Podcasts about Moonlight

What if the stories of alien abductions were more than just urban legends? What if real evidence pointed to something far more sinister?In this episode, we uncover two chilling cases of unexplained mutilations and alleged extraterrestrial encounters—one in Brazil and another in New Mexico.The first case takes us to 1988, near Brazil's Billings Reservoir, where the body of a local man was discovered under bizarre and gruesome circumstances. His injuries were disturbingly precise, resembling surgical incisions with no signs of struggle or natural decomposition. Could this be the work of extraterrestrials? The details of this case eerily mirror accounts of cattle mutilations and other unexplained phenomena.The second story brings us to the Lovette-Cunningham incident, a classified military case from the 1950s. According to declassified reports, Air Force Sergeant Jonathan Lovette was allegedly abducted by an unknown craft while on duty in the deserts of New Mexico. His body was found mutilated days later, with similar surgical precision to the Brazilian case. Some believe this could be irrefutable proof of alien experimentation.Are these cases connected? Is there a hidden pattern behind these horrifying discoveries? Join us as we explore the terrifying possibility that something beyond human understanding is at play.For all references and music, visit https://www.mydarkpath.com/61Visit us atwww.mydarkpath.comwww.youtube.com/@mydarkpath www.patreon.com/mydarkpathRead MF Thomas' novels Like Clockwork https://amzn.to/417lOzyArcade https://amzn.to/4aTpisxA Sickness in Time https://amzn.to/41apSPKSeeing by Moonlight https://amzn.to/4gySl5W

Bedtime stories aren't just for kids—we need them too, especially when our minds won't stop racing at night. This episode from the Sleep Stories podcast is a gentle, meandering tale, written by AI, designed to help you unwind, quiet your thoughts, and drift into deep sleep. If you enjoy it, be sure to follow. https://podcasts.apple.com/us/podcast/sleep-stories-for-women/id1695951747 Learn more about your ad choices. Visit megaphone.fm/adchoices

Unravel the chilling 1954 UFO mystery that pitted the Doublemint Twins against the CIA! In this captivating episode of My Dark Path, host MF Thomas dives into the extraordinary story of Marie and Mildred Maier, the original Doublemint Twins, whose encounter with an alien signal shook Chicago and exposed a shadowy government cover-up. On November 28, 1954, during a live WGN radio broadcast, the sisters recorded eerie, high-speed tones—described as a coded message resembling Jingle Bells—after host Jim Mills invited extraterrestrials to respond. What followed was a web of deception involving the CIA, fake Air Force officers, and a relentless UFO skeptic, Dr. Leon Davidson, who uncovered the truth.This episode of My Dark Path explores the Maier's journey from advertising fame as Wrigley's Doublemint Twins to accidental UFO hunters. In June and August 1954, the sisters captured mysterious objects in photographs during a solar eclipse and at the Baha'i Temple, images that baffled experts and fueled their fascination with the unexplained. Their WGN recording, detailed in a rare 1955 Journal of Space Flight article, caught the CIA's attention, leading to a covert operation to seize the tape. Posing as Air Force officers, CIA agents George O. Forrest and Dewelt Walker visited the sisters, claiming the signal was mere Morse code from a U.S. radio station. But was it?Enter Dr. Leon Davidson, a Los Alamos scientist who believed UFOs were a CIA-orchestrated psychological warfare tactic. In 1957, Davidson contacted the Maiers, exposing inconsistencies in the CIA's story and accusing the agency of fabricating UFO sightings to manipulate public perception during the Cold War. His dogged pursuit—writing to CIA Director Allen Dulles and confronting fake Air Force officials—revealed a deeper conspiracy. The CIA's 1997 report, The CIA's Role in the Study of UFOs, 1947-90, later admitted mishandling the case, confirming Davidson's suspicions of agency involvement.Set against the backdrop of 1954's UFO frenzy—sparked by Aviation Week's report of two mysterious satellites orbiting Earth—this episode uncovers a time when Cold War paranoia, public obsession with flying saucers, and government secrecy collided. From the 1952 Washington, D.C., UFO sightings to the Pentagon's scramble to dismiss the satellites as natural asteroids, the Maier sisters' story is a microcosm of a nation grappling with the unknown. Why did the CIA go to such lengths to bury a single tape? Were the sisters' photographs and recording evidence of extraterrestrial contact, or part of a larger psychological operation?Join My Dark Path as we navigate this tangled tale of UFOs, government lies, and the unrelenting quest for truth. MF Thomas weaves archival research, declassified CIA documents, and the Maier's own words to bring this forgotten chapter to life. Perfect for fans of The X-Files, true crime, and historical conspiracies, this episode will leave you questioning what the government isn't telling us. For all references and music, visit https://www.mydarkpath.com/73-doublemint-twins-vs-the-cia0:00 - The Doublemint Twins and the Alien Signal0:56 - The 1954 Satellite Mystery3:57 - The Hoaxer: Richard Miller's Fabricated Contact11:05 - The WGN Radio Experiment14:22 - The Original Doublemint Twins18:45 - The Journal of Space Flight Report21:19 - Anomalies at the Baha'i Temple23:09 - The Eerie Jingle Bells Recording26:38 - CIA Operation: Recovering the Evidence29:36 - Dr. Leon Davidson's Quest for Truth34:44 - Deciphering the Robertson Panel37:09 - The Final Confrontation with the CIABuy MF Thomas' novels on Amazon. Like Clockwork https://amzn.to/417lOzy Arcade https://amzn.to/4aTpisx A Sickness in Time https://amzn.to/41apSPK Seeing by Moonlight https://amzn.to/4gySl5WConnect with usInstagram: @mydarkpathpodcast Twitter/X: @mfthomasauthor Email us: explore@mydarkpath.com Visit us: www.mydarkpath.com Subscribe: www.patreon.com/mydarkpath

Front Row Classics welcomes back actress and content creator Cassidy Krygger. Cassidy is joined by director Jonathan Zsofi to discuss the their collaboration on the romantic short film, Love in the Moonlight. This film takes inspiration from classic Hollywood films such as The Ghost and Mrs. Muir. They take Brandon through the production process and their hopes for the future of the project. They also talk about their mutual love of classic film.   You can view the proof of concept of the film along with ways to invest/contribute here: https://www.youtube.com/watch?v=B2dIUg5N-LA

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.

Spider-Man: Brand New Day Editors – Nat Sanders, ACE; Harry Yoon, ACE and Gina Sansom Spider-Man: Brand New Day editors Nat Sanders, ACE, Harry Yoon, ACE and Gina Sansom join The Rough Cut to discuss helping director Destin Daniel Cretton take Peter Parker into a deeper, more grounded chapter of his story. Nat and Gina began the film together during production, with Harry joining them for the director's cut, bringing together three editors who had each previously collaborated with Destin on projects ranging from Shang-Chi and the Legend of the Ten Rings to Wonder Man. Directed by Destin Daniel Cretton, Spider-Man: Brand New Day finds Peter Parker (Tom Holland) fighting crime full-time as Spider-Man in a world that no longer remembers him. As Peter watches MJ (Zendaya) and Ned (Jacob Batalon) continue their lives without him, the pressure of his isolation begins to trigger a transformation he may not be able to control. At the same time, a new threat emerges in New York, drawing Peter into a conflict that also brings him together with Frank Castle / The Punisher (Jon Bernthal), Bruce Banner / Hulk (Mark Ruffalo) and Jean Grey (Sadie Sink). The film also stars Tramell Tillman and Michael Mando. For Nat, Brand New Day continues a long creative relationship with Cretton that stretches back to Short Term 12 and includes The Glass Castle, Just Mercy and Shang-Chi. Harry previously worked with Cretton and Nat on Shang-Chi, while Gina came to the film following collaborations with Cretton on American Born Chinese and Wonder Man. Brand New Day also marks Gina's first feature as an editor. In our interview, Nat, Harry and Gina discuss dividing the film between three editors, working in close proximity to production at Pinewood Studios, shaping Peter Parker's darker and more emotionally complex story, and using previews to test radically different versions of the film. They also talk about finding the right balance between practical action and visual effects, managing the reveal and evolution of Jean Grey, preserving Peter's emotional point of view in his scenes with MJ and Ned, and collaborating with composer Michael Giacchino as the film developed through post. NAT SANDERS, ACE Nat Sanders, ACE is an Academy Award-nominated editor whose credits include Moonlight, If Beale Street Could Talk, Short Term 12, Shang-Chi and the Legend of the Ten Rings, The Glass Castle and Just Mercy. A longtime collaborator of director Destin Daniel Cretton, Nat has worked with him from independent character dramas through large-scale studio filmmaking. Nat received an Academy Award nomination alongside Joi McMillon for editing Moonlight and has twice won the Independent Spirit Award for Best Editing. HARRY YOON, ACE Harry Yoon, ACE is an editor whose feature credits include Minari, Shang-Chi and the Legend of the Ten Rings, Thunderbolts*, The Fire Inside, The Last Black Man in San Francisco, First Man and Detroit. Harry's work spans intimate character dramas and large-scale action films, with a particular focus on maintaining performance and emotional point of view within complex visual storytelling. Spider-Man: Brand New Day reunites him with Destin Daniel Cretton and Nat Sanders following their work together on Shang-Chi. GINA SANSOM Gina Sansom is an Emmy-nominated editor whose television credits include Wonder Man, Our Flag Means Death, American Born Chinese, Reservation Dogs, Silicon Valley, Better Things, Love and Horace and Pete. She received an Emmy nomination for her work on Horace and Pete. After previously collaborating with Destin Daniel Cretton on American Born Chinese and Wonder Man, Gina makes her feature editing debut with Spider-Man: Brand New Day. Visit ExtremeMusic for all your production audio needs. Hear Nat and Harry discuss their first Marvel collaboration with Destin Daniel Cretton on SHANG-CHI AND THE LEGEND OF THE TEN RINGS. Listen to Harry talk about cutting Lee Isaac Chung's Oscar®-nominated film MINARI. Hear Harry discuss his return to the MCU with THUNDERBOLTS*. Subscribe to The Rough Cut podcast and never miss an episode. Visit The Rough Cut on YouTube

Step into the shadowed skies of Fascist Italy with My Dark Path as we uncover a cascade of unexplained aerial encounters that predate Roswell by more than a decade. Host MF Thomas begins on a twilight street in Milan in 1944, where a young Decima naval commando watches a copper-colored disk hang motionless above Piazzale Loreto—silent, luminous, and gone in an instant—while air-raid sirens wail and anti-aircraft crews stare in disbelief.From there the episode travels back to the morning of August 22, 1936, over the Venice Lagoon and Mestre. Italian Regia Aeronautica pilots scramble Fiat CR.32 biplanes against a ten-to-twelve-meter metallic disk that accelerates away without sound or exhaust. Later that same day, pilot Marinelli and his flight encounter a long gray “aerial torpedo” accompanied by two domed, hat-shaped craft trailing perfect white smoke plumes and flying in flawless formation. A ground observer named Faustino then watches the same cylindrical craft release smaller disc-shaped objects. Photographs and urgent reports race straight to Galeazzo Ciano's desk—Mussolini's son-in-law and Foreign Minister—under the same absolute-secrecy orders first issued after the alleged 1933 Magenta crash and the creation of the secret RS/33 scientific cabinet.Drawing on the Fascist UFO files brought to light by Roberto Pinotti and Alfredo Lissoni (including the anonymous “Mister X” documents later forensically examined), this episode explores how Mussolini's regime imposed total silence, redirected stories as “meteors,” and kept trained military observers quiet for the rest of their lives. What emerges is a portrait of Italy's forgotten pre-Roswell UFO wave—sightings that trained pilots and soldiers could neither identify nor forget.This episode blends immersive historical narration, primary-document context, skeptical analysis of the contested Fascist files, and the enduring power of eyewitness testimony from men who understood the cost of speaking. Perfect for fans of classic UFO cases, Italian ufology, wartime secrecy, and the unexplained.

Japan has a reputation for being incredibly safe, but what does “safe” actually mean? The Krewe is joined by Jordan Green, aka AfroInJapan from YouTube & Instagram, to explore safety in Japan beyond just crime, including natural disasters, wildlife, xenophobia, & the considerations travelers & foreign residents should keep in mind. Does Japan live up to it's rep? You be the judge! ------ About the Krewe ------ The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy! ------ Support the Krewe! Offer Links for Affiliates ------ Use the referral links below & our promo code from the episode! Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season! Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan!  ------ Links for Jordan Green/AfroInJapan ------ AfroInJapan on YouTube AfroInJapan on Instagram AfroInJapan's "The Myth of Crime in Japan" ------ JSNO Upcoming Events ------ JSNO Event Calendar Join JSNO Today!

The trade deadline has passed, the Rangers stood pat and waited for everybody to get healthy, and now John and Evan have to make sense of where they stand, which is where they seemingly always stand: stuck in the middle. Evan points out the importance of this week's road trip, especially with Houston hosting the same two losing teams next week. Then Bobby Witt, the elder, joins the guys to talk about his quick rise to the majors, the 1996 pitching staff and being the father to one of the most electric players in the game. And, since his career was impacted by the 1994-95 strike, and he now works for an agency, we had to talk about the possibility of a work stoppage after this winter. His view isn't sunny. Learn more about your ad choices. Visit megaphone.fm/adchoices

The trade deadline has passed, the Rangers stood pat and waited for everybody to get healthy, and now John and Evan have to make sense of where they stand, which is where they seemingly always stand: stuck in the middle. Evan points out the importance of this week's road trip, especially with Houston hosting the same two losing teams next week. Then Bobby Witt, the elder, joins the guys to talk about his quick rise to the majors, the 1996 pitching staff and being the father to one of the most electric players in the game. And, since his career was impacted by the 1994-95 strike, and he now works for an agency, we had to talk about the possibility of a work stoppage after this winter. His view isn't sunny.

Step into the shadowed skies of Fascist Italy with My Dark Path as we uncover a cascade of unexplained aerial encounters that predate Roswell by more than a decade. Host MF Thomas begins on a twilight street in Milan in 1944, where a young Decima naval commando watches a copper-colored disk hang motionless above Piazzale Loreto—silent, luminous, and gone in an instant—while air-raid sirens wail and anti-aircraft crews stare in disbelief.From there the episode travels back to the morning of August 22, 1936, over the Venice Lagoon and Mestre. Italian Regia Aeronautica pilots scramble Fiat CR.32 biplanes against a ten-to-twelve-meter metallic disk that accelerates away without sound or exhaust. Later that same day, pilot Marinelli and his flight encounter a long gray “aerial torpedo” accompanied by two domed, hat-shaped craft trailing perfect white smoke plumes and flying in flawless formation. A ground observer named Faustino then watches the same cylindrical craft release smaller disc-shaped objects. Photographs and urgent reports race straight to Galeazzo Ciano's desk—Mussolini's son-in-law and Foreign Minister—under the same absolute-secrecy orders first issued after the alleged 1933 Magenta crash and the creation of the secret RS/33 scientific cabinet.Drawing on the Fascist UFO files brought to light by Roberto Pinotti and Alfredo Lissoni (including the anonymous “Mister X” documents later forensically examined), this episode explores how Mussolini's regime imposed total silence, redirected stories as “meteors,” and kept trained military observers quiet for the rest of their lives. What emerges is a portrait of Italy's forgotten pre-Roswell UFO wave—sightings that trained pilots and soldiers could neither identify nor forget.This episode blends immersive historical narration, primary-document context, skeptical analysis of the contested Fascist files, and the enduring power of eyewitness testimony from men who understood the cost of speaking. Perfect for fans of classic UFO cases, Italian ufology, wartime secrecy, and the unexplained.

Today we're joined by two incredible artists behind one of the year's most heartfelt coming-of-age films, Olmo.From the producers behind Moonlight and Minari, this film takes us to New Mexico in 1979 and reminds us that growing up isn't simply about getting older—it's about learning responsibility, understanding love, and discovering that family can be both our greatest burden and our greatest blessing.Joining me today are director and co-writer Fernando Eimbcke and the young star of the film, Aivan Uttapa.

Shoftim 5786 - moonLight of Emuna - R' Dov Elias by Rabbi Avi Zakutinsky

Just in time for Gay Pride Month…oh, wait. Well, just in time for Black History Month! Oh, no, that's over as well. Ah, do we need an excuse? George and Joe go back a decade to check out the best picture winner of 2016 and ask…does it still work?       Links You can rate and review us in these places (and more, probably) Does This Still Work? - TV Podcast https://www.podchaser.com/podcasts/does-this-still-work-1088105 ‎Does This Still Work? on Apple Podcasts https://podcasts.apple.com/us/podcast/does-this-still-work/id1492570867 Creator Accountability Network creatoraccountabilitynetwork.org

Una posible banda sonora para este fenómeno astronómico que la humanidad viene contemplando y admirando desde el comienzo de su existencia. O como el temor a la ira de los Dioses y presagio de infortunios se convirtió en un capricho cósmico y geométrico que se podía predecir.Playlist;JACCO GARDNER “Eclipse”ALLAH-LAS “Worship the sun”THE ZOMBIES “Time of the season”KEVIN AYERS “The Lady Rachel”JANE BIRKIN “Harvest moon”THE KINKS “Lazy old Sun”NICK DRAKE “Things behind the sun”THE DOORS “Moon light drive” (sunset sound version)LOVE and ROCKETS “Earth, Moon, Sun”DAVID BOWIE “Moonage daydream”THE ROLLING STONES “Moonlight mile”ROBERT DRASNIN “Chant of the moon”THE LIMIÑANAS “Faded”MARIANNE FAITHFULL “Burning moonlight”PINK FLOYD “Eclipse”Escuchar audio

Fluent Fiction - Swedish: Mysteries in the Moonlight: Discovering Beachside Wonders Find the full episode transcript, vocabulary words, and more:fluentfiction.com/sv/episode/2026-08-11-22-34-01-sv Story Transcript:Sv: Vid den silverglänsande stranden i sommarkvällens sken, vandrade Linnea ensam på den mjukt krusade sanden.En: By the silver-glimmering beach in the light of the summer evening, Linnea wandered alone on the softly rippling sand.Sv: Månen hängde låg, förgyllde vattnet som glimrade försiktigt i det stilla natthimlen.En: The moon hung low, gilding the water that shimmered gently in the still night sky.Sv: Linnea sökte alltid havets lugna famn när hennes hjärta längtade efter något extraordinärt i vardagen.En: Linnea always sought the calm embrace of the sea when her heart longed for something extraordinary in the everyday.Sv: Den kvällen var inget undantag.En: That evening was no exception.Sv: Medan hon promenerade, stannade Linnea plötsligt upp.En: As she walked, Linnea suddenly stopped.Sv: Där, precis framför henne, hade märkliga mönster dykt upp i sanden.En: There, right in front of her, strange patterns had appeared in the sand.Sv: Linnea satte sig ner och granskade dem noggrant.En: Linnea sat down and examined them closely.Sv: Mönstren slingrade sig likt konstverk, liknande stjärnor och spiraler.En: The patterns wound like artworks, resembling stars and spirals.Sv: Var det någon som hade ritat dem?En: Had someone drawn them?Sv: Eller var de naturliga, skapade av vinden och havet tillsammans?En: Or were they natural, created by the wind and the sea together?Sv: Nyfiken, hon slet fram sin anteckningsbok och började skissa de fascinerande figurerna.En: Curious, she swiftly pulled out her notebook and began sketching the fascinating figures.Sv: Tidvattnet började röra sig, långsamt men oundvikligt.En: The tide started moving, slowly but inevitably.Sv: Linnea arbetade snabbt, medveten om att vågorna snart skulle svepa bort varje spår av mysteriet.En: Linnea worked quickly, aware that the waves would soon sweep away every trace of the mystery.Sv: Samtidigt hade några andra vid stranden noterat hennes försök.En: Meanwhile, a few others on the beach noticed her efforts.Sv: De skakade på huvudet, skrattade lite, och sa att mönstren bara var slumpmässiga.En: They shook their heads, laughed a little, and said the patterns were just random.Sv: Linnea ignorerade dem och fortsatte.En: Linnea ignored them and continued.Sv: När natten fortskred och stjärnorna blev allt mer lysande, hände plötsligt något.En: As the night progressed and the stars became more luminous, something suddenly happened.Sv: Ur månens indirekta ljus steg en person fram mot mönstren.En: From the moon's indirect light emerged a person towards the patterns.Sv: Det var Oskar.En: It was Oskar.Sv: Linnea hade sett honom ibland, en tystlåten man som alltid gick nära vattnet.En: Linnea had seen him occasionally, a quiet man who always walked close to the water.Sv: Oskar sänkte sig ner bredvid sina tidigare skapelser och fortsatte sin magi.En: Oskar lowered himself beside his previous creations and continued his magic.Sv: Med sina händer formade han i sanden, fingertopparnas rörelse var exakt och mild.En: With his hands, he shaped the sand, the movement of his fingertips exact and gentle.Sv: Nya spiraler och stjärnor föddes under hans beröring.En: New spirals and stars were born under his touch.Sv: Linnea stirrade med förundran.En: Linnea gazed in wonder.Sv: Oskar, en konstnär av dolda skatter.En: Oskar, an artist of hidden treasures.Sv: Linnea och Oskar började prata.En: Linnea and Oskar began to talk.Sv: Han berättade att hans konst var inspirerad av naturen och stjärnorna ovan.En: He shared that his art was inspired by nature and the stars above.Sv: Han avslöjade för Linnea att han skapade dessa mönster för att förmedla havets och universums skönhet.En: He revealed to Linnea that he created these patterns to convey the beauty of the sea and the universe.Sv: Linnea lovade att hålla hans konst hemlig, att värdera det magiska i det undangömda och speciella.En: Linnea promised to keep his art a secret, to value the magical in the hidden and special.Sv: När de två satt tillsammans, vaggade av vågornas rytm, insåg Linnea en ny världs storhet – att det fanns så mycket mer att se om man bara tittade noggrant.En: As the two sat together, cradled by the rhythm of the waves, Linnea realized the greatness of a new world—that there was so much more to see if one only looked closely.Sv: Den kvällen förändrade Linnea.En: That evening changed Linnea.Sv: Hon fann glädje och respekt för det dolda, och en tro på att världen alltid kunde överraska henne på de mest fantastiska sätt.En: She found joy and respect for the hidden, and a belief that the world could always surprise her in the most fantastic ways. Vocabulary Words:glimmering: glänsandewandered: vandraderippling: krusadegilding: förgylldeshimmered: glimradeembrace: famnlonged: längtadeextraordinary: extraordinärtexamined: granskadepatterns: mönsterspirals: spiralerfascinating: fascinerandeinevitably: oundvikligtsweep away: svepa bortluminous: lysandeindirect: indirektaemerged: steg framcreations: skapelserexact: exaktgentle: mildwonder: förundranhidden: doldatreasures: skatterrevealed: avslöjadeconvey: förmedlasecret: hemligcradled: vaggaderhythm: rytmgreatness: storhetfantastic: fantastiska

Fluent Fiction - Spanish: Mystery by Moonlight: Unveiling Love Letters Beneath the Tide Find the full episode transcript, vocabulary words, and more:fluentfiction.com/es/episode/2026-08-11-07-38-19-es Story Transcript:Es: El brillo de la luna iluminaba la playa con un resplandor plateado.En: The glow of the moon illuminated the beach with a silver radiance.Es: La brisa del mar acariciaba suavemente el rostro de Marisol mientras caminaba descalza por la arena.En: The sea breeze gently caressed the face of Marisol as she walked barefoot on the sand.Es: Era una noche típica de verano en la Playa de la Luna, un lugar sereno que Marisol visitaba para escapar de su rutina diaria.En: It was a typical summer night at Playa de la Luna, a serene place Marisol visited to escape her daily routine.Es: Aquella noche, algo diferente llamó su atención.En: That night, something different caught her attention.Es: A lo lejos, entre las suaves olas, algo brillaba bajo la luz lunar.En: In the distance, among the gentle waves, something shone under the moonlight.Es: Marisol se acercó, intrigada.En: Marisol approached, intrigued.Es: Allí encontró una botella de cristal, reluciente y desgastada por el tiempo.En: There she found a glass bottle, gleaming and worn by time.Es: Dentro, un papel enrollado prometía una historia.En: Inside, a rolled-up paper promised a story.Es: Marisol retiró el corcho con cuidado.En: Marisol carefully removed the cork.Es: El papel, amarillento por los años, tenía símbolos extraños y un mensaje enigmático.En: The paper, yellowed by years, had strange symbols and an enigmatic message.Es: Su corazón latía con emoción y curiosidad.En: Her heart beat with excitement and curiosity.Es: Pero las palabras eran difíciles de entender.En: But the words were difficult to understand.Es: Necesitaba ayuda.En: She needed help.Es: Corrió a casa de sus mejores amigos, Javier y Elena.En: She ran to the home of her best friends, Javier and Elena.Es: Ellos siempre estaban listos para una aventura.En: They were always ready for an adventure.Es: Sin embargo, al principio, Javier se rio.En: However, at first, Javier laughed.Es: "Seguramente es una broma", dijo, mientras Elena lo miraba escéptica.En: "Surely it's a joke," he said, while Elena looked at him skeptically.Es: Pero Marisol insistió, convencida del misterio.En: But Marisol insisted, convinced of the mystery.Es: Los tres se sentaron alrededor de la mesa.En: The three of them sat around the table.Es: Analizaban los símbolos que adornaban la botella.En: They analyzed the symbols that adorned the bottle.Es: Parecían formar un mapa.En: They seemed to form a map.Es: Marisol, emocionada, sugirió que seguirían las pistas.En: Marisol, excited, suggested they follow the clues.Es: Elena y Javier, ahora intrigados, decidieron unirse.En: Elena and Javier, now intrigued, decided to join.Es: La búsqueda no fue fácil.En: The search was not easy.Es: Exploraron la playa y los acantilados cercanos.En: They explored the beach and the nearby cliffs.Es: Ahí, enfrentaron rocas resbaladizas y caminos empinados.En: There, they faced slippery rocks and steep paths.Es: Cada pista los acercaba más a un lugar desconocido.En: Each clue brought them closer to an unknown place.Es: Finalmente, un día, al amanecer, llegaron a una cala escondida.En: Finally, one day, at dawn, they arrived at a hidden cove.Es: La marea golpeaba suavemente la playa y la luz del sol comenzaba a mostrar un viejo cofre medio enterrado en la arena.En: The tide gently lapped at the beach, and the sunlight began to reveal an old chest half-buried in the sand.Es: Marisol cavó con entusiasmo mientras Javier y Elena iluminaban con sus linternas.En: Marisol dug with enthusiasm while Javier and Elena illuminated with their flashlights.Es: Dentro del cofre, encontraron cartas envueltas con delicadeza.En: Inside the chest, they found delicately wrapped letters.Es: Eran cartas de amor, narrando una historia de pasión y promesas olvidadas.En: They were love letters, narrating a story of passion and forgotten promises.Es: Un romance entre dos almas del pasado, separado por las mareas del tiempo.En: A romance between two souls of the past, separated by the tides of time.Es: Marisol se emocionó.En: Marisol was thrilled.Es: Este hallazgo no solo era un tesoro de amor sino también una pieza de la historia local.En: This discovery was not only a treasure of love but also a piece of local history.Es: Al regresar al pueblo, decidió compartir la historia en un encuentro comunitario.En: Upon returning to the village, she decided to share the story at a community gathering.Es: La gente se reunió en la plaza, escuchando atentamente el relato de amor y nostalgia.En: People gathered in the square, listening attentively to the tale of love and nostalgia.Es: La aventura cambió a Marisol.En: The adventure changed Marisol.Es: Se sintió más segura de sí misma y comprendió el poder de las historias.En: She felt more confident and understood the power of stories.Es: Además, su amistad con Javier y Elena se hizo más fuerte.En: Moreover, her friendship with Javier and Elena grew stronger.Es: Aquella aventura en la Playa de la Luna se convirtió en un recuerdo eterno y una lección de la importancia de nuestras raíces.En: That adventure at Playa de la Luna became an eternal memory and a lesson on the importance of our roots.Es: Con el sol poniéndose en el horizonte, Marisol comprendió que la verdadera aventura estaba en descubrir el pasado y conectarse con su presente.En: With the sun setting on the horizon, Marisol realized that the true adventure lay in discovering the past and connecting with her present.Es: Y, quién sabe, quizás mañana el mar traería otra botella llena de misterios y sueños por descubrir.En: And, who knows, perhaps tomorrow the sea would bring another bottle full of mysteries and dreams to discover. Vocabulary Words:the glow: el brilloserene: serenothe cork: el corchobarefoot: descalza/oenigmatic: enigmático/athe curiosity: la curiosidadthe destiny: el destinothe friendship: la amistadslippery: resbaladizo/asteep: empinado/athe cove: la calathe harm: el dañothe dawn: el amanecerhalf-buried: medio enterrado/athe chest: el cofredelicately: con delicadezathe tides: las mareasyellowed: amarillento/athe cliffs: los acantiladosthe breeze: la brisagently: suavementenarrating: narrandoto illuminate: iluminarenthusiasm: entusiasmothe gathering: el encuentroto escape: escaparto connect: conectarsemysteries: los misterioswrapped: envuelto/athe promise: la promesa

They say you can't go home again. Well, that's a problem for Snoopy in "Snoopy Presents: There's No Place Like Home, Snoopy", the latest offering from Wildbrain and Apple TV. We take a look at it in episode 155. We also check out another episode of "Snoopy in Space", This Month in Peanuts History, the latest happenings in and around the Peanuts universe, and a Random Strip of the Month.  Join us. Won't you?  Thanks to Kevin McLeod at Incompletech.com for creative commons use of his songs "Mining by Moonlight", "Bass Walker", and "Hidden Agenda".  Thanks to Sean Courtney for the "This Month in Peanuts History" theme. Thanks to Nick Jones for the use of his song "25% Off". Thanks to Henry Pope for the use of his "Linus & Lucy" remix. Check out his music here. Carnival of Glee Creations The Patreon

Solo travel or group travel: is one really better for seeing Japan? The Krewe welcomes Ryotaro Sakurai back to the podcast to break down the pros and cons of both, from flexibility and independence to planning, convenience, and shared experiences. Plus, Ryotaro gives us a look at Umami Travel, the group tour company he's building and why he thinks there's room for a different kind of Japan travel experience. ------ About the Krewe ------ The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy! ------ Support the Krewe! Offer Links for Affiliates ------ Use the referral links below & our promo code from the episode! Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season! Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan!  ------ Links for Ryotaro & Umami Travel ------ Ryotaro's Japan YouTube Channel Ryotaro on IG Umami Travel Website Kessennuma Knitting INEtoAGAVE (Craft Sake) ------ JSNO Upcoming Events ------ JSNO Event Calendar Join JSNO Today!

Wir haben eine Steam Machine gekauft, Andre und Sebastian haben sie jeweils gut eine Woche lang benutzt und jetzt reden wir drüber! Insbesondere haben wir uns auf die Frage konzentriert: Ist das jetzt wie eine Konsole, nur dass ich alle meine Steam-Games mitnehmen kann? Und die Antwort lautet: Nein. Wer denkt, mit der Steam Machine bekommt er die Zuverlässigkeit und den Komfort einer Konsole, verbunden mit den Preisen von Steam und dem Zugang zu Mods, der wird enttäuscht sein. Denn obwohl der Gabe-Cube ein cooles, kleines Ding ist, waren zumindest unsere Erfahrungen auch geprägt von vielen kleinen und großen Hürden, die auf einer traditionellen Konsole indiskutabel wären. Und trotzdem…ein kleines bisschen geil, war's schon. Timecodes: 0:00:00 - Einstieg 0:05:54 - Erste Eindrücke 0:17:27 - Einrichtung der Steam Machine 0:31:11 - SteamOS 0:44:41 - Probleme beim Gaming 1:04:59 - Workshop und andere Features 1:19:26 - Von anderen Geräten streamen 1:31:54 - Moonlight & Sunshine 1:40:54 - Einordnung der Kritik 1:45:56 - Fazit In dieser Folge zu hören: Sebastian Stange & Andre Peschke

Hi listener, in this episode we discuss how it feels to go a full day without having running water in your home! Where is a plumber when you need one?

Send us Fan MailWendy Stonehenge of the Candy Whips returns to the show to discuss his cover of the classic Heaven 17 song, "(We Don't Need This) Fascist Groove Thang', Tour Life, Fatherhood and much more.****"After the doo-wop covers EP Moonlight that I released last year, I wasn't planning on doing more covers for a while. But I was listening to Heaven 17, the pertinence of the lyrics really jumped out at me,” says Wendy Stonehenge, mastermind behind the electro/New Wave-inspired project CANDY WHIPS, about their new single “(We Don't Need This) Fascist Groove Thang.” "This song was originally released 45 years ago, and it's more relevant than ever. I decided it needed to be given a new life."Candy Whips interpretation of the classic percolating ‘80s hit slows down the tempo slightly but amplifies the dance groove, allowing the very timely lyrics to breathe. "I knew I had to really reinvent this song in order to pull it off,” explains Stonehenge. “I mean, I couldn't do a faithful cover even if I wanted to. The basslines of Heaven 17's John Wilson are insane. My version is much more stripped down but also even more danceable..this is the first time I've made a straight up dance track. It was a fun challenge to work outside of my usual comfort zone."“(We Don't Need This) Fascist Groove Thang” follows Candy Whip's cover EP Moonlight, which features doo wop versions of The Flamingos' “I Only Have Eyes For You,” Marvin and Johnny's “Cherry Pie,” and the Chordettes/Pat Ballard's girl group classic "Mr. Sandman." Moonlight was my way of connecting with those roots of yore,” Stonehenge explains. “Modernizing these songs helped me to be a stronger writer.” Ripe with vocal effects, drum machines, and synths, he breathed new life into the songs by dusting them off and polishing them with modern flourishes. "If I could turn young people on to this older music, that would be amazing," he adds. Known as an established member of the well-known Northern California glam rock band Glitter Wizard, Stonehenge formed Candy Whips as a side project during the pandemic. Using this project as an outlet for music that didn't fit his other band's glamrock mold, he explored synthpop in a more focused way, fusing punk and electronic.Candy Whips is the solo project of Wendy Stonehenge. The new single "(We Don't Need This) Fascist Groove Thang" is out now and is available via Kitten Robot.Website: https://kittenrobot.com/artist/candy-whips/Facebook: https://www.facebook.com/glitterwizardwagon/Instagram: https://www.instagram.com/candy.whips/?hl=enYouTube: https://www.youtube.com/channel/UCPgCq_P0e-xj84tFAiTXI3A****If you would like to contact the show Dauna@betertopodcast.comFollow us on Social MediaYouTube: https://www.youtube.com/channel/UCX0ETs2wpOHbCuhUNr0XFTw?view_as=subscriberInstagram: https://www.instagram.com/author_d.m.needom/Facebook: https://www.facebook.com/bettertopodcastwithdmneedomSupport the podcast here: https://www.patreon.com/bettertopodcastwithdmneedom©2026 Better To...Podcast with D. M.NeedomSupport the show

Urban legends are woven into the fabric of our culture. From eerie stories recounted around campfires, to the tales that inspired some of our most iconic horror films, these cautionary tales have become deeply embedded in our collective imagination. While many were originally created by adults hoping to keep children safe from real-world dangers, others have taken on lives of their own—and in some cases, the line between myth and reality has become disturbingly blurred.This week, we'll explore the urban legends that inspired Hollywood's biggest scares, the chilling folklore that continues to haunt current generations, and the stories that, in some cases, turned into real-life nightmares. Chapters:0:00 - Urban Legends: Scary Stories and Real-Life Nightmares2:33 - Cropsey: The Boogeyman of Staten Island & Beyond15:14 - The Candyman: The Horror of Halloween20:46 - The Hook and Lover's Lane Monsters25:11 - The Babysitter and Creepy Phone Calls28:38 - The Ghostly Hitchhiker31:17 - Resurrection Mary of Chicago33:19 - The Lady in White: A Paranormal Legend36:00 - Bloody Mary: Will She Appear?39:08 - Stiff as a Feather, Light as a Board40:50 - Slenderman and The Tragedy Born of a Creepypasta44:46 - The Polybius Machine: Cold War Paranoia?46:05 - The Backrooms: Creepy Liminal Spaces and Creatures49:02 - The Blurry Line Between Legend and Reality#urbanlegends #cropsey #slendermanLinks!Follow us on Social media!Instagram: https://www.instagram.com/oddanduntold/Facebook: https://www.facebook.com/oddanduntoldWebsite: https://www.oddanduntold.comMerch Store: https://oddanduntold-shop.fourthwall.com/Email me! : jason@oddanduntold.comSummer Camp Horror Movies | Classics & Hidden Gems: https://youtu.be/95VrL7tT1vY?si=StVIta66SkSVtBjyGoatman and Similar Urban Legends: https://youtu.be/SA4uWN7D7rU?si=RtVsC5VNFozHnlFMCryptids in Folklore & Mythology: https://youtu.be/fF39MFbjyB0?si=0tAtgLhrSBQT1ZAaPhotos of the College of Staten Island from: https://www.csi.cuny.edu/Check out Riversend, the band behind "Moonlight," our awesome theme music!Spotify: https://open.spotify.com/track/1yIwfeu2cH1kDZaMYxKOUe?si=NIUijnmsQe6LNWOsfZ2jPwRiversend Facebook: https://www.facebook.com/RiversendbandRiversend Instagram: https://www.instagram.com/riversendband/

This show has been flagged as Clean by the host. sunshine / xbox contlers / plex / steam / UWPHook / Bluetoothctl restart / HDMI dongle https://www.youtube.com/watch?v=FM4FbA4-W_c UGREEN USB C Hub 5 in 1 Multiport Adapter Revodok 105 4K HDMI, 100W Power Delivery, 3 USB-A Data Ports, USB C Dongle for MacBook Pro/Air, iPad Pro, iMac, iPhone 16 Pro/Pro Max, XPS, Thinkpad https://www.amazon.com/dp/B0BR3M8XHK Detached Command: @ECHO OFF cd "C:backupgamestream_launchpad" c:windowsSystem32HdrSwitcher.exe disable start /MIN gamestream_launchpad.exe 1920 1080 gamestream_playnite.ini .bindkeys rc cat .xbindkeysrc /bin/bash /home/plex/.local/bin/Plex.sh /bin/bash /home/plex/.local/bin/Steam.sh /home/plex/.local/bin/kasa --host 192.168.1.239 --port 9999 --type dimmer on; /home/plex/.local/bin/kasa --host 192.168.1.239 --port 9999 --type dimmer brightness 100;xgamma -gamma 1.3 /home/plex/.local/bin/kasa --host 192.168.1.239 --port 9999 --type dimmer on; /home/plex/.local/bin/kasa --host 192.168.1.239 --port 9999 --type dimmer brightness 40;xgamma -gamma 1.3 /home/plex/.local/bin/kasa --host 192.168.1.239 --port 9999 --type dimmer on; /home/plex/.local/bin/kasa --host 192.168.1.239 --port 9999 --type dimmer brightness 12;xgamma -gamma 1.3 /home/plex/.local/bin/kasa --host 192.168.1.239 --port 9999 --type dimmer off;xgamma -gamma 1.3" cat /home/plex/.local/bin/Steam.sh # requires wmctrl -l and xbindkeys # # xdotool windowactivate ```xdotool search --name 'window name'``` # 0 StartSteamLink(){ echo "restarting bluetooth" sudo systemctl restart bluetooth echo "Waking Game PC" sudo /usr/sbin/etherwake -i enp1s0 -D "d8:bb:c1:a2:2c:0b" echo "Starting steamlink" killall -9 steamlink killall moonlight sleep 20 # /snap/bin/moonlight /home/plex/.local/bin/Moonlight-6.1.0-x86_64.AppImage } StartSteamLink SUMMARY: Speaker discusses technical challenges with Sun Shine, Moonlight, and Play Night setups. IDEAS: Sun Shine and Moonlight enable remote game streaming. Play Night acts as a multimodal launcher for Steam. Resolution changes cause display issues during gameplay. Proper exit sequence is critical to revert settings. Ultra-wide resolutions are unusable in some configurations. Multiple launchers require separate logins for different games. Environment variables can adjust client dimensions. Background commands improve system stability. Cat named Mojo is mentioned during the discussion. 5G networks support slower-paced gaming. Technical glitches include frame drops and latency. Steam accounts are tied to specific game libraries. Detached commands run in the background without user interaction. GameStream Launchpad manages resolution and launcher paths. Magical system behavior simplifies remote gaming. Star Wars and Baldur’s Gate are cited as example games. 22nd Millie thing refers to network latency. Multiple Steam accounts complicate game access. Task killing reverts system settings automatically. Cross-platform streaming solutions are highlighted. RECOMMENDATIONS: Use environment variables for client resolution adjustments. Exit applications properly to revert settings. Set up detached background commands for stability. Monitor ultra-wide resolution compatibility. Utilize Play Night for Steam account management. Avoid multiple logins for different game libraries. Opt for cross-platform streaming solutions. Check network latency for smooth gameplay. Use bat files for automated task execution. Configure GameStream Launchpad for resolution changes. Prioritize proper task termination to prevent glitches. Test 5G networks for slower-paced gaming. Leverage environment variables for client settings. Ensure all applications exit before shutting down. Use detached commands for background processes. Verify resolution compatibility with ultra-wide displays. Combine Sun Shine and Moonlight for reliable streaming. Log in once for multiple Steam accounts. Address frame drops in low-latency networks. Stream games universally across platforms. Provide feedback on this episode.

In this sleep story, you'll fall asleep under the moonlight with calming Scottish voice, soothing 40 Hz binaural beats and immersive ambience. As you drift off to dreamland, you'll subconsciously learn how to fall asleep and stay asleep for longer periods of time.If you're looking for a relaxing sleep story that will help you fall asleep quickly, then this is the perfect video for you! It's gentle enough for beginners, but has enough depth to really improve your sleep experience. Plus, the binaural beats and immersive ambience will help you drift off to dreamland in minutes!Let me know how you enjoy it! :)Sam xMake yourself comfortable and relax with this soothing tale.Support me in creating these stories on Patreon: https://www.patreon.com/snoozewithsamDonate a one-time pledge here!https://ko-fi.com/snoozewithsamIf you enjoy these sleep stories, it would mean to world to me if you showed your appreciation and support through my Patreon OR Ko-fi. This way I can continue to do what I do!Thank you.SamSupport me here: (become a valued member & perks) https://www.patreon.com/snoozewithsam(ONE-TIME DONATION option!)https://ko-fi.com/snoozewithsam ​Listen on YouTube:   / @snoozewithsam  Listen on Amazon Music:https://music.amazon.co.uk/podcasts/4...Music and visuals are a combination of original productions and/or may include licensed and adapted, remixed, or transformed material from:https://freemusicarchive.org/homehttp://www.epidemicsound.com/https://www.videvo.net/https://www.canva.com/Spatium by Keys of Moon | https://soundcloud.com/keysofmoonMusic promoted by https://www.free-stock-music.comAttribution 4.0 International (CC BY 4.0)Music : "The End of the World" by Tristan Lohengrinwww.tristanlohengrin.comLicensed under Creative Commons: By Attribution 3.0https://creativecommons.org/licenses/...These original works are the property of Snooze with Sam, © Copyright 2020-2023. All rights reserved.

Drew and Lauren review Robert Jackson Bennett's hotly anticipated third book in the Ana & Din Mysteries! The Final Draft features beers from Broken Hops and Dark Sky. IOL is sponsored by Bricks & Minifigs Centennial. Visit www.bamcentennial.com and use code INKINGOUTLOUD for 10% off your orders! Visit our website at www.iolpodcast.com and join the conversation on Twitter @IOLPodcast Support us on Patreon: www.patreon.com/inkingoutloud Send us a tip on Ko-fi: ko-fi.com/inkingoutloud Inking Out Loud is Drew McCaffrey and Rob Santos. Sound engineering by Drew McCaffrey. Artwork by Danielle "FelCandy" Prosperie. Intro/outro music: "Moonlight" by Jivemind.

What made Brian Epstein one of the most influential figures in music history—and why has so much of his story remained untold?On this episode of Speaking of Writers, bestselling Beatles biographer Philip Norman discusses MR. MOONLIGHT: Brian Epstein and the Making of the Beatles, a compelling new biography of the visionary manager who transformed four young musicians from Liverpool into a global phenomenon.Discover the untold story behind Beatlemania, the personal struggles Epstein endured, the mysteries surrounding his life and death, and the legacy that continues to shape popular music today.#SpeakingOfWriters #PhilipNorman #MrMoonlight #BrianEpstein #TheBeatles #Beatles #Beatlemania #JohnLennon #PaulMcCartney #GeorgeHarrison #RingoStarr #MusicBiography #RockHistory #ClassicRock #MusicBooks #AuthorInterview #Podcast #BookPodcast #BritishInvasion #Liverpool #MusicHistory

Step into the raw emotion, passion, and unforgettable legacy of one of hip-hop's most iconic and controversial voices — XXXTENTACION. This XXXTENTACION Best Hits Mix 2025 is a powerful tribute to the late artist, featuring his most streamed, influential, and emotional tracks. From “SAD!” to “Moonlight”, “Jocelyn Flores”, and “Look At Me!”, this mix captures every side of X — from vulnerable to explosive. Perfect for fans who connected with his honest lyrics, genre-defying sound, and underground-to-mainstream rise, this 2025 mix includes deep cuts and fan favorites that defined a generation. Whether you're vibing in your room, driving at night, or reminiscing on the impact of a legend gone too soon — this mix hits every note. TRACKLIST XXX 1. MOONLIGHT - XXTENTACION 00:00 2. EVERYBODY DIES IN THERE NIGHTMARE - XXXTENTACION 01:49 3. GAURDIAN ANGEL - XXXTENTACION 03:00 4. JOCELYN FLORES - XXXTENTACION 04:00 5. LOOK AT ME - XXXTENTACION 06:07 6. ROLL IN PEACE - XXXTENTACION & KODAK BLACK 07:50 7. SAD - XXXTENTACION 09:13 8. BAD - XXXTENTACION 12:30 9. WHOA (MIND I AWE) - XXXTENTACION 13:56 10. I DONT LET GO - XXXTENTACION 16:19 11. TRAIN FOOD - XXXTENTACION 18:08 12. WHAT ARE YOU SO AFRAID OF - XXXTENTACION

Re'eh 5786 - moonLight of Emuna - R' Dov Elias by Rabbi Avi Zakutinsky

Drew and Lauren break down the crazy pace and events of the second half of The Iron Wars! The Final Draft features drinks from Deschutes and Snake River Brewing. IOL is sponsored by Bricks & Minifigs Centennial. Visit www.bamcentennial.com and use code INKINGOUTLOUD for 10% off your orders! Visit our website at www.iolpodcast.com and join the conversation on Twitter @IOLPodcast Support us on Patreon: www.patreon.com/inkingoutloud Send us a tip on Ko-fi: ko-fi.com/inkingoutloud Inking Out Loud is Drew McCaffrey and Rob Santos. Sound engineering by Drew McCaffrey. Artwork by Danielle "FelCandy" Prosperie. Intro/outro music: "Moonlight" by Jivemind.

The Moonlight Serenaders 14-lice big band has been around for decades. The group plays a free concert in Rice Park in Saint Paul, next Wednesday, August 5, 7 to 9pm. The group's current director, percussionist Dan Marrs, and former director and current trumpeter, Linda Ness, talked to Phil Nusbaum about the group. To a greater degree than much contemporary jazz, a big band relies on all the players reading what's been composed and arranged. So Phil asked Dan and Linda about keeping everybody focused on the arrangement.

What goes into kicking off, planning out, & sustaining a podcast? The Krewe presented their lived experiences in podcasting, along with recommendations & tips for aspiring content creators in the US-Japan space, during a workshop on July 30, 2026 at the NAJAS (National Association of Japan-America Societies) National Conference. This episode is that workshop! ------ About the Krewe ------ The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy! ------ Support the Krewe! Offer Links for Affiliates ------ Use the referral links below & our promo code from the episode! Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season! Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan!  ------ Links for NAJAS ------ NAJAS Website NAJAS Conference Website ------ JSNO Upcoming Events ------ JSNO Event Calendar Join JSNO Today!

André Holland has built an acclaimed career through performances in Moonlight, Selma, The Knick, High Flying Bird, and more—but his deepest calling reaches far beyond the screen. In this conversation with Mick Hunt, André shares how his parents and his Bessemer, Alabama community taught him to move with integrity, care for his gifts, and stay shoulder to shoulder with the people who helped him flourish. He opens up about the teacher who made him feel truly seen, the responsibility he feels to create opportunities for emerging voices, and why commitment is the word he hopes will define his life. André also discusses They Fight, his preparation as a character actor, Harper Road, and the Holland Project's restoration of Bessemer's historic Lincoln Theatre. This is a conversation about calling, craft, second chances, community, and planting trees whose fruit may belong to the next generation. WHAT YOU'LL LEARN • Why André describes storytelling and service as a calling • How his parents and Alabama roots shaped his civic responsibility • Why opportunity—not a lack of talent—often separates people from their potential • The NYU classroom moment that changed André's view of his own stories • How he approaches character work with research, vulnerability, and faith • Why They Fight resonated with him as a story of mentorship and second chances • How the Holland Project and Harper Road are creating room for new voices • Why “committed” is the word André wants attached to his legacy LISTENER OFFER / FEATURED PROMOTION Watch They Fight on Hulu: https://www.hulu.com/movie/they-fight-a1bba82e-2550-4ffc-81df- b973b9c85339 Discover the Holland Project and Lincoln Theatre restoration: https://www.birminghamtimes.com/2024/10/renovating-bessemers-lincoln-theatre-andre-hollands-next- act/ CHAPTERS Timing is grounded in the supplied transcript. Reconfirm against the final uploaded master after correcting the intro-name issue. • 00:00 — Welcome to Mick Unplugged • 01:44 — André's Because: answering the call • 04:25 — Family, faith, and growing up in Alabama • 06:19 — Bessemer, opportunity, and giving back • 07:44 — The Unplugged Truth: becoming a symbol of hope • 12:58 — They Fight, second chances, and the craft of acting • 18:48 — The Room: the teacher who truly saw André • 23:11 — Creating rooms through the Holland Project and Harper Road • 29:18 — The Unplugged Five • 32:20 — Supporting André's work and closing thoughts Connect & Discover André Holland: Instagram: @andreholland X: @AndreHolland_ The Holland Project — Historic Lincoln Theatre: alabamalincoln.com Lincoln Theatre on Instagram: @bamalincoln Support the Restoration (Donate): Give to the Lincoln Theatre Watch They Fight on Hulu: hulu.com/movie/they-fight FOLLOW MICK ON: Spotify: MickUnplugged Instagram: @mickunplugged  Facebook: @mickunplugged YouTube: @MickUnpluggedPodcast  LinkedIn: @mickhunt  Website: MickHuntOfficial.com Website: howtobeagoodleader.com Website: Leadloudseries.com Apple: MickUnplugged See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Eikev 5786 - moonLight of Emuna - R' Dov Elias by Rabbi Avi Zakutinsky

Hey, it's Katie and I want to welcome you to this special bonus episode. It'll be here for you completely ad-free for the next week so you can get a feel of what it's like to be a PREMIUM member. If you'd like an easy ad-free experience for all of our podcasts - that's over 200 episodes each month, then JOIN PREMIUM today at https://WomensMeditationNetwork.com/premium Discover a hidden valley bathed in endless moonlight where calm and serenity fill every corner. This soothing bedtime story for women features gentle storytelling, dreamy nighttime imagery, and relaxing narration to quiet the mind and encourage deep, restorative sleep. Let the soft glow of the moon guide you into peaceful rest. Love,

Tracklisting: 01. klama — Daybreak  02. San Mateo Drive — Slow  03. Lush Sand — Sunrise  04. Etza, Duce, køhvt — Moonlight  05. Lee Burridge — Fading Out  06. Iskarelyn — Moonlight  07. CLOVER, just here. — Seaside  08. littleclosér — Listen to Me  09. Midnight Pass — Invincible Summer  10. Durance — Stay  11. NINA SIMONE — Tell Me More And More And Then Some (dublon Remix)  12. Alex Adair — Nobody Else (Chill Mix)  13. Leaving Laurel — another good start (edit)  14. A.M.R — Bittersweet  15. Marsh — Home  16. Elderbrook, Rules — Starling at the Sun  17. JENNIE — Less than a Lover  18. THE21 — always  19. KSHMR, Ampermutt, Gobi Desert Collective — Mirage  20. Logic1000, KUČKA — All In For You

Inner Moonlight is the monthly poetry reading series at the Wild Detectives in Dallas. Curated by Dallas poet Logen Cure, the in-person show is the second Wednesday of every month in the Wild Detectives backyard. We love our podcast fans, so we release recordings of the live performances every month for y'all! On 7/8/26, we featured poet Caitlyn Alario!Caitlyn Alario is the author of SAPPHICS, a chapbook published by Bottlecap Press. She received a PhD in English and Creative Writing from the University of North Texas and an MFA in Writing from Sarah Lawrence College. Her work has appeared in Vallum, Third Coast, Bluestem Magazine, and elsewhere. She lives in North Texas, where she works as a ghostwriter, writing tutor, and developmental editor.⁠www.innermoonlightpoetry.com

Drew and Sean cover the 12th Garrett book, a surprising standout in the series! The Final Draft features drinks from Savyll, Long Live, Maine, and Outlaw Light. IOL is sponsored by Bricks & Minifigs Centennial. Visit www.bamcentennial.com and use code INKINGOUTLOUD for 10% off your orders! Visit our website at www.iolpodcast.com and join the conversation on Twitter @IOLPodcast Support us on Patreon: www.patreon.com/inkingoutloud Send us a tip on Ko-fi: ko-fi.com/inkingoutloud Inking Out Loud is Drew McCaffrey and Rob Santos. Sound engineering by Drew McCaffrey. Artwork by Danielle "FelCandy" Prosperie. Intro/outro music: "Moonlight" by Jivemind.

From a mighty session in Dingle to Croagh Patrick to the Heinrich Böll cottage in Achill, an All-Ireland state of mind, with Séamus Moran, Grace Wells, John Lawler, Mary Lavery Carrig, Frank Shouldice and Geraldine Mitchell

Former LSU standout, NBA veteran, and professional basketball player Johnny O'Bryant III joins the Krewe to discuss his unique connections to Japan, from playing for the Ibaraki Robots in Japan's B.League to founding Noir Caesar, his own manga publishing company. We explore his experiences living and competing in Japan, how a lifelong passion for manga grew into a business, and what it takes to balance life as a professional athlete and entrepreneur. It's a conversation about basketball, Japanese culture, creativity, and chasing passions both on and off the court. ------ About the Krewe ------ The Krewe of Japan Podcast is a weekly episodic podcast sponsored by the Japan Society of New Orleans. Check them out every Friday afternoon around noon CST on Apple, Google, Spotify, Amazon, Stitcher, or wherever you get your podcasts.  Want to share your experiences with the Krewe? Or perhaps you have ideas for episodes, feedback, comments, or questions? Let the Krewe know by e-mail at kreweofjapanpodcast@gmail.com or on social media (Twitter: @kreweofjapan, Instagram: @kreweofjapanpodcast, Facebook: Krewe of Japan Podcast Page, TikTok: @kreweofjapanpodcast, LinkedIn: Krewe of Japan LinkedIn Page, Blue Sky Social: @kreweofjapan.bsky.social, & the Krewe of Japan Youtube Channel). Until next time, enjoy! ------ Support the Krewe! Offer Links for Affiliates ------ Use the referral links below & our promo code from the episode! Support your favorite NFL Team AND podcast! Shop NFLShop to gear up for football season! Zencastr Offer Link - Use my special link to save 30% off your 1st month of any Zencastr paid plan!  ------ Links for Johnny & Noir Caesar ------ Noir Caesar Website Johnny on IG B.League Website ------ JSNO Upcoming Events ------ JSNO Event Calendar Join JSNO Today!