Podcasts about caedmon records

Donate to our October 2024 OVERCOMING THE DARKNESS campaign at https://weirddarkness.com/overcoming. Weird Darkness is narrated by professional full-time voice actor Darren Marlar. No A.I. voices are ever used in the show. IN THIS EPISODE: it's #ThrillerThursday, and this week I'm bringing you a tale recommended to me by one of you, the Weirdo family. Louis Padgett's story, “Mimsy Were the Borogoves” was originally published in the February 1943 issue of “Astounding Science Fiction Magazine”. It was judged by the Science Fiction Writers of America to be among the best science fiction stories written prior to 1965, and in 2007 it was loosely adapted into a feature-length film titled The Last Mimzy. The title of the original short story was directly inspired by a verse from "Jabberwocky", a poem found in the classic novel Through the Looking-Glass by author Lewis Carroll. And in 1976, Caedmon Records released a spoken word album of the short story, narrated by William Shatner. Well – I don't know that I'll be as entertaining as William Shatner with the story, but I'll do my best for you.SOURCES AND REFERENCES FROM THE EPISODE…“Mimsy Were The Borogoves” by Lewis Padgett from the book “The Science Fiction Hall of Fame: Volume 1, 1929-1964”: https://amzn.to/3ZqjVvlWeird Darkness theme by Alibi Music Library. = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = =WeirdDarkness® is a registered trademark. Copyright ©2024, Weird Darkness.= = = = =Originally aired: September 14, 2023CUSTOM LANDING PAGE: https://weirddarkness.com/mimsy

Subscriber-only episodeSend us a Text Message.Amy discusses the good and bad of audiobook narration in this week's bonus episode, then dives into the origins of the commercial audiobook industry. Founded in 1952, Caedmon Records was the brainchild of two young women who achieved their smash debut success by convincing Dylan Thomas to record himself reading some of his most popular work, including “A Child's Christmas in Wales.” The recording company went on to record LPs of work by a wide array of literary stars, including Gertrude Stein, Sylvia Plath, Ernest Hemingway, T.S. Eliot and J.R.R. Tolkien, thus paving the way for today's burgeoning audiobook market.For episodes and show notes, visit: LostLadiesofLit.comDiscuss episodes on our Facebook Forum. Follow us on instagram @lostladiesoflit. Follow Kim on twitter @kaskew. Sign up for our newsletter: LostLadiesofLit.com Email us: Contact — Lost Ladies of Lit Podcast

Angélica Hellish https://bit.ly/contatosmasmorra e Marcos Noriega falam sobre o grandioso e eterno VINCENT PRICE em seu aniversário e também sobre o segmento do filme TALES OF TERROR (1962) Roger Corman de "O Estranho Caso do Sr. Waldemar" de Edgar Allan Poe! VINCENT PRICE,   Escritor, poeta, admirador de Shakespeare e gourmet, o ator americano participou de vários filmes de terror com pitadas de humor negro. Uma de suas marcas registradas era a capacidade de narrar textos, motivo pelo qual, inclusive, teve sua voz incluída no antológico video clip "Thriller" de Michael Jackson. Deixou o cinema na década de 70, apresentou programas de culinária e narrou muitos contos de horror gótico para o selo Caedmon Records.   Nasceu no mesmo dia que Chistopher Lee (27) e um dia antes de Peter Cushing (26), dois atores, que como ele, trabalharam boa parte de suas carreiras em filmes de horror; NOSSO PIX apoiomasmorra@gmail.com   MENCIONADOS: TALES OF TERROR (1962) - INGLÊS - DUBLADO https://masmorracine.wordpress.com/2017/10/28/mes-do-horror-especial-ingrid-pitt-e-vincent-price/ MEU PROJETO NOVO – TRUE CRIME! ⁠https://www.youtube.com/@voltaaomundonocrime⁠⁠⁠⁠⁠ JÁ SE INSCREVA E DEIXE SEU LIKE

Angélica Hellish https://bit.ly/contatosmasmorra e Marcos Noriega falam sobre o grandioso e eterno VINCENT PRICE em seu aniversário e também sobre o segmento do filme TALES OF TERROR (1962) Roger Corman de "O Estranho Caso do Sr. Waldemar" de Edgar Allan Poe! VINCENT PRICE,   Escritor, poeta, admirador de Shakespeare e gourmet, o ator americano participou de vários filmes de terror com pitadas de humor negro. Uma de suas marcas registradas era a capacidade de narrar textos, motivo pelo qual, inclusive, teve sua voz incluída no antológico video clip "Thriller" de Michael Jackson. Deixou o cinema na década de 70, apresentou programas de culinária e narrou muitos contos de horror gótico para o selo Caedmon Records.   Nasceu no mesmo dia que Chistopher Lee (27) e um dia antes de Peter Cushing (26), dois atores, que como ele, trabalharam boa parte de suas carreiras em filmes de horror; NOSSO PIX apoiomasmorra@gmail.com   MENCIONADOS: TALES OF TERROR (1962) - INGLÊS - DUBLADO https://masmorracine.wordpress.com/2017/10/28/mes-do-horror-especial-ingrid-pitt-e-vincent-price/ MEU PROJETO NOVO – TRUE CRIME! ⁠https://www.youtube.com/@voltaaomundonocrime⁠⁠⁠⁠⁠ JÁ SE INSCREVA E DEIXE SEU LIKE

Barbara Holdridge y Marianne Mantell fundaron en 1952 Caedmon Records: contra viento y marea, estas dos jóvenes solteras de 22 años crearon en aquella Nueva York la primera empresa de audiolibros de la historia. El vinilo con poemas y un cuento que le grabaron al poeta Dylan Thomas suponen el punto de partida del audiolibro, una industria, la madre del podcast, que el año pasado movió casi 5000 millones de dólares en todo el mundo. Barbaray Marianne dirigieron la empresa hasta 1970, cuando, tras más de 500 grabaciones, la vendieron a la compañía Raytheon. Caedmon sigue existiendo hoy día, propiedad del grupo Harper Collins. La grabación de Dylan Thomas está considerada el primer audiolibro moderno de la historia y la primera piedra de una industria que el año pasado movió más de 4800 millones de dólares en el mundo. Utiliza el código CIENCIADIGITAL y obtén tu descuento en Muy Interesante, sigue con este link https://bit.ly/3TYwx9a Déjanos tu comentario en Ivoox o Spotify, o escríbenos a podcast@zinetmedia.es ¿Nos ayudas? Comparte nuestro contenido en redes sociales . Texto: Manuel Ruiz Rico Dirección, locución y producción: Iván Patxi Gómez Gallego @ivanpatxi Contacto de publicidad en podcast: podcast@zinetmedia.es

Episode 106 Electronic Music of Dune Playlist Toto, “Main Title,” “Robot Fight,” and “Dune (Desert Theme)” from Main Title / Robot Fight / Dune (Desert Theme) (1984 Polydor). A single produced from the soundtrack of the David Lynch film version of Dune (1984). Toto, with its big synthesizers, created most of the soundtrack, although Brian Eno, Roger Eno and Daniel Lanois had one track (included later in this podcast). Bass, David Hungate; Drums, Percussion, Jeff Porcaro; Guitar, Steve Lukather; Keyboards, David Paich, Steve Porcaro. 6:36 David Matthews, “Part I: Arrakis,” “Part II: Sandworms,” “Part III: Song Of The Bene Gesserit,” “Part IV: Muad'Dib” from Dune (1977 CTI Records). Arranged by David Matthews and produced by Creed Taylor for his CTI jazz label, this was an extended work inspired by the novel by Frank Herbert. Cliff Carter plays the solo synth (mini-Moog?) on the first track and other places. The work is jazz with bits of electronic music blended into the instrumentation. It remains an interesting artifact partly because of the legal problems CTI faced once they released the album. Because CTI had not secured writer Frank Herbert's authorization to use his novel Dune as the thematic center piece for the album, Herbert filed a law suit against CTI and won, forcing the label to delete it from catalog. For this reason, that interesting album was never reissued in the USA. Enjoy. Alto Saxophone, David Sanborn; Bass, Mark Egan; Bass Trombone, Dave Taylor; Concertmaster, Sanford Allen; Drums, Andy Newmark, Steve Gadd; Flute, Piccolo Flute, Dave Tofani; Guitar, Eric Gale, Hiram Bullock; Keyboards, Cliff Carter; Oboe, Clarinet, Lew Del Gatto; Percussion, Gordon Gottlieb, Sue Evans; Tenor Saxophone, Soprano Saxophone, Grover Washington, Jr.; Trombone, Jerry Chamberlain*, Sam Burtis, Tom Malone, Wayne Andre; Trumpet, Flugelhorn, Burt Collins, Jim Bossy, Joe Shepley, John Gatchell, Jon Faddis, Lew Soloff, Randy Brecker; Vocals, Googie Coppola. Recorded at Electric Lady Studios, June 1977. The first side is the Dune suite, the second side features interpretations of other sci fi film themes (Silent Running, Star Wars, etc.). 20:29 Frank Herbert reading Dune from Dune, The Banquet Scene (1977 Caedmon Records) combined with a track by Alan R. Splet, “Space Travel W/ Changing Choral Textures” (2003 Sub Rosa) from An Anthology Of Noise & Electronic Music / Second A-Chronology 1936-2003. The recording of Herbert was made at the height of the Dune craze, the late 1970s. When David Lynch made his film for release in 1984, he was working with Splet who is not credited by whom may have contributed some electronic and ambient sounds. This track appears to confirm that and I've combined it with the Herbert reading. 5:07 Brian Eno, Roger Eno and Daniel Lanois, “Prophecy Theme” from Dune (Original Soundtrack Recording) (1984 Polydor). This little track was the only one that remained of Eno's contributions to the Dune soundtrack, although he reportedly composed an entire movie's worth of music for the film. Some was used as incidental music. 4:21 Zheani, “The Litany Against Fear” from Eight (2018 Sleepcvlt). Cassette release from this Australian rapper, electronic musician, model and actress.This is a famous quote from Herbert's Dune and seemed fitting to have it represented by a musician for the podcast. 0:36 Klaus Schulze, “Dune” from Dune (1979 Brain). Yes, Schulze, too, was infected with the Dune craze and created this ambitious 30-minute work to acknowledge it. This is a truly lovely electronic work from those days when Schulze was largely still working analog synthesis, and synthesize voices and orchestral sounds, much like his earlier album X. The cello is played by Wolfgang Tiepold, produced by and all keyboards by Klaus Schulze. The first side comprises the piece called Dune and the second side features an unrelated work with vocals by Arthur Brown. An intriguing album all around! 30:05 Graeme Revell & The City Of Prague Philharmonic, “Seduction” from Frank Herbert's Dune (Original Soundtrack From The Sci-Fi Channel Mini Series) (2001 GNP Cresendo). Composed by Graeme Revell; executive producer, Neil Norman; orchestra, chorus, The City Of Prague Philharmonic. This is the soundtrack for a Sci Fi channel mini-series back in 2001. The music is primarily orchestral, being performed in the Czech Republic and arranged by Neil Norman, Hollywood veteran of science fiction films. But Revell did compose it and there are a few tracks, such as the one featured here, that have clearly electronic elements that stand out. 1:51 Grimes, “Caladan” from Geidi Primes (2011 No Pain in Pop). Grimes' first album was a concept album based on Frank Herbert's novel Dune and David Lynch's 1984 film adaptation of the book. This track is about the fictional home planet of the Atreides, the protagonist clan in the novel. Produced by, written by, played by Grimes. She used relatively simple sounds, overdubs, and interesting vocal mixes to tell these tales. 2:23 Kurt Stenzel, “Parallel World” (1:42), “Parallel World (Outro)” (1:04), “Leap Of Faith” (0:43), “Time And Space” (2:04), “Optical World” (2:56), “Nebula” (2:26), and “Invitation” (excerpt) from Jodorowsky's Dune (Original Motion Picture Soundtrack) (2014 Cinewax). This is a bit of a side-hustle because Alejandro Jodorowsky's much hyped film version of Dune, which he sought to make in the 1970s, does not exist. It is one of the most famous movies that never existed. Still, the Chilean-French film director, producer, composer, actor stuck with the idea for quite some time until the David Lynch movie was produced in the 1980s and sucked all of the available Dune oxygen out of the room. But Jodorowsky's passion for the project inspired others, including guitarist and synthesist Stenzel who produced this soundtrack to a 2014 documentary about Jodorowsky and the ill-fated project. Stenzel composed music inspired by the book. This double LP has 33 tracks and I focused on a selection of connected synth tracks from the first album. Moog Source, CZ-101s, Roland Juno 6, toy Concertmate organ, Ninendo DS, voice, Kurt Stenzel. 11:56 Klause Schulze, “Side E—"Der Hauch Des Lebens (The Breath of Life) Pt #1” from Deus Arrakis (2022 SPV Recordings). Dune remained a lifelong source of fascination for Schulze. This, his final album, was also inspired by the novel he loved so well. This is a three-LP set, but the first LP is single-sided. Because of his ill health, Schulze knew that this might be his final project. In the liner notes he wrote directly to his fans, saying, “Thank you for your great support over all these years. This is for you! May the spice be with you. Always.” Recorded and written by Klaus Schulze; Cello, Wolfgang Tiepold; Voice, Eva-Maria Kagermann. 16:24 Han Zimmer, “Arrakis” from The Art And Soul Of Dune (Companion Book Music) (2021 WaterTower Music). Zimmer composed the soundtrack for the Denis Villeneuve released in 2021. Villeneuve has praised Zimmer's work on the film and that he had spent,"months and months creating new instruments, defining, creating, and seeking new sounds, pushing the envelope." In addition to a soundtrack for the film itself, Zimmer released two companion releases that provide an extended listen to the sounds and experiments that were created for the project. Three albums were released for the film by WaterTower Music, including The Dune Sketchbook (Music from the Soundtrack), Dune (Original Motion Picture Soundtrack), and The Art and Soul of Dune on September 3, September 17, and October 22, 2021, respectively. This work is from the reading companion to the film. 13:28 Opening background music: Hans Zimmer, “The Shortening Of The Way” from The Dune Sketchbook (Music from the Soundtrack) (2021 WaterTower Music). This track is from a companion 2-CD set that accompanied the actual soundtrack. Zimmer called these sketches and they represent his sound experiments as he formulated the music for the film. This grand combination of acoustic instruments and synth sounds from Zimmer's private studio is stunning in its scope and virtuosity and highly recommended. Synth programming by Hans Zimmer. 11:14 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

PLEASE SHARE THIS EPISODE in your social media so others who loves strange and macabre stories can listen too: https://weirddarkness.com/archives/17309IN THIS EPISODE: it's #ThrillerThursday, and this week I'm bringing you a tale recommended to me by one of you, the Weirdo family. Louis Padgett's story, “Mimsy Were the Borogoves” was originally published in the February 1943 issue of “Astounding Science Fiction Magazine”. It was judged by the Science Fiction Writers of America to be among the best science fiction stories written prior to 1965, and in 2007 it was loosely adapted into a feature-length film titled The Last Mimzy. The title of the original short story was directly inspired by a verse from "Jabberwocky", a poem found in the classic novel Through the Looking-Glass by author Lewis Carroll. And in 1976, Caedmon Records released a spoken word album of the short story, narrated by William Shatner. Well – I don't know that I'll be as entertaining as William Shatner with the story, but I'll do my best for you.SOURCES AND REFERENCES FROM THE EPISODE…“Mimsy Were The Borogoves” by Lewis Padgett from the book “The Science Fiction Hall of Fame: Volume 1, 1929-1964”: https://amzn.to/3ZqjVvlVisit our Sponsors & Friends: https://weirddarkness.com/sponsors Join the Weird Darkness Syndicate: https://weirddarkness.com/syndicate Advertise in the Weird Darkness podcast or syndicated radio show: https://weirddarkness.com/advertise= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =Weird Darkness theme by Alibi Music Library. Background music provided by Alibi Music Library, EpidemicSound and/or StoryBlocks with paid license. Music from Shadows Symphony (https://tinyurl.com/yyrv987t), Midnight Syndicate (http://amzn.to/2BYCoXZ) Kevin MacLeod (https://tinyurl.com/y2v7fgbu), Tony Longworth (https://tinyurl.com/y2nhnbt7), and Nicolas Gasparini (https://tinyurl.com/lnqpfs8) is used with permission of the artists.= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =OTHER PODCASTS I HOST…Paranormality Magazine: (COMING SEPT. 30, 2023) https://weirddarkness.tiny.us/paranormalitymagMicro Terrors: Scary Stories for Kids: https://weirddarkness.tiny.us/microterrorsRetro Radio – Old Time Radio In The Dark: https://weirddarkness.tiny.us/retroradioChurch of the Undead: https://weirddarkness.tiny.us/churchoftheundead= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =(Over time links seen above may become invalid, disappear, or have different content. I always make sure to give authors credit for the material I use whenever possible. If I somehow overlooked doing so for a story, or if a credit is incorrect, please let me know and I will rectify it in these show notes immediately. Some links included above may benefit me financially through qualifying purchases.)= = = = = = = = = = = = = = = = = = = = = = = = = = = = = ="I have come into the world as a light, so that no one who believes in me should stay in darkness." — John 12:46= = = = = = = = = = = = = = = = = = = = = = = = = = = = = =WeirdDarkness® is a registered trademark. Copyright ©2023, Weird Darkness.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3655291/advertisement

In a special conversation recorded in Toronto in 2002, Eleanor Wachtel spoke with Barbara Holdridge and Marianne Mantell, founders of Caedmon Records, a pioneer in commercial spoken word recordings. You'll hear the voices of James Joyce, Ernest Hemingway, Dylan Thomas, William Faulkner, Eudora Welty and more.

In this episode of Cemetery Row, the girls cover inventors and revolutionaries who changed industries. Hannah covers department store entrepreneur Montgomery Ward and Hughes Tool Company founder Howard Hughes Sr. Lori shares the story of Edward Craven Walker, inventor of the lava lamp. Sheena covers women who revolutionized the audiobook industry, including the founders of Caedmon Records, Marianne Mantell and Barbara Holdridge.

In this podcast, Claire MacDonald and Sarah Parry discuss the history of recording, the sharing of sound art between artists, how recording has shaped communities, the impact of technology on artists and their publics, and the artist's voice and the different genres it inhabits. About the Contributors: Claire MacDonald is a curator, writer, and editor whose work focuses on the intersections of performance, writing, and art. She is a founding editor of Performance Research and a contributing editor to PAJ: A Journal of Performance and Art. She recently served as Director of the International Centre for Fine Art Research at University of Arts London, and is currently Professor II at the Norwegian Theatre Academy. She has a PhD in Critical and Creative Writing from the University of East Anglia, and has recently written a novel. Sarah Parry has been teaching at the Univeristy of British Columbia since 2005. Her Ph.D. dissertation at the University of Alberta, entitled "Caedmon Records, the Cold War, and the Scene of the Postmodern", explored the history of Caedmon Records, a company that pioneered the recording of the spoken word. She teaches critical theory and modern and postmodern American poetry. Other interests include sound recording history and acoustical poetics.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In this podcast, Claire MacDonald and Sarah Parry discuss the history of recording, the sharing of sound art between artists, how recording has shaped communities, the impact of technology on artists and their publics, and the artist's voice and the different genres it inhabits. About the Contributors: Claire MacDonald is a curator, writer, and editor whose work focuses on the intersections of performance, writing, and art. She is a founding editor of Performance Research and a contributing editor to PAJ: A Journal of Performance and Art. She recently served as Director of the International Centre for Fine Art Research at University of Arts London, and is currently Professor II at the Norwegian Theatre Academy. She has a PhD in Critical and Creative Writing from the University of East Anglia, and has recently written a novel. Sarah Parry has been teaching at the Univeristy of British Columbia since 2005. Her Ph.D. dissertation at the University of Alberta, entitled "Caedmon Records, the Cold War, and the Scene of the Postmodern", explored the history of Caedmon Records, a company that pioneered the recording of the spoken word. She teaches critical theory and modern and postmodern American poetry. Other interests include sound recording history and acoustical poetics.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

In this podcast, Claire MacDonald and Sarah Parry discuss the history of recording, the sharing of sound art between artists, how recording has shaped communities, the impact of technology on artists and their publics, and the artist's voice and the different genres it inhabits. About the Contributors: Claire MacDonald is a curator, writer, and editor whose work focuses on the intersections of performance, writing, and art. She is a founding editor of Performance Research and a contributing editor to PAJ: A Journal of Performance and Art. She recently served as Director of the International Centre for Fine Art Research at University of Arts London, and is currently Professor II at the Norwegian Theatre Academy. She has a PhD in Critical and Creative Writing from the University of East Anglia, and has recently written a novel. Sarah Parry has been teaching at the Univeristy of British Columbia since 2005. Her Ph.D. dissertation at the University of Alberta, entitled "Caedmon Records, the Cold War, and the Scene of the Postmodern", explored the history of Caedmon Records, a company that pioneered the recording of the spoken word. She teaches critical theory and modern and postmodern American poetry. Other interests include sound recording history and acoustical poetics.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

In this podcast, Claire MacDonald and Sarah Parry discuss the history of recording, the sharing of sound art between artists, how recording has shaped communities, the impact of technology on artists and their publics, and the artist's voice and the different genres it inhabits. About the Contributors: Claire MacDonald is a curator, writer, and editor whose work focuses on the intersections of performance, writing, and art. She is a founding editor of Performance Research and a contributing editor to PAJ: A Journal of Performance and Art. She recently served as Director of the International Centre for Fine Art Research at University of Arts London, and is currently Professor II at the Norwegian Theatre Academy. She has a PhD in Critical and Creative Writing from the University of East Anglia, and has recently written a novel. Sarah Parry has been teaching at the Univeristy of British Columbia since 2005. Her Ph.D. dissertation at the University of Alberta, entitled "Caedmon Records, the Cold War, and the Scene of the Postmodern", explored the history of Caedmon Records, a company that pioneered the recording of the spoken word. She teaches critical theory and modern and postmodern American poetry. Other interests include sound recording history and acoustical poetics.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sound-studies

Several dozen plays later, Will and James host a wrap-up episode where they revisit, revise, and criticize one another's rankings, recognize the greatest and most outlandish characters with awards, and reflect on the experience of reading Shakespeare cover to cover over the past several years as they finish Season One of Bard Flies.CreditsIntro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous)Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)Illustrative Excerpts: “Pomp and Circumstance” (Edward Elgar); “First Blood,” dir. Ted Kotcheff (1982); “Austin Powers: International Man of Mystery,” dir. Jay Roach (1997); “Friends: The One Where Phoebe Runs,” dir. Gary Halvorson (1999); “Top Gun,” dir. Tony Scott (1986); “Star Wars: Episode V - The Empire Strikes Back,” dir. Irvin Kershner (1980); “Goodfellas,” dir. Martin Scorsese (1990); John Gielgud, “Ages of Man,” Caedmon Records (1959); “Robin Hood,” dir. Wolfgang Reitherman and David Hand (1973); “Henry IV, Part One,” dir. Clive Brill (1998)

Magic, monsters, sprites, witches, shipwrecks, betrayal, love stories on an enchanted isle, and emotional catharsis driven by a puppet master pulling all the stings: no, dear listeners, it's not a Dungeons & Dragons campaign but Shakespeare's The Tempest! Will and James discuss the play know as Shakespeare's affectionate late-career farewell to the theatre, portrayals of Caliban throughout the years, its possible setting in the New World, and whether a play with an almost all-powerful protagonist can be truly dramatic.CreditsIntro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous)Outro Music: Jon Sayles, “Saltarello” (composed by anonymous)Illustrative Excerpts: “The Tempest,” dir. Julie Taymor (2010); John Gielgud, “Ages of Man,” Caedmon Records (1959)

Episode 57   I Think To Tomorrow: An Audio Interpretation of Isaac Asimov's Foundation   An imagined reconstruction of the Spy-Beam technology from the novel The Foundation Trilogy by Isaac Asimov, using randomly selected phrases in different tones and voices.   Playlist Isaac Asimov read by William Shatner – Foundation: The Psychohistorians. (1976 Caedmon Records). Passages the 1951 edition of the novel comprising page 14 plus the Spy-Beam passage from page 34. 1:40 and 0:18 Isaac Asimov, “Psycho History And Encyclopedia” from The Foundation Trilogy (1990 BBC Enterprises Ltd.). Passages the 1951 edition of the novel comprising page 14 plus the Spy-Beam passage from page 34. 1:37 and 0:17 Isaac Asimov, miscellaneous passages, The Mayors From Foundation Read By The Author (1977 Caedmon Records). Additional audio processing and synthesis created by Thom Holmes using WavePad, Logic Pro, MetaSynth CTX 1.2, Arturia ARP 2600 V, Arturia Moog Modular, Arturia Pigments, Madrona Labs Aalto, and various audio processing applications. The piece is organized as follows: Part 1: Foundation “Spy-beam” passage from page 34, dramatized readings from the BBC and Caedmon (with William Shatner), with audio processing. 4:00 Part 2: Foundation page 14, computer-voiced versions, randomized, plus synthesized sounds. 20:00 Part 3: Foundation page 14, computer-voiced versions plus myself recorded and played back using the Bell & Howell Language Master, randomized, with synthesized sounds and audio processing. The Bell & Howell 1757B Language Master was made in the 1970s and was Language Card Teaching System using magnetically striped cards that could record and playback sounds that were about 5 seconds in length. It could only play or record one time at a time that was manually fed into the transport system, essentially a capstan with a magnetic head like a reel-to-reel tape recorder. It was used in classrooms to teach language skills, vocabulary, and so forth. 11:00. Part 4, Foundation page 14 plus read by William Shatner plus random passages from The Mayors section read by author Isaac Asimov. Both dramatized readings from the Caedmon records, with audio processing and synthesis. 6:00 Background Music Isaac Asimov read by William Shatner – Foundation: The Psychohistorians. (1976 Caedmon Records). Passages page 14 including Encyclopedia Galactica 4. 1:40 Isaac Asimov, miscellaneous passages, The Mayors From Foundation Read By The Author (1977 Caedmon Records). 2:60 Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.

In the darkest episode of “Undercover Bosses” of all time, the Duke of Vienna announces he's taking a vacation and disguises himself as a monk, to see how his seemingly pious deputy Angelo runs the city -- only to find out that he's a hypocritical autocrat with a penchant for sexually blackmailing nuns. In order to depose Angelo and right his wrongs, our heroes develop a crazy scheme that strains credulity. Will and James discuss what Shakespeare was doing with this “problem play” and what it has to say about #MeToo, sex and the public square, and the point at which a plot requires just a little too much suspension of disbelief. // CREDITS // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous); Illustrative Excerpts: John Gielgud, Ages of Man, Caedmon Records (1959); “Measure for Measure,” Brown Box Theater Project, dir. Kyler Taustin (2019); “Before Sunrise,” dir. Richard Linklater (1995)

...what can one say about the Melancholy Dane that hasn’t already been said? It’s the big one, the work that casts the longest shadow in all of English literature outside of the King James Bible. We quote it without thinking. It helped inspire The Lion King. And its most famous soliloquy has launched a thousand parodies. Will and James break down the epic monologues, the bloody action, the meditations on mortality, depression, mental illness, tortured love affairs, murder, suicide, conspiracy, invasion, and a savagely bloody denouement in which (spoiler alert!) everyone dies. // CREDITS // Intro Music: Jon Sayles, "The Witches' Dance" (composed by anonymous); Outro Music: Jon Sayles, “Saltarello” (composed by anonymous); Illustrative Excerpts: “Tales from the Public Domain,” The Simpsons, dir., Mike B. Anderson (2002); “Hamlet,” feat. Kenneth Branagh, dir. Kenneth Branagh (1996); John Gielgud,“Ages of Man,” Caedmon Records (1959); “Hamlet,” feat. Clarence Smith, dir. Simon Godwin, Royal Shakespeare Company (2016); “Hamlet,” feat. Bill Murray, dir. Michael Almereyda (2000); “Hamlet,” feat. Andrew Scott, dir. Robert Icke (2017); “Hamlet,” feat. David Tennant, dir. Gregory Doran (2009)

In this podcast, Claire MacDonald and Sarah Parry discuss the history of recording, the sharing of sound art between artists, how recording has shaped communities, the impact of technology on artists and their publics, and the artist's voice and the different genres it inhabits. About the Contributors: Claire MacDonald is a curator, writer, and editor whose work focuses on the intersections of performance, writing, and art. She is a founding editor of Performance Research and a contributing editor to PAJ: A Journal of Performance and Art. She recently served as Director of the International Centre for Fine Art Research at University of Arts London, and is currently Professor II at the Norwegian Theatre Academy. She has a PhD in Critical and Creative Writing from the University of East Anglia, and has recently written a novel. Sarah Parry has been teaching at the Univeristy of British Columbia since 2005. Her Ph.D. dissertation at the University of Alberta, entitled "Caedmon Records, the Cold War, and the Scene of the Postmodern", explored the history of Caedmon Records, a company that pioneered the recording of the spoken word. She teaches critical theory and modern and postmodern American poetry.  Other interests include sound recording history and acoustical poetics. 

If you enjoy listening to spoken word audio you have Barbara Holdridge to thank for it. Together with her business partner, Marianne (Roney) Mantell, co-founded Caedmon Records in 1952. As an entirely women-owned company Caedmon stressed gender equality and focused on women’s writings. She was a pioneer in the genre of spoken word literary recordings, … Continue reading Pioneer of Audio Books – Barbara Holdridge Ep17 →

NewsBlas 24 October 2014: The Water Ghost of Harrowby Hall (Part V of V, read by Vincent Price) A Hornbook for Witches by Leah Bodine Drake (1950) Read by Vincent Price Taken from the LP released by Caedmon Records in 1976. https://ia601508.us.archive.org/1/items/NewsBlas29October2014/NewsBlas24October2014.mp3   Mother Box 039

NewsBlas 23 October 2014: The Water Ghost of Harrowby Hall (Part IV of V, read by Vincent Price) A Hornbook for Witches by Leah Bodine Drake (1950) Read by Vincent Price Taken from the LP released by Caedmon Records in 1976. https://ia601508.us.archive.org/1/items/NewsBlas29October2014/NewsBlas23October2014.mp3   Mother Box 038

NewsBlas 22 October 2014: The Water Ghost of Harrowby Hall (Part III of V, read by Vincent Price) A Hornbook for Witches by Leah Bodine Drake (1950) Read by Vincent Price Taken from the LP released by Caedmon Records in 1976. https://ia801508.us.archive.org/1/items/NewsBlas29October2014/NewsBlas22October2014.mp3   Mother Box 037

NewsBlas 21 October 2014: The Water Ghost of Harrowby Hall (Part II of V, read by Vincent Price) A Hornbook for Witches by Leah Bodine Drake (1950) Read by Vincent Price Taken from the LP released by Caedmon Records in 1976. https://ia801508.us.archive.org/1/items/NewsBlas29October2014/NewsBlas21October2014.mp3   Mother Box 036

NewsBlas 20 October 2014: The Water Ghost of Harrowby Hall (Part I of V, read by Vincent Price) A Hornbook for Witches by Leah Bodine Drake (1950) Read by Vincent Price Taken from the LP released by Caedmon Records in 1976. https://ia801508.us.archive.org/1/items/NewsBlas29October2014/NewsBlas20October2014.mp3   Mother Box 035

An Evening With Vincent Price! (Featuring the master of horror readings himself, Mr. Vincent Price, performing classic tales from his Caedmon Records releases.  Originally podcast 23 October 2012, re-aired in 2015, and as “#22.1” in 2016.) There are a number of people who have become so associated with horror and the macabre that they become … Continue reading An Evening With Vincent Price!