Podcasts about Penobscot Bay

Welcome to New England Legends From the Vault – FtV Episode 118 –  Jeff Belanger and Ray Auger stroll the beaches of Maine's Vinalhaven Island in Penobscot Bay reminiscing about the circus, and exploring the history and wreck of the Royal Tar—one of New England's worst maritime disasters. In October of 1836, 32 people perished along with a menagerie of animals from the Burgess and Dexter's Zoological Institute in an event that still haunts the coast of Maine. Joining us for After the Legend is author Jane Parks Gardner, who just released her latest book, The Wreck of the Circus Ship Royal Tar: Tragedy in Penobscot Bay. This episode first aired May 28, 2020.   Check out the new book by Jane Parks Gardner, The Wreck of the Circus Ship Royal Tar: Tragedy in Penobscot Bay. https://janepgardner.com/the-wreck-of-the-circus-ship-royal-tar-tragedy-in-penobscot-bay/    Listen ad-free plus get early access and bonus episodes at: https://www.patreon.com/NewEnglandLegends     

We venture north to the beautiful shores of Midcoast Maine and visit Andre the Seal in Rockport

Welcome to New England Legends From the Vault – FtV Episode 83 – Jeff Belanger and Ray Auger sail out to Matinicus Rock Lighthouse off the coast of Maine in search of two legends. For years, lighthouse keepers and coast guard staff claimed the facility was haunted. But this facility is also the former home of a hero — Abbie Burgess — a young girl who, in 1856 saved her family from a brutal storm, and saved countless sailors and ships during some of the roughest seas this tiny island had ever endured. Could these two legends be more intertwined than previously thought? This episode first aired September 20, 2018   Listen ad-free plus get early access and bonus episodes at: https://www.patreon.com/NewEnglandLegends 

Join us as we explore:

A common subject for British mystery stories is a death at a seaside community.英国悬疑故事的一个常见主题是海滨社区的死亡事件。But in the northeastern state of Maine, mysterious, real deaths happened — although the victims were trees that blocked the view from a wealthy family's summer home.但在美国东北部的缅因州，发生了一些神秘的真实死亡事件——不过受害者是一些挡住富人度假屋视线的树木。The story begins with a home kept by Amelia Bond, former chief of the St. Louis Foundation, and Arthur Bond III, an architect. Their summer home is on a hill that looks out onto Camden Harbor, part of Penobscot Bay, Maine.故事始于阿米莉亚·邦德，前圣路易斯基金会负责人，以及她的丈夫，建筑师亚瑟·邦德三世。他们的度假屋坐落在一座俯瞰缅因州卡姆登港的山丘上。Amelia Bond brought a powerful chemical that kills plants, an herbicide, from Missouri in 2021. She placed it near tall trees on the waterfront property of Lisa Gorman. Gorman's home is downhill from the Bonds' home.2021年，阿米莉亚·邦德从密苏里州带来了一种强力杀死植物的化学物质——一种除草剂。她把它放在了莉萨·戈尔曼的海滨房产附近的高大树木旁。戈尔曼的家在邦德家的山下。To make matters worse, the chemical began to spread into a neighboring park and the town's only public seaside beach. The highest level of law enforcement for the state is now investigating.更糟的是，这种化学物质开始蔓延到邻近的公园和镇上唯一的公共海滨沙滩。州最高级别的执法部门现在正在调查此事。Paul Hodgson is a resident of Camden who, like his neighbors, feels angry about the event. "Anybody dumb enough to poison trees right next to the ocean should be prosecuted, as far as I'm concerned," he said.保罗·霍奇森是卡姆登的居民，他和邻居们一样对这件事感到愤怒。他说：“在我看来，任何愚蠢到在海边毒害树木的人都应该被起诉。”When the trees and other plant life began dying, Amelia Bond told Gorman in June 2022 that the trees did not look good and offered to share the cost of removing them, Gorman's lawyer wrote in a document.当树木和其他植物开始死亡时，阿米莉亚·邦德在2022年6月告诉戈尔曼这些树看起来不太好，并提议分担清除它们的费用，戈尔曼的律师在一份文件中写道。Instead, Gorman had the trees tested. Soon, she called on lawyers to take action.相反，戈尔曼对树木进行了检测。很快，她请律师采取了行动。The Bonds have paid more than $1.7 million in fines and payments to the town and neighbors. The trees are now gone and the harbor view from the Bonds' home is improved.邦德夫妇已支付了超过170万美元的罚款和赔偿金给镇上和邻居。树木现在已经被移除，邦德家可以看到更好的港口景色。Bond used a chemical named Tebuthiuron. It stays in the soil for a long time where it continues to kill plants.邦德使用了一种名为特布硫磺隆的化学物质。它会在土壤中停留很长时间，并持续杀死植物。Scott McElroy is an Auburn University professor specializing in weed science and herbicide chemistry. He said it could take six months to two years for rain to dilute the chemical, so it no longer endangers plants.斯科特·麦克尔罗伊是奥本大学专门研究杂草科学和除草剂化学的教授。他说，可能需要六个月到两年的时间，雨水才能稀释这种化学物质，使其不再危及植物。Tom Hedstrom is a local government leader in Maine.汤姆·赫德斯特罗姆是缅因州的一位地方政府领导人。"Wealth and power don't always go hand in hand with intelligence, education and morals," he said. "This was atrocious and gross and any other word you want to use to describe abhorrent behavior."他说：“财富和权力并不总是与智慧、教育和道德齐头并进。这种行为是可怕的、恶劣的，任何用来描述可憎行为的词语都不过分。”The Bonds have paid a price for their actions, which they admitted in legal agreements.邦德夫妇为他们的行为付出了代价，他们在法律协议中承认了这些行为。The money they paid included fees for testing damage to the environment and for using an herbicide illegally. They also paid more than $1.5 million to Gorman in a legal settlement.他们支付的款项包括环境损害检测费和非法使用除草剂的费用。他们还向戈尔曼支付了超过150万美元的法律和解金。Hodgson said it is not just wealthy summer visitors who break the rules. He said some residents in the community have been known to cut down trees, knowing that it is illegal.霍奇森说，不仅仅是富有的夏季访客会违反规定。据他说，该社区的一些居民在明知这是非法的情况下砍伐树木。"They just pay the fine because they have plenty of money," Hodgson said. "That's the town we live in."霍奇森说：“他们只是支付罚款，因为他们有的是钱。这就是我们生活的镇子。”

Heather Shields is a self-made individual who is a Senior Vice President and Broker with Legacy Properties Sotheby's International Realty. Growing up on the island of North Haven in Maine's Penobscot Bay, Heather spent many years working with fellow island resident, and U.S. Congresswoman, Chellie Pingree. Heather's journey from island life to mainland real estate showcases her commitment to learning, resilience and adaptability. She has many important insights on Maine's unique community dynamics and the importance of connections. Join our conversation with Heather Shields today on Radio Maine.

Gretchen Cherington joins Let's Talk Memoir for a conversation about complicated family legacies and processing sexual abuse, confronting the public view of a loved one we're writing about, protecting manuscripts before we have book contracts, corralling information and organizing heaps of material, reading broadly, building relationships and being above board with sources, and her true crime, investigative, family memoir The Butcher, the Embezzler, and the Fall Guy.   -Visit the Let's Talk Memoir Merch store: https://www.zazzle.com/store/letstalkmemoir -Take the Let's Talk Memoir survey: https://forms.gle/mctvsv9MGvzDRn8D6   Help shape upcoming Let's Talk Memoir content - a brief survey:  https://forms.gle/ueQVu8YyaHNKui2Z9   Also in this episode: -discovering an organizing principle -knowing what material to cut -reading like a memoirist   Books mentioned in this episode: Searching for Mercy Street by Linda Gray Sexton Home Before Dark by Susan Cheever Small Fry by Lisa Jobs Another Bullshit Night in Suck City by Nick Flynn Just Kids by Patti Smith Heavy by Kiese Laymon Sigh, Gone by Phuc Tran Why Be Happy When You Could Be Normal by Jeanette Winterson Are You My Mother by Alison Bechdel Queen of Snails: A Graphic Memoir by Maureen Burdock Gretchen Cherington grew up the daughter of Pulitzer Prize–winning and U.S. poet laureate, Richard Eberhart. Her childhood homes were filled with literary greats from Robert Frost to Anne Sexton to James Dickey, a life she captured in her award-winning memoir, Poetic License. But like the paternal grandfather she never knew, Cherington chose a career in business where she coached hundreds of powerful men on how to change their companies and themselves. Her second book, The Butcher, the Embezzler, and the Fall Guy – a true crime, investigative, family memoir – is an exploration of the first twenty years of the meatpacking giant, Hormel Foods, as she pieces together her grandfather's role—if he had one?—in a national embezzlement scandal that nearly brought the company to its knees in 1921. Cherington served as adjunct faculty in executive programs at Harvard, Dartmouth, and Columbia and on twenty boards of directors including a multibillion-dollar B-corporation bank. Cherington's essays have appeared widely, in Huffington Post, Covey Club, Lit Hub, The Millions, Yankee, Electric Lit, Hippocampus, Quartz, and others. Her essay “Maine Roustabout” was nominated for a 2012 Pushcart Prize. Gretchen splits her time between Portland, Maine, and an eighty-year old cottage on Penobscot Bay.     Connect with Gretchen: Website: www.gretchencherington.com  X: https://twitter.com/ge_cherington Facebook: https://www.facebook.com/gretchencheringtonauthor/ Instagram: https://www.instagram.com/gretchencheringtonauthor/ LinkedIn: https://www.linkedin.com/in/gretchen-cherington-612b3b7/ Get Gretchen's Book: https://www.amazon.com/Butcher-Embezzler-Fall-Guy-Industry/dp/1647420830/ref=sr_1_1?crid=3QYT2DHA753BP&keywords=the+butcher%2C+the+embezzler%2C+and+the+fall+guy&qid=1673298988&sprefix=The+Butcher%2C+the+Embezz%2Caps%2C81&sr=8-1 Huffington Post: https://www.huffpost.com/entry/richard-eberhart-father-me-too_n_64068645e4b0c78bb74484e6    — Ronit's writing has appeared in The Atlantic, The Rumpus, The New York Times, The Iowa Review, Hippocampus, The Washington Post, Writer's Digest, American Literary Review, and elsewhere. Her memoir WHEN SHE COMES BACK about the loss of her mother to the guru Bhagwan Shree Rajneesh and their eventual reconciliation was named Finalist in the 2021 Housatonic Awards Awards, the 2021 Indie Excellence Awards, and was a 2021 Book Riot Best True Crime Book. Her short story collection HOME IS A MADE-UP PLACE won Hidden River Arts' 2020 Eludia Award and the 2023 Page Turner Awards for Short Stories. She earned an MFA in Nonfiction Writing at Pacific University, is Creative Nonfiction Editor at The Citron Review, and lives in Seattle with her family where she teaches memoir workshops and is working on her next book. More about Ronit: https://ronitplank.com Sign up for monthly podcast and writing updates: https://bit.ly/33nyTKd   Follow Ronit: https://www.instagram.com/ronitplank/ https://twitter.com/RonitPlank https://www.facebook.com/RonitPlank   Background photo credit: Photo by Patrick Tomasso on Unsplash Headshot photo credit: Sarah Anne Photography Theme music: Isaac Joel, Dead Moll's Fingers

Host Chris Jennings is joined by Linda Powell, director of media relations for Mossberg. The pair talk about Powell's 27-year career in media relations in the outdoor industry. Powell offers guidance for anyone wanting to work in the outdoor/gun industry and how she prioritizes relationships to improve her business. They also discuss several exciting new offerings for waterfowl hunters in 2023 from Mossberg.

Penobscot, Maine mapmaker Jane Crosen discusses her 40+ year cartographic career, the sound advice of “when in doubt, leave it out,” creating spoof maps for the nautical market, producing two expanded and rearranged editions of George Colby's 1881 atlases of Downeast Maine counties, becoming “[her] own typesetting machine” with a calligraphy pen, the feeling of looking through an airplane window at the landscape she's drawn so many times, and her “paste-up” map design process that involves a light table, a proportional scale wheel, a pica ruler, mylar, pencils, a 000 brush and india ink. You won't be surprised to learn this interview was conducted via landline. See Jane's work at mainemapmaker.com Penobscot Bay to Schoodic Pt. East Penobscot Bay Friendship to Vinalhaven Two-color posters Sea of Iniquity parody map Seal Harbor parody map Her updated re-issue of Colby's Atlas of Hancock County, Maine, 1881 Her map for Camden National Corporation Her cookbook A 3-color USGS topo: Ellsworth, ME Osher Map Library Maine Down East Ice Age Trail Map Augustus Phillips Margaret Pearce Michael Hermann Jamshid Kooros Need maps for your org's reports, decks, walls and events? ⁠⁠⁠The Map Consultancy makes real nice maps, real fast.⁠⁠⁠ See what good maps can do for you at themapconsultancy.com I have three words for you: Big. Glowing. Maps. Depending on how that makes you feel, you might like two more words: ⁠⁠⁠Radiant Maps⁠⁠⁠. See ultra-detailed backlit maps at radiantmaps.co Time for some map gifts: get 15% off woven map blankets and backlit map decor with code 15OFF, everything ships free – ⁠https://www.etsy.com/shop/RadiantMaps?coupon=15OFF⁠

Nestled within an archipelago in Penobscot Bay, Stonington Harbor is a bustling working waterfront at the southern end of the island of Deer Isle. The towns of Stonington and Deer Isle share an island and a public school system, deep family ties, a culture rooted in commercial fishing and art, and, like much of the nation, a dire housing crisis. In these towns there are simply not enough places for working people to live. Over twenty years ago, a small group of passionate Islanders began brainstorming and researching one solution to the housing problem. In 2020 that group, Island Workforce Housing, broke ground on the construction of five homes, each containing two year-round rentals. This is just one solution to a monumental issue facing this island and other communities in Maine and around the country. In this episode, we'll learn about some of the history behind this community's housing crisis and what, specifically, is at risk if there are no long-lasting solutions for year-round housing. And we'll learn about two solutions that these communities are exploring: building year-round rental homes, and potentially regulating short-term rentals.  This episode was written and produced Galen Koch and assistant producer Olivia Jolley for the Island Institute. Nicole Wolf takes the photographs that accompany this episode. From the Sea Up's Senior Editor is Isaac Kestenbaum. Thanks to Kathleen Billings, Linda Nelson, and the town of Stonington for participation in this episode. Thanks to Island Workforce Housing, specifically Henry Teverow, Maggie Kirsch, and Megan Dewey Wood. Special thanks to Anna and Ryan Woosley and their family for welcoming us into their home. This podcast is made possible by the Fund for Maine Islands and a partnership between the Island Institute, College of the Atlantic, Maine Sea Grant, and The First Coast.For more information about ongoing work in the Town of Stonington to address the housing crisis, visit: https://www.stoningtonmaine.org/gov/economic-development.php

Producer/Host: Natalie Springuel Coastal Conversations: Conversations with people who live, work, and play on the Maine coast, hosted by the University of Maine Sea Grant Program. This month: The town of Eastport, Maine, has weathered many changes in the last decades, transitioning from empty sardine factories to a vibrant multi-use working waterfront positioned to respond and adapt to an uncertain future. This month we feature two stories from Maine's easternmost town: “Eastport: Reinventing a Waterfront,” a recent episode on the From the Sea Up podcast, and “The Drama of Eastport Tides,” an older (2017) but timeless episode from the Salts and Water podcast. Our first is called “Eastport: Reinventing a Waterfront.” In the far eastern corner of Downeast Maine there's a 3.7 square mile island. Connected to the mainland by a causeway and road that passes through the Pleasant Point Passamaquoddy Reservation, Sipayik, this island is home to the town of Eastport, population 1,300. Once the most prominent sardine canning village along the coast, Eastport's last sardine factory closed in 1983. With that, a century-long industry was gone. In this episode we learn how Eastport has transitioned from a waterfront of empty factories to a vibrant multi-use working waterfront positioned to respond and adapt to a very uncertain future. This story is brought to you by our radio storytelling friend Galen Koch, whose podcast series, From the Sea Up, has been featured on Coastal Conversations before. Galen brings the past and present together to help us make sense of Maine's complicated future. This is the first in a working waterfront series we will keep sharing over the next few months. People and organizations Featured in this story include: Tides Institute, Hugh French, Moose Island Marine, Dean Pike, Eastport Port Authority, and Chris Gardner. This story is part of the podcast series From the Sea Up A note from producer Galen Koch: Thank you for listening to From the Sea up. This episode was written and produced by me, Galen Koch and assistant producer Olivia Jolley for the Island Institute. Nicole Wolf takes the beautiful photographs that accompany this episode. From the Sea Up's Senior Editors are Isaac Kestenbaum and Josie Holtzman. Additional audio editing on this episode by Liz Joyce and Claudia Newall. Special thanks to Camden Hunt, Hugh French, Dean Pike, Chris Bartlett, and Chris Gardner for their help and participation. And thanks to the Salt Institute and Pamela Wood, Hugh French, and Lynn Kippax Jr, who together researched and wrote the 1983 journal publication, “Eastport: For Pride.” Most of the music in this episode is by Cue Shop. From the Sea Up is made possible by the Fund for Maine Islands through a partnership between Island Institute, College of the Atlantic, Maine Sea Grant, and the First Coast. Past episodes and more information are available here Our second story Is called “The Drama of Eastport Tides” The defining feature of the easternmost point of America is the dramatic tides of the Atlantic Ocean at the coast of Eastport, Maine. Learn why incredible natural feature exists and visit one of the largest confluences of whirlpools in the world. Hear from the Salts—people with deep connections to the sea, whose lives are shaped by this natural wonder. This story was pulled out of the Coastal Conversations archives, from 2017, when well-known New England audio storyteller Rob Rosenthal partnered up with an initiative called Experience Maritime Maine to produce the Salts and Water podcast. Eastport is one of six towns covered in this series. People and organizations featured in this story include: Butch Harris of Eastport Windjammers, harbor pilot Bob Peacock, photographer Lisa Tyson Ennis, some Eastport visitors, and of course, the tide. This story is part of the podcast series SALTS & WATER: Stories from the Maine Coast Experience Maritime Maine presents Salts & Water, a 6-part podcast series by award-winning producer Rob Rosenthal. These audio stories paint remarkable character portraits along the coast of Maine, through Eastport, Stonington, Searsport, Rockland, Bath, and Portland. Meet the “women lobstermen” of Stonington, island-hop aboard a Windjammer in Penobscot Bay, and discover the salty fishmonger whose work on Portland's piers is integral to Maine's culture of seafood. Get to know meticulous boat builders, and learn how the dramatic tides shape life in Downeast Maine. Enjoy this podcast series. Salts and Water is a project of Experience Maritime Maine, funded in part by the Elmina B. Sewall Foundation, Hamilton Marine, Maine's MidCoast & Islands, and sponsored by Maine Boats, Homes, and Harbors. To hear the other stories in the series, visit Salts and Water Podcast Series About the host: Natalie Springuel has hosted Coastal Conversation's since 2015, with support from the University of Maine Sea Grant where she has served as a marine extension associate for 20 years. In 2019, Springuel received an award for Public Affairs programming from the Maine Association of Broadcasters for the Coastal Conversations show called “Portland's Working Waterfront.” Springuel is passionate about translating science, sharing stories, and offering a platform for multiple voices to weigh in on complex coastal and ocean issues. She has recently enrolled in audio production training at Maine Media Workshop to dive deeper into making great community radio. The post Coastal Conversations 10/28/22: Eastport- Maine's Easternmost Town first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.

Producer/Host: Natalie Springuel Coastal Conversations: Conversations with people who live, work, and play on the Maine coast, hosted by the University of Maine Sea Grant Program. This month: The town of Eastport, Maine, has weathered many changes in the last decades, transitioning from empty sardine factories to a vibrant multi-use working waterfront positioned to respond and adapt to an uncertain future. This month we feature two stories from Maine's easternmost town: “Eastport: Reinventing a Waterfront,” a recent episode on the From the Sea Up podcast, and “The Drama of Eastport Tides,” an older (2017) but timeless episode from the Salts and Water podcast. Our first is called “Eastport: Reinventing a Waterfront.” In the far eastern corner of Downeast Maine there's a 3.7 square mile island. Connected to the mainland by a causeway and road that passes through the Pleasant Point Passamaquoddy Reservation, Sipayik, this island is home to the town of Eastport, population 1,300. Once the most prominent sardine canning village along the coast, Eastport's last sardine factory closed in 1983. With that, a century-long industry was gone. In this episode we learn how Eastport has transitioned from a waterfront of empty factories to a vibrant multi-use working waterfront positioned to respond and adapt to a very uncertain future. This story is brought to you by our radio storytelling friend Galen Koch, whose podcast series, From the Sea Up, has been featured on Coastal Conversations before. Galen brings the past and present together to help us make sense of Maine's complicated future. This is the first in a working waterfront series we will keep sharing over the next few months. People and organizations Featured in this story include: Tides Institute, Hugh French, Moose Island Marine, Dean Pike, Eastport Port Authority, and Chris Gardner. This story is part of the podcast series From the Sea Up A note from producer Galen Koch: Thank you for listening to From the Sea up. This episode was written and produced by me, Galen Koch and assistant producer Olivia Jolley for the Island Institute. Nicole Wolf takes the beautiful photographs that accompany this episode. From the Sea Up's Senior Editors are Isaac Kestenbaum and Josie Holtzman. Additional audio editing on this episode by Liz Joyce and Claudia Newall. Special thanks to Camden Hunt, Hugh French, Dean Pike, Chris Bartlett, and Chris Gardner for their help and participation. And thanks to the Salt Institute and Pamela Wood, Hugh French, and Lynn Kippax Jr, who together researched and wrote the 1983 journal publication, “Eastport: For Pride.” Most of the music in this episode is by Cue Shop. From the Sea Up is made possible by the Fund for Maine Islands through a partnership between Island Institute, College of the Atlantic, Maine Sea Grant, and the First Coast. Past episodes and more information are available here Our second story Is called “The Drama of Eastport Tides” The defining feature of the easternmost point of America is the dramatic tides of the Atlantic Ocean at the coast of Eastport, Maine. Learn why incredible natural feature exists and visit one of the largest confluences of whirlpools in the world. Hear from the Salts—people with deep connections to the sea, whose lives are shaped by this natural wonder. This story was pulled out of the Coastal Conversations archives, from 2017, when well-known New England audio storyteller Rob Rosenthal partnered up with an initiative called Experience Maritime Maine to produce the Salts and Water podcast. Eastport is one of six towns covered in this series. People and organizations featured in this story include: Butch Harris of Eastport Windjammers, harbor pilot Bob Peacock, photographer Lisa Tyson Ennis, some Eastport visitors, and of course, the tide. This story is part of the podcast series SALTS & WATER: Stories from the Maine Coast Experience Maritime Maine presents Salts & Water, a 6-part podcast series by award-winning producer Rob Rosenthal. These audio stories paint remarkable character portraits along the coast of Maine, through Eastport, Stonington, Searsport, Rockland, Bath, and Portland. Meet the “women lobstermen” of Stonington, island-hop aboard a Windjammer in Penobscot Bay, and discover the salty fishmonger whose work on Portland's piers is integral to Maine's culture of seafood. Get to know meticulous boat builders, and learn how the dramatic tides shape life in Downeast Maine. Enjoy this podcast series. Salts and Water is a project of Experience Maritime Maine, funded in part by the Elmina B. Sewall Foundation, Hamilton Marine, Maine's MidCoast & Islands, and sponsored by Maine Boats, Homes, and Harbors. To hear the other stories in the series, visit Salts and Water Podcast Series About the host: Natalie Springuel has hosted Coastal Conversation's since 2015, with support from the University of Maine Sea Grant where she has served as a marine extension associate for 20 years. In 2019, Springuel received an award for Public Affairs programming from the Maine Association of Broadcasters for the Coastal Conversations show called “Portland's Working Waterfront.” Springuel is passionate about translating science, sharing stories, and offering a platform for multiple voices to weigh in on complex coastal and ocean issues. She has recently enrolled in audio production training at Maine Media Workshop to dive deeper into making great community radio. The post Coastal Conversations 10/28/22: Eastport- Maine's Easternmost Town first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.

My guest on this episode is Cole Anderson from the Florida State Seminoles Men's Golf Team.  The Camden, ME native enjoyed a breakout summer that found him in the final pairing of his hometown Korn Ferry Tour event alongside former college rival, Pierceson Coody.  We spoke about his childhood in Maine, what led him to Florida State, and the proper way to eat lobster while sailing your schooner around Penobscot Bay. Cole Anderson - Florida State SeminolesCole Anderson - InstagramThe Back of the Range Collection at Imperial SportsSubscribe to The Back of the Range Subscribe in Apple Podcasts and SPOTIFY!Also Subscribe in YouTube,   Google Play , Overcast, Stitcher  Follow on Social Media! Email us:   ben@thebackoftherange.comWebsite: www.thebackoftherange.com  Voice Work by Mitch Phillips 

Producer/Host: Ron Beard Theme music for Talk of the Towns Theme music for Talk of the Towns is a medley from Coronach, on a Balnain House Highland Music recording. Talk of the Towns: Local Community concerns and opportunities This month: We profile Esperanza Stancioff, Emeritus Professor, University of Maine Cooperative Extension and Sea Grant, about her work to expand community science in aid of better policies and practices for water quality and adaptation to climate change. What were some of the key elements in your career with University of Maine? Where did you develop your love of the sea? Describe the intersecting space between the science developed in the academy, those charged with protecting the environment, and citizens, who might appreciate the benefits of our ecosystem in their personal lives or in pursuing their livelihoods. How did you discover the importance of engaging citizens to to contribute to scientific knowledge. What did you learn from bringing together citizens, scientists, historians, policy makers and people making their living on the water to celebrate Penobscot Bay as a place, and to identify the gaps in our knowledge that might help us better protect and manage our shared ecological resources. More recently, you have worked with citizens and networks of people to respond to growing threats of climate change. Talk about what motivated you to take up this work and some of the results. Guest/s: Esperanza Stancioff, Emeritus Professor, University of Maine Cooperative Extension and Sea Grant About the host: Ron Beard is producer and host of Talk of the Towns, which first aired on WERU in 1993 as part of his community building work as an Extension professor with University of Maine Cooperative Extension and Sea Grant. He took all the journalism courses he could fit in while an undergraduate student in wildlife management and served as an intern with Maine Public Television nightly newscast in the early 1970s. Ron is an adjunct faculty member at College of the Atlantic, teaching courses on community development. Ron served on the Bar Harbor Town Council for six years and is currently board chair for the Jesup Memorial Library in Bar Harbor, where he has lived since 1975. Look for him on the Allagash River in June, and whenever he can get away, in the highlands of Scotland where he was fortunate to spend two sabbaticals. The post Talk of the Towns 9/14/22: A Conversation with Esperanza Stancioff first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.

Producer/Host: Ron Beard Theme music for Talk of the Towns Theme music for Talk of the Towns is a medley from Coronach, on a Balnain House Highland Music recording. Talk of the Towns: Local Community concerns and opportunities This month: We profile Esperanza Stancioff, Emeritus Professor, University of Maine Cooperative Extension and Sea Grant, about her work to expand community science in aid of better policies and practices for water quality and adaptation to climate change. What were some of the key elements in your career with University of Maine? Where did you develop your love of the sea? Describe the intersecting space between the science developed in the academy, those charged with protecting the environment, and citizens, who might appreciate the benefits of our ecosystem in their personal lives or in pursuing their livelihoods. How did you discover the importance of engaging citizens to to contribute to scientific knowledge. What did you learn from bringing together citizens, scientists, historians, policy makers and people making their living on the water to celebrate Penobscot Bay as a place, and to identify the gaps in our knowledge that might help us better protect and manage our shared ecological resources. More recently, you have worked with citizens and networks of people to respond to growing threats of climate change. Talk about what motivated you to take up this work and some of the results. Guest/s: Esperanza Stancioff, Emeritus Professor, University of Maine Cooperative Extension and Sea Grant About the host: Ron Beard is producer and host of Talk of the Towns, which first aired on WERU in 1993 as part of his community building work as an Extension professor with University of Maine Cooperative Extension and Sea Grant. He took all the journalism courses he could fit in while an undergraduate student in wildlife management and served as an intern with Maine Public Television nightly newscast in the early 1970s. Ron is an adjunct faculty member at College of the Atlantic, teaching courses on community development. Ron served on the Bar Harbor Town Council for six years and is currently board chair for the Jesup Memorial Library in Bar Harbor, where he has lived since 1975. Look for him on the Allagash River in June, and whenever he can get away, in the highlands of Scotland where he was fortunate to spend two sabbaticals. The post Talk of the Towns 9/14/22: A Conversation with Esperanza Stancioff first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.

Morgan Talty and Gregory Brown are live at Bunker Brewing Co. discussing “Night of the Living Rez”, Talty's highly anticipated debut collection of short stories at the Spotlight Lecture Series. How do the living come back to life? Set in a Native community in Maine, Night of the Living Rez is a riveting debut collection about what it means to be Penobscot in the twenty-first century and what it means to live, to survive, and to persevere after tragedy. In twelve striking, luminescent stories, author Morgan Talty—with searing humor, abiding compassion, and deep insight—breathes life into tales of family and community bonds as they struggle with a painful past and an uncertain future. A boy unearths a jar that holds an old curse, which sets into motion his family's unraveling; a man, while trying to swindle some pot from a dealer, discovers a friend passed out in the woods, his hair frozen into the snow; a grandmother suffering from Alzheimer's projects the past onto her grandson, and thinks he is her dead brother come back to life; and two friends, inspired by Antiques Roadshow, attempt to rob the tribal museum for valuable root clubs. In a collection that examines the consequences and merits of inheritance, Night of the Living Rez is an unforgettable portrayal of a Native community and marks the arrival of a standout talent in contemporary fiction. About the authors Morgan Talty is a citizen of the Penobscot Indian Nation where he grew up. Named one of Narrative's “30 Below 30,” Talty's work has appeared in The Georgia Review, Shenandoah, TriQuarterly, Narrative Magazine, LitHub, and elsewhere. He lives in Levant, Maine. Gregory Brown grew up along Penobscot Bay. His stories have appeared in Tin House, The Alaska Quarterly Review, Shenandoah, Epoch, and Narrative Magazine. A graduate of the Iowa Writers' Workshop, he is the recipient of scholarships and fellowships from the MacDowell Colony and the Bread Loaf Writers' Conference. He lives in Maine with his family. The Lowering Days is his first novel. About the Series » Spotlight Lecture Series Portland Public Library hosts nationally touring authors at the Spotlight Series. Authors talk about newly released work followed by audience Q&A and a book signing. The series is presented by Portland Public Library in partnership with Print: A Bookstore, The Press Hotel, and Bunker Brewing Company.

Morgan Talty and Gregory Brown are live at Bunker Brewing Co. discussing “Night of the Living Rez”, Talty's highly anticipated debut collection of short stories at the Spotlight Lecture Series. How do the living come back to life? Set in a Native community in Maine, Night of the Living Rez is a riveting debut collection about what it means to be Penobscot in the twenty-first century and what it means to live, to survive, and to persevere after tragedy. In twelve striking, luminescent stories, author Morgan Talty—with searing humor, abiding compassion, and deep insight—breathes life into tales of family and community bonds as they struggle with a painful past and an uncertain future. A boy unearths a jar that holds an old curse, which sets into motion his family's unraveling; a man, while trying to swindle some pot from a dealer, discovers a friend passed out in the woods, his hair frozen into the snow; a grandmother suffering from Alzheimer's projects the past onto her grandson, and thinks he is her dead brother come back to life; and two friends, inspired by Antiques Roadshow, attempt to rob the tribal museum for valuable root clubs. In a collection that examines the consequences and merits of inheritance, Night of the Living Rez is an unforgettable portrayal of a Native community and marks the arrival of a standout talent in contemporary fiction. About the authors Morgan Talty is a citizen of the Penobscot Indian Nation where he grew up. Named one of Narrative's “30 Below 30,” Talty's work has appeared in The Georgia Review, Shenandoah, TriQuarterly, Narrative Magazine, LitHub, and elsewhere. He lives in Levant, Maine. Gregory Brown grew up along Penobscot Bay. His stories have appeared in Tin House, The Alaska Quarterly Review, Shenandoah, Epoch, and Narrative Magazine. A graduate of the Iowa Writers' Workshop, he is the recipient of scholarships and fellowships from the MacDowell Colony and the Bread Loaf Writers' Conference. He lives in Maine with his family. The Lowering Days is his first novel. About the Series » Spotlight Lecture Series Portland Public Library hosts nationally touring authors at the Spotlight Series. Authors talk about newly released work followed by audience Q&A and a book signing. The series is presented by Portland Public Library in partnership with Print: A Bookstore, The Press Hotel, and Bunker Brewing Company.

Synopsis It's summertime, the livin' is easy, and all across the country music festivals large and small are getting underway. In addition to the big symphonic festivals at Ravinia and Tanglewood, there are smaller ones devoted exclusively to the intimate art of chamber music. These festival often offer young, emerging composers the chance have their brand-new scores heard in workshop settings. Sometimes composers themselves are in charge of these summer festivals, partnering with established or specially-organized performing ensembles. In 1995, for example, two American composers, Daniel S. Godfrey and Andrew Waggoner, started up the Seal Bay Festival, a two-week series of performances and workshops of recently composed chamber music in the Penobscot Bay area of Maine. On June 14th, 2001, this newly-revised string quartet by Daniel Godfrey received its premiere by the Cassatt Quartet at the Center for Maine Contemporary Art in Rockport. The quartet is inscribed to the memory of Godfrey's mother, who died in 1997. “Her passing,” says Godfrey, “came to represent for me the losses, and the necessity of letting go, that have accompanied my arrival at late middle age. To oversimplify, perhaps, the first movement grieves, the second looks back wistfully, and the third looks ahead with determination and, ultimately, with hope.” Music Played in Today's Program Daniel S. Godfrey (b. 1949) –String Quartet No. 3 (Cassatt String Quartet) Koch 7573

The growing limestone trade in Midcoast Maine led to the establishment of a light station at Owl's Head, at the entrance to Rockland Harbor, in 1825. A tall lighthouse wasn't necessary because of the height of the promontory. The light is exactly 100 feet above sea level. The present 30-foot brick lighthouse tower replaced the original one in 1852. Owls Head Lighthouse. Photo by Dominic Trapani (do not use without permission). The station was automated in 1989 and the last Coast Guard keeper was removed. In December 2007, the lighthouse tower was licensed to the American Lighthouse Foundation (ALF). Then, in late 2012, it was announced that the keeper's house had also been licensed to the American Lighthouse Foundation and that it would serve as the organization's headquarters. Bob Trapani and daughter Gianna next to the still active fourth-order Fresnel lens in Owls Head Lighthouse. Ann Trapani Bob Trapani, Jr., has served as the executive director of the American Lighthouse Foundation since 2005. As associate director of the American Lighthouse Foundation, Ann Trapani is involved in many aspects of the organization's operation. Bob and Ann's son Dominic, at the age of 23, has already established himself as one of the top photographers of the Maine coast. Dominic Trapani In this interview, Ann, Dominic, and Bob discuss the special experience of working at Owls Head Lighthouse in all kinds of weather conditions, the photographic beauty of the Penobscot Bay region, and the day to day operation of the interpretive center and gift shop at the light station. Owls Head Light Station in August 2019. Photo by Jeremy D'Entremont.

This episode of Big Blend Radio's Vacation Station Travel Show features travel writer Debbie Stone who shares her adventures in Camden, Maine. Situated on Penobscot Bay, Camden offers scenic views, outdoor adventure, quaint shops, and plenty of great places to eat and stay. It looks and feels like the quintessential coastal Maine village you imagine, with clapboard-and-brick homes, colorfully painted storefronts, white-steepled churches, a picturesque harbor full of schooners, and gently rounded mountaintops. Read Debbie's Story: https://nationalparktraveling.com/listing/captivated-by-camden/ Travel writer Debbie Stone shares her latest adventures every 4th Tuesday on Big Blend Radio. Keep up with the show schedule here: https://blendradioandtv.com/big-blend-radio-shows/

This episode of Big Blend Radio's Vacation Station Travel Show features travel writer Debbie Stone who shares her adventures in Camden, Maine. Situated on Penobscot Bay, Camden offers scenic views, outdoor adventure, quaint shops, and plenty of great places to eat and stay. It looks and feels like the quintessential coastal Maine village you imagine, with clapboard-and-brick homes, colorfully painted storefronts, white-steepled churches, a picturesque harbor full of schooners, and gently rounded mountaintops. Read Debbie's Story: https://nationalparktraveling.com/listing/captivated-by-camden/ Travel writer Debbie Stone shares her latest adventures every 4th Tuesday on Big Blend Radio. Keep up with the show schedule here: https://blendradioandtv.com/big-blend-radio-shows/ 

By his own admission, Cooper Dragonette “could not tell the bow from the stern,” when first hired as a sailing instructor by Maine's Hurricane Island Outward Bound School in Penobscot Bay. Raised in Easton, Connecticut, he spent several years in landlocked Arizona working toward a degree in education, and had come away longing for the coast. His unanticipated Hurricane Island experience initiated an interplay between art and the outdoors that continues in his life to this day. Now a resident of Cape Elizabeth, Maine, Cooper balances raising his young children with plein air painting, and teaching workshops in this genre.  Get to know Cooper and better understand the influences that contribute to his much sought-after Maine landscapes in today's Radio Maine interview with Dr. Lisa Belisle.

In this episode Lily traveled to Orland, Maine to interview Landon Fake, the Executive Director of the Great Pond Mountain Conservation Trust. Their 4500 acres of conserved lands, called The Wildlands, are just inland from Penobscot Bay, less than an hour south of Bangor. Lily and Landon hiked to the top of Great Pond Mountain, discussing wildlife sightings, rare plants, and the role of land conservation in Maine communities. For more information about Great Pond Mountain Conservation Trust, visit: https://www.greatpondtrust.org/

It was just 242 years ago today, August 13, 1779, when an American fleet of 19 warships, along with 25 support ships and a compliment of 1,000 Colonial Marines, were soundly defeated by a British force in Penobscot Bay, Maine. Up until the attack on Pearl Harbor, and then perhaps the Battle of Savo Island during WWII, this was without a doubt the largest, lopsided defeat the U.S. Navy had ever suffered. As an American, it pains me to write about such a loss, but we must remember that America did not always win so easily, and that many of... For the written story, read here >> https://www.signalsaz.com/articles/this-day-in-history-august-13th-2021-naval-disaster/

At the end of June, we traveled to Patten to talk with people about the past, present, and future of the land that is now Katahdin Woods and Waters National Monument. In August of 2016, the Elliotsville Foundation (headed by Roxanne Quimby) donated 87,000 acres of land east of Baxter State Park to the federal government with the intention of it becoming a National Monument. National Monuments are similar to National Parks, but National Parks must be approved by Congress while National Monuments can be signed into law by the president through the Antiquities Act. President Obama did just that on August 23, 2016. This was the culmination of decades of hard work by many people, including Roxanne Quimby, her son, Lucas St. Clair, and people like Susan and Mark Adams, among others. This episode is the first in a three part series with Susan Adams. Susan and her husband Mark work for the Elliotsville Foundation, doing community outreach and recreation management. In this first episode, we hop into Susan's truck and she drives us into the monument to the canoe launch. Susan talks about the many hats she wears for the Elliotsville Foundation, her childhood on Penobscot Bay, and working with local schools to connect kids with the land.

In this episode we discuss knitting with handspun yarn, including estimating yardage, picking needle size, and selecting potential patterns. Show notes with full transcript, photos, and links can be found in the podcast section of our shop website: TwoEwesFiberAdventures.com. Subscribe on Apple Podcasts or Subscribe on Android or Subscribe on Google Podcasts Marsha’s Projects Walk Along tee by Ankestrick (Ravelry link) I’ve put the body on waste yarn to check length. I’ve decided to move on to the sleeve which will stop just above the elbow instead of ¾ length. I started the gusset on the second sock of a pair of socks for myself using Drops Fabel Print that I bought in San Luis Obispo.   Still spinning the green and brown three ply. Kelly’s Projects  Ripped out the Bear Brand Yarn socks and will be starting them again with no pattern. Faye’s Flower Blanket. All Octagons and squares are done. One more triangle to do. Then 4 corners (small triangles). Topic: Knitting with Handspun Selecting a needle size to swatch Selecting potential patterns “My yarn isn’t good enough” The allure of spinning thin The allure of spinning smooth, worsted style yarns Measuring yardage in a skein Good first projects Good projects for textured yarn More intermediate to advanced considerations Do these yarns/fibers go together? Summer Spin In Memorial Day - Labor Day May 31st - September 6th Transcript Kelly 0:03 Hi, this is Marsha and this is Kelly. Marsha 0:05 We are the Two Ewes of Two Ewes Fiber Adventures. Thanks for stopping by. Kelly 0:10 You'll hear about knitting, spinning, dyeing, crocheting, and just about anything else we can think of as a way to play with string. Marsha 0:17 We blog and post show notes at Two Ewes Fiber Adventures dot com. Kelly 0:22 And we invite you to join our Two Ewes Fiber Adventures group on Ravelry. I'm 1hundredprojects, Marsha 0:29 and I am betterinmotion. We are both on Instagram and Ravelry. And we look forward to meeting you there. Both 0:35 Enjoy the episode! Marsha 0:43 Good morning, Kelly. Kelly 0:44 Good morning, Marsha. How are you? Marsha 0:45 I'm doing good. Kelly 0:47 Good. Marsha 0:47 How's the newest member of your family doing? Kelly 0:50 Oh, he's doing great. Beary is fitting in pretty well. He's walking up to about a mile now. He lags toward the end of a mile. But he's been able to go a mile. The first week... So a week ago he was at the vet. And he got his thyroid medication lowered. That's good. So now he's only on a point eight-- I think it's milligrams-- pill once a day instead of twice a day. So that's good. And he lost. He had lost last week he had lost three pounds. Marsha 1:28 All right. So and that's really not with any diet change. That's just the walking right? Kelly 1:32 Yeah. Well, more activity. I was trying to feed him the same amount that he had at the at the SPCA--hat they had told me they were feeding him. I was trying to feed him that same amount. It actually was a little bit less food than normal, because he wasn't really eating. And, you know, my dogs eat! Marsha 1:56 Yes. Kelly 1:57 Even Bailey. You know, she's, well, she had Nash to contend with, she had a lab to contend with. So she knows you put your nose in the bowll, and up until it's gone. And I don't know if she was like that before we got her. But she learned to be like that, at least having Nash around. And he wouldn't, he would eat a little bit. And then he'd walk out a little bit into the yard and then he'd pee. And then he walked back and he ate a little bit more. And then he like, walked over kind of towards Bailey to see if maybe she had something better. And I was like, okay, you're not gonna-- if you're not going to finish this, I'm going to pick it up because it's gonna cause a problem. So he wasn't finishing the whole amount. So then I started feeding him lunch, I thought, you know, I'd feed him lunch to help keep his metabolism high. And so I was doing that. But he wasn't really eating lunch. You know, he wasn't seeming hungry. And so he was getting a little bit less food. But anyway, yeah, he lost three pounds. And I don't know how much he's lost since then. Bu t I do think he's lost a little bit. His feet. [laughing] He looks like he's lost weight in his feet. Marsha 3:12 Oh, really? Kelly 3:13 That seems really strange. But that's the only place I can kind of tell. They look less puffy. Like his feet were really round, not like a shepherd. And the vet said she thinks he's mixed with Tibetan Mastiff. Marsha 3:28 Okay. That's very specific. Kelly 3:31 Yes. But I went and looked at their pictures. And he does kind of, he does kind of look like that. They have a tail that kind of arches over their back. And he doesn't have that. But they have the like, they call them cat feet in the standard. where, you know, their feet are round and tight. And the shepherds feet are more elongated. Marsha 3:56 Yeah, yeah. Kelly 3:57 So anyway. And his feet were like round and tight. And they still are, but they're less round. Like they look less round on top, you know? Marsha 4:07 Well, I mean, maybe he was retaining water or something. his ankles were swelling, you know, like my grandmother, [laughing] and, you know, with all this activity, things were moving, maybe. Kelly 4:17 Yeah, it's hard. It's really hard to tell. And you know, of course we can't weigh him because you can't pick him up and step on the scale with them the way you could with a smaller dog so so he'll have to wait till he goes to the vet again, for us to know for sure. I'm hoping I can get the vet to let us bring him just for our weight check. Because I don't want him to lose weight too fast. And that's part of-- that's part of regulating his thyroid if he is losing weight too fast. That could be an indicator that his thyroid medication is too high. So so I'm hoping the vet will, you know, say we can bring him in like every two weeks or something for just that. for free, just let them take him in and weigh him and bring him back out. Marsha 5:01 Enzo's vet you could just bring your dog in any time because they just have the scale there in the lobby. So you can just go weigh your dog. In fact, that's where I went. Remember that the big giant afghan? Kelly 5:16 Oh right! [laughing] Marsha 5:17 I went and weighed it on that scale.[laughing] Kelly 5:19 Marsha went to the vet to weigh her blanket! Marsha 5:26 Yeah, but now with the pandemic, you can't, I can't go into the lobby, Kelly 5:30 it's a little more of a thing of a production for them to come to them and get in weighed. So. But things are supposed to open here in California on June 15. And I don't know if that means everything. Like from then on. I actually think that the vets are probably secretly glad that no owners are in the office when they do their vet checks. Because dogs are always worse when their owners are around in situations like that. I think, I mean, they're probably-- I wonder if they'll... Well, I don't know what they'll do. But yeah, there's probably been some some added convenience to just picking the dog up in the parking lot and taking it in. Marsha 6:16 Well, and then you don't have all the animals in the lobby, too, because that's another thing, too, is altercations in the lobby. So yeah, well, that's exciting news that he's he's making some progress. Now. The thyroid medication, though, that's not because he's overweight, but he is... he will even if he loses weight, he'll be on thyroid medication. Kelly 6:40 Yeah. A weight gain is probably due to his thyroid issues. Okay. I mean, some of the weight gain might be other reasons. But some of it, I mean, definitely for a dog to be as overweight as he was, there was a thyroid problem there. That's what the vet said anyway. Marsha 7:01 And then, I'm assuming, given what you know about his history, which is very little, I'm assuming that the thyroid medication started after he went to the SPCA. Kelly 7:11 Yeah, they, they noticed that. They, they stitched him up from his wounds. And then they noticed that he wasn't kind of bouncing back. And he was very lethargic. And then, you know, the vet first thought it was just because of the what had happened to him and then being in the shelter. And then she decided, no, it's, he needs to have a blood test. So they did a blood test and his thyroid was was extremely low. So he's progressing nicely. He now lays on a pillow, it takes me about 10 times of putting him back before he is convinced that I mean it and just stays there. Or maybe he's just too exhausted. That's how I feel at the end of it! [laughing] Too exhausted Marsha 8:00 that you need to go lie down. Kelly 8:02 But the other day, I even I even came in and took a nap. And brought them back in with me during the day and you know, closed up the bedroom and, and took a nap for about an hour and a half and he was quiet in the bedroom. So he's got the routine, you know, the the normal routine plus, He knows, in this location, this is what I do. So that's good. In the backyard he's been fence fighting with the neighbor dogs, him and Bailey. So that's not good. But we're working on that. Marsha 8:31 And he and Bailey are doing well together. Kelly 8:33 go Yeah, they're having a great time. You know, they've had a couple of little tips, little fights, but nothing major. He's learning how to get into the truck. And in fact, that's one of the fights they had. He has decided that the truck belongs to him. And if she tried to get too close. If the door opens up on the truck in the backyard and she tries to get too close to it. That that's the two times they've had fights--it has been around the truck. So now I have to really watch when the truck gets opened that, you know, he...that the two of them are not real close to the door. Because he he now thinks that the truck belongs to him and she's not allowed to get near it. He loves his truck, which is good. That's what we wanted, but not quite. Marsha 9:22 He loves it a bit too much. So possessive of it. Okay, well. Sounds like making lots of good progress Kelly 9:26 Yeah, yeah, we have Marsha 9:31 So that proves that you can teach an old dog new tricks. Kelly 9:33 Yeah. Yeah. [laughing] Marsha 9:35 Fitting right in and learning that learning the routine. Hmm. Kelly 9:38 Well, I think the routine is the biggest part of it, you know, just having that. Like, this is what we do every day. And not necessarily always at the same time. But, you know, these are the, these are the things that we do. And then you gradually we've been gradually increasing what those things are. So, luckily the weather's been good and we've been able to use a lot of the outdoor space. School's almost over. Marsha 10:04 Oh, how many days? Kelly 10:06 I mean, well, I'm not... I wasn't counting it in days. But I guess I could now because we're in the middle of the second of the second to the last week. Next week is finals week. I'm so glad. This week though, I'm, packed with student appointments for them to go over things and do review and such.Mostly out of guilt. Because it's the end of the semester, and I haven't been able to do as good a job as I wanted with this online stuff. And so now I'm feeling like, Okay, well, I need to make up for that by by allowing for all this extra makeup work and all that. So yeah, a teacher's life! It's never good enough. Marsha 10:56 I thought of you because the other day this was oh, maybe two weeks ago. Ben had his-- one of his his instructors had office hours. There were three hours long office hours. And Ben was in the office for three hours. Kelly 11:12 Wow. Marsha 11:14 So like, yeah, I guess, all these students were coming in and going, coming in and going out. Kelly 11:19 Right. Marsha 11:19 But I thought of you and it's like, that was a long time to be in a meeting, you know. I thought of you when he was talking about this, Kelly 11:34 I think we all do it. Marsha 11:35 I'd have to go take a nap after that. Kelly 11:36 Yeah, I think we all do it at the end of the semester, you know, we want to give students all the opportunities that we can to get the material and yeah, and I, you know, I had such high hopes at the beginning of this semester that, you know, this time I was going to get the online thing. The second time around doing an online, I was gonna get it right. And of course, it doesn't feel like I got it right at all. But it was better than last time, I'm trying to have a growth mindset. [laughing] It was better than the last semester. So I have one class that's a repeat of the class I had last semester. And that class is better. And then this class, the calculus class I had last spring when we were half face to face and half online. And I have to say that the online portion of it, this spring is better than the online portion that I did last spring. So I have improved, and I have high hopes that it will be even better. In the fall semester where I'm online. I'm teaching both of these classes again. So totally growth mindset. I'm gonna be better. I haven't mastered it yet. But I will! You know, that kind of that kind of thing. But then there's a little bit of aspect of guilt, because you haven't done as good a job as you want to do so. Yeah. Yeah. But you know, that happens to me every semester, whether we're online or not, it's just a little bit exacerbated in the online environment. I always felt like I could have done better. Well, I tell new teachers, teaching is a black hole that you could pour all of your time in and never be good enough. So you can't be a perfectionist and do this job. Or you'll burnout. You know, you have to be--you have to be willing to say, Well, that was good enough. And I'll do better next time. Or I'll try. I might not, but I'm gonna try. So anyway, I'm just glad the semester is almost over. Marsha 13:40 Yes. And you have the whole summer to look forward to. Kelly 13:43 Mm hmm. And our summer spin-in. Marsha 13:48 So summer spinning! Should we get to get to the knitting and the fibery portion, the playing was string portion of the podcast? Kelly 13:57 Yeah. Marsha 13:58 So do you want to talk about your projects or... Kelly 14:00 Sure I am making really good progress. In fact, I'm crocheting on it right now. I'm making really good progress on the Persian tiles blanket. And I'm making it for my grand niece and calling it Faye's flower blanket. I don't have the name in the shownotes of the designer, but it's called Persian tile blanket. If you want to, if anybody wants to go look at it. And then I have it in my projects as Faye's flower blanket and that will be linked to in the show notes. But I've got all of the octagons done--20 of them! Which that was exciting when I got that last one done. In fact I almost made a 21st not remembering that I was--that I had been on 19 and 20 was done and then I reminded myself. So I moved to finishing the squares and all the squares are done. And then what I'm crocheting on right now is the last row of the last triangle. So now all I have to do are the four corners, which are also triangles. But this is lik-- it's called a triangle granny square, or granny triangle or something. So I'm on the last row of the last one of these. All I'll have are the four corners. And then Marsha 15:24 I'm looking at the projects on Ravelry. Then do you have you have to sew them all together? Right? Kelly 15:28 Yeah. And then I'll be all done. I'll be all done except for this big huge project and sewing them all together. [laughing] Marsha 15:35 Sorry to bring that up. But then it looks like it has a border around it to then do. Kelly 15:43 Let me look, I have the pattern right here. You know that I haven't... Marsha 15:46 By the way, Kelly, there's a border. [laughing] Kelly 15:51 [reading pattern] Once these are together you will have uneven blanket edges. To make an even edge you need to work around of stitches. So I do four, five, six rounds of edging! Kelly 16:07 Oh, no wonder I have so much yarn left! [laughing] Marsha 16:10 Yes. Kelly 16:17 I'm thinking, Oh, my God I have so much yarn left over. But it's gonna take a lot of yarn to go all the way around that blanket. I might have to buy more. [laughing] Marsha 16:27 And you made it a little bit bigger, you put some more squares on it. Kelly 16:30 Right. Yeah. Marsha 16:32 Um, also I'm sorry to be... Kelly 16:37 No, this is funny. This is an example of why you should read all the way through your pattern. Marsha 16:44 So but then also, what I was going to say is, I'm looking at the... I don't know if you're on Ravelry. But I'm looking at the other projects. Some of them have just the way you described. It looks like it's a very sort of simple border. But I'm looking at one and it's it looks like KayVicknits. And she has like a, like a lace border around it. I mean, an interesting... Kelly 17:07 Oh, wow. Marsha 17:08 And let's see if she has anything in the notes Kelly 17:10 I don't think I'll be... Marsha 17:12 But yeah, all the way around it. It's got like a triangles all the way around it. It looks like Kelly 17:18 Oh, interesting. Oh, I see. Yeah. So Oh, that is pretty. Yeah. Marsha 17:23 So if you really want to use up your all that yarn, Kelly 17:29 I actually...now that I'm looking at the border, I might have to buy, I might have to buy more yarn. But we'll see. I have an I have an awful lot of it left. I think I will just do the plain border though. On the edge. We'll see. I don't know. Getting it all sewn together is going to take a while. And the version that I'm doing will look more like the Eastern Jewels version. There was a kit, apparently, for this. There was the regular Persian tile blanket where it's all the same. Every octagon is the same. And then there was the eastern jewels version that had all the octagons different it looks like it's all different sizes of flowers. And that's the look I'm going for. And I think I've accomplished that. Marsha 18:22 Okay, Kelly, now go. I'm sorry, go look at the projects. Go look at bytheseashore, her project. And she has a very interesting border on hers. And in the show notes it actually said that she did the zigzag edging from LillaBjorn crochet. Kelly 18:42 Oh, so that is cute. She did.... So there's a little--there's a stitch in the octagon and the triangles, where you make a criss cross of treble crochets Marsha 18:53 Mm hmm. Kelly 18:54 And it looks like that's a criss cross. She's used that criss cross of treble crochets all around the edge. That is nice. Yeah. Huh. Okay, I'm gonna favorite her project. Because people who are listening, if you have not discovered this, if you save a project in your favorites, then on your project page, it will show those favorites in the lower... well for on the computer, it's in the lower right hand corner. So anything that I like the the comments on or that I'm interested in--I favorite that project and then that makes it pop up in my project page. Take a look at it. It's a nice, it's a nice feature because I've been... I've in the past had to kind of like you know, make a list of links of the ones that I wanted. And then I realized, oh, if I just favorite them. They show up at the bottom of my project page and I can get to them easily. So yeah, I'm really happy with it, I think it's turned out really nice. I am not looking forward to sewing it together. But I am looking forward to seeing it kind of come together. I've laid it out on the table. And I really like the way it looks. Yeah, it's really nice. It's like a riot of color. Marsha 20:23 Yeah. Well, it's Kelly 20:24 And I know there are people who say a riot is ugly, no matter what kind of riot it is. Marsha 20:34 Well, I think it's such an interesting project. Because as you say, it is a riot of color. But everyone's done such different things where it's like you're doing it, it's like, well, a riot of color. And then there's other ones that I think are equally beautiful, but they're very different, where they make every square, or whatever the main one is, exactly the same. And those are so it's very geometric. And it's and those are beautiful too. Kelly 21:01 Sort of Islamic or Moroccan looking. Yeah, like or well, Persian. It's called Persian tiles. Marsha 21:12 Right. And so the one I'm going on right now is KoKoRoRoknits And that's--she's done everyone exactly the same. And it's, it's very pretty, it's very geometric. Just a completely different look, you know? Kelly 21:26 Mm hmm. And actually kind of reminds me of Mexican tiles. Yeah. The the Mexican tiles that some people have on their houses or, you know, on on their steps, Marsha 21:37 Something to think about...your edging. Kelly 21:43 Yeah. I'm gonna have to reorganize the yarn and see what I have left and see what I can still do. Yeah. So anyway, that's, that's one project. And then I did make a couple of charity hats, a couple of nights where I didn't feel like crocheting. So I used som-- I have fingering weight yarns that I've kind of put together in a little kit, to use doubled for charity hats. So I just worked on those mostly--purples and pinks. And then the other thing is just the, I'm getting ready to start the socks out of the Bear Brand. Caprice yarn. And I wanted to mention, speaking of that yarn, we talked about that Bear Brand Caprice vintage yarn a few episodes ago. And just to remind you, that's the one that it says it's 100% virgin wool. But it really feels elastic. Like it's got some kind of elastic in it. And it looks like there might be an elastic ply. If you look really closely, there's a really thin ply. That looks like it might be elastic. So I think when they say...I don't know, it doesn't say 100%, it might say all, all virgin wool. I think they're referring to all the wool that's in it is not recycled. But it doesn't say on the label that the yarn is all wool. But anyway, we talked about this in a previous episode, how interesting this yarn is, and I am going to make a pair of socks out of it. I've ripped it out, ripped out the last pair and I'm going to restart them. Maybe today. I have a meeting this afternoon. It might be good meeting knitting, because I'll be done with my crocheting, most of it. Kelly 23:33 I got a message from Jane Haskell about our conversation of the bear Brand Yarn. She says "I heard you mentioned Bear Brand. Attached are copies of covers of two books. One has many socks, including Argyle circa 1950" and then she has in parentheses, "or MCML" because that's the way it was listed in Roman numerals and Marsha 23:56 Oh. [laughing] Kelly 23:59 If you can read Roman numerals. [laughing]"The other is circa 1939. Both were my grandmother's and have her notes in them. I have many more vintage books of my two grandmother's and two grand Aunts and possibly one great grandmother's that I am yard saling this summer." I would like to go to her yard sale Marsha 24:23 Yeah really! Kelly 24:23 [continues reading] "I do not have any bear Brand Yarn from stash that I inherited or if I do I've already sold or goodwilled it. I copied the inside of the cover of the 1939 books so you can see what it says." And she sent me that copy. "There are other pages about blocking, measuring, showing illustrations of measurements, and darling little swim costumes and so on." So she says she she loves our show and listens while she's driving. She lives on an island on an island in Maine's Penobscot Bay, where there is a knitting retreat this summer sponsored by Portland's, Maine yarn. Marsha 24:52 Okay, Kelly 24:53 So thank you, Jane for sending that information. The copies that sh sent me, were really interesting to look at about this yarn and I'm gonna, I'm gonna print it out and stick the page inside of the bag that I have the yarn in, so I won't forget,y ou know, what kind of yarn it is and where it came from. So that was interesting to get some information about my vintage yarn. Marsha 25:24 Yeah. Interesting. Well, yeah, maybe we have to get on a plane and go to her yard sale. [laughing] Kelly 25:33 Go and buy more knitting knitting books. I just got rid some a few years ago Marsha 25:39 I know, I just got rid of a whole bunch. But that doesn't stop me from dreaming. Kelly 25:44 I know. I know. There's so interesting to look through those, through those old fashioned, old fashioned books. That's the end of my projects. Marsha 25:53 Well, I don't have a lot to report. I'm knitting on my sock, right now as we're talking. The Drops Fabel Print that I've been working on a really long time. And I'm working on the gusset. I have one more decrease round. And then I'm just going to be doing the foot. So I don't know, maybe in two weeks, I'll have finished it. I don't know, it's sort of my you know, the mindless knitting that I do. Kelly 26:23 Yeah. Marsha 26:24 Then my Walk Along Tee. Um, you know, in the, in all the past episodes I've been talking about how I'm a little anxious about the quantity of yarn, blah, blah, blah. Anyway, last night, I knit to about 11, I think was about 11 and a half inches of the body, which they say to knit. And then what you are supposed to do is then you bind off, but then pick up stitches in the contrast color to make it so it looks like you know there's a T shirt under a T shirt, which I'm not going to do. But if you do that, it's more of a tunic length. And I don't want it tunic length. So I decided last night to put it on waste yarn and try it on. And I think I'm at the length I want. I'm so this is my... Well, I still have to do about a half inch of ribbing. And then what you're supposed to do then is, as I said, you bind that off and then pick up stitches to knit in stockinette in the contrasting color. What you do on the neck edge, and the sleeves, the cuff of the sleeve is you knit in ribbing, and then you change to the contrast in color and you just do, I believe it'd be reverse stockinette. So then that contrasting color sort of curls back and makes like a tube kind of you know, and so I I have to make some decisions. Do I put that same detail around the bottom of the sweater? Now I know a lot of people are saying, well, you don't really want to have a line around the widest part of your hip. I'm not too concerned about that. That never really bothers me having stripes. But I'm.... So I've decided how I'm going to do that. I'm also trying to decide should I just finish the sweater now? The bottom? Or should I just leave it on the waste yarn and go and do the sleeves and finish the sleeves? And then think about the bottom? That'll give me more weeks to think about it? Or do you know what I'm saying? Kelly 28:30 That's what I would do? Marsha 28:31 Okay, Kelly 28:31 Yeah, that's what I would do. Marsha 28:33 And then what I had planned on doing with the sweater is to make three quarter length sleeves. I may have enough yarn for that. Because I have... I just-- I had to put-- I have just two balls left I mean, so it's basically roughly a little less than one skein left because as I've talked about endlessly that those skeins I split into half into two cakes. So one of the cakes I've used maybe a quarter of it. The other cake, I just maybe did two rows of the body with the second one. So I think between the two of them, I would have enough to do three quarter length sleeves. But now I'm trying to think. I'm beginning to think I don't want three quarter length sleeves. I think I just want short sleeves, not cap sleeves, but just come down like mid because three quarter length would come down. Kelly 29:24 Like past your elbow. Marsha 29:30 Past my elbow. So I don't know. That's what I think. Kelly 29:31 that's what I think too. Marsha 29:32 And so I'm thinking maybe I just want it to come down. maybe longer like this. The the pattern shows that you just knit a few rows and then you start all of the ribbing and the contrasting reverse stockinette. So it's more of... it's like a short short sleeve. I'm wondering if I want to have it come down just just right before the break in my arm kind of, or above that. Kelly 29:55 Yeah. Yeah, Marsha 29:57 I have to do some thinking. Kelly 29:58 It's best not to have your... like they say you don't want to stop something at the widest part. And so it's best like not to have your sleeve stop at the biggest part of your bicep. Kelly 30:13 Okay. Kelly 30:15 So to either be up a little higher or down a little lower. Marsha 30:18 Okay, why is that? Kelly 30:19 I don't know, I guess it has to do with, like, to look flattering, you know? And I have no idea if it makes it makes it look smaller or if it just makes it look more balanced. You know, I don't know if it has to do with... When you say flattering a lot of times flattering is a euphemism for skinnier. Oh, yeah. That makes you look thin, right? And that's not what I mean. Marsha 30:51 Right. Kelly 30:53 So I don't know if that rule applies because it does make you look thinner, and that's what they mean by more flattering, or if it actually has to do with the aesthetics of it. And kind of the balance of the garment. Marsha 31:07 Do you remember that the T shirt you made? I think it was the Havasu Falls. And don't the sleeves hit... Kelly 31:13 I didn't make that. Marsha 31:15 Oh, what's the one? Kelly 31:17 Oh, Havana? I made one called Havana. Is it brown? Marsha 31:22 No, the one that was like, oh, and maybe it is brown. The pattern the Kelly 31:28 Summer Fjord? That's the one you made. That's my gold one. Marsha 31:35 No, no. Okay, I'm wrong on that. This is where we have the bad podcasting where we go down these rabbit holes that were not prepared. Let me look at...let me look at your projects. Kelly 31:52 I'm guessing it's probably Havana. Marsha 31:54 I think it is Havana. Kelly 31:58 It's a kind of a pale Brown. Marsha 32:00 But you made that quite a while and I'm having to scroll down through all of these. All of your projects. Oh, yeah, Havana? Yes, that one. Okay, so let me look at that one. Let me look. Oh, yeah. So those sleeves hit you right above the elbow kind of. You know, they're a little bit..they're not cap sleeves, but they're not three quarter length. Kelly 32:23 Right. Yeah, they're .... I put them... I made those end at the elbow, like right above my elbow. Marsha 32:31 Do you think that's a flatteringlook? I'm looking at the pin. Yeah, Kelly 32:33 I like it. Yeah. I like those sleeves a lot. Marsha 32:37 Okay. Kelly 32:39 I like that sweater a lot. I think it's a really flattering sweater. Marsha 32:41 Okay, so then my question is ..., Kelly 32:44 And by flattering. I don't mean it makes me look skinny. Marsha 32:50 Okay, so now I'm looking at Honey of a Tee and you have three quarter length sleeves. Do you like... are you happy with that? Kelly 32:58 Yes. Marsha 32:59 Well, you're no help because you like both of them. I Kelly 33:03 Well, it depends. I like those because... I like those because I think of that as a warmer sweater. Even though it's made out of cotton. I don't-- I don't think of wearing that sweater when it's warm out. The way I do the Havana, that one I wear when it's warmer. I actually think just looking at the pictures. I think that Havana sleeves look better. Marsha 33:31 So then this is my other... the question I have to then in my mind about this is a merino wool t shirt. So am I gonna wear it in the summer? So do I...? That's why I think I want a little bit longer sleeve than what they're showing in the picture. But I don't know. Yeah, I don't I don't want full length I've decided. But I am thinking... maybe that's why I was thinking originally three quarter length sleeves because it is a wool sweater. I don't know that I'd be wearing it in the summer. Kelly 34:07 But I think probably if I had made the sleeves on this-- the Lavender Honey is the pattern. I think if I had made the sleeves on that a little bit shorter, it would look a little bit less like my sheet sleeves are just too short. Oh. I like this sweater a lot. And I wear it a lot. But it does...Looking at the picture, it does look like maybe my sleeves are just a little too short. More than that I purposely made them that way. Marsha 34:41 Okay. Kelly 34:42 I mean, I don't think it's ugly. I like it. But it does. It does look like an odd length Marsha 34:48 I think... okay, well that helps Kelly 34:49 If you made them--if you made these sleeves, the longer sleeves I would say have them stop right after your elbow. Whereas mine go like halfway between my elbow and my wrist. Marsha 35:03 Yeah. And that's the thing with three quarter length sleeves, too, is you have to find that length that where it looks finished and not like I ran out of yarn. Kelly 35:16 Yeah, that... I mean, that is kind of the danger. You want it to look like it was on purpose. Yeah. Marsha 35:24 Anyway, so I'm making progress on that. And then the other thing I've been working on is spinning. And so yesterday, we had a beautiful day and I had been painting at the other house and I came home and I sat on the on my deck, yay! And I've got my--I've got my pots planted. And I've got the umbrellas out there. And so it's a very different, very different experience than a year ago at this time where it was a dust pit back there, no deck. But anyway, I was working on spinning. So I'm almost done. I think the... Okay, the last time we recorded I had ordered more fiber of the bitter chocolate, the dark brown. And I have that. I have not opened the package yet, I have probably another just 12 inches of the brown roving to spin, and a little bit of the green. So my plan is to ply that last of that green with the three ply with the three ply with the brown. Then all the brown that's leftover, I'm just gonna do a three ply of the solid brown. But I haven't finished plying the green and brown together yet. So I'm going to... I still have that to do. But I'm making progress, you know? Kelly 36:41 Yeah, that's a that's a big... I mean, it's a big spinning project to make a sweater. Marsha 36:46 Yeah, it is. Marsha 36:48 And I have not had... and honestly, I've just not had a lot of time to spin, or the time that I've had to spin, I've been so tired that I just get into bed and you can't spin in bed.[laughing] Kelly 37:01 Right. Marsha 37:02 Right. Anyway. So that's it for me for projects. I think it's a nice lead in to--talking about spinning a nice lead in to a question that we have from a listener. Kelly 37:13 So yeah, one of the questions that I've had was about knitting with handspun. And so I wanted to talk a little bit about you know, what, what has been our experience knitting with handspun and some things that especially new spinners can think about or use as tips or, or tricks or strategies or whatever. So one of the things that I kind of don't like to see is when people talk about how much handspun they have, and that they've never knit with it. Like, oh my gosh! You have to have to knit with your handspun. But now, if you were to ask me that when I first started spinning, I had no desire to knit with my handspun I just wanted to make yarn. And then of course, you know, the knitting and the weaving were partly self defense against all the yarn I was making. My main goal was to make yarn but but it is really satisfying to make something out of your own yarn. I think I always really enjoy it. So one of the things I just wanted to mention is how I select a needle size to swatch and I learned this a long time ago. And I usually, I mean I usually do this as a way to kind of identify what needle I'm going to start with. I get out my needle gauge and I double up the yarn and I poke it through the holes in the needle gauge and I look for one where it it goes through pretty easily. It isn't like scraping the edge the whole time. It's not so big that, you know, it doesn't touch at all. Where does the yarn doubled fit through the needle gauge the best? And that's where I start and then I usually swatch one down, one needle size down from that and one needle size up from that and then I look at my fabric. And then if if I think, oh, maybe I want to try a little bit looser or a little bit tighter I'll, you know, I'll go even further up or even further down but usually one up and one down gives me three choices. And one of those three choices is a fabric that I like and a gauge that I like and then I'll go look in Ravelry and use the gauge as one of the filters in the advanced pattern search. I think I've talked about that before--how I use that in the advanced pattern search. Marsha 39:42 and I'm just.. This is not about... This, my comment, too This is just about doing swatches. And this is not about handspun this was all swatches. And people probably know this but I had not known this and I think my friend Kim told me this, is that when you do your swatch, like if you're going to do three different... I just, I don't make three individual swatches, I just do--I make it all one. I just chang the needles. But to keep track of which swatch is which size needle, you put holes in there for the size needle. So if you're knitting on size three needles, you put three, you know, three yarn overs, knit two, and then knit two together, yarn over, knit two together, yarn over, knit two together, so you get three holes. So then when you look at your...right at the beginning of the swatch, so then when you wash it, you know which, which one is which. Yeah, so five yarn overs for if you're using five, size five needles, etc. Do you do that? Kelly 40:41 Yes. The only time that I haven't done that is been has been when my needle size is so big that I don't have enough. I don't have enough stitches on my swatch. And instead of making a bigger swatch, you know, wider swatch, I have just used a different technique, like, you know, make a little note or, or tie a little string on it with the right number of knots, or something like that. So, but yeah, I do use that technique a lot. You have to make sure that you swatch long enough if you do that. Because if you make little, you know, four row swatches, and one of your rows is holes. That's not going to give you a very good idea. Marsha 41:27 Yeah, yeah. Kelly 41:29 But, I like to, I like to make a good size swatch. And then I always wash the swatch too, just to see what that does to see what the fabric looks like. So yeah, and then I just select the pattern based on based on those patterns that match my gauge. Because I don't, I don't like the game of trying to get trying to get gauge, I'd rather get a fabric I like and then find a sweater that uses that gauge, then try to get a gauge that my yarn is not going to want to do. Marsha 42:03 Well and then also select a pattern that, beyond gauge, a pattern that will work with the type of fabric that you've created or what type of... because you know even with with handspun, but even commercially made yarns, some work in lace, some don't some work with cable, some don't. Some you know, some work with texture, some don't. So that's why another reason to make kind of a large swatch too is that you get a better sense of what it's going to look like. If you were to do cables, or Kelly 42:39 Yeah, like a really textured yarn. Don't bother with a really patterned a really detailed pattern like cables or, or... Well, that's sort of what happened with those socks, right? I was trying to, it wasn't handspun. But I was trying to use the Matcha pattern that had, you know, some texture to it, with a yarn that already had texture. And it was pointless. Marsha 43:05 Yeah, yeah. Kelly 43:06 So you do have to be be aware of that. So, but we've had a lot of people make things out of their very first handspun in the summer spin ins that we've had in previous years. So yeah, so I think I think we do have a good, a good track record of helping people and supporting people. And the group of people who are who are chatting in the thread, also giving a good, good amount of support to people who want to make something out of their handspun. Yeah, it's always fun to see that happen. Marsha 43:40 Yeah. Kelly 43:41 Now you've knit with your handspun. I mean, you're not a new new spinner, but you knit with your handspun. And right away. Marsha 43:48 Well, my very first one that I made, I think it's still in a ball. And then I'm like, Oh, I'm going to spin some yarn and I'm going to make a hat for Ben. That thing is like it weighs... It feels like it weighs a pound. I should weigh it. It feels like a weighs a pound. Super dense. super heavy. But you know, I will never throw it away. And then I... so this kind of leads into another thing we were just going to mention. But anyway, I said I was gonna make him a pair of socks. And out of my handspun. And I was going to try, I was trying to spin fingering weight or sock weight you know, but it's worsted weight. And so these are very heavy, heavy socks and they're... and I got the... You wouldn't think that I would get the stitch count off given that they were so big. There wouldn't be that many stitches for a worsted weight pair of socks. But one of them I got this. I don't know how I did it, but I have too many stitches. So one is significantly larger than the other. So but I still have those But just a side note about the comments about the yarn isn't good enough and the allure of spinning thin. One of the things like I talked about that a lot, I don't seem to be able to spin... To date, I have not been able to spin yarn that's finer than DK, perhaps. It's always ends up being worsted weight Kelly 45:28 Well, and you always make a three ply. Right? I mean that you could make it... you could, you could have a fingering weight yarn if you use the singles. At this point, Marsha 45:41 yes, yeah, yeah. , Kelly 45:45 or maybe only two ply, Marsha 45:48 yeah. The but then I've made I guess I've made two sweaters with my yarn, right? Did I make two sweaters? Because I did the, I can't even remember! Kelly 46:01 You made two combo spins. Marsha 46:02 I did the combo spins. And I made two. And I really I have to say I just really like knitting with the handspun. It's a different experience knitting with handspun. Because there is, because I I'm a newer spinner than you are. And that first combo spin I think was the first time I had spun a sweater quantity of yarn. And so because it is handspun, there is variation. And that's actually kind of fun to knit with to see. I found it enjoyable. It just yeah, it felt really good to knit with my handspun and I don't know, it just... it's it's because of the irregularities it's just much more textural and but when you actually knit.. Kelly 46:52 There's so much more life. So yeah, there's some element of life to it, that... Marsha 46:58 it has a bit more soul to it. Kelly 47:01 And also, I mean, it has a little bit more spring to it, too. I mean, really, I mean literally has more spring in it, I think, than a commercial yarn. Its more elastic. I mean, it depends on what you're spinning, but for the most part, I think my handspun is much more elastic than than any commercial yarn. Yeah. Marsha 47:27 Yeah, I just like it. It was very enjoyable to knit with. Kelly 47:29 Your first project wasn't a sweater, but I know of people whose first project has been a sweater. And I, you know, I'm not gonna say... I'm not gonna stop anyone from jumping in feet first like that. But I think some good first projects are like what you mentioned. A hat is a good first project. I made potholders out of the the really ropey heavy, dense yarn that I made originally. I made potholders, I made a little bag for my spinning wheel oil, and the potholders I felted. So they were really nice and thick. So those are good, some good first projects. But a hat is a good project, a cowl is a good project. Socks, I think probably better if... One of my first projects was socks, too. And they were super dense. In fact, I, I couldn't I could barely knit two together. Because the yarn was so thick, and my needles were so small. And they you know, I just, I had an impression of how thin the yarn was, when it really wasn't, you know. Marsha 48:43 And, and that was my experience with the socks that I made for Ben. It was so dense that it's very difficult too. My hands hurt and knitting together for the decreases was really, really challenging. Kelly 48:59 Yeah, so probably, I mean, probably you were using needles more along the lines of sock needles, using a yarn that was closer to worsted weight. Marsha 49:08 Yeah, yeah. Kelly 49:09 And so slipper socks would be a better, a better choice, you know, a worsted weight pair of slipper socks would be a better a better choice probably then. Just for ease of, ease of knitting. But yeah, there are a lot of I mean, there are a lot of good projects for handspun. And this idea that your yarn isn't good enough. I mean, a lot of people will say that, you know, I want to get better before I use my yarn. I would say... I would say your yarn is good enough. It's a matter of the right, you know, finding the right project for it. And it's only the super early yarn that is so dense and ropey. I mean, people quickly, I think, move from that sort of ropey plying, really dense plying. And that happens pretty quickly. Marsha 50:02 Well and that ropey hat that I made. You can see, you know, when you when you're plying and you get those little corkscrews, that you can't undo and lots of that! And so and you can... so many of you can actually see it in the finished project. But you have to start somewhere. Kelly 50:23 That's right. That's right. Marsha 50:25 But I have to say, with the two sweaters that I made, as I say, the yarn is, has character, you know, they have thin bits and thick bits... Kelly 50:38 Beautiful! Marsha 50:39 Oh, yeah. They're, I think they're really nice. The, but what I was going to say is that, and we've talked this about this before, but you have thick and thin bits in the single, but then when you ply it, that changes. But you still may, even if you still have thick and thin bits after you ply it, that all changes again, when you knit it up. Kelly 51:02 Yeah. Marsha 51:03 And so those thick and thin parts really begin to sort of just disappear, I think. And worst case scenario, if you have one, that's just one spot that's super, super thin or super, super thick, you cut it out and just Kelly 51:17 Right, Marsha 51:18 spit, splice the yarn together and keep knitting, you know, Kelly 51:21 if you have a bad spot, or if you have one of those pigtails from plying that you don't want to be in your... Marsha 51:27 Oh, that's what it's called? Kelly 51:28 The pig tail is what I call it. I don't know if it's...I don't know if that's what it's called or not, but that's kind of what I call it. Marsha 51:39 So, um, but then Kelly, uh, how about measuring the skein? Kelly 51:44 Oh, yeah, that's the other thing that happens when you're new, is you have a misperception about how much yarn you made. And, and there does seem to be not so much anymore. There used to be a lot of, a lot of I don't know, like, you know, the social media kind of pressure about spinning that I didn't have, because there wasn't social media. Right? I didn't know what other people's spinning looked like, you know, other than when I went to guild meetings and saw it on, you know, saw what they were working on. But I didn't do that very, I didn't do that that often. And Spin Off had episodes, they had issues where they started to after-- I'd been spinning quite a while-- they started having issues where you would send your yarn to them, and they would photograph it and they would put the skeins in the magazine, the photographs. And that was the first time that I really had a ton of exposure to other people's yarn. And that wasn't even, you know, real life exposure, but picture exposure. So I didn't have you know, the pictures that people will post. And I'm not, I'm not criticizing people for doing this. But I think somebody, the way people perceive it is different, like people will post pictures, and they'll put a coin along with yarn, right. And the idea is to give you some some element of scale, you can tell how, how thick or thin the yarn is. But sometimes I think when I see, you know, some of these pictures are especially... it used to be more common. I would see I would see these pictures or I would hear people talking about how thin their yarn was. And it was like that was the only thing that was valuable was the thin yarn. Like if it wasn't thin it was not worth spinning or doing anything with and you had to try to get as thin as possible. Well, there's a use for thin yarn. But I don't knit with lace weight all the time. Marsha 53:47 Right? Kelly 53:48 So like, what are you going to do with, you know, dozens of skeins of lace weight and thinner. So you know, make the yarn that's going to fit what you're going to... what you're going to make. And so if you like knitting with DK weight yarn, then that's the weight that you should try to spin for. If you like fingering weight yarn, then you can try to spin for fingering weight and that'll you know, that'll mean your plies are a little thinner. But experiment, you know, with thick yarn and thin yarn. And there's nothing inherently better about spinning thin, I guess is my my point. And then the other thing that's also true is the worsted yarn. A lot of times I'll see at a spinning event that, you know, people are spinning like this. They call it inchworm style. And again, there's nothing wrong with spinning in that in that way. It makes it very smooth, compressed yarn, because you're only letting a little bit of fiber out and then you're smoothing it down before you advance it. So it makes it very smooth, and also very compressed yarn. Which is fine if you're wanting worsted style yarn, right? That's what worsted style is. Very smooth and compressed. But if you want something fluffy or light, then you know use a different spinning style. And you'll have fluffier yarn or it'll have a halo to it. And there's something nice about about the fact when you wash it, it gets a little bit fuzzy, you know, more fuzzy. So I guess... I guess the point I'm trying to make is that, I would suggest if you're a new spinner, just spin and see what happens. I mean, it's... Yeah, it's good to have goals. And it's good to try things like to give yourself a lesson or a challenge. You know, for learning. But when you're first spinning, I think, just spin and see what happens. And some fibers are going to want to be more smooth and other fibers are going to turn into a yarn that's really fluffy. And sometimes you're going to get a yarn that's thick, and sometimes you're going to get a yarn that's thinner, depending on the, the, you know, the fiber that you're using. And that's how and then you can kind of learn what they say, like what the fiber wants to be. And then don't try to make fiber be a way doesn't want to be. Marsha 56:25 Right. Kelly 56:27 So anyway, that's... Yeah, I think that's kind of an important thing to think about. Marsha 56:33 But we started this about measuring the yardage. And so Kelly, you want to talk about how you how you measure or how you taught me to measure the skein? Kelly 56:42 Yeah, How did I get from... because you said that already...measuring the yardage. How did I get off... Marsha 56:47 I know, I'm trying to guide you back on topic graciously, but I don't think I did it very graciously. [laughing] Kelly 56:55 No, that was nice, Marsha. Thank you. [laughing] Kelly 56:59 Measuring the yardage. Be careful when you measure on the niddy noddy because it's going to be stretched. So like I have what's called a one yard niddy noddy. And it's not actually one yard. Like if I, if I measure a piece of yarn that goes around, even if I use like cotton string that doesn't stretch at all, and I go around my... or if I take the tape measure and go around my niddy noddy, it's not quite a yard. It's a little short of a yard even though it was advertised as a one yard niddy noddy. And then if I wind the yarn on to it, of course, it's tight. So just counting how many times... Actually it's a two yard... Sorry, it's a two yard niddy noddy. So just counting the number of times I went around doesn't really give me the yardage that I have. That... I did that, I made that mistake. I made that mistake before. Thinking I had way more yarn than I actually had. Yeah. So now what I do is, after I've washed it, skeined it up and washed it, I just lay it out kind of flat on the ironing board or on the table. And then I just measure, I just measure how long that skein is kind of, on average, like I put the tape measure, kind of in the middle of each end and and measure. And then I just you know, and I count how many, how many threads there are. Marsha 58:21 Now you do that though, after you've washed the yarn. Kelly 58:25 Yeah, I do it after I've washed it. And, and I don't count it while I wind it on because I can't do that. You know, I could count and say, Oh, I went around, you know, 300 times as I'm winding it on. I don't usually do that. I usually count them after it's been washed. Just because I know I'm not going to keep track while I'm winding. Marsha 58:50 Okay, well, do you want to know what I do? Kelly 58:52 What do you do Marsha 58:53 So because you gave me the niddy noddy, your extra niddy noddy and so I think we have the same one it's the two yard one. So in theory, what I do is I do count as I wrap around the niddy noddy I count up to 20 and then make a mark on it on a piece of paper. Kelly 59:11 You're much more disciplined! Marsha 59:12 And then because I could not count 300 I would lose track right? But if I just count to... and if I'm really distracted I just count to 10 but I count around 20 times mark on a piece of paper or 20 times mark it so then it ends up being... say I have it's I've wrapped around 80 times it usually ends up being an odd number you know 87 times. Then what I do is I multiply that by two and then I measured the length, I take it off the knot and I don't stretch it really tight but I just hold it straight out and I measure it usually it ends up being 30 inches Kelly 59:48 yeah mine's somewhere around there. Marsha 59:51 So what I end up doing... but I haven't washed it yet though. So what I do is I then my math is you know the number of wraps-- times I've wrapped around, say it's 87 times, times the length, which is 30 inches, then doubled times two, then I divide it by 36. Kelly 1:00:11 Right. Marsha 1:00:11 And that tells me how many yards I have. Approximately. Now, I have not. So this the yarns that I'm working on now, I then I put a tag on it. You know what the fiber is, how many yards, approximately, I think I have based on that, then I weigh it to figure out how many ounces I have. You could also do grams too, but how many ounces that skein is. And then in the lower right hand corner of the tag, I put a one and then a slash, you know, like if you're gonna do percent, one slash, and then when I'm all done... So you'll have one, you know, a skein one, skein two, skein three. And then when I'm all done, I fill in how many skeins I have. So it's one of ten, two of ten, three of 10. Don't ask me why I do that. Just because I'm I, it might be kind of weird. But then I know what was my first skein. And what was my last skein. And I was thinking the reason I... Well, actually I do, actually, you can ask me why I do that. Because I do have a reason why I do that. Marsha 1:01:17 Why do you do that Marsha? Marsha 1:01:19 So that my theory is, when I start, say I'm going to knit a sweater, then I can knit with my first and my last skein. Maybe alternate my first and last skeins. And so that is because there is going to be variation, I would think because you are like, for example, this green and brown that I'm spinning, it's it's over a period of months that I'm spinning it. And sometimes I take a week or two weeks break that I'm not doing anything. So there is going to be variation between the first skein and the last skein just because, yeah, weeks, months or years have gone past, right. So that's sort of my idea is well if I then can blend them, keep track of those skeins, I can blend them as I'm knitting, alternate those skeins. Kelly 1:02:05 That makes sense. I think you would especially if you were a newer spinner, it might get finer as you go, even if you're trying to keep it consistent. And even if you have a control card, you know, or a piece of yarn that you're using to spin to, it's very likely that you are going to get better, your spinning is going to improve. And and a lot of people when their spinning improves, they do end up you know, they have more facility with drafting and they do end up with a thinner yarn. Yeah. Marsha 1:02:36 And then the other thing I do is I... So with that first skein, so I know I have say 150 yards and it weighs two ounces. I know that my... so then I then I can figure out well, how many yards am I getting per ounce? Kelly 1:02:53 Yeah. Marsha 1:02:54 And so, and I have... I'm starting with this many ounces of fiber, it gives me a little bit so it's not accurate, because it's only my first skein. But it gives me kind of a sense of like, well, how much yarn do I think I'm going to get, how much yardage am I going to produce out of so many ounces of yarn. And then as I say, then I add in skein two, skein three, and it's to see... And it's pretty accurate from that first skein, even as I started adding and doing the math to see how many ounces or-- excuse me-- rephrase that. How many yards per ounce I'm going to get. It stays pretty consistent as I started adding in the skeins. Does that make sense what I do. Kelly 1:03:37 Yeah. And then that gives you an idea whether you have enough fiber or do you like in this particular sweater quantity that you're spinning right now. You decided you needed to buy more fiber, because you knew you weren't going to get the yardage that that you were hoping for. Yeah, no, I think that's I think that's really good. I think those are kind of our main thoughts about knitting with your handspun. Or crocheting, doing any kind of working with your handspun. like, how do you find... Marsha 1:04:05 Or weaving? Kelly 1:04:06 Yeah, yeah, we didn't even talk about weaving, weaving is a great thing to do with your handspun. because textured yarn makes really nice weaving projects. And you don't need to worry about gauge. Marsha 1:04:24 So what are what are what are good projects for textured yarn, in knitting or crochet, do you think? Kelly 1:04:34 Um, I Well, I think the the slipper socks is a good one because it will be... they will be nice and squishy and I think a nice cowl would be good in a textured yarn. You know, for for knitting or crocheting. Marsha 1:04:50 What about people who are more advanced and you start doing sort of like those, what's the word... Art art yarns, you know. Like they actually spin...that's what I was thinking of like when you spin in, you intentionally spin like thick and thin, exaggerated... Kelly 1:05:11 Yeah, I've seen some really pretty sweaters with the slubby yarn, you use kind of a loose gauge and that way the the real slubby parts can, can show up. Well, like my Sonny Bono jacke is at a really loose gauge, and that yarn is definitely art yarn, you have all those locks sticking off the yarn. So I do think a looser gauge is best for those kinds of yarns. And you could use them as... I've seen people use them as like the, the, you know, brim of a hat and then the rest of the hat is ... like the the part you fold, or like a cuff, you know, on a sleeve or a yoke like a stripe in the yoke. So you could use your handspun along with something else. And that's a really nice way to to use up just a one skein, you know, one small skein of yarn? Yeah, in a project that's not a handspun, not fully a handspun project. Marsha 1:06:17 Do you have anything more you want to add on this topic? Kelly 1:06:18 I don't think so today. I think that's, that's good. And then we'll add other topics. And we're interested in knowing... I put a question in the summer spin in chat thread, to let us know if you know if there's anything that you would want to hear about during the spin in. The topics that you'd like us to talk about in spinning on the podcast, you can do that. You can send us an email, you can contact us through our website. Two Ewes Fiber Adventures dot com. We have a Contact Us page, you can contact us there. You can contact either me or Marsha on Instagram, through direct message and we can add your your question to our to our topic list. Marsha 1:07:01 And we'll talk more. Hopefully, we'll get a lot of good questions. And we'll add some. We'll talk about spinning over the next few months. Because just a reminder, the summer spin in starts. It's Memorial Day through Labor Day, which is May 31 through September 6. And so we'll be talking more about spinning over the summer months. Kelly 1:07:23 Yeah it's a good three months, a little more than three months of spinning. Marsha 1:07:28 By September, people will be saying, please stop talking about spinning! You've spun us dry. [laughing] Kelly 1:07:40 Anyway. All right. Marsha 1:07:41 So I'm excited about projects plans. So anyway,so Kelly, do we have any anything else we wanted to say? Kelly 1:07:51 I don't think so. Marsha 1:07:52 Should we say goodbye? Kelly 1:07:53 Yeah. Yeah. Let's say goodbye. We'll see everyone in two weeks. We'll talk to everyone in two weeks. All righty. Bye. Bye. Marsha 1:08:04 Bye. Kelly 1:08:04 Thank you so much for listening. To subscribe to the podcast visit to Two Ewes Fiber Adventures dot com Marsha 1:08:12 Join us on our adventures on Ravelry and Instagram. I am betterinmotion and Kelly is 1hundredprojects. Until next time, where the Two Ewes doing our part for a world fleece! Transcribed by https://otter.ai

Last month, workers at the port of Mack Point spilled more than two tons of plastic into Penobscot Bay , sending trash onto the shore of nearby Sears Island. The spill raised questions about procedures at the port, and a recent notice of violation from Maine’s Department of Environmental Protection shows the incident was not reported for a week.

The Hampton boat brand has a long history in Midcoast Maine, as we learn while cruising the waters of Penobscot Bay.

The Flying Santa tradition traces its origins to a pioneering pilot named Bill Wincapaw. Wincapaw flew amphibious airplanes around the Penobscot Bay region in Maine. He often relied on the area’s lighthouses to get him safely home. To show his appreciation to the lighthouse keepers and their families, on Christmas Day 1929 he loaded his plane with a dozen packages containing gifts for the lighthouse families. He dropped the packages at some of the lighthouses in the Penobscot Bay region. The Flying Santa plane passes Boston Light in 1947 (Friends of Flying Santa) In the years that followed, Wincapaw expanded the flights to more of the Maine coast and to the other New England states. A few years later the Wincapaw family relocated to Winthrop, Massachusetts. Bill Wincapaw Jr. had a history teacher at Winthrop High School by the name of Edward Rowe Snow, a budding historian. Edward Rowe Snow took an interest in the Flying Santa and took part in the 1936 flights. After some years when the Flying Santa duties were shared by the Wincapaws and Edward Rowe Snow, Bill Wincapaw Sr. died in a plane crash in 1947. Edward Rowe Snow with his wife, Ann-Myrle Snow, and their daughter, Dolly, in 1963. (Friends of Flying Santa). From the Christmas season that year through 1980, Mr. Snow kept the Flying Santa tradition alive. His wife, Anna-Myrle Snow, flew along each year, and their daughter Dolly took part beginning the year she was born in 1951. Edward Rowe Snow loading the Flying Santa plane in 1962 (Friends of Flying Santa) Dolly Snow Bicknell has been involved in lighthouse preservation as president of Project Gurnet and Bug Lights in Massachusetts. Dolly has been honored recently with a Keeper of the Light award from the American Lighthouse Foundation, and also a special award from the Hull Lifesaving Museum in recognition of her years on the board of directors of that organization and her work on behalf of many local charities. In this interview, Dolly discusses her personal experience as the daughter of the popular historian and longtime Flying Santa, Edward Rowe Snow, and about her own participation in the Santa flights. The flights continue today, with Friends of Flying Santa visiting Coast Guard stations by helicopter. Dolly Snow Bicknell inside the lantern of Plymouth (Gurnet) Lighthouse, Plymouth, MA. (Photo by Bob Trapani, Jr.) Listen to the episode:

On Dec. 2, dock workers at the Mack Point cargo facility in Searsport spilled about 5,000 pounds of plastic waste into Penobscot Bay. It had arrived in a large shipment from Northern Ireland, bound for a waste-to-energy incinerator in Orrington.

In Episode 145, Jeff Belanger and Ray Auger stroll the beaches of Maine’s Vinalhaven Island in Penobscot Bay reminiscing about the circus, and exploring the history and wreck of the Royal Tar—one of New England’s worst maritime disasters. In October of 1836, 32 people perished along with a menagerie of animals from the Burgess and Dexter’s Zoological Institute in an event that still haunts the coast of Maine.

Beginning in the 1870s, coal shipped from the Delaware River and the Hampton Roads area of the Chesapeake Bay encouraged the building of larger and larger schooners. Three-masted schooners had long been the primary means of transporting coal to Boston and Maine, but, by the 1880s, the four-masted schooner had become more popular. The late 1890s saw five-masted schooners, and the first six-masted schooner, George W. Wells, was built in Camden, Maine in 1900.By 1910, 45 five-masted schooners and 10 six-masted schooners, each the length of a football field, had been built, mostly by Maine shipyards. Bath was their primary builder, but many were built in Rockland, Camden, Belfast, and other Penobscot Bay towns.These very large schooners were awkward to handle, although"donkey" engines provided power for hoisting sails, running the windlass, capstan and pumps and handling other heavy gear. With this early automation, the large coasters were able to get along with relatively small crews.These vessels were designed for carrying capacity. The ships were long and narrow, which gave them great potential for speed when there was good wind, but were unwieldy in light air. The difficulty in steering the vessels, their pointed bows and their great weight of cargo were probably all contributing factors in a large amount of these ships being wreck around Nantucket in the early twentieth century.Source:Penobscot Marine Museum: "The Great Coal Schooners,"https://penobscotmarinemuseum.org/pbho-1/ships-shipbuilding/great-coal-schooners. Stackpole, Edouard: "Life Saving Nantucket," Stern-Majestic Press; 1972. p. 268-270Studds, Gerry: "The Great Coal Schooners of New England," NOAA, Stellwagon Bank National Marine Sanctuary;https://nmssanctuaries.blob.core.windows.net/sanctuaries-prod/media/archive/missions/2006palmer/pdfs/schooners.pdf. Music and Narration: Performed, Produced and Edited by Evan Schwanfelder.Special Thanks to Katie Schwanfelder for all your help and for joining the discussion

It is night. Darkness has fallen over the September night as the half moon rises and the stars begin to fill the sky over Penobscot Bay. Sometimes the night falls so deeply here in this Maine  hamlet that it seems like the Sun might never rise again. It is a darkness full of potential.  The year is 1898 and you are walking along a dark path in the small coastal town of Bucksport, Maine. You are alone, quite alone. You are sure of it. In the distance, you can see the vague outline of ships in the harbor and lights in the windows of the townspeople in houses you know well, for you are worker, a cleaner, a hired servant willing to scrub and polish and shine the possessions of others to make your living. For some, this might be a happy lot, but not for you.  These people for whom you work could be your friends and compatriots, but that is not the case.   You are, and forever will be, from away. These people are not your people and you are not one of them, but as you walk carefully along the lane, you remember your home in Nova Scotia.  Sometimes you wonder what it would have been like had you never met the man you wed. You moved from your home to his, this place, and had his children and toiled away the years.  Then you divorced, and though you tried to go back to Canada, you found you didn't belong there anymore. Where is home, you wonder as you walk the dark path on the cool September night.  But those thoughts are fleeting, at best. No time for regret, you tell yourself, when there is work to do. This is your home, now. As you move forward down the lane, you put your hand on your purse and recall the payments you have collected. You had nothing when you came here, but with hard work and tenacity, you needled your way into the homes and lives of the people, at first with an offer to work and then, as the years rolled past and you accumulated some small wealth, even the offer of a loan, of course, with interest to a few select individuals whose names you will never mention. It has been grind and scrape, working all hours, but you are independent. After all, though your children have grown, you still have yourself to support and you know that you will never be included, that you will always be regarded as ‘from away' no matter how long you live among them. You may live there and walk among them, but they never truly take you in, do they?  Still, there is recompense. Then you remember that you have one more stop before you head home. The stovemaker, the tin-knocker, William Treworgy owes you his payment. One last stop before bed. You reach into your purse and remove the cigarillo you just purchased less than fifteen minutes ago, the final purchase at the little store on the edge of town before they closed for the night and blew out their lanterns. They've seen you before at this late hour, making your rounds at the only time you can, because when tomorrow comes, you will be back to work again, cleaning their houses, tending to the smallest of their needs. The wind begins to blow as you light the match and inhale. It is a small pleasure, you think, to walk alone, independent and in charge of your life, with a purse full of small change and a life in front of you full of work. Your name is Sarah Ware and soon, very soon, something quite terrible will happen. In 1898 Maine had less than a million inhabitants and the only cities were small in comparison with neighboring states. Even today, it is a place of long distances, of varied customs and terrain. Before the turn of the century, the coastal towns and villages featured harbors full of ships that sailed to every corner of the globe and captains and crews who had been as part of the bedrock of their communities for time out of mind. I 1898,  Everyone knows everyone else and everyone seems to know everyone else's business, too.  Even the smallest newsworthy morsel of information could become the topic of hot conversation, is passed by word of mouth from one householder to another with great alacrity. It doesn't take long for the disappearance of Sarah Ware to become the subject on everyone's lips. No one has seen her since the storeholders sold her that cigarillo before closing. Then, as now, people disappeared, moved on, took to the road without telling anyone of their passing. It isn't  unusual, except that people know her so well, she is a part of their lives and has been for years. Surely someone must know something about where she went?  For now, 59 year old Sarah Ware is one of the missing. For two weeks, search parties scour the countryside. The nights are growing colder as the trees begin to change to the colors of autumn. After nearly two weeks of searching, no one has yet found hide nor hair of Sarah Ware. The good people who used her as their housekeeper make other arrangements. But what had been a local, albeit strange, disappearance, would soon make the front page of papers from Portland to Boston. It was the odor of death that eventually brings the searchers to her body. Not a mile from her own home, just off Miles Lane near the current high school parking lot, a path she trod daily for years, she is found. A raincoat is tucked up like a pillow underneath her nearly severed head. Indeed, searchers aren't completely sure it is her at all due to the fact that her face is gone – eaten away by some wild animals. Her purse is found nearby, as well as a knife with a ragged, serrated edge, obviously used upon her. The grisly state of the corpse tells the story of a violent crime, a murder so repugnant and vile that no one could recall anything happening in Bucksport to match the extreme nature of such a ferocious crime. Her body is carefully placed in a wagon to be transported back to town, but the brutal nature of the crime was such that during the bumpy ride back into her town, her head detached from her body. When her skull is examined, now completely detached from her body, a round hole in her forehead reveals the probable cause of death. A blow with a blunt object so strong that it penetrated her cranium.  One thing is clear to investigators – someone among them had committed a horrid act of bloody murder, ripe pickings for the tabloids and sensationalist newspapers of the time.  Precisely who had done such a thing became front page news and the source of talk in the town for the days and weeks to come. All of New England read the papers each morning for further developments in the case. Detectives were few and far between in the State of Maine at the turn of the century. The local constabulary was poorly equipped to solve such a case so they sent for help. First, a seasoned detective from the city of Lewiston, one hundred miles away, began his investigation, soon joined by another detective from the nearby river city of Bangor. These two men, also from away, were the ones with the power to uncover the identity of the murderer and solve this most heinous of crimes. She had taken residence with an older woman, Mrs. Miles, and was her caretaker. Mrs. Miles informed the investigators that Sarah kept her earnings in a trunk in her bedroom but when it was searched, there was not a penny to be found. When deposits were checked at the local bank, the missing money was not accounted for. So perhaps money was the motive for her murder? Sarah Ware was known for her hard work and enterprise. Being alone in the world except for her children, she had to work a hardscrabble existence just to make ends meet, and at times, she might have to wait for payment from the men she worked for, or worse, not collect payment for services rendered at all. But she was a worker and people knew it.  The money she had been collecting was nowhere to be found and perhaps this was the motive for the murder.  Word spread concerning the progress in the case, leading newspaper readers to speculate that someone in town owed Sarah Ware money – all they needed to do was find out who. Strangely enough, after another thorough search of the area and her house, the money that had been missing somehow had mysteriously found its way back in her trunk in her room at the Miles house. Soon enough, a bloody tarp was found in William Treworgy's wagon – and within it was a hammer with the initials W.T.T. engraved upon it. The round ‘peg' of the hammer seemed to match the round hole in Sarah's skull.  Treworgy denied any knowledge of the crime. He was a divorced father whose wife had left him with two daughters to raise on his own. He known for having a quick temper and word spread about that he had not paid what he owed for quite some time. His house would have been the final stop on her usual route before heading home on that fateful night. And he knew Sarah well. In fact, she had worked for him as a live-in nanny. It was understood in the town that Treworgy was a hard man to work for and that when she left, Treworgy refused to pay her what she was owed. It is entirely plausible that before going back to Mrs. Mile's house that night, Sarah made the fateful decision to stop one more time at her old employer's house and seek recompense from him, one more time. In those days, when a town needed the services of an outside detective from another city, they had to pay the expenses.On November 28,  just as William Treworgy was implicated in the murder and the investigation began to pick up steam, the funds paying the two detectives mysteriously dried up and the case was abandoned.  Apparently not everyone in the community was happy with this state of affairs and a group of concerned citizens raised five hundred dollars to pay the detectives to continue their work. The case reopened. It wasn't until the following spring that a man named Joe Fogg, Jr. confessed to accepting payment from William Treworgy in return for disposing the body in the pasture just off Miles Lane. Such a witness was enough to bring the case to trial. But this is where the story of the murder of Sarah Ware becomes most confusing. There was a murder weapon, there was motive – Ware cleaned for Treworgy and he may have  borrowed money  – and there was a living witness who claimed to have disposed of the body, itself a crime, willing to testify. In today's world, this would seem to be more than enough to set the wheels of justice in motion. But not, apparently, in the world of small towns and villages that comprised rural Maine at the turn of the century.  The local courts refused to hear the case, possibly because everyone knew everyone else and a fair trial seemed unlikely, as officials applied to higher courts.  Three years into the review process, it landed in the purview of the Hancock County Supreme Court in the City of Ellsworth. The trial went forward with William Treworgy accused of murdering his housekeeper. By July, 1902, things started to happen, strange, unlikely things that seemed to be more than mere coincidences. Many of the people involved in the original investigation four years past, had died including the coroner who examined her corpse and determined cause of death, and deputies who took part in the search for her body and the discovery of the tarp and hammer. Then, Joseph Fogg, the witness who claimed to have helped Treworgy dispose of Sarah's corpse, recanted his testimony, claiming that he had been forced to lie about his role in the case by the selectmen of the town of Bucksport and others. With no witnesses, all that remained was the tarp and hammer…except that these had disappeared, as well. The only piece of evidence besides the bloody knife that was found next to her body was her skull itself, kept inside a sealed box in the Ellsworth Court as evidence. It sat there in a locked case for one hundred years. Her headless body was buried in a pauper's grave. Thirty years afterwards, the entire graveyard was dug up and moved to make way for a new man-made lake, known today as Silver Lake. Since her grave had no marker, it is not known if, in fact, her body was moved or if it lies beneath the waters, far from any marker. Oak Hill Cemetery in Bucksport does have a marker for Sarah in the Ware family plot – but all that lies there is her head. It rests in the family plot of her in-laws and near the husband she divorced. To the extent that this is still an unsolved murder in the State of Maine, this case remains active. But it is unlikely that Sarah Ware's murder will ever be solved in any official way. What we know about William Treworgy, the loss of the evidence, the bad blood between them, it seems likely that Treworgy got away with murder. Some people claim that Sarah Ware can be seen wandering the shores of Silver Lake in the mists of a moonlit night, especially if it is a mid-September night. If ever a spirit was restless waiting for closure and justice, it would be hers. If you happen to drive down that lonely road and see her, stop for a moment and let her be. She is only seeking something we all thirst for – justice, which may only be found on the other side of the veil.

It is night. Darkness has fallen over the September night as the half moon rises and the stars begin to fill the sky over Penobscot Bay. Sometimes the night falls so deeply here in this[...]

Carried Through Time (August 26, 2018) Summer vacation took me to Blue Hill Maine to a cottage on the edge of Bagaduce River where we watched the tidal waters flow in and out to the Penobscot Bay. Tall stands of trees - Eastern Pine, Fir, Oak, and Birch – stood in quiet witness while birds fed on crustaceans buried deep in the pockets of the emptied mud flats. Time feels different on tidal waters, like a long, slow breath moving in and out, again and again. In these times, these uncertain and oh so busy times, let’s pause at the edge of the tidal river, breathe in the briny air, look deep into the forest, and feel ourselves carried through time, witnessing to the delicate beauty of life unfolding all around us. Rev. Alyson Jacks, Associate Minister Daniel Jackoway, Worship Associate Laurel Sprigg, soprano Daniel Lockert, piano Reiko Oda Lane, organ Asher Davison, song leader Jonathan Silk, Podcasting, OOS, Sound

Carried Through Time (August 26, 2018) Summer vacation took me to Blue Hill Maine to a cottage on the edge of Bagaduce River where we watched the tidal waters flow in and out to the Penobscot Bay. Tall stands of trees - Eastern Pine, Fir, Oak, and Birch – stood in quiet witness while birds fed on crustaceans buried deep in the pockets of the emptied mud flats. Time feels different on tidal waters, like a long, slow breath moving in and out, again and again. In these times, these uncertain and oh so busy times, let’s pause at the edge of the tidal river, breathe in the briny air, look deep into the forest, and feel ourselves carried through time, witnessing to the delicate beauty of life unfolding all around us. Rev. Alyson Jacks, Associate Minister Daniel Jackoway, Worship Associate Laurel Sprigg, soprano Daniel Lockert, piano Reiko Oda Lane, organ Asher Davison, song leader Jonathan Silk, Podcasting, OOS, Sound

Episode 2 of Salts & Water - Windjamming Penobscot Bay. This podcast episode is brought to you by Experience Maritime Maine.

For Life on Purpose Episode #71, my guest is psychologist Rachel Harris, PhD, who joined me for an enlightening and hope-filled conversation about her new book Listening to Ayahuasca: New Hope for Depression, Addiction, PTSD and Anxiety (New World Library). Ayahuasca, a psychedelic brew from the Amazon rainforest, is entering the Western lexicon through the popular media, the internet, and first-person reports. Considered a medicine by practitioners, the tea has great therapeutic potential that is just beginning to be studied. As a result of her own personal experience with ayahuasca, Dr. Harris was inspired to research how this medicine was being used in North America in the largest study of this kind to date. Listening to Ayahuasca describes her findings, including miracle cures of depression and addiction, therapeutic breakthroughs, spiritual revelations, and challenging or bad trips. “This book is intended for people considering ayahuasca and for people drinking the medicine. I hope it will help them integrate their insights and visions into their daily lives. There is much work people can do on their own to maximize the healing that ayahuasca offers,” writes Dr. Harris. “I also hope this book will inform psychotherapists about the process of integration after ayahuasca ceremonies, so they can provide a supportive and respectful container for the unfolding of healing.” About: Psychologist Rachel Harris, PhD is the author of Listening to Ayahuasca: New Hope for Depression, Addiction, PTSD and Anxiety. She was in private practice for thirty-five years working with people interested in psychospiritual development. During a decade working in research, Rachel received a National Institutes of Health New Investigator’s Award and published more than forty scientific studies in peer-reviewed journals. She has also consulted to Fortune 500 companies and the United Nations. Rachel was in the 1968 Esalen Residential Program, Big Sur, CA. This intensive six-month program focused on meditation and body work. In the early seventies, Rachel studied with Dorothy Nolte in the movement system, Structural Awareness, based on Dr. Ida Rolf’s Structural Integration (Rolfing). Rachel also co-edited the Journal of the American Dance Therapy Association for three years. Awareness of how people live and move in their bodies has always been an aspect of Rachel’s approach to psychotherapy. During the mid-eighties into the early aughts, Rachel led workshops at Omega Institute, NY and Esalen Institute, CA. She wrote Twenty Minute Retreats: Revive Your Spirit in Just Minutes a Day with Simple, Self-Led Practices (NY: Holt, 2000). This book describes many of the psychological, meditative and body awareness exercises she taught in her workshops. In 2005 Rachel traveled to a retreat center in Costa Rica and serendipitously found herself with the opportunity to drink ayahuasca with Ecuadorian shamans. The morning after her first ceremony, Rachel began asking questions about the therapeutic potential of this medicine. She conducted a three-year research project with Lee Gurel, PhD that resulted in “A Study of Ayahuasca Use in North America,” published in the Journal of Psychoactive Drugs (Summer, 2012). Rachel has a married daughter, Ashley Mason, who sings in the chorus at the Metropolitan Opera in NYC. Rachel is the co-author with Dorothy Nolte of Children Learn What They Live and Teenagers Learn What They Live (NY: Workman, 1998 and 2002) and the author of 20 Minute Retreats (Holt, 2000). Rachel spends eight months of the year on a remote island in Penobscot Bay, ME and winters in Napa, CA. To learn more about Dr. Harris' work, visit: https://www.listeningtoayahuasca.com/.

Producer/Host: Amy Browne Today we do a 2015 year in review with clips from stories about Divest UMaine, an investigation by the Maine Center for Public Interest Reporting, Kim Ervin Tucker, scientists and lobstermen opposing the Searsport dredging project, the fight over mining regulations in Maine, the NRDC and Maine People’s Alliance’s federal lawsuit over the mercury pollution in the Penobscot River, Mainers opposing the TPP, and a story by Naomi Graychase , recording at “Bucksport, Then and Now”, and more — and we look ahead to 2016! The post Maine Currents 1/6/16 first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.

Take a virtual journey to Penobscot Bay, Maine, to see how harbor pilots use U.S. Integrated Ocean Observing System (IOOS®) data for real-time ocean and weather conditions. This information is critical for safe navigation as pilots carefully move tankers and other vessels often carrying dangerous cargo safely in and out of port. IOOS coastal and marine data (e.g., water temperature, water level, currents, winds, and waves) are collected by many different tools including satellites, buoys, tide gauges, radar stations, and underwater vehicles. Most of the data collected are streamed online and viewable on digital maps for easy access. Episode permanent link and show notes

Let's Do Lunch! visits La Bella Vita at The Samoset Resort in Rockport, Maine. There's more to Maine than succulent and sweet lobster, which host Robin Milling discovered courtesy of the delicious tasting prepared by Executive Chef Tim Pierce. Cooking is not Tim's only talent. He tells Robin about his award winning ice-carving sculptures such as a life-size mammoth, and gingerbread holiday creations.  Tim grew up in Boothbay Harbor and says he was hooked by the kitchen with his first job as a dishwasher, joking that he's still doing dishes! He began cooking as a teenager out of necessity due to his working parents with skills so impressive he was making baguettes by nine and preparing dinner parties for the family. At the early age of 20 he became an executive chef. Lobster is a must on the menu but there's always an Italian twist starting with Antipasto Della Casa featuring Italian meats and cheeses garnished with house-made mustardo, fig jam, and juicy raisins still on the vine. The Swedish inspired crispy hand-crafted gnocchi adds a pleasing crunch with wild mushrooms, Italian bacon, and spinach topped with creamy Pecorino sauce. Tim, who has been lobster chef of the year prepared an Italian style surf and turf featuring the sweet knuckle of the butter poached lobster and petite filet mignon topped with Tuscan potato puree. The summer months are perfect for al fresco dining at La Bella Vita, either by night with romantic views of Penobscot Bay or for lunching lazily watching the lobster schooners go by.

Milling About visits The Samoset Resort in Maine where romance, relaxation and recreation meet at their lovely waterfront property sitting on the edge of Penobscot Bay. Just sit back on a lawn chair and watch the boats go by or play 18 holes of their championship golf course while taking in spectacular views of the ocean. Luxuriate in your renewal journey at The Spa at Samoset after negotiating rocks on the near mile trek on the Breakwater to the Lighthouse. General Manager Connie Russell and Spa Director Julie Slade join host Robin Milling. Connie came to the hospitality business working at his father's motel in his hometown of Orono. Along the property are one and two-bedroom cozy cottages Wind Drift, Spring Tide and Sea Spray, which Connie says are perfect for couples with screened porches and gas fireplaces. The glorious 100 year-old Flume cottage juts out on the rocks boasting an outdoor hot tub on a glass railing deck overlooking Penobsot Bay. Like any historic hotel, The Samoset originally built in 1889, has had it's share of ghost stories like the elevator closing or opening by itself! At The Spa, Robin was treated to an aromatherapy massage deeply inhaling frankincense; the scents are tailored to your mood. Before your massage, breathe in the ocean air while sipping tea in the serenity room with privacy screens so you can walk around freely in their cushy velvety robe. Julie tells Robin the massage mixes western and eastern traditions with reflexology, Chakra work and Swedish. A former owner of her own day spa in Camden, Julie led Colorado whitewater rafting tours before she settled in Maine, and now she comes 'skipping to work!'

Program Topic:big boat stuff Key Discussion Points: a) piloting big vessels in Penobscot Bay b) elvers are big bucks c) come boating sucess Guests by name and affiliation: A) B) David Gelinas Penobscot Bay Pilots C ) Call In Program: yes Host :m joyce/a sprague Engineer: amy browne **Also archived along with this show is a show from September 2003, about which Mike writes: “This 9/03 BoatTalk episode is a classic – and about the best sea story you’ll ever hear. Present day Penobscot Bay Pilot Skip Strong describes his rescue of a tug & barge in a mayday situation in a tropical storm off Florida with a loaded oil tanker. This unusual situation resulted in the largest marine salvage award in history because of the very special cargo in the barge. Highly recommended BoatTalk’s greatest hit” The post BoatTalk 4/10/12 (and September 2003 bonus episode) first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.

Scallopers Michael Keating and Arthur Alley talk for 33 minutes with WRFR Community Radio's Ron Huber about their fishery in southwest Penobscot Bay, about the regulators who rule their fisheries and about the importance of keeping the complete ecosystem of the Bay and Gulf of Maine healthy.

On April 23, 2009 scallopers Arthur Alley and Michael Keating visited the studio of WRFR Community Radio in Rockland,to talk about scallops and the state of Penobscot Bay.

On April 8, 2009 Maine DMR hosted a meeting at the Rockland Ferry terminal to discuss potential closed aras within the waters of Penobscot Bay and Muscongus Bay. Listen to a 37 minute meeting of several dozen scallopers, led by Togue Braun, DMR's scallop expert

The Mussel Ridge archipelago of islets and ledges in southwest Penobscot Bay is interlaced by swirling currents of water from both the Gulf of Maine and the Penobscot River, which each spring travels as a giant plume of snowmelt freshwater from the river's 8,500 square mile watershed all the way to the southwestern edges of Penobscot Bay, bringing an untold wealth of nutrients to the waiting bay ecosystems. Michael Keating fishes this complex waterbody for a living and involves himself in the stakeholder processes for the ever-evolving fishing laws and regulations emanating from the agencies and legislatures of the state of Maine and the United States of America. In this 42 minute interview on March 25, 2009, Keating describes his experiences within the fisheries of the Mussel Ridge, details how scallopers and other fishermen take on thes latest challenges and opportunities, and offers a heads up on a new initiative dawning for Bay fishermen a zone-managed cod trapping industry in Maine's territorial Sea (Mean Low Water to three miles from shore. PHOTO: Mike Keating (right) and Arthur Alley(left) aboard Keating's scallop dragger Mary and Donna. (BDN photo by G. Degre)

This is a shorter reposting of BayWatch talking by phone to Harlan McLaughlin, president of Fair Play for Sears Island. Harlan explains the mitigation process that the MDOT hopes to foist over Mainers with the help of the Army Corps of Engineers. We commiserate over what a mess the Maine Chapter of the Sierra Club has made of Sears Island by teaming up with the Maine Dept of Transportation. As always, the sounds of Penobscot Bay interweave...

Today's podcast features an interview with Harlan McLaughlin, president of Fair Play for Sears Island. Sears Island has been defended people living nearby and from around the bay against efforts to build a nuclear power plant, a coal power plant, a woodchip port, an LNG port, and now, a container port. This latest gambit amazingly finds Maine Sierra Club on the side of the industrial port wannabes. Settling for half a loaf, the Maine chapter has conceded that big industry may build a port on the island, so long as it meets agency standards. Up to 1/3 of the 940 acre island could be terraformed. Big loser in the negotiations: eelgrass. The magic meadows along the west side of Sears Island nourish the great upper estuary of :Penobscot Bay, a place where river and bay come together in an ecosystem that nourishes and nurtures the groundfish, salmon, herring, mackerel, striped bass, bluefish and shrimp that live in or visit Penobscot Bay. All could be lost if a toxic container port sets up on Sears island, as proposed by government and industry. And Sierra Club! Listen to a twenty minute discussion between Huber and McLauglin discussing this important subject.

Twentyone minutes of the sounds of Rockland-bound fishing boats and ferries passing the Owls Head Lighthouse in heavy fog, while waves from the restless Gulf of Maine wash against the stony beach below.

This show takes a look at a shameful period in the European colonization of Newfoundland, the Northwest atlantic tip of Canada. Ron Huber reads a selection from "New Founde Land" by Canadian writer and naturalist Farley Mowat. The section of the book describes the relentless and cruel destruction of the Great Auk, a penguinlike bird that lived in vast rookeries on the rocky coasts and islands there, by the colonists of Atlantic Canada and New England for eggs, meat, feathers, even for oil!

This is the corrected version of the podcast, broadcast Saturday, October 6, 2007: OK, I should leave the puns to Ken... This week we talk about the sounds and aromas of fall...and kvetch about them too. And I talk about some of my botanical finds and sensory experiences from my recent road trip to the shores of Penobscot Bay. Please visit www.realdirtradio.com to see Ken's photos illustrating topics in this podcast.