Podcasts about Nova Scotia

Danielle Metcalfe-Chenail talks with Rachael about bumping against history as you research, about when existing writing routines stop working, and about surviving and thriving when publishing (and the world) is a rather wild place to be. Don't miss this lovely episode! Danielle Metcalfe-Chenail is the award-winning author of eight books for children and adults, including Flying High on PEI, Children of the SS Atlantic, and Freddie the Flyer, which is part of Dolly Parton's Imagination Library. Danielle has held fancypants titles like Historian Laureate, Writer in Residence, and Maverick of the Year for Chatelaine magazine, but she's an introverted nerd who loves watching romcoms and going for hikes. She makes her home by the sea in Nova Scotia with her family and pets. Story about Freddie the Flyer (with video)⏰ DEVELOPMENTAL EDITING SLOTS AVAILABLE (limited): http://rachaelherron.com/edit

Brea and Mallory name their most anticipated books of September! Plus, they interview Mike Chen about his debut YA novel! Email us at readingglassespodcast at gmail dot com!Reading Glasses MerchRecommendations StoreThe Reading Glasses Book!Sponsor - ZocDocwww.zocdoc.com/GLASSESLinks -Reading Glasses Facebook GroupReading Glasses Goodreads GroupWish ListNewsletterLibro.fmTo join our Discord channel, email us proof of your Reading-Glasses-supporting Maximum Fun membership! Join us here!Mike ChenOf Sorcery and ScienceBooks Mentioned -The Library of the Unwritten by A.J. HackwithMurder Bimbo by Rebecca NovakHow the Story Always Ends by Wendy HeardSomeone Else's Daughter by Andrea Stewart SEPTEMBERThe Knave and the Moon by Rachel GilligRomantasy, sequel to The Knight and the MothExit Party by Emily St. John MandelLiterary sci fi, dystopian, time travelTrust Fall by Lynn PainterYA romance, contemporary, autumn, rom com, enemies to loversThe Witches of Cambridge by Alice HoffmanHistorical fantasy, witches, dark academia, 1950s BostonThe Wretched Divine by Adalyn GraceRomantasy, lady knight, demons, high fantasyTempest by Victoria AveyardHistorical romantasy, pirates, adventures, pirate queenMurder at the Grand Alpine Hotel by Lucy FoleyMystery in the Agatha Christie universe, cozy, Swiss AlpsGrim Tidings by B.K. BorisonParanormal romance, angel and reaper, enemies to lovers, grumpy/grumpyDead Beat by Leigh BardugoThird in Ninth House trilogyThreshing Day by Rebecca YarrosShort stories in the Empyrean universeTaipei Story by R.F. KuangLiterary fantasy, coming of age, summer, romance, TaipeiMorfran, Dark Lord Reformed by S.B. WestHigh fantasy, funny, romantasy, rebellion, found familyThe Pirate Queen by Ariel LawhonHistorical fiction, pirates, fantasy, Ireland, 16th centuryWe Chase Shadows by Richard OsmanMystery, sequel to We Solve MurdersBodies of Magic by Freya MarskeFantasy, dark academia, Grey's Anatomy meets A Deadly Education, queerSometimes I Scare Myself by Jeneva RoseHorror short storiesThe True Confessions of First Lady Freeman by Deesha PhilyawLiterary, wife of a megachurch pastor's secret comes to lightFree Falling by Lyla SageParanormal romance, haunted small town, fake relationshipHawk and Sparrow by Ayana GrayYA romantasy, mystery, magic, Gilded Age, historicalScion by James IslingtonSci fi thriller, cyberpunk, John Wick meets Blade RunnerIt's Not What You Think by Clare MackintoshThriller, woman attempting to catch cheating husband finds him deadKiss Slay Replay by Rachel HarrisonHorror, time loop, serial killer, romanceUnder Story by Chloe BenjaminSci fi, romance, time travel, Antarctica, near futureA Time of Witches by Madeline MartinHistorical fantasy, witches, parallel timelinesAmerican Hagwon by Min Jin LeeHistorical fiction, family epic, Seoul, Sydney, CaliforniaReign by Bethan CroomeRomantasy, found family, forbidden love, magic, adventureMazywood by Tananarive DueHistorical horror, female rage, Black Hollywood, filmmaking, California mountainsThe Black Orchid by Loreth Anne WhiteThriller, murder on a cruise through Aegean SeaSophie, Standing There by Meg MasonLiterary fiction, mental health, books about books, lonelinessCursed City by Kate GoldenHarker Academy #2, romantasy, dark academiaBig Bad Wolf by Laurie GilmoreParanormal romance, small town, Little Red Riding Hood retellingBuried in the Woods Below by Daniel G. MillerThriller, psychological suspense, isolated setting, secrets, MinnesotaNightjars by Michael WehuntHorror, Memento meets Dracula, man caught for crimes he doesn't rememberThe Commons by Rebecca IhimNew Adult romantasy, dystopian dark academiaSwitzy by Emma ClineLiterary fiction, aging man's last pilgrimagePaper Ghosts by Sarah Addison AllenMagical realism, romance, ghosts, parallel timelines, 1970s, North CarolinaThe Sweetest Fiend by Raven KennedyDark romance, fae, enemies to lovers, Pied Piper retellingMidnight Curfew by Penelope DouglasQueer dark romance, MLM, enemies to lovers, rivals from opposing familiesProtocols: An Operating Manual for the Human Body by Andrew D. HubermanNonfiction, science, self helpThe Pumpkin Bride by Fiona ButtercupCozy romantasy, autumnal, second chance romance, Shrek meets Princess Bride with pumpkinsPly by Hernan DiazSci fi, dystopia, far future, humans reinventing societyBlightfall by Brandon Sanderson and Janci PattersonYA sci fi, space, dystopia, intergalactic mission to an alien worldTrad Wife by Sarah LanganHorror, trad wife influencers, social media, journalist's descent into evil world of influencingI Hope This Email Finds You in Hell by Mackenzie ReedHorromance, office worker accidentally witnesses her hot boss performing an exorcismThe Three Graces of Pearl Street by Elizabeth Wellington RollinsHistorical fiction, Italy, family saga, three Italian American generations of womenHarbinger by Geneva LeeNew Adult romantasy, magic, mythology, magicBones by K.L. SpeerDark romantasy, dystopian, post-apocalyptic, magicThe Disappearers by Marlon JamesHistorical fiction, 1980s Jamaica, murder of a gay manThe Siren by Tomi AdeyemiYA fantasy, dark academia, rage, yearning, woman's darknessUngrateful Immigrant Daughter: A Memoir from the Child of a Mail-Order Bride by Katya SuvorovaNonfictionCrown of Crimson and Crows by Tessa HaleRomantasy, why choose, witches, vampires, enemies to loversLove Felt Like This by Julie OliviaRomance, small town, grumpy rock star + sunshine children's show creature working togetherEspiritu by Aiden ThomasSequel to Cemetery Boys!!!Kneel Before Me by Lindsay StraubeKiss of the Basilisk book #3The Oxford Guide to Scandal and Lies by Kate WestburyHistorical romance, mystery, post WWII Oxford University, undercover operativesEmpire by Sabaa TahirHeir Duology #2Doomsdate by Laura Piper LeeHorromance, rom com, zombie apocalypseI Am the Monster Under the Bed by Emily ZinnikasHorror, invisible entity under a bed, return to small townFallow by Sarah AndersonSci fi, funny, young woman signs up to be the world's first in-house corporate surrogateOur Cut of Salt by Deena HelmHorror, haunted house, three generations of Palestinian women deal with haunting in ancestral homeWe Already Dug the Grave by Emma C. WellsThriller, Southern Gothic, Sharp Objects with a dash of Practical MagicKiss of the Black Flame by Helene ScheuererRomantasy, books about books, magic, found family, forced proximityBlacktail by Scott HawkinsDark fantasy, a wolf sets out on a journey of revengeThe Paradox Club by Charlie LovettSci fi mystery, secret society, woman uncovers truth about her father's death that could alter course of historyThe Velvet Knife by Maureen JohnsonTruly Devious #6The Lost Spectacular by Zoe DuhaimeFantasy, romance, Night Circus meets Midnight LibraryLive Laugh Love: The Secret History of White Christian Women and the World They Made by Kristin Kobes Du MezNonfictionThe Dark Lord's Guide to Honeymooning (and Other Acts of Tyranny) by Tiffany HuntGuides to Villainy and Love #2, romantasyWildwood by Ashley WooMystery, horror, gothic, family estate with secrets, creepy forestThe Birthing Tree by Amanda PetersHistorical fiction, family, legacy, small Nova Scotia town, Indigenous traditionsBeyond the Graves Waits Mist and Sea by Kathleen KaufmanHorror, fantasy, gothic, mystery, microbial biology, witchcraftSo It Grows by Andie BurkeRomance, cozy, small town, business rivals to lovers, plant shopYou're the One That I Haunt by Katie JungParanormal romance, woman teams up with hot ghost to save her childhood crush from a curseThe Strangers by Naomi AldermanSci fi, grief, weird new animal spreading across AmericaA Snake Among Swans by Hannah KanerQueer romantasy, sapphic, epic fantasy, magic, warring kingdoms, female rageIf Not You by Ellen O'CloverRomance, rival copywriters, forced proximityThe Thief and the Traitor Bride by V.L. BovalinoRomantasy set in the world of The Second Death of LockeThe Mystic and the Missing Girl by Vikki VanSickleMystery, reluctant psychic, tarot, cold caseBaldur's Gate 3: Astarion by T. KingfisherHorror fantasy, vampiresIn the Dark by Shain RoseDark romance, secret society, enemies to lovers, ultra-private billionaire enclave The Sisters of Crimson House by Melissa Anderson SweazyHorror, gothic, mystery, ghosts, psychic, haunted house, evil entityIn the Woods They Wait by Carrie Lee SouthHorror, thriller, park ranger obsesses with case of missing child that mirrors disappearance of her brother Something Followed Us Home: Tales of Latine Horror edited by Cynthia PelayoHorror short storiesWitch Daughter by Tanaz BhathenaHistorical fantasy, retelling of Tahmineh, Persian mythology, witchesAnger Is Only a Shadow by Elizabeth AcevedoYA, novel in verse, mental healthEVEN MORE BOOKS HERE!! Help support this show and unlock bonus content! Become a member at https://maximumfun.org/joinglasses

This episode we are joined by Mr. Toby McKenna - CEO of Rockpoint Gas Storage - a TSX listed gas storage company with a total equity value of ~$3.4 billion. Mr. McKenna is the Chief Executive Officer at Rockpoint responsible for the management and performance of the corporation's storage and retail distribution assets. He brings to Rockpoint Gas Storage over 30 years of experience in the energy industry with leadership roles across a wide spectrum of disciplines including gas storage and marketing, midstream operations, energy trading, business development and Acquisitions and Divestitures. From 2014 to 2020 he was cofounder of Tidewater Midstream Ltd. where he served in multiple roles including Director, President and CEO, Vice President of Business Development & Commercial and most recently as President, Midstream. From 2010 to 2014, he was Vice President, Natural Gas Trading for Castleton Commodities Canada and prior thereto was cofounder of its predecessor, Louis Dreyfus Energy Canada in 2003.Mr. McKenna obtained his Bachelor of Business Administration from Saint Francis Xavier University, Nova Scotia (1994). Among other things we learned about Building North America's #1 Independent Gas Storage Company.Enjoy.Newsletter: Subscribe HereThank you to our sponsors.Without their support this episode would not be possible:Connate Water SolutionsATB Capital MarketsRemote Power Corp-*This podcast is for informational and educational purposes only, and is not intended as investment advice. Please do your own research, and consult professionals directly before making any investment decisions.Support the show

A young woman boards an elevated train in 1907, reaches her stop…and simply cannot make herself leave. Her strange case of “nervousness” becomes a newspaper curiosity, but more than a century later, it feels startlingly familiar. Then, why do lost people so often make the one choice most likely to keep them lost? From the forests of Nova Scotia to the Sahara Desert, we explore the unnerving ways panic can scramble your internal compass. The Box of Oddities: where history gets weird, the brain gets stranger, and sometimes the best thing you can do is stay put. Learn more about your ad choices. Visit megaphone.fm/adchoices

Leah Lewis-McCrea, a research director with the Centre for Marine Applied Research in Nova Scotia, says it's important for children to learn about fishing and fish farming careers in school + Craig Parsons of the Fish Harvesting Safety Association talks about the future of fishing safety.

Capri welcomes Michael Howell and Lia Rinaldo, organizers of Devour! The Food Film Fest in Nova Scotia.  Michael and Lia chat about the establishment and growth of their niche film festival that celebrates the diverse world of food on screen.  The guests also tell Capri about Seafood Academy, courses inspired by the workshops offered during the festival and offered to help  educate people about how to prepare seafood and to attract tourism to Nova Scotia.  Learn more at https://devourfest.com/ 

Welcome to the Storm's short-form, news-focused podcast. Don't worry, I will still write newsletters too. To browse a podcast transcript, click the “transcript” button above - click on any block of text and the audio will jump to that point in the conversation. Paid subscribers can leave a comment below - I'll respond to some in the next episode. Thank you for supporting independent ski journalism./:The Zoom transcript (click “transcript” above for the Substack transcript, which will zoom to any point in the video when you click on the associated text block; timestamps below DO NOT MATCH THE VIDEO)00:01:51.000 --> 00:02:02.000Stuart Winchester: Welcome to the Storm! It is September 8th, 2026, and if you are a Storm regular, you are probably wondering what in the heck is going on here.00:02:02.000 --> 00:02:09.000Stuart Winchester: Today, we are launching an all-new format for the Storm Skiing Podcast.00:02:09.000 --> 00:02:22.000Stuart Winchester: It is shorter, it is news-focused, it will be more frequent, and it will publish the same day that I record it in just about every instance.00:02:22.000 --> 00:02:23.000Stuart Winchester: So.00:02:24.000 --> 00:02:28.000Stuart Winchester: It's gonna have a lot of different elements. Uh, takes just…00:02:28.000 --> 00:02:31.000Stuart Winchester: on whatever's happening in the news.00:02:32.000 --> 00:02:34.000Stuart Winchester: Okay, let's scrap that and let's start again.00:02:38.000 --> 00:02:41.000Stuart Winchester: Okay, starting from the top.00:02:41.000 --> 00:02:42.000Stuart Winchester: 3.00:02:42.000 --> 00:02:44.000Stuart Winchester: Q.00:02:44.000 --> 00:02:45.000Stuart Winchester: One.00:02:45.000 --> 00:02:59.000Stuart Winchester: Welcome to the Storm! I'm your host, Stuart Winchester. It is September 8th, 2026, and I would like to welcome you all to a brand new version of the Storm Skiing Podcast.00:02:59.000 --> 00:03:02.000Stuart Winchester: So, the long-form podcast…00:03:02.000 --> 00:03:09.000Stuart Winchester: has been the default of the Storm Skiing Podcast since I launched in 2019.00:03:09.000 --> 00:03:12.000Stuart Winchester: Very proud of the Storm Skiing podcast.00:03:12.000 --> 00:03:16.000Stuart Winchester: We're at episode 227.00:03:16.000 --> 00:03:26.000Stuart Winchester: I have interviewed the leaders of nearly every large ski area in America, and the leaders of most of the large ski companies in America.00:03:26.000 --> 00:03:29.000Stuart Winchester: But something started to feel a little bit off.00:03:29.000 --> 00:03:35.000Stuart Winchester: And, you know, I started to think about the kind of podcasts that I consume.00:03:35.000 --> 00:03:44.000Stuart Winchester: And those are mostly, frankly, around Michigan football, uh, which is my other obsession besides ski-ski-ski-ski-ski-ski-ski-ski-s.00:03:44.000 --> 00:04:02.000Stuart Winchester: tend to be much more news-focused. They tend to be much shorter than the Storm Skiing Podcast. They tend to publish the same day that they record them, and they tend to break down current events. For example, I just went to a Michigan football game.00:04:02.000 --> 00:04:21.000Stuart Winchester: on Saturday in Ann Arbor. If you're even remotely a sports fan, you probably saw the controversial ending to that game when Michigan got an extra second added on, and Bryce Underwood, the quarterback, tossed a Hail Mary to win the game when JJ Buchanan, our transfer receiver, came down with the ball.00:04:21.000 --> 00:04:36.000Stuart Winchester: That's never happened in the history of Michigan football, to have a Hail Mary ending that Michigan wins. So, on the way home, it's a 10-hour drive back to New York, my wife and I listened to all the different Michigan podcasts that were breaking down that moment. And I realized that…00:04:36.000 --> 00:04:54.000Stuart Winchester: as much as I like the Storm Skiing Podcast, and as much as a lot of other people like it, I was not really making the kind of podcast that I actually listen to. And that's a problem, because in our current media environment, people have a lot of choice.00:04:54.000 --> 00:04:58.000Stuart Winchester: They have a lot of of.00:04:58.000 --> 00:05:13.000Stuart Winchester: different things they can give their attention to, and it's hard to get and keep their attention. So, I want to say right off, I am not killing the long-form storm skiing podcast. It will not end with episode 227. In fact, I have about 5 or 6 in the can that I've been sitting on.00:05:13.000 --> 00:05:30.000Stuart Winchester: for this news, and I will release those soon, and my thanks to the folks who participated in those podcasts for their everlasting patience as I got this together. So, I'm still gonna make the Storm Skiing Podcast. The frequency will go from about 45 a year at its peak.00:05:30.000 --> 00:05:47.000Stuart Winchester: It's probably about a dozen a year or so, and sometimes there will just be a time when the long form is the more appropriate form for telling the story of a mountain. If I have someone new on, for example, so for example, I've never had.00:05:47.000 --> 00:06:02.000Stuart Winchester: Uh, the GM or owner of Sierra at Tahoe in California, an important mountain on the podcast. Never had Wolf Creek on the podcast, never had Mount Baker. If I were to get one of those folks, I would want to do a long form, tell the story of the ski area. But it's not always necessary to.00:06:02.000 --> 00:06:18.000Stuart Winchester: Tell the entire story of the ski area and its history and its culture when you just want to talk about a new lift or you just want to talk about the fact that it joined a new pass. So this shorter podcast will be more frequent.00:06:18.000 --> 00:06:35.000Stuart Winchester: It will have different segments, segments with takes when I just talk about what's going on. It will still have interviews, much shorter interviews. Today we have an interview with an awesome guest, Snow Partner CEO Joe Heschen, one of the smartest guys in skiing.00:06:35.000 --> 00:06:45.000Stuart Winchester: But before, Joe and I went on for two hours. This time, we'll be able to condense it down. And then at the end of each episode, my intent.00:06:45.000 --> 00:07:02.000Stuart Winchester: and hope is to have reader interaction, and this will be a feature available only to paid supporters of the Storm Skiing Journal and Podcast, and you can upgrade to a paid subscription at stormskiing.com anytime. The podcast will be for everyone, as it's always been.00:07:02.000 --> 00:07:18.000Stuart Winchester: But only paid subscribers will be able to interact with the podcast. And the way that they will be able to do that is that they will be able to write a comment on the article that accompanies the newsletter on stormskiing.com.00:07:18.000 --> 00:07:32.000Stuart Winchester: And the next day, I will read some of those comments and react to them as appropriate. And I'll talk a little bit more about that later and why I'm doing it that way. But for now, I want to assure you.00:07:32.000 --> 00:07:48.000Stuart Winchester: This podcast is going to come to you the same way your podcasts always have. Now, there is a video version. You can watch that on YouTube, will be our primary channel, as well as Substack, which is where the newsletter is published. There will always, always, always be an audio version.00:07:48.000 --> 00:07:58.000Stuart Winchester: And it will always come to the same places that you have always gotten the podcast. If that's Apple, if that's Spotify, there's some that I don't even know.00:07:58.000 --> 00:08:11.000Stuart Winchester: how the podcast got on there, or why it's on there. There's an RSS feed that spits this out from Substack. That will not change. The storm will be… when you go looking for it, you're going to find the storm.00:08:12.000 --> 00:08:13.000Stuart Winchester: So.00:08:13.000 --> 00:08:24.000Stuart Winchester: This is something I'm super excited about because I think it will allow me to have a lot more guests a lot more often.00:08:24.000 --> 00:08:35.000Stuart Winchester: there are so many great minds in skiing right now, and I feel like there's a lot of negative sentiment around skiing and the way it's evolving. There's a lot of talk of a duopoly.00:08:35.000 --> 00:08:39.000Stuart Winchester: But from my point of view.00:08:39.000 --> 00:08:54.000Stuart Winchester: there's not a duopoly in a way that is dominating all consumer choice. And the reason I have that point of view is I'm having conversations every single day with smart people.00:08:54.000 --> 00:09:10.000Stuart Winchester: thinking far ahead and doing great things to change skiing in ways that make skiing better, that make skiing access better. People like Joe Hesham, my guest today, people like Eric Mogenson, who runs the Indy Pass, people like John Schaefer, who runs a handful of mountains.00:09:10.000 --> 00:09:28.000Stuart Winchester: in the East, people like Rick Schmitz, who runs three ski areas in the Midwest. Small ski area operators like Tim Meyer at Caber Fay in Michigan, who we'll talk about a little bit later. So, I'm talking to these people all the time, and I'm seeing the independent ski areas are really, for the most part, doing fine. I'm seeing.00:09:28.000 --> 00:09:33.000Stuart Winchester: Huge investment. I'm seeing huge innovation and.00:09:33.000 --> 00:09:43.000Stuart Winchester: Because of the frequency of the podcast, and because of the laborious nature of turning interviews into written content.00:09:43.000 --> 00:10:00.000Stuart Winchester: I don't think that I'm getting that to you in the way that I would like, in, in, in the way that you deserve. I want you to be part of this conversation. I want you to see why I'm so optimistic about skiing right now. I want you to know why I feel that skiing is in its best.00:10:00.000 --> 00:10:05.000Stuart Winchester: place, historically, that it has ever been, at least in America.00:10:05.000 --> 00:10:10.000Stuart Winchester: Now, it certainly has problems, and we will get into those as well.00:10:10.000 --> 00:10:21.000Stuart Winchester: I don't answer to anyone. I don't answer to the operators. I don't have a boss. I answer to my subscribers, and that's it. The only thing I care about is the truth.00:10:21.000 --> 00:10:28.000Stuart Winchester: Uh, and my optimism does not come from any desire to have access or anything else. My… my…00:10:28.000 --> 00:10:31.000Stuart Winchester: My content and my commitment to the truth.00:10:31.000 --> 00:10:50.000Stuart Winchester: comes from wanting to deliver a great journalistic product. Uh, and there's gonna be opinion and analysis. You're not always going to agree with what I say, and that's good! I wanna remind people that. That's good. If you agree with everything I say, I have no value. I can tell you that all of my guests.00:10:50.000 --> 00:10:54.000Stuart Winchester: disagree with things I say, but the reason they keep coming back.00:10:54.000 --> 00:11:03.000Stuart Winchester: And the reason that I hope they will keep coming back is because I'm trying to be fair, I'm trying to work within the bounds of the truth, and I'm not…00:11:03.000 --> 00:11:08.000Stuart Winchester: Jumping to these huge accusatory.00:11:08.000 --> 00:11:25.000Stuart Winchester: narratives that we see so often with the Mega Passes and with the big consolidators, Vale and Altera. So, I want to give a different perspective, I want to give it more frequently. The newsletter, one more point, the newsletter will stay the same. There will always be written content.00:11:25.000 --> 00:11:34.000Stuart Winchester: I am still a writer with a podcast, not a podcaster with a newsletter, though I kind of have to admit at this point that I am.00:11:34.000 --> 00:11:42.000Stuart Winchester: a podcaster, even though that sounds… I don't know, it sounds a little… pretentious, or juvenile, or uh… like I'm…00:11:42.000 --> 00:11:58.000Stuart Winchester: you know, doing this as a side hustle while I drive for Uber, but… but no, this is my full-time job. The Storm is and has been my full-time job for a couple of years. Now, the reason I want to switch to a news-based podcast is for days like today, because today we have.00:11:58.000 --> 00:12:00.000Stuart Winchester: Huge news.00:12:00.000 --> 00:12:04.000Stuart Winchester: One of my favorite ski areas.00:12:04.000 --> 00:12:09.000Stuart Winchester: One of the best ski areas in the eastern United States.00:12:09.000 --> 00:12:14.000Stuart Winchester: Uh, depending on your point of view, maybe one of the best ski areas in the United States.00:12:15.000 --> 00:12:20.000Stuart Winchester: is joining a Malta Mountain Pass for the first time.00:12:20.000 --> 00:12:27.000Stuart Winchester: That is Smuggler's Notch, Vermont. Smuggs is an incredible place.00:12:27.000 --> 00:12:40.000Stuart Winchester: For a lot of reasons. Number one, if you don't live in the East, and you're under the impression that the East is an ice ball, and the vertical drops are short, and the mountains are small.00:12:41.000 --> 00:12:56.000Stuart Winchester: You're wrong. You're just wrong. And there is a snow. There's plenty of big mountains in the east. First of all, there's plenty of good snow pockets in the east. One of the best snow pockets is in northern Vermont, and you have a line of resorts.00:12:56.000 --> 00:13:12.000Stuart Winchester: We call it the spine of the Green Mountains. Starts at Killington Pico, goes up to Sugarbush, which is in Alterra Mountain. Right next door is Mad River Glen, the famous Indy with the single chair. North of that is Bolton Valley, which is on Indy Pass. North of that is Stowe, which is owned by V.00:13:12.000 --> 00:13:23.000Stuart Winchester: On the backside of Stowe is Smuggler's Notch, and then north of that is Jay Peak. Smuggler's Notch joins IndyPass today, and here are the stats.00:13:23.000 --> 00:13:39.000Stuart Winchester: It is a 2610 foot vertical drop that is the fourth tallest in the east. It has one smug says 1060 skiable acres that they claim there's actually more in the woods. If you count the back bowls and some of the secret stashes.00:13:39.000 --> 00:13:54.000Stuart Winchester: Off of the Sterling lift. So that makes it the fourth largest ski area in the east. It is the second snowiest ski area in the east after Jay Peak, which is also an IndyPass partner with 322in of snowfall.00:13:54.000 --> 00:14:10.000Stuart Winchester: On average per winter. Yes, that's a lot. That's those are Vail numbers. Those are Colorado numbers. No, it's not Cottonwoods, but it's deep enough that those ski areas almost always have tree skiing from the beginning.00:14:10.000 --> 00:14:22.000Stuart Winchester: from around Christmas through the end of the season. I've skied Glades at Stowe in April many times. I've done the same at Jay Peak. So, the snow coverage really.00:14:22.000 --> 00:14:38.000Stuart Winchester: comes and it really falls. Mount Mansfield, which is where Stowe is, right next to Smuggs, is the tallest mountain in Vermont, and they have a snow stake there that consistently builds up to around 60 inches or so for the season. So, Smuggs joins Indy Pass.00:14:38.000 --> 00:14:56.000Stuart Winchester: today. It is the… and, and, and, and… No Blackouts on Indie Bass Pass, which goes on sale today to the general public, or actually maybe tomorrow it goes on sale, for… $419.00:14:56.000 --> 00:14:57.000Stuart Winchester: The ND…00:14:57.000 --> 00:15:13.000Stuart Winchester: Plus is 469. So I'll give you a few stats here. So Indy with adding smugs, that is the 43rd Alpine lift serve ski area that Indy has added for the 2026 to 2027.00:15:13.000 --> 00:15:14.000Stuart Winchester: Winter.00:15:14.000 --> 00:15:30.000Stuart Winchester: That gives them a total. Now, my totals are going to be a little different than Indy's because they're counting cross-country ski areas. And I'm leaving those off. And I also count sometimes two ski areas, as one when they're when they're separate entities. But but they share days.00:15:30.000 --> 00:15:45.000Stuart Winchester: So Indy now has 256 ski areas, lift-served alpine downhill ski areas, which get two days each. So they have more than you could possibly use. That includes 148 ski areas in the United States.00:15:45.000 --> 00:15:57.000Stuart Winchester: 32 in Canada, 39 in Europe, and 32 in Japan. You can ski 30% of all ski areas in America on Indy.00:15:57.000 --> 00:16:14.000Stuart Winchester: Now, on the flip side, Indy also had some important losses this winter. They lost, and they're all in the Midwest, and Indy's lost mountains before, and with a roster that big, you're gonna have some turnover. Uh, but the first wave of losses came back.00:16:14.000 --> 00:16:24.000Stuart Winchester: in past release season in March, when the three areas owned by Midwest Family Ski Resorts, some of the best operators in the country, uh, they own Lutzen Mountain in Minnesota.00:16:24.000 --> 00:16:39.000Stuart Winchester: one of the largest ski areas in the Midwest, uh, Granite Peak in Wisconsin, which has 3 high-speed lifts, and Snow River, which is really 2 side-by-side ski areas and a nice snow belt in Michigan's Upper Peninsula. They left for Icon Pass.00:16:39.000 --> 00:16:53.000Stuart Winchester: Now, there's a little bit of a historical precedent there, because those three ski areas had been on the Max Pass, which had been the immediate predecessor, along with the Rocky Mountain Super Pass, to the Icon Pass. Uh, the…00:16:53.000 --> 00:17:10.000Stuart Winchester: Icon Pass, when it debuted in 2018, left off Snow River, Granite Peak, and Lutzen. And I always thought, well, Snow River wasn't a part of Midwest Family at the time, but I always thought that was a mistake. So I'm not surprised to see them go, but those were big drivers of Indy Pass sales.00:17:10.000 --> 00:17:16.000Stuart Winchester: Because those are marquee mountains in the Midwest. They also recently lost…00:17:16.000 --> 00:17:34.000Stuart Winchester: Another three mountains run by another great operator in Wisconsin, Little Switzerland, Crystal Ridge, and Nordic Mountain. Now, these are small ski areas. They're feeder ski areas, but they're important ski areas because Rick is a very smart guy. He's very influential.00:17:34.000 --> 00:17:50.000Stuart Winchester: And he has a lot of influence in the ski business, including being part of the board of directors of the National Skiers Association. Everyone respects him. They also lost Cabar Fay, one of my favorite mountains in Michigan. It was my pseudo-home mountain when I lived in Michigan as a teenager.00:17:50.000 --> 00:17:57.000Stuart Winchester: I have a lot of respect for Tim and Pete Meyer, who run that over there. So, I'll talk a little bit more…00:17:57.000 --> 00:18:10.000Stuart Winchester: about that with Joe, because I think there's going to be some crossover with the snow pass. So, quickly, before we get to our guest, I want to tell you about Profile Search International.00:18:10.000 --> 00:18:15.000Stuart Winchester: A lot of you come to this podcast to hear from the best minds in skiing.00:18:15.000 --> 00:18:20.000Stuart Winchester: But what if you want to find one of these great leaders for your own mountain team?00:18:20.000 --> 00:18:35.000Stuart Winchester: Well, let me introduce you to the folks at Profile Search International. They are the ski industry talent acquisition experts, and are the only executive search and recruitment firm in the world that is 100% focused on the ski industry.00:18:35.000 --> 00:18:48.000Stuart Winchester: They have used their intimate understanding of skiing and related industries and available candidates worldwide to place hundreds of transformational leaders at the best and most progressive ski areas over the past 30 years.00:18:48.000 --> 00:19:04.000Stuart Winchester: With offices in the US and Canada, Profile Search finds and negotiates with the right leaders for your team. You can reach out to them directly at profilesearch.com or contact them by email or phone, or send me a note and I will connect you directly with their expert team.00:19:06.000 --> 00:19:08.000Stuart Winchester: Okay.00:19:08.000 --> 00:19:11.000Stuart Winchester: We are joined.00:19:11.000 --> 00:19:13.000Stuart Winchester: As soon as we get a video.00:19:13.000 --> 00:19:33.000Stuart Winchester: We are joined today by the founder and CEO of Snow Partners, which owns and operates the Mountain Creek Outdoor Ski Area and the Big Snow American Dream Indoor Ski Areas in New Jersey. Snow Partners' terrain-based learning program has been used by more than 80 ski resorts worldwide.00:19:33.000 --> 00:19:50.000Stuart Winchester: And the company has rolled out its SnowCloud all-in-one resort management software with at least 15 clients, including Jackson Hole, Wyoming. Last year, the company launched the Snow Triple Play Pass, which was good for 3 days, total across 16 ski areas in eastern North America.00:19:50.000 --> 00:20:01.000Stuart Winchester: Ahead of Winter 2026-27, Triple Play adds 7 additional mountains, for a total of 23, at a price of $179.00:20:01.000 --> 00:20:18.000Stuart Winchester: Snow Partners has also launched the Snow Pass, which is loaded with two days each at 14 ski areas for $339.99. My guest to break all this down for us today is a good friend of the Storm Skiing Podcast, Joe Heschen. Joe, welcome back to the storm. Always good to track you down.00:20:17.000 --> 00:20:18.000Joe Hession: Thanks.00:20:18.000 --> 00:20:21.000Stuart Winchester: How are you feeling on Snow Pass launch day?00:20:21.000 --> 00:20:36.000Joe Hession: You know, it's launch day for Snow Pass. It's launch day for Mountain Creek Seasons Passes. So winter's in the air. Things are happening. It's really exciting. This is probably my favorite time of year. So thanks for having me on such a special day. Winter's coming.00:20:34.000 --> 00:20:36.000Stuart Winchester: I'll do it.00:20:36.000 --> 00:20:53.000Stuart Winchester: Yeah, and it's the first day of the new platform for the Storm. So I wanted to get you on first. I'll admit, I want to do a little bit of a flex because I know you're a hard guy to track down and you're doing a lot of cool, interesting things. I want to start with the Snowpass, Joe, because you came on the podcast last year to talk about Snow Triple Play.00:20:53.000 --> 00:20:56.000Stuart Winchester: And your launch, and you were pretty…00:20:54.000 --> 00:20:55.000Joe Hession: Mm-hmm.00:20:56.000 --> 00:21:09.000Stuart Winchester: adamant, you know, this is not a pass. I don't want to do a pass. And, you know, we talked about it a lot, and I probably harassed you about it a little bit, and now we have a pass!00:21:00.000 --> 00:21:01.000Joe Hession: Yep.00:21:03.000 --> 00:21:05.000Joe Hession: Mm-hmm.00:21:09.000 --> 00:21:17.000Stuart Winchester: So, so tell us about that journey. How did, how did we get from TriplePlay to SnowPass, and, and why do you have the two different products?00:21:09.000 --> 00:21:10.000Joe Hession: Yep.00:21:17.000 --> 00:21:32.000Joe Hession: Yeah. And, and, you know, you might be very responsible for it because you, you pushed it early on of, you know, why, why would this not be a pass? And, you know, originally we were really following the data and the data we were really focused on was 73% of people ski between one and five days.00:21:32.000 --> 00:21:50.000Joe Hession: the price point for that, and we were looking at the data for Mountain Creek with our triple play, and saying, you know, there's really not a lot of triple plays for multi-resort. That's kind of a cool, unique concept. So we were really stuck on the data. Obviously, we heard feedback from folks like yourself, and also your other… all your listeners and subscribers, and…00:21:42.000 --> 00:21:43.000Stuart Winchester: Mm-hmm.00:21:50.000 --> 00:22:05.000Joe Hession: And… but then, it was really our past partners. The people that bought the Triple Play were like, if we had this option, we'd be really happy. They hit us that in our post-survey, they said, we really would like this. Um, and then the resorts. We had great partners on the Triple Play program, and…00:22:05.000 --> 00:22:13.000Joe Hession: they came in and said, we would like this as well. So, you know, the model's been done, and we made the leap to do it. So we're really excited about it.00:22:13.000 --> 00:22:28.000Stuart Winchester: You have a great network to launch, and I think especially if you live in New York Metro, and I want to talk about — I do want to talk about Triple Play, but let's focus on Snowpass for a minute. The three key mountains here are Bel Air, Gore, and Whiteface.00:22:28.000 --> 00:22:43.000Stuart Winchester: These mountains, for those of us who are in the area, we know they're state subsidized. They've gotten a half billion dollars in investment. That's a whole different subject. We're going to leave that alone because the result of that for your pass holders is these are awesome ski areas. Bel Air is essentially a brand new ski area.00:22:43.000 --> 00:22:58.000Stuart Winchester: And if you're in New York Metro, you get two days at Mountain Creek, and you get two days at Big Snow, then there's some little ones. You get up in Connecticut, you have Mount Southington. So you have a really nice network of.00:22:58.000 --> 00:23:10.000Stuart Winchester: 14 ski areas, 12 of them are in the east. Talk about that network, Joe, and how deliberate it was that they kind of worked together to create a compelling pass product.00:23:10.000 --> 00:23:27.000Joe Hession: Yeah, that's a great question because that is, you know, we probably look at the world a little differently than people looking at different passes and different programs. And I think you nailed it. Like, you know, with the news last week, you know, sometimes people from Colorado chirp and they, this pass doesn't make sense for me. I'm like, yeah.00:23:27.000 --> 00:23:44.000Joe Hession: Yeah, congratulations. You can read and understand basic logic. So we love our friends in Colorado, we love our friends out west, but this is a pass that's very regional. It makes so much sense if you live in this area and you're planning to have those trips and, and, and you might remember this, but years ago.00:23:31.000 --> 00:23:32.000Stuart Winchester: Right.00:23:44.000 --> 00:24:00.000Joe Hession: at the NSA show, which is the National Ski Association. I was on stage with a bunch of different groups, talking about Epic Pass and ICOM Pass, and this is before we had a Pass product. And I was saying, and I was a little critical too.00:24:00.000 --> 00:24:18.000Joe Hession: you know, listen, I think the high-level past products that exist, which just throw out big numbers, like, you know, 40 of these resorts, these resorts, or 300 resorts, like, it's cool, but the reality is, is I'm really focused on how does someone actually use it? So if we go back to the skier.00:24:18.000 --> 00:24:35.000Joe Hession: and the snowboarder, and how do they actually use this pass? And, you know, back in the day, and I love, you know, the industry is much smaller than people, especially your listeners might realize, like, I have a ton of respect for almost everybody. If anyone's in this business, I respect them, because it's a really hard business.00:24:35.000 --> 00:24:36.000Stuart Winchester: Mmhm.00:24:35.000 --> 00:24:51.000Joe Hession: And so for us, I've always looked at it and said these big pass products that are kind of like overwhelming with the options, like how do people actually use them and where does it drive traffic and traffic to the right places at the right time and stuff like that. So we're very deliberate.00:24:51.000 --> 00:25:02.000Joe Hession: very deliberate in, if you live in New Jersey, New York, Connecticut, Long Island, um, upstate New York, parts of Pennsylvania, this is a very compelling pass that not only takes you from the city.00:25:02.000 --> 00:25:18.000Joe Hession: Because for us, what's really critical is that kind of warm handshake from, we're teaching a hundred thousand new people a year to ski at Big Snow. Where do they then go to? And obviously we want them to come to Mountain Creek, but I also want them to go to Whiteface and Bel Air and Gore and Platic Hill.00:25:16.000 --> 00:25:17.000Stuart Winchester: Mmhm.00:25:18.000 --> 00:25:34.000Joe Hession: Um, because things like that, that's kind of how this industry can work together to take people who are new to the sport, or people who are, maybe have never gone. Maybe they always go to Vermont, and we love Vermont, but maybe this is their chance to go up to Whiteface and realize, oh, wow.00:25:34.000 --> 00:25:41.000Joe Hession: That's, you know, you can see JP from there, right? So it's kind of it's people don't realize how far north Whiteface is.00:25:36.000 --> 00:25:37.000Stuart Winchester: Mm-hmm.00:25:41.000 --> 00:25:49.000Stuart Winchester: Yeah, so you have a really nice network, and I think it's gonna sell really well. I mean, just even if… even if you just launched.00:25:49.000 --> 00:26:05.000Stuart Winchester: a Bel Air Gore Whiteface pass at that price point, I think it would probably sell really well. Uh, but the reality is you're going up against a very competitive market. So, uh, you look at Epic Pass, not maybe so competitive, you're doing something different, they don't have as many mountains in the market. Indy Pass.00:26:05.000 --> 00:26:20.000Stuart Winchester: I'm not even sure if you know this yet, because the embargo literally lifted when we started this at 10 a.m. eastern. A smuggler's notch today announced they are joining the Indy Pass. So the Indy Pass gives you a really nice network of resorts in your neighborhood.00:26:12.000 --> 00:26:14.000Joe Hession: Yep.00:26:20.000 --> 00:26:34.000Stuart Winchester: In New England, it has Waterville Valley, Cannon, Jay Peak, Saddleback, and now Smug, some of the best ski areas in the region. It has ski areas all over New York. That goes on sale to the public.00:26:34.000 --> 00:26:50.000Stuart Winchester: Today or tomorrow, the Indy Pass, they do a fall sale for $419. They have 256 alpine ski areas as of today, including 61 in the western US. They have a big head start, right? They started in 2019, so.00:26:50.000 --> 00:27:04.000Stuart Winchester: you're offering a different product, but it works in the same way, right? SnowPass. Uh, little lower price point, $340 as opposed to $419. What's your pitch for someone considering SnowPass or IndyPass?00:27:05.000 --> 00:27:20.000Joe Hession: Yeah, so, well, well, first let me hit that because it's, it's, what's interesting is, and, and it's important to kind of explain our background and where we come from. I probably see the world differently than almost everyone involved in this past world. I, I kind of look at it as.00:27:17.000 --> 00:27:18.000Stuart Winchester: Mmhm.00:27:20.000 --> 00:27:35.000Joe Hession: you know, the pitch is, if you live in this area and you want to visit the resorts on our pass, it's a no-brainer. Not only that, I don't think we're going to live in a world where there's Epic, Icon, Indy, Snow Pass, Mountain Collective.00:27:35.000 --> 00:27:53.000Joe Hession: I think we should be trying to live in a world where we democratize skiing back to the skiers and snowboarders, and allow them to make choices in their price points where they want to go, vastly different than it is today. I think these programs, um, really exist because lack of good technology.00:27:53.000 --> 00:28:08.000Joe Hession: Like, like, basically, we would have reciprocal programs back years ago with, uh, like, Mound Creek and Killington. And to get that to actually make sense to the guests, where they show up, and it's seamless, and the money's able to be traded the right way, wasn't possible years ago.00:28:00.000 --> 00:28:02.000Stuart Winchester: Mmhm.00:28:08.000 --> 00:28:24.000Joe Hession: So, for us, you know, and I'll get to the question of what the pitch directly to Indy, but I see the world so dramatically different than IndyPass. I see a world where independent ski resorts should be working with each other.00:28:15.000 --> 00:28:16.000Stuart Winchester: Mm-hmm.00:28:24.000 --> 00:28:43.000Joe Hession: for the betterment of their guests to share people to different locations that people find interesting. A real-life example is Martok in Nova Scotia and Cape Smoky have a reciprocal program that they're actually allowed to have… they have one pass that's able to work at both places and can split the revenue and funding between it.00:28:43.000 --> 00:29:00.000Joe Hession: between them. They have common ownership. But they're both on SnowCloud. So really, you know, our software platform, SnowCloud, which really operates all the things that is involved with Snowpass and Snow TriplePlay, our real pitch long-term, our real pitch of what we're trying to do with Snowpass.00:28:45.000 --> 00:28:46.000Stuart Winchester: Mm-hmm.00:29:00.000 --> 00:29:17.000Joe Hession: is open up the door to give resort leaders and operators tools where they take out the middleman. And what I mean by the middleman is Wachusett and a resort up in Vermont doesn't need a third party to organize their pass benefits.00:29:17.000 --> 00:29:33.000Joe Hession: They should be doing it directly themselves, using better technology. So, I am calling for a shift, a big shift, in the way that people think of this, of, let's get away from these big, pillar, clunky things that are these big, like.00:29:33.000 --> 00:29:46.000Joe Hession: big, like, kind of ego plays of passes, and let's take skiing back to the skiers and snowboarders, and let them have direct relationships with the resorts they love, and give these operators great tools to allow that to happen.00:29:37.000 --> 00:29:38.000Stuart Winchester: Mm-hmm.00:29:46.000 --> 00:29:50.000Joe Hession: Um, so that that's our long term pitch. Yeah.00:29:46.000 --> 00:29:56.000Stuart Winchester: So let me jump in there. I just want to ask now, I want to follow up on that. So are you saying this snow pass, your goal is to…00:29:56.000 --> 00:30:01.000Stuart Winchester: make it extinct at some point? It's a building block to the next level, is that what you're saying?00:29:58.000 --> 00:29:59.000Joe Hession: Yeah.00:29:59.000 --> 00:30:01.000Joe Hession: You…00:30:01.000 --> 00:30:17.000Joe Hession: Yeah, what's interesting is Snowpass, we have no upside in Snowpass. So we've been very open and clear about this. And I just want to make sure the goal of Snowpass is secure. We share all of our books openly with all of our resort partners. They can see every transaction, every dollar flow.00:30:17.000 --> 00:30:18.000Stuart Winchester: Mmhm.00:30:17.000 --> 00:30:33.000Joe Hession: There's overhead in some of the expenses. They get a clear, like, this is the piece that we do that. We originally said it was estimated at 5%. If it ends up becoming 3%, we'll distribute the rest of that to the resorts. We have no profit margin built into our plan for Snowpass.00:30:33.000 --> 00:30:43.000Joe Hession: Snowpass to us is the first step in trying to prove the theory of could we remove the middleman from the equation?00:30:43.000 --> 00:30:58.000Joe Hession: And we applaud the idea that if you're on Snowpass, and let's say that Whiteface wants to now work with Platykill directly, we would celebrate that and see that as a huge win.00:30:58.000 --> 00:30:59.000Stuart Winchester: Mm-hmm.00:30:58.000 --> 00:31:14.000Joe Hession: Because we want resorts to collaborate. If people are real fans of skiing and snowboarding, and they've been buying passes for years, and part of it, they know that the beauty of the ski industry is when the ski industry, skiers, snowboarders, the people that operate these resorts, work together.00:31:14.000 --> 00:31:26.000Joe Hession: they create beautiful things. So we need to give them tools to work together, and also the ability to work together, because some companies restrict people from being able to work with each other, which goes against the spirit of the whole ski industry in the first place.00:31:26.000 --> 00:31:32.000Stuart Winchester: So if you were… So let's think of… Let's do a thought experiment here. So let's take some…00:31:31.000 --> 00:31:32.000Joe Hession: Okay.00:31:32.000 --> 00:31:53.000Stuart Winchester: some resorts that share your operating software, right? So you have Mountain Creek, so you can do whatever you want with it, and you have big snow. I know that, for example, Greek Peak up in upstate New York uses, it's up near Cornell, sort of central New York for folks who aren't familiar. It would be a great feeder from Mountain Creek because it has.00:31:39.000 --> 00:31:40.000Joe Hession: Yep.00:31:44.000 --> 00:31:45.000Joe Hession: Mm-hmm.00:31:53.000 --> 00:32:09.000Stuart Winchester: a resort feel, and it's a big mountain, and it has a nice hotel across the street with a water park and everything. So you have, uh, Greek Beak, and then you signed Jackson Hole, right? So would an example be that if you were a…00:32:04.000 --> 00:32:05.000Joe Hession: Yeah.00:32:09.000 --> 00:32:13.000Stuart Winchester: Mountain Creek Passholder, you could somehow…00:32:13.000 --> 00:32:25.000Stuart Winchester: Mountain Creek could sign a deal with Greek Peak for shorter-term visits and Jackson Hole for longer-term. Is that the goal, and how would that be different from a pass we have now?00:32:23.000 --> 00:32:40.000Joe Hession: Yeah, so, yeah, well, because it could be priced exactly to the price, it would make sense to the consumer. Because right now, and remember, when people buy an IndiePass or a pass like that, there's an idea that all these resorts, like, I'm a big fan of IndiePass.00:32:40.000 --> 00:32:57.000Joe Hession: Pareto charts, the 80/20 rule. I will guess, not knowing anything about their business, that 80% of the revenue is made up of 20% of the resorts and the visits. I will almost guarantee it because that's how statistics works. So when you have huge numbers, it starts to cloud the efficiency of it, right?00:32:51.000 --> 00:32:53.000Stuart Winchester: Yeah.00:32:57.000 --> 00:33:17.000Joe Hession: So to me, I look at and say, yeah, so a program where it's like if Mountain Creek went to Greek Peak and said, we want to have a reciprocal program where if someone uses this, it seamlessly just works at the lift. So imagine someone took their Mountain Creek pass, went and rode the lift at Greek Peak and boom, the transaction happened. The guests never even knew it happened.00:33:11.000 --> 00:33:12.000Stuart Winchester: Mm-hmm.00:33:16.000 --> 00:33:18.000Stuart Winchester: Mmhm.00:33:17.000 --> 00:33:32.000Joe Hession: the business relationship worked, and then we shared data to basically say, oh, this is a Mountain Creek and Greek Peak guest. Now you guys can market directly to them and hopefully get them to come for a longer stay next time. That's where I… that's where I would love to have it, and Greek Peak's a great example.00:33:32.000 --> 00:33:40.000Joe Hession: We're great partners with them. We love that resort. They've been great early adopters of SnowCloud. We're not allowed to have a reciprocal program with them at Mountain Creek or Big.00:33:40.000 --> 00:33:58.000Joe Hession: They're, they're contractly obligated not to work with anyone other than who they work with, which is, which to me is just wild. And I think most people don't realize that that's how it works. And, you know, the last thing we need is, is the middleman kind of inserting themselves into controlling how people operate. It's just.00:33:58.000 --> 00:34:10.000Joe Hession: So… so I would love… I see a future like that. Currently, unfortunately, with a place like Repeat, we're not allowed to work with them. We're… we're… and… and I mean not on Snowpass. We can't have a reciprocal…00:34:10.000 --> 00:34:16.000Joe Hession: We can't give someone a discount if they're a Mountain Creek holder to go to Greek Peak. It's.00:34:16.000 --> 00:34:18.000Stuart Winchester: Yeah, and great.00:34:16.000 --> 00:34:18.000Joe Hession: Less rules. We need less rules.00:34:18.000 --> 00:34:29.000Stuart Winchester: Yeah, Greek Peak has worked with IndiePass since 2019. They've been an original partner over there. I want to get to that in a second. You know, I…00:34:19.000 --> 00:34:20.000Joe Hession: Okay.00:34:29.000 --> 00:34:44.000Stuart Winchester: I don't know if I see a post-pass world, because I like a menu, I like the big passes. However, what I think you're describing could solve is the free visit problem.00:34:44.000 --> 00:35:02.000Stuart Winchester: because I know Indian Ski Cooper, for example, had a dust-up a few years ago because Ski Cooper was essentially… India accused him of essentially creating a national pass, and that was probably my fault because I wrote an article that said, hey, look at this secret national pass for 300 bucks in Colorado. Nonetheless, it's a lot of…00:34:55.000 --> 00:34:56.000Joe Hession: Mm-hmm.00:35:02.000 --> 00:35:19.000Stuart Winchester: Free visits and you have mountains like Bogus Basin in, in Idaho that are still giving away a lot of free visits. Now, Bogus is a great business and, and it's doing well and they have a surplus and, and they've evolved great in the past decade or so. Uh, but, but it seems like that could really solve that.00:35:11.000 --> 00:35:13.000Joe Hession: Yep.00:35:20.000 --> 00:35:26.000Stuart Winchester: free visits problem, where there is some revenue sharing. Is that part of what you're trying to solve here?00:35:26.000 --> 00:35:41.000Joe Hession: 100%. And you see the big players do it, right? Like a big thing about us too is I'm not against anything. I think Indie is fantastic. And it's very important to point this out. I think that is, but I also think Epic and Icon are great.00:35:34.000 --> 00:35:35.000Stuart Winchester: Okay.00:35:41.000 --> 00:35:42.000Stuart Winchester: Mmhm.00:35:41.000 --> 00:35:57.000Joe Hession: Like, I'll put it this way, operating a small resort here in New Jersey, Mountain Creek, or Big Snow, there are things that Vail does so much better than us that we wish we had the resources they have. Now, with that said, we do things way better than Vail does, and they wish they had the resources.00:35:50.000 --> 00:35:51.000Stuart Winchester: Mmhm.00:35:57.000 --> 00:36:14.000Joe Hession: Or the ability to do what we can do, right? And, you know, there's an old commercial years ago that there was, like, a big boardroom, and the boardroom, they're like, I wonder what the little guys are doing. And then all of a sudden, it showed the people in, like, the startup, and they're like, I wonder what the big guys are doing. So, we're all in the same business, and we're.00:35:59.000 --> 00:36:00.000Stuart Winchester: Mmhm.00:36:05.000 --> 00:36:06.000Stuart Winchester: Yeah.00:36:14.000 --> 00:36:32.000Joe Hession: some of the things they've done to try to cure their own things. They own most of their resorts on their program, so they're gonna do things the way that benefits them, because they own all those resorts together. And they've tried to solve these problems in similar ways, and I think learning from them on that stuff, same thing with Icon is doing similar stuff to that.00:36:32.000 --> 00:36:35.000Joe Hession: Um, but yeah, I think…00:36:35.000 --> 00:36:44.000Joe Hession: that's exactly what we're trying to solve. We're trying to solve… we want resorts to have relationships that make sense to the consumer. Like, for example.00:36:44.000 --> 00:37:00.000Joe Hession: Who is going to go, and I'll, I'll, I'll, I'll, I'll, I'll, I'll focus on someone else for a minute. Who's gonna, who's gonna go to 40 resorts in a year on a certain pass? Nobody. Nobody. Skiers are smarter than that. No one's doing that. What they're doing, if you buy an Epic or Icon.00:36:56.000 --> 00:36:57.000Stuart Winchester: Right.00:37:00.000 --> 00:37:08.000Joe Hession: in the real world, the conversation goes, um, oh, I live in New York? Great. What pass are my friends buying?00:37:08.000 --> 00:37:24.000Joe Hession: Because where are they going to go this year? Where do we want to take our family trip? Oh, and it just happened. My wife and I, our family, we have a place in Snowmass. So every year, we have some friends who are like, I want to come out to Snowmass. Well, they buy an IconPass. Their decision is made based on, oh.00:37:10.000 --> 00:37:11.000Stuart Winchester: Mm-hmm.00:37:17.000 --> 00:37:18.000Stuart Winchester: Mm-hmm.00:37:24.000 --> 00:37:43.000Joe Hession: your condo's available, I can go, I'm gonna lock in an Icon Pass. That's how consumers actually work. So, to me, it's like, I agree with you, I love the big passes, I don't think they should go away. I think there's a great place for India, I think there's a great place for Icon, I think there's a great place for Epic Pass. There might be a great place for Snowpass.00:37:43.000 --> 00:37:59.000Joe Hession: But I also get really excited about other options. And I feel like we're at this disruptive time where we're seeing the results of these passes and kind of the rubs that are rubbing people the wrong way. And I think it might be time with technology that we can kind of.00:37:56.000 --> 00:37:57.000Stuart Winchester: Mmhm.00:37:59.000 --> 00:38:06.000Joe Hession: take it to the next level. Like, you know, we're talking about the evolution of, you know, major.00:38:06.000 --> 00:38:21.000Joe Hession: uh, success has been done, and there's been some learnings, right? Like… like, the pictures of the long lines and stuff, uh, that we see every holiday or powder day, like, is a result of the PASS program. It's a result of this, it's an output of that, and I think there's ways we can maybe.00:38:21.000 --> 00:38:37.000Joe Hession: Make it better where the skier gets a better choice, a better experience, and then the resorts get to share in different ways. So really, at the end of the day, I think it's a technology driven way to better collaborate for the betterment of the ski experience to democratize.00:38:34.000 --> 00:38:35.000Stuart Winchester: Mmhm.00:38:37.000 --> 00:38:42.000Joe Hession: It's kind of the price and take out the middleman is really, is really my pitch.00:38:41.000 --> 00:38:44.000Stuart Winchester: So, Joy, I appreciate…00:38:42.000 --> 00:38:45.000Joe Hession: I'd like to remove myself from the equation eventually.00:38:44.000 --> 00:39:01.000Stuart Winchester: You know, the problem with you removing yourself from the equation, Joe, is that everyone I talk to really likes working with Snow Partners, your team. They like the train-based learning, they like your operating software.00:38:54.000 --> 00:38:55.000Joe Hession: Yeah.00:39:01.000 --> 00:39:16.000Stuart Winchester: And I appreciate that spirit of Bonhomie, and you're right, the ski industry is small, and it was smaller than I would have imagined, and it was more welcoming than I would have imagined. I'm not sure if you read the lawsuit.00:39:16.000 --> 00:39:25.000Stuart Winchester: The most recent one filed against Veil Altera, Boyne Powder, the National Skier Association and and RRC. And it's built.00:39:20.000 --> 00:39:21.000Joe Hession: Yep.00:39:25.000 --> 00:39:34.000Stuart Winchester: the case for the lawsuit is built on accusations of collusion. Using a lot of.00:39:31.000 --> 00:39:33.000Joe Hession: Yep.00:39:35.000 --> 00:39:50.000Stuart Winchester: kind of fluffy evidence of people getting together at NSAA shows and basically sharing data and sharing best practices. I think all industries do this. Now, I'm going somewhere with this.00:39:50.000 --> 00:40:07.000Stuart Winchester: I appreciate that, and I think IndyPass, a lot of people love working with them. However, maybe a little more conflict would be good for the ski industry, because one thing I've seen as I've been reading old newspaper clippings is ski operators used to talk a lot more junk to each other, like, oh, Summit County, Colorado does.00:40:07.000 --> 00:40:17.000Stuart Winchester: more skier visits to the whole state of Utah. Obviously, those days are over, but there used to be a little more smack talk. So let me get into a little controversy here, and you can address this as you want.00:40:11.000 --> 00:40:13.000Joe Hession: Yep.00:40:15.000 --> 00:40:17.000Joe Hession: Yeah.00:40:17.000 --> 00:40:34.000Stuart Winchester: As you said, Indy Pass does not share. You have been willing to share and and the snow triple or snow pass shares two mountains, Bromance in Quebec and Whiteface with Mountain Collective and three.00:40:34.000 --> 00:40:45.000Stuart Winchester: Uh, Butternut, Jiminy Peak, and Cranmore with the Icon today. You and Indy are both claiming Snow King, you're both telling me it's locked in, uh, and…00:40:45.000 --> 00:40:55.000Stuart Winchester: Indy's telling me it's only gonna be on Indy, so… there's a little conflict for ya. Uh, how are you approaching that, and what do you think about the scenario?00:40:50.000 --> 00:40:52.000Joe Hession: Yeah, yeah.00:40:56.000 --> 00:41:00.000Joe Hession: Yeah, so we're talking about Snow King specifically?00:40:59.000 --> 00:41:02.000Stuart Winchester: Yes, Snow King specifically.00:41:00.000 --> 00:41:10.000Joe Hession: Yeah, so specifically Snow King, we have a signed agreement with Snow King. We're very excited to work with Snow King.00:41:07.000 --> 00:41:08.000Stuart Winchester: Mmhm.00:41:10.000 --> 00:41:23.000Joe Hession: Uh, Snow King would love to have visits, uh, come from us, and they are on our website, and we launched with Snow King. Um, that's where we're at. Um, you know, as far as what's going on with them in Indy.00:41:23.000 --> 00:41:39.000Joe Hession: Um, I'll kind of let them speak to that to themselves, but from what I understand, which I'll take some liberties and say what I think is going on, is there is a clause in an IndyPass that if someone leaves the IndyPass program.00:41:40.000 --> 00:41:55.000Joe Hession: They have to not work with anyone for another year. And it's kind of buried in the fine details. So I think what happened is I think they were off that pass, planned to be off that pass, maybe wasn't familiar with that clause, and then signed an agreement with us.00:41:55.000 --> 00:42:10.000Joe Hession: So for me, so the big question is, hey, so here's the choices as we sit today. We have a signed agreement. We've told Snow King, if this is going to hurt you, we never want to hurt you. So we are 100% willing to do whatever that takes.00:42:10.000 --> 00:42:12.000Joe Hession: to do it.00:42:12.000 --> 00:42:17.000Joe Hession: But, you know, we're not gonna just, like, bow down, because at the end of the day.00:42:17.000 --> 00:42:31.000Joe Hession: It's also on Indy, and maybe they… maybe they signed an agreement that wasn't… that was not the right thing to do. We have a signed agreement. They're on our paths, right? Um, at the end of the day, there's one person who can make a big choice here.00:42:25.000 --> 00:42:27.000Stuart Winchester: Mm-hmm.00:42:31.000 --> 00:42:32.000Stuart Winchester: Mmhm.00:42:31.000 --> 00:42:37.000Joe Hession: Is Indy gonna sue Snow King because of this clause in the piece?00:42:37.000 --> 00:42:54.000Joe Hession: I read in the Boston Globe that Eric Mogensen is going to, like, change and save skiing. Is he going to sue a small ski resort? Like, and I know that's blunt, but I would put the ball right back in his court. I would love to, you know, if he sues Snow King.00:42:44.000 --> 00:42:45.000Stuart Winchester: Mmhm.00:42:54.000 --> 00:43:12.000Joe Hession: That would be an insane thing. And I think he should go out to everyone and say, you know what, we're not going to litigate. You know, I know he hasn't been operating a ski resort long, and I have a ton of respect because of the fact that the fact that he's a GM of a ski resort, the fact that he's operating a ski resort, there's not a single person. And I respect him.00:43:12.000 --> 00:43:27.000Joe Hession: I really do. I really do. There's just one piece that we don't see eye to eye on. And it's… he's told me he's the anti-collaborator, and I am the ultimate collaborator. So when you get us in the ring together, it's one is super collaboration and one isn't. And so to me.00:43:27.000 --> 00:43:39.000Joe Hession: I think, you know, the more he operates a ski resort, he's gonna realize that litigation is one of the hardest things we have to deal with in the ski business. We have realities of things that happen at ski resorts that involve litigation.00:43:39.000 --> 00:43:49.000Joe Hession: suing each other is just a waste of time. Like, what are we doing? Like, we should be, like, we need… we should be talking about skiing and snowboarding, and we should be thinking.00:43:42.000 --> 00:43:43.000Stuart Winchester: Mmhm.00:43:49.000 --> 00:44:09.000Joe Hession: how many visits can Indy give Snow King? I would love for them to get a ton of visits. How many visits can Snow Pass give Snow King? Let's get Snow King visits. Let's give people options. And just because of, like, some, uh, you know, red tape in a contract, we're then gonna threaten and clause, like.00:43:52.000 --> 00:43:53.000Stuart Winchester: Mmhm.00:44:09.000 --> 00:44:28.000Joe Hession: So that's… so here's… so I gave you probably more than I should have, but… and I'm sure Hugh is no longer looking at me, so he… but he didn't give me the hook, so I'm still talking, right, Hugh? We're good? So, I'm sure… you know, but you'll definitely… you wanted to have, you know, for this inaugural session, you wanted to have some stories. This is a story.00:44:28.000 --> 00:44:39.000Joe Hession: The story is, the reality is, the truth is, that they were under contract, Indy, from what I understand, which they've told me, they wrote they are no longer to work, they gave them the right.00:44:39.000 --> 00:44:53.000Joe Hession: I'm out. This is the time you're supposed to be out. They were unaware of this one clause, which we were also unaware of. We signed, we moved forward, we announced. After announcement, it was, no, you can't do that. So, really, right now, I think Snow King would gladly take visits from both.00:44:53.000 --> 00:44:54.000Stuart Winchester: Mm-hmm.00:44:53.000 --> 00:44:56.000Joe Hession: We would gladly take visits from both.00:44:56.000 --> 00:45:02.000Joe Hession: Ball's in Mogensen's court, we'll see what he does. I guess the best way to approach this is publicly. So, here.00:44:58.000 --> 00:45:00.000Stuart Winchester: And he…00:45:00.000 --> 00:45:16.000Stuart Winchester: I agree, and Eric is scheduled to be on this podcast on Thursday, so he will have his chance to respond. And you know what, Joe, you're welcome back anytime to respond. But before you go out the door, I do want… I did promise to keep these short, and I know for you and I.00:45:06.000 --> 00:45:07.000Joe Hession: Perfect!00:45:10.000 --> 00:45:12.000Joe Hession: Yep.00:45:15.000 --> 00:45:16.000Joe Hession: Yep.00:45:16.000 --> 00:45:31.000Stuart Winchester: Both, that's a challenge. I do want to call out some of these awesome new triple play partners, uh, Jiminy Peak and Cramore, especially. I have a ton of respect for the Fairbanks and, and, uh, what, and what they do. Uh, Bromont is, is an excellent.00:45:27.000 --> 00:45:28.000Joe Hession: Yeah.00:45:31.000 --> 00:45:51.000Stuart Winchester: edition, and Hallamont. Actually, Hallamont is on Snow Pass as well, which is a terrific skier. I never realized until I went there this year. It's just because it's private on the weekends and in public during the week. What do you have to do to convince some of these folks, especially Jiminy Cranmore Bromont, to jump over to Snow Pass? Do you think there's a path there?00:45:52.000 --> 00:46:10.000Joe Hession: Yeah, you know, I do. I think it's kind of proving it out over time, but also making, you know, going back to what I said earlier, maybe the right product for them is a relationship with different resorts, right? Maybe it's a whole new version of what happens, but I think we're very lucky to have them on the program.00:46:10.000 --> 00:46:25.000Joe Hession: Both operators are fantastic. Brian and Tyler Fairbank, we go back really far. Like, they were early adopters of us with snow operating and train-based learning. Brian Fairbank, if people don't know, is one of the godfathers of snowmaking in the industry.00:46:15.000 --> 00:46:16.000Stuart Winchester: Mmhm.00:46:25.000 --> 00:46:40.000Joe Hession: He's still at it. He's in his 80s. He's out there making snow. I mean, he's an absolute legend. So anytime we get to work with him and his resort partners, we're really happy. Tyler, we've obviously known for well over a decade and a half as well.00:46:40.000 --> 00:47:00.000Joe Hession: great resorts, we've loved visiting them, and I think they're great operators, so I think people are going to love discovering them. And that's, you know, one thing I'll give a lot of credit to Indy for, which has opened our eyes, is the fact that there's so many passes on the program, there's the fact that there's all these different options. People learn new places they've never learned before, right? And I think Epic and I kind of have done the same.00:46:54.000 --> 00:46:55.000Stuart Winchester: Mmhm.00:47:00.000 --> 00:47:15.000Joe Hession: You know, I never thought of going to Crested Butte, but because it's on the Epic Pass, I'm going to go to Crested Butte, or I never thought of going to this resort, but because of it. And I think that's been a huge success. And it's great to hear you say, like, Hollymont, like, oh, I didn't know that much about the.00:47:04.000 --> 00:47:05.000Stuart Winchester: Yep.00:47:15.000 --> 00:47:29.000Joe Hession: I think that's the spirit. The spirit is, how do you take skiers from different regions and inspire them to want to go to somewhere else and make that transaction seamless and easy for the operators to navigate, is really our goal.00:47:28.000 --> 00:47:49.000Stuart Winchester: It's such a rich world, and I love how you're helping folks explore it. Leave us with this, Joe. Where can we buy Snowpass? And I believe you said you're selling a limited number. You probably won't tell me that number, but how soon should folks go to where you're going to tell us to go before they're going to lose this special price of, I believe, 340 for Snowpass and 179?00:47:49.000 --> 00:47:52.000Stuart Winchester: For the triple play.00:47:52.000 --> 00:48:05.000Joe Hession: Correct. So, so 4pm today, mysnowpass.com, uh, it's gonna be a limited release. Uh, if you know the Mound Creek world, and you know how we do it, it's actually Mound Creek's on the clock right now.00:48:05.000 --> 00:48:22.000Joe Hession: Um, we've been selling for 31 minutes, so I'm gonna get an update when we get off the call here, but at 4 o'clock, we will have our watch party with our group in the kind of war room. We're watching the transactions live. We have a number that we have promised ourselves we will not exceed, and it'll shut itself down at that number.00:48:08.000 --> 00:48:09.000Stuart Winchester: Okay.00:48:22.000 --> 00:48:40.000Joe Hession: Um, so 4PM today will be, uh… will be the birth of a new product in the industry, which hopefully will inspire other new products down the road, and… and hopefully start to change the relationship between resorts and… and the skiers, because that's what it's about. It's about getting skiers the best price for the best mountains, new… doing new things, and working together.00:48:40.000 --> 00:49:00.000Joe Hession: And we have a beautiful industry of resorts, but we have great customers. People who are skiers and snowboarders are so passionate. Like, I read everything they post on your stuff. You know, the comments have been just amazing. And, you know, we're looking forward to, over time, I want to make that person in Colorado that keeps saying, this pass stinks, has nothing to do for me.00:48:50.000 --> 00:48:51.000Stuart Winchester: Yeah, thank you.00:49:00.000 --> 00:49:09.000Joe Hession: I want to eventually win them over by giving them a product that does make sense for them or allowing resorts there to find a product that works for them. So it's really exciting day.00:49:06.000 --> 00:49:17.000Stuart Winchester: Colorado bro is very proud of Colorado. Uh, last year, Joe, you sold Snow Triple Play, I believe, until Christmas Eve. You have a similar schedule in mind for these two passes this year?00:49:10.000 --> 00:49:11.000Joe Hession: Yes.00:49:17.000 --> 00:49:32.000Joe Hession: Yeah, exactly the same schedule. So they'll be… the best price will be the launches. So today will be the lowest possible price, it'll scale up in another drop, and then it'll be on sale for a little bit at its full retail price, and then it'll turn off at that time. Exactly.00:49:19.000 --> 00:49:20.000Stuart Winchester: Okay.00:49:31.000 --> 00:49:51.000Stuart Winchester: Joe, so good to run you down. Good luck with the launch. I can't wait to see how it goes, and how this thing grows, and frankly, how this little controversy between Snowpass and Indypass resolves itself, because I'm sure that you will find a way through it. So, thank you so much for being my first guest on the new platform. I really appreciate it.00:49:34.000 --> 00:49:35.000Joe Hession: Yes.00:49:50.000 --> 00:49:51.000Joe Hession: Okay.00:49:51.000 --> 00:49:54.000Stuart Winchester: You're welcome on anytime. We'll talk to you really soon.00:49:54.000 --> 00:49:56.000Joe Hession: Great. Thanks for having me.00:49:55.000 --> 00:49:57.000Stuart Winchester: All right, take care, Joe. Bye now.00:49:58.000 --> 00:50:00.000Stuart Winchester: Alright, so…00:50:01.000 --> 00:50:03.000Stuart Winchester: Uh, what do you…00:50:03.000 --> 00:50:23.000Stuart Winchester: Okay, so that was Joe Heschen, the CEO of Snow Partners and the founder. Quick update from another partner before I wrap up the show today. If you run a ski area or outdoor brand, I want to tell you about my friends at Bonfire Collective.00:50:23.000 --> 00:50:35.000Stuart Winchester: They are a fractional marketing team that collaborates with ski areas and outdoor brands, and they will give your marketing a fresh perspective and better storytelling to supercharge your rebranding or advertising.00:50:35.000 --> 00:50:41.000Stuart Winchester: Bonfire can help you rethink your approach in ways that can turbocharge your business.00:50:41.000 --> 00:50:49.000Stuart Winchester: For example, Bonfire took on the marketing at one New Hampshire ski area and doubled revenue in just three years.00:50:49.000 --> 00:51:04.000Stuart Winchester: When the storm was ready to invest in its first ever digital marketing campaign last year, I worked with Bonfire to make it happen. I could not be happier with the results, and I think you will love working with them as well. To get started, you'll want to talk to Eric.00:51:04.000 --> 00:51:21.000Stuart Winchester: over at Bonfire Collective. He was a co-founder of Bluebird Backcountry Colorado, the first human-powered ski area, so he knows the ski business. You can actually listen to his podcast episode on the Storm Skiing Podcast, long form. Visit bonfirecollective.com.00:51:21.000 --> 00:51:25.000Stuart Winchester: Or I will be happy to make that connection for you.00:51:26.000 --> 00:51:28.000Stuart Winchester: All right, how great was Joe?00:51:28.000 --> 00:51:45.000Stuart Winchester: This is why I love the new pod, because I can have guys like that on all the time. I have dozens of relationships like that throughout the ski industry. Anytime you've listened to a podcast and you've heard someone on there and you enjoyed the conversation.00:51:45.000 --> 00:52:01.000Stuart Winchester: Whether it was Carl Kapczynski, who runs California Mountain Resorts, or… and owns Mountain High, and Bear Valley, and China Peak, and Dodge Ridge out in California. Or if it was…00:52:01.000 --> 00:52:15.000Stuart Winchester: Dustin, who… the president at Copper Mountain, uh, or it was Rob Katz, you know, the Vale CEO. I'm interacting with these people, or… or the folks who represent them, all the time.00:52:15.000 --> 00:52:31.000Stuart Winchester: I talk to Carl Kabasinski all the time, but I haven't had him on the podcast in four years. He's already agreed to come on the new shorter form to talk about all the things going on in his mountains. And that's what's great about it. And, you know, one of the concerns that I heard from people when I announced a shorter form pod was.00:52:31.000 --> 00:52:47.000Stuart Winchester: Oh, well, I really like when you covered small mountains. Well, this will allow me to do that much more, because I don't have to commit an entire hour and a half long episode to it, and it doesn't have to be the whole history of the area. I can just, for example, ask.00:52:47.000 --> 00:53:02.000Stuart Winchester: Rick Schmitz from Little Switzerland in Wisconsin to come onto the show and talk about the new quad chairlift that he's putting up or two new quads put

It seems like chatting-it-up is part of Maritime culture. People love to talk, even with strangers. So, Jax Irwin has made a delightful gig of this friendly way of life. She's a Toronto broadcaster who is originally from Dartmouth, Nova Scotia. On her social media, she calls random East Coast phone numbers, numbers in the 902 area code, and chitchats with whoever answers. We talk to her about what some of those conversations are, and why she calls herself a ‘phone call enthusiast.”

Harbinger Showcase is a weekly podcast featuring highlights from Canada's #1 coast-to-coast community of politically and socially progressive podcasts. On this episode join Maisonneuve editor in chief and New Feeling music journalism co-op co-founder Rosie Long Decter, the Council of Canadians' Nik Barry-Shaw, the Canadian Centre for Policy Alternatives' Jon Milton, Alberta Advantage correspondent Liam Devitt, independent journalist Rachel Gilmore and Tech Won't Save Us Paris Marx for a live broadcast recording from this summer's Suoni Per il Popolo music festival recorded at Casa del Popolo on June 21st in Montreal.Harbinger Showcase is syndicated to community and campus radio and heard every week on CKUT 90.3FM in Montreal, at CFUV 101.9FM in Victoria, at CIVL 101.7FM in Abbotsford, at CHLY 101.7FM in Nanaimo, at CJSR 88.5FM in Edmonton, on CJUM 101.5FM and CKUW 95.9FM in Winnipeg, at CiTR 101.9FM, CJSF 90.1FM and at CFRO 100.5FM in Vancouver, at Hamilton's CFMU 93.3FM, at Radio Laurier in Waterloo, at CJTM 1280AM in Toronto, at CJAM 99.1FM in Windsor, at LOCAL FM in St John, New Brunswick and at CJBU 107.3FM in Sydney, Nova Scotia. Find out more about the network, subscribe to the weekly newsletter and support our work at harbingermedianetwork.com.

Nova Scotia is mourning a woman who died in floodwaters near Cleveland, N.S., as heavy rain and high winds wash out roads across Cape Breton.U.S. envoys Steve Witkoff and Jared Kushner are in Kyiv today following talks in Moscow with Russian President Vladimir Putin.Voting is underway in the eastern German state of Saxony—Anhalt, where the far—right Alternative for Germany party leads in the polls. Iran claims it has targeted an unmanned U.S. vessel in the Strait of Hormuz, following American military strikes that disabled two Iranian oil tankers and sank a third. Israel has launched fresh airstrikes in southern Lebanon, killing at least four people in response to a Hezbollah drone attack. Canadian businesses are adjusting supply chains to survive growing cross—border trade friction with the U.S.Thousands of Quebec students with disabilities are returning to class after experiencing a "break in service" due to a lack of specialized resources. Uganda's lion population has dropped over 40 percent since 2011 to under 300 animals.

Three Nova Scotia counties remain under a state of emergency. Cape Breton and the eastern mainland were drenched with a month's worth of rain in just two days. Floodwaters have washed out countless roads, bridges and driveways. Residents are being told to stay home, while emergency crews assess the damage.Also: In Germany, the ultra-nationalist Alternative for Germany party (a.k.a AfD) has surged to first place in a state election. It fell short of a majority, but today's vote in Saxony-Anhalt is still a notable departure from the last 80 years of German politics. And: U.S. special envoys Steve Witkoff and Jared Kushner held talks in Kyiv today with Ukraine's President Volodymyr Zelenskyy. It was their second stop on a diplomatic tour, just a day after meeting with Russian President Vladimir Putin. The talks are aimed at finding a pathway to peace between the two countries - after months of stalled negotiations.Plus: Kids with disabilities losing support staff in schools, Canada's upcoming counter-tariffs on the U.S., The centuries old fish in the Great Lakes, and more.

Plus: A Nova Scotia cabinet minister resigns over decade-old rap lyrics, Quebec puts out nearly a million vaccine-laced raccoon baits to fight a rabies outbreak, Alberta expects record turnout for an upcoming referendum, and the fate of a Massachusetts women who claims postpartum psychosis led her to kill her children lies in the hands of a jury. 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.

This is part of how we help gym owners build ad systems like Joel's. See the plan here: https://100kplan.com   Joel Holland never ran a gym ad in 14 years. He used AI to build his first campaign. $3 cost per lead. 84 leads in 10 days. Here's how.   This gym Facebook ads using AI breakdown starts with Joel Holland, who runs 902 Athletics, a 17,000 square foot CrossFit and commercial gym in a 9,000 person market in Nova Scotia, Canada. In 14 years of business he had never run a paid ad. Everything was organic and referral based.   Ten days before this conversation, Joel taught himself how to run gym ads using Claude, an AI tool, and built his entire campaign from scratch. No agency. No prior experience. The result was a $3 cost per lead, compared to the $20 to $35 most gyms are paying right now, and 84 leads in 10 days.   Mike and Joel walk through the exact setup: the lead objective, the offer, the 34 second video ad, and why Joel wanted to learn ads himself before ever handing the account to an agency. They also cover why most agencies get bad results even when the technical setup is correct, and what the Meta algorithm actually does to gym ads that lose attention in the first two seconds.   If you have been told paid ads do not work for your gym, this look at gym Facebook ads using AI might change your mind.   In this episode you'll learn: — Why Joel never ran a paid ad in 14 years of business, until now — How he used Claude to build his entire ad campaign from scratch, no agency — The lead objective, offer, and 34 second video ad that got him $3 leads — Why he chose a two week trial with no charge instead of worrying it would devalue his gym — The 70 to 75% trial-to-paid conversion rate that made the offer make sense — Why increasing ad budget by more than 15 to 20% at a time can hurt performance — What the Meta algorithm actually does to ads that lose attention in the first few seconds — Why most agencies get blamed for bad creative instead of a bad account setup — Why Joel is running his own ads for 30 to 45 days before handing it to an agency — Why referrals built his gym to 1,000 members before he ever ran an ad — What to say the next time an agency tells you they have never seen this before   If you have been putting off paid ads because you assumed you needed an agency first, this episode shows you what is actually possible on your own.   Timestamps: 0:00 $3 cost per lead, 84 leads in 10 days 0:50 Welcoming Joel and setting up the story 2:30 Inside Joel's 17,000 square foot gym 3:17 Why Joel wanted to learn ads before hiring an agency 3:57 The lead objective and the sign up flow 4:14 The two week trial offer that started it all 5:17 The 70 to 75% trial to paid conversion rate 6:20 Building the video ad and the first few seconds that matter 9:20 The $15 daily budget and why Mike called immediately 10:21 What happens the moment someone clicks the ad 12:29 How referrals built the gym before any paid ads 13:32 The biggest lesson Joel did not expect 15:00 What the Meta algorithm actually does to bad ads 16:30 Why a 9,000 person market is not an excuse 18:10 What Joel took away from the A-Class retreat   100K Plan: https://100kplan.com   Behind Gym Doors Podcast Playlist: https://www.youtube.com/playlist?list=PLnwaMl7Us7dAkfE6idQW56EYkEEQ2E5eE   ————————————————————————   Joel used AI to build a $3 cost per lead campaign from scratch, in a market smaller than most gym owners would even try. The plan behind how GSD Gyms helps studios build systems like this is right here.   Watch the 100K Plan: https://100kplan.com   New gym growth strategy every Thursday. Subscribe so you don't miss it.   Turns out horses and Facebook ads mix better than you'd think.

A Canadian tells us about her efforts to track down her brother and sister-in-law — who went missing during the flash floods in Nepal.A new school year begins in Ukraine, but a lot of students are making do without textbooks — because of ongoing Russian strikes that have destroyed millions of books.After a jury delivers a guilty verdict in the 1996 killing of Tupac Shakur, we reach the man who snapped an iconic photo of the rapper moments before he was shot.Wyatt Esbaugh was fishing when a bald eagle snatched his lure, and got snagged in the process. The Nova Scotia teen walks us through the tricky process of freeing the bird.A mathematician spent the last 15 years trying to create a theoretical set of dice to solve the problem of who goes first in a board game — a problem he admits isn't actually a problem.A Virginia doctor shares a story you'll wish she hadn't shared — of waking up in a flap to find a flapping thing trying to flap its way into the dark cave in her face.As It Happens, the Tuesday Edition. Radio that leaves a bat taste in your mouth.

http://www.UnderThePuppet.com -  Lee Armstrong is a puppeteer, producer and the co-owner of Images In Motion, a company that specializes in TV Production, puppets and 3D Printing.  Lee worked as a puppeteer on three seasons of Jim Henson's Fraggle Rock and her other screen puppetry credits include Being John Malkovich, Follow That Bird and Mustard Pancakes.  She won a Regional Emmy for her special Land of I and as a lifelong teacher, Lee has taught puppetry to thousands as well as teaching the course "Jim Henson and the Art of the Muppets" at the University of California at Santa Cruz.  I'm excited to welcome Lee Armstrong as my guest on this episode of Under The Puppet. Support the show!  Visit www.patreon.com/saturdaymorningmedia for info and to help create more episodes like this. Connect with Lee Armstrong: Website - https://www.imagesmedia.com/ Instagram - https://www.instagram.com/images_inmotion/ Facebook - https://www.facebook.com/ImagesinMotionMedia/ IMDB - https://www.imdb.com/name/nm0035796/ Discussed on the show: Mermaid Theatre of Nova Scotia - https://mermaidtheatre.ca/ Acadia University - https://www.acadiau.ca/ Mount Allison University - https://mta.ca/ Children's Fairyland - https://www.fairyland.org/ Folkmanis Puppets - https://www.folkmanis.com/ Puppeteers of America - https://puppeteers.org/ Puppetry Journal - https://www.puppeteers.org/shop/ UNIMA-USA - https://www.unima-usa.org/ Canada Council for the Arts - https://canadacouncil.ca/ HB Studio - https://www.hbstudio.org/ Fraggle Rock - https://www.henson.com/fraggle-rock/ Jim Henson - https://www.henson.com/jim-henson/ The Jim Henson Company - https://www.henson.com/ Julie Taymor TED Talks - https://www.ted.com/speakers/julie_taymor The Public Theater - https://publictheater.org/ University of Toronto - https://www.utoronto.ca/ Quigley's Village - https://www.quigleysvillage.com/ James and the Giant Peach - https://movies.disney.com/james-and-the-giant-peach Mattel - https://corporate.mattel.com/ Crayola - https://www.crayola.com/ The San Francisco Music Box Company - https://www.sanfranciscomusicbox.com/ LeapFrog - https://www.leapfrog.com/ Industrial Light & Magic - https://www.ilm.com/ Swazzle - https://www.swazzle.com/ Smokey Bear - https://smokeybear.com/ U.S. Forest Service - https://www.fs.usda.gov/ Adventures with Kanga Roddy - https://www.imdb.com/title/tt0138998/ Oracle - https://www.oracle.com/ Being John Malkovich - https://www.imdb.com/title/tt0120601/ Ronnie Burkett Theatre of Marionettes - https://en.wikipedia.org/wiki/Ronnie_Burkett Mustard Pancakes - https://www.courtneycampbell.com/ Follow That Bird - https://www.imdb.com/title/tt0089994/ Sesame Street - https://www.sesameworkshop.org/what-we-do/shows/sesame-street University of Connecticut Puppet Arts - https://drama.uconn.edu/programs/puppet-arts/ Black Hills Institute of Geological Research - https://www.bhigr.com/ California Academy of Sciences - https://www.calacademy.org/ Southern Oregon University - https://sou.edu/ University of California, Santa Cruz - https://www.ucsc.edu/ San Francisco Bay Area Puppeteers Guild - https://sfbapg.org/ Center for Puppetry Arts - https://puppet.org/ Connect with the Show: http://www.instagram.com/underthepuppet https://www.facebook.com/underthepuppet http://www.twitter.com/underthepuppet Connect with Grant: http://www.MrGrant.comhttp://www.twitter.com/toasterboy https://instagram.com/throwingtoasters/ Art by Parker Jacobs Music by Dan Ring Edited by Stephen Staver ©2026 Saturday Morning Media - http://www.saturdaymorningmedia.com

⏱️ TIMESTAMPS 00:00 — Introduction — rehabbing a torn Achilles (twice) and the road back 01:44 — Growing up in Halifax, Nova Scotia — hockey, baseball, and choosing a path 03:17 — Drafted 105th overall by the Yankees after starting baseball five years later than most 05:00 — The bad habits he avoided by not starting the game at five years old 08:14 — The “goldfish mindset” — the parallel between athletes and gamblers 08:27 — Cold-emailing nearly 300 schools to find a college opportunity 10:08 — Junior college at McCook, Nebraska — walking on, switching positions, and grinding 14:04 — Earning a scholarship to Western Kentucky University 15:48 — A .398 average, 23 home runs, and the Conference USA Triple Crown 16:41 — The pre-draft process — meetings, workouts, and getting scouted by the Yankees 19:44 — Gambling as normal entertainment — before things changed 21:57 — The Biloxi story — the slot machine, the $3,500, and chasing “that rush” 24:07 — Why athletes are especially prone to compulsive gambling 27:07 — The shame of gambling — hiding the losses, showing off the wins 29:05 — His first trip to the casino at 19 — and how the habit escalated 30:13 — The $600K signing bonus, “feeling invincible,” and living a double life 34:25 — Owing teammates money — and how it started to hurt the organization 36:37 — The financial reality of minor league pay 38:19 — Getting released by the Yankees 41:39 — The Instagram DM that led him to Epic Global Solutions 44:13 — “We're anti-gambling harm” — presenting at 45 schools in a year 46:36 — The moments that make it worth it — student-athletes coming forward 48:53 — What's next — Team Canada, the 2028 Olympics, and a possible coaching path 50:50 — Jake's closing advice: ask for help before it gets too late

Harbinger Showcase is a weekly podcast featuring highlights from Canada's #1 coast-to-coast community of politically and socially progressive podcasts. On this episode join Free City Radio host Stefan Christoff, Local 514's Kalden Dhatsenpa, The Rover managing editor Savannah Stewart, The Breach Show producer Katia Lo Innes, Palestinian Youth Movement, federal NDP president Niall Ricardo and the CKUT News Collective for a live broadcast recording from this summer's Suoni Per il Popolo music festival recorded at Casa del Popolo on June 21st in Montreal.Harbinger Showcase is syndicated to community and campus radio and heard every week on CKUT 90.3FM in Montreal, at CFUV 101.9FM in Victoria, at CIVL 101.7FM in Abbotsford, at CHLY 101.7FM in Nanaimo, at CJSR 88.5FM in Edmonton, on CJUM 101.5FM and CKUW 95.9FM in Winnipeg, at CiTR 101.9FM, CJSF 90.1FM and at CFRO 100.5FM in Vancouver, at Hamilton's CFMU 93.3FM, at Radio Laurier in Waterloo, at CJTM 1280AM in Toronto, at CJAM 99.1FM in Windsor, at LOCAL FM in St John, New Brunswick and at CJBU 107.3FM in Sydney, Nova Scotia. Find out more about the network, subscribe to the weekly newsletter and support our work at harbingermedianetwork.com.

The squad closes out JAWGUST with Rowan's pick, JAWS 2 (1978)! Can shark PTSD and a new director make this sequel feel fresh? Is a scarred, burnt Bruce 2.0 an even meaner man-eater? And, just how much fun can we have with EXPLODING BOATS?! Tune in to find out if we gave this film this a NAY, OKAY, YAY, or SLAY!CHAPTERS:Theme/Intro (00:00:00)What We Been Consuming?/Why We Picked It (00:02:28)Trailer (00:36:23)Synopsis/First Experiences (00:36:53)Review (00:40:06)Rating/What Did You Think? (01:25:16)Horrific Hotline (01:35:27)Promotions (Horrific Hotline/Social Media/Patreon/It Slays Podcast's Horrific Playlist/Events/GIVEAWAY) (01:39:37)Upcoming Episode/Outro (01:42:55)Follow us on all social media:FacebookTwitterInstagramTumblrYoutubeTikTokSlasherThreadsBlueskyWant some official Merch?!SHOP HERE!*Intro & Outro Music by Dylan Bailey (IG: @thedylanbailey)*Support the show

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.

On the phone-in: Paint & stain expert, Jim White, is back to share his decades of experience with listeners. And off the top of the show, the Mayor of the Town of Pictou shares his thoughts now that work is imminent to tear down the Northern Pulp mill in nearby Abercrombie, Nova Scotia.

Send us Fan MailEpisode 359: Concluding episode (Part 2) “From Stage to Stage”– Keeping Oral traditions alive in Newfoundland and Labrador (tales and music).https://www.facebook.com/ron.moores.18https://podcast.ronmoores.com/

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.

Sarah and Kelli talk to Kat Johnston from Below Deck Med. Topics include: Nova Scotia summers, what she's been up to since filming, moving to London, how her mom got her to Croatia, pop culture references, Gilmore Girls and who Rory should end up with, her WWHL appearance with Galyna, Joy's chocolate chip cookies, her friendship with Kayley, which Taylor Swift describes her Below Deck season, her dating expectations, responding to Cooper's green screens, crying on the show, getting closure from her boatmance, the “other side” of Gen, if she would want to be Chief Stew, learning from Aesha, her goofy cast, attending Aesha's bachelorette party, her IG algorithm and being happy! Thank you, Bravo, for arranging this interview! Follow us on Instagram: @abovedeckpod   Get in touch: abovedeckpod@gmail.com  Get ya some Above Deck MERCH! hurrdatmedia.hurrdatbrandgoods.com/page/above-deck Bonus episodes on Patreon: patreon.com/cw/AboveDeckPodcast  Thank you, Silipint, for sponsoring this episode! Our listeners get 15% off!  Go to Silipint.com and use code ABOVEDECK. Please subscribe on Apple Podcasts, Spotify or wherever you get your podcasts, and tell a friend!  Resources: instagram.com/katrinaajohnston This is another Hurrdat Media Production. Hurrdat Media is a podcast network and digital media production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network by going to HurrdatMedia.com or Hurrdat Media YouTube channel! Learn more about your ad choices. Visit megaphone.fm/adchoices

Sovereign Grand Lodge is over for another year and we did another live recording.  This year, we were asking the attendees in Frisco, Texas about whether their jurisdictions were growing or dying, and why they felt that way.  We got a wonderfully diverse group of members from all around the US and Canada to tell us about what's going on in their jurisdictions.  We heard all kinds of stories, from the triumph of a new lodge in Halifax, Nova Scotia which draws on international migrants, to the disappointment of a Rebekah Assembly President in Maine who lost her home lodge to consolidation.  Toby, Ainslie, and Meredith were definitely at their best talking with this wonderful audience.  Be sure and give it a listen and get ready for the beginning of Season Seven of the Three Links Odd Cast!

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.

In today's episode, Claire meets with Chris Hoklotubbe and Danny Zacharias to discuss their book, Reading the Bible on Turtle Island, and North American Indigenous lenses for interpreting the Bible. In Reading the Bible on Turtle Island, Indigenous scholars Chris Hoklotubbe and Danny Zacharias explore what it means to read the Bible from the lens of Indigenous peoples in North America. Exploring the intersection of Scripture, Cultural Traditions, Hearts and Minds, and Creation, they affirm Creator's presence with Indigenous people since the beginning. By recovering these rich histories, this book offers a fresh reading of Scripture that celebrates the assets, blessings, and insights of Indigenous interpretation. Indigenous culture has often been dismissed or deemed problematic within Western Christian circles, and historical practices have often communicated that Indigenous worldviews have little to offer the church or its understanding of Scripture. Hoklotubbe and Zacharias challenge this perspective, reasserting the dignity of these cultures that were condemned through colonial practices and showing how Indigenous interpretations bring invaluable insights to all of God's people. Join the dance of North American Indigenousinterpretations of Christian ScriptureDanny Zacharias grew up in Winnipeg (Treaty 1 territory),with his maternal ancestors (Cree/Anishinaabe) inhabiting the areas of Treaty 1 and Treaty 5 territory for many generations. After completing his Bachelor of Arts at Providence College, he and his wife Maria moved to Mi'kma'ki (Nova Scotia) to complete his Master of Divinity and Master of Arts (Theology) at Acadia Divinity College. While working part-time at ADC, Danny completed his PhD in New Testament studies through Highland Theological College (University of Aberdeen). During his time serving at ADC, Danny also completed the processof ordination with the Canadian Baptists of Atlantic Canada and serves regularly in his local church. Danny also carries administrative responsibilities as Associate Dean and Director of the Hayward Lectures. In addition to his role at ADC, Danny is a faculty member of NAIITS: An Indigenous Learning Community. More than any of these achievements, Danny is most proud to call Maria his wife, Lex, Jack, and Hudson his sons, and Ella-Rose his daughter.Christopher Hoklotubbe (ThD, Harvard) is a proud member ofthe Choctaw Nation of Oklahoma. He is the director of graduate studies of NAIITS: An Indigenous Learning Community, the first accredited Indigenous designed, developed, delivered, and governed theological institute. He is also assistant professor of classics at Cornell College (Mount Vernon, Iowa). He is the author of Civilized Piety: The Rhetoric of Pietas in the Pastoral Epistles and the Roman Empire, which was awarded the Manfred Lautenschläger Award for Theological Promise. He and his wife, Stephanie, have two daughters and live near Cedar Rapids, Iowa.

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!”

Joelle El Kassir is a Lebanese-Canadian entrepreneur, photographer, and business owner based in Halifax, Nova Scotia. She is the founder of IFL Photography, where she has spent over 15 years capturing meaningful stories through photography and videography, and the owner of Pizza Town PT Caffè Halifax.Passionate about creativity, hospitality, and entrepreneurship, Joelle enjoys building businesses that bring people together while inspiring others to pursue their dreams with resilience and purpose.Find out more @imagesforlife_canada@pizzatownhalifax@joelleelkassir

Allen covers Germany’s new offshore wind price guarantee, England’s onshore wind revival, wind for Korean chip plants, and Aeris debt trouble. The Uptime Wind Energy Podcast is brought to you by Weather Guard Lightning Tech, creators of the StrikeTape Ultra LPS retrofit. Subscribe to Uptime’s Substack newsletter. And check out Rosemary’s “Engineering with Rosie” Youtube channel. Have a question we can answer on the show? Email us! Good Monday everyone. Last summer … Germany held an auction for new offshore wind capacity. Not a single company bid. Zero. This week Berlin put forward a new law to fix that. The old system asked developers to pay for the right to build in the North Sea and the Baltic. TotalEnergies and BP bid billions of euros … then walked away. So the new plan introduces contracts for difference. Build the farm … and the government backstops the price of electricity. The offshore wind association wants abandoned projects … up to sixteen gigawatts … put back on the auction block under the new rules. That is fifty billion euros worth of wind farms waiting for a second chance. The cabinet vote could come as early as next week. Stay in Europe but head west. England just posted its highest number of onshore wind applications in a decade. About forty-five proposals. Before Labour lifted the Conservatives’ ban two years ago … applications averaged one megawatt a month. Now they are running at thirty-six megawatts a month. But here is the catch. The average English wind farm has just two turbines. Eight megawatts. In Scotland … the average is nine turbines and fifty-nine megawatts. England is back in the game. It is just playing small. Now cross the Pacific. South Korea selected Pacifico Energy Korea to develop the Jindo offshore wind cluster. Two-point-one-three gigawatts. That is the second and third phases of a broader three-point-two-gigawatt project off the southern coast. And here is the connection worth noting. The region is also building the Honam Semiconductor Cluster … a major chip fabrication site. Semiconductor fabs need enormous and reliable power. This wind cluster is being positioned as the energy source to feed it. Wind as baseload for chip manufacturing. That is a new kind of offtaker. Now head to Brazil. Aeris Energy makes wind turbine blades. This week the company told its creditors it needs to restructure again. Roughly three hundred and thirty million dollars in debt. Aeris already restructured last year. But revenue fell forty-eight percent in the first half of this year. The company lost roughly fifty-three million dollars. It tried to find a buyer. No one came forward. Remember TPI Composites filing Chapter Eleven in Houston last year? The independent blade business keeps getting harder. Back to North America. In Nova Scotia … Port Hawkesbury Paper is spending four hundred and fifty million dollars on thirty-one Nordex turbines. They will be the biggest onshore turbines in North America. Each one … six-point-nine megawatts. And they carry electrothermal technology that prevents ice from forming on the blades. They operate down to minus thirty Celsius. Last January … Nova Scotia’s existing turbines dropped from three hundred and fifty megawatts to seventy-five in a single evening when the cold hit. For anyone building in northern climates … cold-weather performance is no longer optional. And in Minnesota … Xcel Energy broke ground on two projects this week. A hundred-and-eighty-five-mile transmission line that can carry four thousand megawatts of new wind and solar to the grid. And alongside it … a four-hundred-and-twenty-megawatt natural gas peaking plant in Lyon County for the days when the wind stops. So what does this week tell us? Germany’s auction reform is the story to watch. If Berlin gets contracts for difference right … sixteen gigawatts of stalled projects could come back to life. England proves that removing a political ban releases demand … but the scale gap with Scotland shows that planning culture matters as much as planning law. The blade supply chain is still under stress. If you are in procurement … know your supplier’s balance sheet. South Korea is tying offshore wind directly to semiconductor manufacturing. That kind of industrial offtaker changes the project finance equation. And from Minnesota to Nova Scotia … the message is the same. Transmission … peaking power … cold-weather reliability. The turbine is the easy part. The system around it is where the money and the risk still live. And that is the state of the wind industry for the 24th of August 2026. Join us for the Uptime Wind Energy podcast tomorrow.

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.

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/ep-400-aboard-the-unknown-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

Peter North breaks down the double life he maintained for three decades as one of the most recognized performers in adult entertainment history, revealing how he lived as a regular guy in Orange County while operating as an industry icon in the San Fernando Valley — all before social media made that impossible. The legendary adult film star sits down with Green Room Radio hosts Tru, Shane Sparks, and Little Raych for a wide-ranging conversation that covers everything from his first adult scene to his upcoming documentary releasing August 11th on Apple TV.North details how a one-way ticket from Halifax, Nova Scotia, a job at one of the last Jack LaLanne Health Spas with a fake Social Security number, and a chance encounter led him into a career spanning thousands of scenes across multiple continents. He explains the economics of male performer pay versus female performer pay, the myth of the fluffer, why he refused most gang bang scenes, and how piracy destroyed the six-figure monthly revenue his production company once generated from internet distribution alone.Peter North's forthcoming documentary, filmed over four years starting in 2021 with roughly 50 editors and featuring an interview with Jenna Jameson, premieres August 11th on Apple TV and Fandango as the performer's definitive account of an era the adult film industry will never repeat.

B.C.'s wildfires spread at unprecedented speeds, resulting in tens of thousands of evacuations and a province-wide state of emergency. Yet, nationally, the fires didn't garner the same level of media attention as Northern Ontario's fires last month. Why the disconnect? Arno Kopecky joins to unpack the coverage of the BC wildfires and explain why climate change should be a bigger part of the coverage, and why wildfires have sparked a growing trend of misinformation and AI-generated slop online. Plus, hear the resurfaced hip hop tracks that have advocacy groups calling for the resignation of a Nova Scotia cabinet minister Host: Jesse BrownCredits: James Nicholson (Producer), Kallan Lyons (Associate Producer and Fact Checking), Caleb Thompson (Mixing and Mastering), Tristan Capacchione (Senior Production Supervisor), Jesse Brown (Editor)Guest: Arno Kopecky Photo: BC Wildfire ServiceFurther reading: Inside the early battle against the ferocious Bald Range wildfire - The Globe and Mail Geoff Russ: Yes, the B.C. wildfires should be politicized | National Post Canada is burning. Why won't CBC tell us why? - RicochetCanada Is Primed to Burn. Why Aren't We Ready? | The Walrus With AI slop, Canadian wildfire misinformation is mutating online | The NarwhalA Wildfire Memo to Mark Carney: We Need New Water Bombers Now - Policy MagazineNova Scotia minister faces calls to resign over resurfaced rap lyrics - Halifax | Globalnews.ca Next month on Off The Record we are back to our call-in show format. On Thursday August 27, 2026 we will be taking your calls on a new question:What do you wish you had known when starting school or what's a piece of advice you would give to someone starting school. Kindergarten, Middle school, High school, CEGEP, university, anything!The call-in period will be Thursday, August 27th, 4:30-6:30 PM ET. When the time comes, head over to https://callinstudio.com/show/canadaland. You can also dial in at 1-888-401-7056. Sponsors:Fizz Mobile: Visit fizz.ca and activate a first plan using the referral code CAN25 to get 25 off and 10GB of free data. Douglas: Douglas is giving our listeners a FREE Sleep Bundle with each mattress purchase. Get the sheets, pillows, mattress and pillow protectors FREE with your Douglas purchase today. Visit douglas.ca/canadaland to claim this offer. Hosted on Acast. See acast.com/privacy for more information.

Greetings, Slushies! In this, our final encore episode for the summer, we revisit two poems from Glenn Shaheen. We hope you enjoy the conversation. We'll be back in your feeds with a brand new episode on September 9. Thanks, as always for listening. Our first order of business was debating lifestyle choices in NY vs. Philly, after which we dug into two wonderfully different poems by Glenn Shaheen. “Imago” plunged us into an elegaic interrogation of modern life, identity, and poetics framed by both the real world and open world gaming. With Glenn's poem as our guide we roamed wide, touching on gaming terminology, Bey's “Single Ladies” and 2008 as the last year of optimism, Kurt Vonnegut's Breakfast of Champions, Shakespeare's “filthy” Sonnet 135, and the ageless concern over the shelf life of language in poems and artistic works. The circular format of short, interlinked stanzas in the second poem, “Power and Punish”, introduced a real change in tone in the discussion. Frankly, we wondered if the poem's format and approach would allow us to discuss it. We were delighted to discover it was possible, if different – but hey, you be the judge! Some links we think you'll like: NPC (Non Player Character) on WikiHow Beyoncé - Single Ladies (Put a Ring on It) Michel Foucault on the Panopticon Effect, Farnham Street blog   At the table: Marion Wrenn, Kathleen Volk Miller, Jason Schneiderman, Dagne Forrest, Isabel Petry   Glenn Shaheen received his MFA in Creative Writing from the University of Houston and his PhD in English Literature & Creative Writing from Western Michigan University. He was born in Halifax, Nova Scotia, and currently lives in Houston, Texas where he is an Assistant Professor of Creative Writing at Prairie View A&M University. His book of poems, Predatory, won the Agnes Lynch Starrett Prize and was the finalist for the Norma Farber First Book Award. It is available from the University of Pittsburgh Press. He is also the author of the chapbook of flash fiction, Unchecked Savagery, available from Ricochet Editions. His second collection of poetry, Energy Corridor, is available from the University of Pittsburgh Press, and was published in 2016. Carnivalia, his full-length collection of flash fiction, was published by Gold Wake Press in February of 2018.   Website: https://glennshaheen.com/ IMAGO DROSOPHILA MUTANTE

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!  

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.

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