Podcast appearances and mentions of Bernard Herrmann

This week on Oscars Outsider, we dive into one of the Academy's strangest and most confusing categories: Best Original Score.From the early days of studio music departments to decades of split categories, reunited categories, musical exceptions, adaptations, and shifting definitions of what “original” even means, the Oscar for film music has had one of the messiest histories of any Academy Award. We trace how the category changed over time, why musicals caused so many problems, and how the Academy ended up rewarding — and ignoring — some of the most famous scores in movie history.Along the way, we talk Bernard Herrmann, Henry Mancini, Duke Ellington, West Side Story, John Williams, Schindler's List, Jurassic Park, Hans Zimmer, The Lion King, and why Oscar voters keep struggling to separate great movie music from great scores.

La espera ha terminado. En este nuevo capítulo de Estamos de Cine abrimos los sentidos para analizar uno de los acontecimientos cinematográficos más esperados de la temporada: el regreso del icónico Steven Spielberg al género que ha marcado su carrera. Ya está agitando las salas de todo el mundo 'El día de la revelación'. A sus casi 80 años, el director con mayor apego e interés por el fenómeno alienígena promete volver a sacudir nuestras certezas sobre la vida exterior en una obra que invita a no apartar la mirada del cielo. ¿Llevan ya mucho tiempo entre nosotros? Analizamos lo nuevo del Rey Midas de Hollywood sin perder de vista uno de los pocos estrenos que se atreven a ser alternativa al Día de la Revelación. Una coproducción entre Canadá y Estados Unidos os devuelve a la gran pantalla al oscarizado Dustin Hoffman. En esta ocasión, interpreta al mentor de Leo Woodall (The White Lotus) en una comedia con toques thriller sobre un afinador de pianos con un don tan extraordinario para la música como para abrir cajas fuertes. Raquel Hernández y Alberto Luchini ponderan y califican también novedades como la china The Furious, la francesa Duse, la japonesa El guardián del árbol de alcanfor y la noruega y preferida de Luchini Solomamma. Y para acabar, duelo de titanes en 'El diván de la música': Ángel Luque afina las notas del misterio para revivir el espíritu de 'El cabo del miedo'. Nos sirve de excusa el papelón de Javier Bardem en la miniserie de Apple 'Cape Fear' —recogiendo el testigo de Robert Mitchum y Robert De Niro— y nos permite valorar y contrastar las dos grandes adaptaciones musicales de la novela de John MacDonald: la obra de Bernard Herrmann (1962) contra la de Elmer Bernstein (1991). Dos joyas de la sugestión y la venganza hechas partitura para dos conceptos muy diferentes de El Cabo del Miedo.

Photo by Mark A. Vieir Hitchcock & Herrmann: The Friendship & Film Scores That Changed Cinema was written by award-winning author Steven C. Smith. He is a four-time Emmy-nominated documentary producer of over 200 documentaries about film and music. Smith has collaborated with filmmakers Steven Spielberg, Martin Scorsese, George Lucas, Stephen Sondheim, John Williams, Julie Andrews, and Sidney Poitier. His biographies of composers Bernard Herrmann and Max Steiner each received the ASCAP Foundation Deems Taylor/Virgil Thomson Award, and he has lectured at the Library of Congress, American Film Institute, Academy of Motion Pictures Museum, and other organizations. He has written for The Wall Street Journal, The Hollywood Reporter, and the Los Angeles Times. Fellow biographer and BIO member Sonja Williams interviewed Steven C. Smith.

Summer is unofficially upon us. Hot boy summer, some say.Two hot boys and one hot girlie summer, even. Lickers Jay & Deon check in with Super-Secret-Special-Friend Jess to see (and hear) what she has been f#@%ing with, sonically speaking. It's good clean fun in the sun, ya dang bums! Check out Jess's production of Mr. Burns: A Post Electric PlaySonic contributions to this bonus episode twenty-nine of Lightnin' Licks Radio were made by: Prince Paul, De La Soul, Brothers Johnson, Zack Braff, Natilie Portman, POSPOTUS. Rashan Roland Kirk, L.L. Cool J, R.E.M., Jay Dilla, The Pharcyde, Main Source, Boogie Down Productions, Vince Guaraldi. The 45 King, DJ Kool, Kool & the Gang, Newcleus, Kevin McCaffrey. Space. Jewel, Mackeeper. Hole, Coutney Love, Melissa Auf De Mor, Billy Corgan, Smashing Pumpkins, Yoko Ono, David Porter, Puff and Big, Blind Melon, Young Marvel Giants. Helado Negro. Peaches and Herb, Charles Fox, Jessica McQuarter, Anne Washburn, Michael Friedman, Bernard Herrmann & Elmer Bernstein. Halsey, Lido. Hemlocke Springs, Doechii, Ian James, Joey Hamhock, Banser. Starship, Jefferson Starship, Jefferson Airplane, Grace Slick, Elvin Bishop. Some spacey smooth Japanese psych loops courtesy of Portal Records, XTC, Exile. National Wake, N.W.A., Slick Rick, Wilson Picket, Funkadelic, The Winstons, Vampire Weekend, Dan Deacon, Aldo Nova, Elvis Costello, Deon's wife Shannon, Jan Hammer. The Police. Nas, Large Professor, 3rd Bass, MC Search, N.O.R.E., Pete Rock, DJ Premier, James Brown & The J.B.'s. More Japanese psych loops, Sting, The Isley Brothers, Ice Cube, DJ Pooh. Crosby, Stills & Nash, The Staple Singers, Parliament, LBJ, good brother Abraham (Jefferson), and AI Steve Inskeep.Get your vinyl records and vintage wares here. Freedom. Know it while you have it. Get involved.SPOTIFY PLAYLIST OF FEATURED ARTISTSHEAR THE FULL MIXTAPE ON SOUNDCLOUD

Summer is now unofficially upon us. Hot boy summer, some may say. Two hot old boys and one hot girlie summer, even. Lightning Lickers Jay & Deon check in with Super-Special-Secret-Friend Jess to see (and hear) what she has been f#@%ing with, sonically speaking. It's good clean fun in the sun, ya dang bums! Check out Jess's production of Mr. Burns: A Post Electric PlaySonic contributions to this bonus episode number twenty-nine of Lightnin' Licks Radio podcast were made by: Prince Paul, De La Soul, Brothers Johnson, Zach Braff, Natalie Portman, POSPOTUS. R.E.M., Jay Dilla, The Pharcyde, Vince Guaraldi. The 45 King, DJ Kool, Kool & the Gang, Newcleus, Kevin McCaffrey. Space. Jewel, Mackeeper. Hole, Coutney Love, Melissa Auf Dee Mor and Billy Corgan on The Magnificent Others podcast, Smashing Pumpkins, Yoko Ono, David Porter, Puff & Big, Blind Melon, Young Marvel Giants. Helado Negro. Peaches & Herb, Charles Fox, Jessica McQuarter, Anne Washburn, Michael Friedman, Bernard Herrmann & Elmer Bernstein. Halsey, Lido. Hemlocke Springs, Doechii, Ian James, Joey Hamhock, Banser. Starship, Jefferson Starship, Jefferson Airplane, Grace Slick, Elvin Bishop. Some spacey smooth Japanese psych loops courtesy of Portal Records, XTC, Exile. National Wake, N.W.A., Wilson Picket, Funkadelic, The Winstons, Vampire Weekend, Dan Deacon, Aldo Nova, Elvis Costello, Deon's wife Shannon, Jan Hammer. The Police. NAS, Large Professor, 3rd Bass, MC Search and N.O.R.E. on Drink Champs podcast, Pete Rock, DJ Premier. James Brown, more Japanese psych loops, Sting, The Isley Brothers, Ice Cube, DJ Pooh. Crosby, Stills & Nash, The Staple Singers, Parliament, Cheech & Chong, Rakim, Aphex Twin, LBJ & good brother Abraham (Jefferson).You can't make then share mixtapes anymore. It's totally cool that artificial intellegence has been fed all music ever recorded to train itself to suck the life out of all art everwhere. Sharing mixtapes, though...very bad. Very, very bad.Hear the uninterrupted Jay-curated mixtape here. Stream a playlist of featured artists on Spotify here. Get your vinyl records and vintage wares here. Freedom. Know it while you have it. Get involved.JAY is f#@%ing with Space, Hole, XTC, and The Police.DEON has been into Mackeeper, Helado Negro, National Wake, and Nas.JESS has Halsey, Hemlocke Springs, and Jefferson Starship in heavy rotation.

Steven C. Smith is an Emmy-nominated documentary producer, author, and speaker who specializes in Hollywood history and profiles of contemporary filmmakers.A four-time Emmy nominee and 16-time Telly Award winner, Steven has produced and written over 200 documentaries. They include The Sound of a City: Julie Andrews Returns to Salzburg; The Lure of the Desert: Martin Scorsese on Lawrence of Arabia; A Place for Us: West Side Story's Legacy; and Thou Shalt Not: Sex, Sin and Censorship in Pre-Code Hollywood.He is the author of three acclaimed books: A Heart at Fire's Center: The Life and Music of Bernard Herrmann; Music by Max Steiner: The Epic Life of Hollywood's Most Influential Composer; and, just recently, Hitchcock and Herrmann: The Friendship & Film Scores That Changed Cinema.  It's a real treat to welcome Steven back to my podcast!

This week, we wrap up our 10-part Crime Classics series with an unusual true crime story. John Tefteller is once again joined by researcher Karl Schadow and Bernard Herrmann expert Steven C. Smith to take a last look at what made this show so unique. This 1954 episode leans into the series' signature mix of dark humor and true crime, telling a gritty tale of a heist gone wrong on the streets of Baltimore. It's clever, a little twisted, and very much in line with what Crime Classics did best. Along the way, the conversation highlights Bernard Herrmann's unforgettable music, and the show's almost literary style. It's a fitting finale; dark, smart, and a great sendoff to one of radio's most creative series. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

Show notes  As always there are spoilers ahead! You can follow the podcast on social media on Threads, Instagram and Bluesky. If you would like to be a patron of the podcast and feel like nobility funding the podcasting arts, I would like to encourage such sentiments! You can join Patreon and for £3 or $3 a month you can get ad free version of the show. https://www.patreon.com/everyscififilm If you are interested in the plot of the film you can read an overview on the wikipedia page here.  In 1953 writer Ray Bradbury released his magnum opus Fahrenheit 451. It quickly became a widely acclaimed cautionary tale about the dangers of censorship, authoritarianism and the effects of mass media on human ideas and connection.  One of the most prominent science fiction books it is easy to understand why François Truffaut, one of the French New Wave's most prominent directors, became utterly focused on making the story into a film.  The process had its challenges with producers, funding and a casting changes causing delays. The film was finally wrapped up and released in 1966 to both positive and negative reviews. It is an interesting watch if not a gripping one and my two expert guests unravel the ins and outs of how it came to be.  Ian Scott is a Professor of American Film and History at The University of Manchester. He has written extensively about politics and film in Hollywood including the book American Politics in Hollywood Film. Phil Nichols is a visiting lecturer at the University of Wolverhampton and a researcher with a special interest in Ray Bradbury. He is Senior Consultant to the Ray Bradbury Centre at Indiana University and editor of The New Ray Bradbury Review. He is also the man behind the Bradbury 100 podcast and the Science Fiction 101 podcas Chapters 00:00 Introduction 01:32 Fahrenheit 451: a sci-fi heavyweight 04:36 Truffaut and the book 11:03 Suburban scifi in the mid century 13:33 Politics of the story 15:07 Truffaut's perspective 20:01 Julie Christie's double role 26:50 Searching for Montag 34:29 Burning with her books 39:12 Bernard Herrmann's score 40:40 The 2018 remake 49:56 Bradbury's stage play 51:37 Recommendations     Recommendations: Never Let Me Go (2010) The Wild Child (1970)   NEXT EPISODE! Next episode we will be discussing Fantastic Voyage from 1966! The film is annoyingly a little tricky to find online but can be rented easily on mainstream platforms in some countries. You can check the Just Watch website to see where it is available in your region.          

For this mega episode, Steven C. Smith talks about the working relationship of composer Bernard Herrmann and director Alfred Hitchcok. Richard Barrios discusses Bette Davis and her great performances. Bob Bloom presents a biography on Ohio-born Roy Rogers. 

This week, we dive into another famous true crime story, Crime Classics brings us “The Bloody, Bloody Banks of Fall River.” Host John Tefteller is joined by researcher Karl Schadow and Bernard Herrmann biographer Steven C. Smith to unpack this 1950s take on the Lizzie Borden case. The episode walks us through the tense, tightly wound world of the Borden household, leading up to the infamous murders and the trial that followed. It's a familiar story, but Crime Classics gives it a unique edge with its dry narration and psychological focus. We also take an in-depth look at Bernard Herrmann's score, which uses just a few instruments to build tension. It's a perfect example of how this series could take a well-known case and make it feel fresh, unsettling, and gripping. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

George Orwell's novels 1984 and Animal Farm feel especially prescient in this moment, as surveillance technologies continue to expand, and history and language are weaponized. We take a look at the life and literature of George Orwell. And ask: what does the term "Orwellian" really mean? GUESTS: Laura Beers: Professor of History at American University, and the author of Orwell’s Ghosts: Wisdom and Warnings for the Twenty-First Century D. J. Taylor: Writer, critic, and author of many books, including Orwell: The New Life and Who is Big Brother? A Reader's Guide to George Orwell Sandra Newman: Author of Julia: A Novel, among other books Music featured (in order): Welles Raises Kane (I. Overture) – Bernard Herrmann, as conducted by himself, leading the London Philharmonic Orchestra Sexcrime (Nineteen Eighty-Four) – Eurythmics One Brick – Aesop Rock Keep the Aspidistra Flying – Ivan Waters and the Citadel Piggies – The Beatles 1984 – Anais Mitchell Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

En este episodio abordamos la llamada “teología de la muerte de Dios”, una de las corrientes más radicales de la teología del siglo XX, surgida en un contexto de secularización y crisis del lenguaje religioso. Veremos cómo autores como Gabriel Vahanian, William Hamilton, Thomas J. J. Altizer y Paul M. van Buren intentaron repensar el cristianismo en una sociedad en la que Dios parecía haber dejado de ser una referencia viva para la cultura moderna. Analizaremos también sus límites, especialmente el riesgo de reducir la fe a pura antropología o a simple ética secular, y veremos cómo esta corriente fue criticada y parcialmente superada, incluso desde dentro, al reconocerse que el lenguaje religioso no puede medirse solo con criterios empíricos y que el cristianismo no puede sostenerse sin una referencia real a Dios. ÍNDICE EXPOSICIÓN DE LA TEOLOGÍA DE LA MUERTE DE DIOS. Música de la época: "The Murder", compuesto por Bernard Herrmann en 1960. Imagen: Teología de la Muerte de Dios. Pulsen un Me Gusta y colaboren a partir de 2,99 €/mes si se lo pueden permitir para asegurar la permanencia del programa ¡Muchas gracias a todos!

This week, we step into the foggy streets of Victorian London with Crime Classics, and possibly the most intriguing real-life unsolved mysteries of all time, “Good Evening, My Name Is Jack the Ripper.” John Tefteller, along with researcher Karl Schadow and Bernard Herrmann biographer Steven C. Smith, takes a closer look at the Whitechapel murders, focusing not just on the crimes, but on the lives of the victims and the fear that gripped the city. Along the way, the discussion highlights the often-overlooked people behind the scenes: sound effects artists, assistant directors, and others who helped create that immersive atmosphere. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

This week, we take a more serious turn with Crime Classics and its 1953 episode that zooms in on a crime that had a tremendous impact on the nation, the assassination of Abraham Lincoln. Host John Tefteller, along with researcher Karl Schadow and Bernard Herrmann expert Steven C. Smith, explores how this installment breaks from the series' usual dark humor and leans into a somber retelling of one of America's most tragic moments. The discussion digs into the historical details, including the often-overlooked role of Lincoln's bodyguard, John Parker. We again look at Bernard Herrmann's striking score, and touch on a bit of behind-the-scenes controversy at CBS over the timing of the broadcast. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

This week, we kick off a three-part series on Abraham Lincoln, to compliment our Crime Classics episode on Thursday. We're starting out with a 1938 broadcast from The Mercury Theatre on the Air, starring Orson Welles; a dramatic, personal look at Lincoln's life during the Civil War, built from a mix of theatrical storytelling and his own words, pulled from letters and speeches. You'll hear the weight of the presidency, from cabinet conflicts to the enormous burden of holding the Union together and pushing toward the end of slavery. Welles captures both Lincoln's strength and his humanity, while Bernard Herrmann's score adds just the right emotional depth. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

Una extraña criatura que ha sobrevivido millones de años sin cambios, lógica ni sentido. Que lo mismo te protege de las amenazas ajenas, que te impide enfrentarte a las propias o te devora sin contemplaciones.El Miedo y el "cerebro reptil" que lo “gestiona”, del que tanto saben las madres -que viene el coco -como los politicos -que viene la “ultraderecha”- o las religiones. Del que tan buen uso Bernard Herrmann. el autor de la música de Psicosis, como ese torero que en la plaza lo convierte en Arte o el sátrapa que lo manipula hasta la “Solución Final".“Sólo por Miedo”, el mágico conjuro o “Tengo Miedo, Torero” en la BSO.. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Una extraña criatura que ha sobrevivido millones de años sin cambios, lógica ni sentido. Que lo mismo te protege de las amenazas ajenas, que te impide enfrentarte a las propias o te devora sin contemplaciones.El Miedo y el "cerebro reptil" que lo “gestiona”, del que tanto saben las madres -que viene el coco -como los politicos -que viene la “ultraderecha”- o las religiones. Del que tan buen uso Bernard Herrmann. el autor de la música de Psicosis, como ese torero que en la plaza lo convierte en Arte o el sátrapa que lo manipula hasta la “Solución Final".“Sólo por Miedo”, el mágico conjuro o “Tengo Miedo, Torero” en la BSO.. Puedes hacerte socio del Club Babel y apoyar este podcast: mundobabel.com/club Si te gusta Mundo Babel puedes colaborar a que llegue a más oyentes compartiendo en tus redes sociales y dejar una valoración de 5 estrellas en Apple Podcast o un comentario en Ivoox. Para anunciarte en este podcast, ponte en contacto con: mundobabelpodcast@gmail.com.

Le point commun entre Orson Welles, Alfred Hitchcock, François Truffaut et Brian de Palma ? La musique, entêtante et d'une grande originalité, qui a fait de Bernard Herrmann durant de nombreuses années l'homme-orchestre indispensable d'Hollywood.Franck Ferrand nous plonge dans la vie fascinante de Bernard Herrmann, l'un des plus grands compositeurs de musique de film du XXe siècle. Découvrez comment ce génie new-yorkais a marqué à jamais l'histoire du cinéma grâce à ses collaborations légendaires avec des réalisateurs tels qu'Orson Welles et Alfred Hitchcock.Né dans une famille d'immigrants juifs russes à New York, Bernard Herrmann montre très tôt un talent exceptionnel pour la musique. Après des études à l'Université de New York et à la Juilliard School, il se fait rapidement remarquer dans le milieu de la radio et se voit confier la direction de l'orchestre de la CBS. C'est là qu'il rencontre le jeune prodige Orson Welles, avec qui il va vivre une collaboration fructueuse et mouvementée.Ensemble, ils vont révolutionner la musique de film avec leur travail sur des chefs-d'œuvre comme Citizen Kane et La Splendeur des Amberson. Herrmann développe alors un style musical unique, fait de motifs courts et obsédants qui viennent souligner l'intensité des images à l'écran.

This week, we are serving up another dainty confection from Crime Classics. John Tefteller, along with researcher Karl Schadow and Bernard Herrmann expert Steven C. Smith, takes a closer look at this 1953 episode, based on the real-life case of a Frenchwoman accused of poisoning her husband with arsenic… hidden in a homemade cake. Like all Crime Classics episodes, it's told with rye dialogue and narration, and Herrmann's subtle musical score. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

"El pasado nunca muere, no es ni siquiera pasado", decía el Premio Nobel de Literatura, Wiliiam Faulkner en su "Réquiem por una monja" en 1951. Esta frase la repetía mucho el escritor español Javier Marías, que tenía una auténtica obsesión por "El fantasma y la señora Muir". Esta novela de una escritora irlandesa. Josephine A. C. Leslie (1898-1979), la publicó en 1945 con el seudónimo de un nombre que podría ser de un hombre, R. A. Dick. La película que hizo sobre ella, Joseph L. Mankiewicz con la actriz Gene Tierney y el actor Rex Harrison, junto a Natalie Wood de niña y el actor suicidado en un hotel de Castelldefels, George Sanders, se considera ahora una de las mejores de la historia del cine. "El fantasma y la señor Muir" nos muestra a una joven viuda que se aleja de la molesta familia de su difunto marido, para empezar una nueva vida con su hija al lado del mar. Allí se encuentra con el fantasma de un capitán de barco que vivía en esa casa. Su aparición, lejos de producir terror, da la impresión de que estamos ante un comedia, que pronto se convierte en melodrama. Para autores como Javier Marías, el fantasma no es más que un reflejo del deseo insatisfecho, la representación imaginaria de un amor perfecto que nunca existió. Es una historia desoladora, a pesar de su final feliz. Al escritor español le recuerda a su maestro Juan Benet y su idea de que el amor llega siempre demasiado tarde.. En este programa comentamos esta historia "Al Trasluz" del Amor verdadero que está en la eternidad con Dios en Cristo Jesús. Escuchamos fragmentos del libro leído por Eugenio Barona y escenas de la versión doblada al castellano de la película. José de Segovia habla con la música de fondo de la banda sonora de Bernard Herrmann y John Barry para el relato semejante de Richard Matheson, "En algún lugar del tiempo" (1980). Las canciones son de los grupos ingleses The Police, "Espíritus en el mundo material" (Spirits In The Material World 1981) y The Psychedelic Furs, "El fantasma en ti" (The Ghost In You 1984). El diseño sonoro y la realización técnica es de Daniel Panduro.

This week, we're back with another dark story from Crime Classics. We are once again joined by researcher Karl Schadow and Bernard Herrmann biographer Steven C Smith, to take us into one of the most chilling true crime stories the series tackled; the infamous tale of Burke and Hare, two men who turned murder into a business, supplying bodies to medical schools in 19th-century Scotland. Along the way, we discuss the cast, the production, and the eerie, minimalist score by Bernard Herrmann, which does a lot with very little to create a sense of unease.  Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

Um episódio raíz em que Gustavo, em carreira solo, faz um apanhado das trilhas que o inigualável Bernard Herrmann fez para filmes com temática de fantasia. Tem disco voador, mitologia grega, fantasma, distopia, Julio Verne e muito mais. Só não tem Hitchcock.

Min 4: EL FILTRO LUCHINI El panorama cinematográfico nacional vive una de sus etapas más intensas con el duelo de gigantes que protagonizan Santiago Segura y Pedro Almodóvar. La coincidencia de sus últimos trabajos en la cartelera ha generado un debate social y periodístico sin precedentes, enfrentando dos visiones del cine que, a pesar de sus diferencias, comparten el título de ser los directores con mayor tirón y gancho del país. Lo analizamos con nuestros críticos de cabecera que, más allá del duelo nacional que se extiende este fin de semana destacan estrenos como "Proyecto Salvación", la gran apuesta de Hollywood protagonizada por Ryan Gosling, que interpreta a un profesor con la misión de salvar el planeta. Se espera que esta cinta sea la principal competidora para desbancar a Torrente del número uno. - Comedia Española: la cuota nacional se refuerza con el estreno de "Altas Capacidades". - Acción y Tensión: Jason Statham regresa a la gran pantalla con Sleter, el protector. - Terror Gore: Para los amantes del género, llega Te van a matar, una propuesta definida por los expertos como un "placer culpable" lleno de retranca. ESPECIAL BSO AMARGA NAVIDAD: La Excelencia Musical de Alberto Iglesias Estamos de Cine también dedica un espacio fundamental a la banda sonora de la última obra de Almodóvar. Ángel Luque, experto en música de cine, analiza el trabajo de Alberto Iglesias, quien vuelve a demostrar su talento con una partitura impecable que incluye guiños a la intensidad dramática de Bernard Herrmann. Esta composición se presenta como uno de los mayores valores de una película que, aunque divide a la crítica, sigue alimentando el debate cultural.

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for another audio described theatre review.This week Vidar and Toby chat about the 10th anniversary of Matthew Bourne's The Red Shoes as the 20226 tour visited the Birmingham Hippodrome with description by Professional Audio Describer Caroline Burn.About Matthew Bourne's The Red Shoes The double Olivier Award-winning smash hit returnsA timeless fairytale and Academy Award-winning movie, The Red Shoes has captivated audiences and inspired generations of dancers with its powerful tale of obsession, possession and one girl's dream to be the greatest dancer in the world. Victoria Page lives to dance but her ambitions become a fierce struggle between the two men who inspire her passion.Matthew Bourne's magical double Olivier Award-winning production of the legendary Powell and Pressburger film is set to a score orchestrated by Terry Davies, featuring the mesmerising music of golden-age Hollywood composer Bernard Herrmann, with sumptuous designs by Lez Brotherston (set and costumes), Paule Constable (lighting) and Paul Groothuis (sound).An intoxicating drama where life imitates art with fateful consequences, The Red Shoes will dazzle your senses and break your heart.For more about Matthew Bourne's The Red Shoes and the 2026 tour do visit the following pages of his company website - https://www.new-adventures.net/the-red-shoes#overview (Image shows the RNIB Connect Radio logo. On a white background ‘RNIB' written in bold black capital letters and underlined with a bold pink line. Underneath the line: ‘Connect Radio' is written in black in a smaller font)

This week, we continue our look at the brilliant and often overlooked series Crime Classics. Host John Tefteller is joined again by experts Karl Schadow and Steven C. Smith to spotlight the August 1953 episode "Your Loving Son, Nero." They dig into the “quadruple threat” talent of Elliott Lewis and the unforgettable music of Bernard Herrmann, who made a small ensemble sound like a full orchestra. Then we hear the episode itself, a darkly fascinating (and sometimes surprisingly funny) take on Emperor Nero and his relentless attempts to get rid of his mother, Agrippina. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

We're kicking off a brand-new ten-week series, this time diving into the 1953 program Crime Classics. Host John Tefteller is joined by two guests, researcher Karl Schadow and biographer Steven C. Smith, to explore how producer Elliott Lewis created one of radio's most unique historical crime dramas, and how composer Bernard Herrmann managed to make it sound epic using only a handful of musicians. This week's featured episode takes us back to Ancient Rome, 44 B.C., for a stylized retelling of the assassination of Julius Caesar. The story blends real history with just a hint of satire. Visit our website: https://goodolddaysofradio.com/ Subscribe to our Facebook Group for news, discussions, and the latest podcast: https://www.facebook.com/groups/881779245938297 Our theme music is "Why Am I So Romantic?" from Animal Crackers: https://www.amazon.com/dp/B01KHJKAKS/ref=cm_sw_em_r_mt_dp_MK8MVCY4DVBAM8ZK39WD

Man duscht vorsichtiger, wenn man diesen Soundtrack gehört hat: Bernard Herrmann hat sich mit seinen messerscharfen Dissonanzen zum Hitchcock-Thriller „Psycho“ ins popkulturelle Gedächtnis gesägt. Von Michael Arntz.

Trombonist Carol Jarvis and singer and songwriter Andrew Roachford join Jeffrey and Anna to add five more tracks to the playlist. Starting with a famous composer and former taxi driver, they head to some classic boogie-woogie, a female kora virtuoso, and hit the road again with one of country's finest.Producer Jerome Weatherald Presented with musical direction by Jeffrey Boakye and Anna PhoebeThe five tracks in this week's playlist:Etudes: No 6 by Philip Glass Pyramid Song by Radiohead Hassle Attack by Ann Rabson Ballaké Sissoko by Sona Jobarteh On the Road Again (Live) by Willie Nelson Other music in this episode:Mary Ann by Buddy Guy With Love by Thin Lizzy Sex Machine by James Brown Big Yellow Taxi by Joni Mitchell Diary of a Taxi Driver by Bernard Herrmann

C'est en 1960 qu'Alfred Hitchcock et Bernard Herrmann unissent à nouveau leur talent et leur créativité pour un projet de film qui va tout simplement devenir le mètre-étalon de tout le cinéma d'horreur depuis lors... Mais leur aventure commune ne s'arrête pas là !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

To celebrated the 50th Anniversary of director Martin Scorsese's classic, Taxi Driver, Welcome To The Party Pal expounds upon the perpetual greatness of the neo-noir psychological drama written by Paul Schrader. Set in a decaying New York City following the Vietnam War, it stars Robert De Niro as taxi driver Travis Bickle, whose mental state deteriorates as he works nights in the city. The film also features Jodie Foster, Cybill Shepherd, Harvey Keitel, Peter Boyle, and Albert Brooks. In this episode hosts Michael Shields and Douglas Grant discuss the themes found in Taxi Driver which still resonate today, the haunting score composed by Bernard Herrmann, the brilliant screenplay crafted by Schrader, the stunning acting in the film, its enduring legacy, and so much more. Hosted on Acast. See acast.com/privacy for more information.

Accusé à tort d'un meurtre mystérieux, Alfred Hitchcock se retrouve avec la mort aux trousses. Le faux coupable est envahi de sueurs froides à mesure qu'il comprend que Bernard Herrmann, l'homme qui en savait trop, détient la vérité. Mais qui a tué Harry ? Et l'équipe de Total Trax parviendra-t-elle à l'innocenter ? Réponse dans cet épisode riche en rebondissements !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Nathan and Ryan dig into Alfred Hitchcock's most charmingly morbid film, The Trouble with Harry (1955), a dark comedy where a dead body keeps inconveniently turning up in the middle of a picturesque Vermont town. The hosts discuss Hitchcock's playful tone, the film's autumnal Technicolor beauty, and how its gentle humor stands in stark contrast to the director's more suspense-driven classics. Featuring an early performance from Shirley MacLaine and a score by Bernard Herrmann, this episode explores why The Trouble with Harry is one of Hitchcock's most underrated—and oddly comforting—films.

Gaudí no es solo la Sagrada Familia. Gaudí es también La Pedrera. Y ahí, en esa localización en pleno paseo de Gracia, decidió el escritor Aro Sáinz de la Maza arrancar una novela que, publicada inicialmente en 2012, ha regresado a la actualidad gracias a la serie, estrenada por Netflix, y que lleva por título Ciudad de sombras. La novela también tiene nuevo título: El Verdugo de Gaudí.Un anciano aparece muerto en su casa de San Agustín, en Gran Canaria. Parece un suicidio. Pero enseguida crecen las sospechas de que algo raro ha ocurrido. Sergio Mira Jordán nos presenta Mate de dos alfiles.Dos genios pusieron en común sus mundos para crear una pareja que duró una década. Alfred Hitchcock y el compositor Bernard Herrmann. Un tipo, este último, que fue el creador de la famosa secuencia musical de los cuchillos en la película Psicosis, cuando se está duchando Janet Leigh.En la sección de Audiolibros celebramos los veinte años desde la publicación de una de las obras más originales, con rasgos autobiográficos, de Arturo Pérez-Reverte: El pintor de batallas. Y además, cómo Edgar Allan Poe descubrió la mentira que se escondía detrás de un robot que decían era capaz de ganar a cualquier humano jugando al ajedrez.

We're coming in this week like a flying saucer into Earth's atmosphere with a movie that's both way ahead of its time and also incredibly dated. Flying saucer movies could be a dime a dozen in the atomic age, but only a few managed to capture the public's imagination like this week's movie. This is the template for a lot of sci-fi to come, even though it suffers from some haphazard execution and some frankly terrible acting. Make sure you're on Gort's good side and don't get vaporized as we discuss The Day the Earth Stood Still on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken "Prelude and Outer Space" from the film The Day The Earth Stood Still, written and composed by Bernard Herrmann and conducted by Joel McNeely. © 1951 Twentieth Century Fox Film Corporation, 2003 Varese Sarabande Records, Inc. Excerpt taken from the main title to the film A Face in the Crowd, composed and conducted by Tom Glazer & Budd Schulberg and performed by the Warner Bros. Studio Orchestra. Copyright 1957 Warner Bros. Entertainment Inc. All Rights Reserved.

Next up in the Oscar Snubs is the paragon of fast-talking screwball comedies. Except that this movie might be too fast. That's right, when you tell five jokes in 30 seconds, and they're all dated back to the late 30's, at some point you're no longer funny, you're exhausting. It's impeccably executed, but utterly meaningless, and by the end you're just happy to turn the movie off. Lock up your rollaway desks as we discuss His Girl Friday on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the main titles to the film His Girl Friday, written and composed by Sidney Cutner and Felix Mills. Excerpt taken "Prelude and Outer Space" from the film The Day The Earth Stood Still, written and composed by Bernard Herrmann and conducted by Joel McNeely. © 1951 Twentieth Century Fox Film Corporation, 2003 Varese Sarabande Records, Inc.

durée : 01:01:55 - Les Nuits de France Culture - par : Philippe Garbit - x - réalisation : Mydia Portis-Guérin

Esta semana tenemos un episodio de campeones. En nuestra sección dedicada al cine de aventuras vamos a hablar de una de las películas top del género como es “Lawrence de Arabia”. También recordaremos que hace 50 años fallecía Bernard Herrmann, el que muchos consideran el mejor compositor de la historia de la música de cine. Y también sería candidato a los primeros puestos el personaje que traemos en “Esos tipos a los que nos encanta odiar”, la sección dedicada a los villanos de cine más odiosos. Se trata de Attila, el fascista asesino al que daba vida Donald Sutherland en “Novecento” de Bertolucci. Hay más cosas: jugamos a las películas, charlamos con el director Koldo Almandoz de su nueva serie de televisión y nos marchamos cantando una canción de Oscar.

This Classic episode goes back to 2021 with drummer Rich Rosenzweig. At the time, he was playing the drum chair for Company. Today, he is the drummer for Ragtime at Lincoln Center. Part One focuses on his early years, his training, and his path into the Broadway world.What we cover in this episode* How Rich transitioned from piano lessons to drums.* Growing up in a home filled with music and support for the arts.* Group snare drum lessons in grammar school and early practice habits.* Playing in the basement, practicing with records, and discovering big band.* Hearing Buddy Rich, Basie's band, and how those experiences shaped his sound.* Getting into jazz as a teenager and forming his first jazz groups.* Studying at UNC Chapel Hill and balancing music with a liberal arts education.* His obsession with film, film scores, and composers like Bernard Herrmann and Ennio Morricone.* Moving to New York with pianist Frank Kimbrough and building a freelance life.* Playing weddings, club dates, and the slow grind toward professional theater work.* Watching Ray Marchica play The Will Rogers Follies and learning what Broadway drumming really requires.* Subbing under conductor Eric Stern and facing a click track for the first time.* Landing his first Broadway chair on State Fair and what he learned from that experience.* Why Broadway drumming demands consistency, reading skills, groove, and a full understanding of the storytelling behind the music.This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.Why this episode matters* It gives a clear picture of how a Broadway drummer builds a career from scratch.* It highlights the mix of training, influences, timing, and relationships that shape a long career on Broadway.* It shows how jazz, film music, and classical Broadway scoring all feed into a drummer's approach and musical identity.* It offers practical insight for anyone who wants to pursue theater drumming at a high level.Part Two will be released next week.Clayton Craddock is the drummer for the upcoming Broadway revival of Cats: The Jellicle Ball, opening at the Broadhurst Theatre on April 7th. He is also the founder of Broadway Drumming 101 and the author of the forthcoming book Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career.His Broadway and Off-Broadway credits include tick, tick…BOOM!, Memphis, Lady Day at Emerson's Bar and Grill, Ain't Too Proud, and The Hippest Trip: The Soul Train Musical, along with extensive subbing on shows such as Rent, Motown, Evita, Avenue Q, and the Hadestown tour.Clayton is currently on tour with The Rock Orchestra and has appeared on The View, Good Morning America, The Tonight Show Starring Jimmy Fallon, The Today Show, and the TONY Awards, and has performed with artists ranging from Chuck Berry and Ben E. King to Kristin Chenoweth and Norm Lewis.www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Dana and Tom with returning guest, Klarissa B. (Host and Creator - I've Seen That One (IG)) revisit Psycho (1960): directed by Alfred Hitchcock, written by Joseph Stefano, score by Bernard Herrmann, cinematography by John L. Russell, editing by Geroge Tomasini, starring Anthony Perkins, Vera Miles, John Gavin, Martin Balsam, and Janet Leigh.Plot Summary: Psycho begins with Marion Crane (Janet Leigh), a young woman who steals a large sum of money from her job in the hope of starting a new life. While driving to see her boyfriend in another state, she becomes tired and stops for the night at a small, lonely motel run by a quiet, awkward young man named Norman Bates (Anthony Perkins).Norman lives in the shadow of his mysterious and controlling mother, who he says stays in the old house behind the motel. Later that night, Marion is brutally murdered.When Marion doesn't return home, her sister Lila (Vera Miles), and Marion's boyfriend Sam (John Gavin), begin searching for her. A private detective named Arbogast (Martin Balsam), also investigates and grows suspicious of Norman's strange behavior.Guest:Klarissa B.Host and Creator - I've Seen That One (IG)Previously on Roman Holiday (1953) Revisit, Jaws (1975) Re-RevisitChapters:00:00 Introduction, Cast, and Background for Psycho06:44 Welcome Back, Klarissa B.07:30 Where is Psycho Among All-Time Hitchcock Films?09:48 Why is Psycho So Influential?17:57 Relationship(s) with Psycho23:04 Plot Summary for Psycho24:05 What is Psycho About?30:06 Was the Exposition Epilogue Necessary?39:03 Did You Know?43:09 First Break43:59 What's Happening with Klarissa B.46:39 The Cinema Legacy Poll Rankings - #15-1158:39 The Stanley Rubric - Legacy01:03:46 The Stanley Rubric - Impact/Significance01:12:55 The Stanley Rubric - Novelty01:14:04 Second Break01:14:44 In Memoriam01:15:54 The Stanley Rubric - Classicness01:21:51 The Stanley Rubric - Rewatchability01:26:36 The Stanley Rubric - Audience Score and Final Total01:28:52 GMOAT Merch Store?01:29:47 Remaining Questions for Psycho01:32:31 Thank You to Klarissa and Remaining Thoughts01:39:50 CreditsYou can also find this episode in full video on YouTube.You can now follow us on Instagram, Twitter, YouTube, or TikTok (@gmoatpodcast).For more on the original episode, go to: https://www.ronnyduncanstudios.com/post/psycho-1960For more on the episode, go to:

If you're a fan of Larry Cohen, the maverick filmmaker behind such mind-bending genre pictures as It's Alive, God Told Me To, Q: The Winged Serpent and The Stuff, you owe it to yourself to check out his newly published memoir: I Killed Bette Davis and Other Confessions of Heinous Crimes Committed in the Name of Moviemaking. The legendary director recounts all the great anecdotes you've already heard - driving a cab on actual NYC sidewalks, firing machine guns from the top of the Chrysler Building with no permit - and about a thousand you haven't. He recounts his fascinating origins as a Borscht Belt comedian and in-demand television writer, includes tribute chapters to Bernard Herrmann and Samuel Fuller, details his ambitious cinematic efforts and the struggle to bring screen legend Bette Davis to the public one last time. We're joined on the episode by James Kenney, who not only edited Cohen's memoir but also discovered and published an unproduced screenplay of Cohen's called Headhunter, the insane tale of a superhero who dresses like a doctor and "cures" criminals of their evil vices. We've also got Andrew Overbye, host of the Authorized Novelization Podcast and recent Cohen enthusiast, to share his feelings on the memoir and the nutty Headhunter. We love Larry Cohen and could have discussed him all day! Find I Killed Bette Davis here: stickingplacebooks.com/i-killed-bette-davis/ Find Headhunter here: stickingplacebooks.com/headhunter/ James Kenney's website: tremblesighwonder.com/ James Kenney on Twitter: x.com/jfkenney The Authorized Novelization Podcast on Bluesky: bsky.app/profile/authorizedpod.bsky.social The Authorized Novelization Podcast on Spotify: open.spotify.com/show/68YhhFLKW5m6ibJJDZ147M

Ida og Jostein snakker om hvordan de ble interessert i filmmusikk og hva de lytter til om dagen. John Williams. James Horner. Jerry Goldsmith. Hans Zimmer. Bernard Herrmann. Bear McCreary. Alle… Les mer

Guest Host James Lott Jr  talks On Dangerous Ground (1951), directed by Nicholas Ray and starring Robert Ryan and Ida Lupino:Release year: 1951. Runtime: 82 minutes. Genre: Film noir / crime drama. ✅ Critical & Audience ReceptionOn Rotten Tomatoes, it has a Tomatometer rating of 89% (based on 19 Critics).On Metacritic, its score is listed as “Generally Favorable” with a score of 78. The film is appreciated for its striking visuals, contrasting urban and snowy rural settings, and its score by Bernard Herrmann. 

Re-Animator (1985) was chosen by new show supporter Rhys — and what a debut pick it is. Directed by Stuart Gordon in his feature film debut, the movie became one of the defining cult horror films of the 1980s. Based loosely on H.P. Lovecraft's serialized story Herbert West–Reanimator, Gordon initially envisioned it as a stage play and later as a television series before realizing it would work best as a feature film. Shot on a modest budget of around $900,000, the production was backed by Charles Band's Empire Pictures, a studio known for embracing the stranger side of horror and science fiction. The creative team leaned into excess and black comedy, pushing the boundaries of gore and taste in a way that both shocked and delighted audiences.Filming took place over 18 days in Los Angeles, with Gordon assembling a cast of relatively unknown actors — including Jeffrey Combs, Bruce Abbott, and Barbara Crampton — who would go on to become icons of cult horror cinema. The movie's practical effects team, led by John Naulin, worked wonders with limited resources, creating gruesome yet inventive visuals that defined the film's enduring reputation. Upon release, Re-Animator was met with controversy and acclaim in equal measure, with critics alternately praising its audacity and condemning its extremity. Despite its low budget and NC-17-level violence, the film became a sleeper hit and helped launch a wave of splatter comedies that blended horror, humor, and outrageous imagination — ensuring Re-Animator a permanent place in cult movie history.If you enjoy the show, we have a Patreon, so become a supporter ⁠⁠⁠here⁠⁠⁠.Referral links also help out the show if you were going to sign up:⁠⁠⁠NordVPN⁠⁠⁠⁠⁠⁠NordPass⁠⁠⁠Trailer Guy Plot Summary.Fun FactsThe green reagent serum used in the movie was made from fluorescent green glow stick liquid mixed with food coloring, giving it that unforgettable neon look.Director Stuart Gordon claimed he was inspired to make the film after watching Frankenstein with his wife and wondering what a modern, more extreme version would look like.Jeffrey Combs' portrayal of Herbert West became so iconic that he went on to play the character again in two sequels — Bride of Re-Animator (1989) and Beyond Re-Animator (2003).The film's most infamous scene was so shocking that it caused walkouts at its first festival screening — and immediate cult status among those who stayed.To achieve the movie's outrageous gore effects, the production used over 24 gallons of fake blood, much of it homemade from corn syrup and food dye.Barbara Crampton later revealed that she was hesitant to take on her role due to the film's extreme content, but she has since embraced its legacy in horror history.The film's composer, Richard Band, intentionally modeled the score after Bernard Herrmann's music for Alfred Hitchcock's Psycho (1960) — a choice that added a darkly playful tone.The severed head effects were created using a combination of latex prosthetics and reverse photography, which gave the film's shocking visuals their uncanny realism.Re-Animator was banned or heavily censored in several countries, including Germany, Singapore, and Australia, due to its extreme violence and sexual content.The movie's success helped revive interest in H.P. Lovecraft adaptations, paving the way for later films like From Beyond (1986), The Resurrected (1991), and Dagon (2001).⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠

In this episode of Film & Whiskey, Bob and Brad dive into the dizzying world of Alfred Hitchcock's 1958 masterpiece, Vertigo. Join us asIn this episode of Film & Whiskey, Bob and Brad dive into the dizzying world of Alfred Hitchcock's 1958 masterpiece, Vertigo. Join us as we explore the psychological depths of this classic suspense thriller, starring James Stewart and Kim Novak. From the iconic Bernard Herrmann score to the intricate cinematography, we break down what makes "Vertigo" a Hitchcockian gem. Then, we switch gears to taste and discuss the Larceny Small Batch Bourbon - a delightful American whiskey that brings its own twists to the palate.(0:00) Introduction(5:38) Brad Explains "Vertigo"(8:55) Performances and Themes in "Vertigo"(29:35) Larceny Small Batch Bourbon Review(36:56) Two Facts and a Falsehood Game(40:57) Final Analysis of "Vertigo"(53:50) Let's Make it a Double and Final Scores"Vertigo" is not just a movie; it's a journey through the mind's eye, crafted masterfully by Alfred Hitchcock. With James Stewart's gripping performance and Kim Novak's enigmatic presence, the film takes us through a twisted narrative that still captivates audiences today. The film's visual storytelling, complemented by Bernard Herrmann's haunting score, creates a surreal experience. We discuss the intricate film techniques Hitchcock used, the movie's impact on the suspense genre, and why "Vertigo" remains a subject of study and fascination.Transitioning to the world of whiskey, we review the Larceny Small Batch Bourbon. Known for its easy drinkability and rich flavor profile, this bourbon is a testament to American whiskey craftsmanship. We delve into its wheated formula, tasting notes, and how it stands as a top value choice for bourbon enthusiasts. Film & Whiskey Podcast. New episodes every Tuesday.Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Email us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Discord server!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For more episodes and engaging content, visit Film & Whiskey's website at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.filmwhiskey.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Remember, you can always join the conversation and share your thoughts on the Film & Whiskey community pages. And if you loved the episode, don't forget to rate and review us on your favorite podcast platform!

Front Row Classics is kicking off Halloween week with several spooky offering. Brandon welcome Brandon Brown to discuss 1974's It's Alive. This science fiction/horror film came from the mind of Larry Cohen. Brandon and Brandon discuss the film's highlights including makeup by Rick Baker and one of the final scores by Bernard Herrmann. We also discuss Brandon's involvement with the Bernard Herrmann Archive.

It’s Alive Front Row Classics is kicking off Halloween week with several spooky offerings. Brandon welcome Brandon Brown to discuss 1974’s It’s Alive. This science fiction/horror film came from the mind of Larry Cohen. Brandon and Brandon discuss the film’s highlights including makeup by Rick Baker and one of the final scores by Bernard Herrmann. … Continue reading Ep. 370- It’s Alive →

The filmmaker John Carpenter has a whole shelf of cult classics: “They Live,” “The Thing,” “Escape from New York,” “Halloween,” and so many more. And while he hasn't directed a new movie in more than a decade, Carpenter has continued working in the film industry, composing scores for other directors (Bong Joon Ho recently approached him about a horror movie). He has also released albums of cinematic music—no film required—often working with his son, Cody Carpenter, and the musician Daniel Davies, his godson. The New Yorker Radio Hour producer Adam Howard talks with Carpenter ahead of the launch of his new small tour, just in time for Halloween, and they discuss the unusual shift he made from directing to composing. “It's a transition from pain to joy. Directing movies is very, very stressful,” Carpenter explains. “Playing music in front of a live audience—it's joy. It's just joy.” Carpenter suggests three inspirational scores from film history: Bebe and Louis Barron's electronic music for “Forbidden Planet”; Bernard Herrmann work on Hitchcock's “Vertigo”; and Hans Zimmer's music for “Pirates of the Caribbean: Dead Man's Chest.”

Victoria Astuto is a musician, composer, videographer, and educator based in the Hudson Valley. Her debut EP, The Place features clarinet, saxophone, flute, bass clarinet, synthesizers, and vocals to create dreamy, lush, and atmospheric textures. The album is inspired by a cross country trip she took which influenced many of the themes ranging from loneliness to finding a place in the world to escaping a place you're already in. Additionally, Victoria scores films for indie filmmakers in NYC, utilizing her large palette of instruments to create dense orchestration inspired by the works of Johnny Greenwood, Gerald Busby, and Bernard Herrmann. You can find her album and music videos on YouTube, Tidal, Apple Music, Spotify, and Band Camp.Band CampSpotifyTidalApple MusicYouTubeSRTN Podcast

In this special show, we are celebrating the music of the label, which has cornered the market on obscure scores to great effect, DRAGON DOMAIN RECORDS. During the show, your host Jason Drury will be playing music from scores by Gerald Fried, Bernard Herrmann, Leonard Rosenman, Lalo Schifrin, Gil Melle and Christopher Young . Enjoy! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Alex Brouns, Randall Derchan, Angela Rabatin, Larry Reese, Thomas Tinneny, William Burke, Rudy Amaya, Stacy Livitsanis, Carl Wonders, Lee Wileman, Nathan Blumenfeld, Daniel Herrin, Scott Bordelon, James Alexander, Brett French, Ian Clark, Ron, Andy Gray, Joel Nichols, Steve Daniel, Corey O'Brien, John Leggett, Mim Williams, Grace Hamilton, Rob Kemp. —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com

Sadly, and without much fanfare, we lost another dedicated film music fan and a very good friend, Tom Kiefner. November 2, 1947 – June 13, 2025. He was a gentle soul, a passionate baseball fan and a skilled photographer. I initially met Tom in the early 2000s when I joined a message board on scorereviews.com, which is now maintitles.net. There, I read Tom's enthusiastic postings about melodic, orchestral Golden Age scores, and classical music. He would wax poetic about Korngold, Rozsa, Waxman, Herrmann, Tiomkin, Newman and Hugo Friedhofer who peened his favourite score of all time, THE BEST YEARS OF OUR LIVES. He would often express his admiration for early television shows and the music composed for them including Lalo Schifrin's MISSION: IMPOSSIBLE and Morton Stevens' HAWAII-FIVE-O. I befriended Tom, and we talked about film music and his other interests, such as photography and baseball. He once told me that he casually chatted with Wayne Gretzky, whose son played for one of the teams Tom was photographing that day. The discussions would continue to include Hammer Horror films, Les Baxter, Charles Gerhardt, and Tom's dream of starting a website dedicated solely to Golden Age scores. I thought it was a great idea. He then offered me money to create the website for him. Even if I could… I don't have the skills to do so… I would never take Tom's money. I then suggested he contact Bregt De Lange, who designed the maintitles.net website. GoldenScores.com launched in 2006. After the site closed a few years later, Tom moved his film music essays and reviews to his new WordPress blog, Film and Classical Music: Neglected Art. There, Tom's writings, which began in 2006, are archived. His last review was on May 4, 2022. In 2010, Tom accepted an invitation to guest-host his own episode of Cinematic Sound Radio. I told him he could play whatever he wanted, as long as it was Golden Age-themed. These are the original show notes. FILM MUSIC MIX | GOLDEN AGE SCORES with guest host TOM KIEFNER from FILM MUSIC: THE NEGLECTED ART On this edition of FILM MUSIC MIX guest host Tom Kiefner from the film music blog, FILM MUSIC: THE NEGLECTED ART, will take us on a journey through the wonderful sounds of Hollywood's Golden Age. You will hear music by Bernard Herrmann from the film HANGOVER SQUARE featuring the Concert Macabre. You'll also hear a couple of selections from THE BEST YEARS OF OUR LIVES by Hugo Friedhofer (Tom's favorite score) and a spectacular suite from HORROR OF DRACULA by James Bernard. Afterwards, enjoy the Americana sounds of Aaron Copland with THE RED PONY and finish off with the tune that got Tom into film music; the up tempo theme from PETER GUNN by Henry Mancini. So, on today's very special episode, and in honour of one of the great champions of film music and my friend, we proudly rebroadcast Tom's show, which first premiered on September 3, 2010. Rest in peace, my friend! —— Special thanks to our Patreon supporters: Matt DeWater, David Ballantyne, Joe Wiles, Maxime, William Welch, Tim Burden, Alan Rogers, Dave Williams, Max Hamulyák, Jeffrey Graebner, Don Mase, Victor Field, Jochen Stolz, Emily Mason, Eric Skroch, Alexander Schiebel, Alphonse Brown, John Link, Andreas Wennmyr, Matt Berretta, Eldaly Morningstar, Jim Wilson, Glenn McDorman, Chris Malone, Steve Karpicz, Deniz Çağlar, Brent Osterberg, Jérôme Flick, Sarah Brouns, Aaron Collins, Randall Derchan, Angela Rabatin, Michael Poteet, Larry Reese, William Burke, Rudy Amaya, Stacy Livitsanis, Rick Laird, Carl Wonders, Nathan Blumenfeld, Lee Wileman, Daniel Herrin, Scott Bordelon, James Alexander, Brett French, Ian Clark, Ron, Andy Gray, Joel Nichols, Steve Daniel, Corey O'Brien, John Leggett, Mim Williams, Grace Hamilton, Rob Kemp. —— Cinematic Sound Radio is fully licensed to play music by SOCAN. Support us on Patreon https://www.patreon.com/cinematicsoundradio Check out our NEW Cinematic Sound Radio TeePublic Store! https://www.teepublic.com/stores/cinematic-sound-radio Cinematic Sound Radio Web: http://www.cinematicsound.net Twitter: http://www.twitter.com/cinsoundradio Facebook: http://www.facebook.com/cinematicsound Cinematic Sound Radio Fanfare and Theme by David Coscina https://soundcloud.com/user-970634922 Bumper voice artist: Tim Burden http://www.timburden.com