Podcasts about Nova Scotia

We reach an aid worker in Kathmandu whose teams are working nonstop to reunite children separated from their parents by this week's flash floods. An Ottawa company rushes to create a hat emblazoned with "Lake Ontario," and tells us they're finding plenty of customers in Canada... and beyond. A reporter untangled the complex criminal web that is fueling a car theft boom in Canada — and reveals where those pilfered vehicles are ending up. For years, archaeologists in Nova Scotia have tried to find the remnants of one of the first grain mills in North America. An amateur historian tells us why he thinks he's getting very close. One New Yorker shares why he's made it his mission to measure exactly how sweltering it is in the subway stations below the city's streets — and to offer some relief to sweltering commuters. As It Happens, the Friday Edition. Radio that's never afraid to break a sweat.

A seven-night Norwegian Jewel cruise review from Philadelphia to Bermuda and Halifax, Nova Scotia. Jacob shares what it was like sailing from Philadelphia's developing cruise terminal, including the unusual hotel check-in and shuttle process, as well as his first impressions of the 21-year-old Norwegian Jewel. We cover his interior cabin, a frustrating plumbing issue, the main dining room and buffet food, and specialty dining at Cagney's, Le Bistro, Moderno, and La Cucina. Jacob also discusses Norwegian's Freestyle Dining concept, entertainment, crowds, and whether the older ship still delivers good value. In Bermuda, he visits Horseshoe Bay, takes a sunset rum cruise, and goes clear kayaking before Norwegian Jewel heads north for a short stop in Halifax. Plus, we cover the week's cruise news, including changes to Norwegian Cruise Line's Free at Sea specialty dining benefit, Carnival's White Hot Night, Margaritaville at Sea's plans for Galveston, and Disney Cruise Line's return to New York. Share your thoughts: doug@cruiseradio.net  Sponsor Cruise line protection is designed to help if you can't take your cruise. Third-party travel insurance helps protect you during the trip. Including medical care, delays, and unexpected issues. Compare plans and save up to 30% at TripInsurance.com. About Cruise Radio: Cruise Radio has been delivering cruise news, ship reviews, and money-saving tips weekly since 2009.

At first glance, punk and folk seem to live in two different worlds. But look below the surface and you'll find the two genres have more in common than you might think. Nova Scotia folk duo Mama's Broke (Amy Lou Keeler and Lisa Maria) sit down with Q guest host Garvia Bailey to talk about their new album, Reunion, and the kinship between punk and folk.

Nova Scotia Premier Tim Houston joins with his reaction to the escalating trade war between the U.S. and Canada. Then, BMO Chief AI & Quantum Officer Kristin Milchanowski joins to discuss the key trends she's watching and where she sees opportunity right now. Plus, Tanger CEO Stephen Yalof joins with his expectations for the consumer amid the back-to-school shopping season. Squawk on the Street Disclaimer Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

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

An opposition critic says MPs should be back in the House of Commons to debate the threat posed by U.S. tariffs — and to get a full accounting of how a proposed trade deal collapsed. A Manitoba honey farmer tells us he feels like collateral damage in a "petty trade war." He says the new U.S. tariffs may spell bankruptcy for his family business, which sends almost all of its products south. A skin cancer survivor lobbies the U.K. government to stop taxing sunscreen, which it classifies as a cosmetic. She says the move could save lives. A teen from Nova Scotia reels in a behemoth weighing many times what she does. She describes the long hour she spent trying to land the fish. Nine sets of twins are starting school in a legendarily twin-tastic Scottish town. We'll hear from a teacher with two sets of twins in her class...and is still working out how to tell them apart.One L.A. theme park went to great lengths to make their new Fast & Furious roller coaster whisper-quiet, which totally worked — until it opened to the enthusiastic shrieks of riders.As It Happens, the Monday edition. Radio that guesses they couldn't see the forest for the “WEEEEEEES!”

What's a disappointment for one town has another town feeling hopeful!

Tonight's guest is Franky, calling from Nova Scotia, Canada. His encounters began in the late 1990s when an unfamiliar voice called him outside, where he saw a silent craft. His next memory was of being aboard the object. Franky believes this marked the beginning of nearly thirty years of unexplained encounters. He recalls being taken from his bed and during daylight hours, periods of missing time, unfamiliar beings and medical-style procedures.More information on this episode on the podcast website:https://ufochroniclespodcast.com/2026-2/If you enjoy this podcast, please support the show with a virtual coffee:https://ko-fi.com/ufochroniclespodcastFollow and Subscribe on X to get ad-free episodesX: https://x.com/UFOchronpodcast/Want to share your encounter on the show?Email: UFOChronicles@gmail.comOr Fill out Guest Form:https://forms.gle/uGQ8PTVRkcjy4nxS7Podcast Merchandise:https://www.teepublic.com/user/ufo-chronicles-podcastHelp Support UFO CHRONICLES by becoming a Patron:https://patreon.com/UFOChroniclespodcastAll Links for Podcast:https://linktr.ee/UFOChroniclesPodcastThank you for listening!Like share and subscribe it really helps me when people share the show on social media, it means we can reach more people and more witnesses and without your amazing support, it wouldn't be possible.Become a supporter of this podcast: https://www.spreaker.com/podcast/ufo-chronicles-podcast--3395068/support.

In 1775, half a million enslaved people had to pick a side in a war between two groups of white men who both claimed to want freedom. In this live episode of Our Ancestors Were Messy, friend of the show, Nichole Hill takes B.A. Parker and Gene Demby through the choices one man made – from a South Carolina plantation, to the British lines, to Nova Scotia, to Sierra Leone. It's a choose-your-own-adventure through history where there are no great options.Support public media with NPR+ and enjoy perks for over 25 podcasts like this one. This show's perks include sponsor-free listening. Learn more at plus.npr.org.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

Six-year-old Lilly Sullivan and her four-year-old brother Jack Sullivan disappeared from their rural home in Lansdowne Station, Nova Scotia, on May 2, 2025, after their parents reported waking up and finding the children missing. Despite Nova Scotia's largest ground search involving police, volunteers, dogs, drones, and helicopters, no trace of the children has been found. In this episode we hear from the children's mother, Malehya Brooks-Murray, for the first time in fifteen months. Malehya recently participated in a CBC Interview, and like every aspect of this case, it raises as many questions as it answers. Episode Links: Watch the full CBC interview: https://www.youtube.com/watch?v=XGeTl3id4PU Subscribe to the show: https://www.thecanadiangothic.com/subscribe Musical Theme: Noir Toyko by Monty Datta Contact: Website: https://www.thecanadiangothic.com Facebook: facebook.com/thecanadiangothic Instagram: https://www.instagram.com/thecanadiangothic/ Support the show: https://www.patreon.com/thecanadiangothic Learn more about your ad choices. Visit megaphone.fm/adchoices

Amy Noel is the owner and potter behind Wabi Scotia Pottery in Nova Scotia. After years of working part-time with young children, she turned her passion for clay into a full-time business. Today, she creates functional pottery, teaches classes, and has expanded her studio to include kiln rentals, helping others discover the joy and confidence that come from working with clay. https://ThePottersCast.com/1255

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.

September 14th, 2009. Edmonton. The last time The Tragically Hip ever played 'Emperor Penguin', and not one person in that building knew it.Seventy-two performances. That's the whole run. The first on July 2nd, 1998, a couple of weeks before "Phantom Power" was even in stores, and the last one in Edmonton on the We Are The Same tour before the song went in a drawer for good. Justin pulled that off setlist.fm live on the stream, Hipbase backs it up, and it turned into the thing nobody saw coming, because one of the two guys at the table tonight is Shawn from Edmonton. He was at that show. He found out on mic.We're on a Thursday this week, which is the end of the Thursday experiment. Back to Wednesdays next week. It was nice while we had it.'Emperor Penguin' landed at number 32 on the TTHTop40 Countdown and neither panelist is at peace with it. One of them would have guessed somewhere around 65. The other would have shoved it higher. Nobody splits the difference. So there's that.Then we spin a live version from Massey Hall, 2009, and Gord introduces the song with a line about why they don't play it often that tells you everything about how the band felt about it. There's a ninety-second outro hanging off the back of it that belongs to Robbie and nobody else. And somewhere early on Gord comes in on the wrong verse and does something with the save that Justin had been chewing on all day before we even hit record.WHAT ELSE IS IN HERE• Two readings of the lyric that come at it from opposite ends and land in the same spot, and one of them hinges on which parent actually sits on the egg.• "I like the tone of your trumpet. Come on, let's spill some paint." The most abstract stretch on the whole record, a notebook theory, and a guess involving Josh Finlayson that may not survive contact with HipMuseum.• The late night call in radio show sitting underneath these lyrics, and the drive home through the Bible Belt that Justin still can't shake loose from this song.• Shawn plays bass, so he hears this as a Paul and Robbie record, with Gord Sinclair and Johnny Fay rock solid and deliberately out of the way. Then Robbie takes it home.• Steve Berlin, the first of his two with the band, and what having a producer in the room at the Bathhouse did to the atmosphere of this thing.• "Phantom Power" as the line in the sand. The last record of the first era, and what happened to a good chunk of the congregation immediately after it.• Shawn spent real time with the guys in the early days. Sound checks with six people in the room. Gord showing him the notebook. And a lyric on one of the most loved songs in the catalogue that he can tell you exactly where they were sitting when it came up. We get about ninety seconds of that story. It deserves its own episode, and we are going to get it.Next week is 'Tiger The Lion', which is track one on the record that follows the record that ends with this song. Brand new panel, brand new song, and yes, the shuffle is actually random. I promise.THE PANEL• Justin from Bridport, Vermont. He announces the sprint cars of New England, so if you're anywhere in the northeast, go find a dirt track. He's also a Discovering Downie panelist.• Shawn from Edmonton. The Port Bickerton Lighthouse Arts Festival goes August 24th in Port Bickerton, Nova Scotia, put on by the Port Bickerton Lighthouse Association. East Coast and Maritime acts, artists, and the biggest one they've done yet.THREE CHAIRS IN THE BATHHOUSEOn August 20th at 1:00 pm I'm filming the final episode of Yer Hipstories: Reflections From The Final Tour inside the Bathhouse in Bath, Ontario. Ten years to the day since Kingston. Three chairs are open to fans. Email jd@tthpods.com by August 15th with your name, email, phone number, whether you can be there in person, and a one minute video on why it should be you. Travel is on you. That's the only catch.THE GATHERING - KINGSTON, AUGUST 20 TO 23Alongside Forever Hip. A mixer at the Merchant Pub, Choir! Choir! Choir! in Springer Market Square, a listening party for "The Tragically Hip Live, July 22 - August 20, 2016", a screening of Long Time Running, the CBC re-airing on the 22nd, and a farewell brunch at Morrison's. Email jd@tthpods.com to get on the list.GEDFEST TORONTO - SATURDAY, OCTOBER 17The Horseshoe Tavern, with Grace, 2. Every dollar goes to Campfire Circle and the Murphy Family Fund in Precision Medicine in Pancreatic Cancer. Tickets through facebook.com/GEDfestYYZ.FIND USHome: home.tthpods.comEmail: jd@tthpods.comFacebook community: community.tthpods.comInstagram: @tthpodsYouTube: youtube.com/@tthpodsYer Letter: subscribe.tthpods.comTip jar: buymeacoffee.com/tthtop40MORE THE TRAGICALLY HIP ON SHUFFLE LIVE STREAM'Bobcaygeon': https://redcircle.com/shows/a01e8de3-1a04-4a44-ab9c-8fc6e3cb7474/ep/dca7d1f5-6dea-4df8-b8d1-33008aa46cbd'Gus: The Polar Bear From Central Park': https://redcircle.com/shows/a01e8de3-1a04-4a44-ab9c-8fc6e3cb7474/ep/68d2991b-9074-43ef-bd71-aa832c59a787Live performance counts and dates come from Hipbase and setlist.fm, as cited on the stream.#TheTragicallyHip #EmperorPenguin #PhantomPower #TTHPods #HipHeads #OnShuffleSupport this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Candace Mayers- Jewelry Designer/ Founder of Creative Fashion HubCandace Mayers is a Trinidad-born creative who was raised in Brooklyn, New York. Her passion for fashion, design, and culture has shaped a creative journey rooted in community, storytelling, and self-expression.Beginning her career as a jewelry designer and founder of C.Francis Jewelry, Candace has since expanded her vision by founding Creative Fashion Hub in Nova Scotia. Through the Hub, she is building an inclusive community that connects and empowers designers, stylists, models, photographers, and other creatives while helping strengthen the region's fashion industry through collaboration, education, and opportunity.Find out more @cfhatlantichttps://www.myblackoutpodcast.com/blackout-podcast-episode-389-candace-mayers-jewelry-designer-founder-of-creative-fashion-hub/

The Wabanaki-Acadian old-growth forest is endangered — only one per cent of its old growth is left. The ancient forest, which stretches from parts of the Maritimes and Southern Quebec down into several New England states, is now comprised largely of newer forests, already cut down and logged, over and over. IDEAS explores the rare beauty of 300-year-old trees and astounding biodiversity before it's gone.*This episode originally aired on aired on June 11, 2024.Guests in this podcast:Peter Romkey is a naturalist, forest ranger and former executive director of the K.C. Irving Environmental Science Centre at Acadia University. He is retired and living on the south shore of Nova Scotia.Joan Maloof is an ecologist and the founder of the Old-Growth Forest Network, which works to preserve, protect, and promote America's few remaining stands of old-growth forests. She is the author of several books, including: Nature's Temples: A Natural History of Old-Growth Forests. Maloof lives in Maryland.Ursula Johnson is a renowned multidisciplinary artist. She won the 2017 Sobey Art Award. Johnson is a member of the Eskasoni Mi'kmaw Nation on Cape Breton Island (Unama'ki in Mi'kmaq). She also works for Parks Canada as the Mi'kmaq Relations Advisor for the mainland Nova Scotia field unit. She lives in southwestern Nova Scotia.

In this episode of The Healers Café, Manon Bolliger, FCAH, RBHT (facilitator and retired naturopath with 30+ years of practice) speaks with Vita Oyler, a rehabilitation counselor, shared her journey with chronic pain due to reflex sympathetic dystrophy (RSD) following a running accident. She emphasized avoiding inflammatory foods and medications, focusing on positive mindset, and setting realistic goals. Vita's pain management included natural supplements like malic acid and magnesium, and maintaining a positive outlook through faith and laughter. She highlighted the importance of gratitude and small achievements in managing chronic pain. For the transcript and full story go to: https://www.drmanonbolliger.com/vita-oyler      Highlights from today's episode include:  Vita explains to focus on what you can do: set tiny daily goals and celebrate them to make pain more livable. Vita says to reduce inflammation with food, supplements, stress reduction, and laughter to lessen chronic pain. Manon explains even with "incurable" labels, staying open and believing in possibilities keeps the door to healing and new solutions alive. ABOUT VITA OYLER, M.S. Vita is a Rehabilitation Counselor who works with clients that suffered with either acute or chronic pain.  She gained recognition as  being a counselor who fully understands pain and how to help others that have painful conditions as well.  Vita has been active in her community, and has been an active board member of many organizations.  She was drawn into getting people with disabilities back to work and/or living independently.  She has appeared on many television shows speaking about disability and chronic pain.  She has given many seminars about chronic pain.  She's worked with employers in finding creative ways of returning injured workers back to their jobs and/or finding alternative jobs.  She established the first Chronic Pain Support Group in her country for those suffering chronic pain, including families and other caregivers.  She herself received her country's Employee of the Year Award and was commended by country council members, congress members, senators and other state officials.  Vita has never let her pain interfere with her vocation and family.  She says it's about setting goals, earning right and learning to enjoy life again.  Let Vita inspire you to live a happier and healthier life  in spite of pain. ABOUT MANON BOLLIGER, RBHT, FCAH: As a retired Naturopath 1992-2021, I saw an average of 150 patients per week and have helped people ranging from rural farmers in Nova Scotia to stressed out CEOs in Toronto to tri-athletes here in Vancouver. My resolve to educate, empower and engage people to take charge of their own health is evident in my best-selling books:  'What Patients Don't Say if Doctors Don't Ask: The Mindful Patient-Doctor Relationship' and 'A Healer in Every Household: Simple Solutions for Stress'. and What if Your Body is Smarter than You Think?  I am the Founder & CEO of The Bowen College Inc. which teaches BowenFirst™ Therapy and holds transformational workshops to achieve these goals. So, when I share with you that LISTENing to Your body is a game changer in the healing process, I am speaking from expertise and direct experience". Mission: A Healer in Every Household! For more great information to go to her weekly blog:  http://bowencollege.com/blog.  For tips on health & healing go to: https://www.drmanonbolliger.com/tips Follow: Manon Bolliger website  | Linktr.ee | Rumble | Gettr  | Facebook | Instagram | YouTube | Twitter | LinkedIn | Follow: Bowen College Inc. | Facebook | Instagram  | LinkedIn | YouTube | Twitter | Rumble | Locals ABOUT THE HEALERS CAFE: Manon's show is the #1 show for medical practitioners and holistic healers to have heart to heart conversations about their day to day lives. Subscribe and review on your favourite platform: iTunes | Google Play | Spotify | Libsyn | iHeartRadio | Gaana | The Healers Cafe | Radio.com | Medioq | Audacy | Follow The Healers Café on FB: https://www.facebook.com/thehealerscafe   Remember to subscribe if you like our videos. Click the bell if you want to be one of the first people notified of a new release. * De-Registered, revoked & retired naturopathic physician after 30 years of practice in healthcare. Now resourceful & resolved to share with you all the tools to take care of your health & vitality!  

In this episode •      Shadow Day: the only total solar eclipse of 2026 crosses Arctic Russia, Greenland, western Iceland and northern Spain today — the first total eclipse over western mainland Europe since 1999 (Spain's first since 1905, Iceland's since 1954). Max totality ~2 min 18 s. Reykjavík ~17:48 UT; northern Spain ~18:27–18:33 UT (Sun very low, ~4–10° up). Live via NASA, timeanddate and the Exploratorium. •      Where you are: North America gets an afternoon partial (Nova Scotia ~33%, N. Maine ~28%, Montreal ~18%, Boston ~16%, NYC ~9–10%, Toronto ~8%, DC ~10%; Fairbanks ~37% in the morning) — no totality anywhere on the continent, glasses on throughout. Europe outside the path sees a deep evening partial (London ~91%). Australia/SH: not visible directly — watch the streams (~1:30–6:00 am AEST Thu). •      Chasing the shadow: NASA's WB-57 jet flies the path at ~50,000 ft (~740 km/h), extending totality to nearly 3 minutes with four visible/IR cameras (SCIFI) to probe coronal heating, prominences and the solar wind (PI Amir Caspi, SwRI). The Nationwide Eclipse Ballooning Project (A. Des Jardins, Montana State) launches ~86 balloons from Iceland and Spain to measure atmospheric changes. •      A star-building magnetic field: ALMA captures the first direct high-resolution image of a twisted, toroidal magnetic field wrapped around a protostellar jet in NGC 1333 IRAS 4A (~960 ly, Perseus cloud), confirming a decades-old prediction of how young stars launch jets and shed spin — the same physics that scales up to black-hole jets (Ching et al., Nature Communications 2026; NSF NRAO/ALMA). •      Why worlds turn hellish: UC Riverside's Stephen Kane argues planetary rotation is an overlooked driver of climate and habitability — slow spin may help tip a world into a Venus-style runaway greenhouse. Measuring true spin is hard because winds can masquerade as rotation; ESA's PLATO (launch March 2027) could test the idea across hundreds of Venus-like planets (Astronomical Journal, accepted). •      Skywatch — both hemispheres: the Perseids peak overnight 12–13 Aug under a genuinely moonless sky (best midnight–dawn; NH-favoured). Southern Hemisphere: evening Venus (mag −4.4, just past dichotomy), the pre-dawn planet line-up, and Comet 10P/Tempel 2. ISO 12312-2 eye-safety line included.   Sources •      NASA Science — Total Solar Eclipse on August 12, 2026; “NASA Science Soars During August Total Solar Eclipse” •      timeanddate; Eclipsophile; NationalEclipse.com; azmth.space — path, contact times, magnitudes •      Astronomy.com; Forbes; CBS News — North American partial times & percentages •      Space.com; Smithsonian — WB-57 SCIFI campaign & Nationwide Eclipse Ballooning Project •      NSF NRAO / phys.org — Ching et al., “Unveiling dominant toroidal magnetic fields in a protostellar outflow,” Nature Communications (2026) •      UC Riverside (news.ucr.edu) / phys.org — S. Kane, planetary rotation & runaway greenhouse (Astronomical Journal, accepted) •      EarthSky; Astronomy.com — Perseid peak (moonless), Venus dichotomyBecome a supporter of this podcast: https://www.spreaker.com/podcast/astronomy-daily-latest-space-news--5648921/support.Sponsor Details:Ensure your online privacy by using NordVPN. To get our special listener deal and save a lot of money, visit www.astronomydaily.io/nordvpn. You'll be glad you did!Get the best secure and private email on the planet. Stop your Government, google and who knows who else spying on every email you write. Do what we did and use ProtonMail. They beleive in privacy and there are no ads in their business model...yet they still provide a free forever service. Check them out and get out special deal at www.astronomydaily.io/protonmailBecome a supporter of Astronomy Daily by joining our Supporters Club. Commercial free episodes daily are only a click way... Click HereThis episode includes AI-generated content.

This week on the podcast, Patrick and Tracy welcome Natalie Zina Walschots, author of VILLAIN. About VILLAIN: The hench once called Anna, now known to her colleagues and enemies as the Auditor, has carved out a wicked name for herself. Any superhero unlucky enough to cross her path knows her potential and powers. Surely, her recent success should taste sweet: she has an incredible job with lots of perks, her boss will literally annihilate anyone who crosses her, and her greatest enemy, the former hero Supercollider, has been utterly defeated—literally ground to a still-living pulp. But the Auditor still has her sights set on a greater work: destroying The Draft, the organization that makes, trains, and manages the world's most powerful superheroes. These “heroes” have shown time and time again that they do more harm than good (she has the spreadsheets to prove it), and now is the time to stop the damage at its source. Yet all is not well for the Auditor and her fellow evildoers. Her employer, Leviathan—the world's most feared supervillain—is not coping well with Supercollider's defeat at someone else's hands. As their relationship deepens, her work-life balance increasingly involves navigating the feelings of someone who doesn't believe they have any. Moreover, her unlikely ally and unexpected friend, Quantum Entanglement, has reappeared, forcing the Auditor to confront all the ways they deceived each other. Tension and uncertainty haunt the Auditor, and the fear that their triumph is about to crumble looms over all of them. The Auditor soon finds herself facing down an opponent unlike any she's taken on before—not another superhero, but someone like her, someone much more dangerous: The Draft's Chief Marketing Officer. Their conflict isn't a test of physical prowess, but ideas, and as their fight escalates, she’ll need more than preternatural pattern recognition, data analysis, and a horrific imagination to meet this challenge. It's guerrilla ad warfare, and the Auditor might have finally met her match. About Natalie Zina Walschots: Natalie cultivates fandoms, builds new communities, develops character voices, leads interactive fiction workshops, designs alternate reality games, constructs branching narratives, and most mornings opens Tumblr before opening her eyes. Her client list includes scrappy indie game studios, critically acclaimed television shows, mixed martial artists, print magazines, talk shows, NGOs, and a few more that defy categorization. Natalie's work wins awards, grows audiences, and introduces people to the thing they often end up loving most in the world. As a writer and journalist, you can find her work in the National Post, The Walrus, Quill & Quire, The Globe & Mail, and beyond. She's the author of two poetry collections, DOOM: Love Poems for Supervillains and Thumbscrews, and the novels Hench and its sequel Villain. Hench, dedicated to the plight of hench-people (the downtrodden and often expendable employees of supervillains), was a finalist on the 2021 season of Canada Reads and a nominee for the Locus Award for Best First Novel. Natalie has presented at Console-ing Passions, CGSA, Digital Odyssey, TCAF/CSSC, and more. She is an active member of Dames Making Games, and has previously worked with Pixelles, Concordia's Technoculture, Art and Games Lab, and The Hand Eye Society. She can be found causing trouble at DMG or talking about heavy metal on Banger TV. She has often been in the newspaper for swearing. She lives in Nova Scotia with her partner and four cats. This week's picks: Natalie #1: Antigen Shift: Verified Unidentified (album) Natalie #2: Between Two Fires by Christopher Buehlman Tracy: Harley Quinn Vol. 1: No Good Deed Patrick: Pathfinder Bastion of Blasphemies Adventure Path Links: Natalie Zina Walschots on BluSky Tracy Townsend on BluSky Patrick Hester on Instagram The Functional Nerds Patreon Page © 2026 Patrick Hester The post Episode 713-With Natalie Zina Walschots appeared first on The Functional Nerds.

Kerri covers the case of Joy Hibbs. Joy's home was set ablaze to hide the crime and the case went cold for over three decades. It's the story of a family's relentless push for answers, culminating in a 2022 arrest that finally brought her killer to justice Donna heads to rural Nova Scotia for the eerie legend of Caledonia Mills, where a 1922 farmhouse was plagued by a string of mysterious fires that seemed to ignite from nowhere. Investigators, reporters, and even a young girl at the center of it all left the case unsolved to this day, fueling one of Canada's strangest unexplained mysteries. If you have any local true crime, local urban legend/lore, ghost stories.. we want them all!! We want to hear from YOU. Especially if you have any funny Ambien stories! Email us at aparanormalchicks@gmail.com Join The Creepinati @ www.patreon.com/theAPCpodcast Edited by Caden Baughman at Guestroom Studio https://www.gstrmstudio.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

We look at what’s making the capital and largest city of Nova Scotia a boom town for defence industries. Then: should we be worried that AI writing is taking over from human writing? And: could Seoul authorities succeed in creating a city that never sleeps?See omnystudio.com/listener for privacy information.

Jack and Lilly Sullivan vanished without a trace in Nova Scotia over a year ago, and for all that time their mother Malehya Brooks-Murray has said almost nothing publicly. Now she has broken her silence, and you are about to hear her words for the first time since the search began. Jack breaks down exactly what those words reveal.You will hear her talk about the frustration of a case with no answers, the made up stories, and the line she keeps coming back to, that these are her babies and they need to come home. Jack takes you through her statement piece by piece so you can hear for yourself what her words tell us and where the real questions still sit.Watch the full piece here: https://www.youtube.com/watch?v=x-_nh-xr93QWant more from Never A Truer Word? Become a member on YouTube or Spotify and get early access, exclusive episodes and moreYouTube Membership: https://www.youtube.com/channel/UCgBFGUA67ZunxIbe51LnqGg/joinSpotify: https://creators.spotify.com/pod/show/neveratruerword/subscribeCredible newsletter: https://jack-fox.kit.com/dfc55f19a6Reddit: https://www.reddit.com/r/NeverATruerWord/Newsletter: https://posts.neveratruerword.comSocials: https://connect.neveratruerword.comBooks: https://books.neveratruerword.comTraining: https://statementfox.com/training/Free download: https://statementfox.com/introduction-to-caps-framework/This feature is opinion provided for commentary, education and entertainment only.#ForensicScience#investigation #justice #truecrime #statementanalysis #liedetection #deceptiondetection #WordsMatter #howtoreadpeople #statementinvestigation #psychology #deception #behavioralpsychology #behavioranalysis #TrueCrimeCommunity #behaviouralarts #LinguisticAnalysis #UnsolvedMysteries #InterrogationAnalysis #CriminalPsychology#JackAndLillySullivan #MalehyaBrooksMurray #NovaScotiaMissing #MissingChildren #HerWordsRevealed

Rhys and Jesse dive into the mystery of the “extinct” Eastern Cougar in Nova Scotia and New Brunswick—sharing sightings, sketchy government responses, dubious DNA tests, and why officials might prefer this big cat to stay officially dead. Along the way, they detour into conspiracy vans in Vancouver, wild listener theories, dating updates, autobahn anxiety, and the surprising sex lives of kangaroos.0:00 – Sleep Tracking & Being Exhausted1:00 – Introducing the Eastern Cougar “Cryptid”2:20 – Cold Open: Conspiracies & Canada Is Boring Intro3:38 – Back from Break: Rhys and Jesse Reunite4:05 – Ridiculous Cryptids & Livestock Jokes5:00 – What Is the Eastern Cougar, Really?6:00 – Sightings, Photos & “It Just Looks Like a Cougar”7:30 – Dashcam Cougar, Trail Cams & Blurry Evidence9:30 – Government Takes the Tape (Conveniently Lost)10:30 – “Mistaken Identity” Animals & Official Charts11:55 – Cougar Bar Jokes & Karaoke Research13:00 – Biologists, DNA Evidence & Exotic Pets14:20 – Snake Pets, Smells & Listener Call to Action16:40 – More DNA Evidence & Jesse Calls Out Bad Science18:05 – Extinction, Habitat Loss & Elusive Big Cats19:00 – Why the Government Won't Admit Cougars Exist20:16 – Nova Scotia Politics & Reluctance to Change20:57 – Condos, Empty Buildings & Rich Investors21:29 – Do We Believe in the Eastern Cougar?22:07 – Small Talk Dimension Intro (STD Zone)22:56 – Rhys's Europe Trip & Autobahn Anxiety24:57 – Jesse's Dating Life Update25:34 – Listener Jess's Top 3 Conspiracies27:26 – Heartfelt Comment from Listener in Australia28:00 – Kangaroos, Three Genitals & Weird Biology29:26 – Googling Kangaroo Anatomy Live30:19 – Teasing the Next Lake Monster EpisodeFor premium content, socials, merch, to leave a voicemail or message us go to canadaisboring.com Hosted on Acast. See acast.com/privacy for more information.

Kerri covers the case of Joy Hibbs. Joy's home was set ablaze to hide the crime and the case went cold for over three decades. It's the story of a family's relentless push for answers, culminating in a 2022 arrest that finally brought her killer to justice Donna heads to rural Nova Scotia for the eerie legend of Caledonia Mills, where a 1922 farmhouse was plagued by a string of mysterious fires that seemed to ignite from nowhere. Investigators, reporters, and even a young girl at the center of it all left the case unsolved to this day, fueling one of Canada's strangest unexplained mysteries. If you have any local true crime, local urban legend/lore, ghost stories.. we want them all!! We want to hear from YOU. Especially if you have any funny Ambien stories! Email us at aparanormalchicks@gmail.com Join The Creepinati @ www.patreon.com/theAPCpodcast Edited by Caden Baughman at Guestroom Studio https://www.gstrmstudio.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices

How much should really change when you plant a church in a new context? In this episode of Breaking Barriers, Pastor Andrew sits down with Pastor Jeremy Dagger — who helped plant Mercy Hill Church before launching Port City Church in Halifax, Nova Scotia — to talk contextualization in church planting. They break down an 80/20 framework: what has to adapt based on culture and location, and what never changes no matter where you plant. Topics include reaching unreached and unchurched cities, discipleship pacing, preaching as the engine of the church, leadership development, and building a church with excellence. A must-listen for church planters, pastors, and ministry leaders thinking through church growth strategy in any context.

In this episode of the Harvest Growth Podcast, Jon LaClare sits down with Joan MacIsaac, founder of Effie's Homemade, to reveal how strategic product sampling, customer feedback, and steady retail expansion helped grow the brand from just 13 stores to more than 5,000 locations.Joan shares how her mother's traditional Nova Scotia oatcake recipe became the foundation of a nationally distributed food brand. She explains why Effie's focused on building a distinct product niche, expanding through new flavors, and working with specialty cheese shops before pursuing larger retailers such as Whole Foods and Kroger.The conversation explores why sampling has been one of Effie's most effective marketing strategies, with 5% to 7% of the company's production dedicated to samples. Joan explains how sampling not only drives purchases but also creates valuable conversations with customers—revealing the exact language brands should use in their packaging and marketing.Joan also offers an honest look at the challenges of retail distribution, including distributor fees, billbacks, promotional deductions, unsold inventory, and the risks of expanding into too many warehouses too quickly. Her advice is simple: grow organically, review every agreement carefully, and never expect a distributor to market your product for you.In today's episode of the Harvest Growth Podcast, we cover:How Effie's Homemade grew from 13 stores to more than 5,000Why product sampling can drive both sales and customer researchHow customer feedback transformed Effie's packaging and messagingWhy finding a clear niche makes product-line expansion easierHow to grow organically through specialty retailersThe distributor fees and contract terms every founder should reviewWhy expanding too quickly can leave products expiring in warehousesHow online sampling can introduce your brand to new audiencesWhy brands must work directly with retailers to support sell-throughAnd so much more!If you're building a food, beverage, or consumer packaged goods brand, this episode offers practical lessons for improving your product marketing, navigating retail distribution, and scaling without losing control of your business.Want to learn more about Joan and Effie's Homemade?Visit EffiesHomemade.com to explore their full collection of crisp, buttery, lightly sweet biscuits.Do you have a brand you'd like to launch or scale?Visit HarvestGrowth.com to book a free consultation and learn how our team has helped generate more than $2 billion in product sales.

15 months after her children, Jack and Lilly Sullivan, vanished in rural Nova Scotia, Malehya Brooks-Murray is breaking her silence. In an interview with CBC's Angela MacIvor, she discusses the challenge of processing her grief and why she is determined to keep the case in the spotlight.

The Metaphysical Hour with Julia Cannon and Tracie Mahan and Question Master Tiffanny Lion's Gate, Soul Timelines, and the Everyday Mirrors of Metaphysical Life Julia Cannon, Tracie Mahan, and Tiffany explore Lion's Gate energy, conscious manifesting, personal power, generational healing, parallel timelines, soul aspects, animal mirrors, QHHT, Soul Speak, and the everyday signs that reveal how deeply metaphysical life is woven into ordinary experience. The Metaphysical Hour Opens With Energy, Humor, and Global Connection This episode of The Metaphysical Hour, broadcast on August 7, 2026, opens with Julia Cannon, Tracie Mahan, and Tiffany welcoming viewers into a lively, playful, spiritually focused conversation. The hosts invite viewers to share where they are watching from, creating a sense of a global energetic grid lighting up around the world. Lion's Gate and the Power of Collective Focus The first major topic is the Lion's Gate portal, which Tracie describes as a major energetic gateway connected with manifesting, creating, and the 8/8 portal. She notes that she has posted a Lion's Gate journey on her website, Facebook, and YouTube for anyone who wants to use it. Julia and Tracie discuss the idea that while there may be astrological or energetic factors involved, much of the power comes from collective human focus. They emphasize that people are always creating through their thoughts, and the Lion's Gate simply offers a concentrated opportunity to focus on what is desired rather than on old patterns, worries, or “woe is me” energy. Viewers Around the World and a Portal-Like Sun Image Tiffany reads off viewer locations including Florida, Seattle, Arkansas, Australia, Quebec, Tasmania, San Antonio, Tucson, San Francisco, Wisconsin, Nova Scotia, Kansas, Sweden, Arizona, North Dakota, Indiana, Michigan, Iceland, Scotland, Ohio, and more. The hosts respond by describing the audience as lights shining around the world, spreading outward in an expanded field. Tracie then shares a story about taking a selfie near a pond and later noticing that the sun in the photo looked like a portal with rainbow energy coming out of it. The image becomes an example of the episode's recurring theme: extraordinary signs may be happening around people even when their attention is elsewhere. Generational Healing, Personal Responsibility, and the Ripple Effect An audience question about a QHHT session leads Julia and Tracie into a deep discussion of generational and ancestral healing. The viewer explains that a practitioner asked the higher self to heal everything across all generations, but the higher self responded that each generation is responsible for its own healing. Julia emphasizes that the primary responsibility is to heal oneself, not to take on everyone else's lessons. Tracie adds that healing can occur across all time, space, dimensions, realities, timelines, and versions of a person, but both hosts stress discernment, free will, belief systems, and the idea that personal healing naturally ripples outward when appropriate. Free Will, Mirrors, and Stopping Patterns From Moving Forward Julia and Tracie further explain that people cannot take away the lessons another soul has chosen, whether that soul is living, ancestral, or in another dimension. They compare this to relationships and manifestation: one cannot force healing or outcomes for another person if that person is not ready. Tracie discusses the idea of volunteers or souls entering certain family lineages to stop patterns, such as abuse, from continuing forward. In that sense, the work is not about fixing everyone in the past, but about choosing differently now, becoming a healed example, and no longer passing a pattern forward through one's own life. Parallel Timelines, Soul Aspects, and the Infinite Self Another audience question asks whether, when someone dies in one timeline, they also die in other timelines. Julia answers no, explaining that other aspects of the soul may continue on their own trajectories, join another version, or return to the oversoul. Tracie shares a personal story about unexplained pain on her right side that she connected during a session to another aspect of herself, a teenage girl in a car accident who died in another timeline. Once the connection was seen and cleared, Tracie says the physical symptoms and a fear response connected to left turns disappeared. The hosts use this to discuss parallel lives, threads of the universe, soul tapestries, and the vastness of the oversoul. Awakening Abilities and the Gradual Opening of the Doors Julia reflects on spiritual abilities by recalling an image she received years earlier of two French doors barely cracked open, with only a small line of light coming through. At that time, she says, the opening represented the beginning of abilities coming in. Now, she feels the doors have opened more, though still gradually, because a sudden full opening would be overwhelming. The hosts discuss how people often want all their abilities at once, but spiritual expansion unfolds at a pace the soul has chosen. They remind listeners that people are not their experiences or emotions; they are souls having experiences. Everyday Metaphysics: Lawns, Deep Cleaning, and Animal Mirrors The episode becomes especially practical when Tracie describes watering a patchy lawn while preparing to move. She realizes the lawn may be mirroring something within her: green and lush around the edges but empty or ungrown in the middle. As she reflects, she connects the yard work to deep cleaning, purging, and examining hidden areas of her life. Julia explains that this is metaphysics in everyday life, not something separate or lofty. A later question about an aggressive cat leads the hosts to suggest that pets often mirror the energy of the person closest to them, especially unexpressed anger, frustration, agitation, or inner tension. QHHT, Soul Speak, Retreats, and Closing Love Near the end, Julia and Tracie direct listeners to several resources. Julia mentions QHHTOfficial.com for sessions, practitioner training, and an upcoming retreat in Santa Fe, New Mexico, as well as SoulSpeakOfficial.com for understanding the language of the body and related metaphysical patterns. Tracie directs listeners to her website for the Lion's Gate journey and other information. Tiffany closes with the simple parting message, “Love one another,” and the hosts echo that message with affection, gratitude, and goodnight wishes to the audience.

Get CRYPTID: The Creepy Card Battling Game https://cryptidcardgame.com/ Read our new wendigo horror novel https://eeriecast.com/lore Sign up for Eeriecast PLUS for bonus content and more https://www.eerie.fm/ SCARY STORIES TIMESTAMPS: 0:00 Intro 1:36 Real story with no resolution, hunting east Texas - From - Dr_Skillz 13:34 The woods of Nova Scotia, 2026 - From - xNot_Angelx 22:35 It almost had me - From - Adrian.I 32:19 Possible dog man or maybe something more - From - R4V3N 42:39 What's beyond the Tree Line - From - Cole_Rustics Get our merch https://www.eerie.fm/shop Join my Discord! https://discord.gg/3YVN4twrD8 Follow the Unexplained Encounters podcast! https://pod.link/1152248491 Follow and review Tales from the Break Room on Spotify and Apple Podcasts! https://pod.link/1621075170 Follow us on Spotify! https://open.spotify.com/show/3mNZyXkaJPLwUwcjkz6Pv2 Follow and Review us on iTunes! https://podcasts.apple.com/us/podcast/darkness-prevails-podcast-true-horror-stories/id1152248491 Submit Your Story Here: https://www.darkstories.org/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

Nicole O'Byrne speaks with Keith Mercer about his book, Rough Justice: Policing, Crime, and the Origins of the Newfoundland Constabulary, 1729–1871. In Rough Justice, Keith Mercer examines the history of policing and crime in early Newfoundland. It focuses on the period between the appointment of the first constables on the island in 1729 to the establishment of the Newfoundland Constabulary in 1871, now known as the Royal Newfoundland Constabulary. This makes the Constabulary the oldest continuous police service in Canada. These early policemen, mostly untrained amateurs, were officers of the court, but they also played important roles in some of the most notable historical events and social crises of the eighteenth and nineteenth centuries. The establishment of the Constabulary in 1871 built upon that strong foundation of community service. Rough Justice weaves that narrative into the larger history of Newfoundland. Keith Mercer was born in Gander and holds graduate degrees in history from Memorial and Dalhousie Universities. He works for Parks Canada as the Cultural Resource Manager in Mainland Nova Scotia. He lives in Bedford, Nova Scotia, with his wife, Amy, and children, Abby and Sam. If you like our work, please consider supporting it: bit.ly/support_WTY. Your support contributes to the Champlain Society's mission of opening new windows to directly explore and experience Canada's past.

Be still your savage hearts, X-Goons!  For we are reviewing another episode of X-Men '97 from our strange land of Nova Scotia.  We are feeling a little "BiPolar" but we will find a way to bring you a great show as always!#xmen #xmenanimatedseries #xmenTAS #xmen97 #xmenevolution #wolverineandthexmen #marvel #disneyplus #marvelstudios #marvelanimation #marvelcomics #uncannyxmen #wolverine #storm #kittypryde #nightcrawler #cyclops #jeangrey #rogue #gambit #weaponx #emmafrost #xfactor #xforceA PROUD PART OF THE SWEAR2POD NETWORKSupport the show

Plus: An Ontario city deals with the impact of historic floods, wildfire damage in B.C. is assessed with hot days in the forecast, Canadians look at cutting back their insurance to save money in the short term, and how will Israel and Hamas resolve their stalemate on the road to peace in Gaza? We love feedback at The Big Story, as well as suggestions for future episodes. You can find us: Through email at hello@thebigstorypodcast.ca  Or @thebigstory.bsky.social on Bluesky Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Interview with Rodrigo Roso, Director & CEO of Scotia MetalsRecording date: 30th July 2026Scotia Metals Corp has emerged as a significant new player in Canada's lithium sector, positioning itself as the largest lithium landholder in Nova Scotia with 37,268 hectares across 43 licences. Formed through a July 2026 business combination, the company controls a land package extending more than 80 kilometres along a प्रमुख geological corridor, directly adjacent to the Brazil Lake spodumene deposit, which hosts an estimated 10 million tonnes grading 1.20% Li₂O.Early exploration at Scotia's flagship Green Wolf target has produced encouraging results, including more than 30 spodumene-bearing boulder samples grading between 1% and 3.40% Li₂O. The size, distribution, and angular nature of these boulders suggest multiple nearby pegmatite sources, indicating strong potential for bedrock mineralisation within the company's claims.Scotia Metals is led by CEO Rodrigo Roso and a management team with experience in building and exiting resource companies, including roles at Galaxy Resources, Allkem, and K92 Mining. The company raised approximately $5.8 million alongside its listing and maintains a tightly held share structure, with about 50% owned by insiders and 40% by long-term backers, aligning interests toward sustained project development.The company plans to begin scout drilling in the third quarter of 2026, followed by more extensive resource-definition drilling aimed at supporting a maiden resource estimate. However, timelines for this milestone remain unclear, with guidance ranging from late 2026 to 2027.Scotia benefits from strong infrastructure, including proximity to ports, highways, and power, as well as supportive provincial policies for critical minerals. With lithium prices rebounding sharply after a recent downturn and long-term demand driven by electric vehicles and energy storage, Scotia Metals is positioning itself to capitalize on a strengthening market while advancing one of Atlantic Canada's most prospective new lithium districts.Sign up for Crux Investor: https://cruxinvestor.com

Plus: A Canadian astronaut gets ready to head to the International Space Station, a closed Ontario theme park ships more whales to the U.S., two flight school planes collide midair in B.C., and could the FIFA president's failed plan to sell stakes in the World Cup end his tenure as the most powerful man in soccer? We love feedback at The Big Story, as well as suggestions for future episodes. You can find us: Through email at hello@thebigstorypodcast.ca  Or @thebigstory.bsky.social on Bluesky Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

The Bay of Fundy is one of Canada's best kept birding secrets. Following the ebb and flow of the tides are tens of thousands of Semipalmated Sandpipers - and just off the coast, the rocky islands are alive with nesting terns, razorbills, puffins and more! Lucas Berrigan and Avery Nagy-MacArthur join us to explain why this region is so magical for Semipalmated Sandpipers, and how the Motus Wildlife Tracking System has been essential in understanding how and why birds move through the area. They also give top-tier advice on how to help shorebirds across the country, and offer ideas for how locals can get involved with the birds at the Bay of Fundy. Fly like a bird onto a dream vacation with Birding Ecotours! Check out all their tour options at birdingecotours.comListeners of The Warblers now get 10% off Bird-friendly coffee orders from Birds and Beans with the code 'warblers' at checkout. Learn more about Space to Roost and Motus - start by exploring the Motus map for Semipalmated Sandpiper. Avery Nagy-MacArthur started volunteering with Birds Canada as a Piping Plover monitor in 2008 on the south shore of Nova Scotia, which sparked an interest in a career in ornithology. Throughout her Bachelor's and Master's studies, she focused on Whimbrel, and breeding Arctic and Common Terns. She now works as the Atlantic Canada Shorebird Programs Biologist for Birds Canada.Lucas Berrigan completed a Master's on the post-breeding behavior of Swainson's Thrushes at Acadia University, then joined the Birds Canada's team in the Atlantic Region in 2018 to run the Maritimes Marsh Monitoring Program. Since then, he has taken on more responsibilities related to the Motus Wildlife Tracking System – namely, managing the Atlantic array of Motus receiver stations and supporting Motus users worldwide. He works as the Motus Manager of Technology and Web Development for Birds Canada. Andrea Gress (she/her) secretly thinks Piping Plovers are better than all the other birds...studied Renewable Resource Management at the University of Saskatchewan. She pivoted towards birds, after an internship in South Africa. Upon returning, she worked with Piping Plovers in Saskatchewan, and then as the Ontario Piping Plover Coordinator. Years of sharing her love of plovers with beach goers has turned into a full time communications role with Birds Canada. Support the show

This episode I am reading from E.A. Sabean's book 'Strange UFOs and Aliens in My Life' They have always been here. Ever since she was a child, E. A. Sabean experienced encounters with strange beings that were not of this Earth. Her earliest memories include frightening visits from unexplained entities, experiences that left her with a lifelong fear of the dark and of the open sky, even in the daytime. Years later, as an adult with children of her own, those encounters resumed. Over the decades, the author experienced a variety of unexplained phenomena, including UFO sightings, missing time, encounters with a shadow figure, healing experiences, and other events that challenged her understanding of reality. All of these experiences occurred in Nova Scotia throughout the course of her life. In one remarkable incident, the beings prevented her death. This is not a book of answers. The author does not claim to know who these beings were, where they came from, or why they appeared in her life. One of the only two things they ever told her was that they "have always been here." In Strange UFOs and Aliens in My Life, Sabean recounts these experiences in her own words, presenting the events as she remembers them and allowing readers to draw their own conclusions. The book also includes hand-drawn sketches of the beings and UFOs she encountered, along with sketches of unusual phenomena witnessed by her husband before they met. This paranormal account offers a firsthand look at a lifetime of extraordinary experiences that continue to raise questions about the nature of reality and humanity's place within it. https://www.amazon.com/Strange-UFOS-Aliens-My-Life-ebook/dp/B0H5J73J5Q https://www.pastliveshypnosis.co.uk/https://www.patreon.com/alienufopodcasthttps://simonbown.com/My new book, Aspects of Alien Abduction https://www.amazon.com/dp/B0GRRPCT9YZen AI bit.ly/zenAI_bpp_ufo Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Today's podcast Matt and I are completing our annual review of CMHC (Canadian Mortgage & Housing Corporation) 2026 mortgage consumer survey. CMHC surveys 4000-5000 mortgage holders across Canada to find out some common trends homeowners may be facing. We also have an update on the 2% down payment program the Nova Scotia government rolled out in a partnership with local credit unions back in February 2026. Find out how many people have actually used this program to sucessfully purchase a home!Last but certainly not least, the federal government announced their intention to purchase 2200 vacant condos in British Columbia. There has been a lot of noise made about this whether it's a government bailout of B.C. developers, if this is a viable option for affordable housing, and the numbers being touted as what the purchase price of these condos may be. Enjoy!Jason Paul902-220-7357jason@infinityrealestategroup.ca@jasonpaulhalifaxrealtor@halifaxrealestatepodcastMatt Legatto902-240-3304matthew.legatto@indimortgages.ca@matthewlegatto.mortgages

In this episode of The Healers Café, Manon Bolliger, FCAH, RBHT (facilitator and retired naturopath with 30+ years of practice) speaks with Dr. Marina Stratsak-Suri, an experienced OB/GYN and functional medicine advocate, discusses her holistic approach to women's health and fertility. She highlights the importance of lifestyle factors, such as diet, exercise, and stress management, in improving fertility and overall health. Dr. Suri notes a significant increase in conditions like obesity, metabolic disease, PCOS, and endometriosis, linking them to environmental chemicals.  For the transcript and full story go to: https://www.drmanonbolliger.com/dr-marina       Highlights from today's episode include:  Dr. Marina: "Lifestyle—food, sleep, stress, toxins—directly shapes fertility, but medicine rarely addresses it." Dr. Marina: "The pill can hide serious period problems; it treats symptoms, not the root cause." Manon: The 24-year-old who agreed to a hysterectomy without realizing it meant no future pregnancy shows a critical failure of informed consent. ABOUT DR MARINA STRASZAK-SURI Dr. Marina is an experienced OB/GYN and dedicated educator with over thirty-five years of experience in women's health and fertility. She combines her medical expertise with a passion for evidence-based, holistic approaches, naturally empowering individuals to optimize their reproductive health. Dr. Marina enjoys teaching and mentoring the next generation of medical professionals while staying at the forefront of reproductive science. Inspired by her journey as a mother, she shares cutting-edge insights and practical strategies to help readers navigate the complexities of conception and pregnancy. Through her compassionate and educational approach, she aims to demystify fertility and provide the tools to build healthier, thriving families. Core purpose / passion : My mission is to empower people to understand their bodies better and to take control of their health journey. Website | Facebook | Instagram | LinkedIn |    ABOUT MANON BOLLIGER, RBHT, FCAH: As a retired Naturopath 1992-2021, I saw an average of 150 patients per week and have helped people ranging from rural farmers in Nova Scotia to stressed out CEOs in Toronto to tri-athletes here in Vancouver. My resolve to educate, empower and engage people to take charge of their own health is evident in my best-selling books:  'What Patients Don't Say if Doctors Don't Ask: The Mindful Patient-Doctor Relationship' and 'A Healer in Every Household: Simple Solutions for Stress'. and What if Your Body is Smarter than You Think?  I am the Founder & CEO of The Bowen College Inc. which teaches BowenFirst™ Therapy and holds transformational workshops to achieve these goals. So, when I share with you that LISTENing to Your body is a game changer in the healing process, I am speaking from expertise and direct experience". Mission: A Healer in Every Household! For more great information to go to her weekly blog:  http://bowencollege.com/blog.  For tips on health & healing go to: https://www.drmanonbolliger.com/tips Follow: Manon Bolliger website  | Linktr.ee | Rumble | Gettr  | Facebook | Instagram | YouTube | Twitter | LinkedIn | Follow: Bowen College Inc. | Facebook | Instagram  | LinkedIn | YouTube | Twitter | Rumble | Locals ABOUT THE HEALERS CAFE: Manon's show is the #1 show for medical practitioners and holistic healers to have heart to heart conversations about their day to day lives. Subscribe and review on your favourite platform: iTunes | Google Play | Spotify | Libsyn | iHeartRadio | Gaana | The Healers Cafe | Radio.com | Medioq | Audacy | Follow The Healers Café on FB: https://www.facebook.com/thehealerscafe   Remember to subscribe if you like our videos. Click the bell if you want to be one of the first people notified of a new release. * De-Registered, revoked & retired naturopathic physician after 30 years of practice in healthcare. Now resourceful & resolved to share with you all the tools to take care of your health & vitality!

368 BaseballBiz On Deck Episode Show NotesMark Corbett hosts solo while Mat Germain enjoys vacation in Nova Scotia. Mat continues following MLB trade deadline developments and shares updates on BlueSky. Recommendation to subscribe to Brent Cardy's new Substack, The Cardy Show, featuring Blue Jays analysis and baseball history.  https://thecardyshow.substackDiscussion of Brent Cardy's recent article examining Max Scherzer's future and postseason outlook. Lou Schiff's Miami Marlins endure a 12-game losing streak before taking three games from the Phillies. Brief look at the struggling New York Mets and upcoming Marlins-Mets series. MLB trade deadline preview including speculation surrounding Tarik Skubal, Luis Arraez, and starting pitcher movement. Rays top draft pick Grady Emerson makes his first visit to Tropicana Field and a rapid development path and possibility of reaching the majors within two years. Curtis Mead is traded from Washington to Boston in exchange for pitching prospect Connelly Early. Explanation of cupping therapy after Rays players are seen with circular treatment marks during batting practice. Rays continue leading the American League Update on Tampa Rays stadium negotiations and the latest City Council developments. Discussion of council members opposing forwarding stadium documents to the state. Mayor Jane Castor and stadium negotiation process. Commentary on Councilman Bill Carlson's criticism of the negotiations and his mayoral campaign. Reflection on the economic and community impact of keeping the Rays in Tampa. Mark encourages Tampa baseball fans to contact elected officials and support efforts to keep the Rays in the city. Recognition of Ken Babby for his public outreach and willingness to answer questions about the Rays' future stadium plans. Additional reaction to new comments from Bill Carlson following meetings with Ken Babby. Review of the WBSC Women's Baseball World Cup Group Stage in Rockford, Illinois. Congratulations to Ryan Woodward and the International Women's Baseball Center for hosting a successful international tournament. Teams competing include the United States, Canada, Mexico, Australia, China, and South Korea. Highlights from Team USA players and coverage available through streaming broadcasts. Inaugural Women's Pro Baseball League beginning in Springfield, Illinois. Players to watch Kelsie Whitmore, Danae Benitez, and Valerie Perez. Special replay of a classic interview with All American Girls Professional Baseball League players Sue Zipay and Lois Youngen. AAGPBL, Rockford Peaches, South Bend Blue Sox & Fort Wayne Daisies. Over 100 games a seasonClosing encouragement for listeners to support baseball at every level from youth leagues to professional baseball. Subscribe to BaseballBiz On Deck for weekly coverage of MLB, the Tampa Bay Rays, women's baseball, top prospects and the business of baseball. 

Plus: A positive update on the health of the Canadian economy, a Canadian national detained on spying charges in Belgium wants out of pretrial detention, Prime Minister Mark Carney throws his support behind a multi-billion-dollar port expansion plan in Vancouver, European soccer's governing body votes to boycott FIFA tournaments over an equity selloff plan, and the Odyssey sees box office success after billionaire Elon Musk calls to boycott the film. We love feedback at The Big Story, as well as suggestions for future episodes. You can find us: Through email at hello@thebigstorypodcast.ca  Or @thebigstory.bsky.social on Bluesky Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Welcome to the Farmer Rapid Fire on RealAg Radio brought to you by Pioneer brand seeds. Today on the show, host Lyndsey Smith is joined by Geneve Newcombe of Port Williams, Nova Scotia, Kevin Buchner of Brownsville, Ontario, Chris Bauer of Lake Lenore, Saskatchewan, Shane Strydhorst of Neerlandia, Alberta and Manitoba Agronomist Derwyn Hammond! 00:00... Read More

Welcome to the Farmer Rapid Fire on RealAg Radio brought to you by Pioneer brand seeds. Today on the show, host Lyndsey Smith is joined by Geneve Newcombe of Port Williams, Nova Scotia, Kevin Buchner of Brownsville, Ontario, Chris Bauer of Lake Lenore, Saskatchewan, Shane Strydhorst of Neerlandia, Alberta and Manitoba Agronomist Derwyn Hammond! 00:00... Read More

Plus: The latest on revenue-sharing from the Gordie Howe bridge, actor Jared Leto is accused of sexual misconduct involving teenage girls, Prime Minister Mark Carney makes a housing announcement in Alberta, and what does Alberta's decision to allow patients to pay out-of-pocket for surgery mean for the future of healthcare in Canada? We love feedback at The Big Story, as well as suggestions for future episodes. You can find us: Through email at hello@thebigstorypodcast.ca  Or @thebigstory.bsky.social on Bluesky Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

Parenting teens has a way of surfacing everything we've been avoiding in our marriage. This week I'm talking with Shilo Minor about what happens when the connection thins out and you start feeling more like roommates than partners. We get into fawning, self-abandonment, boundaries that actually hold, and why the inner work is worth doing even when you're the only one doing it. If you love your person and still feel alone in the middle of the teen years, come listen. Guest bio: Shilo Minor is the founder of Your Real Life Love Story and the creator of the Real Love Method, a process that helps women build soul-satisfying marriages without couples therapy. Her heart is in guiding good women to break generational cycles of being emotionally neglected and taken for granted, so they can finally get the love, support, and affection they need from the partner they already chose. When she's not doing this work, you'll find her in the garden, in the sauna, or somewhere in the middle of a good conversation. She lives in rural Nova Scotia with her husband and their two small boys. For more info and show notes, go to: https://www.besproutable.com/podcasts/eps-665-marriage-and-the-teen-years-with-shilo-minor/ Learn more about your ad choices. Visit podcastchoices.com/adchoices

British officials regarded the Acadian population as a security risk and, on 28 July, Lieutenant-Governor Charles Lawrence and his council resolved that the Acadians should be removed and dispersed among Britain's North American ...

jD convenes the expert panel to dissect "700 Ft Ceiling," the song that lands like a baseball bat to the face right in the middle of Trouble at the Henhouse.The conversation starts warm — everyone's summertime Hip pick, from "Membership" to "Morning Moon" to "Summer's Killing Us" — before turning to the puzzle at the centre of the track: what exactly is a 700-foot ceiling? (Aviation term. Lowest layer of broken or overcast cloud sitting 700 feet above ground.)The panel unpacks Gord's habit of collecting phrases for their sound rather than their meaning, the wintery outdoor-rink imagery, and the Lou Reed-flat melody that barely distinguishes verse from chorus.Things get spicy on placement. Tracy calls it filler and skips it. Mikk and Jamie agree the song detonates a gorgeous opening run — "Gift Shop," "Springtime in Vienna," "Ahead by a Century," "Don't Wake Daddy," "Flamenco" — and kicks off what Jamie dubs the album's weird second half alongside "Butts Wigglin'" and "Coconut Cream." The Kids in the Hall theory gets floated. So does the grunge theory. Everyone concedes it hit much harder live than it ever did on record.Then the episode's real gift: Mick and Jamie tell the story of renting the Bathhouse for a weekend — sleeping in the studio, playing pool while spinning We Are the Same on vinyl, Billy Ray wandering in at 10pm with stories, engineer Niles behind the board, Gord's training bike still parked where he left it. Once-in-a-lifetime stuff, told well.Next week's shuffle: "Gus: The Polar Bear from Central Park" from In Between Evolution.Key Quotes"It's like an alarm clock goes off." — Mik, on where the song lands on the album"It is like a baseball bat in the face." — jD"Think about how many shows they played after 2004 that they did not play this song. That's why it ranks low. Guys, I'm telling it like it is." — Jamie"I think this is kind of Gord's secret talent — he listens better than everybody." — Mik"He says '700-foot ceiling' like four times, but the second or third time it's '700 and sinking,' which is just cool." — Jamie"It kind of felt very lived in. There was nothing you couldn't touch, nothing you couldn't sit on." — Mik, on the Bathhouse"I'll get emotional if I talk about it." — Jamie, on being shown the band's jam space"Well, I know what we forgot to do this week. We forgot to listen to the goddamn song." — jDTale of the Tape — Trouble at the HenhouseReleased May 7, 1996 — the band's first simultaneous Canada/USA releaseWinner, 1997 Juno Award for Album of the YearRecord 5 of 13Self-produced with Mark Vreeken — the only time the band worked without an outside producerRecorded at the Bathhouse"700 Ft Ceiling" live stats (via The Hip Base and setlist.fm)Played live 130 times — 3 times as an opener, 7 times as an encoreFirst played October 21, 1995Last played November 27, 2004 (retired; not performed on the final tour)Ranked #76 in the Tragically Hip Top 169 countdown — did not crack the Top 40This week's poll: 47% / 47% split, with 6% "tolerating" it.Songs & Albums MentionedTragically Hip songs700 Ft Ceiling · Membership · Morning Moon · Coffee Girl · The Depression Suite · Summer's Killing Us · You're Not the Ocean · Ahead by a Century · Gift Shop · Springtime in Vienna · Don't Wake Daddy · Flamenco · Butts Wigglin' · Apartment Song · Coconut Cream · Let's Stay Engaged · Sherpa · Put It Off · New Orleans Is Sinking · Little Bones · Titanic Terrarium · Emergency · FireworksTragically Hip albumsTrouble at the Henhouse · Day for Night · Fully Completely · Road Apples · Phantom Power · We Are the Same · In Between Evolution · Live Between UsOther referencesKids in the Hall: Brain Candy — source of "Butts Wigglin'"Rick Beato's interview with Billy Joel — the "vowel movements" idea Joel credits to Keith RichardsGrunge-era touchstones: Pearl Jam, Soundgarden, CreedLou Reed — Tracy's comparison for Gord's vocal delivery on this trackIt's a Good Life If You Don't Weaken — the stage adaptation, seen in Hamilton, now touringTom Green's interview with Paul Langlois, filmed in the Bathhouse jam spacePeople MentionedGord Downie · Paul LangloisBilly Ray — Bathhouse caretaker and keeper of the storiesNiles Spencer — Bathhouse engineerMark Vreeken — co-producer, Trouble at the HenhousePatrick Downey — filming Billy Ray for the documentaryGreg — JD's co-host on the earlier podcast seriesLinks & PlugsKingston weekend events — Friday mixer at a pub · live record listening party August 21 at 4:30 at a pub · Sunday brunch at Morrison's. Email jd@tthpods.com to get on the list.Mik Perlus — Ragged Islands — Mick's EP, recorded over three days at the Bathhouse. Includes a cover of "It's a Good Life If You Don't Weaken." Available on Spotify, Apple Music, YouTube, and other streaming services. Named for East Ragged Islands, Nova Scotia.Jamie — Fiddler on the Roof in Yiddish — with English and Russian supertitles. Recently ran at the Elgin Theatre in Toronto (roughly 17,000 attendees during Jamie's run). Coming to the Ahmanson Theatre in Los Angeles, February 13 – March 14, 2027.The Hip Handbook — JD's new AI-built discography and stats tool, debuting on this episode for the Tale of the Tape.The Hip Museum / Museum After Dark — referenced for the grunge angle and album background.Next Week"Gus: The Polar Bear from Central Park" from In Between Evolution.Support this podcast at — https://redcircle.com/tthtop40/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Retired Canadian military veteran and freedom activist Jeff Evely recounts his personal resistance against tyrannical government measures, including legal challenges against COVID-19 mandates and a significant fine for violating wildfire-related forest bans. The discussion highlights his child's medical transition as a consequence of institutional indoctrination surrounding gender ideology. Evely suggests that these diverse crises are part of an effort to destabilize Western society by undermining civil liberties, parental rights, and cultural identity. However, he believes we’re at peak fourth turning and that the pendulum is beginning to swing in the other direction. Watch on BitChute / Brighteon / Rumble / Substack / YouTube *Support Geopolitics & Empire! Become a Member https://geopoliticsandempire.substack.com Donate https://geopoliticsandempire.com/donations Consult https://geopoliticsandempire.com/consultation **Listen Ad-Free for $4.99 a Month or $49.99 a Year! Apple Subscriptions https://podcasts.apple.com/us/podcast/geopolitics-empire/id1003465597 Supercast https://geopoliticsandempire.supercast.com ***Visit Our Affiliates & Sponsors! Above Phone https://abovephone.com/?above=geopolitics American Gold Exchange https://www.amergold.com/geopolitics Escape The Technocracy (15% off w/ GEOPOLITICS!) https://escapethetechnocracy.com/geopolitics Expat Money (FREE “WW3 Plan-B” Report!) https://expatmoney.com/geopolitics PassVult https://passvult.com Sociatates Civis https://societates-civis.com StartMail https://www.startmail.com/partner/?ref=ngu4nzr Wise Wolf Gold https://www.wolfpack.gold/?ref=geopolitics Websites X https://x.com/JeffEvely Climate Lockdown fine https://x.com/JeffEvely/status/1953971918312251707 Crown withdraws $28,872.50 ticket issued under unconstitutional Nova Scotia “woods ban” https://www.jccf.ca/crown-withdraws-28872-50-ticket-issued-under-unconstitutional-nova-scotia-woods-ban About Jeff Evely Jeff Evely is a retired Canadian veteran. *Podcast intro music used with permission is from the song “The Queens Jig” by the fantastic “Musicke & Mirth” from their album “Music for Two Lyra Viols”: http://musicke-mirth.de/en/recordings.html (available on iTunes or Amazon)

Marineland Canada is officially closing, and this week the park began moving its remaining beluga whales out of Niagara Falls. Six belugas were flown out on a single flight this week, four to the Shedd Aquarium in Chicago and two to SeaWorld San Antonio, marking the start of a rescue effort that has been years in the making. Andrew walks through how the park got here, from its 1961 founding through decades of protests, whistleblower allegations, OSPCA charges, and a failed 2025 attempt to export the belugas to a Chinese aquarium. The episode traces the full timeline: the 2012 Toronto Star exposé that first exposed conditions at the park, trainer-turned-whistleblower Phil Demers and his years-long legal battle with Marineland, the 2019 passage of Canada's Free Willy Bill, and the deaths of Kiska the orca and Mary Holler, the park's last owner, which left the facility's future uncertain. Andrew also digs into why Marineland's plan to send the belugas to China was blocked and why sending them to accredited US aquariums, while still captivity, is being treated as the safer near-term option. Andrew shares his own take on the ethics of the situation, arguing that owning captive animals comes with an obligation to care for them regardless of a park's finances, and explains why release into open ocean is not a realistic option for whales that have never hunted on their own. He also covers the ongoing effort to build a whale sanctuary in Nova Scotia and the funding gap still standing in its way. Takeaways Marineland Canada is closing and moved its first six belugas to US aquariums this week The park's collapse followed over a decade of OSPCA charges, whistleblower allegations, and public protest A planned export of the belugas to a Chinese aquarium was denied by Canada's fisheries minister Belugas raised in captivity cannot be released directly into open ocean since they have never hunted on their own The Whale Sanctuary Project in Nova Scotia still lacks federal permits and full construction funding The land Marineland sits on is expected to be sold for development once the animals are relocated Support Independent Podcasts: https://www.speakupforblue.com/patreon Need help with your ocean non-profit, company, or project? Get the help you need with Pisces Oceans Inc.: https://www.piscesoceans.ca Connect with Speak Up For Blue Website: https://bit.ly/3fOF3Wf Instagram: https://bit.ly/3rIaJSG TikTok: https://www.tiktok.com/@speakupforblue Twitter: https://bit.ly/3rHZxpc YouTube: www.speakupforblue.com/youtube    

Every time Ryan heads to Nova Scotia, it has become a tradition to sit down with filmmaker, author, and longtime UFO researcher, Paul Kimball for an unfiltered conversation. And this may be their most personal one yet. They look back on Kimball's remarkable career documenting the UFO mystery, beginning with his acclaimed film Stanton Friedman Is Real! and continuing through documentaries on Majestic-12, the Aztec crash, Cattle Mutilations, Chupacabras, and beyond. It's an honest, funny, and thought-provoking journey through the evolution of UFO documentaries and the lessons learned from spending decades chasing one of humanity's greatest mysteries. Watch Paul's Films: Stanton Friedman is Real!: https://www.youtube.com/watch?v=jFIUlcmRwgw Do You Believe in Majic?: https://www.youtube.com/watch?v=u_OAnSX0i0o&t=52s Aztect 1948 UFO Crash: https://www.youtube.com/watch?v=B0heRKzcHtg&t=38s Best Evidence: Top 10 UFO Sightings: https://www.youtube.com/watch?v=4Gd9ehcry-Q&t=2192s Island of Blood: https://www.youtube.com/watch?v=wbRZLtei_4o Fields of Fear: https://www.youtube.com/watch?v=UNnxkKxwrLY Join us at ANOMACON on September 12th: http://www.anomacon.com Send us a voicemail: https://www.speakpipe.com/SomewhereSkiesPod Patreon: http://www.patreon.com/somewhereskies ByMeACoffee: http://www.buymeacoffee.com/UFxzyzHOaQ Substack: https://ryansprague.substack.com/ All socials and books: https://linktr.ee/somewhereskiespod Email: ryan.sprague51@gmail.com Opening theme song by Septembryo Closing song by Per Kiilstofte Copyright © 2026 Ryan Sprague. All rights reserved. #UFOs #UFOdocumentary #Documentary #Chupacabra #CattleMutilations #Aliens #StantonFriedman #UAP #Top10 #Filmmaking #PaulKimball Learn more about your ad choices. Visit megaphone.fm/adchoices