% off your DeleteMe plan when you go to JoinDeleteMe.com/GOG and use promo code GOG at checkout.Private Internet Access - Go to GOG.Show/vpn and sign up today. For a limited time only, you can get OUR favorite VPN for as little as $2.03 a month.SetApp - With a single monthly subscription you get 240+ apps for your Mac. Go to SetApp and get started today!!!1Password - Get a great deal on the only password manager recommended by Grumpy Old Geeks! gog.show/1passwordShow notes at https://gog.show/755Watch on YouTube at https://youtu.be/Vv2W5OCBXR4SHOW NOTESVolkswagen will dramatically shrink its model lineup and factory footprintElon Musk Could Still Face Criminal Charges for Trying to Bribe Voters in WisconsinEurope takes step toward social media ban for kidsThe UK Is Planning a Social Media Curfew for 16- and 17-Year-OldsOnce Unimaginable, Publishers Are Preparing to Opt Out of Google SearchWhat are your plans for AI Appreciation Day?New Anthropic Ad Implies AI Could Kill Us AllThe Public Got So Mad at Meta's New AI Photo Tool That It's Scrapped AlreadyFlock Says ‘We Hope to Resume' Work With LAPD After Getting DroppedApple sues OpenAI over alleged trade secret theftApple F*cking Did It: One Month With Siri AIOpenAI faces sanctions bid as newspapers say ChatGPT was trained on stolen newsA Majority of Americans Now Support Seizing Wealth From AI IndustryNew York enacts first US ban on data center constructionAstronomers Found a Hidden Swarm of Space Junk Threatening Earth's Most Valuable OrbitLawsuit claims Meta's layoff decisions were made by AI, not humansJudge dismisses lawsuit accusing Apple of failing to stop CSAM on iCloudSmart Glasses Just Got a Pro Cyclist Nixed From a RaceProject Hail MaryGood Luck, Have Fun, Don't DieThe New ‘Lord of the Rings' Film Gets an Epic Filming AnnouncementBlack BagPhilips offers free replacements after update bricked smart lighting hubsWaze rolls out new AI features including Motorcycle and 'Less Chatty' modesThe OpenAI Mystery Device Will Reportedly Be Basically Just a Smart SpeakerPhoebe Gates' AI shopping app Phia reportedly claimed unearned affiliate sales through fake clicksThe End of Reading Is HereDave BittnerThe CyberWireHacking HumansCaveatControl LoopOnly Malware in the Building‘The Mandalorian and Grogu' Is Finally Coming HomeDave Kendall, Creator and Host of MTV's 120 Minutes, Has DiedSam Neill, Jurassic Park Star, Dies at 78The DishSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

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Sat, Jul 11 6:20 AM → 6:21 AM Chatty foreign boaters Radio Systems: - SW BC VHF Marine Radio

Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/AlliterationAmArsch Diesmal geht es um Frau Wurst, 90er Pop-Punk, Braunkohletagebau, Ikkimel beim ZDF, das Peter Prinzip, den Problemen des öffentlich rechtlichen, die Steam Maschine, Lornes Lure, Sony und die Disks, Tamagotchi, Chatty, Messi und Apfelessig. Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

Been a while since we've done a show so we just thought we'd hit record and have a chat. We cover things such as Aliens turning 40, the recent 4K releases of John Woo movies (finally!), brief capsule reviews of 'They Will Kill You' & 'Mortal Kombat 2' and the impending fall of humanity due to AI robots.

Live Nation has provided an update on the cancellation of The Dave Matthews Band concert earlier this week, the joy of a long-term friend group, and a deadly heat wave is sweeping Europe. Plus, The New York Times reports on the Taylor Swift and Travis Kelce wedding-- all signs point that it IS happening at Madison Square Garden and a Lionel Richie health scare in Saint Paul. 7 Brew Quest at 7: Holly's sister, Jess and her family see how long it takes to get through the new 7 Brew drive-thru in Apple Valley! And we talk to you about your love for the beverage chain. FIX MY LIFE: Bridget has a chatty neighbor, but she wants her her morning peace -- what should she do? SCREEN QUEENS: "Voicemails for Isabelle," "I Will Find You," and "America's Sweethearts." We revisit the 7 Brew concept and why it's so popular, breaking Timberwolves news: Naz Reid traded, Colleen is still miffed about Live Nation's cancellation of The Dave Matthews Band concert, and a Lionel Richie health update. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this 'chatty' episode I'm joined once again by the wonderful Julie Farrin, who first appeared on Widowed AF to share the story of losing her husband Andy to glioblastoma just months after they were married.A year on from her first appearance, we're talking about what happens after the immediate chaos of grief. After the funeral, after the paperwork, after everyone else has gone back to their lives. What does rebuilding actually look like?Julie opens up about losing not only her husband, but also the future they had planned together. We discuss the children they hoped to have, the difficult decisions that followed Andy's diagnosis, and the complicated grief that comes with losing a life you thought was still ahead of you.We also talk about widowhood without children, redundancy, identity, therapy, dating apps, panic attacks, endometriosis, hysterectomy grief, body confidence, boudoir photoshoots, yoga, friendship and learning to put yourself first after years of caring for someone else.Along the way, we explore why so many widowed people struggle to find purpose after loss, the pressure society places on us to “move on”, and how rebuilding your life often starts with something much smaller: learning that you are worth getting out of bed for.It's an honest, funny and deeply moving conversation about love, loss, womanhood, friendship and discovering that life isn't over just because everything changed.Whether you're newly bereaved, years down the line, or supporting someone through grief, I think you'll find something in Julie's story that resonates.As always, if this episode speaks to you, I'd love to hear from you.You can find me on Instagram at @widowed_af or visit the website at www.widowedaf.com.

Some strains disappear before you're supposed to record the episode.Root Beer GMO was one of those strains.

The Chief is still recovering

A cup of coffee and a chat at a local cafe could be the key to combatting loneliness. The Chatty Cafe scheme aims to reduce social isolation but creating spaces in local cafes where strangers can come together for a conversation. The concept, which is already popular in the US and UK, is now making its way to NZ. Jo Hayes from Chatty Cafes NZ spoke to Lisa Owen.

Pretend you're sitting around the table with Samantha and Deb as they discuss a crystal and tarot of the month plus we talk about Samantha's mom in the afterlife and Deb's new obsession with wind and share what we're reading and working on.Thanks for listening! If you enjoy the show, please tell a friend, subscribe, rate and leave us a kind review. Don't forget to join our community on Facebook by searching Psychic Teachers.  If you have a question or story to share with us, send us an email at psychicteachers@gmail.com.     For more information on us, check out our websites: debbowen.com and samanthafey.com.You can also find Samantha on Instagram @samanthaofey.  You can find our eCourses on crystals, tarot, manifesting and moon magic. Plus we both offer wonderful guided meditations and you can find signed copies of our books.  Be sure to check out Samantha's other podcast Enlightened Empaths.    Have a great week. Be the Light!  

Housecats and wild cats speak different languages? You gotta be KITTEN me!

Dee, Caitlin, and Peter check in on the 2026 Spring season where they actually get to spend most of their time talking about Feminist Potential titles! 0:00:00 Intro Neutral Zone 0:01:36 MAO 0:10:05 Daemons of the Shadow Realm 0:16:28 Botan Kamiina Fully Blossoms When Drunk It's… Complicated 0:22:16 Nippon Sangoku 0:27:53 Needy Girl Overdose Feminist Potential 0:30:15 Witch Hat Atelier 0:36:41 MARRIAGETOXIN 0:44:08 Kirio Fan Club 0:51:45 A Hundred Scenes of AWAJIMA 1:02:52 Even a Replica Can Fall in Love 1:05:34 Always a Catch! 1:08:35 Akane Banashi 1:11:14 Agents of the Four Seasons 1:16:32 Outro Dee: https://bsky.app/profile/deescribe.bsky.social Caitlin: https://bsky.app/profile/alltsunnodere.bsky.social Peter: https://bsky.app/profile/peterfobian.bsky.social AniFem Linktree: https://linktr.ee/animefeminist AniFem Patreon: https://www.patreon.com/animefeminist AniFem Ko-Fi: https://ko-fi.com/animefeminist Recorded Sunday 17th May 2026 Music: Open Those Bright Eyes by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/

The Alan Cox Show

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It's Ticked Off Tuesday and Jared is complaining with YOU about

Vrai, Dee, and Peter make a much-delayed return to Wrap up the 2026 Winter season which, despite having many dropped titles, more than made up for them with its many successes! 0:00:00 Intro Neutral Zone 0:02:18 You and I are Polar Opposites 0:07:41 Sentenced to Be a Hero 0:09:05 Kaya-chan Isn't Scary! It's… Complicated 0:10:49 Wash it All Away 0:11:00 ROLL OVER AND DIE 0:11:28 In the Clear Moonlit Dusk and Hana-Kimi 0:11:53 Shiboyugi 0:15:52 The Darwin Incident Feminist Potential 0:18:31 Tamon's B-Side 0:23:26 The Invisible Man and His Soon-to-be-Wife 0:29:47 The Holy Grail of Eris 0:32:23 Journal with Witch 0:39:53 Bean Counter 0:49:16 Champignon Witch Sequels & Carryover 0:53:54 Love Through a Prism 0:55:01 Fate/strange Fake 0:56:04 Frieren: Beyond Journey's End S2 0:57:35 Hell's Paradise S2 0:59:31 JUJUTSU KAISEN S3 1:01:46 Kaguya-sama: Stairway to Adulthood 1:02:55 Release that Witch 1:06:23 Medalist S2 1:07:06 GNOSIA 1:09:54 Outro Vrai: https://bsky.app/profile/witervrai.bsky.social Dee: https://bsky.app/profile/deescribe.bsky.social Peter: https://bsky.app/profile/peterfobian.bsky.social AniFem Linktree: https://linktr.ee/animefeminist AniFem Patreon: https://www.patreon.com/animefeminist AniFem Ko-Fi: https://ko-fi.com/animefeminist Recorded Sunday 26th April 2026 Music: Open Those Bright Eyes by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/

In den Bann gezogen von Alvins präpubertärer Stimmung, schwelgen die Twins in Erinnerungen an ihre kurze Kindheit, die vom Träumen im Plattenladen mit vertalgten Kopfhörern schnell in ein selbstbestimmtes Rockstarleben umschlug. Doch da Tom heutzutage bei seinen spät einsetzenden Ambitionen als Koch anscheinend nicht ohne Ritterrüstung auskommt und Bill mit der Hobbysuche irgendwo zwischen Prankster und real-abstrakter Hybridmalerei gelandet ist, freuen sich die beiden umso mehr über die früh abgeschlossene Selbstfindungsphase, ganz ohne Rat von Chatty. - SGN, ihr süßen Erntemäuse! Alle weiteren Infos rund um den Podcast, Updates und Werbepartner findet ihr hier: https://www.instagram.com/kaulitzhills.podcast/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Get MORE Bad Friends at our Patreon!! SALE 70% off for new members!! http://patreon.com/badfriends/join?utm_campaign=public_sale Thank you to our Sponsors: Zbiotics, QUO, Quince, Shopify & Men Go To Mars • Zbiotics: Go to https://zbiotics.com/BADFRIENDS and use BADFRIENDS at checkout for 15% off any first time orders of ZBiotics probiotics. • QUO: Try QUO for free PLUS get 20% off your first 6 months when you go to https://Quo.com/BADFRIENDS • Quince: Go to https://Quince.com/badfriends for free shipping and 365-day returns. • Shopify: Sign up for your one-dollar-per-month trial and start selling today at https://shopify.com/badfriends • Men Go To Mars: For a limited time, our listeners get 50% off FOR LIFE, Free Shipping, AND 3 Free Gifts at Mars Men at https://Mengotomars.com YouTube Subscribe: http://bit.ly/BadFriendsYouTube Audio Subscribe: https://apple.co/31Jsvr2 Merch: http://badfriendsmerch.com 0:00 No More Low Microphones 5:00 The Off Button 9:00 Chatty, Chatty, Bang, Bang 14:30 This, Again? 18:00 Old Bob Hair 24:00 Cigs Behind Security 27:30 Ren & Stimpy 32:00 Supreme Gas 36:30 Carlos Pays the Bill 40:00 A Film of Two Halves 44:30 Performative or Something's Wrong? 48:30 Did We Kill Chuck Norris? 54:00 Bobby Does 1,000 Sit Ups 59:00 Notes from the Underground 1:02:00 The Exit Strategy 1:06:00 White Spiders 1:10:00 The Farmer's Market 1:13:30 Scoville Units More Bobby Lee TigerBelly: https://www.youtube.com/tigerbelly Instagram: https://www.instagram.com/bobbyleelive Twitter: https://twitter.com/bobbyleelive Tickets: https://bobbylee.live More Andrew Santino Whiskey Ginger: https://www.youtube.com/andrewsantinowhiskeyginger Instagram: https://www.instagram.com/cheetosantino Twitter: https://Twitter.com/cheetosantino Tickets: http://www.andrewsantino.com More Fancy SOS VHS: https://www.youtube.com/@7equis Instagram: https://www.instagram.com/fancyb.1 More Bad Friends iTunes: https://podcasts.apple.com/us/podcast/bad-friends/id1496265971 Instagram: https://www.instagram.com/badfriendspod/ Twitter: https://twitter.com/badfriends_pod Official Website: http://badfriendspod.com/ Opening Credits and Branding: https://www.instagram.com/joseph_faria & https://www.instagram.com/jenna_sunday Credit Sequence Music: http://bit.ly/RocomMusic // https://www.instagram.com/rocom Character Design: https://www.instagram.com/jeffreymyles Bad Friends Mosaic Sign: https://www.instagram.com/tedmunzmosaicart Produced by: 7EQUIS https://www.7equis.com/ Podcast Producer: Andrés Rosende This video contains paid promotion. #bobbylee #andrewsantino #badfriends #sponsored #ad Learn more about your ad choices. Visit megaphone.fm/adchoices

Transitions don't have to feel chaotic. In this episode, we share simple classroom transition strategies to reduce chatter by intentionally designing what happens before, during, and after each shift in activity. From clear directions and action cues to managing movement and preventing bottlenecks, we walk through practical ways to keep things running smoothly. These small, thoughtful changes can have a big impact on keeping students engaged and your classroom calm.Prefer to read? Grab the episode transcript and resources in the show notes here: https://www.secondstorywindow.net/podcast/classroom-transition-strategies/Resources:Teacher Approved: Calming Piano PlaylistDehumidifierStraw OrganizerCheck out our book Structure and SparkJoin The Teacher Approved ClubConnect with us on Instagram @2ndstorywindowShop our teacher-approved resourcesJoin our Teacher Approved Facebook groupLeave a review on Apple Podcasts!Leave a comment or rating on SpotifyRelated Episodes to Enjoy:Episode 247. 4 Spring Classroom Management Headaches and How To Fix ThemEpisode 48. How to Make Classroom Transitions Simple With Clear Beginnings and EndingsEpisode 49. Rapid Classroom Transitions: How to Save 45 Hours a YearEpisode 50. 3 Guidelines to Make Classroom Transitions Work Smarter No HarderMentioned in this episode:Is your class acting like spring break erased every expectation you've ever taught? Try the Teacher Approved Club free for 10 days and get this month's training on keeping expectations alive — plus last month's Quiet Your Chatty Class Challenge. Join at https://secondstorywindow.net/trial

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Your favourite Aunties, Ak, Farrah and Nana are back with another packed episode, joined by Audrey from The Receipts.AUNTYVENTION

Hi guys!!!! Happy Friday everyone

Comedians Matteo Lane and Sarah Colonna join Jeff & Shane to talk about people bringing dolls to life and Sarah's cats Instagram account. Plus,  musically profiled while in a ride share. • • •  Want more Jeff Lewis? Click here to sign up for 3 free months of SiriusXM and listen weekdays to "Jeff Lewis Live" from 12-2pE/9-11aP on Radio Andy Channel 102. Plus, tune into The Jeff Lewis Channel for even more Jeff content streaming exclusively on the SiriusXM app channel 789. • • •  Host - Jeff Lewis Guests - Matteo Lane, Sarah Colonna, & Shane Douglas Senior Director – Lisa Mantineo Director - Alyssa Heimrich Senior Producer & Editor - Jamison Scala Associate Producer – Oscar Beltran Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Vrai, Dee, and Peter meet to discuss the 2026 Winter season's absolute cornucopia of shojo, josei, and romance anime! 0:00:00 Intro 0:02:07 You and I are Polar Opposites 0:06:05 Sentenced to Be a Hero 0:08:03 Kaya-chan Isn't Scary! 0:13:17 Wash it All Away 0:16:21 Shiboyugi 0:20:20 ROLL OVER AND DIE 0:24:05 In the Clear Moonlit Dusk 0:33:56 Hana-Kimi 0:40:44 The Darwin Incident 0:41:24 Tamon's B-Side 0:48:24 The Invisible Man and His Soon-to-be-Wife 0:55:01 The Holy Grail of Eris 0:58:45 Journal with Witch 1:02:22 Bean Counter 1:07:13 Champignon Witch 1:13:47 Outro Vrai: https://bsky.app/profile/witervrai.bsky.social Dee: https://bsky.app/profile/deescribe.bsky.social Peter: https://bsky.app/profile/peterfobian.bsky.social AniFem Linktree: https://linktr.ee/animefeminist AniFem Patreon: https://www.patreon.com/animefeminist AniFem Ko-Fi: https://ko-fi.com/animefeminist Recorded Sunday 1st March 2026 Music: Open Those Bright Eyes by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/

Fresh off the heels of WWE's Elimination Chamber, Sir Jenks-hausen and Mark "The Mark" are back to discuss the business of pro wrestling. Find out what the guys loved about last week's PLE, what they found to be silly, and how many ounces of water are in a gallon!! All this and a whole lot more on this random episode of Can Crushers Wrestling Podcast.WWE Shop⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Can Crushers Merch Store⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Tony, Vrai, and Destiny return for Part 2 of their NANA watchalong, covering episodes 8-17, where they discuss Hachi's sexuality, the vilification of women in rock, and the reality vs the mystique of Nana O! 0:00:00 Intro 0:01:29 The story until now 0:02:18 Jackson Hole is REAL 0:06:41 Hachi's big city fantasy vs reality 0:18:41 Shoji sucks 0:25:41 Hachi's sexuality 0:30:45 Hachi's awakening 0:33:36 The girls are fighting but ALSO reconciling 0:35:37 Hachi is hated??? 0:38:11 Junko is hated 0:48:55 Anime vs manga framing 0:50:49 Nana O's mystique 0:58:46 Woman in rock being vilified 1:02:11 The music 1:06:03 Nice things 1:12:18 Yasu rocks 1:17:02 Outro Tony: https://bsky.app/profile/empty-visions.bsky.social Vrai: https://bsky.app/profile/witervrai.bsky.social Destiny: https://bsky.app/profile/gettinganimated.bsky.social AniFem Linktree: https://linktr.ee/animefeminist AniFem Patreon: https://www.patreon.com/animefeminist AniFem Ko-Fi: https://ko-fi.com/animefeminist Recorded Thursday 22nd January 2026 Music: Open Those Bright Eyes by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/

All over the place and slightly unhinged but here ya go!! xoxo

Send a textNothing works if our students aren't truly listening, and I mean truly listening.Do you have that one class that pushes all your buttons? The chatty class where students talk over you, chat in English, and seem to tune out no matter what you try? I listened to this original episode again last week while dealing with my own challenging class, and it reminded me why this message matters so much.Here's the truth: We design compelling input, stay in the target language, and plan engaging activities, but if students aren't listening with intention, language acquisition simply cannot happen.In this episode, you'll discover:3 things I don't know anymore about managing chatty classes (this honest reflection will shift your perspective)5 practical, classroom-tested strategies to transform your chatty class into focused listeners without sacrificing comprehensible input or a positive classroom cultureReal talk about imperfect classes, imperfect teachers, and imperfect students because your classroom doesn't need to be perfect to be effectiveWhy traditional "quiet down" techniques fail in CI classrooms and what actually worksThis is an old episode, but it's worth listening to again. Whether you're struggling with classroom management right now or just need a reminder that you're not alone in this challenge, these strategies work.Resources mentioned: Jon CowartDictation template by Meredith WhiteChristina MargioreGrant BoulangerBertha Delgadillo's sitting transcription templates inspired by the Comprehensible Classroom postGWP Spanish Teacher Academy Waiting ListClick here to download 5 comprehensible legends in Spanish: Leyendas LatinoamericanasLet's connect: Facebook community Growing With CIInstagramBlog for more resourcesTPT Store for ready-to-use Spanish class materials

This week Craig reveals the reason he's been on the road so much for the last few months. That's because news this week broke that his new CNN TV show, American on Purpose will be premiering shortly on the network. It's based on the NY Times Bestselling book of the same name that Craig wrote a few years back when he first became a citizen of the United States. It's the 250th anniversary of the United States and the goal of the show is to celebrate the United States. Being proud of our great country while at the same time not taking a jingoistic approach about it. Working with the folks at CNN that worked with the late, great Anthony Bourdain. Have a question for Craig? Drop him an email at: ⁠⁠⁠craigfergusonpodcast@gmail.com⁠⁠⁠, send him a message on social media, or drop a comment below. _______________________________________________ Craig is also on the road. Dates and tickets can be found here ⁠⁠⁠⁠⁠⁠https://www.thecraigfergusonshow.com/tour ⁠⁠⁠⁠⁠⁠_________________________________________________ FIND CRAIG: Website - ⁠⁠⁠⁠⁠⁠https://www.thecraigfergusonshow.com⁠⁠⁠⁠⁠⁠ Instagram - ⁠⁠⁠⁠⁠⁠https://www.instagram.com/craigyferg⁠⁠⁠⁠⁠⁠ TikTok - ⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@craigy_ferg⁠⁠⁠⁠⁠⁠ X - ⁠⁠⁠⁠⁠⁠https://www.x.com/craigyferg⁠⁠⁠⁠⁠⁠ Facebook - ⁠⁠⁠⁠⁠⁠https://www.facebook.com/thecraigfergusonshow⁠⁠⁠⁠⁠⁠ ABOUT THE JOY PODCAST: Storied late-night talk host Craig Ferguson brings his interview talents and singular world view to a discussion of the modern state of JOY, sitting down with notable guests from the worlds of entertainment, science, government, and more. How's our Joy doing? Bridled? On life support? Where do we find joy in a world that seems by any rational measure to be collapsing around us? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Schnell ein Rezept entwerfen lassen, bei Hausaufgaben helfen oder etwas Kompliziertes einfach erklären lassen: Chatty und Co. können uns schlauer machen und vieles einfacher. KI-Assistenten helfen uns beim Browsen, Chatassistenten versuchen sogar, Menschen zu ersetzen. Aber natürlich gibt’s auch Schattenseiten: AI Slop vermüllt das Internet, und KI-Stimmen ersetzen Sprecher*innen. Tim Schultheiß wollte von euch wissen: Macht KI unser Leben wirklich besser?

She hates him because he complimented her to her friend. How is that a problem? See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Tony, Caitlin, and ANN's Sylvia get together to talk about Paru Itagaki's madcap dystopic LGBT romance battle shonen featuring a sexy Santa Claus, Sanda! 0:00:00 Intro 0:01:53 Paru Itagaki 0:07:07 Whomst is Santa 0:10:21 Wish fulfillment 0:14:35 Black Santa 0:18:50 The “Trauma-free Curriculum” 0:31:08 Oshibu 0:34:55 Puberty and body horror 0:37:59 Furuyama's Body 0:42:04 All the metaphors 0:45:41 Enforced heteronormativity 0:48:44 Bury your gays? 0:56:59 Bury your gays 1:02:39 Itagaki's unpredictability 1:04:33 Hopes for season 2 1:08:49 Closing thoughts 1:09:24 Outro Tony: https://bsky.app/profile/empty-visions.bsky.social Caitlin: https://bsky.app/profile/alltsunnodere.bsky.social Sylvia: https://bsky.app/profile/vestenet.bsky.social AniFem Linktree: https://linktr.ee/animefeminist AniFem Patreon: https://www.patreon.com/animefeminist AniFem Ko-Fi: https://ko-fi.com/animefeminist Recorded Thursday 29th January 2026 Music: Open Those Bright Eyes by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/

LaToya and Barry caught up on various personal updates, including LaToya's recent purchase of new AirPods 3 and Barry's relationship status with Eris, who is now Facebook official. They discussed the new Take That documentary series, their shared interest in Arsenal football, and the challenges of following the team due to U.S. broadcasting restrictions. LaToya shared her excitement about upcoming cruises, including a family cruise in February and three other cruises planned throughout the year. They also discussed their financial situations, with LaToya acknowledging her ongoing debt challenges and Barry mentioning his bankruptcy. The conversation concluded with LaToya requesting that Barry avoid discussing the library with her, as it's triggering.

Time to break down the College Football National Championship between Indiana and Miami. Breaking down the title bout with beat writers Adam Lichtenstein of the Sun Sentinel & Zach Osterman of the Indianapolis Star. Plus, NFL head coaching jobs and the best candidates to fill them. Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week on the Play It Brave podcast, I'm doing something a little different — I'm bringing you behind the scenes for a real coaching session with one of my favorite photographers (and one of my trusted second shooters), Jasmine Ortiz. This episode is for every photographer who has ever thought: "I know my work is good… so why do I get weird and wobbly the second it's time to talk about pricing?" Because that moment — where you're ready to raise your rates, step into a higher tier of client, and be paid like the artist you actually are — requires more than updating a number on a proposal. It requires an identity shift. In this conversation, Jasmine shares what's been happening as she raises her prices: how her old sales call script worked at a lower price point, but suddenly feels stiff, robotic, and way too logistics-heavy for the clients she wants to book now. And from there, I walk her through the exact framework I teach inside my one-to-one coaching and masterminds — the same structure that's helped photographers go from booking $3–6K weddings to booking $8K, $10K, $20K, even $30K. Because at the luxury and intro-luxury level, clients aren't choosing you because you're "easygoing" and "go with the flow." They're choosing you because you feel like a leader. A director. An artist with presence, taste, and a clear process. And the best part? You can learn that. You can practice that. You can embody that. In this episode, we talk about: Why so many photographers unintentionally dilute their authority by trying to be the couple's "bestie" How luxury clients want warmth, yes — but they also want clarity, confidence, and precision The difference between "participating" in the call vs. leading the call How to ask better questions than "So what's your vision?" Why selling at a higher level means selling an experience and a feeling, not hours and deliverables How to keep the first call exciting (and not turn it into a timeline-planning meeting) What to say instead of "We can totally do whatever you want" (because… no. Not if you're positioning luxury) The 7 shifts I gave Jasmine (you can steal these too): Before we recorded, Jasmine sent me a transcript of a real sales call — and once I read it, I found seven immediate tweaks that would completely change her conversions at a higher price point. Here they are: Stop being overly casual. Warm is good. Too familiar is not. Luxury requires a calm, grounded presence. Don't let the couple dictate the call. They don't want to run the show — they want to hire someone who can. Step into the identity of the director. You're not auditioning to be chosen. You're guiding them through a curated experience. Remove all "wishy-washy" language. "Whatever you want!" is not elegance. Recommendations are. Mirror their exact words back to them. This is huge. If you don't repeat their emotional buying criteria, they won't feel seen. Hold the space as an expert guide. Don't match chaos. Don't match overwhelm. You hold the calm. Stay professional while still being warm. Approachable, yes. Chatty friend energy, no. If you're in the season of raising your rates, hear me when I say: you don't just raise your prices — you raise your presence. You shift your language. You shift your leadership. You shift your identity. Because luxury clients aren't buying your packages. They're buying you.

Dee, Caitlin, and Peter wrap-up the year 2025 with a recap of the 2025 Fall Season's solid line-up! 0:00:00 Intro Neutral Zone 0:01:47 A Wild Last Boss Appeared! 0:05:08 Yano-kun's Ordinary Days 0:06:51 Wandance 0:10:51 Yano-kun's Ordinary Days 0:15:51 A Star Brighter than the Sun 0:18:46 My Status as an Assassin Obviously Exceeds the Hero's 0:20:42 The Fated Magical Princess It's Complicated 0:22:24 With You, Our Love Will Make it Through 0:25:29 Sanda Feminist Potential 0:34:26 This Monster Wants to Eat Me 0:40:07 May I Ask for One Final Thing? 0:49:50 A Mangaka's Weirdly Wonderful Workplace 0:52:46 GNOSIA 1:00:26 The Dark History of the Reincarnated Villainess 1:06:22 Ranma 1/2 1:10:09 SPY x FAMILY 1:12:57 Outro Dee: https://bsky.app/profile/deescribe.bsky.social Caitlin: https://bsky.app/profile/alltsunnodere.bsky.social Peter: https://bsky.app/profile/peterfobian.bsky.social AniFem Linktree: https://linktr.ee/animefeminist AniFem Patreon: https://www.patreon.com/animefeminist AniFem Ko-Fi: https://ko-fi.com/animefeminist Recorded Saturday 3rd January 2026 Music: Open Those Bright Eyes by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/

It's the 2025 Chatty Chat year in review friends! We're diving into a big old pile of stories from the past year and speculating on what's to come in 2026. If you're wondering where this sits on the "in-depth interview vs. casual chatting" spectrum, just know we spend a considerable amount of time talking about how rad the Switch 2 is. This is not a deep dive, just a good time. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It might rain on the Rose Parade. Andy chats with Kacey Montoya of KTLA about these crazy SoCal storms we’ve been experiencing throughout the festive season. Andy’s very special guest in the studio is music mastering engineer, New Yorker Howie Weinberg, who worked with such iconic acts as Nirvana, Red Hot Chili Peppers, the “Saturday Night Fever” soundtrack and Smashing Pumpkins. Weinberg has 40 years of experience making tunes sound like music to our ears. He’s worked on records by Run DMC, Metallica, Rush, U2, White Zombie, Jeff Buckley – phew! That’s a lot of Grammy Awards!See omnystudio.com/listener for privacy information.

Vrai, Tony, and special guest, the Getting Animated podcast's Destiny-Senpai, begin their multi-part watchalong of the shoujo classic, NANA. Destiny will be our expert as Vrai and Tony experience the story for the very first time, just in time for its 25th anniversary. 0:00:00 Intro 0:03:00 About NANA 0:05:11 Personal histories 0:10:51 Yazawa's style and other works 0:14:12 Plot summary 0:15:32 Music, fashion, and identity 0:37:18 Love, Sex, and CompHet 0:50:25 The boys 0:57:53 Hachi 1:00:20 NANA glazing 1:02:05 Theorycrafting 1:06:38 Lightning round 1:14:59 Outro Vrai: https://bsky.app/profile/witervrai.bsky.social Toni: https://bsky.app/profile/empty-visions.bsky.social Destiny: https://bsky.app/profile/gettinganimated.bsky.social AniFem Linktree: https://linktr.ee/animefeminist AniFem Patreon: https://www.patreon.com/animefeminist AniFem Ko-Fi: https://ko-fi.com/animefeminist Recorded Monday 15th December 2025 Music: Open Those Bright Eyes by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/

Toni, Vrai, and Peter return for part 5 of their Monogatari watchalong with the Neko Black OVA series and Neko White (AKA the Tsubasa Tiger arc from Monogatari Second Season) to follow Hanekawa's twin story arcs and a new Araragi-less face (mostly) for Monogatari! 0:00:00 Intro 0:02:42 Watch order 0:03:45 Monogatari without Araragi 0:07:49 White as a redo for Black 0:10:38 Timeline 0:11:58 Hanekawa house reveal 0:14:58 Bisexuals 0:20:40 Adaptation decisions 0:24:08 Hanekawa x Senjogahara 0:26:51 Haircuts 0:28:58 Neko Black's ending 0:37:58 Hanekawa, buddhism, and the tiger 0:39:35 Hanekawa's development 0:46:41 Autism coding 0:52:42 Senjogahara's handshake 0:53:57 Araragi's mom 0:58:16 Oshino's senpai 1:01:20 Bad horny 1:03:22 Hanekawa and rules 1:06:22 Mayoi 1:08:29 Monogatari's structure sans Araragi 1:14:45 Future plans 1:15:45 Outro Toni: https://bsky.app/profile/empty-visions.bsky.social Vrai: https://bsky.app/profile/witervrai.bsky.social Peter: https://bsky.app/profile/peterfobian.bsky.social AniFem Linktree: https://linktr.ee/animefeminist AniFem Patreon: https://www.patreon.com/animefeminist AniFem Ko-Fi: https://ko-fi.com/animefeminist Recorded Tuesday 2nd December 2025 Music: Open Those Bright Eyes by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License creativecommons.org/licenses/by/3.0/

From Boss Talk to Bankruptcy: Bitter Chatty Patty Dame Dash GOES OFF on Charlamagne, Cam'ron & 50