Podcasts about Interaction

Bill O'Reilly is an American journalist, author, and television host best known for “The O'Reilly Factor,” which he hosted on Fox News from 1996 to 2017 and which became one of the network's highest-rated programs. He has also written numerous bestselling books, hosted podcasts and radio programs, and continued his political and cultural commentary through independent media. Check out his new book ‘Confronting America: What has to Change' out now. IN THE NEWS: Massachusetts lesbians are fiercely divided after a gay bar drops its mask mandate in 2026. Sunny Hostin says her children experienced racism at expensive, “predominantly white” private schools. Plus, police are unsure how to ticket a Waymo after it drives through a Denver farmers market.GET IT ON!FOR MORE WITH BILL O'REILLY:PODCAST: We'll Do It LiveBOOK: Confronting Evil: Assessing the Worst of the WorstFOR MORE WITH MIKE DAWSON:INSTAGRAM: @dawsangelesLIVE SHOWS: October 2 - Casper, WY (2 Shows)October 3 - Estes Park, CO (2 Shows)October 8 - Point Pleasant Beach, NJOctober 9 - Pottstown, PA (2 Shows)October 10 - Pottstown, PA (2 Shows)Thank you for supporting our sponsors:BetOnlineThe First 48hometitlelock.com/adamcarolla Promo code: ADAMLimited Time Offer – Make healthy eating simple. Get Huel today with my exclusive offer of 15% OFF online with my code [ADAM] at huel.com/[ADAM]. New Customers Only. Thank you to Huel for partnering and supporting our show!mod.com Promo code: ADAMoreillyauto.com/ADAMpluto.tvSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We're thrilled to have retired Maryland judge, and current mediator, Zuberi Williams, affectionately known as “Judge Zu,” with us to share his involvement with the ABA Judicial Intern Opportunity Program (JIOP) as well as insights into how every facet of a lawyer's life impacts lives and shapes careers. JIOP places 1L and 2L students with experienced judges, exposing students from underrepresented communities to the judicial system, gaining direct exposure to the judicial decision-making process. Williams himself is a graduate of the program. Williams explores how his observations from the bench provided insights into how real people make decisions and come to agreements. There's a process, and sometimes when left to find their own way, parties in a dispute find they can understand each position and reach a settlement. It's about helping them “enlarge their view.” Disputes, Williams says, are about more than the law, they're about people. Enjoy a fascinating and wide-ranging conversation as Williams tells host Mic Rogson how his experience as an intern led him to become a mentor for future lawyers and judges and the duty we all have to both learn from others and share that knowledge. This is an inspiring episode that may leave you looking for ways to give back and develop the next generation of legal leaders. Have a question, comment, or suggestion for an upcoming episode? Get in touch at MRogson@SkywardInsurance.com or JAReederJr@gmail.com.   Resources Mentioned:   ABA Judicial Intern Opportunity Program (JIOP) “Succession,” trailer, YouTube “Silo,” trailer, YouTube “Landman,” trailer, YouTube “Lanterns,” trailer, YouTube “Des,” trailer, YouTube “AFI's 100 Years...100 Movies — 10th Anniversary Edition,” American Film Institute American Bar Association American Bar Association Litigation Section

Download Defunct_17.mp3 On this episode...Anth reveals the "one game" NFL franchise.Steve talks about a classic "Olimpick" event.Dave wrangles the Stallions of Baltimore.

You can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/barstoolyakYou can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/barstoolyak

Au Bénin, les personnes avec une déficience visuelle font encore face à de nombreux préjugés et discriminations, qui peuvent limiter leur participation à la vie sociale et professionnelle. Comment faire évoluer les regards et permettre à chacun et chacune de prendre pleinement sa place dans la société ? Katia Aeby, d'Interaction, échange avec Alexandrine Meunier, de la Mission Évangélique Braille (MEB), autour d'un projet qui accompagne les personnes avec une déficience visuelle vers davantage d'autonomie. Elles font entendre aussi le témoignage de Gilles Roméo Kpossou, de l'ONG Bartimée, qui est l'organisation partenaire de la MEB au Bénin.  Un épisode consacré à l'autonomie, à la dignité et au pouvoir d'agir des personnes déficientes visuelles, et aux initiatives qui contribuent à construire des communautés plus inclusives. Plus d'informations :  https://mebraille.ch Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

John Maytham speaks to Dr Matthias Mehl | Professor of Psychology at the University of Arizona, on CapeTalk this afternoon, about why we may be talking less, what technology has to do with it, and whether something as simple as striking up a conversation with a stranger could help rebuild our everyday social connections. Presenter John Maytham is an actor and author-turned-talk radio veteran and seasoned journalist. His show serves a round-up of local and international news coupled with the latest in business, sport, traffic and weather. The host’s eclectic interests mean the program often surprises the audience with intriguing book reviews and inspiring interviews profiling artists. A daily highlight is Rapid Fire, just after 5:30pm. CapeTalk fans call in, to stump the presenter with their general knowledge questions. Another firm favourite is the humorous Thursday crossing with award-winning journalist Rebecca Davis, called “Plan B”. Thank you for listening to a podcast from Afternoon Drive with John Maytham Listen live on Primedia+ weekdays from 15:00 and 18:00 (SA Time) to Afternoon Drive with John Maytham broadcast on CapeTalk https://buff.ly/NnFM3Nk For more from the show go to https://buff.ly/BSFy4Cn or find all the catch-up podcasts here https://buff.ly/n8nWt4x Subscribe to the CapeTalk Daily and Weekly Newsletters https://buff.ly/sbvVZD5 Follow us on social media: CapeTalk on Facebook: https://www.facebook.com/CapeTalk CapeTalk on TikTok: https://www.tiktok.com/@capetalk CapeTalk on Instagram: https://www.instagram.com/ CapeTalk on X: https://x.com/CapeTalk CapeTalk on YouTube: https://www.youtube.com/@CapeTalk567 See omnystudio.com/listener for privacy information.

Wir gehen auf Tour und Tickets gibts [hier](https://links.190a.de/talent/trashologinnen) Gönnt euch KoRo [hier](https://serv.linkster.co/r/kBjeQcWG2K) Mit dem Code *TRASH* gibt es 5% Rabatt Folgt uns um keine Datenanalysen oder psychologischen Hintergrundinfos zu verpassen: [Instagram](https://www.instagram.com/trashologinnen/) | [TikTok](https://www.tiktok.com/@trashologinnen) Sounddesign und Schnitt: [Sophie Hiller ](https://www.instagram.com/soundbysophie_/) Literatur aus der Folge: Paul Schrodt, Paul L. Witt & Jenna R. Shimkowski (2014) A Meta-Analytical Review of the Demand/Withdraw Pattern of Interaction and its Associations with Individual, Relational, and Communicative Outcomes, Communication Monographs, 81:1, 28-58, DOI: 10.1080/03637751.2013.813632 Baumeister, R. F., Bratslavsky, E., Muraven, M., & Tice, D. M. (1998). Ego depletion: Is the active self a limited resource? Journal of Personality and Social Psychology, 74(5), 1252–1265. Muraven, M., & Baumeister, R. F. (2000). Self-regulation and depletion of limited resources: Does self-control resemble a muscle? Psychological Bulletin, 126(2), 247–259. Hagger, M. S., Chatzisarantis, N. L. D., Alberts, H., et al. (2016). A multilab preregistered replication of the ego-depletion effect. Perspectives on Psychological Science, 11(4), 546–573.

Adam Crowley and Dorin Dickerson react to this hilarious encounter that took place when former Steelers' QB Terry Bradshaw and former New England Patriots' TE Rob Gronkowski were having a conversation on a TV broadcast recently.

The 94WIP Morning Show evaluate the Eagles' win over Tennessee, focusing on the defensive line's struggles and Jalyx Hunt's developmental hurdles. They review the Phillies' playoff positioning and the surprising decision to send Orion Kerkering to the minors. The coverage also features postgame interviews from Nick Sirianni and Jalen Hurts regarding the intense heat in Nashville.(00:01:00) Eagles Pass Rush Concerns(00:04:34) Phillies And Injury News(00:09:29) Titans Stadium Eagles Takeover(00:12:31) Sirianni And Hurts Audio

Compassion Au Burkina Faso, des jeunes en situation d'extrême pauvreté se battent pour construire leur avenir. Dans un contexte marqué par le conflit armé interne et de grandes difficultés économiques, des initiatives de la société civile ouvrent de nouvelles perspectives. Katia Aeby, d'Interaction, s'entretient avec Yasmine Thomet de Compassion Suisse, autour d'un projet qui permet à de nombreux·ses jeunes d'acquérir des compétences professionnelles et de gagner en autonomie, grâce au soutien des Églises locales. Elles font entendre aussi letémoignage de Kabissiga Bougma, de Compassion Burkina Faso. Un épisode consacré à l'espoir, à la créativité et à la détermination d'une jeunesse qui construit son avenir, celui de ses familles et de ses communautés. Plus d'informations :  https://compassion.ch Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Sunday AM ServiceMark 6:14-29I. The Confusion about JohnII. The Interaction with JohnIII. The Execution of JohnSupport the show

September 17th, 2026 Follow us on Facebook, Instagram and X Listen to past episodes on The Ticket’s Website And follow The Ticket Top 10 on Apple, Spotify or Amazon MusicSee omnystudio.com/listener for privacy information.

As generative AI hits hardware and latency bottlenecks, Stanford professor, diffusion pioneer, and Inception co-founder and CEO Stefano Ermon is betting on a radical new architecture. Stefano joins Sarah Guo to talk about Inception, and how his team is applying diffusion architecture beyond images and video into discrete text and code generation. Stefano explains the limitations of autoregressive LLMs, as well as why parallel token generation in diffusion models offers superior inference scaling and hardware utilization on standard GPUs. He also shares details about Inception's Mercury models, real-world voice agent applications, the software stack required to serve diffusion-based models at scale, academia's role at the frontier of AI innovations, and why the next era of AI competition will be defined by efficiency.  Sign up for new podcasts every week. Email feedback to show@no-priors.com Follow us on Twitter: @NoPriorsPod | @Saranormous | @EladGil | @StefanoErmon | @_inception_ai Chapters: 00:00 – Stefano Ermon Introduction 00:35 – Research Background 02:54 – Starting Inception 05:59 – Why Diffusion Beats Autoregressive 11:10 – Discrete vs. Continuous Modalities 13:19 – Inception Today 16:45 – Where Speed Wins 17:31 – Inception Customer Base 18:49 – Interaction with Hardware Landscape 19:34 – Inception and the Broader Industry 21:41 – Data Compression and Structure 24:45 – Controllability of Diffusion Modeles 27:25 – Emergent Capabilities at Scale 29:02 – Future Workload Split Between Diffusion vs. Traditional 30:03 – Adoption Challenges 31:44 – Hiring and Team Organization 32:50 – Recursive Self Improvement 34:02 – Resource Allocation 35:10 – Impact of Academia 38:13 – Conclusion

You try a throw.They break it.You stop your pressure early.They immediately press.You think:“That didn't work.”But what if those interactions gave you something more valuable than damage?Information.In this episode of How Winners Think, we break down why strong Tekken players don't judge every decision purely by whether it worked immediately.Sometimes you're not trying to win the interaction.You're trying to learn how your opponent behaves so you can exploit that behavior later.There are two types of value to consider:DAMAGE VALUE vs INFORMATION VALUEDamage gives you something now.Information can make future decisions easier.The framework:TEST → OBSERVE → EXPLOITTEST — Create a specific situation and ask your opponent a question.OBSERVE — Pay attention to what this player actually does.EXPLOIT — When the situation appears again, use the information they gave you.Do they press when your pressure ends?Do they duck when you approach?Do they consistently break a particular throw?Don't try to download everything at once.Start with one question.Because information isn't valuable just because you collected it.It's valuable when it changes what you do next.Sometimes losing one interaction teaches you how to win the next five.

9.15.26 Hour 3, Kevin Sheehan goes around the NFL to react to some of the recent news after the first week of the NFL season and a surprise story about Drew Brees almost coming out of retirement. Kevin Sheehan goes over the big takeaways and storylines going into week two of the NFL season along with some stats from the week one slate of games. Kevin Sheehan reacts to an interesting interaction Coach James Franklin had with a reporter.

The Fast Lane with Ed Lane: Tuesday, September 15, 2026

Download Defunct_16.mp3 On this episode...Dave toasts the King (Corcoran).Steve charms the worms.Anth's America's pastime performance issues.

Hour 2 of Jake & Ben on September 14, 2026 Drake Toll of the Drake Toll Show & Host of Locked on Big 12 made his weekly appearance to recap the biggest college football news of the weekend. Drake is impressed with Utah & their offense.  Who was in the Wrong in the Steve Sarkisian Holly Rowe Interaction? Was Alexander Zverev Flirting with Trinity Rodman? 

In which Robert & Amy discuss you, me, and the space between ... where the action is! Interaction, communication, owning a room, paying off introvert debt. Relationships for fun & profit: how to get more from your people, how to get more from yourself ... by capitalizing on, exploiting, mastering, owning the space between.

Gary With the Tea breaks down Chris Rock’s Oscars condition and DDG’s awkward Sanaa Lathan story, as the cast debates whether Rock is truly finished with the Academy and whether DDG mistook a quick celebrity interaction for a deliberate snub. See omnystudio.com/listener for privacy information.

DDG recalls approaching Sanaa Lathan as a fan, taking a photo with her, and feeling brushed off when she quickly turned away—prompting the crew to debate whether the actress was simply busy or did not know who he was. See omnystudio.com/listener for privacy information.

From a fiery culture debate to an eyebrow-raising election promise, this episode of The Rickey Smiley Morning Show delivers the headlines everyone will be talking about. The crew weighs in after Fat Joe defended using the N-word by pointing to his Puerto Rican and Cuban roots, his upbringing in the South Bronx, and his lifelong connection to the birthplace of hip-hop—a claim that reignited debate about race, cultural belonging, and who has permission to use the term. Chris Rock also says he would return to the Oscars only as a nominee while promoting his new directorial effort, Misty Green, and reflecting on how the 2022 ceremony continues to overshadow his work. The celebrity conversation continues as DDG describes a brief encounter with Sanaa Lathan in which she took a photo but quickly turned away, leaving him feeling unacknowledged, while the cast wonders whether she was simply busy or unfamiliar with him. In politics, the team reacts to Donald Trump’s promise of a $5,000 “Trump dividend” for every adult citizen if Republicans retain both chambers of Congress; the proposal would require congressional approval and could cost more than $1 trillion. Family-law attorney Cynthia Halls rounds out the episode with practical guidance on child support, custody, court orders, co-parenting, and Georgia’s new mandatory parenting-time adjustments, which now connect scheduled overnights directly to support calculations. Website: https://www.urban1podcasts.com/rickey-smiley-morning-show See omnystudio.com/listener for privacy information.

Writing prompts aren't just spread over workshop tables: they're how we experience the world around us. Dr Rachel Knightley shares how interaction over introspection improves our writing and creative confidence — but also combats our anxiety and our experience of other people and the world. If you enjoyed listening to the Writers' Gym Podcast, head to our website at www.writersgym.com and follow us on instagram: @jointhewritersgym

In episode 2 of this 12-part series, host Niels Brabandt continues his conversation with Dr. Adrian Wolfberg, author of Who Leads When AI Thinks, on who actually leads when humans and AI work together. Dr. Adrian Wolfberg argues that leadership is determined not by which is more capable, but by the nature of the problem itself, assessed across familiarity, complexity, and ethical weight, plus a hidden fourth dimension: time. A practical, framework-driven episode for business decision-makers rethinking how leadership works inside AI-enabled organisations. Host: Niels Brabandt / NB@NB-Networks.com Contact Niels Brabandt: https://www.linkedin.com/in/nielsbrabandt/ Niels Brabandt's Leadership Letter: https://expert.nb-networks.com/ Niels Brabandt's Website: https://www.nb-networks.biz/

What if spending time in nature isn't simply good for you, but something your brain is biologically designed to need? In this solo episode, Darin explores the sensory neuroscience of nature and the growing research suggesting that our increasingly indoor lives may be fundamentally mismatched with the environments our brains and nervous systems evolved to experience. From walls and screens to fluorescent lights, traffic, right angles, and constant notifications, modern environments bombard us with sensory inputs our ancestors never encountered at this scale. The numbers put that mismatch into perspective. Darin highlights research suggesting the average American spends roughly 87% of life indoors and another 6% inside vehicles. In other words, we've effectively become an indoor species living inside outdoor-evolved bodies, brains, eyes, and nervous systems. Darin breaks down why this isn't merely another reminder to "go outside." He explores how modern environments place continuous demands on executive attention, why sustained attention can eventually give way to rumination and mental chatter, and what more than 100 brain-imaging studies may reveal about what happens when we finally return our brains to natural environments. This episode ultimately asks a surprisingly important question: What if nature isn't a luxury or lifestyle preference, but a biological input we've slowly removed from our lives? What You'll Learn Why your brain evolved for branches, coastlines, clouds, mountains, and irregular natural geometry instead of straight lines How much of the average American's life is now spent indoors or inside vehicles Why Darin describes modern life as an evolutionary mismatch for the nervous system How artificial environments continually demand processing from your executive attention system Why sustained directed attention can eventually lead to fatigue, rumination, and mental chatter How light, sound, movement, visual patterns, and circadian cues shaped the human nervous system Why simply telling people to "go outside more" may underestimate what's happening neurologically What researchers mean by high-load visual and auditory environments What a review of more than 100 brain-imaging studies investigated about nature exposure What the brain scans reveal about nature, fractal patterns, rumination, and neural restoration in the second half of the episode Chapters 00:00:03 – Welcome to SuperLife 00:00:34 – Sponsor: Alkemis 00:03:25 – When was the last time you stopped seeing straight lines? 00:03:49 – Your brain wasn't designed for the geometry of modern life 00:04:44 – The sensory neuroscience of nature 00:05:14 – Why your nervous system may be starving indoors 00:05:49 – Darin records the episode outside 00:06:04 – How much of our lives do we actually spend indoors? 00:06:48 – Outdoor-evolved humans have become an indoor species 00:07:47 – Why "go outside" is more than feel-good advice 00:08:22 – The evolutionary mismatch affecting your nervous system 00:09:33 – Ancient biological hardware in a radically modern environment 00:09:49 – How indoor environments overload your attention system 00:10:47 – Sponsor: Manna Vitality 00:12:42 – Your attention system wasn't built for infinite stimulation 00:13:00 – Rumination, looping thoughts, and mental chatter 00:13:24 – The fatal convenience of modern civilization 00:13:58 – What we've removed from the human sensory environment 00:14:19 – The neuroscience deep dive begins 00:14:40 – More than 100 brain-imaging studies on nature exposure 00:15:18 – The question researchers wanted to answer 00:15:19 – Why the rest of the neuroscience matters 00:15:34 – What do brain scans actually show when you enter nature? 00:15:49 – Continue the full episode on Patreon 00:15:52 – The four-stage neurological cascade coming next 00:16:02 – Fractal fluency and the hidden geometry of nature 00:16:07 – Nature, the brain, and depressive rumination 00:16:18 – How much nature does your brain actually need? 00:16:31 – Final thoughts and Patreon continuation Thank You to Our Sponsors Alkemis: Go to https://alkemispaint.com/ and use code DARIN10 for 10% off your order. Manna Vitality: Go to mannavitality.com/ and use code DARIN12 for 12% off your order. Join the SuperLife Patreon: This is where Darin now shares the deeper work: - weekly voice notes - ingredient trackers - wellness challenges - extended conversations - community accountability - sovereignty practices Join now for only $7.49/month at https://patreon.com/darinolien Find More from Darin Olien: Website: darinolien.com Instagram: @darinolien Book: Fatal Conveniences Platform & Products: superlife.com New Show: Roadmap to Happiness Key Takeaway "We've become an indoor species living inside outdoor-evolved bodies and brains. Your nervous system developed over hundreds of thousands of years surrounded by sunlight, wind, trees, irregular sounds, natural rhythms, and complex patterns, yet we've replaced much of that environment with walls, screens, fluorescent lights, traffic, notifications, and straight lines. Going outside isn't simply a nice thing to do when you have extra time. Nature may be one of the fundamental sensory inputs your brain has been waiting for you to put back into your life." Bibliography/Sources: Primary Neuroscience & Brain Imaging Bratman, G. N., Hamilton, J. P., Hahn, K. S., Daily, G. C., & Gross, J. J. (2015). Nature experience reduces rumination and subgenual prefrontal cortex activation. Proceedings of the National Academy of Sciences, 112(28), 8567–8572 . https://www.pnas.org/doi/10.1073/pnas.1510459112 Estarellas, M., et al. (2026). Your brain on nature: A scoping review of the neuroscience of nature exposure. Neuroscience & Biobehavioral Reviews . https://www.sciencedirect.com/science/article/pii/S0149763426000205 Environmental Psychology & Physiological Stress Antonelli, M., Barbieri, G., & Donelli, D. (2019). Effects of forest bathing (shinrin-yoku) on levels of cortisol as a stress biomarker: A systematic review and meta-analysis. International Journal of Biometeorology, 63(8), 1117–1134 . https://pubmed.ncbi.nlm.nih.gov/31001682/ Kaplan, S. (1995). The restorative benefits of nature: Toward an integrative framework. Journal of Environmental Psychology, 15(3), 169–182 . Klepeis, N. E., et al. (2001). The National Human Activity Pattern Survey (NHAPS): A resource for assessing exposure to environmental pollutants. Lawrence Berkeley National Laboratory / U.S. EPA . Lee, M. S., Lee, J., Park, B. J., & Miyazaki, Y. (2015). Interaction with indoor plants may reduce psychological and physiological stress by suppressing autonomic nervous system activity in young adults: A randomized crossover study. Journal of Physiological Anthropology, 34, Article 21 . https://link.springer.com/article/10.1186/s40101-015-0060-8 Ulrich, R. S. (1984). View through a window may influence recovery from surgery. Science, 224(4647), 420–421 . https://www.science.org/doi/10.1126/science.6143402 News Coverage & Summaries BuildingGreen. (n.d.). We spend 90% of our time indoors. Says who? . https://www.buildinggreen.com/blog/we-spend-90-our-time-indoors-says-who McGill Newsroom. (n.d.). How stepping into nature affects the brain . https://www.mcgill.ca/newsroom/channels/news/how-stepping-nature-affects-brain-371263 Nolan, K. (n.d.). Fractal patterns in nature and art are aesthetically pleasing and stress-reducing. Smithsonian Magazine . https://www.smithsonianmag.com/innovation/fractal-patterns-nature-and-art-are-aesthetically-pleasing-and-stress-reducing-180962738/

Jesus doesn't teach us to tolerate difficult people, He changes us so we can love difficult people. Text: 1 Peter 3:8-22 Speaker: Joel Garrison 

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

Tim Pool was on Jubilee facing off against 20 progressives and, as usual, the progressives had a hard time staying on topic. Define "pontification." President Donald Trump posted that America will be reducing their participation in the Joint Military Exercises in South Korea. Any bets on whether Kim Jong Un will declare this a staggering total victory for North Korea? GUEST: Josh Firestine | Tim Pool Link to today's sources: https://www.louderwithcrowder.com/sources-august-17-2026 Let my sponsor American Financing help you regain control of your finances. NMLS #182334 nmlsconsumeraccess.org. APR for rates in the 5s start at 6.327% for well qualified borrowers. Call 800-974-6500 for details about credit, costs and terms. Visit http://www.AmericanFinancing.net/Crowder. Average savings based on borrowers who save over $199.99 Tip creators, not the platform with Rumble Wallet. Get started with Rumble Wallet and use the code CROWDER5 to claim $5 in US Stablecoin (USA₮)! Download now: http://wallet.rumble.com/crowder Void where prohibited. No purchase necessary. Offer available to US residents only. Offer not available in New York State. Must be 18+. Offer is available for a limited time and for the first 1000 wallets activated and funded. Restrictions apply. Details and full official rules available at http://rumble.com/promoofficialrules. This is a paid advertisement for Rumble Wallet. Rumble is compensating me for this ad. Foundation Daily is made up of premium ingredients to reduce inflammation and stress and promote clean energy and mental clarity. Subscribe now and receive 40% off for life. https://foundationdaily.com/ Share clips from the show! Where to get clips: Telegram: http://t.me/LWCClips Discord: https://discord.gg/nfRAZxEbAV Join Rumble Premium to watch this show every day! http://louderwithcrowder.com/Premium Want to be informed? Check out the 3-in-3 podcast. Here's the best path to victory on the most debated topics: https://threekeyfacts.com/ Get your favorite LWC gear: https://crowdershop.com/ Bite-Sized Content: https://rumble.com/c/CrowderBits Subscribe to my podcast: https://www.louderwithcrowder.com/podcast FOLLOW ME: Website: https://louderwithcrowder.com/ X: https://x.com/scrowder Instagram: http://www.instagram.com/louderwithcrowder Facebook: https://www.facebook.com/stevencrowderofficial Music by @Pogo

Traditionally, scientists have been able to calculate the role of genes in autism, or the environment in autism. However, understanding the role of genes together with the environment, or the effects of the environment with a genetic background, has been very difficult. This is especially true with polygenic genetic risk factors, which is not a single gene but a combination of multiple genetic influences. Different environmental factors might be good candidates for testing because some of them are more accurately measured than others. This week, we talk to Drs. Nilanjan Chatterjee and Christine Ladd Acosta both from Johns Hopkins University, who have tested and validated a new method to calculate the risk of not just genetics, or the environment but the two working together. They describe some of the factors they studied and why, and how this model can be used for further research questions. https://pubmed.ncbi.nlm.nih.gov/42230772

Hour 3 of Jake & Ben on August 10, 2026 Utah Camp Media Availability - Morgan Scalley With an Update on Utah's New Look Offensive Line Spurs Are Defending De'Aaron Fox after disappointing Playoff Performance Audio Vault: Panthers QB Bryce Young has an Awkward Interaction with Double Amputee Reporter

277 - Have you ever received one email, text, comment, or piece of news that completely changed the energy of your day? One moment can quickly become much bigger than what actually happened. Before we know it, we are carrying that interaction into our work, our relationships, our decisions, and everything that comes next. In this episode, I'm sharing how to respond more intentionally when something throws you off, how to separate what happened from everything your mind starts making it mean, and how to keep one difficult moment from taking over the rest of your day. Because you cannot always control the message that lands in your inbox, the news someone delivers, or the energy someone brings to you, but you can decide what happens next. If you've ever let one interaction, email, comment, or unexpected moment steal more of your energy than you wanted it to, this episode is for you. Connect with me: Instagram: @angbarnard Website: angbarnard.com Email: angmbarnard@gmail.com

Support my work on Patreon- https://patreon.com/realdavejackson Discord, Socials and more- https://linktr.ee/talesfromthebacklog Join Dave and special guest Luis Aguasvivas as they discuss Arco (Franek, Max Cahill, Bibiki and Fayer, 2024). Arco blends tactical turn-based combat with a revenge story spanning multiple protagonists. It's an ambitious game that coalesces in some magical ways, but falls short in some others, making it ripe for discussion. As always, no spoilers in the episode for a while- enjoy! Guest info: Luis Aguasvivas (he/they) Check out Luis's writing https://aguaspoints.com/ Follow on Bluesky https://bsky.app/profile/aguaspoints.bsky.social TIMESTAMPS 0:00 Title Card 0:20 Introductions 3:56 Our Histories with Arco 6:52 Top-Level Thoughts 13:13 Story Setup 17:52 Multiple Protagonist Structure 22:58 Dramatic Irony and Post-Colonial Narratives 28:48 Visual Design 35:33 Soundtrack 40:13 Combat 49:38 Fantasy Elements and Morality System 1:03:55 Who Should Play? 1:07:55 Luis' Writing 1:11:58 Spoiler Wall and Patron Thank-Yous 1:14:20 Spoilers- Different Story Paths 1:26:01 Spoilers- Act Five 1:39:41 Spoilers- Tizo's Story 1:51:22 Spoilers- Violence as Interaction in Games 2:01:54 Spoilers- Fighting the Ocean in Historical Fiction Music used in the episode is credited to Bibiki. Tracks used: Arena y Alquitrán, Forgotten Memories, Blood Spit, Whispers of Magic, Where Iyos Live, Sempiternal Cover art by Jack Allen- find him at https://linktr.ee/JackAllenCaricatures

Kaelin was walking home when she had the most stranger interaction!See omnystudio.com/listener for privacy information.

Leave an Amazon Rating or Review for my New York Times Bestselling book, Make Money Easy! Check out the full episode: https://greatness.lnk.to/1477DM Leadership coach Michael Bungay Stanier shares communication insights to increase magnetism and results. He stresses determining desired outcomes before conversations. Stanier details navigating both personal goals and other's temperaments, distinguishing objective facts from subjective interpretations. He advocates identifying then voicing the most constructive feelings and views. Stanier explains hand gestures establishing audience rapport at events, lowering them to seem vulnerable or lifting to celebrate. He describes prep techniques like prompting participation, risk-taking and camaraderie. Stanier underscores seeding goodwill, then spotlighting attendees' greatness. He models priming groups for open-hearted receptivity before imparting any content. Sign up for the Greatness newsletter! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Beat Migs! We ask the rockaholics.

reference: Sri Aurobindo and the Mother, The Psychic Being — Soul: Its Nature, Mission and Evolution, Section 4 The Afterlife and Rebirth, pp. 130-131This episode is also available as a blog post at https://sriaurobindostudies.wordpress.com/2026/07/26/ghosts-their-existence-and-their-interaction-with-living-human-beings/Video presentations, interviews and podcast episodes are allavailable on the YouTube Channel https://www.youtube.com/@santoshkrinsky871More information about Sri Aurobindo can be found at www.aurobindo.net  The US editions and links to e-book editions of SriAurobindo's writings can be found at Lotus Press www.lotuspress.com#Sri Aurobindo #The Mother #yoga #integral yoga #spirituality #soul #psychic being #vital being #ghosts #bhuta #preta #hungry ghosts

#259This is episode 4 in my 2026 summer headspace series. This is a chance to revisit episodes from the previous school year during the summer months when you may have a little extra time. Beginning August 31st, you will see new episodes with exciting new topics every Monday. For today we take a look back at CI Activities in episodes 218, 222, 228, 231 and 232.Topics in this Episode: 218: 6 Activities for Interaction and Discussion in the Language Classroom222: 6 Reading and Writing Activities in the CI Classroom228: 3 Engaging Narrative and Storytelling Activities231: CI Activities in Practice in the Classroom, Part 1232: CI Activities in Practice in the Classroom, Part 2Ready For Tomorrow Quick Win PD for Individual TeachersA Few Ways We Can Work Together:On-Site or Virtual Workshops for Language DepartmentsSelf-Paced Program for For Language DepartmentsConnect With Me & The World Language Classroom Community:Website: wlclassrom.comInstagram:  @wlclassroomFacebook Group: World Language ClassroomFacebook:  /wlclassroomLinkedIn: Joshua CabralBluesky: /wlclassroom.bsky.sociaX (Twitter):  @wlclassroomThreads: @wlclassroomSend me a text and let me know your thoughts on this episode or the podcast.

Hour 2 of Scotty G. & The Coach with Scott Garrard and Tim LaComb. Vinnie Iyer, NFL, Fantasy Football writer for the Sporting News G, B, & U: Jon Sumrall at SEC Media Days has a chippy interaction following cell phone going off Voicemails about Bo Nix

Eddie shares how he got a clever scam text. Bobby shares how he had an awkward interaction with a country artist who wouldn't take no for an answer. You won’t believe these Garth Brooks stories! Listeners call in with wild Garth encounters, Bobby talks about crazy things he's done from signing autographs for 23 straight hours and we hear about the superstar moments that show the real Garth. Eddie and Lunchbox both share stories of people possibly casing their homes. They share what happened and why they think they are about to get robbed.See omnystudio.com/listener for privacy information.

Hour 2 of Jake & Ben on July 22, 2026 Ben has a story to share about a situation he had on public transportation Ole Miss Head Coach Pete Golding Defends Tampering at SEC Media Days Not Every Former Player is a Great Broadcaster

See omnystudio.com/listener for privacy information.

"When we think of drug interactions, specifically, the National Cancer Institute actually defines this as a change in the way a drug acts in the body when taken with certain other drugs, herbals, or foods or when taken with certain medical conditions. Drug interactions may cause the drug to either be more or less effective or cause effects on the body that are not expected," Carissa Ganihong, PharmD, BCOP, oncology and bone marrow transplantation clinical pharmacist at Hackensack University Medical Center in New Jersey, told Jaime Weimer, MSN, RN, AGCNS-BS, AOCNS®, manager of oncology nursing practice at ONS, during a conversation about interaction pathways. Music Credit: "Fireflies and Stardust" by Kevin MacLeod Licensed under Creative Commons by Attribution 3.0 Earn 0.5 contact hours of nursing continuing professional development (NCPD), including 30 minutes of pharmacotherapeutic content, by listening to the full recording and completing an evaluation at courses.ons.org by July 10, 2027. The planners and faculty for this episode have no relevant financial relationships with ineligible companies to disclose. ONS is accredited as a provider of nursing continuing professional development by the American Nurses Credentialing Center's Commission on Accreditation. Learning outcome: Learners will report increased knowledge related to drug interactions in oncology care. Episode Notes  Complete this evaluation for free NCPD.  ONS Podcast™ episodes: Pharmacology 101 series ONS Voice articles: Are Your Patients Taking Herbs That May Interact With Their Cancer Drugs? Pharmacogenomics Testing Helps to Ensure That Effective Therapy Is Safe Therapy Use of Herbal Products Carries Risk for Drug Interactions, but Patient–Clinician Knowledge, Communication Remain Low What the Research Says About Drug Interactions and Medical Cannabis ONS books: Chemotherapy and Immunotherapy Guidelines and Recommendations for Practice (second edition) Clinical Guide to Antineoplastic Therapy: A Chemotherapy Handbook (fourth edition) ONS Huddle Cards: DPYD Gene and DPD Enzyme Pharmacogenomics ONS Oral Anticancer Medication Toolkit American Journal of Nursing articles: Understanding Pharmacokinetics: Part1: Drug Absorption Understanding Pharmacokinetics: Part 2: Drug Distribution Understanding Pharmacokinetics: Part 3: Drug Metabolism Understanding Pharmacokinetics: Part 4: Drug Elimination Journal of Nuclear Medicine Technology articles: Pharmacology, Part 1: Introduction to Pharmacology and Pharmacodynamics Pharmacology, Part 2: Introduction to Pharmacokinetics ClinPGx To discuss the information in this episode with other oncology nurses, visit the ONS Communities. To find resources for creating an ONS Podcast club in your chapter or nursing community, visit the ONS Podcast Library. To provide feedback or otherwise reach ONS about the podcast, email pubONSVoice@ons.org. Highlights From This Episode "One of the most notable food interactions that interacts with many different medications is actually grapefruit or grapefruit juice. This is known to be a very strong CYP3A4 inhibitor. … A lot of medications are metabolized through the CYP3A4 pathway. By inhibiting the effect of these enzymes, that can actually increase and significantly increase the concentrations of these therapies. It's not an interaction that's just limited to grapefruit. I would say grapefruit being in the food interaction is kind of one of the most well-known, but it can also be seen with other foods as well, like pomegranate juice or a very specific type of orange called Seville oranges. And this is really just due to the presence of a substance called furanocoumarins." TS 6:12 "There have been a pretty large number of genes identified that are responsible for coding some of those common enzyme families that I had been discussing, some of those CYP450 enzymes, but other enzymes as well that are important for drug metabolism. Based on the type of gene, there could be some different categories where patients are normal metabolizers, intermediate metabolizers, or poor metabolizers. There are some other categories as well based on the type of gene we're looking at. And that can ultimately impact the way you are able to metabolize drugs." TS 15:56 "Another common [geneotypic variation] that we always think about in oncology is G6PD, where if someone has G6PD deficiency, these patients can be at greater risk of hemolytic anemias when receiving certain types of therapies. Dapsone and rasburicase are just a couple that have been associated with this risk." TS 17:50 "One of the big concerns is always polypharmacy. Our patients truly can be on a lot of medications. In the field that I work in, transplant, patients automatically from their transplant are on many, many different medications that can potentially predispose them to side effects. … But I think when it comes to the many drug interactions that may flag in these situations, we really have to look at the patient as a whole. Like, how long have these patients been on these therapies? Are they having side effects? Have they been on the combination for a very long time now? So I think that not just looking at the drug reference and seeing that there are like 10 different interactions flagged, but really assessing your patient as a whole can be very important—just because real-world practice, of course, is not black and white. It's often very gray, so it's just important to use clinical judgment in those scenarios." TS 26:10

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Program notes:0:40 Online prescribing of GLP1s1:44 Physician asks a number of questions2:44 Interaction to approval about five minutes3:30 Respiratory outbreak mitigation in nursing homes4:30 Using PCR-based test in the nursing home5:30 No difference in outbreak number or size6:35 Avoid 64,000 ED transfers in U.S.7:32 Residents reap many benefits8:00 Inhalation treatment for pulmonary fibrosis9:00 Clinical worsening in fewer patients10:01 Dual-mobility total hip replacement11:04 Substantially reduced risk of dislocation12:05 Substantial number require revision previously13:15 End

Plus: China weighs limits on AI models that American companies love. And PC demand could be subdued for the rest of the year. Julie Chang hosts. Learn more about your ad choices. Visit megaphone.fm/adchoices

Law firms deal with serious issues, but that does not mean every client interaction has to feel heavy. In episode 626 of the Lawyerist Podcast, Stephanie Everett talks with Jennifer Cargo about humor as an underrated communication skill for lawyers and law firm teams.  Jennifer shares how her experience with comedy training and amateur standup shaped the way she connects with clients, leads a team, and lightens stressful moments inside a law firm. From breaking the ice during client signings to helping team members feel more comfortable bringing challenges to her, she explains why humor is not about being silly or unprofessional. It is about paying attention, reading the room, and making people feel at ease.  Together, they explore how small moments of levity can build trust, improve client experience, and create a more approachable workplace culture. Jennifer also shares what comedy teaches about timing, observation, confidence, and finding the absurdity in everyday life.  A more human law firm does not always start with a new process or platform. Sometimes, it starts with the way you make people feel when they walk through the door.  Listen to our previous episodes on Law Firm Communication & Client Trust.   #609: Improve Client Satisfaction Without More Work: Designing Smarter Legal Services, with Laura Hartnett Apple | Spotify | LTN  #606: Breaking the Copycat Cycle: Building a Law Firm with Personality, with Patrick Patino Apple | Spotify | LTN  #592: Client Care, Culture and Character: A Framework for Great Leaders, with William O'Neal Apple | Spotify | LTN  #462: Designing an Empathetic Client Experience, with Kirk Simoneau Apple | Spotify | LTN  #338: Reframing Your Client Experience, with Spencer Keys Apple | Spotify | LTN    Have thoughts about today's episode? Join the conversation on LinkedIn, Facebook, and Instagram!  If today's podcast resonates with you and you haven't read The Small Firm Roadmap Revisited yet, get the first chapter right now for free! Looking for help beyond the book? See if our coaching community is right for you.   Access more resources from Lawyerist at lawyerist.com.   Chapters / Timestamps  00:00 – Introduction  00:20 – Humor as a Serious Communication Skill  00:45 – What Makes LabCon Different  02:05 – Working on the Business, Not Just in It  04:03 – Meet Jennifer Cargo  05:17 – How Comedy School Changed Jennifer's Perspective  06:29 – Practicing Confidence Before the Stage  07:22 – Standup, Improv, and Learning to Be Funny  08:42 – Observing the Absurdity Around You  09:05 – Turning Office Friction into Client Connection  10:44 – Humor and the Client Experience  12:06 – Finding Levity Without Dismissing Stress  14:43 – Why Smiling Changes the Interaction  15:29 – Timing, Pauses, and the Structure of a Joke  18:56 – What Law Firms Can Learn from Comedy  20:27 – Building Trust Through Approachable Leadership  22:45 – AI, Comedy Writing, and Creative Prompts  24:51 – Using AI as a Thought Partner  25:17 – The Value of Trying Something New 

From the archive: This episode was originally recorded and published in 2022. Our interviews on Entrepreneurs On Fire are meant to be evergreen, and we do our best to confirm that all offers and URL's in these archive episodes are still relevant. Steffen Schebesta is the CEO North America at Sendinblue. He is passionate about business and technology and always open to new ideas, discussions and contacts. Top 3 Value Bombs 1. Success comes from the work you put in and the obstacles you overcome. 2. Hiring is essential, the heart of a company is its people. 3. People are everything, hire the best and focus on the right fit. Turn Every Email, SMS, Order, and Interaction into a Lifetime Customer - SendinBlue Sponsors HighLevel - The ultimate all-in-one platform for entrepreneurs, marketers, coaches, and agencies. Learn more at HighLevelFire.com. Nexus Install - Have a high-ticket offer? Nexus Install builds you a custom LinkedIn prospect booking system designed to generate more quality sales calls. Email JLD at John@EOFire.com to learn more.

Bring Something To EVERY Environment and Interaction To Unlock A Cheat Code

In Episode 211 of the Equipping ELLs podcast, Beth Vaucher brings the entire ELL Success Cycle together — WHO, WHAT, HOW, and WHEN — and shows listeners exactly what it looks and feels like when all four pieces are working in the same classroom at the same time. This is the synthesis episode that makes everything from the previous nine episodes click into place.Beth opens by reframing the title directly. A classroom that runs itself does not mean a classroom without problems or hard days. It means a classroom where the teacher is not the only thing holding everything together — where there is a framework underneath every decision, where students know what to expect, and where the teacher's knowledge is so grounded and current that planning feels purposeful rather than desperate.Walking through each framework piece, Beth paints a vivid, practical picture of what each element looks like when it is functioning. In a classroom with a strong WHO, the teacher knows every student's language stage not from a test score but from daily observation — and when a new student arrives, she does not panic. She starts observing immediately, using resources she already has, because she knows the first steps a newcomer needs. When a homeroom teacher asks why a student is not participating, she has a specific, research-backed, confident answer ready. The WHO means never planning in the dark.The WHAT in a classroom that runs itself means the teacher has stopped waiting for anyone else to tell her what to teach. She is not waiting for ACCESS scores, not waiting for the next curriculum adoption. She observes every day, translates those observations into instructional decisions, and starts her planning from her students — not from a textbook page or a random worksheet. Her lessons have a clarity and a purpose that students can feel, because each one builds on the last.The HOW in a classroom that runs itself is intentional and evolving. Scaffolds are not static habits — they are responsive decisions. Sentence frames push complexity instead of just filling a need. Modeling is consistent. Interaction is structured and expected because the classroom is safe. And the teacher's role extends beyond her own classroom — she is the expert in the building, equipping homeroom teachers with the knowledge and tools to shelter instruction for every ELL student even when she is not in the room.The WHEN closes the cycle. In a classroom that runs itself the teacher is never lost between test cycles. She observes, reflects, and decides consistently — using rubrics and quick assessments with confidence. Each lesson builds on the last. Students feel momentum. And the teacher's instructional decisions compound over time into real, visible language growth.Beth then invites listeners into a specific moment — 7:45 on a Tuesday morning, walking into a classroom where you know your students, your scaffolds are intentional, your objectives are posted, and you are not in survival mode. You are ready. That feeling, she says, is what is possible. And it is not magic — it is a learnable, buildable framework.The episode closes with a direct and heartfelt membership invitation, a special podcast listener discount code (TAKE20OFF for 20% off the Tier 3 yearly price), information about the school partnerships program, and a free quiz to help teachers identify which part of the framework to focus on first — available by DMing the word QUIZ to @EquippingELLs on Instagram.MEMBERSHIP: equippingells.com or DM MEMBERSHIP to @EquippingELLsDISCOUNT CODE: TAKE20OFF — 20% off Tier 3 yearly priceFREE QUIZ: DM QUIZ to @EquippingELLs on InstagramSCHOOL PARTNERSHIPS: equippingells.com/school-partnershipsQuestions: hello@equippingells.com

**Jeep Talk Show: Anthony Dreyer - "Moonchild" | AC-130 Avaiator, Combat Missions, PTSD & Recovery** In this powerful episode, we sit down with Anthony Dreyer — former U.S. Air Force Special Missions Aviator and **AC-130 Gunship Avaitor ** with over a decade in special operations aviation. Anthony flew high-risk missions around the globe as a gunner on the legendary Spectre and Spooky gunships, earning multiple accolades including the Air Force's Jolly Green Rescue Mission of the Year in 2018. From growing up in the Appalachian Mountains of Sylva, North Carolina, to orbiting battlefields at night delivering devastating close air support, Anthony shares his raw and honest story of service, trauma, addiction, and ultimate recovery. **Topics Covered:** - Life as an AC-130 Avaitor– malfunctions, miniguns, 105mm howitzer, and combat operations - Combat search & rescue missions (including the intense June 8, 2018 mission) - PTSD, prolonged exposure therapy, and choosing better over bitter - The brotherhood of special operations and the real cost of service - Writing his memoir "Moonchild" – turning pain into purpose - Military humor, call signs, and why freedom isn't free Anthony's memoir **Moonchild** is a gripping, emotional look at war, family, loss, and healing — must-read for veterans, first responders, and anyone wanting to understand the invisible battles many service members face. **Grab the book here:** - Amazon → https://amzn.to/4gxVK8O - Barnes & Noble and major retailers **Connect with Anthony:** - Instagram: @marco_brolo21 - Facebook: Moonchild - Signed copies: anthonyp.direcjmo.com If you're a veteran or struggling, remember: It's okay not to be okay — but it's not okay to do nothing about it. Reach out and get help. Thanks for watching Jeep Talk Show! Drop a comment below — what part of Anthony's story hit you the hardest?