Podcasts about cornishman

Our weekly tour of the fan channels brings us mismatched Mancs, a contented Cornishman and angry Arsenal acolytes.

We're biased about today's guest – and not just because he is also a proud Cornishman! Josh Eyre is one of the top officials in the Cornish game, and has been recognised as such by his county organisation. He's also working his way up the footballing pyramid, a rising star in refereeing who is already officiating in matches at a National League North and South Level – and with getting into the Football League pyramid itself just one step away, that's something that is firmly in his sights. Josh reached out to us at the start of the year, saying he'd love the chance to share his story on the podcast – and that's exactly what we're doing here today. We talk about Josh's footballing story, the joys and challenges of refereeing, the sacrifices it takes to do it well, his own journey with his sexual orientation, the importance of representing and loads, loads more. WANT TO FIND OUT MORE ABOUT OUR GUEST? @josheyre2003 WANT TO GET IN TOUCH WITH THE PODCAST? @jack_murley jack@jackmurley.com  

Join host Mark Lovell as he sits down with iconic football commentator Jonathan Pearce to share captivating stories from his life and career. A proud Cornishman, Pearce begins by recounting the remarkable circumstances of his birth at Freedom Fields Hospital in Plymouth. He reflects on his early years in Bristol, where his love for football blossomed alongside his passion for Bristol City.In an extraordinary tale from 1972, Pearce recalls how he and his father pioneered match analysis for Bristol City, making them the first club in Europe to film matches for tactical insights. This groundbreaking work laid the foundation for a lifelong devotion to the Robins and provides a treasure trove of anecdotes for Bristol City fans.The distinctive voice behind "Match of the Day" and 12 World Cup tournaments, Pearce shares his take on the exciting prospects for Plymouth Argyle under Wayne Rooney. He also discusses the potential for a documentary about Argyle and Rooney to captivate the American market, sharing his thoughts on the direction such a project should take.Stories about legendary managers like Brian Clough and Bill Shankly add to the rich narrative, as Pearce's vast experience in broadcasting comes to life. The conversation wraps up with a look ahead to Argyle's upcoming visit to Ashton Gate.Any contribution towards running costs is always welcome:https://ko-fi.com/pilgrimspodcast Hosted on Acast. See acast.com/privacy for more information.

On May 14th, 1907, Heinrich Pressler, Chief Engineer was found dead in the room he rented in Chemnitz, Germany. It was at first ruled as a suicide, but the case was soon re-opened and suspicion fell on his fiance, Grete Beier. Unpeel the layers of this disturbing case by diving into a murderer's mind with us. Tea of the Day: Kiki's Spiced Bread Tea Theme Music by Brad Frank Sources: “Girl Presents Bullet to Man.” The Oregon Daily Journal (UP), Wed, Oct 30, 1907, Page 3. https://www.newspapers.com/image/1090698684/“A Beautiful Girl's Confession.” The Armidale Express and New England General Advertiser, Tue, Aug 25, 1908, Page 3, https://www.newspapers.com/image/964685070/“1908: Grete Beier, who wanted the fairy tale.” Executed Today. Posted on 23 July, 2015 by Headsman, https://www.executedtoday.com/2015/07/23/1908-grete-beier-who-wanted-the-fairy-tale/“Sensational German Murder Case.” The Guardian, Tue, Jun 30, 1908, Page 7, https://www.newspapers.com/image/258542940/“Remarkable Murder Story. An Extraordinary Story.” Grimsby Evening Telegraph, Tue, Jun 30, 1908, Page 3, https://www.newspapers.com/image/918755939/“Woman Guillotined in Public.” The Cornishman, Thu, Jul 30, 1908, Page 7, https://www.newspapers.com/image/786684255/“Shot While Blindfolded.” Long Eaton Advertiser, Fri, Jul 03, 1908, Page 2, https://www.newspapers.com/image/853905293/“Beheads Young Girl.” Idaville Observer, Fri, Jul 31, 1908, Page 7, https://www.newspapers.com/image/881953778/“Extraordinary Murder Charge.” Liverpool Daily Post, Tue, Jun 30, 1908, Page 10, https://www.newspapers.com/image/797545615/“Girl Commits Terrible Crime.” Billings Evening Journal, Wed, Oct 30, 1907, Page 2, https://www.newspapers.com/image/953445310/“Girl Revolting Crime.” Grimsby Evening Telegraph, Mon, Oct 07, 1907, Page 4, https://www.newspapers.com/image/918752787/Find a Grave, database and images (https://www.findagrave.com/memorial/230802378/marie_margarethe-beier) accessed October 27, 2024), memorial page for Marie Margarethe “Grete” Beier (15 Sep 1885–23 Jul 1908), Find a Grave Memorial ID 230802378, citing Johannisfriedhof Tolkewitz, Dresden, Stadtkreis Dresden, Saxony, Germany; Maintained by Malita (contributor 50493639).“Marie Margarethe Beier.” Murderpedia, (Capital Punishment UK) https://murderpedia.org/female.B/b/beier-grete.htm“Grete Beier, German Serial Killer, Murdered Her Three Babies in Succession and Later Murdered Her Husband - 1908.” Unknown Gender History, September 22, 2011, https://unknownmisandry.blogspot.com/search?q=grete“Beheads Girl Who Killed Her Lover.” Cleveland Plain Dealer, Thu, Jul 23, 1908, Page 5, https://www.newspapers.com/image/1074675524/The Cincinnati Enquirer, Sun, Mar 08, 1908, Page 13, https://www.newspapers.com/image/33373453/“‘Surprise' Was Death.” St. Joseph News-Press, Mon, Nov 25, 1907, Page 8, https://www.newspapers.com/image/559246100/“Acts in Jail.” The Kingston Whig-Standard, Sat, Oct 26, 1907, Page 1, https://www.newspapers.com/image/783821093/Walters, Guy, “How the Nazis slaughtered 16,000 people by guillotine: Found in a Munich cellar, the death machine that reveals a forgotten horror.” Daily Mail, Published: 20:27 EDT, 13 January 2014 | Updated: 20:40 EDT, 13 January 2014, https://www.dailymail.co.uk/news/article-2538973/How-Nazis-slaughtered-16-000-people-guillotine-Found-Munich-cellar-death-machine-reveals-forgotten-horror.html 

On this episode, my guest is Craig Slee, a disabled writer, consultant and theorist dealing with mythology, folklore, magic and culture, exploring life through the lens of landscape, disability and fugitive embodiments.He has contributed essays and poetry focusing on the numinous and disability to various anthologies including The Dark Mountain Journal. Craig has also co-facilitated multiple seminar series at the Dresden Academy for Fine Arts, regarding ableism in the arts, as well as how ableism affects our relationship to space. In 2023 he was one of the speakers at the World Futures Studies Federation 50th Anniversary Conference, introducing the concept of (Dis)abling Futures. Craig resides in the northwest of England.Show NotesCornwall and the Seasons Who Gets to Decide What it Means to Know a Place?The Folding in of Identity to TourismA Question of Productive vs Generative AbilityAbleism and AttentionFinger Bending and the Freedom of MovementRedefining and Remembering Other Forms of MovementWhat is Stillness?The Dance of MountainsObeying LimitsHomeworkCold Albion (Craig's Blog)Goetic Atavisms (Hadean Press)Craig's Blue Sky Page | Facebook PageTranscriptChris: Welcome to the End of Tourism, Craig. Craig: Thank you for having me. Chris: Yes, it's great to be able to speak with you today. I've been ruminating for a couple of years now as to the themes that we might speak of. And I was introduced to you via a mutual friend and have come closer to your work via the Emergence Network's online gathering, We Will Dance With Mountains, in the last quarter of 2023.And so, to begin, I'd like to ask you first where you find yourself today and what the world looks like for you, where you are. Craig: Where I find myself today is by the canal in my flat, looking out the window, just as evenings coming in, in the northwest of England, in Lancaster, and it's chilly here which is actually a good thing, I guess, these days.Chris: Perhaps I could ask you to elaborate a little bit on what Lancaster looks like, but I know that, you know, from our conversations previous that you grew up [00:01:00] in Cornwall, a place that was previously, a town, an area devoted to fishing and mining, and from what you've told me, it's also become a massive tourist trap that you know, from the little that I've seen online, that the area receives around 5 million visitors a year, and tourism makes up about a quarter of the local economy.So I'm curious what you've seen change there and what do you think has happened to Cornwall and its people as a result and maybe there's something in there as well regarding Lancaster. Craig: Yeah, so I should emphasize this. I was born in Cornwall. My family has been lived down there for many many generations anyway and my father's side of the family actually, at various points, worked in the tourist trade as well before they went on to other things.And, [00:02:00] yeah, I mean, I left because, frankly, there was no jobs that weren't tourism. I came to Lancaster to study because one, I have a physical disability which means that Cornwall is a very rural area, so you need to drive everywhere, and that's fine, I drove at that point, but for good or ill, a more urban center was better for me later in life as I left.But the way that it shifted, even in the years when I was growing up, was that, you know, essentially was a rural area where nothing really happened socially or culturally that much until the summer seasons. So, you were very, very aware of the seasons in terms of, you'd have visitors [00:03:00] starting, and that was when the town would wake up, and then it was kind of dead for the rest of the year, so it was very much one of those things where the tourist trade has actually made me more aware of human rhythms in the natural world than perhaps I would have been, because it's so based on seasonal stuff.And just looking at the way the infrastructure because a lot of the towns and areas, they boomed a little bit well, quite a lot in certain areas with the tin mining of the 19th century. But a lot of the architecture and things like that was 19th century. So you had small villages and slightly larger towns, and they have very, well, I guess some people, if they were tourists, would call "quaint, narrow streets."And when you have that many visitors, in the summer, you can't get down the streets. [00:04:00] You can't drive it because it's full of people walking. You know, there's an interesting anecdote I'd like to recount of when my father, he was a vicar, he was a priest, moved to a new area he would go to the local pub and all the locals would greet him as the priest and be like, very polite.And then when it would come out that my dad was actually a local, that he was born down there and part of the family, everybody would relax. And there was this real sort of strange thing where people came and stayed because it was a lovely area, but there was still that whole issue with second homes and certainly keeping an eye on things from a distance here during the pandemic when people left cities during the pandemic, they went down there amongst places in Britain.And that meant that, [00:05:00] literally, there were no houses for newly starting teachers, you know, teachers who had got jobs and were moving down there, couldn't find places to live because during the 2020 and sort of 2022 period, everything was just opening up either as Airbnb because there was this influx from the cities to the more rural areas because it was supposedly safer.You know, and I feel like that's a reflex that is really interesting because most people think of it as, oh, "a tourist area," people go there for leisure, they go there to relax and get away from their lives, which is true, but under a stressful situation like a pandemic, people also flee to beautiful quotes isolated areas, so there's that real sense of pressure, I think and this idea that we weren't entirely sure, growing up, [00:06:00] whether we would have a place to live because a lot of the housing was taken up by people with second homes. And plenty of people I went to school with because it's a surfing area took the knowledge that they learned in the tourism trade, and actually left and went to Australia. And they live on the Gold Coast now. So it's this self perpetuating thing, you know? Chris: Well, that leads me to my next question, which kind of centers around belonging and being rooted and learning to root, maybe even becoming a neighbor or some might say a citizen of a place.And with tourism or a touristic worldview, we seem to be largely stunted in our ability to know a place, to become part of that place in any significant or enduring sense of the word. And so, I'm curious what your thoughts are on what it means to know a place, [00:07:00] and perhaps on the often mad rush to say I know a place for the sake of social capital, you know, given the context of the kind of relative difficulties that one might incur, or in a place like Cornwall, and the relative degree of exile that forces people out.What do you think it means to know a place in the context of all of these economic pressures denying us that possibility, or at least making it really, really difficult. Craig: I think we have a real problem in modernity with the idea of knowing as a sense of capture, right? So if I know you, I have this boundary of this shape, this outline of Chris, right, that I can hold, that I can grasp. And I think sometimes when we say, "oh, I know a place," or, "oh, I know a person" there's no concept of the [00:08:00] ongoing relationality. You know, you capture the image and then you keep it. And it's a whole construct of extractive knowledge that really, I think, comes down to the idea that the humans are the ones who get to decide what a place is, right?So. I could say in the standard sense, "Oh, I know Cornwall because I, you know, I grew up there for nearly 20 years." My family has been there since about the 1500s. You know, "I know a place, it's in my bones." Yada yada yada. All the metaphors you want to use. But the fact of the matter is, the place itself influences me more than I influence it. So there's this strange sense of belonging in which modernity [00:09:00] says "I belong" or "it belongs to me" rather than perhaps the place has extended hospitality to me and allowed me to grow and I could live/work in a place for 30 years and never know it because we're not comfortable as a culture with the idea of going, "I don't know this place."And it's a variety. It's always changing. And I think about all the times I used to watch the sea and talk to folks whose parents were fishermen or lifeboatmen, and they'd be like, "Yeah, we know the waters, but the waters can change. We know roughly what they do under certain conditions, but we don't know them completely, because they can always surprise us."And So, when somebody says, "oh, you're from Cornwall, you're a Cornishman," and all that sense of identity, [00:10:00] I'm like, "yeah, but that's, that's both really fluid for me, because, you know, there's a lot of history." Is it the tourist world of the 20th and 21st century, or is it the farming and the mining that goes back to the Neolithic?How we relate to a place purely in a modern sense isn't, to my mind anyway, the only way to conceive of belonging because, even though I'm now 300 miles away from there, I have its isotopes, its minerals from drinking the water in my teeth, you know. So, on some level, the idea that you have to be in a place also to belong to a place is something that I'm curious about because, there's this whole notion, [00:11:00] "you're only in the place and you've been in a place for this long and that means you know it and you're local." Whereas growing up, there was this sort of weird thing where it was like, "yeah, you might have been here 30 years and everybody knows you, but you're not a local." Right? You still belong, but there was this other category of " you're not local or something like that."And so it's complicated, but I really do, for my personal take, tend to look at it as a, the landscape, or wherever it is, influences my sense of belonging in a non human context, or more than human context, if that makes sense. Chris: Hmm. Yeah, there's so much there. Yeah. I mean, I'm also, in the context of identity, also wondering in what ways, not only has the tourism industry shaped one's identity of being local, which [00:12:00] is, I think, a huge issue in over touristed places in the last, you know, 10 or 20 years, as identity politics rises into the mainstream, and but then also not just the industry and the interaction with foreigners or, or guests, or tourists, but the way in which the image of that place is crafted through, often, ministries of culture or heritage, you know, so you could grow up in a place that isn't necessarily overly touristed or anything like that. But then have your identity crafted by these ideas of culture or heritage that the government's, federal and otherwise, have placed on people.Craig: And especially because where I come from, Cornwall, actually had its own language, which died out, which was on the verge of dying out in the 19th century. And slowly there are more speakers of it now. And you go back there now and you'll find, [00:13:00] even when I was growing up it wasn't so prevalent, but you'll find a lot of the signs for the street signs will have the English and the Cornish.So that's where the government has embraced this identity and enhanced it after people have been saying, you know, "this is a language we've rebuilt it. It's cousin to Welsh and Breton. We should use it. It's part of our identity and it's got folded into that." And so the infrastructure itself is now been part of that. You know, those very same streets have a name that wasn't known for like, 50, 60, maybe to 80 years, and suddenly people are now deliberately using the old names in non English languages because of that. And it's very strange because, especially in the UK, what with all [00:14:00] of Brexit and all that, there is a very weird sense wherein the rest of England, i. e. North and London and those sort of areas don't understand because Cornwall was a peripheral area and much like Wales, there's a lot of distrust of central government. Hmm. So, you've got this whole construction of a personal identity of nobody actually really understands what goes on outside. Either they're incomers, either they're emmets. You know, which "emmets" is the old English for "ants." Referring to tourists as ants in a kind of, yeah, they get everywhere. And the whole notion of who we are is always constructed. But in that case, going away and coming back to visit, I'm going, "Well that street didn't [00:15:00] have that label on it when I left. But it does now. And so in a certain sense it's the same place, but it's got this overlay of somewhere different that really enhances that sense of layers for me of "which Cornwall?" "Which of any of these places are we talking about?"Like you say, is it the one you see on a picture postcard or an Instagram or is it the ones who sat there as kids going, right, 'there's nothing to do, let's go and drink in a field?' You know and all of these things can co exist.Chris: Hmm, right. Yeah, I just interviewed a friend of mine, Christos Galanis, who did his PhD on hillwalkers, as well as homecomers in the Scottish Highlands, so people who spend their weekends climbing, summiting the Highland Mountains, and also the Canadian or Americans who travel to Scotland on heritage trips or ancestral [00:16:00] journeys. And he mentioned how in the Highlands that the governments have placed the original Gaelic place names on all of the the signs there, whether you're entering a village or perhaps on the street signs as well.And that he said that something like "only three percent of the of the people in Scotland actually speak, speak Gaelic," so they see the sign, they see the name, the vast majority of people, and they have no idea what it means. And I also remember the last time I was in Toronto, which is where I'm from originally, or where I grew up.And my family grew up in the east end of town, and the main thoroughfare in the east end of town is largely referred to as "Greek Town." You know, when I was a kid it was certainly Greek Town. The Greek letters, the Greek alphabet names as well as the English names of the street signs in that area.But it's much, much, much less Greek than it was 25 years ago, right? So again, [00:17:00] this question of like, is that to some extent trying to solidify the kind of cultural geography of a place. That people come to that street and that neighborhood because they want to experience Greekness in its diasporic kind of context.And yet, so many of those people, so many of those families have moved on or moved along or become more Canadian in their own sense of the word, so. Craig: Yeah. It's very strange as well because things like that attract... there's a loop obviously, because you'll get people coming to experience the greekness or the cornishes, and people will be like, oh, we should open a business that will enhance the greekness or the Cornish of the place, and that will draw, and it just becomes this thing and, yeah.Yeah, it's very strange. And I would totally agree with you on that one. Chris: Yeah. [00:18:00] Yeah. Until like a Greek person from Greece or a Cornish grandmother comes into town and says like, what? No, that's not Yeah. Oh, yeah. So I'd like to shift the conversation, Craig, a little bit towards ableism, and begin with this question that comes from our dear mutual friend Aerin and who admits that she's happily robbed it directly from Fiona Kumari Campbell.Yes. So, you might have heard this question before but she she felt the need to kind of pose it anew and and so the question is this. How does disability productively color our lives and Aerin wanted to ask it, to modify it slightly and ask, how does disability generatively or creatively color our lives? Craig: I can't speak to anybody's life other than my own really. But I would say that for me disability has, [00:19:00] one, given me a real sort of ability to look at the world and go, "you guys think this is how everything works and it clearly doesn't."You know, it has given me a generative gift of going, "hold on, what people think of the default really isn't the default, because I was never born as the default, and so I've had to find my own way of relating to the world" and that means that anybody goes anytime anybody goes "Oh, well, everybody knows..." or "the only way to do it is this?" I am always going "are you absolutely sure about that?" You know, "are you absolutely sure that what you're looking at or experiencing or noticing is only perceivable in one way, it's only ever [00:20:00] frameable, in one context?" But also this idea for me that disability is simply a fact.It's not good or bad. It is a thing that exists in the world and ableism is essentially the urge to measure against the vast field of disability and impairment and go, "We don't want that. That's the worst thing to be. So, we will strive to not be that." As Fiona Kumari Campbell would say, " It sets up a ranking and notification and prioritization of sentient life."So, this is why we, to a certain extent, we have such a obsession with youth culture. Young, healthy, fit folks are in some way better than the elderly. Oh god, nobody wants [00:21:00] to get old cause, if you're of white extraction, "oh, they'll probably stick you in a home."Nobody wants to conceive of the idea that actually you can have a generative and intimate relationship with somebody, not necessarily a romantic one, but a deep, deep friendship that also involves, frankly to put it crudely, perhaps wiping somebody's arse, right? There's this whole notion of messiness and failure and why Aerin reworded it from "productive" to "generative" is that whole idea of being productive, of having capitalist use, to produce, to make for purposes. And for me, disability and the field of disability in which I exist says "I exist and I don't have to be productive." it really [00:22:00] challenges the capitalist framework for me. And also, ableism, because it's set up to rank things like speed, mobility, all kinds of things like that, having a disability where you're sitting there going, but there are other ways to do this. There are other ways to exist. To notice the way our bodies move that are mostly ignored in the sense of "yeah, we don't pay attention to our posture or our muscle structure or what our guts are doing because we're all already forced along to the next thing.You know, we're already touring from, "okay, I've got up in the morning. Next thing I've got to do is have breakfast," right? And if you can easily shift between those stages, so you get up in the morning, start your breakfast, put your clothes on easily. [00:23:00] You don't think about it as much, but if it takes you 10, 20 minutes to even get out of bed and you have to do specific things, maybe exercises, maybe things like that, the whole process thickens.And in a sense, for me, it's an antithesis to escapism because there are things you cannot escape. There are things you have to deal with. And because there are things you have to deal with, you have to pay attention to them more. And that means the most ordinary mundane thing becomes or can become, if you're willing to gently sense it, a lot richer.So, this is one of those interesting things where if people want to go places to experience new things, Okay, that's a whole issue that you've obviously talked about throughout the podcast, but there is a certain sense in [00:24:00] which we don't even know where we started from. We've not explored our own bodies.I mean, I wrote a piece in 2020 when all the lockdowns hit that got shared around various bits of the internet and I think even in the newspaper at one point in, but I got a request to syndicate it, of how to exist when you're stuck in your house. You know, what do you do to "keep," in inverted commas, "sane," which, of course, is an ableist framework, but what do you do to stop yourself from losing mental health? How do you function? And I broke it down and I sort of made practical suggestions of, this is how I, as somebody that doesn't actually have a, quotes, "normal life," and spends a lot of his time unable to travel or go out much, stops myself from feeling isolated, [00:25:00] because I've ended up having to learn to explore what some might regard as a limited domain.But to me, that limited area, that limited domain has given me this sense of vastness that's, you know, I can't remember which philosopher it is, but there is a philosopher who basically says, I think it is a Camus, who says "you just need to reopen when you're in your room and the whole world will reveal itself to you."And when you don't have a choice, when you're stuck in chronic pain, or sickness, or something like that and you have to work out what to do with your limited energy, to embrace life, there becomes a sort of challenge, to go, "okay, how can I feel like things are enriching? How can I, almost metabolize the things that other people would reject.⌘ Chris Christou ⌘ is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.You know, [00:26:00] because disability is so "Oh, it's so sad he's disabled. Or we've got the cure for this and that. And we've got to cure it." And it's not really about ameliorating suffering. Which is a good thing. It's an analoid good to ameliorate any form of suffering. But there is this sense that the only way to perceive the world is through a so called "non disabled" abled body.The only way to experience a rich world, and again, I'm not knocking people who do a lot of travelling per se, but the only way to experience the world is to go on long journeys, and backpack and explore you know, new ways of thinking. That's great. And I'm not saying you can do exactly the same at home, but you can also become radically hospitable to yourself and to the environment in which you find [00:27:00] yourself.And that opens a whole lot of doors that I think I would regard as generatively colouring life and revealing life. In a way that was possibly occluded before. Chris: Yeah, I mean, so much of what I've come to in the research around tourism and hypermobility is this question of limits.And that certainly comes up in other themes, in other contexts. But not just the limits to one's place. Like, where does your place end? But also the limits of the human body. And, when we talk about freedom generally in the West, or in, in the context of modernity, it's so often pinned or underpinned via the freedom of movement, in part, because I know you're coming from the other side of the Atlantic, but certainly in, in this part of the [00:28:00] world, in the Americas and especially North America, freedom is understood as freedom of movement because that's in part how, the states and, and the nation's existences are justified.And so, I would just ask you what you think of that in the context of freedom being, of course a synonym for liberation. And how so many of our western notions of freedom are attached to movement and have. To a large degree become glorified in the hyper mobility of our times.Craig: I would agree with you. I think it was always there because of the colonial urge, but I think North American notions of freedom have, through a certain cultural hegemony, filtered back. You get it in the media, even Star Trek, you know, the final frontier, you know. Things like that. Or wide open spaces. There's still this notion of, freedom to move, room to live. It has its own European context and [00:29:00] horrors, unfortunately.But also, I think the notion of freedom as freedom to move. There is a question there for me, because I'm not sure we know what we're doing when we move. Right? And one of the questions that always was raised for me is, if I raise my finger, as I'm doing now, and I bend it so it's 90 degrees, how did I do that?What did I do? Well, science would say, okay, you used all your tendons and so on and so forth, and I'm like, yeah, "okay, those are nice descriptors. But what did I actually do?" Where's the connection between the impulse and the urge to bend my finger? Right. I don't know what I did there. I just thought I'm gonna bend my finger and the [00:30:00] finger bent But there's a whole bunch of stuff going on.So when I'm thinking about freedom of movement First the question is, "freedom to move in what way?" Right? So the the classic example is, in perhaps North America and and English speaking countries is "to go where I want, when I want, with none to to gainsay me, none to say you can't go there," which has been problematized thanks to the history of enclosure of land and capture by state and political actors, but also this notion that if you get into a city and you can go and people go, "Oh, I'm free to go wherever I want."I always sit there and I'm going, "yes, but you can go wherever you want, but if a place has stairs and no lift..." right? I [00:31:00] can't go there. So do I have less freedom? Well, according to the traditional notions of freedom, yes. I am less free. When I grew up, as an example in the UK I went to America when I was about four or five, and I was absolutely stunned by the amount of public toilets that had a disabled toilet.Right? Because virtually nowhere where I grew up at that point had a disabled toilet. This was due to the fact that the U. S. has a disability rights movement that was slightly ahead of the U. K. 's. So I was freer to go about my holiday in the U. S. than I was technically at home. I couldn't go certain places because there weren't toilets, or there weren't ramps, because that had not been legalized. You know, there'd been no legislation. In the UK, there was [00:32:00] no disability legislation until 1995. You know, so technically, I was born in 1981. I had no specific extra legal rights that I needed for 14 years. Now some would say, "oh, that, you've got freedom there... the law has given you freedom.It's giving you the ability to move, but it's only given me the ability to move in approved ways, right? And so every single time somebody talks about room to move, my query is always, okay. "One, as I said, move in what way? And two, who taught you what method of movement is approved or disproved?" So, particularly in Europe, we have folks like the Romani, the Irish travellers, [00:33:00] even the so called New Age travellers, right, who are nomadic folks.And despite this obsession with freedom, the idea that people are nomadic, are shiftless and rootless, still exists. Yes, a degree. The degree of privilege, the degree that I could be, quote, "more confident going into public spaces." And you'll see this in American history and throughout European history as well.And when I was talking about the nomadic folks, I was saying, you know, there are only certain people who are allowed to move in certain ways, to travel in certain ways that are approved. In similar ways with disability there were only certain kinds of people who were allowed into public spaces.They might not have been legislated against in the mid twentieth century. They might have struck those off the books, but at [00:34:00] various points, at least in the US, if you look up the Chicago Ugly Laws, people who were regarded as vagrants or unsightly, were not allowed in public spaces. They could be jailed for that.It's not just loitering. It was very much anything that could give offense because they were physically disabled. Or, the idea that the physically disabled are more likely to be begging or doing things like that. That was all folded in. So, this notion of freedom as the ability to move and move in space.Despite the North American urge to be like, "well, nobody can tell me what to do." There's still a certain level of certain forms of movement are privileged or regarded as normal versus others. So, you know it's weird if you don't stay [00:35:00] in one place or perhaps, it's weird if you don't have a reason for your seasonal job, right?When I was a kid and a teenager... like I said, where I grew up was kind of known for surfing, right? And I met folks who would come from places like Australia and live in Volkswagen transporter vans and work in the seasonal hotels and then go surfing. And then sometimes in the winter they disappear off to Morocco.And you wouldn't see them for six months and they'd come back and there's all this kind of idea of Differing rhythms, which has really influenced my entire life because those folks, they were there there were hundreds of them you could see them parked on every road and I knew several of them very very well, but the fact of those seasonal rhythms, which weren't [00:36:00] approved. It wasn't approved that they didn't stay in one place and pay taxes. To some that might be, you know, "Oh, that's freedom! That's telling the government, I don't have to pay your taxes or I don't have to stay in one place and be a registered visible citizen. I can be a free spirit and go to Morocco whenever I want. But, the fact of it is, if you walked on the, on the roads, people would look at you funny, right?If you look at people who do long distance walking in areas that are drivable, I mean, especially I guess in North America, that's looked at as very, very, very strange, because you guys don't have the infrastructure. So, for me, it's this really strange notion that we're fixated on particular kinds of movement to do with agency and power, right?And we, we will say, "oh, [00:37:00] that's mobile, that's fast, that's quick, that's agile." And I'm always curious about what criteria we're using to say, "oh, that's fast, that's agile, that's nimble," when you look at the so called natural world, and you've got plants that are seemingly immobile, but they actually turn to the sun.You just don't notice it until you stick it on a stop motion camera. And then you're like, "wow, they move." But you could go past that plant every single day and be like, "yeah, it doesn't move. It's a plant. It just stays there." Right? Because our perception of what movement is and what is approved is based around one, what we're taught and two, what we see every day.But also three. What we can't notice unless we're forced to look at the same thing over and over again, right? [00:38:00] Because our tendency is to see one thing, think, "Oh, I know it. I've spotted it. I know what it is. I've identified it. It's fitted into my matrix of identity. I can move on now. It's all sorted." But the whole ethos, I guess, that I'm coming at iswhat if you don't know? What if you don't know? What if that microphone that I'm speaking into and you're speaking into it looks like a particular thing and you think you could describe a microphone to somebody but go down to say the flows of the electrons and it's a context issue. You know? And, and So, I'm interested in thinking about what are the contexts are in the room with us right now that we're not even paying any attention to, and not even in the room, in our own bodies, in our own language.Chris: Wow. Yeah, again, there's so much there. My [00:39:00] my thoughts just flew off into a million different directions. And I feel like it would probably take me a while to to gather them in.Craig: No problem. You do what you need to do. I mean, that's, that's the whole point. Chris: Yeah. So I had a queer crip travel writer named Bani Amor on the podcast in season three.And we were talking about the fallout and the consequences of the COVID 19 pandemic. And she said something like, you know, "the settler can't stay still. That the pandemic showed us that we can't stay still." In the context of that time that so many people who had been engaged in and who glorify or who simply have been taught to live a hyper mobile life, that there was this opportunity to question [00:40:00] that, to bring it into a different context.And I know a lot of people, couldn't necessarily leave their houses in the quote unquote lockdowns. But I don't think that wouldn't necessarily stop people from tending to or allowing themselves to witness the more than human world in that way. And so, my question is, assuming we have the opportunity, in some manner, in any manner, how do you think we might have our understandings of movements subverted, or at least challenged, by virtue of looking at the movement in the more than human world.Craig: Great question. I think one of the biggest notions, and I just want to return to that phrase, "the settler can't stay still." And really, agree with that, and so add to secondary things of what actually is stillness, right? We have [00:41:00] this idea of stillness as immobility, as, as, as perhaps staying in one place.Not moving, but actually, if we look at what we're doing when we're actually apparently still, there's still movement going on, right? There's still movement going on in our bodies. There's still a different kind of mobility going. And we're not the only ones, right? The more than human does this exactly as well.If you look at a rock, oh, you think a rock doesn't move? I mean, it doesn't move, but then you have erosion, right? Then you have the rain, and the way that particles are shaved off it, and it shifts. So, when we're thinking about outside, when we're thinking about... and when I say "more than [00:42:00] human," I'm not saying "better than human," I'm saying "exceeding the human," I just want to make that clear, it exceeds the boundaries of the human. Disability as mutual friend Bayo would define it is, I believe he said "it's a failure of power to contain itself." So, that's Bayo Akomolafe. And this notion that the world and the modern human flows through and beyond any sort of boundary, right? So, any outline we form is not immune in the sense of there's no boardwalk, right?A wall is not an untouchable upright edifice. It's actually touched and permeated, right? So everything in the more than human context interrelates and is, to a certain extent, degrees of [00:43:00] permeable. So, yeah, our cells keep certain things out, and let certain things in, but even the things they keep out, they're in contact with.They're relating to. Right? Because in the same way, with COVID 19 vaccine, people think, "oh, it's a vaccine. It's immunity, right? It'll stop me getting COVID. Or it'll stop me getting this, or stop me getting that." What it actually does is it has an interaction with your, the vaccine has an interaction with your immune system.There's a dialogue, there's a discussion, a call and response, which then engenders further responses in your body, right? So, there's constant relation that is ongoing. So, nothing is one and done, right? To borrow from Stefano Hani and Fred Moten No motion is ever completed, right? Nothing's [00:44:00] ever finished. It's not like we're gonna get off this and, and you'll be like, "oh, I've finished recording the podcast." Sure, you've hit the stop recording button, but the recording of the podcast is still ongoing. And there's this fundamental ongoingness, which is a product of the world.The world is worlding, right? And that means the most ordinary, mundane thing you can think of is ongoing. The mug I have right in front of me right now with tea in it. It's ceramic. It's been painted, but it's still ongoing, right? It still has the relation to the machines that shaped it. And it also has this ongoingness with the human history of pottery.Right? And people go, Oh, that's ridiculous. That's not practical. You know, "it's a mug," but I always [00:45:00] think. Isn't that just commodification? Like, is that not just saying it's a commodity, it doesn't have a story? Like, I don't want to get all Marxist here, but there's that real alienation from ongoingness and the fact that we also are ongoing attempts at relation. We're not even fixed identities. Our movements cannot be technically circumscribed because I have a disability which means I can't dance. Right? I use a wheelchair. I can't dance. I can't do the tango. Right? Okay. But everybody uses dance in a context of bopping to the music and doing all this thing and it's a bit like freedom. You know, everybody assumes that dance is a particular thing.But as Bayo and We Will Dance with Mountains, the course, the whole point of it being [00:46:00] called We Will Dance with Mountains is the fact that mountains don't dance like humans. Mountains dance like mountains. And the only way we spot how mountains dance is to actually pay attention to them and attempt to relate to them.We can't get out of our framework completely, but we can be open to say, what does our framework for a mountain miss about those massive landforms? What are we missing when we say a mountain doesn't move? And that's where you have references to indigenous and local stories that actually talk about these landforms, these places, these folklore places, as the living, moving beings that they actually are.Hmm. You know. Yeah, "okay, that stone circle over there was because a bunch of women were dancing on a [00:47:00] Sunday and in a Christian country, that's bad, so they got turned to stone," or in Scandinavia, "that rock there, it's actually a troll that got caught out in the sun." that these are living, ongoing beings and events, which it's not woo, it's actual or intellectual, I think.If you look at anything for long enough, you start to notice what's ongoing with it, even something that's solid and fixed. And that, to me, the gripping is the bending of the perception, right? That is queering, but crip-queering is that point where you have the restriction involved. People will talk about queer liberation, and yeah, we want crip liberation. That's cool. But if you think about crip liberation as, it might actually be the limits that bring us liberation.And then, if you track back [00:48:00] into mythologies long enough. You've got figures like Dionysus or then poetic gods who say, they're the ones that fetter you. They can bind you, but they can also set you free. And that is really interesting to me that a lot of these liberational figures also have a side that they can tie you up.And I don't just mean in a bondage sense. It's this notion that the two things, the two complexes are part of a whole thing, and you can't divide it into restricted and free and you can't escape. You can't pull a Harry Houdini from existence, which, to a certain extent, some people, when they go on holiday, engage in tourism, they're trying to escape for a little while, their other lives. But we all know you can't escape them. Mm-Hmm. But the inescapability of it is not bad. Right. By default, it's not [00:49:00] bad. It can be, but the assumption something is inescapable, just like, oh, something is disabling. Mm-Hmm. the assumption of good and bad. If you can hold that in abeyance and actually look at it for a second and go, Okay, what's going on here?Maybe our conceptions of this need reevaluating. Now the reason we don't do this on the regular, even in modernity, is because it takes a lot of effort and time to focus. And that's another benefit that I get as a disabled person, right? Because I can't use my time for a whole bunch of things that non disabled folks can.So I've got more time, I've got a different relationship to time and space, which means that I can sit and look at things with that differing relation to time and space, and be like "Huh, I never noticed that." And then I get to talk [00:50:00] about this stuff to folks like you, and people get surprised.And they're like, "you think about this all the day." I'm like, "no, I don't think about this. This is my life. This is how I live. This is my embrace of life, right? And this is my freedom to literally, Be like, " well, okay, my restrictions. How do they actually open me to the world?" And I'm not offering a prescription here, because everybody's different.But it strikes me that even the most nomadic person always carry stuff with them, right? And to borrow from Ursula K. Le Guin with her "Carrier Bag Story of Fiction," which Bayo talked about in We Will Dance The Mountains, the idea of what we're carrying is really interesting, but how often do we rummage in our own bags?Hmm. [00:51:00] Right? How often do we take off our backpacks and rummage just for the sake of it? Often we just look in the backpacks for something specific. Hmm. Right? Oh, I need a map. Oh, I need a chocolate bar. Oh, I need my, you know my iPad. We rarely stick our hands in and notice the way our clothing might shift around our fingers or the way, you know, the waterproofing is possibly coming off and means that the fabric has these different textures because we don't take the time and there's nothing wrong with that, but it's the fact that we don't have that relationship to time and space.And babies, kids do. It's why kids put things in their mouth. All those things where you're like, "Oh no, don't put that in your mouth, it's bad for you." They don't know that. But the whole point of putting it in their mouth and feeling it is to try and not [00:52:00] understand it, not get it.There's nothing there in a baby in its early function that says, "I must understand what that is." The understanding comes upon you through experience. But there's no bit, at least as far as I can work out, that's like, "I must understand what it is that I'm putting in my mouth."It's more like, "hmm, that tastes interesting, it has some interesting textures," and then your brain does all the work or your brain and your body mind do all the work, but the personhood isn't also doing all the work, just like the "I" of my body, right, my relationship with the "I", as in my sense of self, I have to expand that to my entire body, You know, because there's so much going on right now in this conversation that I'm not aware of, right?There's stuff going on in my room that I'm [00:53:00] not aware of, but it's going on now. And so I have to expand and that expansiveness also means I sometimes have to venture into realms of pain, right? Because I have chronic pain. And in order to fully experience that, sometimes I have to encounter that pain.I have to slow down and focus and go, "Oh, the chronic pain that I was mostly ignoring because just in the background, it suddenly leaped to the fore because I'm paying attention." Now, modernity says you shouldn't do that. You shouldn't do stuff that causes you pain. Understandable in a certain context, but If I didn't understand that the pain was also part of the experience and changes how I move, if I didn't understand that chronic pain changes how time stretches, then I wouldn't be where I am.So the more than human permeates the human in ways [00:54:00] that the human is either deliberately trained to deny or doesn't even know is going on and the pandemic basically was, in my eyes, the more than human kind of knocking on the door going you are not this completely hermetically sealed box, right? Your society is not a hermetically sealed box. Chris: Amen. Amen. I mean, could have gone in a lot of different directions, but here we are, at least being able to reflect on it in a good way, and I'm reminded, this notion of abeyance and attention and, and the expansion of the I.I'm reminded of this, this line from Simone Weil who said that "absolutely unmixed attention is prayer." And so, I think that it, something like that is worthy of the times we, we wish to live in and perhaps sometimes do. Craig: [00:55:00] Definitely.Chris: And so, you know, I wish we had more time, Craig really getting into some beautiful black holes there. But hopefully we get the opportunity to speak again sometime.Craig: I'd be, be happy to. Be happy to. Chris: And so before we depart, I'd just like to ask the kind of token question that always comes at the end of interviews, which is where can our listeners find your work?And I'm pretty sure you had a book that came out last year entitled, Goetic Atavisms, if I'm not mistaken. Craig: Yes, I did. So you can find me on my mostly moribund, but strange little blog at cold-albion.net. And you can also pick up the book, which is, to be clear, more of an occult angle on this, but it also brings in the disability angle directly from the publisher Hadean Press or you could get it from, you know, the Bezos Behemoth, if you really [00:56:00] wanted. I am also not really on social media as a project, but I'm also on you know Blue Sky, so you can search me up there, or Mastodon, which you could always search me up there, and I occasionally post things on there.Chris: Wonderful. Well, I'll make sure that all those links and connections are available for our listeners once the episode launches. And I very much look forward to reading Goetic Activisms myself. So, thank you so much, Craig.Chris: Thank you, Chris. Get full access to ⌘ Chris Christou ⌘ at chrischristou.substack.com/subscribe

Billy's passing was a shock to the yachting community and his family. Billy was a kind, passionate, professional person and a proud Cornishman. His family have since found out that despite spending time with him, he was dealing with mental health challenges and had begun to feel increasingly isolated.  This highlights the need for people to be open about their struggles and ask for help rather than trying to manage them alone. His family reported having received minimal assistance from the industry overall. This has led them to call on the industry for more support. The key takeaways are that people should reach out for help when struggling with mental health issues, bullying and toxic leadership must not be accepted, and more protection should be put in place for crews. Mental health should be prioritised, and talking about it openly is imperative.  If you need to reach out, book a free counselling discovery call with Karine of The Crew Couch who has worked in the industry and is a qualified counsellor. Book your 15 min free discovery call here: https://tccappointments.as.me/complimentarycounselling www.thecrewcoach.com @the_crew_coach Instagram @thecrewcoach Facebook #Yachting #YachtCrew #MentalHealth #MentalHealthInsurance #CrewWellBeing #TheWellBeingProject #YachtingInternationalRadio

Money Talks – a series of interviews with Liam Halligan, Economics and Business Editor of GB News. In this episode, Liam talks to Tim Slee, CEO of Events in the Sky. A serial entrepreneur with a background in media, Tim has founded and owned some of the UK's best known specialist titles and websites over the last 20 years – including Square Mile, Hedge, Foodism and Escapism magazines. In a new venture, Tim created Events in the Sky in 2019 – a company that specialises in hosting breakfasts, afternoon tea, dinners and lively cocktails parties, complete with live music, over 100 feet up in the air, with guests suspended from an enormous crane. Having just completed his company's post-pandemic relaunch next to the 02 arena in East London, once known as the millennium dome, this proud Cornishman is determined to drive his business forward – taking Events in the Sky around the country. Hosted on Acast. See acast.com/privacy for more information.

REMINISCENCE OF LAKE SUPERIOR BY THOMAS SEDGWICK STEELE It was with a hearty laugh that Dr. W. bounded into my room one bright morning in the latter part of September, without waiting to knock or in any way announce his arrival. In almost the same breath he called out, “Why! you're a pretty fellow to be housed here all day long, fussing over those feathers and wires ! Why are you not on the river trolling, or in the woods after partridges? Come, put up those tools and lets off for a day's tramp. Peter has put up enough luncheon for two, so pick up your gun and come on.” The fact was, that for the past week I had spent a great portion of my time stuffing birds. I had collected some two dozen, peculiar to the Lake Superior region, and had packed them away preparatory to leaving on “the last boat of the season.” At the present time I had under consideration a Canada jay or “Whiskey Jack,”as they are sometimes called, and was manipulating it in the usual manner. I had just turned the skin of the bird to its natural position and was making a body of hemp as near the size of the original as possible, when the Doctor entered and accosted me with above salutation. Doctor W. was an Englishman, but, instead of possessing the rotund figure which “John Bull” is always supposed to have, he was tall and slim, with that restless activity of manner and overflow of fun and jollity which are the proverbial dignity of an Englishman. He was “a hale fellow, well met” and consequently a favorite with all. His bright face alone brought relief and happiness to a sick room, and as a companion in the woods, he was everything that could be desired. All these attractive qualities were really the secret of his success as a physician—setting aside the fact of there being no other within a radius of thirteen miles. It would indeed have been a brave man who could venture to “hang out his shingle” in competition with Doctor W. Although loath to leave my bird half finished, I knew the Doctor's company would well repay me, so I carefully smoothed down the plumage and depositing the skin in my drawer, looked about for my gun. To most people, my room might not have been attractive, but to me, as a sportsman, it was perfection. The pegs around the room, not covered by wearing apparel, were decorated with fishing rods, creels, nets and all the paraphernalia of an angler, while in one corner, carefully packed in cotton, were skins of birds and jars of agates which I had collected during four month's occupation of the premises. In one corner lay my game bag and a pair of deer's antlers, while last but not least, stood my ever-faithful friend, my gun. To throw on my hunting coat, whose numerous pockets were made to contain everything from game to percussion caps, was the work of an instant, and shouldering my gun, I locked the door and followed the Doctor down stairs and out into the street. It was a lovely morning, bright, clear and frosty, with but little wind to stir the waves of old Superior, in -whose mirror-like surface was reflected the deep blue of the sky. With one long lingering look down the Lake to see that no steamer was in sight, (as their arrival always made a holiday at Ontonagon,) we turned our backs on the scene, and passing through the town, followed the old corduroy road into the woods. Occasionally we stopped to pick a few berries, the last of the season, to snatch a few ferns from the wayside or to cut from some old stump a pretty bit of moss. It would have been better for me if, for once, I had let the “pretty mosses” go, for a favorite hunting knife mounted in ivory and silver, a relic of “our late unpleasantness” may, for aught I know, be still sticking in that old stump or some friendly Indian may have slipped it into his belt ere this. If so, I can safely assure him that he has secured a first-rate piece of cutlery. Mile after mile we plodded up the road, our dogs working in the woods to the right and left, occasionally starting a partridge which fell by the Doctor's unerring aim. Through the stillness of the woods came the sound of the great tree pecker or woodcock of the northern woods, his body of black and white feathers, almost as large as a partridge and a crest of Vermillion that would put a sunset to blush. Soon we came to the thickest part of the woods where the great trees encroached on the road, and tossed their long branches into dangerous proximity to the stages for the mines. Although the morning was calm, not so had been the night previous, and across our path lay numerous mementoes of the gale, around which we had to work our way. While passing through one of these thickets of fallen branches, our dogs came to a point. Cocking our guns, we made ready for whatever should be flushed. The next moment, whir-r r-r, that music so melodious to all sportsmen's ears, and up sprang two partridges, the Doctor covering one and I the other. The smoke had hardly cleared away when up sprang another brace, followed almost immediately by a single bird. Being wholly unprepared for quite so many in one spot, we only knocked two, Dr.W. missing the last one. It was with great difficulty we could restrain the dogs and prevent them from rushing in, as we had not as yet retrieved a bird. But it was well we did, for a few feet further on Spot came to a point, backed by Hero in the most graceful manner possible. The undergrowth was very thick, long vines stretching from tree to tree, and across our path in every direction innumerable slippery branches covered the ground, but as Spot very seldom deceived us we pushed forward to where he stood. The Doctor, who was a little in advance, had hardly reached the dogs when up sprang another brace of partridges which he dropped with his right and left barrel. Re-loading, we “quartered” the ground, but not another bird could be flushed, so, picking up those we had killed, we returned to the road, satisfied in bagging six out of a flock of seven. Where that seventh bird disappeared we never could discover; possibly into a swamp hard by, but we contented our minds with the thought that some other sportsman would retrieve him and that we ought to be generous. On we tramped along that corduroy road, every foot of which is so distinct in my memory, until we arrived at an old log house, a few rods back from the road, at whose door we knocked and were greeted with “come in” from a remarkably healthy pair of lungs. The hut contained but two rooms, the latter of which could hardly be called a room, but rather a shed, and contained wood and various tubs arranged for the week's washing. In the centre of the main room stood an old-fashioned iron box stove, while from the rafters above hung sundry ears of corn, aspargus branches and hams. The female members of the household were grouped around in various corners while the brawny head of the house sat resting one arm on the table and smoking an old clay pipe. To our request for a “glass of water” we received a decided “no,” but the “Lieut. Governor” of the family finally produced a cup of milk, saying that the well had given out and the spring was half a mile distant, but if we would accept of this, (holding forward the cup,) she would be pleased. The cup was of stone china, had evidently seen better days, and been younger and prettier. The handle was gone and the edge looked as if it had withstood a charge of grape and cannister, while numerous dark spots confirmed the fact of there being no water in the house ! But we were wry thirsty and had a walk still of four long miles before we reached another house or the mining town of Rockland, towards which we were bending: our steps; so, shutting our eyes, we each in turn lifted the cup and it-was all over! Thanking them for their kindness, we were soon deep in the woods again, hoping that another bird or two might fall to our bag. We were not disappointed, for we soon flushed three others, all of which fell to our hand. We had now entered the mining town of Rockland, and passing though its muddy streets, wound our way up the hill to the mines on its crest. Here -we rested our weary feet and gazed down on the village below. To the south of us stretched an almost endless forest with hardly an opening, the bright  autumnal foliage in strong contrast with the dark solemn pines. At our feet lay the village with its ever busy inhabitants, its low log houses and its noisy dogs and pigs, a very fair sample of a western mining town. Occasionally a few notes of a flute or violin would be wafted to our ears, for a Cornishman's house is hardly complete without some kind of a musical instrument. To the east and west extended the mountains of the great mineral range, dotted here and there with the “pepper box” shaft houses, while constantly could be heard the cliinck, chinck, cliinck of the skips as they were drawn out of the mine and the roll of the rock as it rattled down the hill. After we had sufficiently recovered from our walk the Doctor suggested that we should vary our tramp by a trip down the mine, provided we could find a “Mining Captain,” (as they are called,) who was “going in” at that time. So we immediately repaired to the “change house,” and depositing our guns, game bags and other equipments, and securing the dogs, we doffed a portion of our clothing and arrayed ourselves in heavy canvass jackets and pants. Our heads were crowned with odd-looking hats, as hard as sole leather, something after the shape of Esquimaux huts. These were to protect our heads from falling rocks while down the mine. Following the directions of the Captain we rolled a tallow candle in soft clay and sticking it on to the front of our hats, picked our way over the rocks to the shaft house, and entered the shaft through a hole only just large enough to admit one's body. As soon as daylight disappeared the Captain ordered a “halt,” to impart a few instructions necessary to our safety. From the top to the bottom of the mine extended ladders which were securely fastened to the sides of the shaft, and the Captain's most important warning was that we must never let go our hold of one round of the ladder until we had firmly secured another, else a remarkably sudden trip of twelve hundred feet would be the consequence. Gradually we began the descent, hand over hand, round by round, until we had reached what is called the “first level.” Taking breath, and pushing the clay from the wicks of our candles, which still adhered to our hats, we slipped a few feet to the right and continued downward on another ladder. On the sides of the rock underneath us ran a rapid stream of water, continually fed by hidden springs, while on all sides the dark damp rocks seemed ready to crush us, so closely did they seem to press, but nothing daunted we continued our downward way. To the left lay another and larger shaft, through which we could see the “skips” filled with copper and rock passing and repassing, to which were fastened copper ropes, running over pulleys and operated by an engine up above at the entrance of the mine. By this time we were decidedly cold, and our hands and wrists all covered with soft sticky clay, which made it extremely difficult to retain our hold on the ladder, but hold we must. Down and farther down, until. the bottom of the mine is reached, 1,200 feet below the surface, while removing our candle from its exalted position on our hats and shading it from the air, we groped our way along in the “level,” expecting every moment to make some unlucky step. The blasts in other parts of the mine sounded like distant thunder as they echoed along the gallery. Away up in one part of the rock men were “stopping” or following a vein of copper, the musical “chinck, chinck” of their hammers and drills falling faintly on our ears, but immediately turning aside we passed through the “level” and entered a large room where, supporting the rocks overhead, were massive timbers some three feet in diameter. Here, we were Informed, a few years ago was taken, out a mass of copper which weighed six hundred tons and which required eighty barrels of powder to blast it and thirty men over a year to cut it up and raise it from the mine. Soon we were obliged to lie flat upon the ground, and by means of our hands and elbows, work ourselves through a small hole in the rock; and in that manner we entered another room or cave where eight miners were engaged at their work. Quitting this noisy place, the Captain taking the lead, we followed him to another gallery, to which we must needs pass over a shaft 500 feet deep, on one of the most slippery logs that ever mortal traveled. We had hardly reached the other side before our ears were nearly deafen'ed by another tremendous blast much nearer than the last, and the room was immediately filled with smoke, so we could hardly see, much less breathe, but feeling our way along, with the help of the Captain's hand, we passed over a great ledge of rocks and up into a better atmosphere. The Captain now took from his pocket a curious looking brown parcel and asked if we would like some “crib,” or what a miner calls dinner. Crib is a composition of meat, potatoes, bread and other compounds mixed, seasoned and baked into a pie—not a very tempting morsel certainly, but our appetites were sharpened by hard exercise, and remembering the proverb, “When you are in Rome do as the Romans do,” we accepted the offered “crib” with thanks. While thus engaged we had time to gaze around us, and what a sight met our eyes. The roof over our heads was one mass of glittering ore and rock. Great veins of bright copper seamed the grey rock, while here and there were traces of silver and masses of snow-white quartz, which, sparkling in the light of our candles, suggested to our minds a fairy grotto. We sat some time enjoying this picture and absorbed in wonder, until the cold damp atmosphere of the place warned us of the danger of delay, so crawling along over still larger holders until this means of progression became exceedingly painful, we entered another rock bound chamber. Here we found the greatest number of miners we had yet seen, men down on their knees holding long drills, while above them others swinging the huge hammers. On the sides of the rock they had fastened their candles, whose fitful glare, lighting up the huge cave, combined with the tremendous noise of the hammers, made the place seem like a perfect Pandemonium. Leaving the men at their work we passed along a dark gallery and by a deal of climbing reached a ledge of rocks, where, through a small opening, we obtained our first ray of sunlight, and by means of a rope drew ourselves hand over hand out of the mine. Oh! how delightful seemed the “blessed sunlight,” and although the day was cool, how hot the air seemed in comparison with the dampness of the mine. We drew in long draughts of the fresh pure air and sat for a long time enjoying the bright sunlight, while we congratulated one another upon the success of our novel expedition. Then a “happy thought” suggested itself and we at once repaired to a neighboring “photograph cart,” where, with pick in hand, candles on our hats and mining clothes covered with clay, we made a picture which we have carefully preserved as a souvenir and which has proved to our friends a great source of amusement ever since.

As many of you will know Elis and John live their lives marching to the beat of their own drums, and in solidarity with Owain Wyn Evans during his 24 hour Drumathon the guys ventured up to Salford for their own drumming challenge. With the help of Joe Donovan from Blossoms they were put through their drumming paces, and were tasked with wielding their drum sticks LIVE on air. There were fills, there with trills, and there was even some untapped talent to be found. They also spoke to Owain as he entered his 6th hour of drumming, Elis channelled his inner Cornishman and John's tachograph knowledge was validated.

In the sixth episode of Forces Sport, Cath Brazier and Julian Evans speak to Sam Matavesi – a Royal Navy rugby player who is excelling at English premiership club Northampton Saints. The hooker is a proud Cornishman and Fijian and will now spend the next month with Fiji Rugby as they face Spain, Wales and Georgia, in the autumn internationals.

"There is an old saying 'if there is a hole in the ground you will find a Cornishman at the bottom of it.'”

Just north of an old toll bridge on the border of Dalkeith, Scotland sits a property called The Neuk in Bridge End. The beautiful home with servant quarters and outbuildings in Midlothian was the place for an exceptional party on February 3, 1911. As the evening was drawing to its conclusion, a party deemed a roaring success, it was time for one last drink, a coffee. But things were about to take an awful turn... *** LISTENER CAUTION IS ADVISED *** Become a ‘Patreon Producer’ and get exclusive access to Season 1, early ad-free access to episodes, and your name in the podcasts credits. Find out more here: https://www.patreon.com/TheyWalkAmongUs Order our book ‘They Walk Among Us’ here: https://theywalkamonguspodcast.com/merchandise Court documents and information from the following news organisations and books were referenced in this episode: Hartlepool Northern Daily Mail, London Daily News, Lyttelton Times, Lincolnshire Echo, Yorkshire Post and Leeds Intelligencer, Daily Gazette for Middlesbrough, Hereford Times, Tamworth Herald, Belfast Telegraph, Dundee Courier, The Northern Miner Monday, Aberdeen Press and Journal, Cornishman, The Cornish Telegraph, Portsmouth Evening News, Evening Mail, Midlothian Advertiser, Sleaford Gazette, The Border Morning Mail and Riverina Times, Lincolnshire Free Press, Belfast News Letter, The Scotman, ’Killers, Crooks and Cons: Scotland's Crimes of the Century’ by Reg McKay and ‘Scottish Murders’ by Lisa Wallis & Derek Wright.More information and episode references can be found on our website https://theywalkamonguspodcast.comMUSIC: No.2 Remembering Her by Esther AbramiNo.7 Alone With My Thoughts by Esther AbramiImmuration by Purple Planet Music *Dramatic Swarm by Doug MaxwellWrong Turn by Purple Planet Music *Allegro by Emmit FennSurrender by Asher FuleroNo 8 Requiem by Esther AbramiFresno Alley by Josh Lippi & The OvertimersSlow Motion Part 2 by Peter RudenkoLurking Shadows by MyuuIt’s Coming by Josh Kirsch / Media Right ProductionsAll music used under an Attribution License - http://creativecommons.org/licenses/by/4.0/* sourced from https://www.purple-planet.com/ SOCIAL MEDIA: Twitter - https://twitter.com/TWAU_PodcastFacebook - https://www.facebook.com/theywalkamonguspodcastInstagram - https://www.instagram.com/theywalkamonguspodcastAcast - https://www.acast.com/theywalkamongus Support this show http://supporter.acast.com/theywalkamongus. See acast.com/privacy for privacy and opt-out information.

This episode takes us back to the late 17th century and the village of St Keverne on the Lizard where we go on an unexpected and rather dangerous journey with a Cornishman called John Sandys.

Join hosts Gabe Cook, Grant Hutchison and Martyn Goodwin-Sharman as they check the rider for cider in the green room, before it kicks off at the Neutral Cider Hotel!Gabe the Ciderologist™ kicks things off with some religious solace coming from Cider Sleuth’s question, Martyn denounces the new deity whilst Grant questions the monetary value and the guys end up discussing a little show called Book of Mormon.The Scotsman forgets that it's Burns Night, but luckily the Cornishman is on hand to help. They pick their ciders with barrel character in honour; Martyn goes for Pilton’s Tamoshanta, Gabe goes for a full range of Hallet’s Cider’s and Grant picks the Caledonian Cider Factory’s Islay Cask that gives a wee slap on the face. No news this week so it's on to the big interview.The guest this week is a literal rock star, the front man of Scotland’s second best guitar band Biffy Clyro; Simon Neil! A switch from the usual format, the guys talk music and introduce Simon to the finer side of cider. Talking everything from their latest album, ‘A Celebration of Endings’, the life of the band without touring, mental health, to the music from Lethal Weapon 3 and everything in between. The first cider the guys crack is Eve’s Albee Hill, featured previously on the show and loved by the team. A great introduction to the drink for the frontman, before Martyn brings his blend In Touch with Pilton Cider to the table, chatting the poetry and sweet side of cider with Simon. It was a night the guys absolutely loved in the hotel, and we hope you can hear the joy in our voices between the slurring at the end!The guys then finish off with questions from listeners, featuring complaints of the edit on a previous episode that’s missing some Foxwhelp, and advice for new cider makers, including drink, drink, drink and drink!Thank you for tuning in and checking out Neutral Cider Hotel, we’re getting back on the bus!The Team:Gabe is a cider expert: The CiderologistGrant has two cider businesses: Re:Stalk and Aeble Cider ShopMartyn loves to write about cider: CiderShitThe Rest of The Team:Executive Producer/Editor: Scott RiggsMusic: Billy KennedyConnect:Instagram: NeutralCiderHotelFacebook: NeutralCiderHotelTwitter: NeutralCiderPodWebsite: https://www.neutralciderhotel.com/

Enter Hagrid, a giant Cornishman who has turned up to take Harry to magic school, but Uncle Vernon and Aunt Petunia have other plans... Each week the Pottervision boys review and explore a chapter from the books, as well as regaling tales from their own magical lives. Feel free to read along with us as we make our way through the series. To support the show and gain access to bonus episodes and other content visit www.Patreon.com/Pottervision  www.pottervision.com  Facebook - Pottervision Twitter - @thepottervision Instagram - @thepottervision @tomlawrinson @lukaskirkby potter vision

Ian Shanahan – Quintessentially English (with attitude!) A Cornishman by birth and from good working-class stock, Ian is someone who embraces life to the full whatever the situation. With a keen eye for detail, the serious and the ridiculous he has a finely honed sense of humour which, in my view, is quintessentially English. As can be seen below Ian is an inveterate list maker and he uses these to take us on a journey through his life and shows, in a really engaging way, the relationship and importance music and the arts has had in that journey. His lists have also produced what I think is just a great Playlist spanning 46 songs and over 3 hours of great music. Do try and give it a listen. https://open.spotify.com/playlist/0hQJzPqpQCdRnmmbqWe6fj?si=0cJ0iil3Rner_Mtava2W0g The tracks that made Ian’s shortlist, by decade Top 5 1970 Boomtown Rats, Rat TrapMadness, One Step BeyondFrank Sinatra, Theme From New York New YorkDavid Bowie, Life On MarsThe Jam, In The City Top 5 1980 OMD, Souvenir The Smiths, The Boy With The Thorn In His SideHalf Man Half Biscuit, Trumpton RiotsThe Stone Roses, She Bangs The DrumsNew Order, Bizarre Love Triangle Top 5 1990 Pulp, Common PeopleSuede, Animal NitrateBlur, ParklifeRadiohead, Let DownSt Etienne, London Belongs to me Top 5 2000 Eminen, StanThe Libertines, Can't stand me nowThe Streets, Lets Push things forwardHard Fi, Living for the weekendColdplay, Yellow Top 5 2010 The Twang, Either WayLaRoux, BulletproofLana Delray, Video GamesPlan B. She SaidTinie Tempah, Pass Out And here is another list that covers Movies, TV, Podcasts, Music Overall and Books Favourite Movies:1970’s: The Godfather 1&2, Quadrophenia, Star Wars1980’s: Wall Street, Platoon, American Werewolf In London1990’s: True Romance, Goodfella’s, Lock Stock and Two Smoking Barrels2000’s: Dead Man’s Shoes, Sexy Beast, Control2010’s: The Wolf of Wall Street, The Social Network, Tinker Tailor Soldier Spy Favourite TV Shows:UK 20th Century: The Young Ones, Spitting Image, House Of CardsUK 21st Century: The Thick of It, The Inbetweeners, Peep Show US 20th Century: The Sopranos, The West Wing, The SimpsonsUS 21st Century: 30 Rock, VEEP, Mad Men Favourite Podcasts:Politics: The New Statesman, The Spectator, Private EyeEconomics and business: More or Less, Freakonomics, The EconomistMusic: Music Talks (obvs), Disgraceland, Desert Island DisksTrue stories: Serial, The Dropout, The Missing Crypto QueenWisdom: Revisionist History, Cautionary Tales, Exponential WisdomSport: Totally football show, Test Match Special, Nessun Dorma Music:Generally, l Like: Indie, Punk, 2-Tone, New Wave, 80’s Electronica, Reggae, Ska, MotownGenerally, I don’t like: Disco, Funk, Folk, Country, R&B, Rock & Roll, Yacht Rock, World music, Heavy Metal, ProgCan go either way: Rock, Rap, Hip Hop, Grunge, Goth, Classical, House/Techno/Dance Books:Fiction: The Catcher In The Rye – JD Salinger, The Liar – Stephen Fry, High Fidelity – Nick HornbyMusic: Cider With Roadies – Stuart Maconie, , Bedsit Disco Queen – Tracey Thorn, Touching From A Distance – Deborah CurtisSport: A Voyage For Mad Men – Peter Nichols, The Damned United – David Peace, Fever Pitch – Nick HornbyModern History: Fifty Songs That Made Modern Britain – Stuart Maconie, Awaydays – Kevin Sampson, Things Can Only Get Better – John O’Farrell

Today's guest on The Melting Pot is John Housego, a proud Cornishman now living in Scotland. John's background is in engineering and he spent 22 years with W L Gore & Associates. During his time with the company he discovered a passion for developing employee ownership more widely as a business model for the health and welfare of the staff, but also because of the benefits it can bring to company resilience and performance. For John, personal growth at work for all members of the team is incredibly important, as is the culture within that organisation. Throughout his time as a leader with W L Gore & Associates, he learned to become more self-aware, understood how his actions affect others and also found ways to build stronger teams through effective learning and appreciation for EQ. On today's podcast: The impact leaders have on employee performance The sensitivity to team dynamics when things begin to shift in the workplace Why employers should work to develop employee ownership more widely The importance of company culture, values and goals to employees Why having an associate ownership programme works so well at W L Gore & Associates Links: https://www.gore.com/

David Hill's Paralympic career began in the pool at the Games in Athens when he was just fifteen years old. It ended more than a decade later - after twelve years of medals at both a World and European level. We're really grateful he's taken the time to join us for a brand new episode of the podcast - and spoken so honestly about why hiding his sexuality had such an impact on his performance in the pool, and how he got past that. Also on the agenda - the growth of para-sport; his work as a mentor and coach; and how he relaxes by making furniture! Even as a proud Cornishman, this is one Devonian we were happy to have on the show - and we think you'll really like him. WANT TO GET IN TOUCH WITH OUR GUEST? Twitter: @DavidHill_GB Website: https://www.davidhillgb.com/ WANT TO GET IN TOUCH WITH THE SHOW? Twitter: @jack_murley Website: jack.murley@bbc.co.uk

The Hit Parade special with Julian Henry talking about life in music, the creative process, starting a record label & much much more The first Hit Parade's records were released in 1984. The Hit Parade's second and third singles "My Favourite Girl" and "The Sun Shines in Gerrards Cross" were played on BBC Radio 1 by DJs John Peel, David "Kid" Jensen and Janice Long but were dismissed by the music press as twee and inconsequential. The band originally consisted of three schoolfriends, Julian Henry, Raymond Watts and Matthew Moffatt. Watts moved to Berlin in 1989 to work with KMFDM, Henry developed a business in marketing and journalism, while Moffatt founded his own film lighting company. But they continue to release records, proclaiming the Latin motto "Semper Eadem" ("alvvays the same"). The Hit Parade record for JSH UK record label producing 7" vinyl singles in limited editions. The first Hit Parade single 'Forever' was released in 1984 with a mock-vorticist manifesto. A year later The Hit Parade signed to Stiff Records but the label went out of business before anything (other than a track on a compilation album) was released. The first pressing of the band's 'See You in Havana' single JSH5 with Stiff Records logo is collectible. The first Hit Parade LP "With Love From The Hit Parade" was released on their own label in 1988 to unfavourable reviews: 'mire of cheesy mundane tunes' 'oblivious to musical developments of the last 24 years' (Q Magazine) 'twee like you wouldn't believe' (MM), apart from NME which declared the Hit Parade to be the 'perfect pop machine'. But the band's diy approach was lauded by fanzines (Caff, Are You Scared To Get Happy, Especially Yellow) and the album sleeve was self-taken 'selfie album cover'. The album has been re-issued and is now regarded as 80s indie classic.[2][3]Following its release Henry was approached by Cherry Red Records and arranged[4] nine songs on the first Would-be-goods album. In the 1990s, The Hit Parade signed to Sarah Records label and recorded "In Gunnersbury Park" b/w "Harvey". After live shows in Tokyo shopping malls in the 90s the Hit Parade were linked to the Shibuya-kei movement alongside groups The Pastels, Orange Juice and Flipper's Guitar in Japan. The Hit Parade signed to Vinyl Japan and later Polystar Records, had a minor hit with "Hello Hannah Hello". They toured Japan several times, played at the opening of the Virgin Megastore Shinjuku, Tokyo, appearing on MTV Japan and other music TV shows, and signed to Minty Fresh Records, Chicago, in the United States releasing their first US single, "Hello Hannah Hello". The Hit Parade produced their fifth album with St Etienne producer Ian Catt in 2006 The Return of the Hit Parade, and 9th single "My Stupid Band", the story of a failed pop group doomed to a life of obscurity. It was published with a Manifesto that called for Food Lovers Fairs to be banned and for JG Ballard to be knighted. In 2007 the Hit Parade single "You Didn't Love Me Then", appeared on Sanctuary Records C86 double album Cd86: The Birth of Indie Pop. The 10th Hit Parade 7" single was a tribute to Le Corbusier's 'Unite D'Habitation', featuring Manchester singer Cath Carroll. "I Like Bubblegum" b/w "Zennor Mermaid" raised funds for the Porthmeor Studio in St Ives Cornwall restoration fund and was voted one of the best singles of 2010 by Drowned in Sound. Julian Henry was interviewed in The Guardian in 2011. In 2014 the Hit Parade released "Cornish Pop Songs", songs set in South West England, described by Cornishman art critic Lee Trewhela as 'the best album made about Cornwall this century" and "a glorious collection of melodic, memorable guitar-based tunes". The album was re-issued on vinyl in 2016. Henry and Watts have been recording new Hit Parade material for 2019 release ; their 13th single "Happy World", released in 2018 to mark Record Store Day was described by the Arts Desk as "the very definition of twee Eighties style indie".  

In this final installment of our mini-series with Michael Jackson, we both smoke a hybrid blend of Cherokee, Pirate's Alley and Cornishman from The Country Squire Tobacconist. We also find out if Mike decides to pick up the pipe or leave it as a unique experience.

(Sorry for the slightly dodgy audio... - Ed) Time reasons scuppered our chances of having a nice chat with our old friend, QI Elf, and ex-copper Stevyn Colgan. So, to go along with his Science Festival 2017 talk we're dusting off the archives and bringing you a EdSkeptics classic - our interview with Stevyn from QED 2016. Stevyn Colgan is an author, artist, public speaker and oddly-spelled Cornishman. He has, among other things, been a chef, a brewer, a comics publisher and – for three decades - a police officer in London, during which time he was set on fire twice, was sworn at by a royal, met two US Presidents and a Pope, was kissed by Princess Diana and let Freddie Mercury wear his helmet. He is a visiting lecturer at a number of UK universities and is a regular speaker at UK and international events such as TED, HybridConf, 5x15, QEDcon, the Ig Nobel Prizes, Latitude, the Hay Festival and the Edinburgh Fringe. He has appeared on numerous podcasts and radio shows including Freakonomics, Do The Right Thing, Ex Libris, No Such Thing As A Fish, Little Atoms and Josie Lawrence’s Short Cuts. He is also one of the ‘Elves’ that research and write the multi award-winning BBC TV series QI and was part of the writing team that won the Rose D’or for BBC Radio 4’s The Museum of Curiosity. Find him on Twitter @StevynColgan.

The podcast returns! And we're back with a corker - the first of our run of talks under  the banner of the Edinburgh International Science Festival. First up is QI Elf and ex-London copper Stevyn Colgan. Stevyn was a police officer in Scotland Yard for 20 years, as part of the Problem Solving Unit finding imaginative solutions to quell tensions in communities, from dog shows to lollipops. Stevyn Colgan is an author, artist, public speaker and oddly-spelled Cornishman. He has, among other things, been a chef, a brewer, a comics publisher and – for three decades - a police officer in London, during which time he was set on fire twice, was sworn at by a royal, met two US Presidents and a Pope, was kissed by Princess Diana and let Freddie Mercury wear his helmet. He is a visiting lecturer at a number of UK universities and is a regular speaker at UK and international events such as TED, HybridConf, 5x15, QEDcon, the Ig Nobel Prizes, Latitude, the Hay Festival and the Edinburgh Fringe. He has appeared on numerous podcasts and radio shows including Freakonomics, Do The Right Thing, Ex Libris, No Such Thing As A Fish, Little Atoms and Josie Lawrence’s Short Cuts. He is also one of the ‘Elves’ that research and write the multi award-winning BBC TV series QI and was part of the writing team that won the Rose D’or for BBC Radio 4’s The Museum of Curiosity. Find him on Twitter @StevynColgan.

How important is an award to your business? We interviewed Stewart Johns or Prederi, a management consultancy, who has recently won an industry award which is proving transformational for his new management consultancy. Stewart is a Cornishman, a region in the south west of England, so his choice of ‘prederi', a Cornish word for ‘think again' is inspired for a management consultancy, don't you think? Asked about setting up a consultancy, he advises Start with the right people – recruit well using head, heart and gut! Can they bring work with them? Get out into your industry and get to know people Use LinkedIn to build and nurture your network. Prederi was awarded “Best New Consultancy” at The MCA Awards (Management Consultancies Association) in 2016. Stewart could not stress enough how important it is for your business to promote itself. He received new business enquiries as a result of the awards He had more contact in the week following the Award win than in four years on LinkedIn. 10% of the contacts generated on LinkedIn from the award were from new clients So how did he win the award? He got connected. He went to the MCA events, contributed to their Think Tanks. He made himself known to the MCA. His trade association. He knew the criteria, and knew that he also needed to enter another category to enable Prederi to win the Best New Consultancy. He advises the judging panel preferred a ‘journalistic style' to a 500-word submission. He took his time with the submission. Stewart also advised his approach in new client meetings: The importance of getting a “credible” meeting. Never try to sell. Give an anecdote, refer their issue to something you have previous experience with, but do not sell. Be genuinely interested in the client. Listen to them. Ideally link their issue to something being worked on by a partner now or in the past. Therefore, he needed to know what projects were being covered by partners to do this. Stewart highlighted some of the key questions he uses to determine whether his management consultancy should bid for a project. His BID list criteria are: Do you know the client? Have you worked together before? Have you done a project covering the requirement before? Can the project be done for the budget or funding on offer? Is the scope of the project clearly defined? Do we think we can win it? He typically wins between 1 in 3 and 1 in 4 bids. A LinkedIn tip: Blog post ONLY to your followers on LinkedIn. Some blogs can generate 20% of his followers to respond to his blog posts. 4 things you can do when deciding to bid. Have a Bid List Criteria like those questions above. Know who your competition are. Don't worry if the project is for a small amount of work. They can lead to future large pieces of work. Live forward and complete feasibility studies and other potentially risky work up front to gain visibility and awareness of new clients. Discover more about Prederi: www.prederi.com

John reflects on a legend about Wizard's Slough, where he meets Uncle Reuben. He is shown his uncle's secret, meets a sceptical Cornishman, and breaks a big obstacle.