Podcasts about Scotts

Welcome to Episode #492 - Today we discuss Sydney Sweeney and how she is responsible for the authentication of Scotts #317, the 5-cent Imperf of 1908....  Spoiler, she isn't.

We want to hear from you, Send us a TextWith show season starting for Jeepers, what better time than no to discuss kindness. Neil, Scott, and Jeff deliver their views on how everyone can make events more fun and engaging. Tune in to hear Scotts take on getting kids involved. Hear how Neil will do anything for Jeep Parts. Hope to see everyone at Bantam! Our next episode will record right in our Booth at Bantam Jeep Heritage Festival. Want to be part of the live audience? Stop by our booth Saturday June 14th 10:19am. This episode is sponsored by Windshield Defense. Like a screen protector for your phone, Windshield Defense by Racing Optics provides a triple layer (removable film) protection for your windshield. Grab yours now at windshielddefense.com and use promo code SFJ20 to save 20% off while promo lasts. Support the showThanks for listening, give us a review and check us out on YouTube -SFJ4x4 and visit our website to grab some great gear or products for your Jeep, SFJ4x4.com. Don't forget, you can email Jeffc@sfj4x4.com for special content requests, blind react videos, suggestions, special guests, or general questions. Check out our Patreon patreon.com/ISpeakJeep

Join Richard in this weeks podcast as we tackle the brassicas with our seed of the month kale. Down on the allotment Richard is also protecting his brasicas from pesky pigeons and we finish with a book of review of "Chas and his roock and roll garden" Seed of the month kale The first episode of every month we include our seed of the month and this month its kale. Kale is hardy and delicous brassica worthy to grow on any plot. Providing us with delicous leaves right through winter if sown at the right time. And now is the right time. Some of our favourite kale seeds include Nero Di Toscona Dwarf green curled Scarlet kale Allotment update: protecting from pigeons Down on the allotment Richard has been discovering the brassicas already planted out have been nibbled on by pigeons. To combat this Richard has got out his net covers and placed over his brassicas to protect them a little. He also shares some other effective methods of protecting brassicas from hungry pigeons. Chef Scotts recipe of the week This week chef Scott is sharing an interesting way to use rhubarb by incorperating into a indian dahll recipe. And finally In the final segment this week Richard share his book review of Chas and his rock and roll allotment.

I was delighted to talk to the historian Helen Castor (who writes The H Files by Helen Castor) about her new book The Eagle and the Hart. I found that book compulsive, and this is one of my favourite interviews so far. We covered so much: Dickens, Melville, Diana Wynne Jones, Hilary Mantel, whether Edward III is to blame for the Wars of the Roses, why Bolingbroke did the right thing, the Paston Letters, whether we should dig up old tombs for research, leaving academia, Elizabeth I, and, of course, lots of Shakespeare. There is a full transcript below.Henry: Is there anything that we fundamentally know about this episode in history that Shakespeare didn't know?Helen: That's an extremely good question, and I'm tempted now to say no.Helen told me what is hardest to imagine about life in the fourteenth century.I think it's relatively easy to imagine a small community or even a city, because we can imagine lots of human beings together, but how relationships between human beings happen at a distance, not just in terms of writing a letter to someone you know, but how a very effective power structure happens across hundreds of miles in the absence of those things is the thing that has always absolutely fascinated me about the late Middle Ages. I think that's because it's hard, for me at least, to imagine.Good news to any publishers reading this. Helen is ready and willing to produce a complete edition of the Paston Letters. They were a bestseller when they were published a hundred years ago, but we are crying out for a complete edition in modern English.Henry: If someone wants to read the Paston Letters, but they don't want to read Middle English, weird spelling, et cetera, is there a good edition that they can use?Helen: Yes, there is an Oxford World's Classic. They're all selected. There isn't a complete edition in modern spelling. If any publishers are listening, I would love to do one. Henry: Yes, let's have it.Helen: Let's have it. I would really, really love to do that.Full TranscriptHenry: Today I am talking to the historian, Helen Castor. Helen is a former fellow of Sydney Sussex College in Cambridge. She has written several books of history. She is now a public historian, and of course, she has a Substack. The H Files by Helen CastorWe are going to talk mostly about her book, The Eagle and the Hart, which is all about Richard II and Henry IV. I found this book compulsive, so I hope you will read it too. Helen, welcome.Helen: Thank you very much for having me, Henry.Henry: You recently read Bleak House.Helen: I did.Henry: What did you think?Helen: I absolutely loved it. It was a long time since I'd read any Dickens. I read quite a lot when I was young. I read quite a lot of everything when I was young and have fallen off that reader's perch, much to my shame. The first page, that description of the London fog, the London courts, and I thought, "Why have I not been doing it for all these years?"Then I remembered, as so often with Dickens, the bits I love and the bits I'm less fond of, the sentimentality, the grotesquerie I'm less fond of, but the humour and the writing. There was one bit that I have not been able to read then or any of the times I've tried since without physically sobbing. It's a long time since a book has done that to me. I don't want to spoil it for anyone who hasn't read it, but--Henry: I'm sure I know what you mean. That's quite a sentimental passage.Helen: It is, but not sentimental in the way that I find myself objecting to. I think I really respond viscerally to this sentimentalising of some of his young women characters. I find that really off-putting, but I think now I'm a parent, and particularly I'm a parent of a boy [laughter]. I think it's that sense of a child being completely alone with no one to look after them, and then finding some people, but too late for a happy ending.Henry: Too late.Helen: Yes.Henry: You've been reading other classic novels, I think, Moby Dick?Helen: I'm in the middle of Moby Dick as we speak. I'm going very slowly, partly because I'm trying to savour every sentence. I love the sentence so much as a form. Melville is just astonishing, and also very, very funny in a way I hadn't expected to keep laughing out loud, sometimes because there is such humour in a sentence.Sometimes I'm just laughing because the sentence itself seems to have such audacity and that willingness to go places with sentences that sometimes I feel we've lost in the sort of sense of rules-based sentences instead of just sticking a semicolon and keep going. Why not, because it's so gorgeous and full of the joy of language at that point? Anyway, I'm ranting now, but--Henry: No, I think a lot of rules were instituted in the early 20th century that said you can and cannot do all these things, and writers before that point had not often followed those rules. I think what it has led to is that writers now, they can't really control a long sentence, in the sense that Melville and Dickens will do a long sentence, and it is a syntactically coherent thing, even though it's 60, 70 longer words. It's not just lots of stuff, and then, and then. The whole thing has got a beautiful structure that makes sense as a unit. That's just not obvious in a lot of writing now.Helen: I think that's exactly right. Partly, I've been reading some of the Melville out loud, and having just got onto the classification of whales, you can see I'm going very slowly. Those sentences, which are so long, but it's exactly that. If you read them out loud, and you follow the sense, and the punctuation, however irregular it might be in modern terms, gives you the breathing, you just flow on it, and the excitement of that, even or perhaps especially when one is talking about the classification of whales. Just joyful.Henry: Will we be seeing more very long sentences in your next book?Helen: I think I have to get a bit better at it. The habit that I was conscious of anyway, but became acutely so when I had to read my own audiobook for the first time is that I think I write in a very visual way. That is how I read because mostly it's silent.I discovered or rediscovered that often what I do when I want to write a very long sentence is I start the sentence and then I put a diversion or extra information within em dashes in the middle of the sentence. That works on the page because you can see spatially. I love that way of reading, I love seeing words in space.A lot of different kinds of text, both prose and poetry, I read in space like that. If you're reading to be heard, then the difficulty of breaking into a sentence with, whether it's brackets or em dashes or whatever, and then rejoining the sentence further down has its own challenges. Perhaps I ought to try and do less of that and experiment more with a Melvillian Dickensian onward flow. I don't know what my editor will think.Henry: What has brought you back to reading novels like this?Helen: I was wondering that this morning, actually, because I'm very aware having joined Substack, and of course, your Substack is one of the ones that is leading me further in this direction, very inspiringly, is discovering that lots of other people are reading and reading long novels now too. It reminded me of that thing that anyone with children will know that you have a baby and you call it something that you think only you have thought of, and then four years later, you call and you discover half the class is called that name. You wonder what was in the water that led everybody in that direction.I've just seen someone tweet this morning about how inspired they are by the builder next door who, on the scaffolding, is blasting the audiobook Middlemarch to the whole neighborhood.Henry: Oh my god. Amazing.Helen: It's really happening. Insofar as I can work out what led me as opposed to following a group, which clearly I am in some sense, I think the world at the moment is so disquieting, and depressing, and unnerving, that I think for me, there was a wish to escape into another world and another world that would be very immersive, not removed from this world completely. One that is very recognizably human.I think when I was younger, when I was in my teens and 20s, I loved reading science fiction and fantasy before it was such a genre as it is now. I'm a huge fan of Diana Wynne Jones and people like that.Henry: Oh, my god, same. Which one is your favorite?Helen: Oh, that is an impossible question to answer, partly because I want to go back and read a lot of them. Actually, I've got something next to me, just to get some obscurity points. I want to go back to Everard's Ride because there is a story in here that is based on the King's square. I don't know if I'm saying that right, but early 15th century, the story of the imprisoned King of Scotland when he was in prison in England. That one's in my head.The Dalemark Quartet I love because of the sort of medieval, but then I love the ones that are pure, more science fantasy. Which is your favorite? Which should I go back to first?Henry: I haven't read them all because I only started a couple of years ago. I just read Deep Secret, and I thought that was really excellent. I was in Bristol when I read it quite unwittingly. That was wonderful.Helen: Surrounded by Diana Wynne Jones' land. I only discovered many years into an obsession that just meant that I would read every new one while there were still new ones coming out. I sat next to Colin Burrow at a dinner in--Henry: Oh my god.Helen: I did sort of know that he was her son, but monstered him for the whole time, the whole course of sitting together, because I couldn't quite imagine her in a domestic setting, if you like, because she came up with all these extraordinary worlds. I think in days gone by, I went into more obviously imaginary worlds. I think coming back to it now, I wanted something big and something that I really could disappear into. I've been told to read Bleak House for so many decades and felt so ashamed I hadn't. Having done that, I thought, "Well, the whale."Henry: Have you read Diana Wynne Jones' husband's books, John Burrow? Because that's more in your field.Helen: It is, although I'm ashamed to say how badly read I am in medieval literary scholarship. It's weird how these academic silos can operate, shouldn't, probably don't for many, many people. I always feel I'm on horribly thin ground, thin ice when I start talking about medieval literature because I know how much scholarship is out there, and I know how much I haven't read. I must put John Burrow on my list as well.Henry: He's very readable. He's excellent.Helen: I think I can imagine, but I must go into it.Henry: Also, his books are refreshingly short. Your husband is a poet, so there's a lot of literature in your life at the moment.Helen: There is. When we met, which was 10 years ago-- Again, I don't think of myself as knowledgeable about poetry in general, but what was wonderful was discovering how much we had in common in the writing process and how much I could learn from him. To me, one of the things that has always been extremely important in my writing is the sentence, the sound of a sentence, the rhythm of a sentence folded into a paragraph.I find it extremely hard to move on from a paragraph if it's not sitting right yet. The sitting right is as much to do with sound and rhythm as it is to do with content. The content has to be right. It means I'm a nightmare to edit because once I do move on from a paragraph, I think it's finished. Obviously, my editor might beg to differ.I'm very grateful to Thomas Penn, who's also a wonderful historian, who's my editor on this last book, for being so patient with my recalcitrance as an editee. Talking to my husband about words in space on the page, about the rhythm, about the sound, about how he goes about writing has been so valuable and illuminating.I hope that the reading I've been doing, the other thing I should say about going back to big 19th-century novels is that, of course, I had the enormous privilege and learning curve of being part of a Booker jury panel three years ago. That too was an enormous kick in terms of reading and thinking about reading because my co-judges were such phenomenal reading company, and I learned such a lot that year.I feel not only I hope growing as a historian, but I am really, really focusing on writing, reading, being forced out of my bunker where writing is all on the page, starting to think about sound more, think about hearing more, because I think more and more, we are reading that way as a culture, it seems to me, the growth of audiobooks. My mother is adjusting to audiobooks now, and it's so interesting to listen to her as a lifelong, voracious reader, adjusting to what it is to experience a book through sound rather than on the page. I just think it's all fascinating, and I'm trying to learn as I write.Henry: I've been experimenting with audiobooks, because I felt like I had to, and I sort of typically hate audio anything. Jonathan Swift is very good, and so is Diana Wynne Jones.Helen: Interesting. Those two specifically. Is there something that connects the two of them, or are they separately good?Henry: I think they both wrote in a plain, colloquial style. It was very capable of being quite intellectual and had capacity for ideas. Diana Wynne Jones certainly took care about the way it sounded because she read so much to her own children, and that was really when she first read all the children's classics. She had developed for many years an understanding of what would sound good when it was read to a child, I think.Helen: And so that's the voice in her head.Henry: Indeed. As you read her essays, she talks about living with her Welsh grandfather for a year. He was intoning in the chapel, and she sort of comes out of this culture as well.Helen: Then Swift, a much more oral culture.Henry: Swift, of course, is in a very print-heavy culture because he's in London in 1710. We've got coffee houses and all the examiner, and the spectator, and all these people scribbling about each other. I think he was very insistent on what he called proper words in proper places. He became famous for that plain style. It's very carefully done, and you can't go wrong reading that out loud. He's very considerate of the reader that you won't suddenly go, "Oh, I'm in the middle of this huge parenthesis. I don't know how--" As you were saying, Swift-- he would be very deliberate about the placement of everything.Helen: A lot of that has to do with rhythm.Henry: Yes.Helen: Doesn't it? I suppose what I'm wondering, being very ignorant about the 18th century is, in a print-saturated culture, but still one where literacy was less universal than now, are we to assume that that print-saturated culture also incorporated reading out loud —Henry: Yes, exactly so. Exactly so. If you are at home, letters are read out loud. This obviously gives the novelists great opportunities to write letters that have to sort of work both ways. Novels are read out loud. This goes on into the 19th century. Dickens had many illiterate fans who knew his work through it being read to them. Charles Darwin's wife read him novels. When he says, "I love novels," what he means is, "I love it when my wife reads me a novel." [laughs]You're absolutely right. A good part of your audience would come from those listening as well as those reading it.Helen: Maybe we're getting back towards a new version of that with audiobooks expanding in their reach.Henry: I don't know. I saw some interesting stuff. I can't remember who was saying this. Someone was saying, "It's not an oral culture if you're watching short videos. That's a different sort of culture." I think, for us, we can say, "Oh yes, we're like Jonathan Swift," but for the culture at large, I don't know. It is an interesting mixed picture at the moment.Helen: Yes, history never repeats, but we should be wary of writing off any part of culture to do with words.Henry: I think so. If people are reporting builders irritating the neighbourhood with George Eliot, then it's a very mixed picture, right?Helen: It is.Henry: Last literary question. Hilary Mantel has been a big influence on you. What have you taken from her?Helen: That's quite a hard question to answer because I feel I just sit at her feet in awe. If I could point to anything in my writing that could live up to her, I would be very happy. The word that's coming into my head when you phrase the question in that way, I suppose, might be an absolute commitment to precision. Precision in language matters to me so much. Her thought and her writing of whatever kind seems to me to be so precise.Listening to interviews with her is such an outrageous experience because these beautifully, entirely formed sentences come out of her mouth as though that's how thought and language work. They don't for me. [chuckles] I'm talking about her in the present tense because I didn't know her, but I find it hard to imagine that she's not out there somewhere.Henry: She liked ghosts. She might be with us.Helen: She might. I would like to think that. Her writing of whatever genre always seems to me to have that precision, and it's precision of language that mirrors precision of thought, including the ability to imagine herself into somebody else's mind. That's, I suppose, my project as a historian. I'm always trying to experience a lost world through the eyes of a lost person or people, which, of course, when you put it like that, is an impossible task, but she makes it seem possible for her anyway and that's the road I'm attempting to travel one way or another.Henry: What is it about the 14th and 15th centuries that is hardest for us to imagine?Helen: I think this speaks to something else that Hilary Mantel does so extraordinarily well, which is to show us entire human beings who live and breathe and think and feel just as we do in as complex and contradictory and three-dimensional a way as we do, and yet who live in a world that is stripped of so many of the things that we take so much for granted that we find it, I think, hard to imagine how one could function without them.What I've always loved about the late Middle Ages, as a political historian, which is what I think of myself as, is that it has in England such a complex and sophisticated system of government, but one that operates so overwhelmingly through human beings, rather than impersonal, institutionalized, technological structures.You have a king who is the fount of all authority, exercising an extraordinary degree of control over a whole country, but without telephones, without motorized transport, without a professional police service, without a standing army. If we strip away from our understanding of government, all those things, then how on earth does society happen, does rule happen, does government happen?I think it's relatively easy to imagine a small community or even a city, because we can imagine lots of human beings together, but how relationships between human beings happen at a distance, not just in terms of writing a letter to someone you know, but how a very effective power structure happens across hundreds of miles in the absence of those things is the thing that has always absolutely fascinated me about the late Middle Ages. I think that's because it's hard, for me at least, to imagine.Henry: Good. You went to the RSC to watch The Henriad in 2013.Helen: I did.Henry: Is Shakespeare a big influence on this book? How did that affect you?Helen: I suppose this is a long story because Richard II and The Henriad have been-- there is Richard II. Richard II is part of The Henriad, isn't it?Henry: Yes.Helen: Richard II. Henry, see, this is-Henry: The two Henry IVs.Helen: -I'm not Shakespearean. I am. [laughs]Henry: No, it's Richard II, the two Henry IVs, and Henry V. Because, of course, Henry Bolingbroke is in Richard II, and it--Helen: Yes, although I never think of him as really the same person as Henry IV in the Henry IV plays, because he changes so dramatically between the two.Henry: Very often, they have a young actor and an old actor, and of course, in real life, that's insane, right?Helen: It's absolutely insane. I always separate Henry IV, parts I and II, and Henry V off from Richard II because it feels to me as though they operate in rather different worlds, which they do in lots of ways. My story with the Henry ad, now that we've established that I actually know what we're talking about, goes back to when I was in my teens and Kenneth Branagh was playing Henry V in Stratford. I grew up very near Stratford.At 15, 16, watching the young Branagh play Henry V was mind-blowing. I went a whole number of times because, in those days, I don't know how it is now, but you could go and get standing tickets for a fiver on the day. More often than not, if there were spare seats, you would get moved into some extraordinary stall seats at-- I was about to say halftime, I'm a football fan, at the interval.Henry V was the play I knew best for a long time, but at the same time, I'd studied Richard II at school. The Henry IV plays are the ones I know least well. I'm interested now to reflect on the fact that they are the ones that depart most from history. I wonder whether that's why I find them hardest to love, because I'm always coming to the plays from the history. Richard II and Henry V actually have a lot to show us about those kings. They bear very close relationships with a lot of the contemporary chronicles, whereas the Henry IV ones is Shakespeare doing his own thing much more.Particularly, as you've just said, making Henry IV way too old, and/or depending which angle we're looking at it from, making Hotspur way too young, the real Hotspur was three years older than Henry IV. If you want to make Hotspur and how-- your young Turks, you have to make Henry IV old and grey and weary with Northumberland.Back in 2013, the really intense experience I had was being asked to go for a day to join the RSC company on a school trip to Westminster Hall and Westminster Abbey at the beginning of their rehearsal process, so when David Tennant was playing Richard II and Greg Doran was directing. That was absolutely fascinating. I'd been thinking about Richard and Henry for a very long time. Obviously, I was a long way away from writing the book I've just written.Talking to actors is an extraordinary thing for a historian because, of course, to them, these are living characters. They want to know what's in their character's mind. They want to know, quite rightly, the chronological progression of their character's thought. That is something that's become more and more and more and more important to me.The longer I go on writing history, the more intensely attached I am to the need for chronology because if it hasn't happened to your protagonist yet, what are you doing with it? Your protagonist doesn't yet know. We don't know. It's very dramatically clear to us at the moment that we don't know what's happening tomorrow. Any number of outrageous and unpredictable things might happen tomorrow.The same certainly was true in Richard II's reign, goes on being true in Henry IV's reign. That experience, in the wake of which I then went to see Henry IV, parts 1 and 2 in Stratford, was really thought-provoking. The extent to which, even though I'd been working on this period for a long time, and had taught this period, I still was struggling to answer some of those questions.Then I'd just had the similarly amazing experience of having a meeting with the Richard II cast and director at the Bridge Theatre before the Nicholas Heitner production with Jonathan Bailey as Richard went on stage. That was actually towards the end of their rehearsal process. I was so struck that the actor playing Bolingbroke in this production and the actor playing Bolingbroke in the production back in 2013 both asked the same excellent first question, which is so hard for a historian to answer, which is at what point does Bolingbroke decide that he's coming back to claim the crown, not just the Duchy of Lancaster?That is a key question for Bolingbroke in Richard II. Does he already know when he decides he's going to break his exile and come back? Is he challenging for the crown straight away, or is he just coming back for his rightful inheritance with the Duchy of Lancaster? That is the million-dollar question when you're writing about Bolingbroke in 1399.It's not possible to answer with a smoking gun. We don't have a letter or a diary entry from Henry Bolingbroke as he's about to step on board ship in Boulogne saying, "I'm saying I'm coming back for the Duchy of Lancaster." The unfolding logic of his situation is that if he's going to come back at all, he's going to have to claim the crown. When he admits that to himself, and when he admits that to anybody else, are questions we can argue about.It was so interesting to me that that's the question that Shakespeare's Richard II throws up for his Bolingbroke just as much as it does for the historical one.Henry: Is there anything that we fundamentally know about this episode in history that Shakespeare didn't know?Helen: That's an extremely good question, and I'm tempted now to say no.Henry: When I left your book, the one thing I thought was that in Shakespeare, the nobles turn against Richard because of his excesses. Obviously, he really dramatizes that around the death of Gaunt. From your book, you may disagree with this, I came away thinking, well, the nobles wanted more power all the time. They may not have wanted the king's power, but there was this constant thing of the nobles feeling like they were owed more authority.Helen: I think the nobles always want more power because they are ambitious, competitive men within a political structure that rewards ambition and competition. The crucial thing for them is that they can only safely pursue ambition and competition if they know that the structure they're competing within will hold.The thing that keeps that structure rooted and solidly in place is the crown and the things that the crown is there to uphold, namely, particularly, the rule of law because if the rule of law starts to crumble, then the risk is that the whole structure collapses into anarchy. Within anarchy, then a powerful man cannot safely compete for more power because an even more powerful man might be about to roll into his estates and take them over. There have to be rules. There has to be fair competition. The referee is there on a football pitch for a reason.The king, in some senses, whether you want to see him as the keystone in an arch that supports a building or whether he's a referee on a football pitch, there are reasons why powerful men need rules because rules uphold their power. What goes wrong with Richard is that instead of seeing that he and the nobles have a common interest in keeping this structure standing, and that actually he can become more powerful if he works with and through the nobles, he sees them as a threat to him.He's attempting to establish a power structure that will not be beholden to them. In so doing, he becomes a threat to them. This structure that is supposed to stand as one mutually supportive thing is beginning to tear itself apart. That is why Richard's treatment of Bolingbroke becomes such a crucial catalyst, because what Richard does to Bolingbroke is unlawful in a very real and very technical sense. Bolingbroke has not been convicted of any crime. He's not been properly tried. There's been this trial by combat, the duel with Mowbray, but it hasn't stopped arbitrarily, and an arbitrary punishment visited upon both of them. They're both being exiled without having been found guilty, without the judgment of God speaking through this duel.Richard then promises that Bolingbroke can have his inheritance, even though he's in exile. As soon as Gaunt dies, Richard says, "No, I'm having it." Now, all of that is unlawful treatment of Bolingbroke, but because Bolingbroke is the most powerful nobleman in the country, it is also a warning and a threat to every other member of the political classes that if the king takes against you, then his arbitrary will can override the law.That diagnosis is there in Shakespeare. It's the Duke of York, who in reality was just a completely hopeless, wet figure, but he says, and I've got it written down, keep it beside me.Henry: Very nice.Helen: Kind of ridiculous, but here it is. York says to Richard, "Take Herford's rights away and take from time his charters and his customary rights. Let not tomorrow then ensue today. Be not thyself, for how art thou a king, but by fair sequence and succession?" In other words, if you interfere with, and I know you've written about time in these plays, it's absolutely crucial.Part of the process of time in these plays is that the rules play out over time. Any one individual king must not break those rules so that the expected process of succession over time can take place. York's warning comes true, that Richard is unseating himself by seeking to unseat Bolingbroke from his inheritance.Henry: We give Shakespeare good marks as a historian.Helen: In this play, yes, absolutely. The things he tinkers with in Richard II are minor plot points. He compresses time in order to get it all on stage in a plausible sequence of events. He compresses two queens into one, given that Richard was married to, by the time he fell, a nine-year-old who he'd married when he was six. It's harder to have a six-year-old making speeches on stage, so he puts the two queens into one.Henry: You don't want to pay another actor.Helen: Exactly.Henry: It's expensive.Helen: You don't want children and animals on stage. Although there is a wonderful account of a production of Richard II on stage in the West End in 1901, with the Australian actor Oscar Asche in it, playing Bolingbroke. The duel scene, he had full armour and a horse, opening night. It was a different horse from the one he rehearsed with. He gives an account in his autobiography of this horse rearing and him somersaulting heroically off the horse.Henry: Oh my god.Helen: The curtain having to come down and then it going back up again to tumultuous applause. You think, "Oscar, I'm wondering whether you're over-egging this pudding." Anyway, I give Shakespeare very good marks in Richard II, not really in the Henry IV plays, but gets back on track.Henry: The Henry IV plays are so good, we're forgiven. Was Richard II a prototype Henry VIII?Helen: Yes. Although, of course, history doesn't work forwards like that. I always worry about being a historian, talking about prototypes, if you see what I mean, but--Henry: No, this is just some podcast, so we don't have to be too strict. He's over-mighty, his sense of his relationship to God. There are issues in parliament about, "How much can the Pope tell us what to do?" There are certain things that seem to be inherent in the way the British state conceives of itself at this point that become problematic in another way.Helen: Is this pushing it too far to say Richard is a second son who ends up being the lone precious heir to the throne who must be wrapped in cotton wool to ensure that his unique God-given authority is protected? Also describes Henry VIII.Henry: They both like fancy clothes.Helen: Both like fancy clothes. Charles I is also a second son who has to step up.Henry: With wonderful cuffs and collars. He's another big dresser.Helen: And great patrons of art. I think we're developing new historical--Henry: No, I think there's a whole thing here.Helen: I think there is. What Henry does, of course, in rather different, because a lot has changed thanks to the Wars of the Roses, the power of the nobility to stand up independently of the crown is significantly lessened by the political effects of the Wars of the Roses, not at least that a lot of them have had their heads cut off, or died in battle, and the Tudors are busy making sure that they remain in the newly subjected place that they find themselves in.Henry then finds to go back to Hilary Mantel, a very, very able political servant who works out how to use parliament for him in rejecting those extra English powers that might restrain him. I do always wonder what Richard thought he was going to do if he'd succeeded in becoming Holy Roman Emperor, which I take very seriously as a proposition from Richard.Most other historians, because it's so patently ridiculous, if you look at it from a European perspective, have just said, "Oh, he got this idea that he wanted to become Holy Roman Emperor," but, of course, it was never going to happen. In Richard's mind, I think it was extremely real. Whether he really would have tried to give the English crown to Rutland, his favorite by the end of the reign, while he went off in glory to be crowned by the Pope, I don't know what was in his head. The difference with Henry is that the ambitions he eventually conceives are very England-focused, and so he can make them happen.Henry: Is there some sort of argument that, if the king hadn't won the Wars of the Roses, and the nobility had flourished, and their sons hadn't been killed, the reformation would have just been much harder to pull off here?[silence]Helen: I wonder what that would have looked like, because in a sense, the king was always going to win the Wars of the Roses, in the sense that you have to have a king. The minute you had someone left standing after that mess, that protracted mess, if he knew what he was doing, and there are arguments about the extent to which Henry VII knew what he was doing, or was doing something very different, whether or not he knew it was different, but there was always going to be an opportunity for a king to assert himself after that.Particularly, the extent to which the lesser landowners, the gentry had realized they couldn't just rely on the nobility to protect them anymore. They couldn't just follow their lord into battle and abdicate responsibility.Henry: Okay.Helen: That's an interesting--Henry: How much should we blame Edward III for all of this?Helen: For living too long and having too many sons?Henry: My argument against Edward is the Hundred Years' War, it doesn't actually go that well by the end of his reign, and it's cost too much money. Too many dukes with too much power. It's not that he had too many sons, he elevates them all and creates this insane situation. The war itself starts to tip the balance between the king and parliament, and so now you've got it from the dukes, and from the other side, and he just didn't manage the succession at all.Even though his son has died, and it really needs some kind of-- He allowed. He should have known that he was allowing a vacuum to open up where there's competition from the nobles, and from parliament, and the finances are a mess, and this war isn't there. It's just… he just leaves a disaster, doesn't he?Helen: I think I'd want to reframe that a little bit. Perhaps, I'm too much the king's friend. I think the political, and in some senses, existential dilemma for a medieval king is that the best of all possible worlds is what Edward achieves in the 1340s and the 1350s, which is, fight a war for reasons that your subjects recognize as in the common interest, in the national interest. Fight it over there so that the lands that are being devastated and the villages and towns that are being burned are not yours. Bring back lots of plunder. Everybody's getting richer and feeling very victorious.You can harness parliament. When things are going well, a medieval king and a parliament are not rivals for power. An English king working with parliament is more powerful than an English king trying to work without parliament. If things are going well, he gets more money, he can pass laws, he can enforce his will more effectively. It's win-win-win if you're ticking all those boxes.As you're pointing out, the worst of all possible worlds is to be fighting a war that's going badly. To fight a war is a big risk because either you're going to end up winning and everything's great, or if it's going badly, then you'd rather be at peace. Of course, you're not necessarily in a position to negotiate peace, depending on the terms of the war you've established.Similarly, with sons, you want heirs. You want to know the succession is safe. I think Edward's younger sons would argue with you about setting up very powerful dukes because the younger ones really-- York and Gloucester, Edmund of Langley and Thomas of Woodstock, really didn't have much in the way of an estate given to them at all, and always felt very hard done by about that. John of Gaunt is set up very well because he's married off to the heir of the Duke of Lancaster who's handily died, leaving only daughters.Henry: That's the problem, isn't it, creating that sort of impact? John of Gaunt is far too rich and powerful.Helen: You say that, except he's unfeasibly loyal. Without Gaunt, disaster happens much, much, much earlier. Gaunt is putting all those resources into the project of propping up the English state and the English crown for way longer than Richard deserves, given that Richard's trying to murder him half the time in the 1380s.Henry: [laughs] For sure. No, I agree with you there, but from Edward III's point of view, it's a mistake to make one very powerful son another quite powerful son next to-- We still see this playing out in royal family dynamics.Helen: This is the problem. What is the perfect scenario in a hereditary system where you need an heir and a spare, but even there, the spare, if he doesn't get to be the heir, is often very disgruntled. [laughs] If he does get to be the heir, as we've just said, turns out to be overconvinced of his own-Henry: Oh, indeed, yes.Helen: -specialness. Then, if you have too many spares, you run into a different kind of problem. Equally, if you don't have a hereditary system, then you have an almighty battle, as the Anglo-Saxons often did, about who's actually going to get the crown in the next generation. It's a very tricky--Henry: Is England just inherently unstable? We've got the Black Death, France is going to be a problem, whatever happens. Who is really going to come to a good fiscal position in this situation? It's no one's fault. It's just there wasn't another way out.Helen: You could say that England's remarkably-- See, I'm just playing devil's advocate the whole time.Henry: No, good.Helen: You could say England is remarkably stable in the sense that England is very unusually centralized for a medieval state at this point. It's centralized in a way that works because it's small enough to govern. It's, broadly speaking, an island. You've got to deal with the Scotts border, but it's a relatively short border. Yes, you have powerful nobles, but they are powerful nobles who, by this stage, are locked into the state. They're locked into a unified system of law. The common law rules everyone. Everyone looks to Westminster.It's very different from what the King of France has been having to face, which has been having to push his authority outward from the Île-de-France, reconquer bits of France that the English have had for a long time, impose his authority over other princes of the realm in a context where there are different laws, there are different customs, there are different languages. You could say that France is in a much more difficult and unstable situation.Of course, what we see as the tide of the war turns again in the early 15th century is precisely that France collapses into civil war, and the English can make hay again in that situation. If Henry V had not died too young with not enough sons in 1423, and particularly, if he'd left a son who grew up to be any use at all, as opposed to absolutely none-- what am I saying? I'm saying that the structure of government in England could work astonishingly well given the luck of the right man at the helm. The right man at the helm had to understand his responsibilities at home, and he had to be capable of prosecuting a successful war abroad because that is how this state works best.As you've just pointed out, prosecuting a successful war abroad is an inherently unstable scenario because no war is ever going to go in your direction the entire time. That's what Richard, who has no interest in war at all is discovering, because once the tide of war is lapping at your own shores, instead of all happening over there, it's a very, very different prospect in terms of persuading parliament to pay for it, quite understandably.You talk about the Black Death. One of the extraordinary things is looking at England in 1348, 1349, when the Black Death hits. Probably, something approaching half the population dies in 18 months. If you're looking at the progress of the war, you barely notice it happened at all. What does the government do? It snaps into action and implements a maximum wage immediately, in case [chuckles] these uppity laborers start noticing there are fewer of them, and they can ask for more money.The amount of control, at that stage at least, that the government has over a country going through an extraordinary set of challenges is quite remarkable, really.Henry: Did Bolingbroke do the right thing?Helen: I think Bolingbroke did the only possible thing, which, in some senses, equates to the right thing. If he had not come back, he would not only have been abandoning his own family, his dynasty, his inheritance, everything he'd been brought up to believe was his responsibility, but also abandoning England to what was pretty much by that stage, clearly, a situation of tyranny.The big argument is always, well, we can identify a tyrant, we have a definition of tyranny. That is, if a legitimate king rules in the common interest and according to the law, then a tyrant rules not in the common interest, and not according to the law. But then the thing that the political theorists argue about is whether or not you can actively resist a tyrant, or whether you have to wait for God to act.Then, the question is, "Might God be acting through me if I'm Bolingbroke?" That's what Bolingbroke has to hope, because if he doesn't do what he does in 1399, he is abandoning everything his whole life has been devoted to maintaining and taking responsibility for. It's quite hard to see where England would then end up, other than with somebody else trying to challenge Richard in the way that Henry does.Henry: Why was he anointed with Thomas Becket's oil?Helen: Because Richard had found it in the tower, [chuckles] and was making great play of the claims that were made for Thomas. This is one of the interesting things about Richard. He is simultaneously very interested in history, and interested in his place in history, his place in the lineage of English kings, going all the way back, particularly to the confessor to whom he looks as not only a patron saint, but as in some sense, a point of identification.He's also seeking to stop time at himself. He doesn't like to think about the future beyond himself. He doesn't show any interest in fathering an heir. His will is all about how to make permanent the judgments that he's made on his nobles. It's not about realistically what's going to happen after his death.In the course of his interest in history, he has found this vial of oil in the tower somewhere in a locked drawer with a note that says, "The Virgin gave this to Thomas Becket, and whoever is anointed with this oil shall win all his battles and shall lead England to greatness," et cetera. Richard has tried to have himself re-anointed, and even his patsy Archbishop of Canterbury that he's put in place after exiling the original one who'd stood up to him a bit.Even the new Archbishop of Canterbury says, "Sire, anointing doesn't really work like that. I'm afraid we can't do it twice." Richard has been wearing this vial round his neck in an attempt to claim that he is not only the successor to the confessor, but he is now the inheritor of this holy oil. The French king has had a holy oil for a very long time in the Cathedral of Reims, which was supposedly given to Clovis, the first king of France, by an angel, et cetera.Richard, who is always very keen on emulating, or paralleling the crown of France, is very, very keen on this. If you were Henry coming in 1399 saying, "No, God has spoken through me. The country has rallied to me. I am now the rightful king of England. We won't look too closely at my justifications for that," and you are appropriating the ceremonial of the crown, you are having yourself crowned in Westminster Abbey on the 13th of October, which is the feast day of the confessor, you are handed that opportunity to use the symbolism of this oil that Richard has just unearthed, and was trying to claim for himself. You can then say, "No, I am the first king crowned with this oil," and you're showing it to the French ambassadors and so on.If we are to believe the chroniclers, it starts making his hair fall out, which might be a contrary sign from God. It's a situation where you are usurping the throne, and what is questionable is your right to be there. Then, any symbolic prop you can get, you're going to lean on as hard as you can.Henry: A few general questions to close. Should we be more willing to open up old tombs?Helen: Yes. [laughs]Henry: Good. [laughs]Helen: I'm afraid, for me, historical curiosity is-- Our forebears in the 18th and 19th century had very few qualms at all. One of the things I love about the endless series of scholarly antiquarian articles that are-- or not so scholarly, in some cases, that are written about all the various tomb openings that went on in the 18th and 19th century, I do love the moments, where just occasionally, they end up saying, "Do you know what, lads? Maybe we shouldn't do this bit." [chuckles]They get right to the brink with a couple of tombs and say, "Oh, do you know what? This one hasn't been disturbed since 1260, whatever. Maybe we won't. We'll put it back." Mostly, they just crowbar the lid off and see what they can find, which one might regret in terms of what we might now find with greater scientific know-how, and et cetera. Equally, we don't do that kind of thing anymore unless we're digging up a car park. We're not finding things out anyway. I just love the information that comes out, so yes, for me.Henry: Dig up more tombs.Helen: Yes.Henry: What is it that you love about the Paston Letters?Helen: More or less everything. I love the language. I love the way that, even though most of them are dictated to scribes, but you can hear the dictation. You can hear individual voices. Everything we were saying about sentences. You can hear the rhythm. You can hear the speech patterns. I'm no linguistic expert, but I love seeing the different forms of spelling and how that plays out on the page.I love how recognizable they are as a family. I love the fact that we hear women's voices in a way that we very rarely do in the public records. The government which is mainly what we have to work with. I love Margaret Paston, who arrives at 18 as a new bride, and becomes the matriarch of the family. I love her relationship with her two eldest boys, John and John, and their father, John.I do wish they hadn't done that because it doesn't help those of us who are trying to write about them. I love the view you get of late medieval of 15th-century politics from the point of view of a family trying to survive it. The fact that you get tiny drops in letters that are also about shopping, or also about your sisters fall in love with someone unsuitable. Unsuitable only, I hasten to add, because he's the family bailiff, not because he isn't a wonderful and extremely able man. They all know those two things. It's just that he's a family bailiff, and therefore, not socially acceptable.I love that experience of being immersed in the world of a 15th-century gentry family, so politically involved, but not powerful enough to protect themselves, who can protect themselves in the Wars of the Roses in any case.Henry: If someone wants to read the Paston Letters, but they don't want to read Middle English, weird spelling, et cetera, is there a good edition that they can use?Helen: Yes, there is an Oxford World's Classic. They're all selected. There isn't a complete edition in modern spelling. If any publishers are listening, I would love to do one. [chuckles]Henry: Yes, let's have it.Helen: Let's have it. I would really, really love to do that. There are some very good selections. Richard Barber did one many years ago, and, of course, self-advertising. There is also my book, now more than 20 years old, about the Paston family, where I was trying to put in as much of the letters as I could. I wanted to weave the voices through. Yes, please go and read the Paston Letters in selections, in whatever form you can get them, and let's start lobbying for a complete modernized Paston.Henry: That's right. Why did you leave academia? Because you did it before it was cool.Helen: [laughs] That's very kind of you to say. My academic life was, and is very important to me, and I hate saying this now, because the academic world is so difficult now. I ended up in it almost by accident, which is a terrible thing to say now, people having to-- I never intended to be an academic. My parents were academics, and I felt I'd seen enough and wasn't sure I wanted to do that.I couldn't bear to give up history, and put in a PhD application to work with Christine Carpenter, who'd been the most inspiring supervisor when I was an undergraduate, got the place, thought, "Right, I'm just going to do a PhD." Of course, once you're doing a PhD, and everyone you know is starting to apply for early career jobs, which weren't even called early career jobs in those days, because it was a million years ago.I applied for a research fellowship, was lucky enough to get it, and then applied for a teaching job, utterly convinced, and being told by the people around me that I stood no chance of getting it, because I was way too junior, and breezed through the whole process, because I knew I wasn't going to get it, and then turned up looking for someone very junior.I got this wonderful teaching job at Sidney Sussex in Cambridge and spent eight years there, learned so much, loved working with the students. I was working very closely with the students in various ways, but I wasn't-- I'm such a slow writer, and a writer that needs to be immersed in what I was doing, and I just wasn't managing to write, and also not managing to write in the way I wanted to write, because I was becoming clearer and clearer about the fact that I wanted to write narrative history.Certainly, at that point, it felt as though writing narrative history for a general audience and being an early career academic didn't go so easily together. I think lots of people are now showing how possible it is, but I wasn't convinced I could do it. Then, sorry, this is a very long answer to what's [crosstalk] your question.Henry: That's good.Helen: I also had my son, and my then partner was teaching at a very different university, I mean, geographically different, and we were living in a third place, and trying to put a baby into that geographical [chuckles] setup was not going to work. I thought, "Well, now or never, I'll write a proposal for a book, a narrative, a book for a general readership, a narrative book about the Paxton family, because that's what I really want to write, and I'll see if I can find an agent, and I'll see if I," and I did.I found the most wonderful agent, with whose help I wrote a huge proposal, and got a deal for it two weeks before my son was due. At that point, I thought, "Okay, if I don't jump now, now or never, the stars are aligned." I've been a freelance medieval historian ever since then, touching every wood I can find as it continues to be possible. I am very grateful for those years in Cambridge. They were the making of me in terms of training and in terms of teaching.I certainly think without teaching for those years, I wouldn't be anywhere near as good a writer, because you learn such a lot from talking to, and reading what students produce.Henry: How do you choose your subjects now? How do you choose what to write about?Helen: I follow my nose, really. It's not very scientific.Henry: Why should it be?Helen: Thank you. The book, bizarrely, the book that felt most contingent, was the one I wrote after the Paston book, because I knew I'd written about the Pastons in my PhD, and then again more of it in the monograph that was based on my PhD. I knew having written about the Pastons in a very academic, analytical way, contributing to my analysis of 15th-century politics. I knew I wanted to put them at the center and write about them. That was my beginning point.The big question was what to do next, and I was a bit bamboozled for a while. The next book I ended up writing was She-Wolves, which is probably, until now, my best-known book. It was the one that felt most uncertain to me, while I was putting it together, and that really started from having one scene in my head, and it's the scene with which the book opens. It's the scene of the young Edward VI in 1553, Henry VIII's only son, dying at the age of 15.Suddenly, me suddenly realizing that wherever you looked on the Tudor family tree at that point, there were only women left. The whole question of whether a woman could rule was going to have to be answered in some way at that point, and because I'm a medievalist, that made me start thinking backwards, and so I ended up choosing some medieval queens to write about, because they've got their hands on power one way or another.Until very close to finishing it, I was worried that it wouldn't hang together as a book, and the irony is that it's the one that people seem to have taken to most. The next book after that grew out of that one, because I found myself going around talking about She-Wolves, and saying repeatedly, "The problem these queens faced was that they couldn't lead an army on the battlefield."Women couldn't do that. The only medieval woman who did that was Joan of Arc, and look what happened to her. Gradually, I realized that I didn't really know what had happened to her. I mean, I did know what--Henry: Yes, indeed.Helen: I decided that I really wanted to write about her, so I did that. Then, having done that, and having then written a very short book about Elizabeth I, that I was asked to write for Penguin Monarchs, I realized I'd been haunted all this time by Richard and Henry, who I'd been thinking about and working on since the very beginning of my PhD, but I finally felt, perhaps, ready to have a go at them properly.It's all been pretty organic apart from She-Wolves, which was the big, "What am I writing about next?" That took shape slowly and gradually. Now, I'm going to write about Elizabeth I properly in a-Henry: Oh, exciting.Helen: -full-scale book, and I decided that, anyway, before I wrote this last one, but I-- It feels even righter now, because I Am Richard II, Know Ye Not That, feels even more intensely relevant having now written about Richard and Henry, and I'm quite intimidated because Elizabeth is quite intimidating, but I think it's good, related by your subjects.[laughter]Henry: Have you read the Elizabeth Jenkins biography?Helen: Many, many years ago. It's on my shelf here.Henry: Oh, good.Helen: In fact, so it's one of the things I will be going back to. Why do you ask particularly? I need--Henry: I'm a big Elizabeth Jenkins fan, and I like that book particularly.Helen: Wonderful. Well, I will be redoubled in my enthusiasm.Henry: I look forward to seeing what you say about it. What did you learn from Christine Carpenter?Helen: Ooh. Just as precision was the word that came into my head when you asked me about Hilary Mantel, the word that comes into my head when you ask about Christine is rigor. I think she is the most rigorous historical thinker that I have ever had the privilege of working with and talking to. I am never not on my toes when I am writing for, talking to, reading Christine. That was an experience that started from the first day I walked into her room for my first supervision in 1987.It was really that rigor that started opening up the medieval world to me, asking questions that at that stage I couldn't answer at all, but suddenly, made everything go into technicolor. Really, from the perspective that I had been failing to ask the most basic questions. I would sometimes have students say to me, "Oh, I didn't say that, because I thought it was too basic."I have always said, "No, there is no question that is too basic." Because what Christine started opening up for me was how does medieval government work? What are you talking about? There is the king at Westminster. There is that family there in Northumberland. What relates the two of them? How does this work? Think about it structurally. Think about it in human terms, but also in political structural terms, and then convince me that you understand how this all goes together. I try never to lose that.Henry: Helen Castor, thank you very much.Helen: Thank you so much. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Welcome to Episode 173 of the ByoPodcast Ingxoxo99-------------------------------------------------------------Host: Mgcini Cohost: Jane / Maforty / Ralph Video & Lighting : RalphContent Producer: Mgcini Sound: Ralph Post production: MgciniVenue : Cotton Lounge ------------------------------------------------------------------------------------------------------Join our membership to support the channel :https://www.youtube.com/channel/UCrJFvubYBiqw7cPQ63wgbOw/join

Welcome to Episode #487 - Today we share some unsubstantiated rumors about the Scotts Catalogue as well as other stuff.

Noni Needs speaks with Dr Loucia Manopoulou, Director of Newlands House Gallery, about the gallery’s latest exhibition: Jonathan and Angela Scott’s Incredible Journey: A Love Affair with the Natural World, from Africa to Antarctica. This captivating photographic exhibition celebrates the life and legacy of world-renowned wildlife photographers, authors, and conservationists Jonathan and Angela Scott. Dr Monopoulos shares insights into how the exhibition came together, the stories behind the images, and the couple’s remarkable creative partnership — one that blends art, passion, and purpose in the service of nature. Spanning continents and decades, the exhibition reveals not just breathtaking wildlife photography but also original sketches, journals, memorabilia, and multimedia — offering an intimate portrait of two lives deeply intertwined with the natural world. Tune in for a glimpse behind the scenes of this extraordinary show and discover what makes this artistic journey so personal, powerful, and timely.See omnystudio.com/listener for privacy information.

The Today in Manufacturing Podcast is brought to you by the editors of Manufacturing.net and Industrial Equipment News (IEN).This episode is brought to you by Loadsmart. A new case study, available to download now, tells you how Scotts worked with Loadsmart to transform logistics operations to move trucks in and out of facilities more efficiently and strengthen relationships with carriers. Download the case study now.Every week, we cover the five biggest stories in manufacturing, and the implications they have on the industry moving forward. This week:- GM Envisions a Future with a 3D-Printed Corvette- Kentucky Flood Forces Pappy Van Winkle Maker to Temporarily Close- Texas Instruments Cuts Jobs After Getting $1.6B in CHIPS Funding- Demand for Viral 'Torpedo' Baseball Bats Sends Pennsylvania Factory into Overdrive- Whirlpool Layoffs Rock Rural IowaIn Case You Missed It- Reinventing the Ladder- Layoffs Gut Worker Protection Agency- Not Every Problem Needs an AI SolutionPlease make sure to like, subscribe and share the podcast. You could also help us out a lot by giving the podcast a positive review. Finally, to email the podcast, you can reach any of us at David, Jeff or Andy [at] ien.com, with “Email the Podcast” in the subject line.

Discussing a range of subjects including: 00:00 - BU is heading to National Championship Game 08:00 - Sweeney's comments on young players 16:00 - Lohrei's defensive struggles 35:00 - Pastrnak is a top-5 scorer in the NHL again 42:00 - Bruins 3 Stars Award winners 46:00 - Current draft lottery percentages & Scotts favorite center option 57:00 - Fashion Segment: Next year's jerseys leaked Follow us on Twitter: @TheSkatePod | @smclaughlin9 | @briandefelice_ | @bridgetteproulx | Email us at skatepod@weei.com To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Welcome to Episode #481 - The NEW Scotts Specialized Catalog is out.  We discuss the catalog, past-up pairs and counterfeits.  Enjoy.

Gen and Jette start packing for Barcelona with the Scotts. Brooke can't deal with how Julian handled Alex's crisis. Quinn and Clay try to win Nathan back as a client. Millie continues to spiral which cause problems for her relationship with Mouth. Dan makes a shocking announcement on his show, leaving Rachel floored. 

This is part four of a 15 episode in-depth big book study that took place in 2009. Part four is about Step 3 Surrender & Compliance and is led by Scott S.  There is some Q& A at the end of this one and the questions were impossible to hear, I removed the long dead pauses and replaced them with a moment of clicks so you know it was an edit and then jumped to the answers. Support Sober Cast: https://sobercast.com/donate Email: sobercast@gmail.com Event List: https://scast.us/event Roundup, retreat, convention or workshop coming up? List the event on the Sober Cast website. Visit the link above and look for "Submit Your Event" in the blue box. Sober Cast has 2700+ episodes available, visit SoberCast.com to access all the episodes where you can easily find topics or specific speakers using tags or search. https://sobercast.com

From 'The Skate Podcast' (subscribe here): Analyzing the Bruins' return for Trent Frederic. Discussing which other Bruins could be next to head out of Boston and what they would fetch in a trade. Plus, key takeaways from Scotts conversation with Georgii Merkulov. Follow us on Twitter: @TheSkatePod | @bridgetteproulx | @smclaughlin9 | @briandefelice_ | Email us at skatepod@weei.com Jump to: 00:00 - Frederic trade & what's the next shoe to drop? 09:00 - Scott's conversation with Merkulov 12:20 - Grading the return Bruins got for Frederic 25:00 Should Bruins move or keep Geekie? And his possible return 40:00 - Which teams could Bruins do business with 46:00 - What does Merkulov have to do to stay in Boston? To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Analyzing the Bruins' return for Trent Frederic. Discussing which other Bruins could be next to head out of Boston and what they would fetch in a trade. Plus, key takeaways from Scotts conversation with Georgii Merkulov. Follow us on Twitter: @TheSkatePod | @bridgetteproulx | @smclaughlin9 | @briandefelice_ | Email us at skatepod@weei.com Jump to: 00:00 - Frederic trade & what's the next shoe to drop? 09:00 - Scott's conversation with Merkulov 12:20 - Grading the return Bruins got for Frederic 25:00 Should Bruins move or keep Geekie? And his possible return 40:00 - Which teams could Bruins do business with 46:00 - What does Merkulov have to do to stay in Boston? To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Hello everyone and welcome to an all new episode of Some Like It Scott! This episode rounds out the last movie review before the two Scotts finalize their Top 10 lists for 2024, and it is a review of the Spanish auteur, Pedro Almodovar's, first feature film in the English language: THE ROOM NEXT DOOR. After discussing Tilda Swinton's and Julianne Moore's performances, whether Almodovar's writing and style translate seamlessly to the English languages, and the rather dour themes of the film, the co-hosts turn their attention to give another outdated awards update regarding this year's guild nominees, as well as discuss the news that Greta Gerwig's upcoming Narnia film with Netflix will be receiving a theatrical release in IMAX theaters. See time codes below:   4:21 - THE ROOM NEXT DOOR review 50:53 - Awards update 1:06:49 - Greta Gerwig's Narnia movie to get an IMAX theatrical release   Next time: Top 10 Movies of 2024   Patreon: www.patreon.com/MediaPlugPods

Hello everyone and welcome to an all new episode of Some Like It Scott! This episode harkens back to mid-January, when the two Scotts discuss James Mangold's return to the biographical musical drama with A COMPLETE UNKNOWN. After discussing Timothee Calamet's musical chops (as well as Monica Barbaro's!), whether A COMPLETE UNKNOWN adds anything to the Bob Dylan story, and whether the acting performances could enter the Oscar discussions, the co-hosts turn their attention to nominees for the guild awards that would've been a lot more interesting to discuss if the awards themselves hadn't already been presented when this is released, as well as the ongoing casting saga of SCREAM 7. See time codes below:   3:31 - A COMPLETE UNKNOWN review 57:25 - Guild awards nominations 1:08:41 - Scream 7 casting news   Next time: THE ROOM NEXT DOOR   Patreon: www.patreon.com/MediaPlugPods

Hello everyone and welcome to an all new episode of Some Like It Scott! On this episode, you will finally hear a conversation about movies that the two Scotts had in 2025, with their review the latest Robert Eggers movie, NOSFERATU. Recording shortly into the new year, they discuss all the craft elements, Eggers' masterful control over the period setting, and the horror of all the performances up and down the cast. After discussing those items, the co-hosts turn their attention to a discussion of the Golden Globes winners, which seems like a distant memory now, and finally the news of what Christopher Nolan's next film will really be: an adaptation of The Odyssey (all that casting makes a lot more sense now!). See time codes below:   6:35 - NOSFERATU review 50:13 - Golden Globes winners 1:08:23 - Nolan's new film actually an adaptation of The Odyssey   Next time: A COMPLETE UNKNOWN   Patreon: www.patreon.com/MediaPlugPods

The guys hit up a local record show and added some more vintage soul, R&B, and garage rock 45s to our collections from dealer friends old and new. We've got early Tammi Terrell tune from before she became Tammi Terrell, Irene and the Scotts with a Northern Soul floor filler, big sounds from two schoolteacher sisters at Motown, some garage rock from Birmingham, Alabama, a Boogie Cha Cha, and a trippy tune from 1968 that had a comeback in the 1990s. -Originally broadcast February 23, 2025- Willie Mitchell / That Driving BeatWillie Tee / I Want Somebody (To Show Me The Way Back Home)Mary Wells / (Hey You) Set My Soul On FireKenny Ballard and the Fabulous Soul Brothers / I'm Losing YouJeanette Williams / You Didn't Know ThenMargaret & Carol / (He's My Guy) Oh No, He's MineLittle Frankie Lee / I Gotta Come BackIrene and the Scotts / I'm Stuck On My BabyJackie Verdell / Are You Ready For ThisThe Eastmen / Bye Bye My BabyTammy Montgomery / It's MineEddie Miller / Skate & Shuffle-looThe Sensations featuring Yvonne Baker / We Were Meant To BeJo Ann Campbell / Sloppy JoeThe Lewis Sisters / You Need MeWild Vybrashons / One Track MindSands ov Tyme / You've Got What It Takes (To Take What I've Got)The Turtles / You Showed MeThe Coastliners / AlrightGene and Wendell with the Sweethearts / The RoachEddie Holland / Leaving HereJ.J. Barnes / Say ItKenny Smith / Keep On Walkin' BabyLenny Welch / Boogie Cha ChaThe Valentines / I Have Two LovesLaVerne Baker / Tra La LaThe Ikettes / I Had A Dream The Other NightThe Kelly Brothers / That's What You Mean To MeTony Jackson With The Vibrations / You Beat Me To The PunchThe Right Kind / (Tell Me) Why Do You Have To Lie?Gayle Haness / We Got A Thing Going BabyJimmy Ruffin / If You Will Let Me, I Know I CanBarbara Lewis / I Remember the FeelingAl Haskins and the Mastertones / You Got MeThe Tams / Riding For A FallJesse Gee / Don't Mess With My MoneyThe Ronettes / I'm Gonna Quit While I'm AheadOtis Redding / I'm Coming HomeThe Miracles / Whole Lot Of Shakin' In My Heart (Since I Met You) Hosted on Acast. See acast.com/privacy for more information.

Hello everyone and welcome to an all new episode of Some Like It Scott! On this episode, we teleport you back to December, when the two Scotts recorded an episode talking all about the Lord of the Rings franchise's return to animation - and first foray into anime - with the Kenji Kamiyama-directed, LORD OF THE RINGS: WAR OF THE ROHIRRIM. After discussing whether this adaptation lives up to the live action entries, the English voice cast including the likes of Brian Cox, and the world-building of Middle Earth, the co-hosts turn their attention to news of a live action remake of TANGLED, as well as Luca Guadagnino taking a pass at a “new adaptation” (definitely not a remake) of AMERICAN PSYCHO with Austin Butler in the lead role. See time codes below:   5:55 - LORD OF THE RINGS: WAR OF THE ROHIRRIM review 53:17 - Live action TANGLED remake in the works 1:02:28 - New adaptation of AMERICAN PSYCHO by Luca Guadagnino   Next time: NOSFERATU   Patreon: www.patreon.com/MediaPlugPods

Hello everyone and welcome to an all new episode of Some Like It Scott! Continuing with another episode we recorded in late November last year, the two Scotts review GLADIATOR 2, Ridley Scott's nearly two-and-a-half decades in the making sequel to his Best Picture winning film. After discussing whether the film lives up to its predecessor, the quality of performances from the likes of Paul Mescal and Denzel Washington, and whether Ridley Scott still has the action set piece juice, the co-hosts give a meaty awards update that would've been way more interesting to listen to back in early December. See time codes below:   9:24 - GLADIATOR 2 review 56:29 - Awards update (NYFCC winners, Golden Globe nominations)   Next time: LORD OF THE RINGS: WAR OF THE ROHIRRIM   Patreon: www.patreon.com/MediaPlugPods

Hello everyone and welcome to an all new episode of Some Like It Scott! Delving into the catalogue of episodes we recorded last year to only post now, the two Scotts are starting with the Thanksgiving premiere of one of the biggest domestic movies of the year: WICKED PART 1. After discussing Cynthia Erivo and Ariana Grande, the world of Oz, and the music and themes, the co-hosts turn their attention to talk about a now quite dated story of Charlize Theron being cast in Christopher Nolan's upcoming film (at the time we didn't know it was an adaptation of THE ODYSSEY and were very confused why all these big name actresses were signing on for a helicopter film), before discussing JJ Abrams' upcoming under-wraps project. See time codes below:   8:55 - WICKED PART 1 review 59:31 - Charlize Theron cast in Christopher Nolan's next film 1:06:11 - Casting for JJ Abrams' next film   Next time: GLADIATOR 2   Patreon: www.patreon.com/MediaPlugPods

Scotts sits with his old friend, pop icon, actor, musician and drummer of the Beach Boys! John Stamos and share amazing music stories and more , tune in for a great episode

In this episode we chat about Marvel's Punisher! Episode 8 - My Brother's Keeper You can find the complete plot on Wikipedia here (https://en.wikipedia.org/wiki/The_Punisher_(season_2)#Episodes)

Summary In this episode, Gary interviews Scott Love, a passionate model railroader and seller of model trains. Scott shares his journey in the hobby, discussing how he got started, the challenges he faces in buying and selling trains, and the importance of quality customer service. He emphasizes the significance of building relationships with customers and the joy of sharing the hobby with others. Scott also provides valuable tips for newcomers to model railroading and highlights the importance of community involvement through clubs and shows. https://www.facebook.com/groups/TheOnlineModelTrainShow Scottlove57@gmail.com Like what you hear, Please consider supporting us through the links below. Check out our YouTube channel as well for videos!!! https://buymeacoffee.com/modrailtlk www.ModelRailroadTalk.com ModelRailroadTalk@gmail.com www.Patreon.com/ModelRailroadTalk

Muscle MInds Podcast 166 - A-Z ways to improve your 2025 with Dr Scott Stevenson & Scott McNally ✅ Signed Copy of Be Your Own Bodybuilding Coach (15% goes to ASPCA) https://www.ebay.com/itm/205121965946

Muscle MInds Podcast 166 - Bodybuilding Science with Dr Scott Stevenson & Scott McNally 0:00 Nutrient Timing for Maximizing Caloric Intake 1:23 Sponsors and Guest Announcements 3:15 Selling Autographed Books on eBay 4:22 The Importance of Nutrient Timing Around Workouts 8:20 Pros and Cons of Nutrient Timing 13:14 Maintaining Strength and Muscle Mass During Dieting 17:07 Cortisol and Carbohydrate Intake Before and During Workouts 22:56 Maintaining Optimal Glycogen Levels During Dieting 29:19 Metabolic Flexibility and Carb Cycling 37:31 Practical Carb Cycling Strategies ✅ Signed Copy of Be Your Own Bodybuilding Coach (15% goes to ASPCA) https://www.ebay.com/itm/205121965946

Inspired by Eagle Reserve this episode of Pickem' transcends sports as we explore the depths of Scott's existential crisis with his family around the holidays and his hatred of furniture-based gymnastics. Jamison and David question the accuracy of Scotts accounting practices and David, against his wishes, makes his claim that the Vikings are the best team in football. All that and more on anther dynamite episode of Pickem!Have you had a child fathered by Jamison Wall? We want to know. Send us the salacious details at igntrnetwork@gmail.com or on X @IgntrNetwork

Scotts Valley, California, experienced a rare tornado on Saturday that flipped cars and injured a few people.

Hello and welcome to another all new episode of Some Like It Scott, and our 2nd time capsule episode trying to make up for lost time! The two Scotts recorded this lengthy discussion of Sean Baker's Palme d'Or winning romantic-comedy-drama about a sex worker caught in the whirlwind of a Russian oligarch's child's rebellious phase. After discussing Mikey Madison and the cast, the sobering reality of the film, and what it's Oscar bona fides may really be, the co-hosts also discuss Conan O'Brien being announced as this year's Academy Awards ceremony host, as well as more casting news for Chris Nolan's next film. See time codes below:   3:00 - ANORA review 1:06:05 - Conan O'Brien to host this year's Oscars 1:11:45 - More Chris Nolan casting news   Next time: WICKED PART 1   Patreon: www.patreon.com/MediaPlugPods

Check out my new Podcast That's What She Said! First episode releasing tomorrow!! https://podcasts.apple.com/us/podcast/thats-what-she-said-with-hailey-elizabeth/id1783880425 https://open.spotify.com/show/29HGIZm8sYKygKtKRya2HI?si=b865a1f9fcc04a28 The Sills family was described as a power unit family. Dr. Scott Sills was a fertility doctor that dedicated his life to help women have children and offer them treatments to aid in the process. He was passionate about his work and even wrote successful medical papers and appeared on the show “The Dr.s” for his incredible research into fertility. Scott shared his life with his beautiful wife Susan and their 2 children and together the family was a picture perfect happy family. Susan herself was a successful business woman and worked hard to help others get their small businesses off the ground. But in November 2016, police would show up to the family home to find Susan dead at the bottom of the steps with a strangulation mark around her neck. Scotts explanation of what happened? The dogs had tied a scarf around her neck, strangled her, then killed her. The police weren't buying it and it wasn't until they went into the daughters bedroom, where they would uncover the bloody scene of what actually happened to Susan Sills. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello and welcome to an all new (time capsule) episode of Some Like It Scott! We totally did not record this over a month ago, and life totally doesn't come at you fast. You're all about to get a whopping 4 eps over the next week and a half thanks to delayed editing and posting, and this exciting stretch starts with Ed Berger's papal thriller, CONCLAVE. The two Scotts discuss the performances of Ralph Fiennes and his cardinal compatriots, Vatican vibes, and whether the themes' and plot's twists and turns ultimately pay off in the end, before discussing the Gotham Awards nominations (you know that awards show which totally did not already happen), as well as news about James Gray's next film, PAPER TIGERS. See time codes below:   3:37 - CONCLAVE review 59:01 - Gotham Awards nominations 1:11:10 - James Gray's next film   Next time: ANORA   Patreon: www.patreon.com/MediaPlugPods

For a couple of releases, we had more than one fan offer to discuss it and that is the case today, we have two Scotts (with a special asset to one of them) discussion Springsteen on Broadway, In this episode of Set Lusting Bruce, host Jesse Jackson welcomes journalist and Springsteen enthusiast Scott Colby @the_scolby. Scott shares his memorable experience attending 'Springsteen on Broadway' and how it significantly impacted his life and writing career. They discuss various elements of the show, including the unique setlist, emotional storytelling, and the profound influence of Bruce Springsteen. Scott also talks about his background and his works, including a national bestseller and a novel inspired by Springsteen's music. The conversation delves into the themes of dedication, perseverance, and the power of storytelling, making it an inspiring listen for fans and writers alike. Support the show here - buymeacoffee.com/setlustingbruce  Find more about Scott here - https://coachcolby.me/ 00:00 Introduction to 30 for 30: Springsteen Edition 01:01 Meet Scott Colby: Journalist and Springsteen Fan 01:24 Springsteen on Broadway: A Dream Come True 03:17 The Journey to Broadway: Ticket Trials and Triumphs 05:54 The Broadway Experience: A Night to Remember 07:46 Inspiration from Springsteen: A Writer's Epiphany 13:25 Broadway Reflections: Emotional Impact and Favorite Songs 20:26 Powerful Moments and Personal Reflections 21:37 New Songs and Netflix Experience 22:31 A Memorable Weekend in New York 23:36 Bruce Springsteen's Origin Stories 27:03 Writing and Inspirations 30:40 Editorials and Opinions 33:59 The Mary Question and Final Thoughts Learn more about your ad choices. Visit megaphone.fm/adchoices

For a couple of releases, we had more than one fan offer to discuss it and that is the case today, we have two Scotts (with a special asset to one of them) discussion Springsteen on Broadway. In this episode of '30 for 30', host Jesse Jackson is joined by guests Scott and Tiffany to discuss their experiences and emotional connections with Bruce Springsteen's music. Tiffany shares her transformation from being overwhelmed at concerts to deeply connecting with Springsteen's storytelling during his Broadway performance, which they attended on their anniversary in 2017. Scott, a long-time fan, highlights the journey of acquiring tickets and the profound impact of the show. The couple reflects on various songs and moments from the Broadway show, touching on themes of love, loss, and resilience. The discussion offers an intimate look at how Springsteen's music has woven into their lives and relationships. Support the show here - buymeacoffee.com/setlustingbruce  00:00 Introduction to 30 for 30: Springsteen Edition 00:50 Meet the Guests: Scott and Tiffany 01:03 Tiffany's Journey with Springsteen's Music 02:28 Scott's Broadway Experience 04:21 Reflecting on the Broadway Show 05:08 The Emotional Impact of Springsteen's Lyrics 07:59 Discussing the Setlist and Performance 10:22 Personal Stories and Connections 14:57 The Humor and Vulnerability of the Show 20:46 Final Thoughts and Reflections 36:09 The Mary Question and Closing Remarks Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello and welcome to an all new episode of Some Like It Scott! On this grand return episode after many weeks (months?) off, the two Scotts go inside 30 Rockefeller Plaza some 50 years ago, and get a (fictional) take on the lead up to the first taping of Saturday Night Love, as they review Jason Reitman's latest film, aptly titled, SATURDAY NIGHT. After discussing the ensemble cast, frenetic tone and pace, as well as whether the "real time" structure, the co-hosts turn their attention to Chris Nolan's recently announced next film, as well as Daniel Day-Lewis's un-retirement from acting. See time codes below:   4:45 - SATURDAY NIGHT review 54:20 - Christopher Nolan's next film 1:00:17 - Daniel Day-Lewis coming out of retirement   Next time: CONCLAVE (Theaters)   Patreon: www.patreon.com/MediaPlugPods

Welcome back to the most fabulous NFL podcast in all the land. We discuss the NFL landscape, the resurgence of them Eagles and whether or not Sam Darnold will still be the Vikings QB at the end of the season. Scotts wife is also spending time with a Brazilian Jiujitsu instructor. Could there be trouble in paradise? All that and more in another tantalizing episode of Pickem.Have you had a child fathered by Jamison Wall? We want to know. Send us the salacious details at igntrnetwork@gmail.com or on X @IgntrNetwork

Podcast Patrons!!! Welcome to Episode 222 of Leave the Pin Podcast. On this Episode of Leave the Pin Dan and Scott lament the damn Jets while turning their attention to the TGL. After becoming the definitive source of all things TGL Dan and Scott turn their attention to who is going to watch the damn thing, how much it will cost and just what the hell is going on with it all. We also update everyone on Scotts injury situation and how he made it out alive. Swannies golf-Go to Swannies.co and use the code Leavethepin25 for 25% off your order!!! Swannies makes some of the highest quality golf apparel on the market today. Big Wings Golf-Go check out Bigwingsgolf.com and use code PODLTP to get yourself some great gear at a great price Ruff Dood Rangefinder- Go to https://www.amazon.com/RUFF-DOOD-Rangefinder-Vibration-Rechargeable/dp/B0CPV6YRZ5 and order yourself one. Use code 15leavepin to get 15% off your order. Please leave a review and rating on iTunes/Spotify if you enjoy the episode. Follow us on Instagram @leavethepin Tag us on your social media feed with #Leavethepin Email us at Leavethepin@gmail.com Get busy golfing or get busy dying Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Care More Be Better, host Corinna Bellizzi dives deep into local politics and community activism with John Lewis, a city council candidate in Scotts Valley, California. John shares his vision for the future of Scotts Valley, touching on pressing local issues like rising housing costs, the need for a town center, and the importance of personal agency in shaping our communities. This conversation is packed with insights on the challenges and rewards of running for office and what it means to be a “YIMBY” (Yes In My Backyard) advocate.Key Topics Covered:[00:00:26] Introduction to Care More Be Better and guest John Lewis.[00:00:46] John's background: Engineering expertise and community issues in Scotts Valley.[00:02:21] Community engagement and motivation to run for city council.[00:03:48] The need for a town center in Scotts Valley and why previous efforts stalled.[00:06:37] Environmental and infrastructural challenges: From airport to town center.[00:10:12] Essential traits and qualifications for running for local office.[00:13:00] How city council can directly impact community well-being.[00:18:55] Defining NIMBY vs. YIMBY and John's endorsement from Santa Cruz YIMBY.[00:26:04] Why John isn't accepting political donations.[00:28:42] The importance of local elections and civic engagement.Call to Action: If you're a Scotts Valley resident, consider voting for John Lewis to support local development that fosters community and sustainability. For resources on how to get involved, visit our website at CircleB.co.Connect with John Lewis: website: https://www.johnlewissvcity.com/linkedin: https://www.linkedin.com/in/john-lewis-44784516/facebook: https://www.facebook.com/JohnLewisSVCity

This is a Grave Talks CLASSIC EPISODE! Imagine moving into your dream home, only to find out it dreams of getting rid of you. That's exactly what happened to Hunter and Jenny Scott in the winter of 2012. Their quaint fixer-upper in Rockford, Alabama, had a bit more “character” than they bargained for—shadow people, strange noises, and some rather unfriendly paranormal attacks. What dark secrets did the household have? Why did Harper Lee, yes, that Harper Lee, take such an interest in its murderous past? Join us as we sit down with paranormal investigator Kim Johnson, who helped the Scotts navigate their not-so-homey haunting and uncover the terrifying truth behind The Rockford Haunting. Become a Premium Supporter of The Grave Talks Through Apple Podcasts or Patreon (http://www.patreon.com/thegravetalks) There, you will get: Access to every episode of our show, AD-FREE! Access to every episode of our show before everyone else! Other EXCLUSIVE supporter perks and more!

This is a Grave Talks CLASSIC EPISODE! Imagine moving into your dream home, only to find out it dreams of getting rid of you. That's exactly what happened to Hunter and Jenny Scott in the winter of 2012. Their quaint fixer-upper in Rockford, Alabama, had a bit more “character” than they bargained for—shadow people, strange noises, and some rather unfriendly paranormal attacks. What dark secrets did the household have? Why did Harper Lee, yes, that Harper Lee, take such an interest in its murderous past? Join us as we sit down with paranormal investigator Kim Johnson, who helped the Scotts navigate their not-so-homey haunting and uncover the terrifying truth behind The Rockford Haunting. This is Part Two of our conversation.   Become a Premium Supporter of The Grave Talks Through Apple Podcasts or Patreon (http://www.patreon.com/thegravetalks) There, you will get: Access to every episode of our show, AD-FREE! Access to every episode of our show before everyone else! Other EXCLUSIVE supporter perks and more!

Welcome to Episode #461 - Today we discuss a lot of Post Office information including rate increases, lost mail and counterfeits.  Also a primer on Scotts #500.

When musician and restaurant owner Gabe Scott unexpectedly contracted a brain infection, he and his wife Keely knew they'd have a long road back to their normal lives. But what they didn't anticipate was his continued memory loss, and how their story would become both beautiful and hard at the same time, even as they put the worst behind them. The Scotts share how they've learned to hold sorrow and joy together, and how to find happiness in the smallest of victories.    Quotes “My prayers were just give me a date to just expect [Gabe's memory loss] to be gone. We quickly learned once we got home and were in those first few months of recovery, that was not going to be what our future looked like. It's really unpredictable, which has been the hardest—and the most beautiful thing—to live in the moment.” - Keely Scott “We live with both a beautiful story and a hard story at the same time. It was such a freeing moment for both of us to still carry the sadness, but to recognize the beauty and who we've become.” - Keely Scott “Our job is to continually keep sowing and digging in hope and in perseverance, knowing that what Jesus said is true. And that along the way, we keep finding treasures of His love and friendship. And we're just digging in hope.” - Keely Scott   Guest's Links Gabe Scott's Instagram Keely Scott's Instagram Gabe Scott's Facebook Keely Scott's Facebook   Resources Mentioned in This Episode Compassion International Ladybird Taco Andrew Peterson Andy Gullahorn   Connect with Sally Lloyd-Jones Jesus Storybook Bible Facebook Jesus Storybook Bible Instagram  Sally's website Sally's Facebook Sally's Instagram *Episode produced by Four Eyes Media*

Hello and welcome to an all new episode of Some Like It Scott! This week's episode is a special one: as Miyazaki Countdown co-host Jay Habib joins the two Scotts to discuss HAYAO MIYAZAKI AND THE HERON, a documentary chronicling the 7+ year production and 2023 release of Hayao Miyazaki's latest (and maybe last?) film, THE BOY AND THE HERON. After going into great detail, the two Scotts discuss the news of Destin Daniel Cretton being tapped to stay in the MCU and direct the upcoming 4th Tom Holland Spider-Man movie, as well as news of a comic book adaptation called 100 NIGHTS OF HERO with an ensemble cast. See time codes below:   4:05 - HAYAO MIYAZAKI & THE HERON review 1:01:36 - Destin Daniel Cretton to direct 4th Tom Holland Spider-Man film 1:08:05 - 100 NIGHTS OF HERO film adaptation announced with cast   Next time: Just Our Opinion #3 w/ Jared Schain   Patreon: www.patreon.com/MediaPlugPods

Raff N Raff celebrate another Napoli win.  It took a while, but Conte's men got back to dominating performances with a 4-0 away drubbing of Cagliari.  Lukaku set up Di Lorenzo and Kvara.  Then Kvara set up Lukaku and Neres set a record as he set up Buongiorno for his first and Napoli set themselves up very nicely for their next big match in Turin against Juventus! We had a BEASTLY performance by Meret, and our Scotts made their debut! All that, and more with Raffa & The Biz!   TIFOSI!!! Please join us in our Napoli Rant Discord Chat! We have a "Rant General" "Rant of the Week" and "Game Thread' section. We also meet live on matchdays! SO MUCH FUN! Click here and we'll see you there: https://discord.gg/Fkpc9ZvvYE   Far From Vesuvius is proud to be host for the hottest, most INTERACTIVE SSC Napoli show on social media, The Napoli Rant! Be sure to follow us on our platforms: X: @NapoliRant Facebook: The Raff N Raff RaNt Instagram: @napolirant YouTube: The Napoli Rant w/ Raff & Raff - YouTube Like, subscribe, rate, follow us on any of these podcast platforms; Apple, Google, Spotify, and Podbean!   Enjoy, and #ForzaNapoliSempre

Episode 197- BY & Motts are back with former guest as well as former teammate and now fellow coach of the Surrey Eagles, Scott Gomez! The guys get together and talk about their team and how its rounding out, Roberto Luongo making his men's league debut, and much more! BY, Motts, & Gomer wrap up the show answering the My Hockey Rankings question of the week. Thank you for listening! Please rate, review, and subscribe! If you're interested in sponsoring the show, please reach out to us by email or DM us on Instagram! Leave us a voicemail: 347-6-SHRINK Email: RinkShrinks@gmail.com Instagram: @TheRinkShrinks Twitter: @RinkShrinks Website: www.therinkshrinks.com Today's Episode Was Sponsored By: BetOnline Sparx Hockey TSR Hockey Franklin Sports My Hockey Rankings Colony Grill

SOMETIMES YOU GOTTA READ THE INSTRUCTIONS.

In this episode of The Observatory, Scott and LaRae Wright share The We Two Movement, the album that Scott is releasing on the 18th of September. This album invites listeners on a unique auditory journey, blending the soothing elements of medicine music with innovative soundscapes. It is designed to heal and inspire. Hear what inspired Scott to create the album, his favorite song in the album, what LaRae loves about the album, and the titles of the songs and what they mean. Timestamps[02:32] The visit to Ridgway Colorado[03:05] September 18th, the pivotal birthday for Scott[05:45] The origin of the album that Scott is releasing on September 18[09:27] What LaRae loves about the album[11:28] How music has evolved over the years[14:34] Bringing your thoughts into form[17:52] The titles of the songs and what they mean[23:52] Scott's favorite song in the album[26:14] Scotts aim of the album to the listeners[31:08] The title of the album[36:03] The photo on the album cover[38:22] The artwork in the albumNotable quotes:“Change is colorful and vibrant.” - LaRae Wright [02:09]“When you are on your struggles, it is powerful for us to reflect, whether through meditation or stillness, and understand that those who come before us experienced similar experiences.” - LaRae Wright [07:56]“All of life is vibration.” - LaRae Wright [11:43]“Thought is brought into form through words.” - Scott Wright [14:19]“Music is the medicine.” - Scott Wright [26:27]Scott Wright on SpotifyScott Wright on Apple MusicSubscribe to the podcast: Apple Podcast

Lace Cadence – the host of KEXP's Afrobeat show, The Continent – shares two tracks covering the spectrum of African house music, from a classic-style jam to Amapiano. (Plus, throws a curveball in the middle, with a nod to his ‘90s Seattle roots!)  And speaking of “‘90s Seattle,” KEXP Music Director Chris Sanley shares the latest single from local trio Black Ends, who bring their own style of grunge they call “gunk pop.” Gaba Cannal and Zaba - “Emthandayo (featuring Sykes)”   Drain - “Run Your Luck" Felo Le Tee, Scotts Maphuma, and Thabza Tee - “Yebo Lapho (Gogo)” Fela Kuti and Africa ‘70 - “Water No Get Enemy” Black Ends - “Bent” Listen to the full songs on KEXP's "In Our Headphones 2024" playlist on Spotify or the “What's In Our Headphones” playlist on YouTube. Listen to Lace Cadence on "The Continent" every Friday from 7-10pm PT, or anytime on the 2-week archive, at KEXP.org or the KEXP App. Hosted and produced by: Janice Headley and Isabel KhaliliMixed by: Emily FoxMastered by: William MyersEditorial Director: Larry Mizell Jr. Our theme music is “好吗 (Hao Ma)” by Chinese American Bear Support the podcast: kexp.org/headphonesContact us at headphones@kexp.org.Support the show: https://www.kexp.org/donateSee omnystudio.com/listener for privacy information.

The Scotts welcome a new baby to the family, Draisaitl negotiates his contract extension, and Ovy keeps the beers flowing.Follow Our Socials!FacebookInstagramTwitter / XYouTube ChannelTikTokMerchSupport Our Sponsors!bet365 Hosted on Acast. See acast.com/privacy for more information.

Scott Lidster Operator Training Specialist self employed at Australian Earth Training has seen more of the Mining industry than most. Starting in construction and moving to mining in Australia, Scotts career has taken him to some pretty Interesting places.  Questions or feedback? Email us at dirttalk@buildwitt.com! Stay Dirty! **UPDATE** Dirt Talk is STOKED to announce Ariat as our first official sponsor for the year! They make world-class footwear and workwear that we see on every job site we visit, and their folks are just as great as their products. Dirt Talk listeners can receive 10% off their first order with Ariat by clicking here or visiting Ariat.com/dirttalk.

When Michael and his family swapped houses and cars for a summer in Scotland, they probably imagined great hikes into the Scottish Highlands. But when their borrowed car blew up without warning and the owners blamed him, should Michael be telling the Scotts to 'kilt-up' and take a hike? Find out on this episode of the Best of Car Talk. Get access to hundreds of episodes in the Car Talk archive when you sign up for Car Talk+ at plus.npr.org/cartalkLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy