Podcasts about Lowell

As Kauai picks up the pieces from Lowell, Garden Isle businesses are dealing with the delicate balance of staying afloat economically while giving residents space and time to recover. An Oahu group is fighting back against the spread of the coqui frog. And we have results from a flyer satisfaction study, including where Honolulu's airport landed in the rankings. See omnystudio.com/listener for privacy information.

Kauai officials are urging visitors to steer clear of the island’s North Shore as emergency crews work to restore power and clean up debris following recent storm damage from Lowell. Meanwhile, a former Lahainaluna High School principal is wanted on a $200,000 bench warrant for multiple felony offenses, including theft, fraud and official misconduct, according to public court records.See omnystudio.com/listener for privacy information.

Educators John Holdridge and Lowell Libby join Bill Burke to talk about the Can We? Project, a Maine-based initiative launched in 2018 that teaches high school students the mindset and skills needed for constructive dialogue across political, social, and cultural divides. Through full-day retreats held in schools across Maine (and now New Hampshire), students learn to move past their first instinct to react and their second instinct to rationalize, and instead reach what one student memorably called her "third thought" — genuine understanding.  John and Lowell share the origin story of the project, how it's expanded into events like Can We Connect? (which brings 250+ students together at the Augusta Civic Center), and how students themselves are taking the work into their own hands—organizing intergenerational dialogues, community conversations, and even a nationwide online class built around the question, "Is American democracy on fire?" It's a hopeful, practical look at how young people are relearning face-to-face conversation in a digital, polarized world.      Chapters:  00:00  Intro to John Holdridge and Lowell Libby and the Can We? Project  02:00  The origin story: a student's concept of the "third thought"  06:00  How the Can We? Project works — full-day retreats, student-chosen topics, and ground rules for dialogue  10:00  Why college students said high school conversations didn't carry over — the gap that sparked the project  14:00  The "big sort," bowling alone, and how Americans have self-segregated into like-minded communities  18:00  Students leading their own intergenerational dialogues — including a town hall on U.S. foreign policy  23:00  Can We Connect? — bringing 250+ students from across Maine together for a day of youth-led dialogue  27:00  Breaking down assumptions: the "ladder of inference" and the gun control conversation between rural and urban teens  32:00  The mindset of curiosity, care, and courage — and "swimming toward the shark"  36:00  School smartphone policies and how phone-free retreats change how students connect  40:00  A nationwide online class asking, "Is American democracy on fire?" — and what happened on election night  45:00  Closing thoughts on optimism, democracy, and the next generation 

Dave Glass's Polish parents met at a displaced persons camp in Europe after World War II. In this Season 9 inaugural episode, meet and get to know Dave. A born-and-raised San Francisco, Dave joined me back in August in the SF Public Press office/studio at Warfield Commons to record the first-ever Storied: San Francisco live episode. Our talk that night comprises this episode. Dave's mom and dad got married at that camp in Germany and had their first kid, Dave's sister, there. The young couple wanted to come to the US, but had to wait another five years in Europe for that to materialize. Finally, they made it, via the port of New Orleans. Their American sponsor lived in Stockton, which they made their way to by trains and buses. Dave's dad later told him that when they arrived in California, Stockton looked to him like all cowboys and Mexicans. The family's sponsor owned a ranch, and the arrangement was that Dave's mom and dad would work there. One day, his dad's boss sent him to San Francisco, an hour or so away, for supplies. One taste of The City, and his dad knew he had to move his family here. It was early 1951 and Dave's mom was already pregnant with him. The family made the move to the big city regardless. They settled in the Western Addition on the corner of Webster and Fulton. This was before redevelopment, mind you. In addition to its sizable Black population, there were also a significant number of European refugees in the neighborhood, too. Dave fondly remembers being a little boy and going to the Ukrainian bakery at the corner of Webster and McAllister. Other memories from Dave's early days include vague visions of the Acme beer brewery across from his house. Dave lets us know that today, there are remnants of that building still standing. Around the time Dave started school, his family moved to the Sunset District. This is when his memories really get going. He went to Parkside Elementary, which is today known as Dianne Feinstein. Dave rewinds a little to share the story of when Eisenhower visited SF as president. Dave's mom got him, his sister, and herself dressed up. They walked down to Van Ness, where the presidential motorcade was set to pass by. He recalls the president sitting, not in the car's seat, but above it, in open air, riding down the avenue waving at folks. So much about this would never happen today. When he was 10, Dave got his first camera. At our live event, he shared a photo he took with that camera at his sister's birthday party, seen in a gallery on this page. It's one of the oldest photos he has that he took himself. At that time, Dave was just a "kid with a camera," not serious about the art whatsoever. But his dad had a Leica camera and did take photography more seriously, at least when it came to family photos. He had bartered for the camera when he lived in the displaced persons camp in Europe, and had photos from that time. Dave still has some of those pictures. We go on a bit of a sidebar here, thanks to my question about how folks got their camera film developed back in the day. We also chat about the nature of film vs. digital. When he was in high school, Dave joined the photo club and developed in a darkroom for his first time. He says it was around this time that he started to have an affection for photography. We have to mention that he went to Lowell, which came after time at Herbert Hoover Junior High School. Dave points out that, even back then, "smart" kids went to Lowell, including his sister. Dave says he more or less got in on legacy, not good grades. He brought that with him through high school, and chose to go to City College when he wasn't able to get into four-year schools. In 1969, City College's photography program was a serious one. Dave considers it blue-collar, in fact, aimed at turning students into professional photographers. Dave ended up taking photos for the school paper, something he loved doing. I ask Dave about the late-Sixties in SF, and he obliges. He was 16 when the Summer of Love happened, and living just a few neighborhoods away from the Haight/Ashbury, his eyes were opened. He and his friends would visit the Haight every couple of days. He says it got so crowded with tourist buses and people that The City made Haight a one-way street. Still, they saw bands like Grateful Dead, Jefferson Airplane, and Country Joe and the Fish at small venues or outdoors in the park. We go on a sidebar here to talk about The Fillmore back in the day. Dave's first job, which he had while still in high school, was selling shoes at Kinny Shoes (IYKYK) at Serramonte, which had just opened. Dave shares a family photo and talks a little about it, also available here in the gallery. Eventually, relatives moved to San Francisco and lived nearby Dave's family, so he grew up with cousins and aunts and uncles. Dave confirms that it was the case that he and his friends, like many folks I talk with who grew up back then, pretty much did whatever they wanted after school, with the understanding that you go home when it gets dark out. His stories include building skateboards out of wooden 2×4s and roller skates. Then we talk about a significant turn in Dave's life. It was the late-Sixties and the war in Vietnam was heating up. The draft was in effect, and the number of units Dave was taking at City College had fallen below the threshold for deferment. That year, 1969, had seen more US casualties than any year prior. His parents, having escaped war-torn Europe earlier in their lives, did not want their son serving in the military in any capacity. Some of his dad's relatives had settled in Paris after WWII. They helped arrange for Dave to live there for about six months starting in the fall of 1970. Check back tomorrow for Part 2 and the rest of Dave Glass's life story. Follow Dave on Instagram @daveglass_foto. We recorded this podcast in the SF Public Press studio at Warfield Commons in August 2026. Photography by Nate Oliveira

Ron Lessard is America's Greatest Living Noise Artist, and a legend if there ever was one. Between his pioneering label RRRecords, his alter ego EMIL BEAULIEAU, and his record shop in Lowell, Massachusetts, Ron is the embodiment of noise and an international treasure. In 2006, he quietly retired from performing live after years of tireless touring and recording. Now, to celebrate his 20 year anniversary of retirement, he returns for an interview "performance" on White Centipede noise Podcast.You can support WCN directly at https://patreon.com/whitecentipedenoiseMailorder: https://whitecentipedenoise.com/Support the show

In this podcast, Ryan Lowell talks about Freight, dialogue-heavy fiction, his writing routine, and much more. [3:20] Conversation start/the elevator pitch for Freight. [8:40] Planning and writing Freight. [10:45] Pros and cons of writing dialogue-heavy fiction. [18:40] Movie references and influences. [30:00] The influence and inspiration from philosophy and psychology. [36:50] Literary agent. [40:00] The word count of Freight and if it being a short novel impacted publication or shopping the novel. [54:20] Writing routine. [1:04:45] Connect with Ryan. [1:05:35] Final thoughts. Full podcast show notes are available here: https://www.thisishorror.co.uk/tih-678-ryan-lowell-on-freight-dialogue-heavy-fiction-and-writing-routine Support This Is Horror Podcast on Patreon: https://www.patreon.com/thisishorror

Lingering power outages from Hurricane Lowell have triggered a travel nightmare for passengers at Lihue Airport. Across Kauai's battered North Shore, weary residents are urging visitors to show respect as recovery and cleanup efforts get underway. Meanwhile on the Big Island, remnants of Lowell brought renewed flooding to Ka‘u, creating a frightening situation for a community still trying to recover from Lala. See omnystudio.com/listener for privacy information.

Alan Longstreet talks about the aftermath of Hurricane Lowell. See omnystudio.com/listener for privacy information.

Pacific correspondent Christina Persico looks at the impact of Hurricane Lowell in Hawaii, Australia's moves to deport asylum seekers to Naoero (formerly Nauru).

Lowell has moved on, but plenty of devastation has been left in its wake. The message to the community from Kauai County's Mayor ahead of a long recovery. Meanwhile, Oahu avoided the worth of the hurricane, but there is still plenty of cleaning up to do around the island.See omnystudio.com/listener for privacy information.

Confira nesta edição do JR 24 horas: Ao menos uma pessoa morreu e milhares ficaram sem energia elétrica com a passagem do furacão Lowell pelo Havaí, nos Estados Unidos. A vítima era um homem em situação de rua, atingido pela queda de uma árvore enquanto estava numa barraca. Houve alagamentos e danos em estradas, além de estruturas portuárias destruídas e barcos que foram afundados. E ainda: Fortes chuvas causam alagamentos em trens e metrôs no Japão.

Robach and Holmes cover the latest news headlines and entertainment updates and give perspective on current events in their daily “Morning Run.”See omnystudio.com/listener for privacy information.

Robach and Holmes cover the latest news headlines and entertainment updates and give perspective on current events in their daily “Morning Run.”See omnystudio.com/listener for privacy information.

Robach and Holmes cover the latest news headlines and entertainment updates and give perspective on current events in their daily “Morning Run.”See omnystudio.com/listener for privacy information.

Kauaʻi Mayor Derek Kawakami addresses Hurricane Lowell impacts; HPR's Mark Ladao has more on Lowell on Oʻahu; UH researcher talks pilot whale study

Hawaii News Now provides coverage of damages from Hurricane Lowell, and how the storm has impacted the state.See omnystudio.com/listener for privacy information.

Hurricane conditions are anticipated for Kauaʻi County Monday and will continue into Tuesday as Hurricane Lowell passes west of Niʻihau. State and Kauaʻi County offices, public schools, Kaua‘i Community College and Hawaiʻi State Judiciary facilities on Kauaʻi will be closed Tuesday. Kauaʻi Mayor Derek Kawakami and emergency officials briefed the public Monday.See omnystudio.com/listener for privacy information.

Officials in Hawaii have urged residents and visitors to prepare for heavy rains, flooding and possibly mudslides as Hurricane Lowell prompted the US National Hurricane Center to issue a tropical storm warning for two islands on Sunday.

In MobileViews 625, Jon Westfall and I started off with hardware updates and a bit of TV Sci-Fi nostalgia. Following a recommendation from Sven Johannsen, I purchased a Satechi Slim EX wireless mouse , though Sven ribbed me because its silver color doesn't match my indigo MacBook Neo. The mouse's native USB-C dongle prompted us to discuss how USB-A, despite the industry shift, will likely remain a fixture in our adapter bags for a long time. We also celebrated the upcoming 60th anniversary of the original Star Trek series on September 8th, sharing childhood memories of being terrified of Mr. Spock, analyzing Riker's first-season lack of a beard and Worf's voice changes in The Next Generation, and recommending the Dropping Names with Brent and Johnny, a podcast by ST:TNG stars Jonathan Frakes and Brent Spiner that focuses on general entertainment industry history rather than just Star Trek. Our software discussion touched on a mix of AI productivity, weather tracking, and backup systems. While monitoring the "hockey-stick" path of tropical storm Lowell south of Hawaii and Karina to the north of Hawaii, I've been using Google DeepMind's Weather Lab using the new "Weather Next 3" model, paired with twice-daily automated reports from Google Spark. In other AI workflows, I've been testing Google Pics (an evolution of Nano Banana), which lets users directly edit text and select objects inside AI-generated images, while Jon has been using MARP (Markdown Presentation Ecosystem) to convert Markdown into presentations. We also noted that Windows 10 and 11 now enable automatic cloud backup by default, prompting us to reminisce about our days as mobile MVPs in the early 2000s when Microsoft resisted our pleas to make cloud syncing the default standard. We wrapped up with predictions for Apple's September 9th event, which is on a Wednesday this year instead of a Tuesday. Because September 11th falls on a Friday, we speculate that Apple might shift pre-orders to Saturday. Between the rumored foldable iPhone, Watch Series 12, Watch Ultra 4, and AirPods 5, we debated our upgrade paths. I'm particularly interested in the Watch Series 12 as my 15 Pro battery degrades, but the lack of a telephoto lens on the rumored foldable iPhone is a dealbreaker. However, a rumored iOS 27 feature called "iPhone Handoff" might seamlessly share a single phone number across two devices—a "diabolical" strategy that might just force enthusiasts to buy both a single-screen Pro and a foldable.

AP correspondent Julie Walker reports on a Tropical Storm warning as Hurricane Lowell approaches Hawaii.

As Hawaii keeps a close eye on Hurricane Lowell's path, Gov. Josh Green and other state and county leaders explain the emergency resources and preparations being put into place. Kauai residents remain on edge with Lowell expected to make a hard turn north, bringing back haunting memories of Iniki. A dump truck hit an overpass on the H-1 Freeway, causing a traffic nightmare for motorists heading eastbound Friday afternoon.See omnystudio.com/listener for privacy information.

State and county emergency crews are actively mobilizing personnel and heavy equipment across the islands as Hurricane Lowell threatens a northward turn toward the state. Gov. Josh Green joined Kauaʻi County Mayor Derek Kawakami, Hawaiʻi Adjutant General Maj. Gen. Stephen Logan and National Weather Service Warning Coordination Meteorologist John Bravender to outline preparations ahead of the storm.See omnystudio.com/listener for privacy information.

See omnystudio.com/listener for privacy information.

See omnystudio.com/listener for privacy information.

A Massachusetts judge has declared a mistrial in Lindsay Clancy's triple-murder case. President Donald Trump issued an ultimatum to the Federal Reserve over interest rates – we'll tell you what's at stake. Hawaii is bracing for its third storm in less than a month. Russia's latest drone strike is highlighting Ukraine's strained air defense system. Plus, the White House has released a series of online arcade games promoting the administration's priorities – and the reviews are mixed. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this podcast, Ryan Lowell talks about trucking, early writing experiences, George V. Higgins, and much more. [3:05] Conversation start/early life lessons growing up. [6:40] When Ryan started writing. [9:50] Early experiences with films and books. [12:20] Parents' reaction to sporting and creative aspirations. [17:15] The impact of 1984 and The Power of Now. [24:20] George V. Higgins. [26:25] Bucksport. [31:05] Parenting. [34:30] The first story Ryan wrote. [41:05] Getting into the trucking industry. Full podcast show notes are available here: https://www.thisishorror.co.uk/tih-677-ryan-lowell-on-trucking-early-writing-experiences-and-george-v-higgins Support This Is Horror Podcast on Patreon: https://www.patreon.com/thisishorror

We're learning more about Hurricane Lowell's potential sharp turn and when the system is expected to make its closest approach to the islands. FEMA is giving Hawaii more than $18 million to help weather disaster-related power grid impacts. Two people were rushed to the hospital after being burned in a fire near Black Rock Beach in Nanakuli.See omnystudio.com/listener for privacy information.

Happy Labor Day weekend! Welcome back to a brand new season of For the Love of Books Podcast. Lowell-based author Jeff Ostrander relied heavily on the past as his main character in Womb of Souls is portrayed by protagonist Abraham Marsh. The inciting incident to create the novel was a scene of a dad running into a burning cabin to save his family while getting seriously injured. Sponsored by Jeff Ostrander, Moravian Sons Distillery and Doc Chavent. “I saw a picture in my mind of a father running into a burning house to save his kids. I knew he came out terribly hurt, but the rest I had to learn as the story progressed,” Ostrander said. “It was interesting to consider what would happen to a strong, handsome young man who suddenly found himself a weak, disfigured and lonely man. Does the value of life remain when all that brought him joy was torn away?” Listen in  for a chance to win a signed copy of Womb of Souls. Copyright (c)2026 Emma Bllogs, LLC.  All rights reserved.  

This edition features 16 talented artists showcasing the diverse world of electronic music. From the driving sounds of Berlin School to soothing ambient textures, experimental pieces, and ethereal scores, there's something for every enthusiast. You'll also discover fresh faces like Mnemos, a Polish duo from France, along with works by Antike Elektronische Musik, capturing sequencer-driven vibes, and Anders Brørby, creating organic ambient soundscapes. Enjoy cinematic-inspired pieces from Henry Solberg in the USA, along with dark ambient tracks inspired by Stanley Kubrick's The Shining on a compilation album, and finally, the innovative Canadian guitarist Aidan Baker. Each artist brings their unique touch, making this a truly great collection. Enjoy. Download Bios: www.sequencesmagazine.com/podcasts/ Playlist No 293 01.59 MNEMOS ‘Śnienie' (album Terra Nullius) https://mnemospl.bandcamp.com/album/terra-nullius 08.13 Antike Elektronische Musik ‘Tesseract Set Two' (album Tesseract) ***https://antikeelektronischemusik.bandcamp.com/album/tesseract 18.02 Thaneco & Romerium ‘Gravitational Fields.' (album The Undiscovered Planet X) https://thaneco.bandcamp.com/album/machine 27.00 Thaneco & Romerium ‘ An Atmosphere of Hydrogen and Helium' 32.04 Arcane ‘Nothing Lives Here Anymore' (album Silent Cities) https://paullawler.bandcamp.com/album/silent-cities 39.17 vOLKER rAPP ‘The Arks Berkshire, Valley Forge, Sequoia and Mojave' (album Silent Running) https://cyclicaldreams.bandcamp.com/album/silent-running-cyd-0164 45.12 vOLKER rAPP ‘What Are We Doing Here' 50.02 vOLKER rAPP 'Realising the Domes' 55.30 vOLKER rAPP ‘Silent Running to Saturn' 01.01.14 vOLKER rAPP 'Valley Forge and Lowell are Lost' 01.02.34 Dean De Benedictis ‘Born Of Flight' (album Salvaging The Future) www.spottedpeccary.com 01.09.31 Dean De Benedictis ‘The Outer Links' 01.15.53 Dean De Benedictis ‘ASMR Tragedy Lines' 01.22.23 Anders Brørby 'Summer Of 99' (album Kaiju) https://timereleasedsound.bandcamp.com/album/kaiju 01.29.10 Erik Wøllo ‘Earthshine' (album Earthshine) www.projekt.com 01.33.02 Erik Wøllo ‘Flux World' 01.35.09 Erik Wøllo ‘Dark Side' 01.37.06 Erik Wøllo ‘Galaxy' 01.38.53 Erik Wøllo ‘Mirror World' 01.41.48 Conrad Schnitzler ‘LichtPunkte' (album LichtPunkte :Light Points:) *** https://conradschnitzler.bandcamp.com 01.49.44 Conrad Schnitzler ‘NachtFahrt' (album NachtFahrt :Night Drive:) *** 01.58.57 Henry Solberg ‘Enter' (album Seek Brighter Deeps) https://henrysolberg.bandcamp.com 01.59.56 Henry Solberg ‘Look Beyond' 02.04.03 Henry Solberg ‘Exit' 02.08.50 Blue Is Nine ‘All That Is Gone' (album Beyond The Quiet Sky) https://timereleasedsound.bandcamp.com/album/kaiju 02.14.04 Blue Is Nine ‘Castaway' 02.16.51 Trem 77 ‘Blue Shines Through' (Granular Matter Mix) (album Textural Colour Spectrum Sandpainting) https://trem77.bandcamp.com/album/textural-colour-spectrum-sandpainting 02.19.38 Trem 77 ‘Starlight Spectrum Sandpainting (Strings Mix)' 02.26.06 Aidan Baker ‘Petrol-Jasmine' (album Adverse Camber) https://owltotem.bandcamp.com/album/adverse-camber 02.31.45 Lyn Y Cwn 'Sidewinder Ascent' (album Overlook. Music Inspired By Stanley Kubrick's The Shining) https://unexplainedsoundsgroup.bandcamp.com/album/overlook-music-inspired-by-stanley-kubrick-s-the-shining 02.37.24 Stefan Klaverdal ‘The Haunting' (album Overlook. Music Inspired By Stanley Kubrick's The Shining) 02.42.37 Dirk Serries & PBK ‘Amplitude Split' (album Amplitude Split) https://soundfume.bandcamp.com/album/amplitude 02.49.37 Dirk Serries 'Slowly Wired' (album Curves Of Splendor) www.projekt.com Edit ***

We read poems dealing with the religious and intellectual history of New England & grappling with the legacies of Puritanism, the Great Awakening, and Transcendentalism: Robert Lowell's "Mr. Edwards and the Spider" and "Jonathan Edwards in Western Massachusetts," about the colonial minister, philosopher, and fire-and-brimstone preacher, Jonathan Edwards; and Anne Sexton's "Kind Sir: These Woods," addressed to Henry David Thoreau. Please sign on as a patron at any level, to make it possible to keep this podcat coming, and to hear patron-only lectures, including the upcoming lecture on the preacher George Whitefield's preserved thumb: https://www.patreon.com/c/u5530632

Somos México cambia de nombre y ahora es “Somos”Dos tormentas tropicales se forman en el PacíficoColombia va tras responsables de incendios forestalesMás información en nuestro Podcast#grc

In this week's edition of the Flavors of Northwest Arkansas podcast, we talk with Bella Vista resident, and three-time League of Fire World Champion in competitive pepper eating Stephen “Fiery Redd” Curgan. We'll talk about what got him into competitive pepper eating and we'll also talk about the first-ever Ozark Flame & Flavor Festival happening this Saturday, but first?!?! FOOD NEWS!! Orthodox Farmhouse Brewing sold. We'll tell you what the plans are. Dodo Coffee is OFFICIALLY open in their new building, and there's a party Saturday. We'll hear from owner Isaiah Ojeda! Fresh Monkee is having their soft opening week in Fayetteville. Shakes are half off! A Santa Barbara winery opened their only tasting room in Rogers. You'll hear from the owner! Khana Grill closed their dining room, but you can still eat their food. We'll explain. Downtown Springdale's The Blind Bear is expanding into another city. El Jaliciense in Lowell might be closed, but they may not be done. Happy 25th anniversary to Grubs in downtown Fayetteville! Happy 31st anniversary to Marketplace in Springdale! Happy 4th anniversary to Conifer and Chef Matt Cooper. Speaking of Chef Cooper, he has something BIG coming in 2027! Again, Speaking of Chef Cooper, he was out fifth interview EVER. He broke a little news on our show back then. Stephen “Fiery Redd” Curgan is a 3-Time League of Fire World Champion... He eats peppers that a VERY high percentage of us wouldn't touch. How did he get into it? It all started online- he'll explain. Also, how do you make your way to being a World Champion in it in only 2 years? It's an interesting path for sure! Finally, this Saturday is the first-ever Ozark Flame & Flavor Festival in Bentonville at the Record, and you'll hear all about in this episode of the Flavors of Northwest Arkansas podcast!

Note: "Act 1" was a separate published audio podcast.Get an EZ "DEFECTOR" hoodie!*Check out EZ's morning radio show "The InZane Asylum Q100 Michigan with Eric Zane" Click here*Get a FREE 7 day trial to Patreon to "try it out."*Watch the show live, daily at 8AM EST on Twitch! Please click here to follow the page.Email the show on the Shoreliners Striping inbox: eric@ericzaneshow.comTopics:*Main Street Exchange is a great business to buy silver, gold, guns and watch a bunch of losers in the street in front of it.*Back to school for Pooh Bear.*Teachers in Michigan are massively underpaid.*Big day at Big Vet with O'Neill.*EZ wants Amanda to quit feeling sorry for herself. She needs JOCKO!*EZ plans on stealing corn from the neighbor farmer.*Dude does send up skit of Pat McAfee.*The new Pat McAfee music isn't bad!*EZ breaks down dude who brings homeless people home with him*People in Lowell, Mass are fed up with the data center that ruins the neighborhood.*Karaoke hilarity at kids birthday party.*Right-wing psycho, Jake Lang pisses all the Muslims off.*Asshole of the Day brought to you by Uncle John's Gravel Road RaceSponsors: Main Street Exchange Pawn Shop in Madison, Tennessee, West Michigan Whitecaps, Kuiper Tree Care, Frank Fuss / My Policy Shop Insurance, Kings Room Barbershop, Shoreliners,  Ervines Auto Repair Grand Rapids Hybrid & EV, TC PaintballInterested in advertising? Email eric@ericzaneshow.com and let me design a marketing plan for you.Contact: Shoreliners Striping inbox eric@ericzaneshow.comDiscord LinkEZSP TikTokSubscribe to my YouTube channelHire me on Cameo!Tshirts available herePlease subscribe, rate & write a review on Apple Podcastspatreon.com/ericzaneInstagram: ericzaneshowTwitterAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Note: "Act 1" was a separate published audio podcast.Get an EZ "DEFECTOR" hoodie!*Check out EZ's morning radio show "The InZane Asylum Q100 Michigan with Eric Zane" Click here*Get a FREE 7 day trial to Patreon to "try it out."*Watch the show live, daily at 8AM EST on Twitch! Please click here to follow the page.Email the show on the Shoreliners Striping inbox: eric@ericzaneshow.comTopics:*Main Street Exchange is a great business to buy silver, gold, guns and watch a bunch of losers in the street in front of it.*Back to school for Pooh Bear.*EZ wants Amanda to quit feeling sorry for herself. She needs JOCKO!*Teachers in Michigan are massively underpaid.*Big day at Big Vet with O'Neill.*EZ plans on stealing corn from the neighbor farmer.*Dude does send up skit of Pat McAfee.*The new Pat McAfee music isn't bad!*EZ breaks down dude who brings homeless people home with him*People in Lowell, Mass are fed up with the data center that ruins the neighborhood.*Karaoke hilarity at kids birthday party.*Right-wing psycho, Jake Lang pisses all the Muslims off.*Asshole of the Day brought to you by Uncle John's Gravel Road RaceSponsors:West Michigan Whitecaps, Impact Powersports, Kuiper Tree Care, Frank Fuss / My Policy Shop Insurance, Kings Room Barbershop, Shoreliners,  Ervines Auto Repair Grand Rapids Hybrid & EV, TC PaintballInterested in advertising? Email eric@ericzaneshow.com and let me design a marketing plan for you.Contact: Shoreliners Striping inbox eric@ericzaneshow.comDiscord LinkEZSP TikTokSubscribe to my YouTube channelHire me on Cameo!Tshirts available herePlease subscribe, rate & write a review on Apple Podcastspatreon.com/ericzaneInstagram: ericzaneshowTwitterAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

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.

(00:00 - 2:36) It's Monday! No LBF today, she took the day off to root on her husband Dave who was running the Falmouth Road Race, we asked her to send us his finish time, but she forgot! (2:36 - 6:11) Today's Supah Smaht player is Kathy from Lowell. Find out if they were Supah Smaht! (6:11 - 13:57) Travel & Leisure Magazine just published “These Are the Rudest Things You Can Do at a Hotel, According to Travelers and One Is Shockingly Gross. We go over the list to see how many of these we have done! (13:57 - 20:39) There are five cars that won't be around next year, according to the latest report from Edmunds. We wanted to flip the script and talked about what cars we'd like to bring back. (20:39 - 28:43) The movies of John Hughes defined the ‘80s, and even ‘90s kids grew up watching them. Adam 12 is an ‘80s kid (Gen Xer), Aaron's a ‘90s kid (Millennial). Let's see who's seen more John Hughes movies. Plus Dave Mcgrath from New Hampshire Motor Speedway calls in to talk about the big NASCAR race this weekend! All this and more on the ROR Morning Show with LBF & Adam 12 Podcast. Find more great podcasts at bPodStudios.com…The Place To Be For Podcast Discovery! Follow us on our socialsInstagram - @rormorningshowFacebook - The ROR Morning ShowSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

 Welcome to our new rendition of the Best of BPR Podcast! In this new version, we will be publishing the week's top segments. In case you're missing us over the weekend... now you have something to listen to!On today's Show:  Massachusetts Congressman Seth Moulton, joins us as he challenges Senator Ed Markey in the Democratic Primary (we heard from Markey this week)We check in on the Lowell Data Center battle – with MassINC's Mary Wambui, one of ten Lowell residents joining in a lawsuit against the state regarding the center's planned expansion, and Jake Fortes, founder of the grassroots advocacy group Honest Future for Lowell.We speak with Natick journalist David Steiner, as he and his wife settle with eBay. 

JEFFERSON SNOW Author & Writers of the Future Winner – Biography Jefferson Snow writes stories in the genres of fantasy, horror, and science fiction and lives in Eagle Mountain, Utah with his wife and three children. In college, he majored in advertising at BYU but spent most of his time writing stand-up or sneaking into Brandon Sanderson's 318R lectures. Both pursuits honed his writing skills, despite his preference for stories with serious tones and softer magic systems. To Jefferson, the Fantasy genre is a grand cathedral, and he loves the gargoyles who guard its buttresses, anti-heroes like Logen Ninefingers and Tyrion Lannister. But as fun as those characters are, Jefferson believes we're not getting enough stories about the figures still inside the nave, the everyday parishioners, the Samwise Gamgees and Neville Longbottoms of the congregation. We still need stories about ordinary people doing the right thing, especially when it's difficult. Like much of Jefferson's work, “The Rune Witch” handles themes of loss, sacrifice, and temptation. Fascinated by the trope of the Faustian Bargain—like Fëanor and Melkor, Elric and Arioch, King Elias and Ineluki—Jefferson explores whether making a deal with the devil can ever be justified. “The Rune Witch” is Jefferson's first published work and it appears in L. Ron Hubbard Presents Writers of the Future Volume 41. He hopes you enjoy it. Find out more at: www.JeffersonSnow.com ROBERT F. LOWELL Author & Writers of the Future Winner – Biography Robert F. Lowell is a Writers of the Future winner and Baen Fantasy Adventure Award finalist. His complicated relationship with reality began when he was born between two movie studios in Burbank, California. In previous professional lives he researched and wrote about international relations, weapons of mass destruction, and terrorism. He taught at universities in the US, Costa Rica, and Switzerland and was kissed by a dancing horse in Siberia. Now he expands the universe of online learning as an instructional systems designer and writes about swords, sorcery, robots, aliens, and mystical beasts as a member of the Wulf Pack Writers. He, his wife Lady Lowell, and their dog Murphy live in the foothills of the Sierra Nevada. Find out more at: RobertFLowell.com United Public Radio & UFO Paranormal Radio www.uprntalkradio.com

We start the show by asking listeners about kids playing outside,  should you let your kid play unsupervised ?Mary Wambui and Jake Fortes of Lowell zoom into the show to discuss their efforts to stop the Markley data center expansion.Andrea Cabral discusses a new plan for ICE to use electric shock gloves as "less-than-lethal" weapons/tools of immigration enforcement.Congressman Jake Auchincloss discusses his re-election campaign for the 4th district.David Steiner and his attorney Chris Murphy discuss their legal fight for accountability against eBay executives who stalked David and his wife Ina.We end the show with our weekly AITA segment. Am I the a-hole for being chronically late?

Robert Gilman, a Lowell native and former U.S. Marine who spent more than four years in Russian custody, has been released, bringing an emotional end to a long ordeal for his family. Global Reach, an organization that advocates for Americans detained overseas, played a role in pushing for Gilman’s release as concerns about his health intensified. Dan spoke with Kieran Ramsey, Chief Investigative Officer of Global Reach, about this victory.See omnystudio.com/listener for privacy information.

Robert Gilman, a Lowell native and former U.S. Marine who spent more than four years in Russian custody, has been released, bringing an emotional end to a long ordeal for his family. Global Reach, an organization that advocates for Americans detained overseas, played a role in pushing for Gilman’s release as concerns about his health intensified.See omnystudio.com/listener for privacy information.

Swanny welcomes Lowell the Producer back to the program to discuss how expectations have changed around Clemson football and whether Chad Morris can help restore confidence in the Tigers' offense.Plus, they break down Clemson's daunting opener at LSU, the ACC race and South Carolina's challenging road ahead. Swanny also continues his 2026 predictions with Boston College and Illinois and examines ESPN's playoff outlook for Clemson and the Gamecocks.

A Lowell man held in a Russian prison for the last four years is now free.

Reach out to us ittasteslikeburningcast@gmail.com https://ittasteslikeburningcast.printify.me/products buy merch youtube@ItTastesLikeBurning Twitter.com/@ITLBcast https://www.reddit.com/u/ITBLCast/?utm_source=share&utm_medium=ios_app&utm_name=iossmf Or support us on patron patreon.com/ItTastesLikeBurning As always reach out with any questions, concerns, and comments until next time Thanks Jesse and Matt This podcast is hosted by ZenCast.fm

The hysteria concludes this week as we cover the remaining entries in Full Moon's best-selling movie ever, PREHYSTERIA! We're covering parts two and three of the tiny dino epic, as our cute, scaly buddies team up with a spoiled rich kid and a Scotland-obsessed little girl to wreak havoc and mend hearts. Author Lowell Greenblatt is back to chime in on this seminal Moonbeam series, and obviously there's lots of Freddy talk.  Hosted by Jarrod Hornbeck and Steve Guntli  Theme song by Kyle Hornbeck  Logo by Doug McCambridge  Email: puppetmasterscastlefreaks@gmail.com Instagram/Threads: @puppetmasters_castlefreaks  YouTube: @PuppetMastersCastleFreaks  Next week's episode: Josh Kirby... Time Warrior 3 and 4

(00:00 - 2:52) It's Thursday! Yesterday we talked about the best Ice Places in Masschusetts. A listener named Sara gave us a hack for LBF and her love of sprinkles and ice cream! (2:52 - 8:44) Today's DM Disaster is from Alan. He let his let his dogs out, but he forgot to put on their shock collars for the electric fence. In a rush he grabbed them from inside and went to rush to put them on his dogs, and he ran right through the electric fence, and his wife wanted him to do it again and now he's known as Sparky! That's Alan's DM Disaster! (8:44 - 15:34) 10 YEARS AGO THIS WAS WEIRD. Today? You'd be the weird one if you didn't do it; we're talking about sharing locations with Friends and LBF and Adam 12 have thoughts! (15:34 - 19:21) Today's Supah Smaht player was Steve from Lowell! Find out if they were Supah Smaht! (19:21 - 26:20) This company has created a shirt they claim you can wear every day for an entire month without washing it thanks to a fabric infused with metals like silver, copper, zinc, gold, and volcanic ash.(26:20 - 34:50) What's the oldest item you have laying around the house? We asked that because we think best buy dates are a giant waste! Plus, Dave Wedge swings in the studio to talk about his new book called Blizzard of Lies, it's about the Karen Reed case! All this and more on the ROR Morning Show with LBF & Adam 12 Podcast. Find more great podcasts at bPodStudios.com…The Place To Be For Podcast Discovery! Follow us on our socialsInstagram - @rormorningshowFacebook - The ROR Morning ShowSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, we welcome Lowell A. Meyer, cinematographer of Other Mommy, Tuner, Knock at the Cabin, Thunder Road, and the Apple TV+ series Servant. In our conversation, Lowell shares his early inspirations, his journey to becoming a feature film cinematographer, and about the making of Tuner and Other Mommy. He also breaks down the tools and techniques used on Tuner, offering behind-the-scenes insights into his creative process, as well as invaluable advice for the next generation of filmmakers.“The Making Of” is presented by AJA:Futureproofing with IP videoAs production workflows rapidly evolve, IP video is key to building more scalable, future-ready pipelines. To get up to speed on the IP fundamentals and gain insights into the various IP paths – like ST 2110, NDI, Dante AV, and SRT – download AJA's free IP video white paper today.A Solution Built Around Your WorkflowThe OWC Express 4M2 Ultra is available in a range of configurations to fit your workflow and budget. Choose from ready-to-run solutions with up to 32TB of high-performance NVMe storage, giving you the speed, capacity, and reliability needed for everything from multi-camera editing to demanding VFX and finishing workflows. Available now. Learn more hereCost Effective Sports Video Production GuideHosted by Key Code MediaThursday, August 6 | 1-2PM EDTMid-tier sports programs, college athletics departments, and K-12 media teams are being asked to produce more live content for traditional and emerging sports with less time, fewer staff, and tighter budgets. The challenge is not just finding the right gear. It is building a production workflow that looks professional, is easy to operate, and can be used consistently by staff, students, and volunteers without requiring a large technical team.In this Broadcast2Post Live Podcast, host Michael Kammes will be joined by Dennis Trapani, Associate Athletics Director for Broadcast and Video Production at the University of Wyoming. Together, they will explore how schools and organizations are creating broadcast-quality sports productions using cost-effective tools, practical system design, and streamlined workflows. Register hereZEISS Introduces Horizon Anamorphic: Full-Frame 2x Anamorphics with a New Lens Technology PlatformZEISS unveils the Horizon Anamorphic series, a new lineup of full-frame 2x anamorphic cinema lenses designed to deliver a distinctive cinematic look along with a new lens technology platform that answers the need for speed and precision demanded by contemporary production workflows.Spanning 35mm to 200mm across seven focal lengths, Horizon lenses combine their anamorphic look—incorporating a pronounced oval bokeh and stretched sense of spatial depth—with a lightweight, fully integrated motorized system that eliminates the need for external focus or iris motors. Read more hereElgato Prompter XLThe Elgato Prompter XL is a professional all-in-one teleprompter with a 15.6” removable display and a reading range of up to 15 feet. Featuring USB 3.2 connectivity and broad compatibility, it's ideal for live productions and content creation. Available now at Videoguys.com—call 800-323-2325 to learn more. Explore herePodcast Rewind:July 2026 - Ep. 144.Explore a Partnership with The Making Of:Reach 270,000 film production industry, broadcast professionals, and content creators reading this weekly newsletter. To learn more, please email mvalinsky@me.com Get full access to The Making Of at themakingof.substack.com/subscribe

Get the stories from today's show in THE STACK: https://justinbarclay.comJoin Justin in the MAHA revolution - http://HealthWithJustin.comProTech Heating and Cooling - http://ProTechGR.com New gear is here! Check out the latest in the Justin Store: https://justinbarclay.com/storeUp to 80% OFF! Use promo code JUSTIN http://MyPillow.com/JustinHeartland Home Mortgage http://HHMLending.com

For over a century, witnesses across Michigan and Wisconsin have described the same impossible figure – upright, wolf-headed, and aware of being watched. Some walked away with scars, others with a story they were afraid to tell for decades.EPISODE BLOG PAGE (includes sources): https://weirddarkness.com/dogmanREAD or DOWNLOAD the full transcript of this episode: https://weirddarkness.tiny.us/yckpcp8sFEATURED STORIES IN THIS EPISODE: Across Michigan and Wisconsin, encounters with an upright, wolf-headed figure span more than a century – from nineteenth-century logging camps to farm roads, deer stands, and suburban backyards. Witnesses describe a creature with human-like hands, glowing eyes, and an unsettling awareness of being watched, several of them staying silent about what they saw for years rather than risk being disbelieved. Hunters, drivers, and at least one retired sheriff's deputy all report the same detail – something that watches back, and in more than one account, something that speaks.CHAPTERS & TIME STAMPS (All Times Approximate)…00:00:00.000 = The Foreboding00:06:13.435 = Show Open00:08:57.805 = Part One00:18:33.555 = Part Two ***00:46:24.349 = Part Three ***01:00:02.576 = Part Four ***01:14:17.255 = Part Five ***01:27:28.423 = Part Six ***01:34:00.844 = Part Seven ***01:46:18.276 = Show Close01:47:34.794 = SONG: “Dogman of Silver Creek” by Dark Weirdness*** = Begins immediately after inserted ad breakLISTEN ON PODCAST APPS: Look for this podcast on Apple Podcasts, Spotify, iHeart Radio, Amazon Music, Pandora, TuneIn Radio, and other podcast apps. Get a list of free listening apps here: https://weirddarkness.com/wdapps*No AI Voices Are Used In The Narration Of This Podcast*SOURCES and RESOURCES:PHOTO: 1961 photo of Dogman (at Strangeology.com): https://weirddarkness.tiny.us/muajp2myBOOK: “The Beast of Bray Road: Tailing Wisconsin's Werewolf” by Linda Godfrey: https://amzn.to/43xNkroThe InBetween with Carol Ann (YouTube): https://www.youtube.com/@TheInBetweenTalesMichigansThumb.com: https://weirddarkness.tiny.us/2p98vf2cTetZoo.com: https://weirddarkness.tiny.us/4maj49wkHangar1Publishing.com: https://weirddarkness.tiny.us/yc29e65aMythFolks.com: https://weirddarkness.tiny.us/2p8wdd24DiscoveryUK.com: https://weirddarkness.tiny.us/2p88uxkjCreepyEncounters.com: https://weirddarkness.tiny.us/yckncywhListVerse.com: https://weirddarkness.tiny.us/mtybyttw(Over time links may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)WeirdDarkness® is a registered trademark. Copyright ©2026, Weird Darkness.Originally aired: March 22, 2025Weird Darkness devotes a full episode to the Dogman, the upright, wolf-headed cryptid reported across Michigan and Wisconsin for more than a century, moving through firsthand encounters, a claimed government cover-up, a witnessed fight between a Dogman and two Sasquatch, and a side-by-side comparison of Dogman folklore against traditional werewolf mythology.It opens with the creature's documented history, tracing the first alleged sighting to 1887, when a group of lumberjacks in Wexford County, Michigan described a being with the body of a man and the head of a dog during the state's great logging era. Similar reports followed in Allegan County in the 1950s and in Cross Village, Big Rapids, and Manistee County during the 1960s, while Elkhorn, Wisconsin became the center of activity in the early 1990s. The segment also catalogs standalone incidents tied to the legend: four horses found dead with their eyes open in 1917, seven-foot-four claw marks reported on a church door in 1957, a farmer found dead at his plow surrounded by oversized canine tracks in 1997, a 2006 backyard sighting in Shelby Township, Michigan, and an army veteran's account of a wolf-headed creature pacing his truck through Manistee National Forest. Odawa oral tradition describing a two-legged, wolf-like being near Lake Michigan predates all of it, and the episode raises the theory that Dogman sightings cluster in years ending in seven.From there, the episode turns to the case that gave the cryptid one of its best-known names: the Beast of Bray Road. Lori Endrizzi's fall 1989 sighting on Bray Road outside Elkhorn, Wisconsin, first documented by researcher Linda Godfrey in the 2003 book "The Beast of Bray Road," describes a kneeling, brownish-gray figure with long claws that turned to meet her headlights. Two years later, on Halloween night 1991, Doris Gipson struck the same stretch of road and was chased by a clawed, upright creature that clung to her car's rear bumper as she fled. Walworth County Animal Control officer Jon Fredrikson began compiling reports in a manila folder marked "Werewolf," which grew to include a December 1990 sighting by a child witness, clawed tracks near Potter's Road that led locals to nickname the creature "Pottsy," a 1990 roadside sighting by Mike Etten, and two separate encounters reported by high school student Tom Brichta. The same story traces the legend back further still, to 1936, when night watchman Mark Shackleman encountered a six-foot, black-furred creature scratching at an Indigenous burial ground outside Racine, Wisconsin's St. Coletta Convent, a creature that reportedly spoke a single word, "Gadarah," a name tied to the biblical account of Jesus casting out demons at Gadara.Next, the episode moves to a February 2012 case from rural Chenango, New York, where Brandon Close and his neighbor Gene pursued the source of a scream that had left Close's cattle huddled against an electric fence, only to be chased through the woods by an eight-foot creature that kept pace with their all-terrain vehicle at highway speed. The account continues with an unmarked black van and armed personnel arriving at Close's property the following day, ultimately removing the memory cards from his trail cameras.A separate account follows a Big Rapids, Michigan night watchman's 1961 encounter with a six-foot, grayish-brown creature outside his home near the Haymarsh State Game Area, an incident the witness says he photographed under a streetlight.The episode then recounts an anonymous 1992 camping trip in which the witness watched a black, long-armed creature stalk him along a dry creek bed before a Sasquatch intervened, leading to a violent fight that ended when a second, larger Sasquatch killed the Dogman and dragged its body into the woods.Hunting-season encounters follow, beginning with Peter's October 16, 2012 experience in Pontiac, Illinois, where a wolf-sized creature bit his arm during a chase near his family's deer stand before inexplicably retreating. A separate witness describes two Dogman sightings twenty years apart, the first in Alto, Michigan in 1988 and the second in nearby Lowell, Michigan in 2008, when a blue-eyed creature that had followed him since childhood appeared on his roof and spoke a single word, "Don't."Another segment follows Derek, an Ohio mycology enthusiast, to a 2016 night-fishing trip along the Mahoning River in Niles, Trumbull County, Ohio, where he encountered a crouching creature near an old train trestle that stood to meet his gaze before retreating into the brush.A Fitchburg, Wisconsin case follows college student Matt, who in 2006 heard a scream during a minor earthquake and glimpsed a wolf-headed, humanoid figure in a passing car's headlights. A separate story follows a man identified as Mark to his late grandfather's cabin in Sierra County, Ohio, where he discovered why his grandfather had banned the family from the property for years, after an unseen creature chased him back to the cabin and reappeared at the tree line with two others.A Reed City, Michigan hunting party's four-day encounter in November 2007 follows, in which Sam and his companions repeatedly crossed paths with a yellow-eyed, hunchbacked creature that left claw marks on a rifle stock and a cabin door. The episode then follows Gabe to a rural Montana property, where lightning revealed a broad-shouldered, upright creature in his yard, followed weeks later by a closer encounter near his satellite dish that prompted him to move.Retired law enforcement officer Laura Love's account follows, describing a nearly seven-and-a-half-foot, dark-furred creature that struck a truck near the West Weber Road overpass on U.S. Highway 31 before vanishing into roadside brush. A separate story follows Janet, who for years believed she had seen a deformed bear near Danbury, Wisconsin's Long Lake before her son's own Dogman sighting prompted her to reconsider what she and her sister-in-law Amy witnessed on Rustic Road.A November 7, 2016 account from Duluth, Minnesota follows, describing an anonymous graphic designer's sighting of a hunched, wolf-faced cr