Podcasts about all through

Another album down and only two to go! We wrap up She's So Unusual by covering Side B and talking about an eclectic bunch of songs that don't all land for Corey and Kevin, but they're a little ways apart on a couple of these tracks! What will Kev think of Cyndi going vaudeville? What will Corey make of a two-tone/ska/reggae song? And will Side B be able to match the quality of Side A overall?The only way to find out is to turn on, tune in, and hope He↑ will understand!Songs covered in this episode: "She Bop", "All Through the Night", "Witness", "He's So Unusual", "Yeah Yeah"Don't forget to follow us on social media and leave us a rating/review if you're enjoying the show!Facebook: https://www.facebook.com/UltimateCatalogueClashBluesky: https://bsky.app/profile/ucatalogueclash.bsky.socialDiscord: https://discord.gg/76F8G8FEX8Ko-Fi: https://ko-fi.com/ultimatecatalogueclash Hosted on Acast. See acast.com/privacy for more information.

From “A Christmas Carol” (1843) by Charles Dickens, Ebenezer Scrooge and The Ghost of Christmas Past visit Scrooge's former workplace at Mr. Fezziwigs on Christmas Eve. Seeing the bright face of his former self and Fezziwig's generous nature, Scrooge reflects on the value of generosity. This episode features the story-telling artistry of Christopher Lane, alongside the traditional carols “Soul Cake,” “The Wassail Song,” “All Through the Night,” and “In the Bleak Midwinter,” delightfully performed and arranged by The Rose's in-house musical group, The Gamut.  Recorded in 2023.

On the Saturday December 21, 2024 edition of The Richard Crouse Show we'll meet Bette Reynolds. She's Everyone's Favourite Granny and if you've been on line in the last few months—and who hasn't?—you probably saw her performance on The Voice UK. Earlier this year she became the show's oldest contestant ever when she did her rendition of The Sugarhill Gang's, Rapper's Delight in an effort to get coaches Sir Tom Jones, Will.i.am, LeAnn Rimes and Tom Fletcher and Danny Jones to turn their chairs. She became a sensation, and she joins me today top talk about being on the show, doing a duet to Black Eyed Peas, I Gotta Feeling, with the song's writer Will.i.am and her new Christmas single “Grandma's Christmas Escape.” Then, we'll take a deep dive into Christmas horror stories with author Joshua Millican. Over the past decade-plus, Millican has proven himself to be a horror expert of the highest caliber. He is one of the genre's premiere journalists, and today we'll talk about the best Christmas horror movies and his two new books, “All Through the House: The Novelization” and “Chopping Mall: The Novelization.” Finally, I'll share my conversation with one of the world's most successful music stars, Robbie Williams. He found fame as a member of the pop group Take That from 1990 to 1995, launching his mega successful solo career in 1996. By 2008, he had sold more albums in the UK than any other British solo artist in history and right now his record sales stand at over 77 million worldwide, making him one of the best-selling artists of all time, and now his wide ride to fame has been captured in a new movie called Better Man, which comes to select theatres on Christmas Day before opening wide on January 10.

On the Saturday December 21, 2024 edition of The Richard Crouse Show we'll meet Bette Reynolds. She's Everyone's Favourite Granny and if you've been on line in the last few months—and who hasn't?—you probably saw her performance on The Voice UK. Earlier this year she became the show's oldest contestant ever when she did her rendition of The Sugarhill Gang's, Rapper's Delight in an effort to get coaches Sir Tom Jones, Will.i.am, LeAnn Rimes and Tom Fletcher and Danny Jones to turn their chairs. She became a sensation, and she joins me today top talk about being on the show, doing a duet to Black Eyed Peas, I Gotta Feeling, with the song's writer Will.i.am and her new Christmas single “Grandma's Christmas Escape.” Then, we'll take a deep dive into Christmas horror stories with author Joshua Millican. Over the past decade-plus, Millican has proven himself to be a horror expert of the highest caliber. He is one of the genre's premiere journalists, and today we'll talk about the best Christmas horror movies and his two new books, “All Through the House: The Novelization” and “Chopping Mall: The Novelization.” Finally, I'll share my conversation with one of the world's most successful music stars, Robbie Williams. He found fame as a member of the pop group Take That from 1990 to 1995, launching his mega successful solo career in 1996. By 2008, he had sold more albums in the UK than any other British solo artist in history and right now his record sales stand at over 77 million worldwide, making him one of the best-selling artists of all time, and now his wide ride to fame has been captured in a new movie called Better Man, which comes to select theatres on Christmas Day before opening wide on January 10.

How to Get in the Holiday Spirit with a Bad Santa Bourbon Bomb and the Movie "All Through the House" Tis the season for all things jolly, and what better way to get into the holiday spirit than with a classic Christmas slasher? This week on the Scary Spirits podcast Karen has chosen the 2015 film "All Through the House" for our hosts to review. Karen and Greg will be discussing the film in detail, of course, but they'll also be enjoying a special holiday-themed cocktail: the Bad Santa Bourbon Bomb. This delicious drink is perfect for the festive season, and it's sure to get you in the mood for some holiday cheer. Don't miss this festive and spooky episode! Tune in to hear Karen and Greg's hilarious banter and insightful review of "All Through the House."

Jeff & Will celebrate the gay romance holiday classic "All Through the Night" by Suzanne Brockmann, recently honored in "Time Magazine's" "50 Best Romances to Read Right Now." As part of the festivities, they revisit their 2017 interview with Suzanne, her husband Ed Gaffney, and son Jason T. Gaffney where they discuss the creation of Jules and Robin, the unforgettable couple from the "Troubleshooters" series. Then the guys dive into their thoughts on "All Through the Night" in a throwback to the 2020 Big Gay Fiction Book Club episode, revisiting one of their favorite holiday romances. Complete show notes for episode 468 along with a transcript of the show are at BigGayFictionPodcast.com. Look for the next episode of Big Gay Fiction Podcast on Monday, December 16. Big Gay Fiction Podcast is part of the Frolic Podcast Network. Find many more outstanding podcasts at frolic.media/podcasts!

All Through the Bible, God has demonstrated that he confirmed his word with signs following. To state this succinctly, the Bible gives numerous examples of how doctrinal disputes were resolved. It wasn't to schedule a debate, it was to schedule a showdown. The doctrine of this showdown was we both are going to agree to work a miracle. If you try to work a miracle and nothing happens and then I try to work the same miracle and it does happen, then that is proof that my doctrine is right and your doctrine is wrong. That is proof that God agrees with me and not you.Who won the debate between Elijah and the prophets of Baal?Now you may have some doctrine to counteract my doctrine, but if you were to suggest that my doctrine about the doctrine being confirmed by a miracle is not good doctrine then I would challenge you to a power demonstration contest like Paul did in 1st Corinthians 4 where he says the kingdom of God is not in word but is in power. There were people talking smack about him, and he didn't challenge them to a debate. What does "the kingdom of God is not in word but in power mean?And so what God has impressed upon me is that he is going to confirm our message that the Bible is supernaturally changing with miracles.Jump InDonatewww.wakeuporelse.com/donateGet the book - The Conspiracy Theorist Survival GuideAvailable on Amazon and most retailershttps://www.amazon.com/dp/B0C91X6K55Learn more about the bookhttps://www.wakeuporelse.com/landingContact John for interviews, live events etcjohn@wakeuporelse.comSupport this podcast at — https://redcircle.com/the-conspiracy-theorist-survival-guide-podcast/donations

"Bad Girls" war 1979 das siebte Studioalbum von Donna Summer und wurde das erfolgreichste Album der amerikanischen Sängerin. "Bad Girls" war das erste Album von Donna Summer, das es in Amerika bis auf Platz 1 der Billboard Charts schaffte und sich fast ein Jahr in den Albumcharts halten konnte. Auch bei uns in Deutschland war "Bad Girls" ein voller Erfolg: Bis auf Platz 7 schaffte es ihr Album bei uns und konnte sich dort knapp ein halbes Jahr halten. Und obendrauf gab es für den Song "Hot Stuff" auch noch einen Grammy. Donna Summer war mit ihren Songs übrigens die erste weibliche Künstlerin, die es geschafft hat, zwei Singles gleichzeitig in den Top 10 der Billboard Hot 100 zu platzieren. Im Juli 1979 fiel ihr Song "Hot Stuff" von Platz eins auf Nummer zwei, dafür stieg die Nachfolgesingle "Bad Girls" auf Platz drei hoch. Der Song "Hot Stuff" vom Album war nicht nur die erste Single des Albums, die ausgekoppelt wurde, sondern ist auch der erfolgreichste Song vom Album geworden. Aber die Platte hat deutlich mehr zu bieten als nur diesen einen "Überhit". Das ganze Album "Bad Girls" wurde von vielen Musikkritikern weltweit hoch gelobt. Da reihen sich auch die SWR1 Musikredakteure gerne ein und outen sich als echte Donna-Fans: "Es ist eine Platte für die Ewigkeit. Es ist das beste Diskoalbum seiner Zeit", sagt zum Beispiel SWR1 Musikredakteur Dave Jörg. Das Besondere an Donna Summer war nicht nur, dass sie eine tolle Stimme hatte, sondern dass sie als Schauspielerin auch die Fähigkeit hatte, für ihre Songs in unterschiedliche und für den Song passende Rollen zu schlüpfen, erklärt SWR1 Musikredakteurin Nina Waßmundt im Podcast. Donna Summer war nicht nur eine unglaublich gute Sängerin mit einer gewaltigen Stimmkraft, sondern auch eine extrem gute Songwriterin und Texterin, die den Produzenten im Studio "ebenbürtig" war, wie Dave Jörg im Podcast betont. Was für eine tolle Texterin sie war, das beweist sie auch im Song "Bad Girls", der zwar gut gelaunt klingt mit einem tollen Diskobeat, aber im Text wird sie da durchaus sehr kritisch. Nach einem Vorfall, bei dem eine Kollegin von der Polizei schikaniert und fälschlicherweise für eine Prostituierte gehalten wurde, macht Donna Summer ihrer Wut über das rassistische Vorgehen der Polizei in diesem Song Luft. "Sie hat sich sehr über die Doppelmoral der Leute aufgeregt in dem Song. [...] Auf der einen Seite zerreißen sie sich so das Maul über die "bösen Mädchen" und bemitleiden sie auch ein bisschen, so von oben herab und auf der anderen Seite wollen sie auch was von ihnen und das hält sie ihnen [...] auch vor", erzählt SWR1 Musikredakteurin Nina Waßmundt. Neben der Musik hat Donna Summer, wie zum Beispiel auch Madonna, stark für ihre Selbstbestimmung im männerdominierten Musikbusiness gekämpft und damit auch den Weg geebnet für später Künstlerinnen und ist ein echtes Vorbild geworden. Neben Donna Summer waren auch die beiden Pioniere der elektronischen Musik an dem Album beteiligt: Giorgio Moroder und Harold Faltermeyer. Ein Hauptgewinn für ein Album, das natürlich sehr stark durch elektronische Elemente wie Synthesizerrhythmen und -melodien lebt. Der musikalische Weg von Donna Summer beginnt, ähnlich wie auch der von Whitney Houston, im Kindesalter im Kirchenchor. Und schon dort hatte Donna Summer einen "Erweckungsmoment", wie SWR1-Musikredakteurin Nina Waßmundt es im Podcast beschreibt, denn die junge Donna konnte selbst kaum glauben, was für eine gewaltige Stimme da aus ihrem Körper rauskam. Dieser Moment war für Donna Summer höchst emotional. Neben der Gospelmusik aus der Kirche hat Donna Summer aber auch schon früh angefangen, zum Beispiel Musik von Rocksängerin Janis Joplin zu hören und das hört man auch auf ihrem Album "Bad Girls". Einer ihrer ersten professionellen Schritte in der Musik hat in Deutschland stattgefunden, genauer gesagt in München. Dort hat sie als 19-jährige Sängerin im Musical "Hair" gesungen, passenderweise natürlich die Rolle der Donna. Von einem wirklich internationalen Erfolg konnte man bei der deutschen Version von Hair natürlich noch nicht sprechen. Internationale Beachtung gab es dann für Donna Summer erstmal 1975 mit dem verruchten Song "Love to Love You, Baby". __________ Über diese Songs vom Album "Bad Girls" wird im Podcast gesprochen (14:18) – "Hot Stuff" (29:12) – "Bad Girls" (38:25) – "Dim All the Lights" (1:00:13) – "All Through the Light" (1:04:43) – "Our Love" __________ Über diese Songs wird außerdem im Podcast gesprochen (07:16) – "Haare" gesungen von Donna Summer (09:28) – "Love to Love You, Baby" von Donna Summer (10:38) – "I Feel Love" von Donna Summer (36:55) – "Bang Bang" Joe Cuba (43:00) – "Enough is Enough" von Donna Summer und Barbra Streisand (1:07:44) – "Blue Monday” von New Order __________ Shownotes Album Review zu "Bad Girls" aus dem Rolling Stone: http://www.rollingstone.com/artists/donnasummer/albums/album/233978/review/5946581/bad_girls Bildergalerie über Donna Summers Leben: https://www.hollywoodreporter.com/gallery/donna-summer-death-career-pictures-326135/6-religion/ Donna Summer auf YouTube: https://www.youtube.com/@RealDonnaSummer/featured TAZ-Interview mit Georgio Moroder zu seiner Karriere: https://taz.de/Giorgio-Moroder-ueber-seine-Karriere/!5025680/ Harold Faltermeyer bei SWR1 Leute: https://www.swr.de/swr1/swr1leute/top-gun-axel-f-musiker-harold-faltermeyer-100.html ARD Podcast-Tipp: "Zeitzeichen": https://www.ardaudiothek.de/sendung/wdr-zeitzeichen/33514748/ Die SWR1 Meilensteine über die im Podcast gesprochen wird: https://www.swr.de/swr1/rp/meilensteine-podcast-100.html __________ Ihr wollt mehr Podcasts wie diesen? Abonniert die SWR1 Meilensteine! Fragen, Kritik, Anregungen? Meldet euch gerne per WhatsApp-Sprachnachricht an die (06131) 92 93 94 95 oder schreibt uns an meilensteine@swr.de

Lisa Overland who helps personally-branded entrepreneurs to generate leads online, to scale their programs and client base. All Through their "4C, lead generation and automation system" combined with paid advertising strategies. They attract your dream clients into your business and take over all your digital marketing, sales and follow-up processes.Here's where to find more:www.stockmedia.ca (agency)www.lisaanne.ca (personal brand, blogs, podcasts, courses etc)@LisaAnneCoaching across all platforms (IG, FB, Youtube, LinkedIn etc)http://morethansocialpodcast.ca___________________________________________________________Welcome to The Unforget Yourself Show where we use the power of woo and the proof of science to help you identify your blind spots, and get over your own bullshit so that you can do the fucking thing you ACTUALLY want to do!We're Mark and Katie, the founders of Unforget Yourself and the creators of the Unforget Yourself System and on this podcast, we're here to share REAL conversations about what goes on inside the heart and minds of those brave and crazy enough to start their own business. From the accidental entrepreneur to the laser-focused CEO, we find out how they got to where they are today, not by hearing the go-to story of their success, but talking about how we all have our own BS to deal with and it's through facing ourselves that we find a way to do the fucking thing.Along the way, we hope to show you that YOU are the most important asset in your business (and your life - duh!). Being a business owner is tough! With vulnerability and humor, we get to the real story behind their success and show you that you're not alone._____________________Find all our links to all the things like the socials, how to work with us and how to apply to be on the podcast here: https://linktr.ee/unforgetyourself

In an era of iconic music (and fashion) superstars, Cyndi Lauper burst onto the scene in the 1980s with a flash of neon-infused female-forward pop. She was perfect for the MTV generation, as her look took the pop culture world by storm. But “She's So Unusual” was not just a vehicle to get her on TVs. The album is packed with timeless classics like “Time After Time,” “All Through the Night” and the VERY progressive for its time “She Bop.” But with “Girls Just Wanna Have Fun,” Lauper delivered a female anthem that resonates 40 years later. And she looked so … “unusual” doing it.

From “A Christmas Carol” (1843) by Charles Dickens, Ebenezer Scrooge and the Ghost of Christmas Past visit Scrooge's former workplace, “Fezziwigs,” on Christmas Eve. Seeing the bright face of his former self and Fezziwig's generous nature, Scrooge reflects on the value of generosity. This episode features the story-telling artistry of Christopher Lane, alongside the traditional Christmas carols “Soul Cake,” “The Wassail Song,” “All Through the Night,” and “In the Bleak Midwinter,” delightfully performed and arranged by The Rose's in-house musical group The Gamut.

It's the time of very where the nights are longer, the days are colder and we all gather around the Christmas Tree to open the annual bag of dicks. On the episode we are joined by good friend and master of all things Christmas Brian Scott and we talk Christmas Bloody Christmas, A Christmas Horror Story and All Through the House and spoilers, we have a blast doing it. A Christmas Horror Story Raul - 9 out of 10 Reindeer fucking whores (buy) Ashley - 7.5 out of 10 orange juice and spaetti (stream) Brian - 8.5 out of 10 Elven head stomps (buy) Christmas Bloody Christmas Raul - 9.5 out of 10 dead children's bodies being used as meat shields (buy) Ashley - 9.5 out of 10 Christmas Creampie (buy) Brian - 10 out of 10 Stair head stomps (buy) All Through The House  Raul - 10 out of 10 bags of dicks (buy) Ashley - 8.5 out of 10 knives through titties (buy) Brian - 9 out of 10 Bags of dicks (buy) Website Links: Website - https://headlongintomonsters.godaddysites.com Twitter - https://twitter.com/In2Monsters E-mail - headlongintomonsters@gmail.com Facebook Group - https://www.facebook.com/groups/1192679381675030 Ashley Links: Twitter - https://twitter.com/BarelyAshley Instagram - https://www.instagram.com/barelyashley Letterboxd - https://letterboxd.com/barelyashley/ Raul Links: Twitter - https://twitter.com/RaulVsMonsters Letterboxd - https://letterboxd.com/into_monsters/ Brian Links Links: Twitter: ⁠https://twitter.com/BrianDarthScott Listener Feedback, Horror Happenings and Ra-Ghouls Reprehensible reading Room music Created by Mike Miller (Mike twitter): https://www.facebook.com/profile.php?id=100004929583462 Opening Music: https://audiojungle.net/item/80s-horror-retro-background/33176055 Closing Music: https://audiojungle.net/item/hip-hop-horror/25238003

In this episode Paul talks to Dani Robertson the Dark Sky Officer for Prosiect Nos Dark Skies Partnership in North Wales. She is author of ‘All Through the Night' a book highlighting the issues of light pollution and what we can all do about it. Here are some links about Dani and Project Nos https://www.discoveryinthedark.wales/project-nos https://darksky.org/news/dani-robertson-monthly-star/ https://darksky.org/news/dani-robertson-monthly-star/ As always you can see books we talked about in our bookshop.org bookshelf ⁠https://uk.bookshop.org/lists/bookylicious-series-3-episode-1-dani-robertson-all-through-the-night  

Welcome, horror enthusiasts and casual fans, to a thrilling journey into the realm of the macabre! Be prepared, as we venture into the haunted heart of the 1972 horror classic, 'Tales from the Crypt.' We dare to dissect each eerie tale, beginning with the bone-chilling Christmas tale, "All Through the House", meandering through stories of torment and revenge, not forgetting to shine a spotlight on some well-worn horror tropes that have earned their place in the Hall of Shame. Our discourse is not for the faint of heart, as we examine twisted plots, grisly special effects, and characters who dance on the edge of villainy and victimhood. So, brace yourself for a spine-tingling conversation that stretches the boundaries of traditional horror critique.We then plunge into the shadowy depths of "Reflection of Death," a chilling narrative of infidelity and its unexpected consequences. We probe the murky emotions, dissect the flawed characters, and muse on the unfulfilled promise of horror that lurks in the unkempt cemetery. The macabre Monkey's Paw story and the heart-wrenching tale of revenge-seeking blind senior citizens are also put under our analytical microscope. We revel in the grotesque details, challenge cliched narrative tropes, and stir the pot of a classic horror stew that has thrilled audiences for decades. Beware, as our no-holds-barred discussion might make you see these familiar tales in an entirely new, and potentially disconcerting light.Our deep dive into the crypt concludes with an exploration of the film's enduring legacy. From box-office triumphs to bizarre cross-promotional fare, we leave no tombstone unturned. We unwrap the influence of the original EC Comics series on the HBO adaptation, and remember the outstanding performances that made the film a horror classic. So, if you dare, join us on this haunting expedition, and visit our website for more exciting episodes from the Screams and Streams crypt. Head to www.screamsandstreams.com for more information related to our episode.

Our midweek bonus. This time we discuss Season 1 Episode 2 of Tales from the Crypt, "All Through the House."

Okay, first off, this is *not* a new episode of All Through a Lens. This is also not a new venture.  It was record before we knew the podcast was ending.  This is the first of what was to be some fill-in episodes. We'd then take our normal summer break and then come back with Vania in August. I know it's not the same, but I hope you give it a listen. I personally think it's a good episode with some good information and some fun along the way.   Quick show notes: For today's show, Eric will be talking about Artificial Intelligence and how it's both worse and not as bad as it seems. And Jess has got some bad news and good news about Kodak Chemicals. We'll also be watching “A Most Unusual Camera” - the Twilight Zone episode that asks the question ‘what if a camera wanted you dead?' We also interview Chandler Flanagan, a film photographer and cyanotype artist (cyanotypist?) who has published a zine with Better Off Press. Most recently, she started Not Your Grandma's Camera Club, and we're going to talk to her all about that.   Chander:  @dispositionpictures on IG https://dispositionpictures.net/  Not Your Grandma's Camera Club: @notyourgrandmascameraclub on IG   Jess Hobbs:  IG: @jesshobbsphoto  YouTube: https://www.youtube.com/@JessHobbs   Eric:  IG: @conspiracy.of.cartographers Vania: IG: @surfmartian  Web: https://vaniazask.com/       

Omg! VJ?! We all know you've been waiting for this one. If you've seen him as George in All Through the Night, don't be fooled by his great acting chops, he's the kindest person you'll ever meet.

Hosts: Fr Steve & Rich Budd with guest Fr. Alexei Woltornist In today's episode we talk about the Eastern celebration of Easter. We hear a reflection on the gift of Faith. And we hear a song sung by Suzanne & JP Cherniawski and Claire Belmont, “All Through the Night.”

In a first for the Camerosity Podcast, we finally dive into the wonderful world of Graflex press cameras and other 4x5 cameras.  If you thought Camerosity only meant 35mm, medium format roll film, and subminis, this is the episode that will shake up everything you know about us! For episode 43, we had a packed house (although there was one significant omission).  Joining the gang on this show was first time caller, and owner of Graflex Parts, Graham Burnett, along with Andy Pham, Daniel Belmes, Eric J, Greg McCreash, Howard Sandler, Jess Hobbs, Marcy Merrill, Mario Piper and his wife Julianne Piper, Mark Faulkner, Nick Marshall, Patrick Casey, and Robert Rotoloni. Together, topics ranging far and wide from the history of Folmer & Schwing, the company who made the first Graphic cameras, to differences between all the models, where to start if you've never shot a Graflex before, development tips, and all sorts of information that people who love these cameras want you to know.  In addition to discussions about Graflex press cameras, we also get into a few other 4x5 cameras like the Busch Pressman and Burke & James versions.  Greg McCreash is back to talk about his massive Combat Graflex, and we even touch upon some of the 35mm Graflex cameras. If you've ever wanted to know something about these wonderful cameras, this is the episode you'll want to hear! As always, the topics we discuss on the Camerosity Podcast are influenced by you!  We would love to hear from more listeners, especially those who are new to shooting film or collecting cameras.  Please don't feel like you have to be an expert on a specific type of camera, or have the level of knowledge on par with other people on the show.  We LOVE people who are new to shooting and are interested in having an episode dedicated to people new to the hobby, so please don't consider your knowledge level to be a prerequisite for joining! The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, and right here on mikeeckman.com.  We usually record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. The guys and I have had a great time talking about Graflex, Argus, Contax, and Pentax, and for our next episode, we are going to divert a bit from our regular format and just discuss what we've been working on lately and some topics we'd like to share with you all, so there won't be any option to dial in for the next episode.  Maybe we'll still have a special guest for you, maybe not!  You'll just need to stay tuned for that one. We will resume our normal call in for episode 45 though, which we will record on Monday, March 20th.  We don't yet know what we'll talk about then, but be sure to stay tuned for the official announcement! This Week's Episode How Paul Ended Up with a Closet Full of Graflex / The Baffling Array of Variations Anthony Takes the Leap Into Press Cameras with His Graflex Super Graphic Differences Between the Speed vs Crown Graphic Graham Burnett of graflexparts.com Dives Deep into the Graflex Lineage What Does Graflex Parts Do for the Graflex Community? Folmer & Schwing and the Bicycle Graphic The Complicated Rise of the Single Lens Reflex Graflex The Many Sizes of Film for Graflex / The Evolution of Graflex Film Backs Eric J and his F&S / Bicycle Camera Bicycle Touring with Graflex Andy Pham and Concert Photography with his AutoGraflex 5x7 SLR Luis Mendez and Graflex Street Portraits in NYC Keeping Pre-war Graflex Cameras Up and Running Howard and his Graflex Monorail Graphic View Camera Julianne Piper, Shooting Paper Negatives in an Array of Graflex Cameras The LomoGraflock vs Polaroid backs Advantages of Crown vs Speed Graphic as a First Graflex Demystifying Graflex Lens Options Using Projector and Brass Lenses with Graflex Graflex at War / The Post-war Decline of Graflex Other Press Cameras / Busch Pressman / Burke & James Press Cameras Nick Marshall and His Series D 3x4 / Shooting Speed Graphic with Instax Developing 4x5 at Home Jess Hobbs and Adventures with 4x5 with Her Intrepid / 4x5 Film Options Daniel B and Shooting a Graflex Super D / Enlarging Graflex as 11x14 Large Format Greg McCreash and the Combat Graflex Mario Asks is Graflex is Making a Resurgence? / What is the Appeal of Shooting Large Format? Eric Mathy on the Appeal of Large Format to the Tinkerer and the Artist Mike Eckman and the Graflex Graphic 35 Jet Show Notes If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group or Instagram page, or email us at camerosity.podcast@gmail.com. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Camerosity Twitter - https://twitter.com/CamerosityPod Graham Burnett, Graflex Parts - https://www.graflexparts.com/ Jess Hobbs - https://www.youtube.com/c/JessHobbs Erik Mathy, All Through a Lens - https://allthroughalens.com/ Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris and https://www.etsy.com/shop/Camerasandpictures Anthony Rue - https://www.instagram.com/kino_pravda/ and https://www.facebook.com/VoltaGNV/

Full show notes and photos here: allthroughalens.com   On this episode of All Through a Lens we're experimenting with a slightly new format – the Odd Episode! These are the episodes that somehow fall between our regular episodes and the Dev Party episodes. Vania and Santa Cruz First up is Vania who talks about her project in Santa Cruz. She's filming on Super 8 in the damn water and shooting 120 there too. It's for an upcoming film that she'll tell you all about! Here are some of her photos, which you can pick up here: https://vaniazask.com/store Godland We then talk about the new film Godland, directed by Hlynur Palmason. In the 1890s, Lucas, a photographer and priest with the Danish Church, is tasked with establishing a church in Iceland. Rather than taking a boat directly to his destination, he wants to travel across the island on horseback to photograph the people and the land. It's a slow, beautiful movie, and the bits about photography are perfectly intertwined in the film and the story. As of this recording, it is only playing in theaters. Here are some of the random stills that we've gathered.   Zine Reviews We've moved the zine reviews to the odd episodes! 110 By Garon Kiesel – contact him here: @grain_or_die on IG. Monochrome Mania #9 by Mark O'Brien – Buy it here! PATREON Thank you to everyone who supports us! Check out our Patreon for bonus episodes, extended interviews, early drops. Tons of stuff! patreon.com/allthroughalens THE CREDITS OF ENDING www.allthroughalens.com Vania: IG, Flickr, Zines Eric: IG, Flickr, Zines, ECN-2 Kit

Full show notes and photos here: allthroughalens.com   We are back from our long winter's nap with a wonderful show for you. We'll be talking with the amazing Kat Swansey (@katswanseyphoto on IG) about her new book, and then sharing with you another story of collaboration and love gone wrong with Lee Miller and Man Ray. We've got the answering machine question, and a bit of housekeeping, so welcome the hell back to All Through a Lens! Kat Swansey We first talked to Kat Swansey all the way back in episode 18. We fell in love with her straight forward depictions of small town Texas. But now she's back with a book called Texas Textures, and we we're excited as hell to hear what she has to say… Her book: https://www.katswansey.com/book Web: https://www.katswansey.com/ IG: @katswanseyphoto And here are some of her photos:   Lee Miller and Man Ray One of the topics we've been exploring lately is the idea of collaboration. We examined the love between Claud Calhoun and Marcel Moore; Talked with Taylor and Kate Miller-Wilson about their water-side photos; and most recently looked at the toxic dependency between Margrethe Mather and Edward Weston. Today, we're entering into the intense and desperate four year relationship between Lee Miller and Man Ray. How might a self-centered, aristocratic Vogue model of 22 get along with a short, odd, working class, surrealist photographer pushing 40? As we'll see, Lee Miller was not your average fashion icon, and Man Ray wasn't your typical surrealist. In fact, Lee might have fit that definition far better than Man. Lee Miller and Man Ray shot hundreds of photos together. Some of them we can even share with you. We also referenced a few other photos by Lee and Man separately:   PATREON Thank you to everyone who supports us! Check out our Patreon for bonus episodes, extended interviews, early drops. Tons of stuff! patreon.com/allthroughalens THE CREDITS OF ENDING www.allthroughalens.com Vania: IG, Flickr, Zines Eric: IG, Flickr, Zines, ECN-2 Kit

Acts 10:34-38 ● 2023-01-08 ● Epiphany Series: “Lord of All” ● Print ● Listen ● Watch A few months ago, the US Department of Defense put out a memo that it is unable to attain enough military recruits because too few people want to enlist. And many of those who want to enlist are not … Lord of All 1) Peace to All Through the Gospel Read More »

Agents Scott and Cam, along with guest operative Carrie Specht, film professor and curator of the Classic Film Fan website, help cheesecake-loving New York City gangsters expose a Nazi spy ring with the 1942 Humphrey Bogart vehicle All Through the Night.  Directed by Vincent Sherman. Starring Humphrey Bogart, Conrad Veidt, Kaaren Verne, Jane Darwell, Frank McHugh, Peter Lorre, Judith Anderson and William Demarest. For more of Carrie's work, check out Classic Film Fan or follow her on Twitter. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Pick up exclusive SpyHards merch, including the "What Does Vargas Do?" t-shirt by @shaylayy, available only at Redbubble Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

These are the gatherings I enjoy to play most.  Longer sets in company of my chosen family. This one took place in the beautiful home of our good friend Stephen Cardile in Kingston NY, who threw the party for Jon. I hope you enjoy this 6 hr / 65 hr set as much as I did.  Happy Birthday Jon!!!  1.     A Fifth of Beethoven (The Reflex Revision) Henri-Pierre Noel, The Reflex2.     You Bring The Sun (Extended Mix) Seamus Haji, Michael Gray, Phebe Edwards3.     Stay on My Mind (Sean Ali & Munk Julious Deep Sole Syndicate Mix)4.     Turn me on (Original Mix) [feat. Bucie] Blackcoffee5.     I Don't Know Why (Manoo Remix) David Anthony & Beverlei Brown6.     Paradise (Jihad Muhammad's Beats In Paradise Remix) DJ Rae, Neil Pierce, Jihad Muhammad7.     Gypsy Woman (Kaytronik Remix Extended Version) Nicholas Ryan Gant, Karizma, Kaytronik8.     Live Together (Organ Solo) Terry Hunter, Dogtronix9.     Home (Kenny Carpenter Wiz Revised Mix) Tracy Hamlin, Kenny Carpenter10. Know You (Kenny Carpenter NYC Mix) DJ Spen, Natasha Watts, Kenny Carpenter11. You Are Loved (Justin Imperiale remix) John Crockett feat. Natalie12. Believe In A Brighter Day (Rocco Rodamaal Dub) Kelli Sae13. Good Morning Gorgeous (Emmaculate Remix) [Extended Version] (Original Mix)14. Keep On Luvin (Kingsley's Deep Punch Mix) Maydie Myles15. Always (Danny Krivit Re Edit) DJ Spen, The MuthaFunkaz, Sheila Ford16. Shining Your Way (Masaki Morii Remix) Jephte Guillaume, AK, Masaki Morii17. Sweet Dreams (DjPope's Sound of Baltimore Vocal) DjPope, Una18. Don't Know Yet (Original Mix) Ezel, Rona Ray19. Universal Dreamers (Mark Di Meo & Tony Loreto Unreleased Hump MiRicky Diciotto, Kenny Carpenter, Wendy Lewis20. I'm Not In love (Eric Kupper Remix) Jeremoe Drouot, Lita, Eric Kupper21. Life Is A Dancefloor (Club Mix) The Shapeshifters, Kimberly Davis22. I Feel (DJ Spen, Thommy Davis & Gary Hudgins Remix) Ann Nesby & DJ Spen23. Just Dance (Christian Nielsen Remix) Mr. V24. I Want Your Love (Dimitri from Paris Remix) [2018 Remaster] Chic25. Love Sensation (DJ Spen & Thommy Davis Right On Time Mix) Susu Bobien, DJ Spen, Thommy Davis26. Finally (Danny Krivit/Steve Travolta Re-Edit) Kings Of Tomorrow, Steve Travolta, Danny Krivit27. Lovely Mr. Nice Legs28. Heaven Is Right Here (Kiko Navarro Club Mix)Ananda Project, AK, Kiko Navarro29. Used To Hold MeDeezBootz30. Riding High (CASSIMM Extended Remix) Milk & Sugar31. We're Getting Stronger (The Longer We Stay Together) (Frankie Knuckles & Eric Kupper Remix) (DJ Meme Edit) Loleatta Holloway32. Big Love (Dr Packer Extended Remix) Pete Hellers Big Love33. Must Be The Music (Joey Negro 2am Disco Reprise) Joey Negro34. Pick It Up (Sean McCabe Dub Mix) Carolyn Harding35. Strings of Life (Danny Krivit Re-Edit) Soul Central, Danny Krivit36. The Pressure Part 1 (Frankie Knuckles Classic 12" Mix)37. Caught In The Middle (Arduini & Pagany Club Mix)38. How Do I Love You feat. Yasmin (Luca Cazal And S L F Remix)39. I Was Born This Way (Moplen Dub 1) Carl Bean, Molpen40. It's Yours (Ian Pooley Main Mix) Jon Cutler, E-Man, Ian Pooley41. Break 4 Love (Alex Finkin These Days Remix) Rocco Rodamaal42. Most Precious Love (Marco Anzalone Remix)43. Pillow Talk (La Version Du Project Ananda) Spencer Gray44. Pianos of Gold (Ian Pooley Mix) Jovonn, Ian Pooley45. When Doves Cry (Martin Holter Remix) Mark Tarmonea46. Grapevine (Original) Travis Emmons, Brett Rubin, Trice Be47. Hey Hey (Climbers Remix) Dennis Ferrer48. Mix On Bed (Sasse Remix) Abyss (Giuseppe Morabito) 49. I feel For You (Magda vs. Myna Crackerjack Mix) Chaka Khan50. Wait and See (Original Deepness) Kenny Summit, Tom Gianelli51. Sweet Freedom (Lee Van Dowski Edit) Michael McDonald, Suara Master52. All Through the night (The Day Is My Enemy Edit) – Ella Fitzgerald53. Onda CAida (Mollono Bass Remix) Danjo (ITA)54. Where the Streets Have no name (Fernando's party mess) D-Formation vs U255. Headlock (Original Mix) Terranova56. Walk & Talk (Andre Salmon, Chris C (Laugh & Cry Remix) Benoit & Sergio57. Nightshift (Severin Boren Edit) The Commodores58. Dreams (Pete Moss Remix) Colette, Pete Moss59. Zero Love Nick Curly60. Where Love Lives (Classic Mix) Alison Limerick61. Could it be magic (Unreleased Extended Dance Mix) Barry Manilow62. Begin The Beguine (12 inch) Johnny MathisCelebration –applause- break63. Love in the Shadows (Sakgra Remix) E.G. Daily64. Thank you for Being A Friend…Jonnie 65. All Together Now – The Beatles

After stroking our egos as The Nerdiest Film Photography Podcast, the guys and I double down the nerd level to "Ludicrous Speed" and take a deep dive into expired films and home development tips and tricks. With us this week are two guys that have a whole history of shooting expired films and home developing, first Adam Paul, owner and proprietor of the Classic Film Shop which has in stock over 30 different types of expired films from easy to find things like expired Kodak Tri-X to obscure nitrate films from the 1940s.  Adam is a big proponent of cold stand development in which black and white developers like HC-110 are developed in "refrigerator cold" temps for long periods of time to help preserve the details of significantly aged films.  His experience both with expired films and home developing is amazing. Along with him is Alex Luyckx from the blog of the same name and the Classic Camera Revival Podcast.  Alex does some of the best expired film reviews, often developing these films in 3-4 different developers to show the strengths of each.  In addition to shooting obscure films, Alex also sometimes uses obscure developers that can't easily be found anymore. As if that's not enough, Robert Shanebrook makes a triumphant return to keep us all in line with the facts about these old films.  Robert may not do much home developing anymore, but his knowledge of old Kodak films cannot be matched by anyone. Joining our three experts are returning callers Mark Faulkner, Howard Sandler, Miles Libak, Andrew Smith, and Alex Dietrich and first time callers Mike Litwin and from the All Through a Lens podcast, Vania Francesca. As always, the topics we discuss on the Camerosity Podcast are decided by you.  The guys and I rarely know where each episode is going to go until it happens, so if you'd like to join us on a future episode, be sure to look out for our show announcements on our Camerosity Podcast Facebook page, and right here on mikeeckman.com.  We record every other Monday and announcements, along with the Zoom link are typically shared 2-3 days in advance. So stay tuned, and if you'd like to ask us a question or give us some topics to discuss, look for our show announcement for Episode 34, which we will record on Sunday, October 9th! This Week's Episode Mike Was Wrong about ECN-2 Development / Removing the Remjet / Cinestill ECN Kits Kodak Tech Pan / POTA Developer is a Replacement for Technidol / Agitation Changes Contrast Mike is Shooting Tech Pan in a Praktica VLC2, The Successor to the Exakta RTL 1000 Adam Paul Reopens His Classic Film Etsy Store / Standard Development vs Cold Stand / Bromide Drag Legacy Pro L110 is an Excellent Substitute for HC-110 / History of HC-110 Paul Has the Manual for D-61, E-82, DK-60A and a Whole Bunch of Old Processes / Paul is Not a Hipster! Ektapan and CPS/CPL Color Films / Tricks for Developing Old C-22, C-41, and E-4 Film Alex Reviews Kodak Plus-X Aerecon II / Adox XT-3 Developer / D-76 Will Always Give a Good Baseline H&W Control / High Definition Aerial Film 3404 or 3414 Was Used in Satellites and Came in 30 Mile Lengths Adam's Strange Films / 35mm Photographic Paper / Yellow Pink and Green Film What is a Safe Expired Film for People to Try / Kodak Plus-X and Pan-X / 35mm is Safer than 120 Because of Backing Paper Problems with Roll Film Backing Paper / Challenges of Tape and 220 / East German Films Typically Do Not Survive Well The One Stop Overexposure Per Decade Rule is Hogwash / Kodak Ektar 25 Wasn't Very Good Early 120 Backing Paper Had a Grinding Process Called Skiving That Changed the Thickness Near the Edges / Other Changes to Backing Paper Environmental Safety Concerns Developing Film / Do You Wear Gloves While Developing? Ansel Adams Had His Organs Tested for Selenium Poisoning From Film Development Lightning Round: What Is Your Favorite Expired Film to Shoot With? Vania's Tips For Getting into Expired Film / Shooting Manatees with a Rolleimarin Mike Litwin's Yamato Mini-Electro 35 / Cameras That Chew Up Film / KMZ Leningrad / All Miranda SLRs / Kodak 35 Paul Gets More Contax Stuff / Contax T / Early Contax Bodies are Rear Lens Caps for Contax Lenses Zeiss-Ikon Contessa 35 / Repairing the Kodak 35 / Theo Buys a Leica D-Lux 3 Ektachrome E-Dupe Slide Duplicating Film Show Notes If you would like to offer feedback or contact us with questions or ideas for future episodes, please contact us in the Comments Section below, our Camerosity Facebook Group or Instagram page, or email us at camerosity.podcast@gmail.com. The Official Camerosity Facebook Group - https://www.facebook.com/groups/camerositypodcast Camerosity Instagram - https://www.instagram.com/camerosity_podcast/ Camerosity Twitter - https://twitter.com/CamerosityPod Adam Paul's Classic Film Shop - https://www.etsy.com/shop/ClassicFilmShop Alex Luyckx - http://www.alexluyckx.com/blog/ Robert Shanebrook - http://www.makingkodakfilm.com, makingkodakfilm@yahoo.com Howard Sandler - https://www.flickr.com/photos/hsandler Theo Panagopoulos - https://www.photothinking.com/ Paul Rybolt - https://www.ebay.com/usr/paulkris Anthony Rue - https://www.instagram.com/kino_pravda/ and https://www.facebook.com/VoltaGNV/

It's Dylan's pick so you know it's gonna get spooky today and it does with the super short episode of Love, Death and Robots ... All Through the House If you have any thoughts or feelings about the show contact us at: christmas365podcast@gmail.com or find us on Instagram @christmas365podcast Be sure to Rate, Review and Subscribe!! Thanks for listening!!! Learn more about your ad choices. Visit megaphone.fm/adchoices

Thanks again to: Clare Marie Bailey - @claremariebailey on IG, https://www.claremariebailey.com, Sunny 16 podcast Hilary Clarke - @aitchclarke on IG, https://linktr.ee/aitchclarke Adrian Stock - Sunny 16 podcast, The Future of Photography podcast Mike Gutterman - @guttermanphoto, Negative Positives podcast Christian Strauf - @c_str1 on IG Vania Zask - @surfmartian on IG, https://linktr.ee/surfmartian, All Through a Lens podcast Rachel Brewster-Wright - @littlevintagephotography, https://www.littlevintagephotography.co.uk, Sunny 16 podcast, https://www.youtube.com/c/Ilfordphoto (Darkroom printing videos), https://rojamusica.bandcamp.com/album/promises-i-should-have-kept-e-p Background music - mikegutterman.bandcamp.com Sunny 16 Presents - sunny16presents@gmail.com Me - @bsanfordjr on IG  

For full show notes and photos, go to allthroughalens.com   On this unique little episode, we've found ourselves a couple of new correspondents – Sara Murphy and Charlie Chux Camuglia! We'll also be talking about  W.E.B. Du Bois and hundreds of photos of black Americans which he presented at the 1900 Paris Expo. And as usual, there's the answering machine question, a couple of zine reviews, and a discussion on a recently-published controversial article about women in the film community. First, the article in question can be found here: https://kosmofoto.com/2022/04/she-shoots-film-who-cares-a-female-photographers-perspective Sara Murphy and Charlie Chux Camuglia You might remember Charlie (@casualscience on IG) from Themselves Press from Episode 41 – Mugshots and Memorials. Either way, they're back with Sara Murphy (@thefutureofwhat on IG). And why are we interviewing them together? Because they're the newest members of All Through a Lens! Every other episode or so Charlie and Sara, The Film Detectives will investigate all the film photography related mysteries, quandaries, and even some drama! But for now they're here to hang out and chit the chat with us! For a quick intro, here's some of Sara's work:     And here are some from Charlie:       W.E.B. Du Bois and Black Photography at the 1900 Paris Expo W.E.B. De Bois is remembered as a civil rights leader, a historian, a sociologist, and one of the founders of the NAACP. But he also amassed one of the largest collections of photographs of black middle class families to present to the world at the 1900 Paris Exposition.  He presented two sorts of photos to fair goers. First, were the portraits of middle class black people. Here are a few examples:   He also shared various “slice of life” photos: We also mentioned some of the charts that his university students made:   Zine Reviews Monochrome Mania, Issue 7 by Mark O'Brien – $12, fullsize, color – https://www.etsy.com/shop/mfophotos The View from the Driver's Seat by Jaya Bhat – $10, halfsize, bw – https://jayabhat.bigcartel.com/product/view-from-the-drivers-seat   PATREON Thank you to everyone who supports us! Check out our Patreon for bonus episodes, extended interviews, early drops. Tons of stuff! patreon.com/allthroughalens THE CREDITS OF ENDING Music by Last Regiment of Syncopated Drummers Vania: IG, Flickr, Zines Eric: IG, Flickr, Zines, ECN-2 Kits Tiffen: IG All Through a Lens: IG, Website, Patreon, Spotify Playlists  

On Flex Your Head episode 9 host Jason Schreurs and guest Indie Mike wax emotive over Rites of Spring's discography 'End on End.' Although the word "emo" is said too many times in this episode, Mike and I are both steadfast in the belief that RoS were simply a punk/hardcore band that wore its heart on its sleeve more than most did. ritesofspring.bandcamp.com/album/end-on-end Featured song clips: Rites of Spring - "Spring" from End on End (Dischord Records, 1991) Rites of Spring - "All There Is" from End on End (Dischord Records, 1991) Rites of Spring - "Nudes" from End on End (Dischord Records, 1991) Rites of Spring - "End on End" from End on End (Dischord Records, 1991) Rites of Spring - "All Through a Life" from End on End (Dischord Records, 1991) Rites of Spring - "For Want Of" from End on End (Dischord Records, 1991) Rites of Spring - "Theme" from End on End (Dischord Records, 1991) Rites of Spring - "Patience" from End on End (Dischord Records, 1991) About this podcast: Flex Your Head is a spinoff of the Scream Therapy podcast where host Jason Schreurs welcomes a guest each episode to discuss a classic punk album. The main Scream Therapy podcast explores the link between punk rock and mental health. My guests are members of the underground music scene who are living with mental health challenges, like myself. Intro/background music clips: Submission Hold - "Cranium Ache" from The Buzz of a Buzzless Situation Minor Threat - "12XU" (originally by Wire) from V/A - Flex Your Head (Dischord Records, 1982) Contact host Jason Schreurs - jasonschreurs@telus.net

Mikey and Roxy watch Tales from the Crypt Season 1 Episode 2 “All Through the House”. ----- Tales from the Crypt “All Through the House” https://www.imdb.com/title/tt0716825/ Purchase the DVD https://amzn.to/3yTNoAL ----- Referenced This Episode Tales from the Crypt (1972) https://www.imdb.com/title/tt0069341/ Tales from the Crypt (1972) streaming free on Tubi https://tubitv.com/movies/499222/tales-from-the-crypt?start=true Robert Zemeckis https://www.imdb.com/name/nm0000709 Resident Evil video game https://en.wikipedia.org/wiki/Resident_Evil_(1996_video_game) Species https://www.imdb.com/title/tt0114508/ ----- Hosted by Mikey McCollor and Roxy Polk Post-production and editing by Darryl Mott

Today we bring you an episode we originally recorded back in December of 2020. This episode was never released due to a family emergency that happened as soon as we finished recording. Becky and Lindsay from  the I have a strange Story podcast  joined us to talk about 2015's “All Through the House”. “All Through the House” is a 2015 American holiday slasher film written and directed by Todd Nunes. It stars Ashley Mary Nunes, Jessica Cameron, and Jennifer Wegner.  A deranged masked Santa-Slayer comes to town for some yuletide-terror. He leaves behind a bloody trail of mutilated bodies as he hunts his way to the front steps of the town's most feared and notorious home. Get our Merch:bit.ly/NerdsMerch Follow us on social media:https://twitter.com/NerdsFTChttps://www.instagram.com/nerdsftchttps://ww.facebook.com/NerdsFTC Saul:https://twitter.com/Better_CallMe Greg:https://twitter.com/ThatAmazingTwithttps://www.instagram.com/thatamazingtwit David:https://twitter.com/DaveyDave503https://www.instagram.com/daveydave Theme by: Jake Lionharthttps://twitter.com/Jake_Lionheart

This week, your friends Count Vardulon and DM are again joined by Rob Rector to continue their tour through holiday horror movies. All Through the House takes way too long to get to the point, but The Advent Calendar is a really good movie and is totally worth watching. Tune in for a TV recommendation and stay for another Xmas horror list from an unlikely source.

Ho Ho Ho boys and ghouls! Troy and Roger continue to stuff your stockings with holiday goodness this week. So bust out the mannequins and dress them up in their holiday finest because we have quite the seasonal celebration in store. The guys are discussing bags full o' dicks, lesbians with revved up labidos, and the single most terrifying outdoor Santa display known to man. Get ready, because these gays are about to take you All Through the House! Also, if you're interested in monthly exclusive bonus content, please check out our newly launched Patreon at: https://www.patreon.com/darknightofthepodcast. Find out more at http://www.darknightofthepodcast.com

As the holiday season continues, so do we with our Christmas Horror Movie bracket. In part two we are covering "All Through the House", "Better Watch Out", "Secret Santa", and "Christmas Evil" to determine which two movies will go on to complete our final four. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Back in the World War II era, the Nazi Party was so unpopular that even the organized crime syndicates didn't care for them. (No kidding, you can look it up. Start with Meyer Lansky and the Jewish Mob in the early 1930s.) And the idea of gangsters defending their territory as "good guys" made its way to Hollywood and a couple of films featuring mob figures fighting against Nazis came out until the Hays Code reached out and noted that villains in films shouldn't be portrayed as heroes, never mind their motivation. In this episode we look at a film made during the war, 1942's All Through the Night, directed by Vincent Sherman, and then we jump to 1991 and The Rocketeer, directed by Joe Johnston and based on the 1982 graphic novel by Dave Stevens. Both of them have fanciful elements and a bit of a comedy overlay, but in the end we understand that gangsters are True Americans. COMING ATTRACTIONS: Our next episode will be dropping shortly before Christmas, so what better time to break out a couple of Christmas miracles? We'll be checking out 1944's Miracle of Morgan's Creek, a film with a decidedly controversial topic attached to it, and 1947's Miracle on 34th Street. Join us, won't you? --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/wordsandmovies/support

Strap in, because we're in for a funky ride. In this episode we're looking at two films that each feature a married couple and how they cope with a wartime situation. In 1967's Weekend, Jean-Luc Godard gives us a truly awful couple in Corinne and Roland, each of whom is already plotting to kill the other as the film begins. The film as a whole is a funhouse mirror of a look at a general breakdown of society. This is NOT a film for the squeamish, and yet it's darkly comic all the way through. Only a year later, Ingmar Bergman gave us Shame, starring Liv Ullmann and Max Von Sydow as a couple who have tried to isolate themselves from the rest of the world while a civil war rages, but unfortunately it manages to encroach upon them and change them, probably irreparably. COMING ATTRACTIONS: In Reel 27, we lighten up just a little bit as we take a look at a pair of films that feature the unlikely plot point of gangsters fighting against...Nazis? Yes, indeed. First we have All Through the Night, from 1942 (so, in the heart of the war). From there we jump to 1991 and The Rocketeer, which is actually set in pre-war California, but that's okay: Nazis were already a thing by then. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/wordsandmovies/support

Duchess Katie and Lady Sadie review All Through the Night by Connie Brockway

This week we're discussing the short discography of Rites of Spring. Credited (along with Embrace) with helping to create emo-core, Rites of Spring went wild during their brief existence. They played only a few shows—destroying all their equipment in the process—but their influence remains today. Singer Guy Picciotto and drummer Brendan Canty went on to form Fugazi with Ian Mackaye and Joe Lally shortly after.Check out our full episode on Embrace here:https://youtu.be/dU8QQD71M6sAnd our episode on Fugazi here:https://youtu.be/uIRlAsApDggClosing track: “Drink Deep” from Rites of Spring (1985)Check out the full Rites of Spring record on Spotify!https://open.spotify.com/playlist/4tEE01W6rHfq4urSJeXLcP?si=a09a270693734b71Join our Patreon to jump the line when requesting an artist, as well as get bonus episodes, early access to shows, and more!https://www.patreon.com/everyalbumeverMerch available now!https://pandermonkey.creator-spring.com/Instagram:Follow Mike @pandermonkeyFollow Alex @motherpuncherAlbums we discussed this episode…Rites of Spring (1985)All Through a Life EP (1987)

Episode one hundred and thirty-five of A History of Rock Music in Five Hundred Songs looks at “The Sound of Silence" by Simon and Garfunkel, and the many records they made, together and apart, before their success. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Blues Run the Game" by Jackson C. Frank. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I talk about a tour of Lancashire towns, but some of the towns I mention were in Cheshire at the time, and some are in Greater Manchester or Merseyside now. They're all very close together though. I say Mose Rager was Black. I was misremembering, confusing Mose Rager, a white player in the Muhlenberg style, with Arnold Schultz, a Black player who invented it. I got this right in the episode on "Bye Bye Love". Also, I couldn't track down a copy of the Paul Kane single version of “He Was My Brother” in decent quality, so I used the version on The Paul Simon Songbook instead, as they're basically identical performances. Resources As usual, I've created a Mixcloud playlist of the music excerpted here. This compilation collects all Simon and Garfunkel's studio albums, with bonus tracks, plus a DVD of their reunion concert. There are many collections of the pre-S&G recordings by the two, as these are now largely in the public domain. This one contains a good selection. I've referred to several books for this episode: Simon and Garfunkel: Together Alone by Spencer Leigh is a breezy, well-researched, biography of the duo. Paul Simon: The Life by Robert Hilburn is the closest thing there is to an authorised biography of Simon. And What is it All But Luminous? is Art Garfunkel's memoir. It's not particularly detailed, being more a collection of thoughts and poetry than a structured narrative, but gives a good idea of Garfunkel's attitude to people and events in his life. Roots, Radicals, and Rockers: How Skiffle Changed the World by Billy Bragg has some great information on the British folk scene of the fifties and sixties. And Singing From the Floor is an oral history of British folk clubs, including a chapter on Dylan's 1962 visit to London. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Today, we're going to take a look at a hit record that almost never happened -- a record by a duo who had already split up, twice, by the time it became a hit, and who didn't know it was going to come out. We're going to look at how a duo who started off as an Everly Brothers knockoff, before becoming unsuccessful Greenwich Village folkies, were turned into one of the biggest acts of the sixties by their producer. We're going to look at Simon and Garfunkel, and at "The Sound of Silence": [Excerpt: Simon and Garfunkel, "The Sound of Silence"] The story of Simon and Garfunkel starts with two children in a school play.  Neither Paul Simon or Art Garfunkel had many friends when they met in a school performance of Alice in Wonderland, where Simon was playing the White Rabbit and Garfunkel the Cheshire Cat. Simon was well-enough liked, by all accounts, but he'd been put on an accelerated programme for gifted students which meant he was progressing through school faster than his peers. He had a small social group, mostly based around playing baseball, but wasn't one of the popular kids. Art Garfunkel, another gifted student, had no friends at all until he got to know Simon, who he described later as his "one and only friend" in this time period. One passage in Garfunkel's autobiography seems to me to sum up everything about Garfunkel's personality as a child -- and indeed a large part of his personality as it comes across in interviews to this day. He talks about the pleasure he got from listening to the chart rundown on the radio -- "It was the numbers that got me. I kept meticulous lists—when a new singer like Tony Bennett came onto the charts with “Rags to Riches,” I watched the record jump from, say, #23 to #14 in a week. The mathematics of the jumps went to my sense of fun." Garfunkel is, to this day, a meticulous person -- on his website he has a list of every book he's read since June 1968, which is currently up to one thousand three hundred and ten books, and he has always had a habit of starting elaborate projects and ticking off every aspect of them as he goes. Both Simon and Garfunkel were outsiders at this point, other than their interests in sport, but Garfunkel was by far the more introverted of the two, and as a result he seems to have needed their friendship more than Simon did. But the two boys developed an intense, close, friendship, initially based around their shared sense of humour. Both of them were avid readers of Mad magazine, which had just started publishing when the two of them had met up, and both could make each other laugh easily. But they soon developed a new interest, when Martin Block on the middle-of-the-road radio show Make Believe Ballroom announced that he was going to play the worst record he'd ever heard. That record was "Gee" by the Crows: [Excerpt: The Crows, "Gee"] Paul Simon later said that that record was the first thing he'd ever heard on that programme that he liked, and soon he and Garfunkel had become regular listeners to Alan Freed's show on WINS, loving the new rock and roll music they were discovering. Art had already been singing in public from an early age -- his first public performance had been singing Nat "King" Cole's hit "Too Young" in a school talent contest when he was nine -- but the two started singing together. The first performance by Simon and Garfunkel was at a high school dance and, depending on which source you read, was a performance either of "Sh'Boom" or of Big Joe Turner's "Flip, Flop, and Fly": [Excerpt: Big Joe Turner, "Flip, Flop, and Fly"] The duo also wrote at least one song together as early as 1955 -- or at least Garfunkel says they wrote it together. Paul Simon describes it as one he wrote. They tried to get a record deal with the song, but it was never recorded at the time -- but Simon has later performed it: [Excerpt: Paul Simon, "The Girl For Me"] Even at this point, though, while Art Garfunkel was putting all his emotional energy into the partnership with Simon, Simon was interested in performing with other people. Al Kooper was another friend of Simon's at the time, and apparently Simon and Kooper would also perform together. Once Elvis came on to Paul's radar, he also bought a guitar, but it was when the two of them first heard the Everly Brothers that they realised what it was that they could do together. Simon fell in love with the Everly Brothers as soon as he heard "Bye Bye Love": [Excerpt: The Everly Brothers, "Bye Bye Love"] Up to this point, Paul hadn't bought many records -- he spent his money on baseball cards and comic books, and records just weren't good value. A pack of baseball cards was five cents, a comic book was ten cents, but a record was a dollar. Why buy records when you could hear music on the radio for free? But he needed that record, he couldn't just wait around to hear it on the radio. He made an hour-long two-bus journey to a record shop in Queens, bought the record, took it home, played it... and almost immediately scratched it. So he got back on the bus, travelled for another hour, bought another copy, took it home, and made sure he didn't scratch that one. Simon and Garfunkel started copying the Everlys' harmonies, and would spend hours together, singing close together watching each other's mouths and copying the way they formed words, eventually managing to achieve a vocal blend through sheer effort which would normally only come from familial closeness. Paul became so obsessed with music that he sold his baseball card collection and bought a tape recorder for two hundred dollars. They would record themselves singing, and then sing back along with it, multitracking themselves, but also critiquing the tape, refining their performances. Paul's father was a bass player -- "the family bassman", as he would later sing -- and encouraged his son in his music, even as he couldn't see the appeal in this new rock and roll music. He would critique Paul's songs, saying things like "you went from four-four to a bar of nine-eight, you can't do that" -- to which his son would say "I just did" -- but this wasn't hostile criticism, rather it was giving his son a basic grounding in song construction which would prove invaluable. But the duo's first notable original song -- and first hit -- came about more or less by accident. In early 1956, the doo-wop group the Clovers had released the hit single "Devil or Angel". Its B-side had a version of "Hey Doll Baby", a song written by the blues singer Titus Turner, and which sounds to me very inspired by Hank Williams' "Hey, Good Lookin'": [Excerpt: The Clovers, "Hey, Doll Baby"] That song was picked up by the Everly Brothers, who recorded it for their first album: [Excerpt: The Everly Brothers, "Hey Doll Baby"] Here is where the timeline gets a little confused for me, because that album wasn't released until early 1958, although the recording session for that track was in August 1957. Yet that track definitely influenced Paul Simon and Art Garfunkel to record a song that they released in November 1957. All I can imagine is that they heard the brothers perform it live, or maybe a radio station had an acetate copy. Because the way everyone has consistently told the story is that at the end of summer 1957, Simon and Garfunkel had both heard the Everly Brothers perform "Hey Doll Baby", but couldn't remember how it went. The two of them tried to remember it, and to work a version of it out together, and their hazy memories combined to reconstruct something that was completely different, and which owed at least as much to "Wake Up Little Suzie" as to "Hey Doll Baby". Their new song, "Hey Schoolgirl", was catchy enough that they thought if they recorded a demo of it, maybe the Everly Brothers themselves would record the song. At the demo studio they happened to encounter Sid Prosen, who owned a small record label named Big Records. He heard the duo perform and realised he might have his own Everly Brothers here. He signed the duo to a contract, and they went into a professional studio to rerecord "Hey Schoolgirl", this time with Paul's father on bass, and a couple of other musicians to fill out the sound: [Excerpt: Tom and Jerry, "Hey Schoolgirl"] Of course, the record couldn't be released under their real names -- there was no way anyone was going to buy a record by Simon and Garfunkel. So instead they became Tom and Jerry. Paul Simon was Jerry Landis -- a surname he chose because he had a crush on a girl named Sue Landis. Art became Tom Graff, because he liked drawing graphs. "Hey Schoolgirl" became a local hit. The two were thrilled to hear it played on Alan Freed's show (after Sid Prosen gave Freed two hundred dollars), and were even more thrilled when they got to perform on American Bandstand, on the same show as Jerry Lee Lewis. When Dick Clark asked them where they were from, Simon decided to claim he was from Macon, Georgia, where Little Richard came from, because all his favourite rock and roll singers were from the South. "Hey Schoolgirl" only made number forty-nine nationally, because the label didn't have good national distribution, but it sold over a hundred thousand copies, mostly in the New York area. And Sid Prosen seems to have been one of a very small number of independent label owners who wasn't a crook -- the two boys got about two thousand dollars each from their hit record. But while Tom and Jerry seemed like they might have a successful career, Simon and Garfunkel were soon to split up, and the reason for their split was named True Taylor. Paul had been playing some of his songs for Sid Prosen, to see what the duo's next single should be, and Prosen had noticed that while some of them were Everly Brothers soundalikes, others were Elvis soundalikes. Would Paul be interested in recording some of those, too? Obviously Art couldn't sing on those, so they'd use a different name, True Taylor. The single was released around the same time as the second Tom and Jerry record, and featured an Elvis-style ballad by Paul on one side, and a rockabilly song written by his father on the other: [Excerpt: True Taylor, "True or False"] But Paul hadn't discussed that record with Art before doing it, and the two had vastly different ideas about their relationship. Paul was Art's only friend, and Art thought they had an indissoluble bond and that they would always work together. Paul, on the other hand, thought of Art as one of his friends and someone he made music with, but he could play at being Elvis if he wanted, as well as playing at being an Everly brother. Garfunkel, in his memoir published in 2017, says "the friendship was shattered for life" -- he decided then and there that Paul Simon was a "base" person, a betrayer. But on the other hand, he still refers to Simon, over and over again, in that book as still being his friend, even as Simon has largely been disdainful of him since their last performance together in 2010. Friendships are complicated. Tom and Jerry struggled on for a couple more singles, which weren't as successful as "Hey Schoolgirl" had been, with material like "Two Teenagers", written by Rose Marie McCoy: [Excerpt: Tom and Jerry, "Two Teenagers"] But as they'd stopped being friends, and they weren't selling records, they drifted apart and didn't really speak for five years, though they would occasionally run into one another. They both went off to university, and Garfunkel basically gave up on the idea of having a career in music, though he did record a couple of singles, under the name "Artie Garr": [Excerpt: Artie Garr, "Beat Love"] But for the most part, Garfunkel concentrated on his studies, planning to become either an architect or maybe an academic. Paul Simon, on the other hand, while he was technically studying at university too, was only paying minimal attention to his studies. Instead, he was learning the music business. Every afternoon, after university had finished, he'd go around the Brill Building and its neighbouring buildings, offering his services both as a songwriter and as a demo performer. As Simon was competent on guitar, bass, and drums, could sing harmonies, and could play a bit of piano if it was in the key of C, he could use primitive multitracking to play and sing all the parts on a demo, and do it well: [Excerpt: Paul Simon, "Boys Were Made For Girls"] That's an excerpt from a demo Simon recorded for Burt Bacharach, who has said that he tried to get Simon to record as many of his demos as possible, though only a couple of them have surfaced publicly. Simon would also sometimes record demos with his friend Carole Klein, sometimes under the name The Cosines: [Excerpt: The Cosines, "Just to Be With You"] As we heard back in the episode on "Will You Love Me Tomorrow?", Carole Klein went on to change her name to Carole King, and become one of the most successful songwriters of the era -- something which spurred Paul Simon on, as he wanted to emulate her success. Simon tried to get signed up by Don Kirshner, who was publishing Goffin and King, but Kirshner turned Simon down -- an expensive mistake for Kirshner, but one that would end up benefiting Simon, who eventually figured out that he should own his own publishing. Simon was also getting occasional work as a session player, and played lead guitar on "The Shape I'm In" by Johnny Restivo, which made the lower reaches of the Hot One Hundred: [Excerpt: Johnny Restivo, "The Shape I'm In"] Between 1959 and 1963 Simon recorded a whole string of unsuccessful pop singles. including as a member of the Mystics: [Excerpt: The Mystics, "All Through the Night"] He even had a couple of very minor chart hits -- he got to number 99 as Tico and the Triumphs: [Excerpt: Tico and the Triumphs, "Motorcycle"] and number ninety-seven as Jerry Landis: [Excerpt: Jerry Landis, "The Lone Teen Ranger"] But he was jumping around, hopping onto every fad as it passed, and not getting anywhere. And then he started to believe that he could do something more interesting in music. He first became aware that the boundaries of what could be done in music extended further than "ooh-bop-a-loochy-ba" when he took a class on modern music at university, which included a trip to Carnegie Hall to hear a performance of music by the avant-garde composer Edgard Varese: [Excerpt: Edgard Varese, "Ionisation"] Simon got to meet Varese after the performance, and while he would take his own music in a very different, and much more commercial, direction than Varese's, he was nonetheless influenced by what Varese's music showed about the possibilities that existed in music. The other big influence on Simon at this time was when he heard The Freewheelin' Bob Dylan: [Excerpt: Bob Dylan, "Girl From the North Country"] Simon immediately decided to reinvent himself as a folkie, despite at this point knowing very little about folk music other than the Everly Brothers' Songs Our Daddy Taught Us album. He tried playing around Greenwich Village, but found it an uncongenial atmosphere, and inspired by the liner notes to the Dylan album, which talked about Dylan's time in England, he made what would be the first of several trips to the UK, where he was given a rapturous reception simply on the grounds of being an American and owning a better acoustic guitar -- a Martin -- than most British people owned. He had the showmanship that he'd learned from watching his father on stage and sometimes playing with him, and from his time in Tom and Jerry and working round the studios, and so he was able to impress the British folk-club audiences, who were used to rather earnest, scholarly, people, not to someone like Simon who was clearly ambitious and very showbiz. His repertoire at this point consisted mostly of songs from the first two Dylan albums, a Joan Baez record, Little Willie John's "Fever", and one song he'd written himself, an attempt at a protest song called "He Was My Brother", which he would release on his return to the US under yet another stage name, Paul Kane: [Excerpt: Paul Kane, "He Was My Brother"] Simon has always stated that that song was written about a friend of his who was murdered when he went down to Mississippi with the Freedom Riders -- but while Simon's friend was indeed murdered, it wasn't until about a year after he wrote the song, and Simon has confused the timelines in his subsequent recollections. At the time he recorded that, when he had returned to New York at the end of the summer, Simon had a job as a song plugger for a publishing company, and he gave the publishing company the rights to that song and its B-side, which led to that B-side getting promoted by the publisher, and ending up covered on one of the biggest British albums of 1964, which went to number two in the UK charts: [Excerpt: Val Doonican, "Carlos Dominguez"] Oddly, that may not end up being the only time we feature a Val Doonican track on this podcast. Simon continued his attempts to be a folkie, even teaming up again with Art Garfunkel, with whom he'd re-established contact, to perform in Greenwich Village as Kane and Garr, but they went down no better as a duo than Simon had as a solo artist. Simon went back to the UK again over Christmas 1963, and while he was there he continued work on a song that would become such a touchstone for him that of the first six albums he would be involved in, four would feature the song while a fifth would include a snippet of it. "The Sound of Silence" was apparently started in November 1963, but not finished until February 1964, by which time he was once again back in the USA, and back working as a song plugger. It was while working as a song plugger that Simon first met Tom Wilson, Bob Dylan's producer at Columbia. Simon met up with Wilson trying to persuade him to use some of the songs that the publishing company were putting out. When Wilson wasn't interested, Simon played him a couple of his own songs. Wilson took one of them, "He Was My Brother", for the Pilgrims, a group he was producing who were supposed to be the Black answer to Peter, Paul, and Mary: [Excerpt: The Pilgrims, "He Was My Brother"] Wilson was also interested in "The Sound of Silence", but Simon was more interested in getting signed as a performer than in having other acts perform his songs. Wilson was cautious, though -- he was already producing one folkie singer-songwriter, and he didn't really need a second one. But he *could* probably do with a vocal group... Simon mentioned that he had actually made a couple of records before, as part of a duo. Would Wilson be at all interested in a vocal *duo*? Wilson would be interested. Simon and Garfunkel auditioned for him, and a few days later were in the Columbia Records studio on Seventh Avenue recording their first album as a duo, which was also the first time either of them would record under their own name. Wednesday Morning, 3AM, the duo's first album, was a simple acoustic album, and the only instrumentation was Simon and Barry Kornfeld, a Greenwich Village folkie, on guitars, and Bill Lee, the double bass player who'd played with Dylan and others, on bass. Tom Wilson guided the duo in their song selection, and the eventual album contained six cover versions and six originals written by Simon. The cover versions were a mixture of hootenanny staples like "Go Tell it on the Mountain", plus Dylan's "The Times They Are A-Changin'", included to cross-promote Dylan's new album and to try to link the duo with the more famous writer, and one unusual one, "The Sun is Burning", written by Ian Campbell, a Scottish folk singer who Simon had got to know on his trips to the UK: [Excerpt: Simon and Garfunkel, "The Sun is Burning"] But the song that everyone was keenest on was "The Sound of Silence", the first song that Simon had written that he thought would stand up in comparison with the sort of song that Dylan was writing: [Excerpt: Simon and Garfunkel, "The Sound of Silence (Wednesday Morning 3AM version)"] In between sessions for the album, Simon and Garfunkel also played a high-profile gig at Gerde's Folk City in the Village, and a couple of shows at the Gaslight Cafe. The audiences there, though, regarded them as a complete joke -- Dave Van Ronk would later relate that for weeks afterwards, all anyone had to do was sing "Hello darkness, my old friend", for everyone around to break into laughter. Bob Dylan was one of those who laughed at the performance -- though Robert Shelton later said that Dylan hadn't been laughing at them, specifically, he'd just had a fit of the giggles -- and this had led to a certain amount of anger from Simon towards Dylan. The album was recorded in March 1964, and was scheduled for release  in October. In the meantime, they both made plans to continue with their studies and their travels. Garfunkel was starting to do postgraduate work towards his doctorate in mathematics, while Simon was now enrolled in Brooklyn Law School, but was still spending most of his time travelling, and would drop out after one semester. He would spend much of the next eighteen months in the UK. While he was occasionally in the US between June 1964 and November 1965, Simon now considered himself based in England, where he made several acquaintances that would affect his life deeply. Among them were a young woman called Kathy Chitty, with whom he would fall in love and who would inspire many of his songs, and an older woman called Judith Piepe (and I apologise if I'm mispronouncing her name, which I've only ever seen written down, never heard) who many people believed had an unrequited crush on Simon. Piepe ran her London flat as something of a commune for folk musicians, and Simon lived there for months at a time while in the UK. Among the other musicians who stayed there for a time were Sandy Denny, Cat Stevens, and Al Stewart, whose bedroom was next door to Simon's. Piepe became Simon's de facto unpaid manager and publicist, and started promoting him around the British folk scene. Simon also at this point became particularly interested in improving his guitar playing. He was spending a lot of time at Les Cousins, the London club that had become the centre of British acoustic guitar. There are, roughly, three styles of acoustic folk guitar -- to be clear, I'm talking about very broad-brush categorisations here, and there are people who would disagree and say there are more, but these are the main ones. Two of these are American styles -- there's the simple style known as Carter scratching, popularised by Mother Maybelle Carter of the Carter family, and for this all you do is alternate bass notes with your thumb while scratching the chord on the treble strings with one finger, like this: [Excerpt: Carter picking] That's the style played by a lot of country and folk players who were primarily singers accompanying themselves. In the late forties and fifties, though, another style had become popularised -- Travis picking. This is named after Merle Travis, the most well-known player in the style, but he always called it Muhlenberg picking, after Muhlenberg County, where he'd learned the style from Ike Everly -- the Everly Brothers' father -- and Mose Rager, a Black guitarist. In Travis picking, the thumb alternates between two bass notes, but rather than strumming a chord, the index and middle fingers play simple patterns on the treble strings, like this: [Excerpt: Travis picking] That's, again, a style primarily used for accompaniment, but it can also be used to play instrumentals by oneself. As well as Travis and Ike Everly, it's also the style played by Donovan, Chet Atkins, James Taylor, and more. But there's a third style, British baroque folk guitar, which was largely the invention of Davey Graham. Graham, you might remember, was a folk guitarist who had lived in the same squat as Lionel Bart when Bart started working with Tommy Steele, and who had formed a blues duo with Alexis Korner. Graham is now best known for one of his simpler pieces, “Anji”, which became the song that every British guitarist tried to learn: [Excerpt: Davey Graham, "Anji"] Dozens of people, including Paul Simon, would record versions of that. Graham invented an entirely new style of guitar playing, influenced by ragtime players like Blind Blake, but also by Bach, by Moroccan oud music, and by Celtic bagpipe music. While it was fairly common for players to retune their guitar to an open major chord, allowing them to play slide guitar, Graham retuned his to a suspended fourth chord -- D-A-D-G-A-D -- which allowed him to keep a drone going on some strings while playing complex modal counterpoints on others. While I demonstrated the previous two styles myself, I'm nowhere near a good enough guitarist to demonstrate British folk baroque, so here's an excerpt of Davey Graham playing his own arrangement of the traditional ballad "She Moved Through the Fair", recast as a raga and retitled "She Moved Thru' the Bizarre": [Excerpt: Davey Graham, "She Moved Thru' the Bizarre"] Graham's style was hugely influential on an entire generation of British guitarists, people who incorporated world music and jazz influences into folk and blues styles, and that generation of guitarists was coming up at the time and playing at Les Cousins. People who started playing in this style included Jimmy Page, Bert Jansch, Roy Harper, John Renbourn, Richard Thompson, Nick Drake, and John Martyn, and it also had a substantial influence on North American players like Joni Mitchell, Tim Buckley, and of course Paul Simon. Simon was especially influenced at this time by Martin Carthy, the young British guitarist whose style was very influenced by Graham -- but while Graham applied his style to music ranging from Dave Brubeck to Lutheran hymns to Big Bill Broonzy songs, Carthy mostly concentrated on traditional English folk songs. Carthy had a habit of taking American folk singers under his wing, and he taught Simon several songs, including Carthy's own arrangement of the traditional "Scarborough Fair": [Excerpt: Martin Carthy, "Scarborough Fair"] Simon would later record that arrangement, without crediting Carthy, and this would lead to several decades of bad blood between them, though Carthy forgave him in the 1990s, and the two performed the song together at least once after that. Indeed, Simon seems to have made a distinctly negative impression on quite a few of the musicians he knew in Britain at this time, who seem to, at least in retrospect, regard him as having rather used and discarded them as soon as his career became successful. Roy Harper has talked in liner notes to CD reissues of his work from this period about how Simon used to regularly be a guest in his home, and how he has memories of Simon playing with Harper's baby son Nick (now himself one of the greats of British guitar) but how as soon as he became successful he never spoke to Harper again. Similarly, in 1965 Simon started a writing partnership with Bruce Woodley of the Seekers, an Australian folk-pop band based in the UK, best known for "Georgy Girl". The two wrote "Red Rubber Ball", which became a hit for the Cyrkle: [Excerpt: The Cyrke, "Red Rubber Ball"] and also "Cloudy", which the Seekers recorded as an album track: [Excerpt: The Seekers, "Cloudy"] When that was recorded by Simon and Garfunkel, Woodley's name was removed from the writing credits, though Woodley still apparently received royalties for it. But at this point there *was* no Simon and Garfunkel. Paul Simon was a solo artist working the folk clubs in Britain, and Simon and Garfunkel's one album had sold a minuscule number of copies. They did, when Simon briefly returned to the US in March, record two tracks for a prospective single, this time with an electric backing band. One was a rewrite of the title track of their first album, now titled "Somewhere They Can't Find Me" and with a new chorus and some guitar parts nicked from Davey Graham's "Anji"; the other a Twist-beat song that could almost be Manfred Mann or Georgie Fame -- "We Got a Groovy Thing Goin'". That was also influenced by “Anji”, though by Bert Jansch's version rather than Graham's original. Jansch rearranged the song and stuck in this phrase: [Excerpt: Bert Jansch, “Anji”] Which became the chorus to “We Got a Groovy Thing Goin'”: [Excerpt: Simon and Garfunkel, "We Got a Groovy Thing Goin'"] But that single was never released, and as far as Columbia were concerned, Simon and Garfunkel were a defunct act, especially as Tom Wilson, who had signed them, was looking to move away from Columbia. Art Garfunkel did come to visit Simon in the UK a couple of times, and they'd even sing together occasionally, but it was on the basis of Paul Simon the successful club act occasionally inviting his friend on stage during the encore, rather than as a duo, and Garfunkel was still seeing music only as a sideline while Simon was now utterly committed to it. He was encouraged in this commitment by Judith Piepe, who considered him to be the greatest songwriter of his generation, and who started a letter-writing campaign to that effect, telling the BBC they needed to put him on the radio. Eventually, after a lot of pressure, they agreed -- though they weren't exactly sure what to do with him, as he didn't fit into any of the pop formats they had. He was given his own radio show -- a five-minute show in a religious programming slot. Simon would perform a song, and there would be an introduction tying the song into some religious theme or other. Two series of four episodes of this were broadcast, in a plum slot right after Housewives' Choice, which got twenty million listeners, and the BBC were amazed to find that a lot of people phoned in asking where they could get hold of the records by this Paul Simon fellow. Obviously he didn't have any out yet, and even the Simon and Garfunkel album, which had been released in the US, hadn't come out in Britain. After a little bit of negotiation, CBS, the British arm of Columbia Records, had Simon come in and record an album of his songs, titled The Paul Simon Songbook. The album, unlike the Simon and Garfunkel album, was made up entirely of Paul Simon originals. Two of them were songs that had previously been recorded for Wednesday Morning 3AM -- "He Was My Brother" and a new version of "The Sound of Silence": [Excerpt: Paul Simon, "The Sound of Silence"] The other ten songs were newly-written pieces like "April Come She Will", "Kathy's Song", a parody of Bob Dylan entitled "A Simple Desultory Philippic", and the song that was chosen as the single, "I am a Rock": [Excerpt: Paul Simon, "I am a Rock"] That song was also the one that was chosen for Simon's first TV appearance since Tom and Jerry had appeared on Bandstand eight years earlier. The appearance on Ready, Steady, Go, though, was not one that anyone was happy with. Simon had been booked to appear on  a small folk music series, Heartsong, but that series was cancelled before he could appear. Rediffusion, the company that made the series, also made Ready, Steady, Go, and since they'd already paid Simon they decided they might as well stick him on that show and get something for their money. Unfortunately, the episode in question was already running long, and it wasn't really suited for introspective singer-songwriter performances -- the show was geared to guitar bands and American soul singers. Michael Lindsay-Hogg, the director, insisted that if Simon was going to do his song, he had to cut at least one verse, while Simon was insistent that he needed to perform the whole thing because "it's a story". Lindsay-Hogg got his way, but nobody was happy with the performance. Simon's album was surprisingly unsuccessful, given the number of people who'd called the BBC asking about it -- the joke went round that the calls had all been Judith Piepe doing different voices -- and Simon continued his round of folk clubs, pubs, and birthday parties, sometimes performing with Garfunkel, when he visited for the summer, but mostly performing on his own. One time he did perform with a full band, singing “Johnny B Goode” at a birthday party, backed by a band called Joker's Wild who a couple of weeks later went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] The guitarist from Joker's Wild would later join the other band who'd played at that party, but the story of David Gilmour joining Pink Floyd is for another episode. During this time, Simon also produced his first record for someone else, when he was responsible for producing the only album by his friend Jackson C Frank, though there wasn't much production involved as like Simon's own album it was just one man and his guitar. Al Stewart and Art Garfunkel were also in the control room for the recording, but the notoriously shy Frank insisted on hiding behind a screen so they couldn't see him while he recorded: [Excerpt: Jackson C Frank, "Blues Run the Game"] It seemed like Paul Simon was on his way to becoming a respected mid-level figure on the British folk scene, releasing occasional albums and maybe having one or two minor hits, but making a steady living. Someone who would be spoken of in the same breath as Ralph McTell perhaps. Meanwhile, Art Garfunkel would be going on to be a lecturer in mathematics whose students might be surprised to know he'd had a minor rock and roll hit as a kid. But then something happened that changed everything. Wednesday Morning 3AM hadn't sold at all, and Columbia hadn't promoted it in the slightest. It was too collegiate and polite for the Greenwich Village folkies, and too intellectual for the pop audience that had been buying Peter, Paul, and Mary, and it had come out just at the point that the folk boom had imploded. But one DJ in Boston, Dick Summer, had started playing one song from it, "The Sound of Silence", and it had caught on with the college students, who loved the song. And then came spring break 1965. All those students went on holiday, and suddenly DJs in places like Cocoa Beach, Florida, were getting phone calls requesting "The Sound of Silence" by Simon and Garfunkel. Some of them with contacts at Columbia got in touch with the label, and Tom Wilson had an idea. On the first day of what turned out to be his last session with Dylan, the session for "Like a Rolling Stone", Wilson asked the musicians to stay behind and work on something. He'd already experimented with overdubbing new instruments on an acoustic recording with his new version of Dylan's "House of the Rising Sun", now he was going to try it with "The Sound of Silence". He didn't bother asking the duo what they thought -- record labels messed with people's records all the time. So "The Sound of Silence" was released as an electric folk-rock single: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] This is always presented as Wilson massively changing the sound of the duo without their permission or knowledge, but the fact is that they had *already* gone folk-rock, back in March, so they were already thinking that way. The track was released as a single with “We Got a Groovy Thing Going” on the B-side, and was promoted first in the Boston market, and it did very well. Roy Harper later talked about Simon's attitude at this time, saying "I can remember going into the gents in The Three Horseshoes in Hempstead during a gig, and we're having a pee together. He was very excited, and he turns round to me and and says, “Guess what, man? We're number sixteen in Boston with The Sound of Silence'”. A few days later I was doing another gig with him and he made a beeline for me. “Guess what?” I said “You're No. 15 in Boston”. He said, “No man, we're No. 1 in Boston”. I thought, “Wow. No. 1 in Boston, eh?” It was almost a joke, because I really had no idea what that sort of stuff meant at all." Simon was even more excited when the record started creeping up the national charts, though he was less enthused when his copy of the single arrived from America. He listened to it, and thought the arrangement was a Byrds rip-off, and cringed at the way the rhythm section had to slow down and speed up in order to stay in time with the acoustic recording: [Excerpt: Simon and Garfunkel, "The Sound of Silence"] I have to say that, while the tempo fluctuations are noticeable once you know to look for them, it's a remarkably tight performance given the circumstances. As the record went up the charts, Simon was called back to America, to record an album to go along with it. The Paul Simon Songbook hadn't been released in the US,  and they needed an album *now*, and Simon was a slow songwriter, so the duo took six songs from that album and rerecorded them in folk-rock versions with their new producer Bob Johnston, who was also working with Dylan now, since Tom Wilson had moved on to Verve records. They filled out the album with "The Sound of Silence", the two electric tracks from March, one new song, "Blessed", and a version of "Anji", which came straight after "Somewhere They Can't Find Me", presumably to acknowledge Simon lifting bits of it. That version of “Anji” also followed Jansch's arrangement, and so included the bit that Simon had taken for “We Got a Groovy Thing Going” as well. They also recorded their next single, which was released on the British version of the album but not the American one, a song that Simon had written during a thoroughly depressing tour of Lancashire towns (he wrote it in Widnes, but a friend of Simon's who lived in Widnes later said that while it was written in Widnes it was written *about* Birkenhead. Simon has also sometimes said it was about Warrington or Wigan, both of which are so close to Widnes and so similar in both name and atmosphere that it would be the easiest thing in the world to mix them up.) [Excerpt: Simon and Garfunkel, "Homeward Bound"] These tracks were all recorded in December 1965, and they featured the Wrecking Crew -- Bob Johnston wanted the best, and didn't rate the New York players that Wilson had used, and so they were recorded in LA with Glen Campbell, Joe South, Hal Blaine, Larry Knechtel, and Joe Osborne. I've also seen in some sources that there were sessions in Nashville with A-team players Fred Carter and Charlie McCoy. By January, "The Sound of Silence" had reached number one, knocking "We Can Work it Out" by the Beatles off the top spot for two weeks, before the Beatles record went back to the top. They'd achieved what they'd been trying for for nearly a decade, and I'll give the last word here to Paul Simon, who said of the achievement: "I had come back to New York, and I was staying in my old room at my parents' house. Artie was living at his parents' house, too. I remember Artie and I were sitting there in my car one night, parked on a street in Queens, and the announcer said, "Number one, Simon & Garfunkel." And Artie said to me, "That Simon & Garfunkel, they must be having a great time.""

It's officially Spooky Season and we are kicking it off with the classic Tales from the Crypt Killer Santa segment All Through the House! If you have any thoughts or feelings about the show contact us at: christmas365podcast@gmail.com or find us on Instagram @christmas365podcast Be sure to Rate, Review and Subscribe!! Thanks for listening!!! Find out more at https://christmas-365.pinecast.co This podcast is powered by Pinecast.

Rebirth Brass Band "Lil' Liza Jane"Hurray for the Riff Raff "Western Cowboy"Big Mama Thornton "Sweet Little Angel / 3 O'Clock in the Mornin'"Jason Isbell And The 400 Unit "Driver 8"Eilen Jewell "Crawl"The Clash "Tommy Gun"Centro-matic "Remind Us Alive"Bonnie 'Prince' Billy "I See A Darkness"Nicole Atkins "Goodnight Rhonda Lee"George Jones "Who Shot Sam"The Replacements "Lay It Down Clown"Warren Zevon "Play It All Night Long (LP版)"Sonic Youth "Teen Age Riot"Billy Bragg "Waiting for the Great Leap Forwards"Lil Green "Romance In The Dark (05-09-40)"Gillian Welch "Strange Isabella"Hayes Carll "Another Like You"Hank Williams "Your Gonna Change Or I'm Gonna Leave"John Prine "Just the Other Side of Nowhere"Adia Victoria "Magnolia Blues"Alison Krauss "Down To The River To Pray"Adia Victoria "You Was Born To Die (feat. Kyshona Armstrong, Margo Price & Jason Isbell)"Drag the River "All In All"The Star Room Boys "White Lies Blue Tears"Dolly Parton "Gettin' Happy"Justin Townes Earle "The Good Life"Allen Toussaint "Singin' the Blues"B.B. King  & Willie Nelson "Night Life"Ella Fitzgerald "All Through the Night"Neil Young "Harvest Moon"Yola "Starlight"Billy Joe Shaver "Tell Me Virginia"Steve Earle "Sparkle And Shine"Bob Dylan "Man In the Long Black Coat"Fiona Apple "Limp (Album Version)"fIREHOSE "For the Singer of R.E.M."Jimmy Bryant "The Night Rider"The Velvet Underground "Oh! Sweet Nuthin'"Elvis Costello & The Attractions "I Can't Stand Up For Falling Down"Kathleen Edwards "Back To Me"Bukka White "Aberdeen Mississippi Blues"Ruth Brown "Mama, He Treats Your Daughter Mean"Valerie June "Shakedown"B.B. King "My Own Fault, Darling"

Think of this Dev Party as the introduction to the Third Season of All Through a Lens. We discuss the future of our humble little podcast while developing photos we shot after returning from our respective breaks. Vania (@surfmartian on IG) developed Velvia 100F in C-41 because "I do what I want." It was a roll of 220 shot through her Pentax 645 in a waterhousing. Here are a few: Meanwhile, Eric (@conspiracy.of.cartographers on IG) developed two sheets of Foma Retropan 320 in Foma Retro Special (as the good lord intended). He shot them with Kate Miller-Wilson (@katemillerwilson in IG) through the Chamonix. Here they are: Camera: Chamonix 45F-2 Lens: Schneider-Kreuznach Super-Angulon 8/90mm Film: Foma Retropan 320 Exposure: f/64; 1/4sec; Red Filter Process: Foma Retro Special; 4.5min Washington January 2021 Camera: Chamonix 45F-2 Lens: Schneider-Kreuznach Symmar-S 5.6/150mm Film: Foma Retropan 320 Exposure: f/11; 1/125sec; Red Filter Process: Foma Retro Special; 4.5min Washington January 2021   END CREDITS www.allthroughalens.com Vania: IG, Flickr, Zines, Website Eric: IG, Flickr, Zines, ECN-2 Kits

The first half of the conclusion of Antimony. Episode 16 features:Emmett Prough Richter (Neith)David Merrill (Josh)Lydia Brauer (Kaia)Josiah Dykstra (Dr Grigori)Jenni Ovenstone Smith (Dr Calleo)Katherine Hilton (Dilani)Rachel Hunter (Rachel)George McLaughlin (Shemihazah)Pan Conrad (Michael)Amy Richter (Gabriel)Ron Day (Ship Captain)Jennifer Day (Doctor)Seth Jason (Front Desk Officer)Music was composed and arranged by Pan Conrad, who also did the sound effects for this episode. David Merrill sang and played "All Through the Night." Joel Richter designed the podcast logo.Thank you to all the Silver Linings Players, and thank you for listening. We hope you enjoyed Antimony. May all the angels watching over you be good ones.

The Dads From the Crypt review Tales From the Crypt Season 1, Episode 2: All Through the House. #Horror #Talesfromthecrypt #cryptkeeper #Horrormovies #horrortv

Eric and I got into some great conversations about photography and life. Discussed issues with the world and indigenous and poc communities and reminisced about being 80's kids.Here are some words about Eric from the man himself.“I am mostly a travel photographer - that is I generally only shoot when I'm on the road. I prefer deserts and prairies to forests and cities. I prefer solitude, and want my photos to express that above almost anything else.I shoot vintage cameras ranging from 1900 to a modern 4x5. Much of the film that I shoot is well expired - some from the 50s, but most from the 80s and 90s. Though I'm quickly being priced out of that market. I shoot 120 and 4x5.While black & white is my primary focus, I also shoot color, developing it with my own ECN-2 kits.When taking the photo, I try to capture how the place made me feel. I'm much less concerned about how it looked. I strive for my work to seem timeless and unplaceable.I publish two zines: Conspiracy of Cartographers and In This Land. I'm also the co-host of the All Through a Lens Podcast.”Follow Eric at https://www.instagram.com/conspiracy.of.cartographers/Check out All Through a Lens at https://www.instagram.com/allthroughalens.podcast/Photography Chat is a weekly Instagram Live @merlindb hosts every Thursday at 5pmPST/8pmESTGive me a follow if you want to see the episodes live https://www.instagram.com/merlindb/Support this podcast at — https://redcircle.com/photographychat/donations

What happens when a strong person makes a weak decision and a weak person makes a strong one? In part two of our episode on FDR and the internment of the Japanese in WWII, we look at the anti-Japanese hysteria that seized the West Coast in the wake of Pearl Harbor and the bureaucratic infighting that resulted in the imprisonment of 120,000 people. This episode makes use of a variety of archival audio, including: WOR United Press Radio Announcement on the attack on Pearl Harbor, Dec 7, 1941 https://www.youtube.com/watch?v=zD9PNkkq5Mc Akiko Kurose, “Hearing about the Bombing of Pearl Harbor” https://www.youtube.com/watch?v=pZoL-O9Y9Aw&list=PL_txUBUpMcH4CS9Ggr6IezvCHoIhYov-f Gordon Hirabayashi, “Worries about Issei parents after the bombing of Pearl Harbor” https://www.youtube.com/watch?v=DgBjYz0xn38&list=PL_txUBUpMcH4CS9Ggr6IezvCHoIhYov-f&index=8 Franklin Delano Roosevelt, Fireside Chat on Fifth Columnists, May 27, 1940 https://www.youtube.com/watch?v=OZZ2k5pXFOU&t=1s Excerpts from “All Through the Night” Warner Brothers, 1942 https://www.youtube.com/watch?v=64kxaXSj2tA Excerpts from “1941,” Steven Spielberg, 1979 https://www.youtube.com/watch?v=CPnwlNvwBLI Pearl Harbor attack newsreel, 1941 https://www.youtube.com/watch?v=A2kSnlS4xX8 Kara Kondo, “The Day of Mass Removal” https://www.youtube.com/watch?v=am46ZQgfI3I&list=PL_txUBUpMcH4CS9Ggr6IezvCHoIhYov-f&index=10  

I'll see you next year. Hyuck1. When should you stop listening to Christmas music?2. Sales3. The 2020 NFL season4. Sweatpants rules5. Getting a flu shot6. Smart Start cereal7. Internet recipes8. The Santa Clause9. The Berenstain Bears10. Cyndi Lauper's "All Through the Night"11. Underrated/overrated/properly rated: Louisiana hot sauces12. Parking in a bike lane13. Ewing Dry Goods14. Schitt's Creek15. Club crackers16. Resident Advisor's Best of 2020 lists17. Bob Dylan's Nobel prize18. Diatomaceous Earth19. Shoveling snow20. El Ranchero tortilla chips

Wherein Chris Yokel reads his poems "This Haunting" and "Another World," Jennifer Trafton reads her piece This Is For All the Lonely Writers, we receive a brief serenade from Ron Block, and Drew Miller shares the second Word of Befuddlement: toom (it’s a noun). Transcripts are available for The Molehill Podcast. You can find them at RabbitRoom.com/Podcast. Music featured in this episode:"All Through the Night," "A Light So Fair," "Bear My Harp Hither," and "Hope Sings" by Ron BlockOriginal Molehill Podcast theme music by Zach & MaggieSee omnystudio.com/listener for privacy information.

Welcome to the LI Law Podcast.  We feature legal issues and developments which affect Long Island residents and business owners.  The podcast focuses on Long Island law topics and includes greater New York court and legislative happenings.  If you are one of the approximate 8 million residents of Long Island (Nassau, Suffolk, Queens, and Kings counties), or want to enjoy all law-related matters on Long Island, this podcast is for you! Your host, Zehava Schechter, is an attorney admitted to the New York Bar for 30 years.  She concentrates her private practice in estate planning, administration, and litigation; real estate law; contracts, and business formation and dissolution.  If you like this podcast, you may want to look for Zehava's monthly articles in the Malverne/West Hempstead Herald and the Beacon newspaper. We are taking a slight turn with this episode.  Our guest on this 11th episode is Larry Wolff, movie critic and lecturer, who will speak to us about 2 movies about politics and government, “Mr. Smith Goes to Washington” and “All Through the Night,” as well as their connection to Long Island.  This is a not-to-be missed fun episode. Larry Wolff was an expert New York State Residency Tax Auditor for most of his 35 years of employment with the Tax Department. After retiring, he decided to have some fun. He now applies his lifelong accumulated knowledge to film lectures. At an early age, he appreciated the art of the cinema that entertained him. His early film interests were Gangsters, gag men and ghouls. He later came to appreciate dramas, with interesting story lines, as well as film noir. He now brings these interests before the public with Power Point enhanced film and Hollywood personality lectures and film showings. His goal – to entertain and educate his audience. He has appeared on Lou Telano's Street Wise radio program, and has been a regular contributor to the “A and P” Podcast show and the Abbott and Costello New York Fan Club.  Larry has served as Grand Sheik of the Long Island Tent of the Sons of the Desert (Laurel and Hardy Appreciation Society) has given public lectures for the last ten years at libraries, synagogues, churches, fraternal organizations, and private groups. Contact information for Larry Wolff: Lawrence Wolff – Public Speaker Lectures of Classic Hollywood Icons Tel: 631.942.5237 E-mail: Wolffman@optonline.net www.classichollywoodlecturesandfilms.com Thank you, Larry, and welcome to the podcast! For more information on Nassau County initiatives to promote film production and local film festivals, please see:https://www.nassaucountyny.gov/film For the Suffolk County Film Commission, please see: https://suffolkcountyfilmcommission.com/ For New York City's media and entertainment information, please see: https://www1.nyc.gov/site/mome/index.page, For New York State's film department, please see: https://esd.ny.gov/industries/tv-and-film, Please contact us with your general questions or comments at LILawPodcast@gmail.com.  W. Zehava Schechter, Esq. specializes in estate planning, administration and litigation; real estate law; and contracts and business law. Her law practice is located on Long Island. No podcast is a substitute for competent legal advice.  Please consult with the attorney of your choice concerning specific legal questions you may have.    

The Bogie Film Blog makes its way into podcasting with this first episode - a discussion of 1941's All Through the Night.