Podcasts about mcadam

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.

He joins Kathryn to talk about his brewing journey and to let us know just how much beer he gets to taste on a shift.

Hear more about these two pillars of the Catholic Church from Claudia McAdam.More information can be found on her webpage.Subscribe to the Morning Blend on your favorite podcast platform.Find this show on the free Hail Mary Media App, along with a radio live-stream, prayers, news, and more.Look through past episodes or support this podcast.The Morning Blend is a production of Mater Dei Radio in Portland, Oregon.

The pieces fall into place for the final stages of the invasion of Mauritius - we find out how that's all going to play out! Plus resolution for Stephen, a boiled baby for Tom Pullings, grief and anger for McAdam, un-earned glory for Admiral Bertie, and a delightful piece of news from home for Jack Aubrey.

The Podcast: The Outdated Wrestling Hour With Bob Smith podcast – now in its fourth year – offers veteran fans (as well as curious younger ones) a chance to reminisce about classic mat action from years gone by. The show is hosted by Bob Smith, the former managing editor of Pro Wrestling Illustrated magazine who also enjoyed a long history with other famous titles. Co-host Joe Puccio (GenerationXWire.com) offers a younger perspective on old wrestling before the duo ushers in guests from throughout the professional mat landscape.The Topic: We welcome back a podcaster who may be the most prolific in the nostalgia segment: John McAdam has been the host of Stick To Wrestling for years, and his long-running show remains one of the most popular in the genre. In this fourth edition of The Outdated Wrestling Hour's “Favorite Things” episodes, the mat expert McAdam answers our questions about his own personal best moments watching wrestling – the stars, the matches, even the arenas. It's nothing but good vibes and fond memories on the new Outdated Wrestling Hour podcast – available wherever you bet your shows!Buzzsprout - Let's get your podcast launched!Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showContact us at outdatedwrestling@gmail.com!

Sean McAdam of MassLive joins the show to break down the latest stories around the Red Sox. McAdam believes the Sox pitching depth is in a great spot, and the lineup could be even better than last year.

Arcand is joined by MassLive's Sean McAdam to discuss the latest surrounding the Red Sox. McAdam thinks the Red Sox rotation could be one of the best in baseball, and the lineup could be better than last year. ICE will reportedly join TSA agents during the government shutdown, but not in New England.

With less than two weeks before the start of spring training, co-hosts Chris Cotillo and Sean McAdam take a crack at projecting the Red Sox' Opening Day roster. Cotillo and McAdam discuss Eugenio Suárez as a potential fit for the Sox while also discussing the other moves Craig Breslow could make to finish the offseason. Learn more about your ad choices. Visit megaphone.fm/adchoices

  In this #podcast episode, I interview Kathryn McAdam. I ask Kathryn about her journey from homelessness to restoration. I also ask Kathryn about the connection between faith, health, and mental wellness. I also ask Kathryn about her book The Blessed Body.   Show Notes and Resources.   Want to be a guest on Inspired Stewardship? Send Scott Maderer a message on PodMatch, here: https://www.podmatch.com/hostdetailpreview/scottmaderer

On this episode, MassLive's two Baseball Hall of Fame voters, Sean McAdam and Chris Smith, reveal their 2026 ballots before the results are announced in Cooperstown on Tuesday. McAdam and Smith discuss who got their votes, who didn't and where Dustin Pedroia stands as he continues his journey on the ballot. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the AI Agent & Copilot Podcast, host Giuseppe Ianni, Cloud Wars Analyst and thought leader, sits down with Bob McAdam, Head of Strategic Partnerships at Tasklet and a Programming Committee member for the 2026 AI Agent & Copilot Summit NA. Together, they explore how AI has evolved from hype to hands-on reality, what attendees can expect at this year's summit, and why practical, ERP-focused use cases are now top of mind for partners and end users alike.Key TakeawaysFrom Talk to Tangible Value: AI conversations have evolved rapidly over the past year, and McAdam emphasizes that organizations are now demanding proof of value. Businesses no longer want abstract discussions about Copilots—they want to see how agents improve ERP workflows, automate repetitive tasks, and drive measurable efficiency. This shift reflects a broader maturity in the market, where curiosity has turned into expectation.Session Selection Beyond the Buzzwords: As a Programming Committee member, McAdam looks for sessions that go deeper than hype. He values speakers who bring specificity—manufacturing, distribution, documentation, or customer service—rather than generic AI narratives. Even “unsexy” topics like process documentation earn a place because of their real-world importance.AI as a Career Accelerator: The conversation highlights that AI adoption isn't just about company transformation—it's also about individual growth. Many attendees come to the summit to build personal competitive advantage, learning skills and mental models they can apply immediately. Experimenting with AI in personal workflows often becomes the gateway to professional adoption. Visit Cloud Wars for more.

Star of SIZZLETOWN! 100 episodes. Get onto it - sizzletownpodcast.com They're off to a gig at the McAdam's Winebar in Croydon. With a SURPISE CALLER! Check out Somehow UN-Related wherever you're listening or go to Nearly.com.au About The Debrief Original theme music by Kit Warhurst. Hear the making of The Debrief theme song. Artwork created by Stacy Gougoulis. Co-produced by Nearly Media Looking for another podcast? The Junkees with Dave O'Neil & Kitty Flanagan - The sweet and salty roundabout! Junk food abounds!See omnystudio.com/listener for privacy information.

Princess Katerina comes looking for help with a horrible curse that turns her into a witch at night. The witch wants help too.CreditsArnie: Arnie NiekampChunt: Adal RifaiUsidore: Matt YoungPrincess Katarina: Josephine McAdamMysterious Man: Tim SniffenProducers: Arnie Niekamp, Matt Young, and Adal RifaiAssociate Producer: Anna HavermannPost-Production Coordination: Garrett SchultzEditor: Red KeenerMagic Tavern Logo: Allard LabanTheme Music: Andy PolandListen to Arnie's Christmas music podcast No Skip Christmas!New T-Shirts in the Merch Store!You can support the show directly and receive bonus episodes and rewards by joining our Patreon at https://www.patreon.com/magictavern for only $5 per month. Want to gift someone a Magic Tavern Patreon membership? You can right now at this link!Follow us on Bsky, Instagram and YouTube!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Rob is joined by Dickie and Joe as they look at Rochdale going top, Christian James gives his thoughts on Boston's unlucky defeat as McAdam steps up and worrying times for Brackley? Plus a rare slip up for South Shields, Rees Lightening, Gulls peck Eastbourne and a much needed win for Chippenham. Produced by Leo Audio Productions Learn more about your ad choices. Visit podcastchoices.com/adchoices

Writer, scholar, and academic organizer E.F. McAdam joins to talk about human evolution & extinction, AI, pseudo-science, and much more in Kawakami’s very strange and really quite funny far-future novel. Podcasts, reviews, interviews, essays, and more at the Ancillary Review of Books. Please consider supporting ARB’s Patreon! Guest: Eleanor McAdam Title: Under The Eye Of The Big Bird by Hiromi Kawakami, translated by Asa Yoneda Host: Jake Casella Brookins Music by Giselle Gabrielle Garcia Artwork by Rob Patterson Opening poem by Bhartṛhari, translated by John Brough Transcribers: Kate Dollarhyde and John WM Thompson References: Current Research in Science Fiction Vanishing World by Sayaka Murata, translated by Ginny Tapley Takemori Annie Bot by Sierra Greer Emily Tesh’s The Incandescent and Some Desperate Glory Niall Harrison’s Locus review of Under The Eye Of The Big Bird Adrian Tchaikovsky's Service Model J.G. Ballard Stephen Baxter's Evolution William Hope Hogdson's The Night Land X-Men Isaac Asimov's Foundation Margaret Atwood MaddAddam Trilogy Kurt Vonnegut Jr.’s Cat's Cradle Erika Swyler's We Lived On The Horizon Kazuo Ishiguro’s Klara and the Sun & Never Let Me Go Adrian Tchaikovsky's Children of Time          Text  - HTML . com Convert your visual text documents to HTML code instantly. Edit and clean your markup with a couple of clicks. How to use the Text to HTML converter? Paste a visual document to the left to convert it to HTML Paste your HTML code it the right to preview the document Press the Clean button to execute the checked HTML cleaning options. Erase the page to get started.    

Podcasts, reviews, interviews, essays, and more at the Ancillary Review of Books.Please consider supporting ARB's Patreon!Guest: Eleanor McAdamTitle: Under The Eye Of The Big Bird by Hiromi Kawakami, translated by Asa YonedaHost: Jake Casella BrookinsMusic by Giselle Gabrielle GarciaArtwork by Rob PattersonOpening poem by Bhartṛhari, translated by John BroughTranscribers: Kate Dollarhyde and John WM ThompsonReferences:Current Research in Science FictionVanishing World by Sayaka Murata, translated by Ginny Tapley TakemoriAnnie Bot by Sierra GreerEmily Tesh's The Incandescent and Some Desperate GloryNiall Harrison's Locus review of Under The Eye Of The Big BirdAdrian Tchaikovsky's Service ModelJ.G. BallardStephen Baxter's EvolutionWilliam Hope Hogdson's The Night LandX-MenIsaac Asimov's FoundationMargaret Atwood MaddAddam TrilogyKurt Vonnegut Jr.'s Cat's CradleErika Swyler's We Lived On The HorizonKazuo Ishiguro's Klara and the Sun & Never Let Me GoAdrian Tchaikovsky's Children of Time

This episode covers the final developments in Pat McAdam's disappearance case. It details the 2004 breakthrough leading to Thomas Ross Young's arrest, subsequent legal challenges, and the ultimate decision not to indict him. It explores the impact of the Angus Sinclair trial on historical cases and discusses the frustrations of Pat's family. It also examines the controversy surrounding psychic involvement in the case and questions the ethics of labelling Pat McAdam's disappearance as a "classic" psychic case. It concludes by reflecting on the case's unresolved nature, 58 years after Pat's disappearance.SOURCES:Please see our website for all source material and photos at https://scottishmurders.com/episodes/patmcadam/British Newspaper Archives Affiliate LinkSUPPORT US:Patreon - patreon.com/scottishmurdersKo-fi - ko-fi.com/scottishmurdersMerch - teepublic.com/user/scottishmurdersWebsite - scottishmurders.comTwitter - @scottishmurdersInstagram - @scottishmurderspodcastFacebook - facebook.com/scottishmurdursYouTube - @ScottishMurdersLinktree - linktr.ee/scottishmurdersCREDITS:Scottish Murders is a production of CluarantonnHosted by Dawn YoungResearched, Written and Edited by Dawn YoungProduction Company Name by Granny RobertsonMUSIC:ES_Tudor - Bonnie Grace - epidemicsound

This episode of Scottish Murders explores the ongoing investigation into Pat McAdam's 1967 disappearance. Host Dawn recounts journalist Frank Ryan's efforts to keep the case alive, including his collaboration with Dutch clairvoyant Gerard Croiset. Despite Gerard's detailed visions, no concrete evidence was found. The episode also covers the discovery of an unidentified woman's body near where Pat was last seen, and touches on the broader issue of missing persons in Scotland. Dawn examines the impact of psychic detectives on cold cases and the public's perception of clairvoyance. The narrative sets up for the next episode, which will introduce a potential suspect in Pat's case.SOURCES:Please see our website for all source material and photos at https://scottishmurders.com/episodes/patmcadam/British Newspaper Archives Affiliate LinkSUPPORT US:Patreon - patreon.com/scottishmurdersKo-fi - ko-fi.com/scottishmurdersMerch - teepublic.com/user/scottishmurdersWebsite - scottishmurders.comTwitter - @scottishmurdersInstagram - @scottishmurderspodcastFacebook - facebook.com/scottishmurdursYouTube - @ScottishMurdersLinktree - linktr.ee/scottishmurdersCREDITS:Scottish Murders is a production of CluarantonnHosted by Dawn YoungResearched, Written and Edited by Dawn YoungProduction Company Name by Granny RobertsonMUSIC:ES_Tudor - Bonnie Grace - epidemicsound

Co-hosts Chris Cotillo and Sean McAdam discuss the latest in the world of the Red Sox heading into a West Coast trip that will take the club to Phoenix and Sacramento. Cotillo and McAdam estimate Roman Anthony's timetable to return, discuss Jordan Hicks' struggles, Kristian Campbell continually being passed over and much more. Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode explores the disappearance of 17-year-old Pat McAdam in February 1967. It recounts Pat's last known movements, from a night out in Glasgow to hitchhiking home with a friend. The case takes a dark turn when Pat vanishes after being dropped off by a lorry driver. The episode examines the extensive police investigation, including nationwide searches and public appeals. It also introduces the lorry driver who was the last person to see Pat alive, and his criminal history. The host promises more twists in future episodes, including involvement of a clairvoyant and potential breakthroughs in the case.This is a video episode and you can watch on YouTube at https://youtu.be/oHWlU89sQ0UCrimeCon Manchester is on Saturday 27 February - Scottish Murders will be there! Get your tickets now! Don't forget to use the code 'SCOTTISH' at the checkout to receive a discount. See you there!CrimeCon UK | The Ultimate True Crime Event | ManchesterSOURCES:Please see our website for all source material and photos at https://scottishmurders.com/episodes/patmcadam/British Newspaper Archives Affiliate LinkSUPPORT US:Patreon - patreon.com/scottishmurdersKo-fi - ko-fi.com/scottishmurdersMerch - teepublic.com/user/scottishmurdersWebsite - scottishmurders.comTwitter - @scottishmurdersInstagram - @scottishmurderspodcastFacebook - facebook.com/scottishmurdursYouTube - @ScottishMurdersLinktree - linktr.ee/scottishmurdersCREDITS:Scottish Murders is a production of CluarantonnHosted by Dawn YoungResearched, Written and Edited by Dawn YoungProduction Company Name by Granny RobertsonMUSIC:ES_Tudor - Bonnie Grace - epidemicsound

SummaryTexas moves closer to primacy for carbon capture and sequestration projects as legal frameworks evolve and landmen navigate an increasingly complex regulatory landscape. Our expert guests break down the latest developments in CCS permitting, pore space ownership, and the practical challenges of putting these massive projects together in today's market.What You'll LearnCurrent status of Texas primacy for CCS well permitting and expected timelineHow pore space ownership varies between Texas and LouisianaWhy large contiguous properties remain essential for CCS project successThe role of unitization and integration in future CCS developmentPipeline challenges that could make or break project economicsLegal considerations around plume migration and potential tort issuesTime Stamps01:00 - Episode & Guest Introductions03:00 - Primacy in Texas06:00 - Primacy in Other States13:00 - Challenges and Considerations in Louisiana17:00 - CCS in West Virginia and Other States21:00 - Ownership & Legal Issues in Texas31:00 - Understanding Carbon Capture Injection Projects33:00 - Challenges in Securing Agreements for Carbon Capture34:00 - Cost and Timeline of Carbon Capture Projects35:00 - Legal Considerations in Carbon Capture39:00 - Unitization and Integration in Carbon Capture47:00 - Pipeline Challenges in Carbon CaptureSnippets from the Episode"The state agency that's been responsible for administering the rules for oil and gas development and has this huge store of knowledge is now going to administer the rules for carbon capture, which is something of an inverse process to oil and gas development."— Jerry Walrath"One of the biggest things that I find day to day that is consuming my time is you have a lack of regulation, and you have a lot of first-of-kind commercial arrangements because you're joining groups together that have not been joined before into what looks kind of like a traditional oil and gas transaction."— KC McAdam"In Louisiana, you're gonna flip that on its head - the surface owner owns the pore space, but there may be oil and gas activity, you're gonna want to make sure that you're covering yourself from the other angle."— KC McAdam"These projects are expensive. They take a very long time to build. You're talking about basically the same sort of cost and timeline to put together a large pipeline or an offshore platform."— KC McAdam"Every mile of pipe you add, you're adding a huge amount in cost just to build the pipe. And then you're also having to look at getting the agreements in place to actually build that pipe."— KC McAdamKey TakeawaysTexas Primacy Progress - MOA Signed, But Timeline UncertainPore Space Ownership Varies Significantly by StateLarge Contiguous Properties Remain Essential for Early ProjectsUnitization Rules Needed for Future CCS DevelopmentPipeline Economics Can Make or Break Project ViabilityLegal Frameworks Still Evolving Around Plume MigrationFirst-of-Kind Commercial Arrangements Create New ChallengesHelp us improve our podcast! Share your thoughts in our quick survey.ResourcesNeed Help With A Project? ⁠⁠⁠⁠Meet With Dudley⁠⁠⁠⁠Need Help with Staffing? Connect with ⁠⁠⁠⁠Dudley Staffing ⁠⁠⁠⁠Streamline Your Title Process with ⁠⁠⁠⁠Dudley Select Title⁠⁠⁠⁠Watch On ⁠⁠⁠⁠Youtube⁠⁠⁠⁠Follow Dudley Land Co. On⁠⁠⁠⁠ LinkedIn⁠⁠⁠⁠Have Questions? ⁠⁠⁠⁠Email us⁠⁠⁠⁠More from Our GuestJerry Walrath - Partner, KMW Energy LawWebsite: kmwenergylaw.comConnect with Jerry Walrath on LinkedInKC McAdam - CCS Legal and Commercial SpecialistSpecializes in hard-to-abate industries and CCS project developmentConnect with KC McAdam on LinkedInMore from Our HostsConnect with ⁠⁠⁠⁠Brent⁠⁠⁠⁠ on LinkedInConnect with ⁠⁠⁠⁠Khalil ⁠⁠⁠⁠on LinkedIn

Co-hosts Chris Cotillo and Sean McAdam are both in Minneapolis ahead of Thursday's MLB trade deadline. The writers recap a brutal, rain-soaked Red Sox loss from Monday night and discuss how it speaks to exactly what Craig Breslow should do before Thursday. Cotillo and McAdam preview the impending deadline and discuss what they expect the Red Sox to do. Learn more about your ad choices. Visit megaphone.fm/adchoices

Co-hosts Chris Cotillo and Sean McAdam discuss a reeling Red Sox team that found different ways to lose on the West Coast and returns home having lost five in a row. The writers talk about the importance of the upcoming pre-All-Star break stretch and what those games will mean when it comes time for Craig Breslow to make a buy/sell decision. Cotillo and McAdam also get into Kutter Crawford's season-ending wrist injury, Jarren Duran's struggles and more. Learn more about your ad choices. Visit megaphone.fm/adchoices

Co-hosts Chris Cotillo and Sean McAdam are on different coasts but still find a way to get together to talk about a sloppy three-game stretch from the Red Sox. The writers discuss Walker Buehler's future in the rotation, plus hypothesize on what might be done to fix Boston's ongoing defensive issues. Cotillo and McAdam also talk about what the Sox might do at the trade deadline on July 31 and the chances of Craig Breslow moving on from key players like Alex Bregman and Jarren Duran. Learn more about your ad choices. Visit megaphone.fm/adchoices

With rumours continuing to surface regarding another potential Bournemouth departure in Illia Zabarnyi, Sky Sports' Mark McAdam joins Sam and Tom at the New Forest Pantry in Ringwood to mull over the latest goings on at Dean Court... We discuss the prolonged Milos Kerkez deal, the conjecture about Zabs's potential move to PSG, and the concern at having to replace 4 of our 5 back-line - plus we ponder whether Andoni Iraola has the hunger to continually oversee these season-on-season transitions. Visit the New Forest pantry on Facebook at: https://www.facebook.com/thenewforestpantry/ or visit their website at https://www.thenewforestpantry.com/ - why not pop in for a coffee and sit in their sun-trap of a courtyard. They're located at: 18-20 High St, Ringwood, BH24 1AF. Thank you to everyone who has contributed to all our platforms. If you're enjoying this show, you can help support us by buying us a coffee at ⁠https://www.afcbpodcast.com/coffee⁠ – we really appreciate it! Learn more about your ad choices. Visit podcastchoices.com/adchoices

Co-hosts Chris Cotillo and Sean McAdam are both in San Francisco as the Red Sox get set to take on Rafael Devers and the Giants this weekend. The writers discuss Devers' introductory press conference in the Bay Area, the fallout from the trade that sent him west and the details that have emerged (including Alex Cora's role). Cotillo and McAdam also talk about Kristian Campbell's demotion to Triple-A and what the Red Sox lineup might look like without him. Learn more about your ad choices. Visit megaphone.fm/adchoices

Co-hosts Chris Cotillo and Sean McAdam break down the shocking, groundbreaking trade that sent Rafael Devers from the Red Sox to the Giants on Sunday night. The writers discuss how the sides got to this point, plus the ramifications for Boston in 2025 and beyond. Cotillo and McAdam also analyze Craig Breslow putting his legacy on the line, how the Sox might spend the money saved in the Devers deal and much, much more. Learn more about your ad choices. Visit megaphone.fm/adchoices

With engaging illustrations and beautiful writing, Through Living Waters: An Origin Story About Baptism invites little Catholics into a story about the origins and power of Baptism. Author Claudia McAdam tells you more.Purchase a copy from Ascension Press.Subscribe to the Morning Blend on your favorite podcast platform.Find this show on the free Hail Mary Media App, along with a radio live-stream, prayers, news, and more.Look through past episodes or support this podcast.The Morning Blend is a production of Mater Dei Radio in Portland, Oregon.

Co-hosts Chris Cotillo and Sean McAdam react to the big news that Roman Anthony has been promoted to the Red Sox with Wilyer Abreu going on the injured list. The hosts discuss expectations for Anthony, plus why Alex Cora tends to pinch-hit for his highly-rated rookies against left-handed pitching. Cotillo and McAdam also dig into the injury bug that has decimated the roster and analyze why this Red Sox team is incapable of keeping any momentum. Learn more about your ad choices. Visit megaphone.fm/adchoices

Co-hosts Chris Cotillo and Sean McAdam are both back in Boston to react to the latest developments in the world of the Red Sox. Cotillo and McAdam discuss their takeaway's from Craig Breslow's media availability Saturday, plus cover the latest rumors about a potential trade that would send Jarren Duran to San Diego. The writers also circle back on Roman Anthony and talk about why the Red Sox ended the Kristian Campbell-to-first-base experiment. Learn more about your ad choices. Visit megaphone.fm/adchoices

Co-hosts Chris Cotillo and Sean McAdam are back for their second pod of the week, and there's a lot to cover considering how poorly the Red Sox played during a three-game sweep at the hands of the Brewers. McAdam discusses the scene inside the clubhouse there, with Cotillo floating a theory about how the club has looked dead in the water ever since the Rafael Devers/first base drama began. The writers also think out loud about potential shakeups that could come soon. Learn more about your ad choices. Visit megaphone.fm/adchoices

Co-hosts Chris Cotillo and Sean McAdam are back after a very busy long weekend for the Red Sox, who called up top prospect Marcelo Mayer to replace Alex Bregman, who is out for the foreseeable future. The writers discuss all the implications for the scuffling Red Sox and when we could see Roman Anthony join Mayer in the big leagues. Also, Cotillo and McAdam talk about potential drastic moves involving Kristian Campbell and Trevor Story and potential sparks for a middling Boston club. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, co-hosts Chris Cotillo and Sean McAdam break down a mediocre homestand for the Red Sox, who sit 7-7 through the first two weeks of the season. Cotillo and McAdam break down the offensive struggles as well as good outing from Tanner Houck and Walker Buehler before getting into the two big transactions of the week (the trade of Quinn Priester and the signing of Yasmani Grandal). Learn more about your ad choices. Visit megaphone.fm/adchoices

Co-hosts Chris Cotillo and Sean McAdam are on the road again, this time in Texas. The writers recap the Red Sox' first four games of 2025, touching on the lack of timely offense, plus Rafael Devers' strikeout issues. To wrap, Cotillo and McAdam praise Kristian Campbell for a stellar first few days in the majors — and explain why he's close to a contract extension already. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, co-hosts Chris Cotillo and Sean McAdam react to the latest Red Sox roster moves, including the news Vaughn Grissom has been sent down to Triple-A. The writers predict who will travel to Texas with Boston on the 26-man group. Cotillo and McAdam also handicap the chances of a Garrett Crochet extension before Opening Day and talk about who else might get a deal before Thursday. Learn more about your ad choices. Visit megaphone.fm/adchoices

The gang are joined by Olga's boyfriend Ewan "The Voice" McAdam and fan favourite Ed Campbell to talk about musical improv and a story about a rat infested apartment that shook Riley to his core. Get the Patron-exclusive second part of this episode (over 35 mins of bonus content) on Patreon here: https://www.patreon.com/posts/124058402 Check out Ewan on Instagram here - https://www.instagram.com/ewanmcadam/ Check out Ed on Instagram here - https://www.instagram.com/edcmpbl/ Follow us online to get Glue-related clips and updates: TikTok: https://www.tiktok.com/@glue.factory.pod Instagram: https://www.instagram.com/gluefactorypodcast BSky: https://bsky.app/profile/gluefactorypod.bsky.social Twitter: https://twitter.com/gluepodcast

Co-hosts Chris Cotillo and Sean McAdam return with a fresh podcast covering the latest storylines from Red Sox camp in Fort Myers. Cotillo and McAdam discuss the second base competition, including the early spring struggles of Kristian Campbell, and reveal why the Rafael Devers/third base storyline isn't going away anytime soon. The writers also talk about Boston's top depth options in the rotation and identify candidates (other than Garrett Crochet) to receive contract extensions this winter. Learn more about your ad choices. Visit megaphone.fm/adchoices

Fresh off three weeks in Fort Myers, co-hosts Chris Cotillo and Sean McAdam wrap up what they learned from a long stint at Fenway South. The writers discuss the latest on the Rafael Devers' situation and other roster machinations plus provide updates on the many injuries the Red Sox are dealing with at this point in the camp. To wrap up, Cotillo and McAdam talk about the "Big Three" of Roman Anthony, Kristian Campbell and Marcelo Mayer and potential promotion timelines for each. Learn more about your ad choices. Visit megaphone.fm/adchoices

From rule-following teenager to mischievous Gracelander, to volunteer leadership in the church and a career in technology and business sales, Shannon McAdam (she/her) has spent her life journeying with God in community. Now, Shannon has accepted a call to the Council of Twelve. Join host Robin Linkhart as she sits down with Shannon to get to know her better and to explore her faith journey. A strong advocate for women and First Nation peoples, Shannon brings a deep passion and care for the needs of others, and the need to create a bigger circle of inclusion.Hear more from Shannon:766 | What's Brewing | Combined Reunions in the Northwest pt. I769 | What's Brewing | Combined Reunions in the Northwest pt. IIDownload TranscriptThanks for listening to Project Zion Podcast!Follow us on Facebook and Instagram!Intro and Outro music used with permission: “For Everyone Born,” Community of Christ Sings #285. Music © 2006 Brian Mann, admin. General Board of Global Ministries t/a GBGMusik, 458 Ponce de Leon Avenue, Atlanta, GA 30308. copyright@umcmission.org “The Trees of the Field,” Community of Christ Sings # 645, Music © 1975 Stuart Dauerman, Lillenas Publishing Company (admin. Music Services). All music for this episode was performed by Dr. Jan Kraybill, and produced by Chad Godfrey. NOTE: The series that make up the Project Zion Podcast explore the unique spiritual and theological gifts Community of Christ offers for today's world. Although Project Zion Podcast is a Ministry of Community of Christ. The views and opinions expressed in this episode are those speaking and do not necessarily reflect the official policy or position of Community of Christ.

On this episode, co-hosts Chris Cotillo and Sean McAdam unpack a new batch of quotes from Red Sox president/CEO Sam Kennedy, who talked about the state of his team on Truck Day at Fenway Park. Cotillo and McAdam talk about where Boston's messaging went awry this winter, plus circle back on why John Henry's refusal to talk to media makes it tough for Kennedy to represent the team. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, MassLive's two Baseball Hall of Fame voters, Sean McAdam and Chris Smith, reveal their 2025 ballots and debate the differences between them. McAdam and Smith discuss who they did and didn't vote for, the Dustin Pedroia debate and which candidates they may re-consider in the future. The 2025 Hall of Fame class will be revealed on January 21. Learn more about your ad choices. Visit megaphone.fm/adchoices

To open 2025, it's prediction time for co-hosts Chris Cotillo and Sean McAdam. On this episode, the writers debate Cotillo's 25 predictions for the 2025 Red Sox. Cotillo and McAdam discuss the ongoing Alex Bregman pursuit, Masataka Yoshida's future, timelines for top prospect promotions and whether or not the Sox will return to the postseason in 2025. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ready to recalibrate your mission? In this episode, astrologers Melissa LaFara and Yolanda McAdam join forces to break down the upcoming Mars retrograde cycle in Leo and Cancer that closes out 2024 and ushers us into the immense changes that 2025 will bring. Before we can ride off into the sunset of our shifting realities, we must reconfigure our actions and ambitions. This is the rarest of all retrogrades, so tune in to learn how to work with energy and take advantage of the significant transits to come! Watch on YouTube: https://youtu.be/X1Qbl1_fNPE Want to go deeper into how the astrology overlays in your chart? Book a consultation here! https://www.energeticprinciples.com/ IG @energeticprinciples Tarot of Her: https://www.tarotofher.com/ IG @tarotofher To sign up for my “The Heavenly Wind” monthly newsletters: http://eepurl.com/dytZHf Visit Yolanda: https://www.yolanda-mcadam.com/ https://yolandabella.substack.com/ IG @yolandaastrology

Thanks for joining Jill Baughan today on Finding Joy ...No Matter What.   Make a Joy Box for Someone You Care About: https://jillbaughan.com/joy-box/   McAdam, Anna. “Change How You Think to Change How You Feel: Neuroplasticity Fundamentals.” Therapy in a Nutshell, July 1, 2021. https://therapyinanutshell.com/skill-16-change-how-you-think-to-change-how-you-feel-neuroplasticity-fundamentals/   Connect with Jill: Facebook ~ Instagram ~ Twitter ~  Website

In this episode Dusty interviews Emma McAdam, the creator behind the successful YouTube channel Therapy in a Nutshell. Emma shares how she started her channel, her strategies for success, and how she monetizes her content. Discover how Emma produces high-quality educational videos while balancing her busy life, the role of AI in her content creation, and tips on managing burnout as a creator. Don't miss out on actionable insights and the inspiring story of a therapist making mental health education accessible to millions. About Emma Emma McAdam is a Licensed Marriage and Family Therapist. She saw the immense need for greater accessibility to mental health education and skills and started making videos for YouTube in 2017. In some way beyond her comprehension, over 1.7 Million people follow her YouTube channel, Therapy in a Nutshell. Elevate Your YouTube Success with TubeBuddy: Experience the Power of TubeBuddy with a Free 30-Day Trial. YouTube Creator Community Discord: Private Creator Discord, Mastermind Call, and Extra Podcast Episodes. Entrepreneurs Minute is my weekly newsletter. It's A behind-the-scenes look at what I'm thinking and experiencing each week, and I share anything I find valuable for creators. One-On-One YouTube Coaching With Dusty Delights AI - Check out and pre-register to be notified when this new amazing monetization method becomes available. Turn your videos into e-books in minutes! Connect With Leo Here: Website /// YouTube Channel /// Free grounding skills course Dusty's Recommended YouTube Gear:

Dan spoke to Sky Sports reporter, journalist and Bournemouth fan Mark McAdam to get the perspective from the south coast ahead of Liverpool taking on the Cherries at Anfield. Support this show http://supporter.acast.com/redmentv. Hosted on Acast. See acast.com/privacy for more information.

EPISODE SUMMARY Our vampires venture into the desert to take on the Hell's Angels, a group of Tieflings who unknowingly carry a great relic with them. Can they retrieve it and when they do, will they return it to She or keep it for themselves? SHOW NOTES Get a copy of Bloodbeam Badlands Save the Kickstarter for HUNT(er/ed) Check out the launch of Skyjacks: Courier's Call Season 3! Help Tracy's Family replace their car One Shot News & Updates Follow the cast here! Dillin Apelyan as the GM Joséphine McAdam as Doc Laura Tutu as Jude Wyatt Viditya Voleti as Bang ----------------------------------------------------- Find and call your representatives and be heard (US) Find and call your members of Parliament and be heard (Canada) Find and call your members of Parliament and be heard (UK) ---------------------------------------------------- Music Used in This Episode Salt in the Wound, Ender Feel My Pulse, Rhythm Scott Twisted, A Wizard's World, Wicked Cinema Savage, Thorr Glitter Bomb, Ghost Beatz Editing and sound design by Tracy Barnett Find more of Tracy's work here! Learn more about your ad choices. Visit megaphone.fm/adchoices

EPISODE SUMMARY The Vampires explore the Dark Carnival, and are advised that the powerful witch who is responsible for this place may have news for them if they come prepared.  SHOW NOTES Get a copy of Bloodbeam Badlands Save the Kickstarter for HUNT(er/ed) Help Tracy's Family replace their car One Shot News & Updates Follow the cast here! Dillin Apelyan as the GM Joséphine McAdam as Doc Laura Tutu as Jude Wyatt Viditya Voleti as Bang ----------------------------------------------------- Find and call your representatives and be heard (US) Find and call your members of Parliament and be heard (Canada) Find and call your members of Parliament and be heard (UK) ---------------------------------------------------- Music Used in This Episode Salt in the Wound, Ender Wicked Curiosities, Dresden, the Flamingo Karpatia, St. Nullum Spooky Beach Party, SPARKZ Twisted, A Wizard's World, Wicked Cinema A Day in the Park, Liberty Horseshoe Bend, Heartland Nights We Ascend, Michael Briguglio Editing and sound design by Tracy Barnett Find more of Tracy's work here! Learn more about your ad choices. Visit megaphone.fm/adchoices

EPISODE SUMMARY Three gunslinging vampires, cursed to live in an apocalyptic wasteland where the toxic sun never sets, visit a magical hub of the supernatural called the Dark Carnival, in part one of Bloodbeam Badlands. SHOW NOTES Get a copy of Bloodbeam Badlands Listen to Dorkspawn Save the Kickstarter for HUNT(er/ed) One Shot News & Updates Follow the cast here! Dillin Apelyan as the GM Joséphine McAdam as Doc Laura Tutu as Jude Wyatt Viditya Voleti as Bang ----------------------------------------------------- Find and call your representatives and be heard (US) Find and call your members of Parliament and be heard (Canada) Find and call your members of Parliament and be heard (UK) ---------------------------------------------------- Music Used in This Episode Salt in the Wound, Ender We Ascend, Michael Briguglio Wicked Curiosities, Dresden, the Flamingo A Wizard's World, Wicked Cinema Strange Visitors, Andy Ellison Devil's Doorstep, Wastelander Editing and sound design by Tracy Barnett Find more of Tracy's work here! Learn more about your ad choices. Visit megaphone.fm/adchoices

Scott interviews Daniel McAdams about the Western-backed uprisings in Eastern Europe known as Color Revolutions. McAdams has a lot of experience reporting and analyzing these uprisings. They first talk about the Color Revolution that appears to be happening today in Georgia before digging into McAdam's experience attending the so-called Denim Revolution in Belarus in the early 2000s. They end with a quick discussion about the war in Ukraine. Discussed on the show: Nuclear War: A Scenario by Annie Jacobsen Daniel McAdams is the executive director of the Ron Paul Institute for Peace and Prosperity and the co-host of the Ron Paul Liberty Report. Follow him on Twitter @DanielLMcAdams and read all of his work over at Antiwar.com. This episode of the Scott Horton Show is sponsored by: Roberts and Robers Brokerage Incorporated; Tom Woods' Liberty Classroom; Libertas Bella; ExpandDesigns.com/Scott. Get Scott's interviews before anyone else! Subscribe to the Substack. Shop Libertarian Institute merch or donate to the show through Patreon, PayPal or Bitcoin: 1DZBZNJrxUhQhEzgDh7k8JXHXRjY Learn more about your ad choices. Visit megaphone.fm/adchoices