Podcasts about Imagination

Linda Pastam wrote a marvelous poem called “Driving West” in which these lines appear:We are the pioneersof our own histories, drawnto the horizon as if it waited just for usthe way the young are drawnto the future, the old to the past.“…the way the young are drawn to the future, the old to the past.”I need you to hold those words tightly in your hands, even though they wriggle and thrash like slippery fishes anxious to escape your unfamiliar fingers and return to the quiet darkness where they can breathe water and feel entirely at home.Hold on to those words.Dr. Roger Sperry was awarded the Nobel Prize in 1981 for his documentation of the differences between the two hemispheres of our brains.One half of your brain puts you in touch with this Present Moment in this Real World.The other half puts you in touch with the Past and the Future in that mystical – magical – hallucinatory unreliable World of Imagination.Dr. Sperry discovered that what appears to a brain divided into two halves could more accurately be described as two separate, competing brains.In his Nobel Prize acceptance speech, Sperry said,“Each brain half appeared to have its own, largely separate, cognitive domain with its own private perceptual, learning and memory experiences, all of which were seemingly oblivious of corresponding events in the other hemisphere.”Dr. Sperry later said,“Each hemisphere of the brain is indeed a conscious system in its own right, perceiving, thinking, remembering, reasoning, willing, and emoting, all at a characteristically human level, and both the left and the right hemisphere may be conscious simultaneously in different, even in mutually conflicting,mental experiences that run along in parallel.”Regardless of which half you prefer, both halves are equally important.One half of your brain puts you in touch with This world.The other half puts you in touch with Possible worlds.One half puts you in touch with the sciences.The other half puts you in touch with the arts.Now let's get back to those wriggling fish that I asked you to hold.The Future to which the young are drawn, and the Past to which the old are attracted, are different time zones in the world of imagination.The young live in the brightness of the noonday sun. The old live in the twilight and remember the light of day.Most Americans attempt to persuade each other with facts. We do this because we trust Science and we worship Mathematics, and that is why we write such terrible ads.Most of us, most of the time, trust our instincts.We trust our intuitive hearts.This is what Nobel laureate Daniel Kahneman described as System 1 or “Thinking Fast” in his book, “Thinking Fast and Slow.”Behavioral scientists estimate that roughly 90% to 95% of our daily decisions are made automatically and unconsciously using System 1 thinking.Most people don't want to admit it.In fact, most people refuse to accept it.But the scientific truth is that we make at least nine-tenths our decisions in that half of the brain where the darkwater fish glimmer effortlessly and thoughtlessly, silver and gold in the moonlight.Study the arts. Learn to win the heart.If you win the heart, the mind will follow. The mind will always create logic to justify what the heart has already decided.Roy H. WilliamsPaul Kesig uses the acronym L.O.V.E. to encapsulate his approach to sales.L is for celebrating Little wins.O is for asking Open-ended questions.V is for creating and communicating Value.E is for building an Emotional connection.Paul says that pairing love with sales strikes many people as contradictory. This is usually because their experiences with bad salespeople have taught them to truly hate the sales process.Listen in as Paul explains to roving reporter Rotbart that those who have adopted his approach have quickly discovered that L.O.V.E. really can spell success; MondayMorningRadio.com

The great Sufi mystic Ibn Arabi was taught by a woman. In Part 2 of our series on Sufi women in history, we explore the female saints, teachers, and muses who shaped the thought of Islam's greatest mystical philosopher.Find me and my music here:https://linktr.ee/filipholmSupport Let's Talk Religion on Patreon: https://www.patreon.com/letstalkreligion Or through a one-time donation: https://paypal.me/talkreligiondonateSources/Recommended Reading:Addas, Claude (1993). "Quest for the Red Sulphur". The Islamic Texts Society.Austin, R.W.J. (translated by) (1988). "The Sufis of Andalusia: The Ruh Al-Quds' and 'Al-Durrat al-Fakhirah'". Beshara Publications.Chittick, William (1989). "The Sufi Path of Knowledge: Ibn 'Arabi's Metaphysics of Imagination".Chodkiewicz, Michel (1993). "Seal of the Saints: Prophethood and sainthood in the doctrine of Ibn 'Arabi". Translated by Liadain Sherrard. The Islamic Texts Society.Caner Dagli (translated by) (2004). Ibn 'Arabi - "The Ringstones of Wisdom (Fusus al-Hikam)". Great Books of the Islamic World. Kazi Pubns Inc.Shaikh, Sa'diyya (2012). "Sufi Narratives of Intimacy: Ibn Arabi, Gender & Sexuality". The University of North Carolina Press.Ibn 'Arabi - "The Openings Revealed in Makkah: al-futuhat al-makkiyya". Translated by Eric Winkel. Volumes 1-7. Pir Press. Hosted on Acast. See acast.com/privacy for more information.

Most people don't think they're creative.I disagree.Creativity isn't something you either have or you don't. It's a skill—and like any skill, you can develop it.In this episode, I'm giving you five practical ways to become more creative: learn to observe without immediately judging, collect ideas throughout your day, build an environment that feeds your thinking, study creative people and pioneers, and most importantly—actually do something with what you're learning.Because creativity feeds your imagination. And imagination is what helps you take what you already know, combine it with your experiences, and see possibilities you couldn't see before.You probably don't need another book, another class, or another piece of information before you move forward. You may already have enough in the tank. What you need is to trust yourself enough to use it.So quit saying, “I'm just not creative.”Start exercising the muscle.Observe. Collect. Study. Create the environment. Then go do the thing.Keep it simple. Keep it moving. Never settle. Stay tough. Peace.TEXT ME!Support the show

These are not ordinary affirmations. Every word you're about to hear is a line of code. Some lines build, some lines release. Together, they rewrite the program you have been running your whole life. I am a collector of affirmations, and this is my favorite set — arranged in the exact sequence they were meant to run. The order matters. The order is the code. ⠀ I AM statements to establish who you actually are. Release-and-receive pairs to clear what has been running underneath. Timeline shifting lines to move you into the version of your life you have been reaching for. Every pillar covered — wealth, health, love, success, power, joy, freedom, identity — in the sequence that installs. Say them with me out loud. Sleep to them. Walk with them. The whole set loops through the episode so it can move underneath the analytical mind and take hold at the level where the program actually gets written. Something in you already knows what happens when this runs.

Pamela Aaralyn does something that sounds impossible. She moves her awareness into future timelines and holds conversations with the people living there. Scientists. Farmers. Economists. Presidents who have yet to be elected. She asks them what happened. She brings back the answers. And she has been trained to do this for four decades by a group she calls the Council of Nine. ⠀ In this interview we do something I have never done on this channel. She bilocates live on camera and takes us to June 11, 2033, where she meets a woman named Mai in New York City. Mai speaks directly to us through Pamela for several minutes about the era we cannot see from inside of it. Before we get there, Pamela tells me exactly how the mechanism works, what she has seen as far as the year 3300, when the extraterrestrial contact begins, what technology looks like in the years ahead, and one dated prediction I will be watching for in late 2028 that she says will define the next decade of human consciousness.

In this episode, Michael Meade explores how when the world seems to make no sense, myth can make the most sense. Stories of renewal of the Earth can help us see the world with different eyes and create new contexts for facing the threats of climate change and stopping ecological degradation. Myth has a redeeming function as stories become vessels of imagination and inspiration that can open new ways to see the world.     Imagination has a way of lighting on truths that reason cannot find. Imagination can reveal inner dimensions and hidden resources in our individual and collective lives and in the world. Mythic narratives can inspire greater imagination and creativity in all fields of endeavor while helping to heal the gaps between nature and culture.     Thank you for listening to and supporting Living Myth. You can further support this podcast by becoming a member of Living Myth Premium. Members receive bonus episodes each month, access to the full archives of over 730 episodes and a 30% discount on all events, courses and book and audio titles.   Learn more and join this community of listeners at patreon.com/livingmyth     Along with these free weekly podcasts, you can now read free weekly essays and long form posts by Michael Meade on Substack. Learn more and subscribe at michaeljmeade.substack.com     If you enjoy this podcast, we appreciate you leaving a review wherever you listen and sharing it with your friends. On behalf of Michael Meade and the whole Mosaic staff, we wish you well and thank you for your support of our work.

(Aloka Earth Room) Short Reflection & Guided Meditation | Earthworm Practice for the Anthropocene IV | Online Wednesday-Morning

“We are in the middle of a labyrinth which suggests to us many fake corridors. What's the superpower of literature? Literature is like an antidote against propaganda. Propaganda explains the world easily in a two-dimensional way.  Literature gives you a more complex explanation. Literature tells personal stories.”Today, we have a conversation about time, memory, and the bittersweet geography of human sorrow. Georgi Gospodinovis widely considered one of the most daring voices in contemporary European literature. His acclaimed novel, The Physics of Sorrow, won the prestigious Jan Michalski Prize in 2016, blending ancient myth and quantum physics to chronicle the delicate realities of post-socialist Eastern Europe. Joining him is Angela Rodel, a brilliant linguist, musician, and translator whose profound artistic empathy carries the flowing cadences of the Bulgarian language into vivid English. Together, this extraordinary creative duo made history by winning the 2023 International Booker Prizefor Time Shelter—the first book written in Bulgarian to ever receive the honor.Time Shelter is a masterfully dark, funny, and prescient novel. It begins with an enigmatic psychiatrist opening a clinic that treats Alzheimer's patients by meticulously recreating past decades to match their internal clocks. But the experiment quickly escapes the clinic walls, triggering a pan-European crisis where entire nations hold democratic referendums to choose which era of the past they will retreat into. It is a book that holds up a mirror to our own world, exploring what happens when a civilization faces a deficit of meaning and tries to weaponize nostalgia.(0:00) The Trap of Nostalgia(2:13) The Art of Translation(5:44) The Pandemic of the Past(11:30) Reading from ‘Time Shelter'(14:28) Death and the Gardener(19:34) The Translator's Calling(26:05) Cultural Rhythms of the Bulgarian Language(30:00) The Nonlinear Approach to Storytelling(34:30) Separating Personal and Historical Pasts(42:55) Storytelling vs Propaganda(47:19) Bodies, Animals and the Loneliness of the Minotaur(56:00) Reading ' Eight Minutes and 19 Seconds'(1:00:28) What makes a good life? What has given your life meaning?(1:04:18)   Childhood, Memory and Imagination(1:10:38) Reflections on God and the Stories His Grandmother Told Him(1:17:20) Education and the Empathic Imagination(1:23:25) The Museum of Memory(1:26:15) The Importance of Hugging and Empathy(1:28:02) AI and the Future of HumanityEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Episode #458 This week we take a deep dive into Journey into Imagination, Journey into Your Imagination and Journey into Imagination with Figment.  www.thedisneycrush.com thedisneycrush@gmail.com www.patreon.com/thedisneycrush  

Enroll here: acidhorizonpodcast.com/ahrc-courses. Use code 3FOR2FALL2026 at checkout for three courses at the price of two.Were the philosophers of the Kyoto School fascist collaborators, or were they meeting in secret with the Imperial Navy to try to stop a war? Fernando Wirtz and Takeshi Morisato join Craig for a primer on Japan's most influential and most contested philosophical tradition, from Nishida and Tanabe through Miki Kiyoshi and Tosaka Jun. The conversation covers what "nothingness" actually means in Japanese thought and why it isn't Heidegger's, how Miki tried to collapse reason and unreason into a logic of imagination, and what tenkō, or forced ideological conversion, did to a generation of Marxist intellectuals. It closes on the newly surfaced Ōshima Memo and the question of what it costs to think under fascism.Books mentioned in this episodeMiki Kiyoshi, The Logic of Imagination, translated by John W. M. Krummel (Bloomsbury Studies in World Philosophies)Itabashi Yūjin, Nishitani's Philosophy of the Body (Bloomsbury Studies in World Philosophies)Nishida Kitarō, An Inquiry into the Good (Zen no Kenkyū)By our guestsŌhashi Ryōsuke, The Kyoto School and the Japanese Navy, translated by Takeshi Morisato (Bloomsbury Studies in World Philosophies, forthcoming)Fernando Wirtz, Myth and Ideology: An Essay on Philosophy of Political Action in Japan (2023)Support the showSupport the podcast:AHRCCurrent classes at Acid Horizon Research Commons (AHRC): acidhorizonresearchcommons.comAHRC Course Archive: https://www.acidhorizonpodcast.com/ahrc-course-archivesSubmit your course proposal: acidhorizonresearchcommons@gmail.comMore LinksWebsite: https://www.acidhorizonpodcast.com/Linktree: https://linktr.ee/acidhorizonAcid Horizon on Patreon: https://www.patreon.com/acidhorizonpodcastBoycott Watkins Media: https://xenogothic.com/2025/03/17/boycott-watkins-statement/Subscribe to us on your favorite podcast: https://pod.link/1512615438Merch: http://www.crit-drip.comSubscribe to us on your favorite podcast platform: https://pod.link/1512615438LEPHT HAND: https://www.patreon.com/LEPHTHANDHappy Hour at Hippel's (Adam's blog): https://happyhourathippels.wordpress.com​Split Infinities (Craig's Substack): https://splitinfinities.substack.com/​Music: https://sereptie.bandcamp.com/ and https://thecominginsurrection.bandcamp.com/

Today on AirTalk: Remembering Dolly Parton (0:30) Listener memories of Dolly Parton (51:11) College enrollment decline (1:11:13) The power of imagination (1:25:44) Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency.

Now that the dust has somewhat settled, and though I have already done some very detailed announcements around Piston Peak, Imagination, Tomorrowland and Villains Land, there are so many other details from my experience at Disneyland and at the expo that I haven't really unpacked. It's taken me many days to get my head around everything that took place. This podcast is my effort to summarize all of that, to better get a sense of the whole of D23, not just park announcements--which I have a lot to cover--but the event itself, from D23 day at Disneyland to the Exposition floor to the Honda Center events at night. It was an incredible, but intense and intimate experience--shared with some other 100,000 people. Join me as we look at insights on D23 and the promises ahead for the Disney Parks. Be sure to check out my latest endeavor, Disneyland Insights: Inspiration, Ideas & Magic for You and Your Organization. __________________________________________________ Disney Insights YouTube Page--Check it out and subscribe. DisneyInsights.com--So many resources at our home site. Be sure to subscribe to receive notice of upcoming podcasts. My newest book, A Century of Powerful Disney Insights, Volume I 1923-1973, The Walt & Roy Disney Years is available!  Also, check out my two of my other books, The Wonderful World of Customer Service at Disney and Disney, Leadership and You.  Also, for those examining other business benchmarks beyond Disney, check out Lead with Your Customer: Transform Culture and Brand Into World-Class Excellence. _______________________________________________________ Check out Zanolla Travel to book your next vacation!  David & Leah Zanolla ZanollaTravel.com Owner/Agents (309) 863-5469 _________________________________________________________ Performance Journeys This podcast and post is provided by J. Jeff Kober and Performance Journeys, which celebrates more than 20 years as a training and development group bringing best in business ideas through books, keynotes, workshops, seminars and online tools to help you take your organization to the next level. Want a Keynote Speaker? More than just nice stories, I offer proven insight and solutions having worked in the trench. Need Consulting? I've worked for decades across the public, private and non-profit arena.  Need Support? We offer so many classroom, online, and other resources to help you improve your customer service delivery, leadership excellence, and employee engagement. Contact us today, and let us help you on your Performance Journey!  

Classical Christian education often talks about forming students to love what is true, good, and beautiful. But how does that formation actually happen? In this episode of BaseCamp Live, Davies Owens is joined by author, educator, and podcaster Heidi White to explore the formative power of stories. Heidi shares how literature shaped her own life and explains why great books do far more than communicate ideas or teach moral lessons. They awaken desire, give children models worthy of imitation, and help them wrestle with some of the deepest questions of what it means to be human. Drawing from her book The Divided Soul: Duty and Desire in Literature and Life, Heidi explores the tension between what we want and what we know we ought to do, and how that struggle appears again and again in great literature, Scripture, and our own lives. Davies and Heidi also get practical about reading with children. How much should parents explain? Should we protect children from darker moments in stories? And how can we ask questions that invite genuine thought rather than turning every book into another moral lesson? This conversation is an invitation to see education differently: not simply as the transfer of information, but as the formation of loves, desires, imagination, and ultimately, the human soul. Special Thanks to our partners who make BaseCamp Live possible: Wisdom and EloquenceThe Herzog FoundationLife ArchitectsWisephone by TechlessZipCast Stay tuned for more enlightening discussions on classical Christian education, and join us next time on BaseCamp Live! Remember to subscribe, leave us a review, and reach out to us at info@basecamplive.comDon't forget to visit basecamplive.com for more info and past episodes.

Send me a DM here (it doesn't let me respond), OR email me: imagineabetterworld2020@gmail.comIn this 2014 segment from the Bases 37 interviews (conducted by Miles Johnston in Broadstairs, Kent), Max Spiers discusses alleged occult and programming elements within the music industry.  He connects pop music and celebrity culture to bloodline rituals, referencing Aleister Crowley's unfinished work at Boleskine House, the 72 demons associated with King Solomon, energy grids, and portals. Spiers claims the industry harvests individuals from specific bloodlines for ritual purposes, citing examples involving Bob Geldof, the death of Peaches Geldof, and Michael Hutchence. He references James Casbolt's list of “endangered” people and links these themes to broader claims of satanic networks, Live Aid symbolism, NHS tracking, and Project Oak Tree.  The conversation also covers reptilian/inner-earth influences (including the Rothschild family as intermediaries), the Black Sun, Montauk-related time travel, crystal skulls, reincarnation cycles tied to the precession of the equinoxes, and Spiers' own reported super-soldier experiences (implants, DNA aspects, and early trauma). The interviewer interjects frequently. The segment ends with comments on shifting planetary forces and a possible reset.  This is one extracted portion of the larger multi-part Bases 37 series.

“We are in the middle of a labyrinth which suggests to us many fake corridors. What's the superpower of literature? Literature is like an antidote against propaganda. Propaganda explains the world easily in a two-dimensional way.  Literature gives you a more complex explanation. Literature tells personal stories.”Today, we have a conversation about time, memory, and the bittersweet geography of human sorrow. Georgi Gospodinovis widely considered one of the most daring voices in contemporary European literature. His acclaimed novel, The Physics of Sorrow, won the prestigious Jan Michalski Prize in 2016, blending ancient myth and quantum physics to chronicle the delicate realities of post-socialist Eastern Europe. Joining him is Angela Rodel, a brilliant linguist, musician, and translator whose profound artistic empathy carries the flowing cadences of the Bulgarian language into vivid English. Together, this extraordinary creative duo made history by winning the 2023 International Booker Prizefor Time Shelter—the first book written in Bulgarian to ever receive the honor.Time Shelter is a masterfully dark, funny, and prescient novel. It begins with an enigmatic psychiatrist opening a clinic that treats Alzheimer's patients by meticulously recreating past decades to match their internal clocks. But the experiment quickly escapes the clinic walls, triggering a pan-European crisis where entire nations hold democratic referendums to choose which era of the past they will retreat into. It is a book that holds up a mirror to our own world, exploring what happens when a civilization faces a deficit of meaning and tries to weaponize nostalgia.(0:00) The Trap of Nostalgia(2:13) The Art of Translation(5:44) The Pandemic of the Past(11:30) Reading from ‘Time Shelter'(14:28) Death and the Gardener(19:34) The Translator's Calling(26:05) Cultural Rhythms of the Bulgarian Language(30:00) The Nonlinear Approach to Storytelling(34:30) Separating Personal and Historical Pasts(42:55) Storytelling vs Propaganda(47:19) Bodies, Animals and the Loneliness of the Minotaur(56:00) Reading ' Eight Minutes and 19 Seconds'(1:00:28) What makes a good life? What has given your life meaning?(1:04:18)   Childhood, Memory and Imagination(1:10:38) Reflections on God and the Stories His Grandmother Told Him(1:17:20) Education and the Empathic Imagination(1:23:25) The Museum of Memory(1:26:15) The Importance of Hugging and Empathy(1:28:02) AI and the Future of HumanityEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

“We are in the middle of a labyrinth which suggests to us many fake corridors. What's the superpower of literature? Literature is like an antidote against propaganda. Propaganda explains the world easily in a two-dimensional way.  Literature gives you a more complex explanation. Literature tells personal stories.”Today, we have a conversation about time, memory, and the bittersweet geography of human sorrow. Georgi Gospodinovis widely considered one of the most daring voices in contemporary European literature. His acclaimed novel, The Physics of Sorrow, won the prestigious Jan Michalski Prize in 2016, blending ancient myth and quantum physics to chronicle the delicate realities of post-socialist Eastern Europe. Joining him is Angela Rodel, a brilliant linguist, musician, and translator whose profound artistic empathy carries the flowing cadences of the Bulgarian language into vivid English. Together, this extraordinary creative duo made history by winning the 2023 International Booker Prizefor Time Shelter—the first book written in Bulgarian to ever receive the honor.Time Shelter is a masterfully dark, funny, and prescient novel. It begins with an enigmatic psychiatrist opening a clinic that treats Alzheimer's patients by meticulously recreating past decades to match their internal clocks. But the experiment quickly escapes the clinic walls, triggering a pan-European crisis where entire nations hold democratic referendums to choose which era of the past they will retreat into. It is a book that holds up a mirror to our own world, exploring what happens when a civilization faces a deficit of meaning and tries to weaponize nostalgia.(0:00) The Trap of Nostalgia(2:13) The Art of Translation(5:44) The Pandemic of the Past(11:30) Reading from ‘Time Shelter'(14:28) Death and the Gardener(19:34) The Translator's Calling(26:05) Cultural Rhythms of the Bulgarian Language(30:00) The Nonlinear Approach to Storytelling(34:30) Separating Personal and Historical Pasts(42:55) Storytelling vs Propaganda(47:19) Bodies, Animals and the Loneliness of the Minotaur(56:00) Reading ' Eight Minutes and 19 Seconds'(1:00:28) What makes a good life? What has given your life meaning?(1:04:18)   Childhood, Memory and Imagination(1:10:38) Reflections on God and the Stories His Grandmother Told Him(1:17:20) Education and the Empathic Imagination(1:23:25) The Museum of Memory(1:26:15) The Importance of Hugging and Empathy(1:28:02) AI and the Future of HumanityEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

You've probably been told that anxiety is a reaction to what's happening in your life. But my guest today says that's not the whole story. Most of your anxiety isn't a reaction to what's actually happening — it's a reaction to what you're imagining might happen. You get an email that says "can we talk tomorrow?" and your mind writes an entire disaster. Your brain then releases the same stress hormones whether the threat is real or imagined. My guest is Dr. Cassandra Vieten, a licensed clinical psychologist and director of research at the Arthur C. Clarke Center for Human Imagination at UC San Diego. Her new book is Imagine That. Some of the things we discuss are: Why you're imagining far more than you think — and how your brain reacts as if what you're imagining is actually happening The Mark Twain quote about worry that will stop you in your tracks Why "just think positive" backfires — and what to do with your imagination instead Your imagination profile — why some people see vivid pictures, others hear narrated stories, and both are valid ways of imagining How to visit your future self — and the surprising question to ask when you get there How to tell the difference between rumination and imagination The dragon-in-the-village metaphor Dr. Vieten uses for addiction — and why a good story can reach truths your logical mind can't The Therapist's Take: My top three strategies for using your imagination to grow mentally stronger Related Episodes ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠318 — How to Turn Anxiety Into a Competitive Advantage With a 2-Minute Play That Tricks Your Brain ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠144 — 7 Surprising Strategies That Fix Anxiety (Even Though We Fear These Things Will Make Anxiety Worse) Links & Resources ⁠Imagine That Connect with the Show Buy a copy of⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠13 Things Mentally Strong People Don't Do⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Connect with Amy on Instagram —⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@AmyMorinAuthor⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sign Up for My Newsletter —⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://amymorinlcsw.com/newsletter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sponsors Lola Blankets - Head to⁠⁠⁠ LolaBlankets.com⁠⁠⁠ and use code STRONGER to get 40% OFF your order. AirDoctor — Head to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AirDoctorPro.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠and use promo code STRONGER to get UP TO $300 off today! One Skin — Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠oneskin.co/STRONGER⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and use code stronger to get up to 30% off your first 3 subscription orders Quince — Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Quince.com/stronger⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for free shipping on your order and 365 day returns! Boll & Branch — Get 20% off sitewide at ⁠⁠⁠⁠⁠⁠⁠⁠BollAndBranch.com/stronger⁠⁠⁠⁠⁠⁠⁠⁠ with code stronger. Square — Get up to $200 off Square hardware at ⁠⁠⁠⁠⁠square.com/go/STRONGER⁠⁠⁠⁠⁠. Dupe — Go to⁠⁠⁠⁠⁠ Dupe.com ⁠⁠⁠⁠⁠to finally feel confident about what to buy. Subscribe to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Mentally Stronger Premium⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for exclusive content like weekly bonus episodes, mental strength challenges, and office hours with me. Learn more about your ad choices. Visit megaphone.fm/adchoices

Len Testa and Jim Hill unpack a packed slate of D23 parks announcements, from Disneyland's newly promised Tomorrowland overhaul to major additions coming to Walt Disney World. They dig into Tropical Americas, Piston Peak, Villains Land, Monstropolis, Figment and Dreamfinder's return to EPCOT, and Disney's surprising promise to finally address Expedition Everest's Yeti. Then Jim looks back at the history of Disney-MGM Studios' Ewok Village, its connection to Star Tours, and the unusual road that brought George Lucas' galaxy to a Hollywood-themed park. NEWS • Disneyland plans a Tomorrowland overhaul inspired by the land's original sense of hope and optimism. • Disney California Adventure's Pandora project moves behind Tomorrowland while Avengers Infinity Defense, Stark Flight Lab, and the Coco attraction continue taking shape. • Walt Disney World reveals new details for Tropical Americas, Piston Peak National Park, Villains Land, and the phased opening of Monstropolis. • Dreamfinder and Figment are headed back to EPCOT in a still-mysterious new “flight of fancy” into Imagination. • Disney says Expedition Everest's long-static Yeti will finally be addressed, though exactly what “fixing” the figure means remains to be seen. FEATURE • Jim traces the 1989 opening of the Ewok Village at Disney-MGM Studios, months before Florida's Star Tours began carrying guests to Endor. • Learn why Florida's Star Tours wound up at the Studios instead of Tomorrowland and how Disney tried to make George Lucas part of the park's identity. • The story explores George Lucas' inspirations for the Ewoks, the abandoned Wookiee plans for Return of the Jedi, and Disney's enthusiasm for the franchise's most marketable forest dwellers. • Plus, Jim revisits unrealized ideas including a Sci-Fi Channel UFO headquarters and the Roger Rabbit-themed Toontown Transit simulator. For this episode's full show notes, click here.HOSTS • Jim Hill - X/Twitter: @JimHillMedia | Instagram: @JimHillMedia | jimhillmedia.com • Len Testa - Bluesky: @lentesta.bsky.social | Instagram: @len.testa | touringplans.com FOLLOW • Facebook: @JimHillMediaNews • YouTube: @jimhillmedia • TikTok: @jimhillmedia • Patreon: https://www.patreon.com/jimhillmedia/ SUPPORT Support the show and access bonus episodes and additional content at https://www.patreon.com/jimhillmedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - https://strongmindedagency.com SPONSOR Disney Dish News is sponsored by BeOurGuestVacations.com, from our friends at DVCRentalStore.com. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. https://www.jimhillmedia.com/sponsor/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Len Testa and Jim Hill unpack a packed slate of D23 parks announcements, from Disneyland's newly promised Tomorrowland overhaul to major additions coming to Walt Disney World. They dig into Tropical Americas, Piston Peak, Villains Land, Monstropolis, Figment and Dreamfinder's return to EPCOT, and Disney's surprising promise to finally address Expedition Everest's Yeti. Then Jim looks back at the history of Disney-MGM Studios' Ewok Village, its connection to Star Tours, and the unusual road that brought George Lucas' galaxy to a Hollywood-themed park. NEWS • Disneyland plans a Tomorrowland overhaul inspired by the land's original sense of hope and optimism. • Disney California Adventure's Pandora project moves behind Tomorrowland while Avengers Infinity Defense, Stark Flight Lab, and the Coco attraction continue taking shape. • Walt Disney World reveals new details for Tropical Americas, Piston Peak National Park, Villains Land, and the phased opening of Monstropolis. • Dreamfinder and Figment are headed back to EPCOT in a still-mysterious new “flight of fancy” into Imagination. • Disney says Expedition Everest's long-static Yeti will finally be addressed, though exactly what “fixing” the figure means remains to be seen. FEATURE • Jim traces the 1989 opening of the Ewok Village at Disney-MGM Studios, months before Florida's Star Tours began carrying guests to Endor. • Learn why Florida's Star Tours wound up at the Studios instead of Tomorrowland and how Disney tried to make George Lucas part of the park's identity. • The story explores George Lucas' inspirations for the Ewoks, the abandoned Wookiee plans for Return of the Jedi, and Disney's enthusiasm for the franchise's most marketable forest dwellers. • Plus, Jim revisits unrealized ideas including a Sci-Fi Channel UFO headquarters and the Roger Rabbit-themed Toontown Transit simulator. For this episode's full show notes, click here.HOSTS • Jim Hill - X/Twitter: @JimHillMedia | Instagram: @JimHillMedia | jimhillmedia.com • Len Testa - Bluesky: @lentesta.bsky.social | Instagram: @len.testa | touringplans.com FOLLOW • Facebook: @JimHillMediaNews • YouTube: @jimhillmedia • TikTok: @jimhillmedia • Patreon: https://www.patreon.com/jimhillmedia/ SUPPORT Support the show and access bonus episodes and additional content at https://www.patreon.com/jimhillmedia. PRODUCTION CREDITS Edited by Dave Grey Produced by Eric Hersey - https://strongmindedagency.com SPONSOR Disney Dish News is sponsored by BeOurGuestVacations.com, from our friends at DVCRentalStore.com. If you would like to sponsor a show on the Jim Hill Media Podcast Network, reach out today. https://www.jimhillmedia.com/sponsor/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Kyle and I going deep about recent interviews and our upcoming events and who we should interview next.    

Raad Enlightenment is a psychic, astrologer, and channel who lives in Lebanon and works directly with what he calls the divine truth within. What he shares in this conversation is heavier than most of what I put on the show. His awakening happened at 21 when something completely pierced open his third eye and never fully closed, and for the past several years he has been living inside a full-time transmission that he estimates comes through him at 75 to 100 percent of the time. He speaks with a directness that is rare in this space. He names the entities. He names the mechanism. He names the reason we get caught. ⠀ We go into all of it. Why his awakening pushed him into direct confrontation with what he calls the reptilian program. Why almost every fast food company brands in red. The cord you are already plugged into and the two-way stream sending your essence out to the system and pulling false light back. The eight to twelve entities the average person is carrying inside their vehicle. Why fear is the food but false identity is the trap. The dark side of the moon and what happens to souls who get caught on their way out. The projection system running through the English language itself. The Middle East grid he says he has been transmuting for the last three years from Lebanon, and the karmic overlay from Jesus he says he still feels walking down the street. The specific signs someone has an entity attached including one you would not expect. And the timeline he keeps being shown for the collective — full spirit utilization by 2030.  

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

Ancient apologetics is usually treated as a literary genre or a branch of early theology. This Element offers a different account. It argues that many Jewish and Christian texts conventionally labeled 'apologetic' are better understood through a bibliographic and archival lens: They produce authority not only by defending doctrines, but by organizing books, constructing corpora, mobilizing archives, and regulating interpretation. Tracing a trajectory from the Letter of Aristeas to Jerome's De viris illustribus, this Element shows how citation, collection, cataloguing, and textual ordering made traditions appear authoritative. Examining Aristeas, Josephus, Tatian, Justin, Origen, Pamphilus, Eusebius, and Jerome, it argues that apologetics is best understood as a form of curatorial power through which ancient communities learned to think with books. This title is also available as open access on Cambridge Core. New Books in Late Antiquity is presented by Ancient Jew Review. Sabrina Inowlocki is a Senior Research Fellow Institute for Religion and Critical Inquiry (IRCI) at the Australian Catholic University. Michael Motia teaches in Classics and Religious Studies at UMass Boston

Our guest on this episode is Sam Biswas, Founder & CEO of Eiffel Industries, LLC, which focuses on structural engineering, construction, technology and global enterprise. Mark first worked with Sam a couple years ago during the creation of our PV Farms home in McCormick Ranch, a project that has won a handful of awards, but really got to know Sam recently during the bidding process of a new build project here in Scottsdale. He was amazed at the personal story and professional trajectory of Sam's life and knew he wanted to get him as a guest on our Inspiring Living podcast. Sam's story began in India, with Bengali family roots in West Bengal and formative chapters in Ranchi, Calicut and New Delhi. His father was an engineer and Sam earned his Bachelors in Civil Engineering from the National Institute of Technology Calicut, graduating as a gold medalist. His career began in New Delhi with Consulting Engineers Corp. when he was hired as a Project Engineer in 1997. During this time he moved to the United States with the company and over two decades later founded Eiffel Industries. Sam shares with us his vision for “resilient communities, responsible infrastructure, and human-centered spaces.” His diverse perspective, creative journey, and long-standing experience in engineering, architecture, and construction can bring meaningful value to the conversation.For photos and more about this episode and all of our past podcast episodes, visit: https://www.candelariadesign.com/inspiring-living-podcastAlso, visit our YouTube Channel to watch the video of our previous podcast guests along with many, many home walkthroughs, behind the scenes on Mark's design process, cooking classes led by Mark & Tiffany and our Lifestyle Tours!   https://www.youtube.com/@CandelariaDesign

Hey there, and a very happy Saturday! This is your Disney News for Saturday, August 22nd, 2026. Let's dive into today's magical happenings, shall we? - Disneyland Resort hosts "Adventure Awaits" event with bonus attractions, exclusive character meet-and-greets, and special merchandise. - Walt Disney World opens new "Zootopia" attraction, offering immersive experiences inspired by the movie. - Tokyo Disneyland announces Fantasyland expansion with new attractions and dining experiences based on classic Disney tales. - Disney+ to premiere "Journey into Imagination," a new series exploring the creative process behind Disney's characters and stories. Thanks so much for joining me, and I hope you have a fantastic day filled with Disney magic. Remember to tune in tomorrow for more enchanting updates. See you tomorrow!

Welcome back to Everyone Needs an Aquarius! In this episode, Dom and D tackle a wild mix of true crime, pop culture, and the realities of fame. They dive into the unbelievable 24 Jump Street-style drug trafficking bust at Penn State fraternities, and react to the ongoing Tupac murder trial featuring a tense, reluctant testimony from Mob James. They also dissect Young Thug's candid speech to middle schoolers about navigating fame, and get into a heated debate over Jacquees claiming the "King of R&B" title. Plus, they explore the cultural legacies of Beyoncé, Rihanna, and Mary J. Blige, and discuss the historical surveillance of prominent Black figures like Malcolm X. Chapters 0:00 - Intro: Dom's Acting Gig & Reflections on Loss 5:42 - 24 Jump Street: Penn State Fraternity Drug Ring 21:00 - Surviving Diddy: Mob James Testifies in the Keefe D Trial 35:44 - Is Jacquees Really the King of R&B? 44:08 - The Decline of Imagination & Originality in Entertainment 51:01 - Young Thug's Candid Talk on Fame & Success 1:04:55 - The Ultimate R&B Debate: Beyoncé vs. Rihanna vs. Mary J. Blige 1:14:00 - Maya Boyd cast as Storm  1:19:03 - Educational Credibility & AI-Generated School Materials 1:27:24 - Government Surveillance of Malcolm X and African leaders   Brand new voicemail: ‪(314) 649-3113‬ Subscribe to the Everyone Needs an Aquarius Patreon https://bit.ly/3tXnnCz  Email the show at straightolc@gmail.com           Follow SOLC Network online Instagram: https://bit.ly/39VL542                                    Twitter: https://bit.ly/39aL395                                     Facebook: https://bit.ly/3sQn7je                            To Listen to the podcast Podbean https://bit.ly/3t7SDJH                                YouTube http://bit.ly/3ouZqJU                                Spotify http://spoti.fi/3pwZZnJ                                Apple http://apple.co/39rwjD1                                                         IHeartRadio http://ihr.fm/2L0A2y 

Imagination isn't just for artists, kids, or daydreamers—it's one of the brain's most practical tools. In Imagine That: Transform How You Think, Feel, and Live with the Science of Imagination, Cassandra Vieten shows how imagination helps us solve problems, manage stress, rehearse difficult moments, and expand what feels possible. Then, in Imaginable: How to See the Future Coming and Feel Ready for Anything—Even Things That Seem Impossible Today, Jane McGonigal explains how stretching our minds toward the future can make us more resilient, flexible, and ready for change. Together, these books make the case that imagination isn't a luxury—it's a skill we can, and should, practice.

“We are in the middle of a labyrinth which suggests to us many fake corridors. What's the superpower of literature? Literature is like an antidote against propaganda. Propaganda explains the world easily in a two-dimensional way.  Literature gives you a more complex explanation. Literature tells personal stories.”Today, we have a conversation about time, memory, and the bittersweet geography of human sorrow. Georgi Gospodinovis widely considered one of the most daring voices in contemporary European literature. His acclaimed novel, The Physics of Sorrow, won the prestigious Jan Michalski Prize in 2016, blending ancient myth and quantum physics to chronicle the delicate realities of post-socialist Eastern Europe. Joining him is Angela Rodel, a brilliant linguist, musician, and translator whose profound artistic empathy carries the flowing cadences of the Bulgarian language into vivid English. Together, this extraordinary creative duo made history by winning the 2023 International Booker Prizefor Time Shelter—the first book written in Bulgarian to ever receive the honor.Time Shelter is a masterfully dark, funny, and prescient novel. It begins with an enigmatic psychiatrist opening a clinic that treats Alzheimer's patients by meticulously recreating past decades to match their internal clocks. But the experiment quickly escapes the clinic walls, triggering a pan-European crisis where entire nations hold democratic referendums to choose which era of the past they will retreat into. It is a book that holds up a mirror to our own world, exploring what happens when a civilization faces a deficit of meaning and tries to weaponize nostalgia.(0:00) The Trap of Nostalgia(2:13) The Art of Translation(5:44) The Pandemic of the Past(11:30) Reading from ‘Time Shelter'(14:28) Death and the Gardener(19:34) The Translator's Calling(26:05) Cultural Rhythms of the Bulgarian Language(30:00) The Nonlinear Approach to Storytelling(34:30) Separating Personal and Historical Pasts(42:55) Storytelling vs Propaganda(47:19) Bodies, Animals and the Loneliness of the Minotaur(56:00) Reading ' Eight Minutes and 19 Seconds'(1:00:28) What makes a good life? What has given your life meaning?(1:04:18)   Childhood, Memory and Imagination(1:10:38) Reflections on God and the Stories His Grandmother Told Him(1:17:20) Education and the Empathic Imagination(1:23:25) The Museum of Memory(1:26:15) The Importance of Hugging and Empathy(1:28:02) AI and the Future of HumanityEpisode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

For years I have wanted to do a proper deep dive on Reiki and I finally made the space to do it. Reiki traces back to a specific man on a specific mountain in a specific year. In the spring of 1922, a broken and starving Japanese seeker named Mikao Usui completed 21 days of fasting alone on Mount Kurama north of Kyoto, and something entered him from above. A great light. Symbols poured into him faster than thought. He came down able to heal a torn toenail with his bare hands, and by the following year he had walked into the smoking wreckage of the Great Kanto earthquake and treated the wounded for weeks alongside his students. He gave the practice a name — Usui Reiki Ryoho — and it has now spread to cancer wards, hospitals, and hospice rooms across the entire planet. ⠀ In this episode I walk you through everything. The mountain itself. The being called Sanat Kumara that Japanese Buddhist tradition says arrived on that summit from Venus six and a half million years ago. The five precepts Usui called the secret method. The four symbols the tradition guarded so fiercely for a century. The Reiju attunement ceremony that opens a lifelong channel in a human being. The laboratory evidence — Bernard Grad's healed mice at McGill, William Bingston's dozen cancer cure experiments across six labs, the 140 peer-reviewed papers, the sham Reiki controls that isolated the effect from expectation. The extraordinary story of Hawayo Takata smuggling this Buddhist practice into the West during World War Two by rewriting Usui as a Christian minister. And the full Hatsurayo daily practice you can start tonight — 10 minutes that opens the channel in your own hands and stays open for the rest of your life. This is a consciousness technology and every part of it is available to you.  

Neville Goddard Course: Law of Assumption Mastery  Law of Attraction Course: Law of Attraction Mastery  Private 1:1 Coaching w/ Josh: joshuatongol.com/coaching

Send me a DM here (it doesn't let me respond), OR email me: imagineabetterworld2020@gmail.comIn this episode of Bases at the Barge Part Two, the host sets the scene amid nearby military bases before Max shares his personal story, beginning with his childhood in Brighton and Lewes, England, and a brief period living near alleged jump rooms in Los Angeles. He describes early occult family influences, recurring out-of-body experiences, and later realizations about trauma-based mind control techniques refined by Nazi doctors with input from non-human entities, creating dissociative alters programmed for specific purposes. Max recounts recovered memories of childhood rituals at a swimming pool complex, involvement in breeding programs, a severe 2008 crisis when multiple alters surfaced leading to assault, hospitalization, and what he believes was a reprogramming stay, as well as his ongoing deprogramming work. The session continues with audience questions exploring bloodlines, time manipulation, CERN, elite pedophilia as energy harvesting, DNA alterations, spirituality, and the potential activation of sleeper programs, offering a raw and detailed account of his experiences and broader interpretations of hidden agendas.

In this episode, author Dr. Cassandra Vieten explores the science and practice of imagination, its role in manifestation, creativity, and personal growth. Kimberly and Cassandra discuss how imagination can be cultivated, its connection to happiness, and its potential to solve complex problems.Chapters00:00 Introduction to the Power of Imagination00:01 Imagination as a Tool for ManifestationSponsor:BIRCH BEDS OFFER: Birch Organic Mattresses. Listeners now can go to birchliving.com/feelgood and receive 27% percent off any Mattress USE LINK: birchliving.com/feelgood and receive 27% percent off any Mattress Guest Resources:Book: Imagine That: Transform How You Think, Feel, and Live with the Science of ImaginationWebsite: cassandravieten.comBio: Cassandra Vieten, PhD, is a licensed clinical psychologist, clinical professor in the department of family medicine, and director of research at the Arthur C. Clarke Center for Human Imagination at the University of California, San Diego. She also directs the Center for Mindfulness at UC San Diego and serves as clinical psychology director at the Center for Psychedelic Research. She is senior advisor at the John W. Brick Mental Health Foundation and a senior fellow at the Institute of Noetic Sciences. Her research has focused on imagination, spirituality and health, transformative experiences and practices, the development of mindfulness-based interventions for emotional well-being, and development of media technologies to inspire awe. She has authored three books, is a three-time TEDx speaker, has published numerous articles in scientific journals, and is an internationally recognized keynote speaker and workshop leader.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A poem about a map opens North and South, the first collection of the great twentieth century poet Elizabeth Bishop, and since, maps have been associated with her poetic vision—at once telescoping and binocular—and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also hand-held, man-made, intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative, and personal. For several episodes, Wes & Erin will be reading a selection of some of Bishop's most anthologized poems, starting with “The Moose” as expressions of, among other things, her map-like imagination. Upcoming Episodes: Nolan’s adaptation of “The Odyssey”; more Elizabeth Bishop poetry: “First Death in Nova Scotia,” “One Art.” Pre-order Erin’s forthcoming book “Avail” here: http://subtextpodcast.com/avail For bonus content, become a paid subscriber at Patreon or directly on the Apple Podcasts app. Patreon subscribers also get early access to ad-free regular episodes. This podcast is part of the Airwave Media podcast network. Visit AirwaveMedia.com to listen and subscribe to other Airwave shows like Good Job, Brain and Big Picture Science. Email advertising@airwavemedia.com to enquire about advertising on the podcast. Follow: Twitter | Facebook | Website Transcript 0:11 Erin: A poem about a map opens north and south, the first collection of the great 20th century poet Elizabeth Bishop. And since maps have been associated with her poetic vision, at once telescoping and binocular, and with the polarities and preoccupations of her work. The map's privileged, sweeping, bird's eye view of the earth is also handheld, man made intimate. Depending on its level of minuteness or obsession, it can contain the tiniest details as well as, let's say, the whole enchilada. And though it purports to be scientific and objective, it is representational and therefore subjective, particular, imaginative and personal. Over the next few episodes, we'll be reading a selection of some of Bishop's most anthologized poems, starting with the moose as expressions of, among other things, her map, like imagination. This is Erin O'Luanaigh. And this is Wes Alwan, and you're listening to Subtext. Wes, have you ever seen a moose in the wild? 1:12 Wes: I have not, but I have seen Instagram videos of them and people getting too close, and I've heard that they actually are quite dangerous. 1:23 Erin: Oh, perfectly harmless. 1:24 Wes: As cute as they look. So not safe as houses. Which is a very surprising line, unless you think that houses maybe aren't as safe as they seem or ought to be. But that's something we'll talk about later. How about you? 1:38 Erin: I have not. And I actually, it's become a running joke among certain friends of mine that I haven't seen a moose because I long to see a moose in the wild. This is my dearest wish. 1:52 Wes: Is that the first time anyone said that in history? I long to see. 1:56 Erin: I don't know. 1:57 Wes: It's a good first line for a poem, actually. Why do you long. Long to see a moose in the wild? 2:03 Erin: Really? Maybe because of the poem. I don't know. I just really want to, but I. Maybe this will become significant without getting too personal or maybe with getting too personal. With apologies to the listeners. Ten years ago now, when my grandfather passed that summer, my grandmother wanted to go up to Maine and revisit certain places that she had been with him. And we ended up going to Acadia. And I was so excited to see. Am just. I got it into my head that I had to go to Acadia and see a moose. And I even bought a sweatshirt. I'm not wearing it right now. I looked down to see if I was wearing it. It's the same size and shape as this one. This is a Yankees, 1996 World Series sweatshirt. 2:42 Wes: It's not a Rocky and Bullwinkle sweatshirt, is it? 2:45 Erin: No, no, no. It's an acadia and it has a. It has a mousse on it. And so I bought it the first day that I was there and I was like, this is my sweatshirt and it has a moose on it. And I'm gonna. I'm gonna see a moose. And I did not see a moose. And then I. I bought a moose sweatshirt in, I think Grand Teton, and I was like, I'm gonna see a moose. And I did not see a moose. And then I lived obviously many years in Utah, and things would happen. Everybody knew I wanted to see a moose. And I would go to these trails where you could see moose. And I would like be going up a trail and someone would be coming down saying, there are moose up there. We just saw a moose. You just saw baby moose. I'd get all upsided and I would. I would run up and it was gone and people would taunt me. 3:32 Wes: So you don't want to see like a magic white heart or something like that? 3:38 Erin: No, no, I just want to see him. Even the garden variety moose? No, no. Just a humble moose will hide itself from me when. When it knows that I am after it. 3:49 Wes: Because they are a goofy, right? Are they majestic? Are they goofy looking? Are they both? 3:55 Erin: I think they're both. And I think that kind of qual quality is really well captured in the poem. No, I mean that quality of if not being then looking safe as houses or being a gargantuan size, and yet having. I know this is a female moose, which I believe is called a cow, as opposed to a bull. Right. But the bulls, even their horns have that hand like quality to them. You know, it looks kind of like an outstretched hand. 4:22 Wes: Interesting. 4:24 Erin: Yeah. They're not majestic. 4:25 Wes: Yeah, I think that's important to the poem. It's not some obviously majestic creature, although it is large and there is majesty in it in the poem, but it's not the typical majesty that you can just get from, oh, look at this beautiful animal. 4:41 Erin: Yeah. And this is kind of why I brought up my grandfather. There was some connection for me as I think there is something quite personal going on with the moose at the end, other than the shared experience of everybody in the bus, all of that. Like there's something bigger than us, more than us, and yet familiar in a way. And it's magical in a sense, because to see it is kind of a rare thing. Yet it also comes out of the landscape that she's that she's grown up in and that she's part of. I think there's a. Yeah. A lot of interesting dualities going on. 5:17 Wes: Okay. So maybe you can read the whole thing and then you could give a little bit. Or we could give a little bit of the biographical background because this is a bus trip she actually took. Right. 5:26 Erin: Yeah. 5:27 Wes: The significance of Nova Scotia, which is where she's departing from in the poem and all of that stuff. But. Yeah. Do you want to start by reading? 5:35 Erin: Sure. The moose from narrow provinces of fish and bread and tea, home of the long tides, where the bay leaves the sea twice a day and takes the herrings long rides where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home, where silted red sometimes the sun sets facing a red sea and others veins the flats. Lavender rich mud and burning rivulets. On red gravelly roads, down rows of sugar maples, past clapboard farmhouses and neat clapboard churches, bleached ridged as clam shells, past twin silver birches through late afternoon a bus journeys west, the windshield flashing pink, pink glancing off of metal, brushing the dented flank of blue beat up enamel, down hollows, uprises and waits patient, while a lone traveler gives kisses and embraces to seven relatives and the collie supervises goodbye to the elms, to the farm, to the dog. The bus starts. The light grows richer. The fog shifting, salty, thin, comes closing in. Its cold round crystals form and slide and settle in the white hen's feathers in gray glazed cabbages on the cabbage roses and lupins like apostles. The sweet peas cling to their wet white string on the whitewashed fences. Bumblebees creep inside the foxgloves and evening commences. One stop at Bass river, then the economies, lower middle, upper five islands. Five houses where a woman shakes a tablecloth out after supper. A pale flickering gone the Tantramar marshes and the smell of salt hay. An iron bridge trembles and a loose plank rattles but doesn't give way. On the left a red light swims through the dark. A ship's port lantern. Two rubber boots show illuminated, solemn. A dog gives one bark. A woman climbs in with two market bags. Brisk, freckled, elderly. A grand night. Yes, sir. All the way to Boston. She regards us amicably. Moonlight as we enter the New Brunswick woods. Hairy, scratchy, splintery moonlight and mist caught in them like lamb's wool. On bushes in a pasture the passengers lie back, snores some long sighs. A dreamy divagation begins in the night, a gentle auditory slow hallucination in the creakings and noises, an old conversation not concerning us but recognizable somewhere back in the bus, grandparents, voices uninterruptedly talking in eternity, names being mentioned. Things cleared up finally. What he said, what she said, who got pensioned. Deaths, deaths and sicknesses. The year he remarried, the year something happened, she died in childbirth. That was the son lost when the schooner foundered. He took to drink. Yes, she went to the bad when Amos began to pray, even in the store and finally the family had to put him away. Yes, that peculiar affirmative. Yes, a sharp indrawn breath, half grown, half acceptance. That means life's like that, we know it. Also death talking the way they talked in the old featherbed, peacefully on and on, dim lamplight in the hall, down in the kitchen, the dog tucked in her shawl. Now it's all right now, even to fall asleep, just as on all those nights. Suddenly the bus driver stops with a jolt, turns off his lights. A moose has come out of the impenetrable wood and stands there, looms rather in the middle of the road. It approaches, it sniffs at the bus's hot hood, towering antlerless, high as a church, homely as a house or safe as houses, a man's voice assures us, perfectly harmless. Some of the passengers exclaim in whispers, childishly, softly, sure are big creatures. It's awful plain. Look, it's a she. Taking her time. She looks the bus over, grand, otherworldly. Why. Why do we feel. We all feel the sweet sensation of joy? Curious creatures, says our quiet driver, rolling his Rs. Look at that, would you? Then he shifts gears for a moment longer by craning backward. The moose can be seen on the moonlit McAdam. Then there's a dim smell of moose, an acrid smell of gasoline. 11:05 Wes: Thank you. Very nice. It's really great to hear it spoken out loud. Spoken is the wrong word. It's the word read, performed. Do you want to say anything about the form of the poem before I ask you about some of the autobiographical background? 11:22 Erin: Yeah. Short lines, six line stanzas, 20, I believe. 28 stanzas in all. Irregularly rhymed, should we say? Kind of like a lot of bishop, you know, we get A, B, C. Then sometimes not rhymed where you might expect. So the rhymes peek their heads out and then. And then recede. Chatty a little bit in places, lots of repetitions of words. But that. That's something we could talk about More. But, yeah, kind of. Kind of mysterious form. One of the best things I've ever heard or read, I guess, about Bishop was by Michael Hoffman, who wrote quite a bit about her. And he said that it seems as though every time Bishop is writing, whether in form or in a kind of nonce form that she's creating, that she seems to be just inventing every form, like from scratch. You know, there's no blueprint. She doesn't have a familiar style in which she writes or particular kind of verse form that she seems to gravitate to. And when she writes, you know, a sistina or a villanelle or a sonnet or something like that, it seems like she's almost inventing the form as she goes along. And in this instance, there's a real. I keep wanting to say homemade after Crusoe in England. But, yeah, I think that's maybe what he was trying to get at, that homemade quality, that sort of bespoke kind of quality. And in the places where the rhyme goes in and out, I think that's really exemplified. 12:53 Wes: Well, it better be bespoke. She took forever to write it. 12:55 Erin: Yeah, that's right. She started this in, I think, 1946. 13:01 Wes: And then she finished it when this 13:04 Erin: was published in Geography 3. So she finished it in the 70s. 13:07 Wes: Okay. 13:08 Erin: Geography 3 came out in 1977. And this must have been published before then, individually, perhaps in the New Yorker, I think. Oh, geography three is 76. I would say maybe 72 is the date that comes to mind. Don't quote me on that. 13:24 Wes: Do we know why it took her so long? Obviously, she put it down for a couple days here and there. 13:29 Erin: It was the July 15th issue, 1972. So close to the day that we're recording. Why did it take her so long? She just worked on things forever and ever and ever. You see it, if you read. I highly recommend to listeners that they Get Words in Air. A very, very thick book of all the letters between Bishop and her friend Robert Lowell. You see her bringing up things or even mentioning in a description that she's writing to Lowell in a letter, a line that will later show up in a poem. Yeah. Low rate of productivity is great to. 14:08 Wes: You know, I can relate to that. 14:11 Erin: I take it as my model, honestly. Like, you know, live. Live Large and die with a slim Collected is kind of a. 14:19 Wes: Kind of a great Monroe Doctrine. But call it. What's another name? Bishpro. 14:28 Erin: That's right. 14:29 Wes: Is it right that she was forced to complete it because she agreed to read it this is something for deadlines. Right. At Harvard's Phi Beta Kappa ceremony. 14:38 Erin: I didn't know that. I know she read it at that ceremony, but I didn't know that that's what. The impetus for completing it. But that doesn't surprise me. 14:45 Wes: Yeah. So deadlines help every once in a while. 14:47 Erin: Absolutely, absolutely. 14:49 Wes: And then biographically. Right. This is based on a trip that she actually took, and she. She'd been to visit relatives in Nova Scotia and then came back on this bus trip. And the. There really was a moose. There really was a collie. Seven relatives for the rest of it. Yeah, yeah. Seven else. 15:11 Erin: Yeah, yeah. The specificity and all of it's. You know, there is a kind of like a photo realism, not just in the style, but in the. You know, we could sort of be certain that these things happened the way that she is recording them somehow, and yet she's spinning it into something more than just reportage. 15:30 Wes: So she was raised partly by her grandparents in Great Village, Nova Scotia. Right. Her. Her father had died in infancy and her mother was institutionalized. 15:41 Erin: That's right, yeah. 15:41 Wes: She aged at. When she was 5. 15:43 Erin: That's right. 15:44 Wes: So it's important just because. Yeah. The bus is leaving Nova Scotia, but go. Go ahead. 15:48 Erin: Yeah, it is important. She was born in 1911 in Worcester, Massachusetts, and she's buried there. I've seen her grave up there. It has a line or two lines from the bite on her tombstone. All the untidy activity continues. Awful but cheerful. Yeah. So she was born in 1911. Her father died, I think, of Bright's disease when she was 8 months old. And then her mother was institutionalized when she was 5, and she never saw her again. She didn't die until the 30s, I think, while Bishop was at Vassar. 16:23 Wes: Do we know what she was institutionalized for? Mental illness in general? 16:28 Erin: Yes. I don't know exactly what. In a short story of Bishop's, she describes as her. A scream coming from her mother. And whatever was wrong was exacerbated by her husband's death. And so then Elizabeth was left to be raised by her grandparents in Nova Scotia who were quite poor. And I guess she was kind of running around barefoot on the farm and stuff like that. And her father's family were very wealthy, and so when they came up to visit Elizabeth, they were, I guess, horrified by the fact that she was just like, you know, running around, hanging out with farm animals. And they took her to. Back with him to Worcester, and she was very unhappy there. Very ill child. She had asthma and eczema. And really, like, I think almost died of both at one time or other, very unhappy. And then eventually she moved to an aunt's house in, I want to say, in Revere, Massachusetts, and she was a little happier there. And then she went to Vassar, and I've been to the Vassar campus to see various buildings associated with Bishop and also to see. They did a really fabulous exhibition of her postcards at the Vassar Library a couple of years ago, which I really loved, seeing her hand and her little. In jokes and asides and really amazing to see. Anyway, at Vassar, the librarian there set up a meeting between Bishop and Marianne Moore, who became a mentor to her. They were very close. And then also over the course of her life, she was very close with and had an important friendship with Lowell. Hence the enormous book of letters. I have it here. It's so heavy I could barely pick it up. But this is a great book. It's kind of like an epistolary novel. Yeah. And she was. I think it's important to say, too, that she was a lesbian who had a very long relationship with a Brazilian architect named Lota de Mecedo Soares, who was her partner in Brazil for 15 years. She lived down there, known for travel. A lot of her collections, whether it's Geography three, which is the most obvious one, or north and south, have. There are a lot of Brazilian pumps. There are a lot of geographical poems. The first poem in her first collection, north and south, was the Map, which is often read as a kind of ars poetica. She's known for these types of, you know, sweeping landscapes that the moose begins with, and an interest in landscape and in this kind of bird's eye view. But then also you get these telescoping details, like a cinematic close up interspersed. Much is made of that in Bishop, of that kind of vision of hers, and specifically of, I don't know, the idea that she creates these. These beautiful miniatures, which is true, but maybe sometimes can be a little. I mean, she's revered, as she should be, and she's one of the most popular poets and she also has a great ear and she has so many other great things going on. So I don't want to exclusively focus on that kind of visual element, though it's there and it's very rich. 19:43 Wes: So from narrow provinces of fish and bread and tea. That's a very good opener. Why are they narrow provinces? And what is the. What are the fish and bread and tea doing? Fish and bread sounds vaguely like it could be a biblical reference, but maybe it's not. But you add tea. Right. There's something mundane here and perhaps restricted, provincial. And that's what she's going to be departing from. I mean, well, begins with the tides, but. 20:12 Erin: Yeah, right. Yeah, that's right. Narrow in a few kinds of ways. Because there's a strange. Because of the Bay of Fundy, there's almost that like U shaped corridor of land around it. So Nova Scotia is kind of narrow. And then up into. Then there's the narrow isthmus. I don't know, I don't know if I'm using that word correctly. Up into New Brunswick. Yeah, so there's something maybe a little, I don't want to say spiritually narrow, maybe somewhat limited or like practical. Practical and, you know, just the necessities and a place we learn that that is. That maybe has to be stalwart in response to the vagaries of the water around it. The Bay of Fundy, I was reading online, the tide, over the course of just one tide, can rise and fall 50ft because the bay is like a giant funnel. When it goes out, it just leaves this vast, open, muddy plain basically behind it. 21:16 Wes: She portrays this very beautifully. We get the image of the tide retreating and then the flats that are being illuminated by the setting sun as burning rivulets. And then there's almost a transition into the bus ride when she says on red gravelly roads, eventually the subject of that is going to be the bus. Although in the beginning, before we get to the bus, it looks like the rivulets have almost become roads. So you almost get the sense like the tides come in and it's going to go further inward, it's going to go all the way to Boston, but it's going to become the inhabitants of the bus who are much like the herrings. Right. In the first stanza. The herrings on the tides take herrings on long rides. So it's almost as if as the tide comes in, she is caught in the tide and brought along with it towards her destination. 22:08 Erin: That's right, yeah. And the bay itself, the water itself is also like a traveler, you know, you might go to visit it and find it's not at home, it's gone out for on a trip or something. So there's also that connection as well. Whereas the roads are part of this more solid and dependable and the water being fickle and not always depended on to be there. 22:31 Wes: Well, I was going to say there's something very poignant about the way she describes the tides and whether they're in or out. And I can't put my finger on it exactly. It's almost. It's this idea of. Right. Where if the river enters or retreats in a wall of brown foam depends on if it meets the bay. Coming in the bay, not at home. If the tide is in or coming in the river clashes with it in a wall of brown foam. Is that the idea now? And what's the image there? Is it always a wall of brown foam? Well, either way, I just. Something about this idea of. It depends on whether the bay is at home or something like that. It's a poignant image. 23:12 Erin: It is. It's that sense of just. Of disappointment or just missing someone, like a missed opportunity. Seems kind of surprisingly emotionally resonant, considering that she's talking about a tide. 23:25 Wes: And we. You know, it introduces the idea of home and. Which I think will be significant. And later on we'll talk about whether the moose is safe as houses and the reflections of the elderly and all that stuff. But. 23:40 Erin: And boundaries, too, right. You have very slippery boundary between the bay and the. And the sea, between the rivers and the bay that feeds them. And I think that boundary very much plays into the idea of home. And you could say that the bus seems to be a part of that too. Right. Like the bus becomes the home. So there's a little bit of the slippery idea of this transposition of home life into the bus, or the people on the bus all becoming the. We like a family within it. The way that it can literally cross national boundaries. It's going to Boston across the border. 24:18 Wes: Yeah. And then they'll be observing provincial life, I guess, from within the bus. And. And, you know, a woman shaking out an apron, for instance, or home life. But, yeah, I had the same thought to you. The bus. The interior of the bus becomes its own kind of mobile home, I guess. I guess the wall brown foam part. There's that push and pull, or it's a matter of who's doing the pushing. Right. In one case, the brown foam. The wall of brown foam is caused as. As the river pushes on the retreating tide. And the other case, it's the tide pushing back against the river as it comes in. But in either case, there's a clash there. 24:58 Erin: Then there are places, though, where there's blurring of boundaries. Like one of my favorite lines in the whole poem, the idea of the churches as ridged as clamshells. She always takes that. This is much remarked upon among scholars of Bishop. Where you get the thing that's. That's really big, suddenly reduced in size to the handheld, but coming out of the same idiom. You know, both the clamshell and this clapboard church are in a way equally native to Nova Scotia. The brilliance of connecting those two things and fishing being an industry in the area, you know, sort of springing out of the fishing industry. 25:42 Wes: Yeah. And shells are what's left as the tide retreats. Right. As it's as if the houses are just the natural residue of a retreating tide. 25:52 Erin: That's great. 25:52 Wes: From the beginning of the poem, there's a sense of momentum, and almost like you, at least in my case, I felt like I'm on a camera moving over the landscape, and it starts with the tide, and then it moves to the burning rivulets. Right. So now we're hovering over. I don't know what you would call it, a. A tidal plane. Anyway, she calls it the flats. Right. So all the silt, and we're moving along there, and then suddenly we're on a gravelly road. So the sun takes over from the sea. The redness of the sun. And then the bus takes over from the sun. But that's the momentum of the poem is from sea to sun to bus. 26:37 Erin: Yeah. The bus flashes pink. We get lots of pairs of the same word, creating a kind of chime with each other. So we get the windshield flashing pink. Pink glancing off of metal. And we wonder, I suppose, because part of the reason why the roads are red is because of the clay content. Right. Of the road itself. So we get that combination of, like, something red in the road or in the composition of the soil and rock of the area. 27:07 Wes: Laterite, I think, which I only know because of Graham Green, who I've been reading. Oh, and what heart of the matter. He's talking about laterite houses, like. So from the red clay, you can make, you know, homes from as well, and common in Sierra Leone. So he used the word like a hundred times before he finally looked it up. All right. There must be something that's going to not know what he's talking about. I'm like, oh, okay, now I get it. Yeah. 27:41 Erin: So that's the mineral, the. 27:44 Wes: It's reddish. Yeah. Reddish clay type of soil, topsoil or something like that. I should know more about this because I used to write about this, too, when I was writing about transportation and engineering. 27:56 Erin: Right. 27:57 Wes: It's important what kind of soil you're building on. But anyway, I remember nothing about that. But, yeah. So it could be the right word. Who knows? But. But, yeah. So you're getting at the. Yeah. The way the redness of the sun is interacting with the. 28:12 Erin: Yes, it's coming. 28:13 Wes: The redness of the soil. 28:14 Erin: Yeah. And that kind of redness coming from below and above to glint off of the bus. The windshield is flashing pink from the sun and the metal is flashing pink from the road. They're both brushing the dented flank of the blue beat up enamel from one direction or the other, it seems. Yeah. Sort of tunnel of red in which the. In which the bus is traveling. 28:41 Wes: Such a vivid image that she gives us. It made me think, you know, sometimes it's almost better than film. It's more vibrant or more. Don't know how to say it, but I was thinking about this because in some of the philosophy podcasts we do, there are philosophers who deny that we have imagery in our head. Exactly. Or we can never. Which seems true. Right. We can't imagine anything with the vividness that we would have if we actually saw it. But it makes me think when I read a poem like this, but also. And also reading some of the novels I've been reading. Well, there's a special kind of vividness to figurative language that perception can't capture. In some ways it's more. More vivid, definitely. 29:26 Erin: I think the sonic quality of the word, the repeated. Right. It's on the one hand a repeated image, but then it also creates that kind of just the soundscape, makes them feel somehow more synesthetic to say, but somehow more picturable or more tangible or more. I don't know, the pink glancing off metal, the dented flank beat up enamel. You know, there's just. It's like. I think that's contributing to it, to the vividness of the image. And yeah, you talked about momentum, too. I mean, this entire. This whole first sentence is six stanzas long. It ends with. And Akali supervises. So there's also that kind of. Yeah. Locomotive propulsion of the camera work, so to speak, Zooming in and then following the road into the bus. And then the bus arrives to sort of catch again, quite cinematically the scene that's actually happening or the place where the eye, if there is an eye in the poem, actually is the lone traveler embracing these relatives with the collie watching on. So there's a sense in which the I eye of the poem doesn't actually catch up with the speaker until stanza six and the end of this first sentence until we get goodbye to the elms, to the farm, to the dogs. So there's kind of lamination at that moment of the I eye and the capital I. 30:49 Wes: We seem to be gradually getting more of a point of view. Right. It's very omniscient in the beginning, hovering over the landscape. And I think gradually we're going to be getting a her point of view in the bus and then a we. But also just to note, this is one. I think this is the first of three pauses. Right. There's gonna. It's gonna pause here, the bus. The momentum is gonna stop as the bus lets on the lone traveler, which I presume is her. Right. Her saying goodbye. And then there'll be a pause when the amicable freckled woman gets on. She's there because we need everything to be in threes. And then we. Then we're gonna pause for the moose in the very end. I didn't miss anything. Right. There's not other places where we stop? 31:32 Erin: No. I mean, there are, of course, stanzas that end some more definitively than others and stopped with a period. There's a stop at Bass River. Right. So there is a little bit of that kind of start. Stop syntactically. But I think you're right that those are the stops where there's content. 31:49 Wes: Content goes. 31:50 Erin: Yes. And where there's a very particular. Yeah, the content of the bus, except for the moose obviously doesn't get on the bus. But there's a stop that's motivated, let's say, rather than just being described as various stops along the way where we don't know who got on and who got off or whatever. Certainly there's also a movement toward that more personal experience of the speaker. But then there are also things that the speaker couldn't possibly know or you know, because once she's said goodbye to everyone and gets on the bus, then we also get the sort of nature show close ups. The crystals of fog, the lupins like apostles, the sweet peasants clinging. One of my favorite parts, clinging to their wet white string on the whitewashed fences. Again, we get two uses of white right next to each other. Bumblebees creeping in the foxgloves. All things you really can't see from certainly from a moving bus. 32:43 Wes: Yeah, the point of view gets focused very, very gradually, maybe through the whole palm. Maybe it's not fully focused until the very end, but. Yeah. So you're pointing out something important which is at the sort of omniscient point of view is still here in these very. What do you call it when you take a close up with your phone? Macro, ironically. Yeah. These very close up pictures of flora and fauna and very Beautiful. 33:12 Erin: Yeah. They compound and then they get more and more loaded and mysterious. And just when we're about to maybe go over the edge, we get recalled back a little bit. That's at least how I'm reading, for instance, stanza 12, about the ship's port lantern and the boot and the bark of the dog. And then suddenly a woman climbs on the bus. And so we're sort of stopped from going off into some sort of train of thought that you could follow there down a rabbit hole. But I love that stanza on red light swimming through the dark. It reminds me of the last stanza of disillusionment, of 10 o'. Clock. Do you know the old sailor, drunk and asleep in his boots, catches tigers in red weather? I think that's how it goes, the Stevens bomb, because we get the boots and the red light in the ship, so they're probably. No. No real connection there. 34:07 Wes: So all of these little intricate descriptions that she's giving, right. It begins with the light growing richer, which I take it mean, means we're approaching dusk and evening, or we're in dusk and it's evening is approaching and a kind of mini winter, Right. Something. It's a diurnal cycle, but there's a bit of a parallel to something seasonal. Right. So we get crystals forming and the images like sweet peas clinging and the bumblebees inside foxgloves. As evening commences, it's almost like. I don't know if this is true, but it's almost as if we're getting the response of the animals and flora and fauna to the commencement of evening. That's our first indication of it. So I was surprised to see, okay, it's still light out enough for us to see a woman shaking a tablecloth out after supper. And that is beautifully described as a pale flickering. Right. Almost as if that's something like the light reflecting off the enamel bus, or not pink anymore, but just a flickering of pale light and then gone, I suppose. Does that mean that we're now without light? Is that sort of the way nighttime is ushered in by the end of the next stanza? And it's in the next stanza that we see a red light in the dark. Now we have a ship in the dark. So it's almost as if. Yeah, the shaking of the tablecloth is like a magician. Abracadabra. Now it's nighttime, Right? 35:39 Erin: Yeah. I love that. Yeah. You're making me realize how many connections there are to Keats in this poem. Right. There's something Keatsian about it, very. To Autumn, you get the sweet peas clinging on the fence. You get that image of fecundity things on top of other things. You know, the mossed cottage trees and the late flowers for the bees. And then the shaking out of the tablecloth is like the hair lifted by the winnowing wind. Right. Because there's. There's wind, there are flowers and bees. And then there's also, of course, redness and that image of, you know, like the evening. Autumn. Evening redness. And maybe this is. Yeah. Rows of sugar maples. Those could be red as well. If we're in an autumnal landscape, can't be too late because everything is, you know, it's got to be like August, maybe because we have this. Or. No, I guess maybe not. Gray glazed cabbages. I don't know enough about cabbages to know at what point in their development. 36:40 Wes: Yeah. Whatever season it is. I just think that the evening is almost like a mini winter. It gets colder and we see the. 36:46 Erin: Definitely. 36:47 Wes: We see the effects of it. But, yeah, maybe autumn is probably the logical season for. 36:53 Erin: Right. Yeah. And that point. Or that point in the transition from summer to autumn where, I mean, even on a summer night in Nova Scotia, the evening temperature is quite autumnal regardless. And so when the woman climbs on with the market bags, we get. 37:09 Wes: Shall we take a. Shall we? 37:12 Erin: Oh, yes. 37:13 Wes: Let's let the freckled amicable woman on in part two. 37:17 Erin: She'll have to wait. 37:18 Wes: Let's not let her on the bus yet. 37:20 Erin: You have to wait for everyone else to get off before you can get on. It's one of the cardinal rules of public transportation. Okay, we will continue in part two. Thank you. 37:29 Wes: Thank you.

D23 The Ultimate Disney Fan Event 2026 included a Disney Parks and Experiences presentation called Horizons, a showcase led by Walt Disney Imagineering and hosted by Neil Patrick Harris. In this episode, we'll recap the August 15 showcase, including updates coming to Walt Disney World, Disneyland, Disney Cruise Line, Tokyo Disneyland, Shanghai Disneyland, Disneyland Paris, and Hong Kong Disneyland. Highlights include a fixed yeti animatronic at Expedition Everest, the return of Dreamfinder to Journey into Imagination at EPCOT, details about Piston Peak and Villains Land coming to Magic Kingdom, details about Tropical Americas coming to Disney's Animal Kingdom, and more. Get ad-free episodes, bonus episodes, in-depth news analysis, and premium content at patreon.com/imaginationskyway. To plan a trip, be sure to work with KMV Travel.   Read Matt's Imagineering column in WDW Magazine.   Imagination Skyway is a Disney Parks and Imagineering podcast. Episodes explore attraction design, recap Disney news, and dive into the stories behind the magic, including interviews with Disney Imagineers, Disney Legends, and other Disney creators. Not affiliated with or endorsed by The Walt Disney Company. Disney is a trademark of The Walt Disney Company.   Tag me and join the conversation below. Instagram: www.instagram.com/imaginationskyway Facebook: www.facebook.com/imaginationskyway YouTube: https://www.youtube.com/@imaginationskyway Email: matthew.krul@imaginationskyway.com  How to Support the Show Share the podcast with your friends Rate and review on Apple Podcasts or Spotify Join our Patreon Group - https://www.patreon.com/imaginationskyway Enjoy the show!

This is a technology that was developed in America 140 years ago, refined by a small group of teachers most people have never heard of, practiced professionally by licensed men and women who charged money for it, and then almost completely forgotten. It is called treatment, and every affirmation circulating on the internet descends from it. Every abundance meditation borrows its grammar. The entire modern manifestation world stands on a foundation this word describes, and almost nobody teaches the original discipline anymore. ⠀ Here is why the difference matters. An affirmation has no ending. You repeat it and repeat it and there arrives no moment where the work concludes. A treatment finishes. Completion is built into the architecture, and that single structural feature solves the problem I spent years failing to solve on my own. In this deep dive I walk you through everything. The origin. Ernest Holmes and Raymond Charles Barker. The five movements — recognition, unification, realization, thanksgiving, release. The four instruments people confuse with each other. The five errors that stop treatments from taking hold. And the four rules for writing your own. Then in the second half of the episode I read ten new treatments aloud that I wrote for you. Money, receiving, the body, right work, love, guidance, protection, hard seasons, the self you are becoming, and someone you love. Speak them with me and hold onto them for the rest of your life.  

Decisions in darkness. FE rejects gravity? Teacher cries: kids can’t read. Pronouns. Globe? Divorce the world. Tasia Fortune "hanging." GA gas station case. Surrogate mothers?

Humans are remarkably bad at predicting how long something will take. Whether it's a home project, a work assignment, or even a quick trip across town, we almost always underestimate the time involved. Psychologists have studied this tendency for decades—and understanding why it happens can help you make better plans, meet more deadlines, and avoid unnecessary frustration. https://thedecisionlab.com/biases/planning-fallacy We tend to think of imagination as something artists, inventors, and children rely on. But imagination is actually one of the most powerful—and overlooked—abilities we all possess. It shapes the decisions you make, the problems you solve, the goals you pursue, and even the life you create. There is fascinating science behind how imagination works, and once you understand it, you can use it far more effectively. My guest is Dr. Cassandra Vieten, clinical psychologist, Director of Research at the Arthur C. Clarke Center for Human Imagination at the University of California, San Diego, and author of the book Imagine That: Unlocking the Science of Imagination to Transform the Way You Think, Feel, and Live (https://amzn.to/4bqbZl7) Here is the link to discover your imagination profile: https://imagination.ucsd.edu/profile/ Artificial intelligence can write essays, diagnose diseases, generate stunning images, and defeat the world's best chess players. Yet ask it to perform certain tasks that are effortless for a human child, and it can stumble badly. Why? What exactly makes AI so powerful in some areas—and surprisingly weak in others? Beneath the headlines are some fascinating realities about how AI actually works and where it still falls short. Here to explain it is Toby Walsh, one of the world's leading AI researchers. He is Professor of Artificial Intelligence at the University of New South Wales, Chief Scientist at its AI Institute, and author of The Shortest History of AI: The Six Essential Ideas That Animate It (https://amzn.to/4hCjycc) When a highway lane is closed ahead, should you merge immediately or wait until the very end? Most drivers have strong opinions, but traffic engineers have spent years studying what actually keeps traffic moving. The answer is NOT what many people expect—and understanding it may change the way you drive through every construction zone. https://highways.dot.gov/sites/fhwa.dot.gov/files/FHWA-HRT-23-070.pdf= PLEASE SUPPORT OUR SPONSORS AIR DOCTOR: Head to ⁠https://AirDoctorPro.com⁠ and use promo code SYSK to get $250 off select AirDoctor air purifiers, including the 3500, 4000, and 5500 models. Plus, you'll receive a free 3year warranty, an $84 value, and AirDoctor's 30-day money back guarantee WAYFAIR: Ready to upgrade your home for way less? Head to ⁠⁠⁠⁠⁠⁠https://Wayfair.com⁠⁠⁠⁠⁠⁠ right now to shop all things home and get your space ready for less.  QUINCE: Elevate your everyday. Go to ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://Quince.com/sysk⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ for free shipping on your order and 365-day returns. Now available in Canada, too! SHOPIFY: It's time to turn those "what ifs" into CHA CHING with Shopify Today! Sign up for your $1 per month trail and start selling today at ⁠https://Shopify.com/realm⁠ INDEED: Get a $75 Sponsored Job credit to help get your job the premium status it deserves at ⁠⁠⁠⁠⁠https://Indeed.com/PODCAST⁠⁠⁠⁠⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

How elite athletes use visualization to improve performance, why visualization can turbo-charge physical recovery, and the mental trick that can make your nervous system feel safe. Cassi Vieten, PhD, is a licensed clinical psychologist and director of research at the Arthur C. Clarke Center for Human Imagination at the University of California, San Diego, where she also directs the Center for Mindfulness. She is the author Imagine That: Transform How You Think, Feel, and Live with the Science of Imagination. In this episode we talk about: Why imagination is the oldest human technology The VISTA method for training your imagination Why manifestation isn't as crazy as it sounds How to talk yourself out of catastrophizing Why conflict is really a clash of two imaginations What glimmers are How to use imagination to dial down physical pain What years of hidden alcoholism taught Cassi about a narrowed imagination Get the 10% with Dan Harris app here Sign up for Dan's free newsletter here Follow Dan on social: Instagram, TikTok Subscribe to our YouTube Channel To advertise on the show, contact sales@advertisecast.com or visit https://advertising.libsyn.com/10HappierwithDanHarris