Podcasts about locomotives

The N.C. Transportation Museum, Trains Magazine, White River Productions, Scale Trains, Virtual Railfan, and Jack & Audrey Harris are excited to present the America 250 Locomotive Celebration August 28-30 at the N.C. Transportation Museum in Spencer, NC!! And we here at the AML Nation are excited to present our very own Marcus Neubacher (the AML's most eligible bachelor) with a complete run-down of the upcoming events.   Experience a once-in-a-generation railroading event as the North Carolina Transportation Museum hosts the first and only gathering of commemorative locomotives from Class One, short lines, and passenger railroads, all specially painted to celebrate America's semi- quincentennial. Set against the iconic Bob Julian Roundhouse, this extraordinary display of red, white, and blue locomotives is expected to create one of the most memorable railroad photography opportunities of the America 250 celebration.

A poem about a map opens North and South, the first collection of the great twentieth century poet Elizabeth Bishop, and since, maps have been associated with her poetic vision—at once telescoping and binocular—and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also hand-held, man-made, intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative, and personal. For several episodes, Wes & Erin will be reading a selection of some of Bishop's most anthologized poems, starting with “The Moose” as expressions of, among other things, her map-like imagination. Upcoming Episodes: Nolan’s adaptation of “The Odyssey”; more Elizabeth Bishop poetry: “First Death in Nova Scotia,” “One Art.” Pre-order Erin’s forthcoming book “Avail” here: http://subtextpodcast.com/avail For bonus content, become a paid subscriber at Patreon or directly on the Apple Podcasts app. Patreon subscribers also get early access to ad-free regular episodes. This podcast is part of the Airwave Media podcast network. Visit AirwaveMedia.com to listen and subscribe to other Airwave shows like Good Job, Brain and Big Picture Science. Email advertising@airwavemedia.com to enquire about advertising on the podcast. Follow: Twitter | Facebook | Website Transcript 0:11 Erin: A poem about a map opens north and south, the first collection of the great 20th century poet Elizabeth Bishop. And since maps have been associated with her poetic vision, at once telescoping and binocular, and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also handheld, man made intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative and personal. Over the next few episodes, we'll be reading a selection of some of Bishop's most anthologized poems, starting with the moose as expressions of, among other things, her map, like imagination. This is Erin O'Luanaigh. And this is Wes Alwan, and you're listening to Subtext. Wes, have you ever seen a moose in the wild? 1:12 Wes: I have not, but I have seen Instagram videos of them and people getting too close, and I've heard that they actually are quite dangerous. 1:23 Erin: Oh, perfectly harmless. 1:24 Wes: As cute as they look. So not safe as houses. Which is a very surprising line, unless you think that houses maybe aren't as safe as they seem or ought to be. But that's something we'll talk about later. How about you? 1:38 Erin: I have not. And I actually, it's become a running joke among certain friends of mine that I haven't seen a moose because I long to see a moose in the wild. This is my dearest wish. 1:52 Wes: Is that the first time anyone said that in history? I long to see. 1:56 Erin: I don't know. 1:57 Wes: It's a good first line for a poem, actually. Why do you long. Long to see a moose in the wild? 2:03 Erin: Really? Maybe because of the poem. I don't know. I just really want to, but I. Maybe this will become significant without getting too personal or maybe with getting too personal. With apologies to the listeners. Ten years ago now, when my grandfather passed that summer, my grandmother wanted to go up to Maine and revisit certain places that she had been with him. And we ended up going to Acadia. And I was so excited to see. Am just. I got it into my head that I had to go to Acadia and see a moose. And I even bought a sweatshirt. I'm not wearing it right now. I looked down to see if I was wearing it. It's the same size and shape as this one. This is a Yankees, 1996 World Series sweatshirt. 2:42 Wes: It's not a Rocky and Bullwinkle sweatshirt, is it? 2:45 Erin: No, no, no. It's an acadia and it has a. It has a mousse on it. And so I bought it the first day that I was there and I was like, this is my sweatshirt and it has a moose on it. And I'm gonna. I'm gonna see a moose. And I did not see a moose. And then I. I bought a moose sweatshirt in, I think Grand Teton, and I was like, I'm gonna see a moose. And I did not see a moose. And then I lived obviously many years in Utah, and things would happen. Everybody knew I wanted to see a moose. And I would go to these trails where you could see moose. And I would like be going up a trail and someone would be coming down saying, there are moose up there. We just saw a moose. You just saw baby moose. I'd get all upsided and I would. I would run up and it was gone and people would taunt me. 3:32 Wes: So you don't want to see like a magic white heart or something like that? 3:38 Erin: No, no, I just want to see him. Even the garden variety moose? No, no. Just a humble moose will hide itself from me when. When it knows that I am after it. 3:49 Wes: Because they are a goofy, right? Are they majestic? Are they goofy looking? Are they both? 3:55 Erin: I think they're both. And I think that kind of qual quality is really well captured in the poem. No, I mean that quality of if not being then looking safe as houses or being a gargantuan size, and yet having. I know this is a female moose, which I believe is called a cow, as opposed to a bull. Right. But the bulls, even their horns have that hand like quality to them. You know, it looks kind of like an outstretched hand. 4:22 Wes: Interesting. 4:24 Erin: Yeah. They're not majestic. 4:25 Wes: Yeah, I think that's important to the poem. It's not some obviously majestic creature, although it is large and there is majesty in it in the poem, but it's not the typical majesty that you can just get from, oh, look at this beautiful animal. 4:41 Erin: Yeah. And this is kind of why I brought up my grandfather. There was some connection for me as I think there is something quite personal going on with the moose at the end, other than the shared experience of everybody in the bus, all of that. Like there's something bigger than us, more than us, and yet familiar in a way. And it's magical in a sense, because to see it is kind of a rare thing. Yet it also comes out of the landscape that she's that she's grown up in and that she's part of. I think there's a. Yeah. A lot of interesting dualities going on. 5:17 Wes: Okay. So maybe you can read the whole thing and then you could give a little bit. Or we could give a little bit of the biographical background because this is a bus trip she actually took. Right. 5:26 Erin: Yeah. 5:27 Wes: The significance of Nova Scotia, which is where she's departing from in the poem and all of that stuff. But. Yeah. Do you want to start by reading? 5:35 Erin: Sure. The moose from narrow provinces of fish and bread and tea, home of the long tides, where the bay leaves the sea twice a day and takes the herrings long rides where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home, where silted red sometimes the sun sets facing a red sea and others veins the flats. Lavender rich mud and burning rivulets. On red gravelly roads, down rows of sugar maples, past clapboard farmhouses and neat clapboard churches, bleached ridged as clam shells, past twin silver birches through late afternoon a bus journeys west, the windshield flashing pink, pink glancing off of metal, brushing the dented flank of blue beat up enamel, down hollows, uprises and waits patient, while a lone traveler gives kisses and embraces to seven relatives and the collie supervises goodbye to the elms, to the farm, to the dog. The bus starts. The light grows richer. The fog shifting, salty, thin, comes closing in. Its cold round crystals form and slide and settle in the white hen's feathers in gray glazed cabbages on the cabbage roses and lupins like apostles. The sweet peas cling to their wet white string on the whitewashed fences. Bumblebees creep inside the foxgloves and evening commences. One stop at Bass river, then the economies, lower middle, upper five islands. Five houses where a woman shakes a tablecloth out after supper. A pale flickering gone the Tantramar marshes and the smell of salt hay. An iron bridge trembles and a loose plank rattles but doesn't give way. On the left a red light swims through the dark. A ship's port lantern. Two rubber boots show illuminated, solemn. A dog gives one bark. A woman climbs in with two market bags. Brisk, freckled, elderly. A grand night. Yes, sir. All the way to Boston. She regards us amicably. Moonlight as we enter the New Brunswick woods. Hairy, scratchy, splintery moonlight and mist caught in them like lamb's wool. On bushes in a pasture the passengers lie back, snores some long sighs. A dreamy divagation begins in the night, a gentle auditory slow hallucination in the creakings and noises, an old conversation not concerning us but recognizable somewhere back in the bus, grandparents, voices uninterruptedly talking in eternity, names being mentioned. Things cleared up finally. What he said, what she said, who got pensioned. Deaths, deaths and sicknesses. The year he remarried, the year something happened, she died in childbirth. That was the son lost when the schooner foundered. He took to drink. Yes, she went to the bad when Amos began to pray, even in the store and finally the family had to put him away. Yes, that peculiar affirmative. Yes, a sharp indrawn breath, half grown, half acceptance. That means life's like that, we know it. Also death talking the way they talked in the old featherbed, peacefully on and on, dim lamplight in the hall, down in the kitchen, the dog tucked in her shawl. Now it's all right now, even to fall asleep, just as on all those nights. Suddenly the bus driver stops with a jolt, turns off his lights. A moose has come out of the impenetrable wood and stands there, looms rather in the middle of the road. It approaches, it sniffs at the bus's hot hood, towering antlerless, high as a church, homely as a house or safe as houses, a man's voice assures us, perfectly harmless. Some of the passengers exclaim in whispers, childishly, softly, sure are big creatures. It's awful plain. Look, it's a she. Taking her time. She looks the bus over, grand, otherworldly. Why. Why do we feel. We all feel the sweet sensation of joy? Curious creatures, says our quiet driver, rolling his Rs. Look at that, would you? Then he shifts gears for a moment longer by craning backward. The moose can be seen on the moonlit McAdam. Then there's a dim smell of moose, an acrid smell of gasoline. 11:05 Wes: Thank you. Very nice. It's really great to hear it spoken out loud. Spoken is the wrong word. It's the word read, performed. Do you want to say anything about the form of the poem before I ask you about some of the autobiographical background? 11:22 Erin: Yeah. Short lines, six line stanzas, 20, I believe. 28 stanzas in all. Irregularly rhymed, should we say? Kind of like a lot of bishop, you know, we get A, B, C. Then sometimes not rhymed where you might expect. So the rhymes peek their heads out and then. And then recede. Chatty a little bit in places, lots of repetitions of words. But that. That's something we could talk about More. But, yeah, kind of. Kind of mysterious form. One of the best things I've ever heard or read, I guess, about Bishop was by Michael Hoffman, who wrote quite a bit about her. And he said that it seems as though every time Bishop is writing, whether in form or in a kind of nonce form that she's creating, that she seems to be just inventing every form, like from scratch. You know, there's no blueprint. She doesn't have a familiar style in which she writes or particular kind of verse form that she seems to gravitate to. And when she writes, you know, a sistina or a villanelle or a sonnet or something like that, it seems like she's almost inventing the form as she goes along. And in this instance, there's a real. I keep wanting to say homemade after Crusoe in England. But, yeah, I think that's maybe what he was trying to get at, that homemade quality, that sort of bespoke kind of quality. And in the places where the rhyme goes in and out, I think that's really exemplified. 12:53 Wes: Well, it better be bespoke. She took forever to write it. 12:55 Erin: Yeah, that's right. She started this in, I think, 1946. 13:01 Wes: And then she finished it when this 13:04 Erin: was published in Geography 3. So she finished it in the 70s. 13:07 Wes: Okay. 13:08 Erin: Geography 3 came out in 1977. And this must have been published before then, individually, perhaps in the New Yorker, I think. Oh, geography three is 76. I would say maybe 72 is the date that comes to mind. Don't quote me on that. 13:24 Wes: Do we know why it took her so long? Obviously, she put it down for a couple days here and there. 13:29 Erin: It was the July 15th issue, 1972. So close to the day that we're recording. Why did it take her so long? She just worked on things forever and ever and ever. You see it, if you read. I highly recommend to listeners that they Get Words in Air. A very, very thick book of all the letters between Bishop and her friend Robert Lowell. You see her bringing up things or even mentioning in a description that she's writing to Lowell in a letter, a line that will later show up in a poem. Yeah. Low rate of productivity is great to. 14:08 Wes: You know, I can relate to that. 14:11 Erin: I take it as my model, honestly. Like, you know, live. Live Large and die with a slim Collected is kind of a. 14:19 Wes: Kind of a great Monroe Doctrine. But call it. What's another name? Bishpro. 14:28 Erin: That's right. 14:29 Wes: Is it right that she was forced to complete it because she agreed to read it this is something for deadlines. Right. At Harvard's Phi Beta Kappa ceremony. 14:38 Erin: I didn't know that. I know she read it at that ceremony, but I didn't know that that's what. The impetus for completing it. But that doesn't surprise me. 14:45 Wes: Yeah. So deadlines help every once in a while. 14:47 Erin: Absolutely, absolutely. 14:49 Wes: And then biographically. Right. This is based on a trip that she actually took, and she. She'd been to visit relatives in Nova Scotia and then came back on this bus trip. And the. There really was a moose. There really was a collie. Seven relatives for the rest of it. Yeah, yeah. Seven else. 15:11 Erin: Yeah, yeah. The specificity and all of it's. You know, there is a kind of like a photo realism, not just in the style, but in the. You know, we could sort of be certain that these things happened the way that she is recording them somehow, and yet she's spinning it into something more than just reportage. 15:30 Wes: So she was raised partly by her grandparents in Great Village, Nova Scotia. Right. Her. Her father had died in infancy and her mother was institutionalized. 15:41 Erin: That's right, yeah. 15:41 Wes: She aged at. When she was 5. 15:43 Erin: That's right. 15:44 Wes: So it's important just because. Yeah. The bus is leaving Nova Scotia, but go. Go ahead. 15:48 Erin: Yeah, it is important. She was born in 1911 in Worcester, Massachusetts, and she's buried there. I've seen her grave up there. It has a line or two lines from the bite on her tombstone. All the untidy activity continues. Awful but cheerful. Yeah. So she was born in 1911. Her father died, I think, of Bright's disease when she was 8 months old. And then her mother was institutionalized when she was 5, and she never saw her again. She didn't die until the 30s, I think, while Bishop was at Vassar. 16:23 Wes: Do we know what she was institutionalized for? Mental illness in general? 16:28 Erin: Yes. I don't know exactly what. In a short story of Bishop's, she describes as her. A scream coming from her mother. And whatever was wrong was exacerbated by her husband's death. And so then Elizabeth was left to be raised by her grandparents in Nova Scotia who were quite poor. And I guess she was kind of running around barefoot on the farm and stuff like that. And her father's family were very wealthy, and so when they came up to visit Elizabeth, they were, I guess, horrified by the fact that she was just like, you know, running around, hanging out with farm animals. And they took her to. Back with him to Worcester, and she was very unhappy there. Very ill child. She had asthma and eczema. And really, like, I think almost died of both at one time or other, very unhappy. And then eventually she moved to an aunt's house in, I want to say, in Revere, Massachusetts, and she was a little happier there. And then she went to Vassar, and I've been to the Vassar campus to see various buildings associated with Bishop and also to see. They did a really fabulous exhibition of her postcards at the Vassar Library a couple of years ago, which I really loved, seeing her hand and her little. In jokes and asides and really amazing to see. Anyway, at Vassar, the librarian there set up a meeting between Bishop and Marianne Moore, who became a mentor to her. They were very close. And then also over the course of her life, she was very close with and had an important friendship with Lowell. Hence the enormous book of letters. I have it here. It's so heavy I could barely pick it up. But this is a great book. It's kind of like an epistolary novel. Yeah. And she was. I think it's important to say, too, that she was a lesbian who had a very long relationship with a Brazilian architect named Lota de Mecedo Soares, who was her partner in Brazil for 15 years. She lived down there, known for travel. A lot of her collections, whether it's Geography three, which is the most obvious one, or north and south, have. There are a lot of Brazilian pumps. There are a lot of geographical poems. The first poem in her first collection, north and south, was the Map, which is often read as a kind of ars poetica. She's known for these types of, you know, sweeping landscapes that the moose begins with, and an interest in landscape and in this kind of bird's eye view. But then also you get these telescoping details, like a cinematic close up interspersed. Much is made of that in Bishop, of that kind of vision of hers, and specifically of, I don't know, the idea that she creates these. These beautiful miniatures, which is true, but maybe sometimes can be a little. I mean, she's revered, as she should be, and she's one of the most popular poets and she also has a great ear and she has so many other great things going on. So I don't want to exclusively focus on that kind of visual element, though it's there and it's very rich. 19:43 Wes: So from narrow provinces of fish and bread and tea. That's a very good opener. Why are they narrow provinces? And what is the. What are the fish and bread and tea doing? Fish and bread sounds vaguely like it could be a biblical reference, but maybe it's not. But you add tea. Right. There's something mundane here and perhaps restricted, provincial. And that's what she's going to be departing from. I mean, well, begins with the tides, but. 20:12 Erin: Yeah, right. Yeah, that's right. Narrow in a few kinds of ways. Because there's a strange. Because of the Bay of Fundy, there's almost that like U shaped corridor of land around it. So Nova Scotia is kind of narrow. And then up into. Then there's the narrow isthmus. I don't know, I don't know if I'm using that word correctly. Up into New Brunswick. Yeah, so there's something maybe a little, I don't want to say spiritually narrow, maybe somewhat limited or like practical. Practical and, you know, just the necessities and a place we learn that that is. That maybe has to be stalwart in response to the vagaries of the water around it. The Bay of Fundy, I was reading online, the tide, over the course of just one tide, can rise and fall 50ft because the bay is like a giant funnel. When it goes out, it just leaves this vast, open, muddy plain basically behind it. 21:16 Wes: She portrays this very beautifully. We get the image of the tide retreating and then the flats that are being illuminated by the setting sun as burning rivulets. And then there's almost a transition into the bus ride when she says on red gravelly roads, eventually the subject of that is going to be the bus. Although in the beginning, before we get to the bus, it looks like the rivulets have almost become roads. So you almost get the sense like the tides come in and it's going to go further inward, it's going to go all the way to Boston, but it's going to become the inhabitants of the bus who are much like the herrings. Right. In the first stanza. The herrings on the tides take herrings on long rides. So it's almost as if as the tide comes in, she is caught in the tide and brought along with it towards her destination. 22:08 Erin: That's right, yeah. And the bay itself, the water itself is also like a traveler, you know, you might go to visit it and find it's not at home, it's gone out for on a trip or something. So there's also that connection as well. Whereas the roads are part of this more solid and dependable and the water being fickle and not always depended on to be there. 22:31 Wes: Well, I was going to say there's something very poignant about the way she describes the tides and whether they're in or out. And I can't put my finger on it exactly. It's almost. It's this idea of. Right. Where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home. If the tide is in or coming in the river clashes with it in a wall of brown foam. Is that the idea now? And what's the image there? Is it always a wall of brown foam? Well, either way, I just. Something about this idea of. It depends on whether the bay is at home or something like that. It's a poignant image. 23:12 Erin: It is. It's that sense of just. Of disappointment or just missing someone, like a missed opportunity. Seems kind of surprisingly emotionally resonant, considering that she's talking about a tide. 23:25 Wes: And we. You know, it introduces the idea of home and. Which I think will be significant. And later on we'll talk about whether the moose is safe as houses and the reflections of the elderly and all that stuff. But. 23:40 Erin: And boundaries, too, right. You have very slippery boundary between the bay and the. And the sea, between the rivers and the bay that feeds them. And I think that boundary very much plays into the idea of home. And you could say that the bus seems to be a part of that too. Right. Like the bus becomes the home. So there's a little bit of the slippery idea of this transposition of home life into the bus, or the people on the bus all becoming the. We like a family within it. The way that it can literally cross national boundaries. It's going to Boston across the border. 24:18 Wes: Yeah. And then they'll be observing provincial life, I guess, from within the bus. And. And, you know, a woman shaking out an apron, for instance, or home life. But, yeah, I had the same thought to you. The bus. The interior of the bus becomes its own kind of mobile home, I guess. I guess the wall brown foam part. There's that push and pull, or it's a matter of who's doing the pushing. Right. In one case, the brown foam. The wall of brown foam is caused as. As the river pushes on the retreating tide. And the other case, it's the tide pushing back against the river as it comes in. But in either case, there's a clash there. 24:58 Erin: Then there are places, though, where there's blurring of boundaries. Like one of my favorite lines in the whole poem, the idea of the churches as ridged as clamshells. She always takes that. This is much remarked upon among scholars of Bishop. Where you get the thing that's. That's really big, suddenly reduced in size to the handheld, but coming out of the same idiom. You know, both the clamshell and this clapboard church are in a way equally native to Nova Scotia. The brilliance of connecting those two things and fishing being an industry in the area, you know, sort of springing out of the fishing industry. 25:42 Wes: Yeah. And shells are what's left as the tide retreats. Right. As it's as if the houses are just the natural residue of a retreating tide. 25:52 Erin: That's great. 25:52 Wes: From the beginning of the poem, there's a sense of momentum, and almost like you, at least in my case, I felt like I'm on a camera moving over the landscape, and it starts with the tide, and then it moves to the burning rivulets. Right. So now we're hovering over. I don't know what you would call it, a. A tidal plane. Anyway, she calls it the flats. Right. So all the silt, and we're moving along there, and then suddenly we're on a gravelly road. So the sun takes over from the sea. The redness of the sun. And then the bus takes over from the sun. But that's the momentum of the poem is from sea to sun to bus. 26:37 Erin: Yeah. The bus flashes pink. We get lots of pairs of the same word, creating a kind of chime with each other. So we get the windshield flashing pink. Pink glancing off of metal. And we wonder, I suppose, because part of the reason why the roads are red is because of the clay content. Right. Of the road itself. So we get that combination of, like, something red in the road or in the composition of the soil and rock of the area. 27:07 Wes: Laterite, I think, which I only know because of Graham Green, who I've been reading. Oh, and what heart of the matter. He's talking about laterite houses, like. So from the red clay, you can make, you know, homes from as well, and common in Sierra Leone. So he used the word like a hundred times before he finally looked it up. All right. There must be something that's going to not know what he's talking about. I'm like, oh, okay, now I get it. Yeah. 27:41 Erin: So that's the mineral, the. 27:44 Wes: It's reddish. Yeah. Reddish clay type of soil, topsoil or something like that. I should know more about this because I used to write about this, too, when I was writing about transportation and engineering. 27:56 Erin: Right. 27:57 Wes: It's important what kind of soil you're building on. But anyway, I remember nothing about that. But, yeah. So it could be the right word. Who knows? But. But, yeah. So you're getting at the. Yeah. The way the redness of the sun is interacting with the. 28:12 Erin: Yes, it's coming. 28:13 Wes: The redness of the soil. 28:14 Erin: Yeah. And that kind of redness coming from below and above to glint off of the bus. The windshield is flashing pink from the sun and the metal is flashing pink from the road. They're both brushing the dented flank of the blue beat up enamel from one direction or the other, it seems. Yeah. Sort of tunnel of red in which the. In which the bus is traveling. 28:41 Wes: Such a vivid image that she gives us. It made me think, you know, sometimes it's almost better than film. It's more vibrant or more. Don't know how to say it, but I was thinking about this because in some of the philosophy podcasts we do, there are philosophers who deny that we have imagery in our head. Exactly. Or we can never. Which seems true. Right. We can't imagine anything with the vividness that we would have if we actually saw it. But it makes me think when I read a poem like this, but also. And also reading some of the novels I've been reading. Well, there's a special kind of vividness to figurative language that perception can't capture. In some ways it's more. More vivid, definitely. 29:26 Erin: I think the sonic quality of the word, the repeated. Right. It's on the one hand a repeated image, but then it also creates that kind of just the soundscape, makes them feel somehow more synesthetic to say, but somehow more picturable or more tangible or more. I don't know, the pink glancing off metal, the dented flank beat up enamel. You know, there's just. It's like. I think that's contributing to it, to the vividness of the image. And yeah, you talked about momentum, too. I mean, this entire. This whole first sentence is six stanzas long. It ends with. And Akali supervises. So there's also that kind of. Yeah. Locomotive propulsion of the camera work, so to speak, Zooming in and then following the road into the bus. And then the bus arrives to sort of catch again, quite cinematically the scene that's actually happening or the place where the eye, if there is an eye in the poem, actually is the lone traveler embracing these relatives with the collie watching on. So there's a sense in which the I eye of the poem doesn't actually catch up with the speaker until stanza six and the end of this first sentence until we get goodbye to the elms, to the farm, to the dogs. So there's kind of lamination at that moment of the I eye and the capital I. 30:49 Wes: We seem to be gradually getting more of a point of view. Right. It's very omniscient in the beginning, hovering over the landscape. And I think gradually we're going to be getting a her point of view in the bus and then a we. But also just to note, this is one. I think this is the first of three pauses. Right. There's gonna. It's gonna pause here, the bus. The momentum is gonna stop as the bus lets on the lone traveler, which I presume is her. Right. Her saying goodbye. And then there'll be a pause when the amicable freckled woman gets on. She's there because we need everything to be in threes. And then we. Then we're gonna pause for the moose in the very end. I didn't miss anything. Right. There's not other places where we stop? 31:32 Erin: No. I mean, there are, of course, stanzas that end some more definitively than others and stopped with a period. There's a stop at Bass River. Right. So there is a little bit of that kind of start. Stop syntactically. But I think you're right that those are the stops where there's content. 31:49 Wes: Content goes. 31:50 Erin: Yes. And where there's a very particular. Yeah, the content of the bus, except for the moose obviously doesn't get on the bus. But there's a stop that's motivated, let's say, rather than just being described as various stops along the way where we don't know who got on and who got off or whatever. Certainly there's also a movement toward that more personal experience of the speaker. But then there are also things that the speaker couldn't possibly know or you know, because once she's said goodbye to everyone and gets on the bus, then we also get the sort of nature show close ups. The crystals of fog, the lupins like apostles, the sweet peasants clinging. One of my favorite parts, clinging to their wet white string on the whitewashed fences. Again, we get two uses of white right next to each other. Bumblebees creeping in the foxgloves. All things you really can't see from certainly from a moving bus. 32:43 Wes: Yeah, the point of view gets focused very, very gradually, maybe through the whole palm. Maybe it's not fully focused until the very end, but. Yeah. So you're pointing out something important which is at the sort of omniscient point of view is still here in these very. What do you call it when you take a close up with your phone? Macro, ironically. Yeah. These very close up pictures of flora and fauna and very Beautiful. 33:12 Erin: Yeah. They compound and then they get more and more loaded and mysterious. And just when we're about to maybe go over the edge, we get recalled back a little bit. That's at least how I'm reading, for instance, stanza 12, about the ship's port lantern and the boot and the bark of the dog. And then suddenly a woman climbs on the bus. And so we're sort of stopped from going off into some sort of train of thought that you could follow there down a rabbit hole. But I love that stanza on red light swimming through the dark. It reminds me of the last stanza of disillusionment, of 10 o'. Clock. Do you know the old sailor, drunk and asleep in his boots, catches tigers in red weather? I think that's how it goes, the Stevens bomb, because we get the boots and the red light in the ship, so they're probably. No. No real connection there. 34:07 Wes: So all of these little intricate descriptions that she's giving, right. It begins with the light growing richer, which I take it mean, means we're approaching dusk and evening, or we're in dusk and it's evening is approaching and a kind of mini winter, Right. Something. It's a diurnal cycle, but there's a bit of a parallel to something seasonal. Right. So we get crystals forming and the images like sweet peas clinging and the bumblebees inside foxgloves. As evening commences, it's almost like. I don't know if this is true, but it's almost as if we're getting the response of the animals and flora and fauna to the commencement of evening. That's our first indication of it. So I was surprised to see, okay, it's still light out enough for us to see a woman shaking a tablecloth out after supper. And that is beautifully described as a pale flickering. Right. Almost as if that's something like the light reflecting off the enamel bus, or not pink anymore, but just a flickering of pale light and then gone, I suppose. Does that mean that we're now without light? Is that sort of the way nighttime is ushered in by the end of the next stanza? And it's in the next stanza that we see a red light in the dark. Now we have a ship in the dark. So it's almost as if. Yeah, the shaking of the tablecloth is like a magician. Abracadabra. Now it's nighttime, Right? 35:39 Erin: Yeah. I love that. Yeah. You're making me realize how many connections there are to Keats in this poem. Right. There's something Keatsian about it, very. To Autumn, you get the sweet peas clinging on the fence. You get that image of fecundity things on top of other things. You know, the mossed cottage trees and the late flowers for the bees. And then the shaking out of the tablecloth is like the hair lifted by the winnowing wind. Right. Because there's. There's wind, there are flowers and bees. And then there's also, of course, redness and that image of, you know, like the evening. Autumn. Evening redness. And maybe this is. Yeah. Rows of sugar maples. Those could be red as well. If we're in an autumnal landscape, can't be too late because everything is, you know, it's got to be like August, maybe because we have this. Or. No, I guess maybe not. Gray glazed cabbages. I don't know enough about cabbages to know at what point in their development. 36:40 Wes: Yeah. Whatever season it is. I just think that the evening is almost like a mini winter. It gets colder and we see the. 36:46 Erin: Definitely. 36:47 Wes: We see the effects of it. But, yeah, maybe autumn is probably the logical season for. 36:53 Erin: Right. Yeah. And that point. Or that point in the transition from summer to autumn where, I mean, even on a summer night in Nova Scotia, the evening temperature is quite autumnal regardless. And so when the woman climbs on with the market bags, we get. 37:09 Wes: Shall we take a. Shall we? 37:12 Erin: Oh, yes. 37:13 Wes: Let's let the freckled amicable woman on in part two. 37:17 Erin: She'll have to wait. 37:18 Wes: Let's not let her on the bus yet. 37:20 Erin: You have to wait for everyone else to get off before you can get on. It's one of the cardinal rules of public transportation. Okay, we will continue in part two. Thank you. 37:29 Wes: Thank you.

Nel nuovo episodio di Grandi Giardini Italiani Podcast - La voce dei protagonisti vi portiamo in un viaggio nel tempo, in un luogo dove il mito antico incontra la nascita della modernità italiana. Vi raccontiamo la straordinaria storia del Museo Nazionale Ferroviario di Pietrarsa, e lo facciamo attraverso un legame familiare speciale: quello che unisce l'attuale direttore, Oreste Orvitti, a questa proprietà che prima ancora di essere un museo... era la sua “casa”.Tutto inizia con una leggenda: quella della bellissima ninfa Leucopetra, trasformata in una pietra bianca per sfuggire a due pretendenti furiosi, Vesevo e Sebeto. Ma è nel 1631 che il mito si fa drammatica realtà: la lava del Vesuvio raggiunge la costa, arde quella pietra e battezza per sempre questo luogo come Pietrarsa.Qui, nel 1840, Re Ferdinando II di Borbone fondò il Reale Opificio Meccanico, Pirotecnico e per le Locomotive, proprio a fianco della storica linea Napoli-Portici, la prima linea ferrovia d'Italia. Pietrarsa diventa così il primo vero nucleo industriale del Paese, anticipando di decenni colossi come Breda e Fiat.Dai fasti dell'epoca a vapore fino al declino degli anni '70, questo luogo ha rischiato l'abbandono, per poi rinascere nel 1989 come Museo. Una svolta decisiva arriva nel 2013 con la nascita della Fondazione FS Italiane e la nomina a direttore generale di Luigi Cantamessa: grazie alla sua visione, prende il via un imponente progetto di riqualificazione del Museo affidato alla guida di Oreste Orvitti. Oggi, tra restauri magistrali e tecnologie interattive, Pietrarsa è uno dei musei ferroviari più importanti d'Europa. Un vero gioiello in cui i padiglioni ottocenteschi dialogano con la bellezza del Giardino del Mediterraneo e con una terrazza panoramica che regala una vista mozzafiato sul Golfo di Napoli.Mettetevi comodi: lasciatevi guidare dalla voce dei protagonisti alla scoperta di Pietrarsa.Buon ascolto.

"Black Swan" author Nassim Nicholas Taleb says "understanding how to act under conditions of incomplete information is the highest and most urgent human pursuit"    He might have been referring to B2B marketing. Think of it. Internal teams have internal data that give insight into customer accounts and lifetime value. Their agencies are close to different data: media auction signals, campaign trends. But both of them are data-poor, disadvantaged by limited access to each others' systems.  As long as we tolerate the status quo, both sides will keep making false assumptions and poor decisions that harm their relationship.  The same problem's existed in occupations and athletic pursuits, where having one person do it all brings the risk of making a wrong move. The solution is a two-person-team, where each compensates for the others' blindspot. One of the earliest examples comes from a young French acrobat in the mid 1800s who experimented with an aerial act he and a teammate performed over a pool. He was Jules Leotard, and yes, his name's become synonymous with the gymnast outfit he wore.  His most dangerous maneuver started up high on his trapeze, with a teammate who'd dangle by their legs as they swung from their trapeze. When they were at the apex of their swings, he'd vault off into the air, to be grabbed by his teammates' arms. Talk about trust!    There are many modern equivalents where people work in pairs: we have baseball pitchers and catchers exchange signals, synchronized swimming pairs vault each other out of the water. Airplanes are flown by captains and co-pilots, police and military cover for each other in tactical operations, or train Locomotives which are jointly operated by an Engineer and a Conductor.   Our guest strives for 360 degree views of data shared between his agency and clients. He has done B2B marketing  for startups and brands like Nokia and Alcatel-Lucent. In 2023 he founded Zinc Marketing, working for B2B technology companies.  Beyond this, he has been featured in ABC, BusinessWeek, as well as tech and healthcare publications. He is also co-host of the B2B Marketing Pint podcast, and his love of camera gear helped us still record when some of my equipment broke.  Head with me to a local pub to hear about trapeze performances done by agencies and clients, from Brendan Ziolo   Chapter Timestamps 00:00 Intro 02:08 Meet Brendan Ziolo 03:22 Agency vs In House Data 06:00 Beyond MQLs to Revenue 11:25 Funnel Alignment Fixes 12:42 Radical Transparency 16:48 Qualifying Clients Fast 19:22 Directional Targets and Scaling 24:30 AI Needs Humans 29:56 Quality Over Quantity 30:52 Email Autopsy and Wrap   Links to everything mentioned in the show are on the Funnel Reboot site's page for this episode.  

Écoutez l'essentiel du Midi du mercredi 29 juillet: Investissement majeur de deux milliards: «On va pouvoir assembler ces locomotives au Québec» - Steven Mackinnon; Échanges commerciaux Québec-États-Unis, «Au-delà des tarifs, on a une relation bénéfique pour les deux côtés» - Christopher Skeete; Engouement pour le solaire: comment éviter les arnaqueurs et charlatans; La solitude l’été et la dépression estivale. Voir https://www.cogecomedia.com/vie-privee pour notre politique de vie privée

Clue one was a gentle lob right over the plate. Clue two came in and completely rocked our confidence. Caden, Christian, and Chad dig into Bank of Utah's second clue for the "Where's the Wallet" Cash Quest, and things get weird fast — is it about locomotives, automotives, or just plain old motives? Is Box Elder County still in play, or did we all fall for the misdirection the clue literally warned us about?We revisit the Box Elder theory (sweet sap, unsettled territory, Promontory Point train ties), float a Weber County curveball, and yes, someone brings up Cache County purely because it lets us say "Cache my Cache Quest" out loud. Buckle up.Got a theory better than ours? Send it our way — happy to read it on the show, or keep you anonymous if you'd rather just quietly be smarter than us.Leave us a review! Every episode we pick a favorite and send that reviewer $25. Make us laugh, make us think, or just tell us we're wrong about Box Elder.In This Episode:Caden's 5-year-best solve streak gets a shoutout (thanks, dude)Six-legged vs. eight-legged, and Highway 8 vs. Highway 6"We're cashing up" — an instant classic, we don't make the rulesLocomotive → automotive → literal motive, a philosophical journeyBox Elder trees have sap you can tap, and now you know tooThe Cache County pitch that may or may not just be brand loyaltyA Utah trivia bonus round, because five words really can be "Under the Banner of Heaven"

Wallace Locomotive Works is a small manufacturer specializing in 3D-printed detail parts and accessories for model railroaders. Rather than producing complete locomotives or rolling stock, the company focuses on the small prototype details that help make modern locomotives and railroad scenes look more realistic. Chris Wallace is having way too much fun creating parts that represent modern railroad equipment that larger manufacturers often overlook.  He also produces replacement and upgrade parts for commercially available locomotives, with many of the parts designed for straightforward installation with a hobby knife and CA glue. Recently Chris has added paints, tools and other needs for the modeler making his online store a one-stop shop. Wallace Locomotive Works sells directly through its online store and also through several hobby dealers, including businesses such as White Rose Hobbies.

07/17/26: Joel Heitkamp is broadcasting from Studio South and is joined by his sister and former United States Senator, Heidi Heitkamp. (Joel Heitkamp is a talk show host on the Mighty 790 KFGO in Fargo-Moorhead. His award-winning program, “News & Views,” can be heard weekdays from 8 – 11 a.m. Follow Joel on X/Twitter @JoelKFGO.)See omnystudio.com/listener for privacy information.

Self-propelled rail transport engines... Get cozy and relax! This podcast is funded by advertising. Info and offers from our sponsors: https://linktr.ee/EinschlafenMitPodcast Here's the Wikipedia article (revised): https://en.wikipedia.org/wiki/Steam_locomotive Content was created or edited with the help of artificial intelligence. CC BY-SA 4.0 (https://creativecommons.org/licenses/by-sa/4.0/) Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:02:54 - Depuis des années Alain et quelques bénévoles travaillent à la préservation de l'ancien train à crémaillères du Revard et de la gare de Mouxy. Alain est venu finir la peinture de la locomotive. Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Parfois, la vie change tellement vite qu'on ne prend plus le temps de se demander ce que l'on veut vraiment pour la suite.Dans cet épisode, Élodie, Caroline et Soline parlent de ces moments où la sécurité ne suffit plus.Quitter un poste à responsabilités après des années de carrière.Créer un projet sans savoir exactement où il va nous mener.Ou traverser une période où tout semble aller bien autour de soi… mais où l'on ne se reconnaît plus vraiment.Entre peur financière, perte de repères, quête de sens et envie de construire quelque chose qui leur ressemble vraiment.Parce qu'au fond, il y a souvent une même question derrière tous ces changements :"Est-ce que je suis encore à ma place ?"Dans cet épisode, on parle :De reconversion et de grand saut dans l'inconnuD'ennui au travail et de quête de sensDe création d'entreprise et de premiers clientsDu rôle du couple et de l'entourage quand on change de vieDe confiance en soi et de passage à l'actionEt de cette envie de construire une vie qui nous ressemble vraiment//////////////////////////////////////////////////////////////////////////////////// 

Falecia Woods, Senior Graphic Designer for Metra, joins Lisa Dent to discuss last week’s unveiling of the new special locomotive she designed to help celebrate the 250th anniversary of the United States. She highlights her thought process behind creating the locomotive design, mentioning how she considers multiple aspects, such as how the train looks while […]

C'est une belle nuit d'été pour Luc Dion. Il est un peu plus d'une heure du matin, ce samedi 6 juillet 2013, lorsqu'il décide de sortir sur la terrasse du Musi-café, un lieu où l'on célèbre l'esprit de communauté pour les quelque 6 000 habitants de Lac-Mégantic, petite commune du Québec. Depuis la terrasse paisible où il vient s'allumer une cigarette, Luc, comme quelques autres clients, observe distraitement la voie ferrée qui passe à proximité. Ils sont venus profiter du silence. Pourtant, très vite, le fracas de la ferraille fait trembler le sol. Soudain apparaît un train lancé à pleine vitesse en direction du centre-ville de Lac-Mégantic. L'estomac de Luc se soulève. Il le sait, cette bête d'acier va beaucoup trop vite pour négocier le virage quelques mètres plus loin. « Il arrive bien trop vite! Il va dérailler! Il va dérailler ! » Ce n'est qu'une question de secondes avant que les roues des 72 wagons-citernes, chargés de pétrole brut, ne se décrochent des rails.⭐️ Abonnez-vous à MINUIT+ pour écouter nos épisodes en avance et sans publicité → https://m.audiomeans.fr/s/S-pSlDfzMxCatastrophes • Histoires Vraies est un podcast produit par MINUIT. Narration : Florent OulliéScript : Yann Kral Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Weekly AAR rail traffic numbers are in, showing a continued strong week for rail freight in North America. We dive into the data, examining intermodal and carload volumes, and what these trends signal for the second half of the year. Plus, editor Bill Stephens shares his exclusive experience riding Union Pacific's Big Boy, the world's largest operational steam locomotive, on its historic East Coast tour. Follow the FreightWaves Today Podcast Other FreightWaves Shows Learn more about your ad choices. Visit megaphone.fm/adchoices

Weekly AAR rail traffic numbers are in, showing a continued strong week for rail freight in North America. We dive into the data, examining intermodal and carload volumes, and what these trends signal for the second half of the year. Plus, editor Bill Stephens shares his exclusive experience riding Union Pacific's Big Boy, the world's largest operational steam locomotive, on its historic East Coast tour. ⁠Follow the FreightWaves Today Podcast⁠ ⁠Other FreightWaves Shows⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

Big Boy, the largest steam locomotive in the world, arrives in Western New York today. Marty Biniasz, co-founder of Forgotten Buffalo Tours & Forgotten Buffalo on Facebook tells us about the history of the locomotive and Buffalo's railroad industry.

Ed Dickens tells us about the history of Big Boy and details its journey across the US for America 250.

The Union Pacific Big Boy 4014, the world's largest operating steam locomotive, is making its way through Northeast Ohio today as part of a coast-to-coast tour celebrating America's 250th anniversary. Anthony Lima lives right by the tracks and has the whole neighborhood buzzing, with locals throwing watch parties and taking the day off work just to catch a glimpse. Ken and Anthony say if you live near the lakeshore in Bay Village or Avon Lake, drop everything because this 1941 steel giant is a once in a lifetime sight.

Thousands of people gathered in West Chicago on Wednesday for a chance to see Big Boy 4014, the world's largest operating steam locomotive, during a stop on its nationwide tour ahead of America's 250th anniversary celebration.

Thousands of people gathered in West Chicago on Wednesday for a chance to see Big Boy 4014, the world's largest operating steam locomotive, during a stop on its nationwide tour ahead of America's 250th anniversary celebration.

Thousands of people gathered in West Chicago on Wednesday for a chance to see Big Boy 4014, the world's largest operating steam locomotive, during a stop on its nationwide tour ahead of America's 250th anniversary celebration.

Construire une carrière. Être la femme de. Être utile. Gérer. Assurer.Et un jour, réaliser que ça fait longtemps qu'on ne s'est pas demandé ce qu'on voulait vraiment pour nous.Dans cet épisode, Amandine, Coralie et Mathilde parlent de ces moments où la vie te pousse à arrêter de t'oublier.Faire un burn-out dans la banque et décider de tout quitter.Comprendre qu'on ne peut plus rentrer dans un système médical qui ne nous ressemble plus.Ou mettre sa vie entre parenthèses pendant 10 ans pour suivre la carrière de sportif de haut niveau de son mari.Maternité, dépendance financière, besoin de liberté, peur de perdre une sécurité…Et cette question qui finit par revenir :“Comment on recommence quand on a passé des années à penser aux autres avant soi ?”Dans cet épisode, on parle :De burn-out et d'épuisement silencieuxDe reconversion et de premières clientesDe dépendance financière et d'envie de libertéDu rôle du couple quand on change de vieEt de ce moment où tu comprends que tu dois enfin te choisir//////////////////////////////////////////////////////////////////////////////////// 

Join us in our Elizabethan Era! This week we have a guest, Elizabeth, discuss a recent addition to the zombie Zeitgeist, Train to Busan! This movie is so much more than a horror movie. It has great character development, a great message, and wonderful cinematic elements that make it a great movie regardless of genre. Listen up as we laugh (and cry) through a discussion of zombie survival and maybe, just maybe, one of the worst villains of all time. Paired with a Locomotive cocktail. Rate! Review! Follow! Follow us on Instagram @toastyhorror Email us at toasttoromcoms@gmail.com Check out our website toasttoromcoms.com

On this West Virginia Morning, an historic steam locomotive that occupied Nashville's Centennial Park for decades will soon hit the rails again. The post Bringing A Nashville Steam Locomotive Back To Life, This West Virginia Morning appeared first on West Virginia Public Broadcasting.

5-6-26 Adam Diehl & Andy Hageman join TEAM Talk live from The Lab ahead of NM United vs. El Paso Locomotive

5-7-26 Andy Hageman joins the program to recap Wednesday night's 2-2 draw between New Mexico United & El Paso Locomotive

Elles ont coché les cases. Un job stable, des projets, une vie bien remplie.Jusqu'au moment où quelque chose ne colle plus.Dans cet épisode, Pauline, Sarah et Marine mettent des mots sur ce changement silencieux. Celui où tu continues sans vraiment te sentir à ta place.pas un burn-out brutal, mais un décalage qui s'installe… jusqu'à devenir impossible à ignorer.Continuer ou tout remettre en question ?Rester dans une vie stable ou écouter ce truc au fond qui pousse à autre chose ?“Et si la vie que j'ai construite n'était plus celle que je voulais vraiment vivre ?”Entre entrepreneuriat qui épuise, carrière qui ne fait plus vibrer et envie de tout réinventer à l'approche de ses 40 ans, elles nous parlent de ce moment où tu ne peux plus faire semblant.Burn-out, désalignement, reconversion, tour du monde, passage à l'action…Trois parcours différents, mais un point commun :Devoir se choisir, même quand tout semble fonctionner.Dans cet épisode, on parle :De perte de sens sans raison “visible”De décalage entre vie construite et aspirations profondesD'entrepreneuriat : rêve vs réalité du quotidienDe cycles de vie, âge et remises en questionDe passage à l'action dans l'incertitudeDe liberté, d'argent, de légitimitéCet épisode, c'est ce moment inconfortable où tu réalises que ta vie actuelle n'est peut-être plus celle que tu veux continuer à vivre.//////////////////////////////////////////////////////////////////////////////////// 

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Episode: 3370 A Look at Poetry and the Importance of Rhythmic Metre.  Today, the rhythm of poetry.

From pregame to postgame, German Benitez has your coverage of Houston's first win of the 2026 U.S. Open Cup campaign over El Paso Locomotive to advance to the tournament's Round of 16. Timestamps: 00:00 Preview at Shell Energy Stadium 01:23 First Half Highlights and Halftime Reactions 04:00 Second Half Highlights and Postgame Reactions 09:20 Ben Olsen - press conference 18:47 Ondřej Lingr - mix zone 21:44 Ezequiel Ponce - mix zone (Español) Credits: ⬢ Today's Foxtrot Gameday was hosted by ⁠German Benitez⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! ⬢ Check out all of our content at ⁠⁠⁠⁠⁠DynamicFoxtrot.com⁠⁠⁠⁠⁠. ⬢ Support Foxtrot Media on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Ko-fi.com/DynamicFoxtrot⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. ⬢ Follow the fox on Twitter (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@DynamicFoxtrot⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), Instagram (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@dynamicfoxtrot⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠), and Bluesky (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@DynamicFoxtrot⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠)⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. ⬢ Subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Foxtrot TV⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠! ⬢ Game highlights and press conference footage provided by US Soccer, Houston Dynamo FC. ⬢ Thumbnail photo provided by Houston Dynamo FC Learn more about your ad choices. Visit megaphone.fm/adchoices

Choice Classic Radio presents Boston Blackie, which aired from 1944 to 1950. Today we bring to you the episode titled "The Locomotive Ghost.” Please consider supporting our show by becoming a patron at  http://choiceclassicradio.com We hope you enjoy the show!

Elles ont suivi le chemin qu'on attendait d'elles. Jusqu'au moment où ça n'a plus suffi.Dans cet épisode, Claire, Alizée et Marie-Emmanuelle partagent une réalité souvent invisibilisée :celle de la perte de sens, de la quête d'identité et de ces moments où la vie t'oblige à te regarder en face.Burn-out, adoption, déracinement, reconversion…Trois parcours très différents, mais une même question :Qui suis-je, vraiment, quand j'arrête de faire ce qu'on attend de moi ?Entre un départ seule au Vietnam pour retrouver ses origines, une colère identitaire longtemps enfouie et un besoin urgent de redonner du sens à sa vie après des années à suivre une voie toute tracée, cet échange va bien au-delà du business.Toutes les trois ont un point commun : elles sont passées par la Locomotive Académie.Dans cet épisode, on parle :burn-out, harcèlement et environnements qui abîmentquête d'identité et besoin de comprendre qui on est vraimentpression sociale, cases à cocher… et rupture avec ces schémaspassage à l'action, même dans le flou totalrapport à l'argent, légitimité et premières décisionsCet épisode, c'est une plongée dans ce que beaucoup vivent… sans jamais oser le dire.//////////////////////////////////////////////////////////////////////////////////// 

3-31-26 New Mexico United Owner-CEO, Peter Trevisani joins the program as New Mexico United hosts El Paso Locomotive FC in the 2nd round of the U.S. Open Cup

Bienvenue dans le tout 1er épisode des Locomotives Show.Le concept ?Un vrai talk avec des élèves de La Locomotive Académie. Une vraie conversation, sans filtre, sur des thèmes autour de la reconversion, de l'entrepreneuriat… et de la vraie vie.De vraies histoires, de vraies femmes.Des vrais déclics, doutes, réussites, peurs, victoires.Notre objectif : vous inspirer, dédramatiser la transition salariée à entrepreneure tout en montrant la réalité du parcours.Dans cet épisode, je reçois Juliette, Elodie et Charlotte. On parle :burn-out, perte de sens et signaux ignoréspassage à l'action (même quand on doute)confiance qui se reconstruit en avançantcouple, enfants, entourage… et posture qui changeet surtout : comment trouver un projet qui rallume la flammeDes femmes déterminées, des parcours imparfaits mais de vraies transitions.Et ça change tout.//////////////////////////////////////////////////////////////////////////////////// 

Join this channel to get access to perks: https://www.youtube.com/channel/UCCuRS4Ujb-PV1Msz_ZwLt5A/join Part 1 https://youtu.be/9UDIyyvSP3Q After being fired for exposing a buried railroad secret, a former employee sneaks back into the park to uncover the truth about a mysteriously erased fifth locomotive—only to discover it was never scrapped… and it's still running. Written by ► Newenglandrailfan7470 @Choochookid7470 Narrated by ► Mr. Freaky Music by ► Myuu & Kevin Macleod Mr.Freaky Discord server ► https://discord.com/invite/5SyDc2DFDJ © 2026 Freaky Attractions. All rights reserved. This Creepypasta is for Entertainment Purposes Only.

George Stephenson started life in extremely humble circumstances, but his ingenuity and pursuit of education led him to an impressive legacy. He invented a miner’s lamp, but is most well known for his work on locomotives and railways. Research: “George Stephenson (1781-1848).” https://www.bbc.co.uk/history/historic_figures/stephenson_george.shtml#:~:text=In%201814%2C%20Stephenson%20constructed%20his%20first%20locomotive%2C,construction%20of%20the%20Stockton%20and%20Darlington%20railway. Bellis, Mary. “George Stephenson and the Invention of the Steam Locomotive Engine.” ThoughtCo. May 13, 2025. https://www.thoughtco.com/history-of-the-railroad-1992457 Bellis, Mary. “Biography of James Watt, Inventor of the Modern Steam Engine.” ThoughtCo. April 27, 2020. https://www.thoughtco.com/james-watt-inventor-of-the-modern-steam-engine-1992685 Bellis, Mary. “Biography of Thomas Newcomen, Inventor of the Steam Engine.” July 15, 2019. https://www.thoughtco.com/thomas-newcomen-profile-1992201 Bibby, Miriam. “Rainhill Trials.” Historic UK. https://www.historic-uk.com/HistoryUK/HistoryofBritain/Rainhill-Trials/ Burton, Ken. “Local History: John Blenkinsop 1783-1831.” South Leeds Life. April 29, 2023. https://southleedslife.com/local-history-john-blenkinsop-1783-1831/ Cavendish, Richard. “George Stephenson's First Steam Locomotive.” History Today. July 7, 2014. https://www.historytoday.com/archive/george-stephensons-first-steam-locomotive Institution of Civil Engineers. “George Stephenson.” https://www.ice.org.uk/what-is-civil-engineering/meet-the-engineers/george-stephenson Network Rail. “George Stephenson (1781–1848).” https://www.networkrail.co.uk/who-we-are/our-history/eminent-engineers/george-stephenson-1781-1848/ Rolt, L.T.C. “George and Robert Stephenson.” Amberley Publishing. 2016. “Safety Lamps.” Smithsonian. https://www.si.edu/spotlight/mining-lights-and-hats/safety-lamps Smiles, Samuel. “Lives of Engineers. The Locomotive. GEORGE AND ROBERT STEPHENSON.” LONDON. JOHN MURRAY. 1879. https://www.gutenberg.org/files/27710/27710-h/27710-h.htm#footnote129 Stephenson Steam Railway Museum. https://www.northeastmuseums.org.uk/stephensonsteamrailway Stephenson, George. “A description of the safety lamp, invented by George Stephenson. To which is added, an account of the lamp constructed by sir H. Davy. [With] A collection of all the letters which have appeared in the Newcastle papers, with other documents, relating to the safety lamps.” London. Baldwin, Craddock and Joy. January 1817. Accessed online: https://play.google.com/store/books/details?id=SYkIAAAAQAAJ&rdid=book-SYkIAAAAQAAJ&rdot=1 See omnystudio.com/listener for privacy information.

Send a textWe've revamped for 2026 with new branding, featuring presenters Sharon Gregory and Alasdair Stewart marking our 4th year of chatting about Railways.In this episode Alasdair meets a couple of UK Railway volunteers Dan Holbrook & Caleb Lovegrove, They, and a group of friends and colleagues have recently been on what we could refer to in the UK as a bus man's holiday, taking a tour of railways in India. Sharon travels to Oswestry this time to catch the steam train on the Cambrian Heritage Railway.Alasdair calls in at a Locomotive  Club of Great Britain Meeting and we hear about a delightful Dapol model launched to celebrate #WorldBookDay.#CambrianHeritageRailway #Darjeeling #railwaymodelling #Dapol #Oswestry#railwayenthusiast #railwayhistory #Railways #trainsHere are links to the Railways and Organisations mentioned in this episode:The Cambrian Heritage RailwayThe Darjeeling Himalayan Railway Nilgiri Mountain Railway (Wikipedia link)The Dapol Model Railway Company  including links to the World Book Day fundraising wagons.Browsers Book Shop,  Porthmadog Facebook PageWorld Book Day CharityThe Locomotive Club of Great BritainThis podcast is produced by Laura Raymond and presented by Alasdair Stewart and Sharon Gregory. Our 'Making Tracks' music is with kind permission of composer and musician Richard Durrant. It is a unique piece inspired by the rhythm of the historic rolling stock on the Ffestiniog Railway on the scenic journey from Harbour Station to Tan y Blwch. You can listen and download the full 'Tan y Bwlch' Ukulele Quartet here: Thank you to voice artist David King - for the Railway Ride outs voice over. Ukulele Quartet No. 1 "Tan y Bwlch" Ukulele Quartet No. 1 "Tan y Bwlch" Richard Durrant · Single · 2019 · 3 songs.

(00:00) Sigla iniziale(00:44) Ultimo Taco in Groenlandia. Ma di chi?(07:31) Guerra d'Occidente: trappola per tori(30:39) Love and Board of Peace(40:46) La Dottrina Carney e il menù di realtà(53:57) Storia triste di ex impero colonizzato(01:08:02) Locomotive immaginarie e ciliegie allucinogene(01:13:03) Il dito, la luna e le auto cinesiFatti e notizie che questa settimana hanno attirato l'attenzione del vostro TitolareDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/phastidio-podcast--4672101/support.Volete donare a questo podcast? Ora potete!

Episode: 1509 Late 18th century competition among roads, canals and railways.  Today, we look at roads, canals, and railways.

THE R101: AN OVER-ENGINEERED SOCIALIST PROJECT Colleague S.C. Gwynne. Gwynne describes the R101 as an over-engineered "socialist" government project filled with unproven technology, including heavy locomotive engines and fragile gas bags made from cattle intestines. He also highlights the danger posed by the flight program's leader, "Scotty," who was suffering from severe alcoholism during the trials. NUMBER 3

Feliks Banel's guest on this BONUS EPISODE of CASCADE OF HISTORY is Martin Hansen, an attorney and vintage railroad expert based in Bend, Oregon. Much of the 1986 film "Stand By Me" was filmed 40 years ago in Oregon. Rob Reiner, director of the film, was found dead along with his wife a few days ago. One iconic scene in the film involves a steam locomotive bearing down on a bridge over a body of water, while the young boy characters in the film are standing on the railroad tracks near the middle of the long span. Martin Hansen was the fireman on that steam locomotive when the iconic scene was filmed over several days in September 1985. CASCADE OF HISTORY spoke with Martin Hansen on Tuesday, December 16, 2025. For more information about Martin Hansen: https://www.facebook.com/martin.hansen.5895 CASCADE OF HISTORY is broadcast LIVE most Sunday nights at 8pm Pacific Time via flagship station SPACE 101.1 FM in Seattle and gallantly streams everywhere via www.space101fm.org. The radio station broadcasts from studios at historic Magnuson Park – located in the former Master-at-Arms' quarters in the old Sand Point Naval Air Station - on the shores of Lake Washington in Seattle. Subscribe to the CASCADE OF HISTORY podcast via most podcast platforms and never miss regular weekly episodes of Sunday night broadcasts as well as frequent bonus episodes.

Interview with Peter Secker, CEO of Canyon ResourcesOur previous interview: https://www.cruxinvestor.com/posts/canyon-resources-asxcay-fast-tracking-worlds-largest-high-grade-bauxite-development-7892Recording date: 5th December 2025Canyon Resources (ASX:CAY) is advancing rapidly toward mid-2026 production at its Minim Martap bauxite project in Cameroon, executing one of the mining industry's most compressed development timelines. The company has progressed from mining license approval in late 2024 to full development mode, with all major equipment ordered and financing secured.The project's economics are compelling: a pre-tax net present value exceeding $800 million, 29% internal rate of return, and modest capital costs of just $97 million to first production. Operating costs of $35 per ton position Minim Martap competitively in the global market, particularly given the premium-grade ore quality of 51% alumina with less than 2% silica. This quality commands a $10 premium over Guinea's standard pricing, translating to margins of $25-30 per ton at current market prices of approximately $81-82 per ton.CEO Peter Secker emphasized the project's market timing: "Chinese demand for bauxite is strong. Guinea obviously have a few problems with some decisions they've made recently. So everybody is looking for an alternate source of bauxite and Minim Martap coming on stream mid next year. Perfect timing."The development's critical path centers on rail infrastructure. Locomotives ordered from China will arrive in February 2026, with commissioning in March to enable ore hauling by April. The mining contractor, experienced in African bauxite operations, mobilizes in January. Initial production of 2 million tons annually will scale dramatically to 10 million tons by 2031 as World Bank-funded rail upgrades totaling $820 million are completed, potentially generating $200 million in annual free cash flow.Canyon has also raised equity to increase its Camrail stake from 9% to over 30%, seeking operational control over the critical 800-kilometer rail corridor to the Port of Douala. As Cameroon's first major mining project, Minim Martap benefits from strong government support and first-mover advantages in an emerging jurisdiction with significant mineral potential across multiple commodities.View Canyon Resources' company profile: https://www.cruxinvestor.com/companies/canyon-resourcesSign up for Crux Investor: https://cruxinvestor.com

FIORI: ITALIAN HERITAGE TRAINS AND POLITICAL DISPUTES Guest: Lorenzo Fiori Italy is launching heritage Christmas trains like the Espresso Monaco and Espresso Assisi, restoring old coaches and locomotives for tourists. Deputy PM Salvini is publicly criticizing aid to Ukraine, linking it to corruption, potentially as a strategy to regain consensus and boost his party's falling popularity. Nationwide student protests are occurring over school reform and the Palestine issue. Milan is preparing for Christmas celebrations.

The USL Championship has round one of the postseason ongoing...And there's a LOT of chaos...Kaylor Hodges drops by to talk about franchises leaving, off-the-field changes, and round one of the playoffs where top seeds are no longer around...

Episode 166: The Great Locomotive Chase (a special episode for Walter Vetterick) Visit the Real Cool History for Kids podcast homepage at angelaodell.com. 

Join this channel to get access to perks:https://www.youtube.com/channel/UCCuRS4Ujb-PV1Msz_ZwLt5A/join Behind the magic of Disney's famous steam trains lies a chilling secret most guests never hear about. This is the story of the forgotten fifth engine—and the terrifying night it came back. Written by ► Newenglandrailfan7470  @Choochookid7470  Narrated by ► Mr. Freaky Mr.Freaky Discord server ► https://discord.com/invite/5SyDc2DFDJ © 2025 Freaky Attractions. All rights reserved. This Creepypasta is for Entertainment Purposes Only.

New Website is Live! https://www.hightimelineliving.com/Fun Astrology YouTube Channel:https://www.youtube.com/@funastrologypodcastBuy Thomas a Coffee!https://www.buymeacoffee.com/funastrologyThank you!Join the Fun Astrology Lucky Stars Club Here!Old Soul / New Soul Podcast - Back Episodes:https://www.buzzsprout.com/2190199https://www.youtube.com/@OldSoulNewSoulAstrologyPodcast

In this episode, we'll spend a day on the water with my friend Israel as he searches for his first musky. Along the way, we will chat with a journalist about the early years of fishing in Wisconsin's Northwoods and take a field trip to learn about the role trains played in the Badger State's fishing history.

On April 12, 1862, one of the most daring and audacious events of the American Civil War took place.  It wasn't a major battle. It didn't involve armies meeting each other on the field of battle.  Instead, it was one of the first examples in military history of a raid designed to deny the enemy access to the most vital 19th-century technology: the railroad.  Learn more about the Great Locomotive Chase and how railroads became a strategic war objective on this episode of Everything Everywhere Daily. ***5th Anniversary Celebration RSVP*** Sponsors Newspapers.com Get 20% off your subscription to Newspapers.com Mint Mobile Cut your wireless bill to 15 bucks a month at mintmobile.com/eed Quince Go to quince.com/daily for 365-day returns, plus free shipping on your order! Stitch Fix Go to stitchfix.com/everywhere to have a stylist help you look your best Stash Go to get.stash.com/EVERYTHING to see how you can receive $25 towards your first stock purchase and to view important disclosures. Subscribe to the podcast!  https://everything-everywhere.com/everything-everywhere-daily-podcast/ -------------------------------- Executive Producer: Charles Daniel Associate Producers: Austin Oetken & Cameron Kieffer   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Update your podcast app at newpodcastapps.com Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Facebook Group: https://www.facebook.com/groups/everythingeverywheredaily Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/  Disce aliquid novi cotidie Learn more about your ad choices. Visit megaphone.fm/adchoices