Podcasts about Charles Bernstein

How does timestamping shape the preservation and curation of literary sound? This roundtable episode brings together four SpokenWeb researchers––Jason Camlot, Tanya Clement, and Mike O'Driscoll in conversation with moderator Michael MacKenzie––to explore this deceptively simple yet profoundly complex question. What emerges is a layered, multidisciplinary view of timestamping, not just as a technical task, but as an archival, aesthetic, and philosophical practice.In Part One, the conversation begins by situating timestamping in broader historical and intellectual contexts. Panelists reflect on the epistemology of time, from ancient timekeeping and annalistic history to modern digital temporality. What does it mean to mark time, and how does a timestamp compare to a page number, an index, or a narrative structure?Part Two asks what it means to think critically about timestamping. Here, the guests draw on their scholarly practices to examine the subjectivity of timestamps, the tension between precision and ambiguity, and the role of annotation. The discussion turns to digital media's microtemporalities and how timestamps carry expressive, affective weight beyond their data function.In Part Three, the panel listens to an experimental performance by Jackson Mac Low and considers the challenge of timestamping layered or deliberately disorienting sound. What responsibilities do timestampers have in maintaining a balance between accessibility and artistic intention? Can timestamping illuminate without flattening?Part Four focuses on vocabulary. Why does it matter if we tag something as a “reading” versus a “performance”? How do controlled vocabularies shape what we can learn from large-scale literary audio corpora? This final section explores how even the smallest metadata decisions reflect theoretical commitments and institutional values.Ultimately, this episode makes one thing clear: timestamping is never neutral. It is an interpretive act, grounded in choices about meaning, representation, and access. From poetic performance to archival platforms, timestamping remains central to how we listen to—and understand—literary sound. Show Notes and Resources:Abel, Jordan. Nishga. McClelland & Stewart, 2021. pp.243-73Bernstein, Charles. “‘1–100' (1969) .” Jacket2, jacket2.org/commentary/1%E2%80%93100-1969. Accessed 17 Apr. 2025.Though cut from the episode, this appeared as an example from O'Driscoll during the uncut roundtable and stands alone as a fascinating example of marking time. You can access a full performance of the short poem by Bernstein hosted at the above link, at Jacket2. O'Driscoll: “The numerological is itself potentially … not a neutral medium. It is potentially an expressive medium … so that timestamps can have an aesthetic, they carry value and meaning, they can shape the way that we think about things and that they're subject to a level of performance as well too.”“Charles Bernstein (Poet).” Wikipedia, Wikimedia Foundation, 15 Feb. 2025, en.wikipedia.org/wiki/Charles_Bernstein_(poet).Bolter, Jay David, and Richard Grusin. Remediation. MIT Press, 2000.One central point of departure for our research, though we had to cut our remediation questions due to time. “Eadweard Muybridge.” Wikipedia, Wikimedia Foundation, 10 Apr. 2025, en.wikipedia.org/wiki/Eadweard_Muybridge.Eliot, T. S. “‘Burnt Norton' from Four Quartets.” Four Quartets - 1 Burnt Norton, www.davidgorman.com/4quartets/1-norton.htm. Accessed 17 Apr. 2025.“Gertrude Stein.” Wikipedia, Wikimedia Foundation, 28 Mar. 2025, en.wikipedia.org/wiki/Gertrude_Stein.“Hayden White.” Wikipedia, Wikimedia Foundation, 5 Mar. 2025, en.wikipedia.org/wiki/Hayden_White.“Jackson Mac Low at SGWU, 1971.” Edited by Jason Camlot and Max Stein, SpokenWeb Montréal, 17 Aug. 2015, montreal.spokenweb.ca/sgw-poetry-readings/jackson-mac-low-at-sgwu-1971/#1.The full version of the recording shown during the episode can be found here. The portion shown during the episode begins at 1:09:35.“Jackson Mac Low.” Wikipedia, Wikimedia Foundation, 30 Mar. 2025, en.wikipedia.org/wiki/Jackson_Mac_Low.“Susan Stewart (Poet).” Wikipedia, Wikimedia Foundation, 14 Sept. 2024, en.wikipedia.org/wiki/Susan_Stewart_(poet).Though cut from the episode, Stewart's work on the “souvenir” appeared as an example from Camlot during the uncut roundtable helping bridge the gap between timestamp and annotation. Camlot: “I would probably want to think of it as a dialectical relation between the timestamp, sort of the demarcated moment and times unfolding, and then the larger narrative account within which the timestamp has significance … like Susan Stewart's work on the souvenir … this sort of partial representation of a whole that can only be supplemented by narrative.”“Wolfgang Ernst (Media Theorist).” Wikipedia, Wikimedia Foundation, 12 Apr. 2024, en.wikipedia.org/wiki/Wolfgang_Ernst_(media_theorist).More information about our participants can be found at: “Jason Camlot.” Concordia University, www.concordia.ca/faculty/jason-camlot.html. Accessed 17 Apr. 2025.“Michael O'Driscoll.” English and Film Studies, University of Alberta, apps.ualberta.ca/directory/person/mo. Accessed 17 Apr. 2025.“Tanya Clement.” College of Liberal Arts at UTexas, liberalarts.utexas.edu/english/faculty/tc24933. Accessed 17 Apr. 2025.Music Credits:This podcast uses music from www.sessions.blue: For post-question pauses, we used Jemeneye by Blue Dot Sessions (www.sessions.blue).For framing the podcast itself, we used the song The Griffiths by Blue Dot Sessions (www.sessions.blue).For framing the roundtable and preceding questions, we used portions of the song “Town Market” by Blue Dot Sessions (www.sessions.blue).This podcast also uses these sounds from freesound.org:"Mechanical Keyboard Typing (Bass Version)" by stu556 ( https://freesound.org/people/stu556/sounds/450281/? ) licensed under Creative Commons 0"Monitor hotler", by iluminati_2705 ( https://freesound.org/people/iluminati_2705/sounds/536706/ ) licensed under Creative Commons 0"Monitor hotler", by tobbler ( https://freesound.org/people/tobbler/sounds/795373/ ) licensed under Attribution 4.0“aluminum can foley-020.wav”, by CVLTIV8R ( https://freesound.org/people/CVLTIV8R/sounds/800102/ ) licensed under Creative Commons 0“whoosh_fx”, by ScythicBlade ( https://freesound.org/people/CVLTIV8R/sounds/800102/ ) licensed under Creative Commons 0“ignite_dry_02”, by DaUik ( https://freesound.org/people/DaUik/sounds/798712/ ) licensed under Creative Commons 0“Dewalt 12 inch Chop Saw foley-049.wav”, by CVLTIV8R ( https://freesound.org/people/CVLTIV8R/sounds/802856/ ) licensed under Creative Commons 0“Electronic Soap Dispenser 5”, by Geoff-Bremner-Audio ( https://freesound.org/people/Geoff-Bremner-Audio/sounds/802734/ ) licensed under Creative Commons 0 Acknowledgments:We thank Jason Camlot, Tanya Clement, and Michael O'Driscoll for their contributions to the roundtable. Additional thanks to Michael O'Driscoll, Sean Luyk, and the SpokenWeb Podcast team for production support. Technical support was provided by the Digital Scholarship Centre, University of Alberta.

On the second and final episode of this year's decomPOSERS month, the boys celebrate a SECOND Krueger's 40th birthday! Join us as we bid farewell to the Stude (1.0) to the chilling sounds of Charles Bernstein's iconic score for Wes Craven's A Nightmare On Elm Street! KRUEGER NOTES! 1) For those hoping to hear from our perennial spooky guest, Andy Sell of the Ghoul School podcast, don't worry: just wait until the holiday season! 2) And for those interested, as referenced in the episode, Krueger's wife LP makes spooky shit. Check it out.

Join our poetry Salon and Open Mic: https://parallax-media-network.mn.co/share/5hSLvQW7bNszFGEo?utm_source=manual About David Herz: Hello. My names are David Salzmann Herz. I was born in Boston 70 years ago when McCarthy was getting his comeuppance. I lived with my family somewhere in Massachusetts before moving to Belo Horizonte, Brazil , as part of the Department of the Interior's Punto Quatro program where my father was instrumental in mapping the geology and training a generation of Brazilian geologists. I began writing aged ten at the American school of Sao Paolo which had scorpions in the sandbox. I won a turtle for my prose. Then we lived in Chevy Chase, Maryland before moving to Athens, Ga. Where I met the poet Colman Barks and other luminaries. I moved to Chicago and studied briefly under Del Close at Second City and David Mamet who was then directing the Goodman Theater. As well as Richard McKeon at the University of Chicago who taught Susan Sontag among others. Then I returned home and drove a car from Selma, Alabama to Warminster Pennsylvania, possibly damaging the transmission while accelerating against the snow and ice. The next three years in a bankrupt New York City were richness incarnate. I worked at the Oh Ho So restaurant in SoHo and as a busboy served Harry Belafonte, one of the reasons God created humans, a glass of water. I had Alice Notley, poetess supreme, for a teacher and read my prose work at the Saint Marks in the Bowery Poetry Project. Those were wild times, buildings burning, trash uncollected, rapes a'plenty, and great generosity from compassionate lawyers, doctors and dentists for the impoverished lot we were. You could easily meet people such as John Cage, Merce Cunningham, John Giorno, Ted Berrigan, David Byrne, Patti Smith, Fred Sherry, Nam June Paik, Allen Ginsberg, Gregory Corso, Charles Bernstein, Tony Towle, Bill Berkson, Eileen Myles, Ted Greenwald, John Cale, Lydia Lunch, Alan Vega, and avoid others such as Valerie Solanas. And then just as I was about to join a rock and roll band I moved to Paris. It's been 45 years. Odd jobs subtitling movies and Sipa Photopress Agency photographs. Doing journalism for English language papers, interviewing the B- 52's, Peter Brook, Zouc, Herbert Achternbusch, Paul Lederman, Boris Bergman and then working for Bull and Alcatel two fine French corporations employing hundreds of thousands who equally vanished into the capitalist sunset. Thanks to a flutist friend in Ircam I got to meet Karlheinz Stockhausen and Pierre Boulez but I don't think they remember me. I did a translation for Sophie Calle before she became Sophie Calle. Also some work for the Royal family of Afghanistan. Back when there was one. At Paris VIII University still in the Bois de Vincennes with the whores whom we did not try to lead to culture I got to attend classes by Lyotard & Deleuze and the Miller Brothers, Lacan's son in laws? Noam Chosmky spoke. I thought to become a consultant in a moment of delusion and ended up teaching for the last 24 years: Polytechnique, SciencesPo, ENST, INT, Supelec, Ecole Centrale, ENPC, ENSTA, Paris V, ICP, ESIEE, ECE, Ecole du Louvre. Before that I was a technical translator, a field I am happy to report that has been almost entirely taken over by machines, bless their soulless bodies. I also got married and my wife and I had two children. But we hadn't really grown up much to the needless suffering of the children and so that marriage went painfully bust...Then I married again and we had a daughter. She's on the phone right now, de rigueur for all 16 year olds. I am a loving observer of the human experiment of which I am inextricably a part, how so ever much I would like to be apart. As we advance, not necessarily progress, into the numbing, memory erasing age of AI, already sinking its canines deep into our pranic jugulars, lose ourselves in our beloved electronic devices, we must look to our hands, our analog writing devices such as pencils and pens and give them a try. Along with all the rest.

SUMMARYIn this first episode of Season 6, producer Andrew Whiteman invites listeners to step into an arena of collaboration between poetry and sound. We all know it when we hear it, and we have mixed feelings about it. Why does the archaic meeting place of music and poem hit such a nerve? Is this art form literature or is it music? Surely, it's not song, is it? And if poems already carry their prosodic intentions within themselves – why bother supplementing them with extraneous audio?" These questions are answered by Siren Recordings, a new digital-DIY sonic poetry label run by Kelly Baron and Andrew Whiteman.*SHOW NOTESAudio played in the episode“Happy Birthday Ed Sanders Thank You!”, written and performed by Edward Sanders ( from "This is the Age of Investigation Poetry and Every Citizen Must Investigate” part of the “Totally Corrupt Dial-a-Poem Series by John Giorno. Found at https://www.ubu.com/sound/gps.html ) and Andrew Whiteman. Unreleased track. Audio clips of Amiri Barak, Helen Adam, and the Four Horseman from Ron Mann's 1980 film Poetry in Motion. found at https://vimeo.com/14191903.“The Great Reigns” written and performed by Erica Hunt ( from Close Listening with Charles Bernstein at WPS1 Clocktower Studio, New York, June 20, 2005, available at https://writing.upenn.edu/pennsound/x/Hunt.php ), and Andrew Whiteman. “#7” by Alice Notley and AroarA. Unreleased track. Text taken from Notley's book “In The Pines”, Penguin Books. 2007.“ Pinbot” and “Abu Surveillance” by Anne Waldman and Andrew Whiteman. Unreleased track. Text taken from Waldman's book “Iovis: the Trilogy”, Coffeehouse Press. 2011.“How I wrote Certain of my Books” by David UU and the Avalettes.  from the casette Very Sound (Sound Poems By David UU). Underwhich Audiographic Series, No.18. 1984.  "whn i first came to vancouvr” by bill bissett. from the cassette Sonic Horses. Underwhich Audiographic Series, No.19.1984. "From The Life & Work Of Chapter 7 (For Steven Smith)” by Tekst. from the cassette "Unexpected Passage”.Underwhich Audiographic Series – No. 15. 1982. “ Canto One” by Andrew Whiteman featuring Robert Duncan, Ezra Pound, Richard Sieberth, Al Filreis. buried somewhere at Penn Sound. https://writing.upenn.edu/pennsound/. Unreleased track.*PRODUCER BIOAndrew Whiteman is a founding member of the indie-rock collective Broken Social Scene, and a PhD student at Concordia University investigating the confluence of mythology and experimental poetics. He is a musician, producer and sound artist with special interest in Sonic Poetics, and has collaborated on recordings with Alice Notley (In The Pines, 2013) and Anne Waldman (IOVIS, 2023) among others. This work has led directly to the creation of Siren Recordings, a boutique sonic poetry label, hub and ever-growing archive he runs with Kelly Baron and Brandon Hocura.  His divinatory practice is located at https://intarotgate.com.

Diane and Sean discuss the crown jewel  of Wes Craven's filmography, A Nightmare on Elm Street. Episode music is, "Nightmare" by 213 (as featured in the film).-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the Show.

In 2023, Ratboys released their latest album The Window, and it was our fav of the year. We also got to see them perform at Johnny Brenda's in Sept last year. So when the opportunity came up for us to interview frontwoman and lead songwriter Julia Steiner we were so pumped!We spend time to hear more about the latest album, how they met producer Chris Walla and how he inspired them to try new things, and the stories behind some of tracks (can't believe they did "Black Earth, WI" in only 2 takes!). She also shares her passion for album sequencing and how she goes about selecting the order for the tracks on the album.We also learn more about her story finding her music path, how she met Dave Sagan in college, and how the rest of the band formed across their catalog of albums.In addition to "Black Earth, WI", we share the official video of "It's Alive!", some video we captured at the Johnny Brenda's show of "Charles Bernstein" (a deep cut off their first album), and close the show out with my fav track off the latest album "Empty".This is such a fun convo with one of the best out there right now - you won't want to miss it!LinksWebsite: ratboysband.comYouTube ChannelSpotify ChannelNepco Guitars: nepcoguitars.comAs always, our hope is to bring you "your next favorite band". If you tuned in today because you already knew this musician - thank you very much! We hope that you enjoyed it and would consider following us and subscribing so we can bring you your #nextfavband in the future. And check out nextfavband.com for our entire catalog of interviews!If you have a recommendation on who you think OUR next favorite band should be, hit us up on social media (@nextfavband everywhere) or send us an email at nextfavband@stereophiliastudio.com.Thank you to Carver Commodore, argonaut&wasp, and Blair Crimmins for allowing us to use their music in the show open and close. It makes everything sound so much better! Let's catch a live show together soon!#nextfavband #livemusic #music #musicinterview #musician #singer #guitar #song #newmusic #explorepage #instamusic #bestmusic #musicismylife #musicindustry #musiclife #songwriter #musiclover #musicfestival

Stay to the end to hear the kind Valentine's day wishes of John Kassir! Some nightmares last longer than others, and no other longer than the ginormous spectacle of the Nightmare on Elm Street franchise. It's hard to believe, looking back, at how crazy big the hype around Freddy Krueger got. This is where it all begins, 1984's unexpected smash hit, A Nightmare on Elm Street! Peter and Jacob dutifully scour over every single scene for your listening pleasure in truly epic fashion. They go over people who were almost cast, mistakes on set, and quite a bit more. This one is for the ages!Special thanks to John Kassir for all the fond Cryptkeeper memories, and Peter's beloved wife, Miranda.Email: gormanongore@protonmail.comX(Twitter): http://twitter.com/gormanongoreRSS Feed: https://gormanongore.buzzsprout.com/Spotify:  https://open.spotify.com/show/7hjbpX0bPx79p0YY9ACvq7Apple podcasts: https://podcasts.apple.com/us/podcast/gorman-on-gore/id1579271619?i=1000530712722Google Podcasts: https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS8xODI4OTY0LnJzcw==   It's a nightmare!https://www.buymeacoffee.com/GormanOnGore Film clips and trailer courtesy of The Craven Estate and Warner bros/New Line Cinema, all rights reserved.A Nightmare on Elm Street main theme by Charles Bernstein, all rights reserved."Its a Nightmare" by 213, all rights reserved.gormanongorecom.wordpress.com

Welcome to a special Halloween-themed show of THE ARCHIVE on the CINEMATIC SOUND RADIO PODCAST. Your host Jason Drury has collaborated with famed soundtrack blogger, Jon Mansell, to create a show so scary, that Jason had to hide behind his chair while working on the voiceovers. The show's delights include music for THE LADY IN WHITE (Varese Sarabande Records) by composer/director Frank Laloggia, Krzysztof Komeda's unusual work for Roman Polanski's 1967 film THE FEARLESS VAMPIRE KILLERS (Power Bros Records) as well as Ennio Morricone's excellent score for the not-so-excellent EXORCIST II: THE HERETIC (Warner Bros. Records). Jason and Jon also put under the spotlight music from Bronislau Kaper's 1954 score for THEM (Monstrous Movie Music Records) and the classic Hammer horror with James Bernard's main theme from DRACULA (Silva Screen). You'll also hear a suite from DRACULA PRINCE OF DARKNESS (Silva Screen) as well as Bruno Nicolai's theme for II CONTE DRACULA (Digitmovies). The show finishes off in a lighter mood by playing a selection from LOVE AT FIRST BITE (Intrada Records) by Charles Bernstein. Enjoy! —— 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, Douglas Lacey, 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, Thomas Tinneny, William Burke, Rudy Amaya, Eric Marvin, Stacy Livitsanis, Rick Laird, Carl Wonders, Michael Poteet, Nathan Blumenfeld, Daniel Herrin, Mike Kohutich, Scott Bordelon —— 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

CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of war, racism, grief, trauma, PTSD, explosions, abuse, trauma. We're wrapping up our series with Spike's most recent joint, traveling to Vietnam for a cross between Apocalypse Now and The Treasure of the Sierra Madre. It's another bold swing in the new era of Spike, but yet again, the balance is all off. When this movie is working, it's a masterpiece, but there's so much of it that feels like a slog. And it's not because of anything fundamentally wrong with the story, just that there's far too much of it, and far too much pontificating on the story itself. For the cast alone, though, it's a shame this got buried in the COVID shutdown, because they deserve heaps of recognition. We conclude our director's series with 2020's Da 5 Bloods this week on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also 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 “Time Has Come Today” written by Joseph Chambers and Willie Chambers, and performed by The Chambers Brothers. Copyright 1966, 1967 Sony Music Entertainment, Inc. Excerpt taken from “Main Title” to the movie A Nightmare on Elm Street, composed by Charles Bernstein. Copyright 1984 New Line Cinema Corp.

Non posso farci niente: come Martin Scorsese, anche al sottoscritto questo film ancora spaventa non poco, nonostante non si veda nulla di sanguinolento o terrificante. Entity è la (presunta) storia vera di Carla Moran, vittima di continue violenze e stupri da parte di un'entità malefica e invisibile che d'improvviso piomberà nella vita della donna, rendendola un vero inferno. Vani saranno i tentativi di psicologi e scienziati per tentare di fornire una spiegazione razionale agli inquietanti fenomeni. Il regista Sidney J. Furie è abilissimo nel costruire una storia orrorifica, perennemente in bilico tra logica e paranormale, ottimamente interpretata da una Barbara Hershey credibilissima e convincente. Giocando su un'atmosfera di costante minaccia, Entity è un titolo che ormai nessuno ricorda e che, la prima volta che lo vidi, mi fece venire delle paranoie assurde, inducendomi a pensare se veramente fossi solo nella mia stanza e nella mia casa. Il tema martellante composto da Charles Bernstein (poi omaggiato da Tarantino nel suo Bastardi) è qualcosa di angosciante e indimenticabile ancora oggi. Da recuperare solamente se non siete persone impressionabili nell'animo.

White Lightning from 1973 is our film this week. We talk the phenomenal cast, Burt Reynolds & Hal Needham's friendship, the birth of a subgenre, Charles Bernstein's original score, and much more. Let's get our movie talk in! WEBSITE: https://linktr.ee/BrokenVCR

Te ofrecemos, en viernes 13, un episodio que escapa de los estilos habituales del Sótano pero no de nuestros gustos y debilidades. Dedicamos nuestro tiempo de radio a recordar algunas de nuestras bandas sonoras favoritas del cine de terror. Playlist; (sintonía) HARRY MANFREDINI “Overlay of Evil / Main Title” (Viernes 13, 1980) BERNARD HERRMANN “Prelude” (Psicosis, 1960) JOHN WILLIAMS “Shark attack” (Tiburón, 1975) JERRY GOLDSMITH “Ave Satani” (La profecía, 1976) JERRY GOLDSMITH “Face hugger” (Alien, 1979) JOHN CARPENTER “Halloween theme” (Halloween, 1979) ENNIO MORRICONE and JOHN CARPENTER “Bestiality” (The thing, 1982) KRYSTOF KOMEDA con MIA FARROW “Rosemary’s Baby Main Theme” (La semilla del diablo, 1968) WALDO DE LOS RÍOS “Evelyn” (¿Quién puede matar un niño?, 1976) RIZ ORTOLANI “Cannibal holocaust (main theme)” (Holocausto Canibal, 1980) TOBE HOPPER and WAYNE BELL “A room of feathers and bones” (La matanza de Texas, 1974) HARRY SUKMAN “Salem’s lot main title” (El misterio de Salem’ Lot, 1979) DENNY ZEITLIN “The reckoning” (La invasión de los ultracuerpos, 1978) CHARLES BERNSTEIN “A Nightmare On Elm Street main title” (Pesadilla en Elm Street, 1984) POPOL VUH “Die nacht der himmel” (Nosferatu; Phantom der Nacht, 1979) GOBLIN “Suspiria (main theme)” (Suspiria, 1977) Escuchar audio

Hosted by Al Filreis and featuring Jerome Rothenberg, Pierre Joris, and Charles Bernstein.

Gathering for a weekend at the sprawling island home of their friend Muffy, a gaggle of Vassar students find themselves in a bit of a pickle as they start disappearing one at a time, apparently at the hand of a murderer who kills them in a series of increasingly bizarre ways. Intro, Math Club, and Debate Society (spoiler-free) 0:00-25:33 Honor Roll and Detention (spoiler-heavy) 25:34-1:06:39 Superlatives (so. many. spoilers.) 1:06:40-1:24:19 Gretchen McNeil is the author of several young adult novels for Disney*Hyperion and Balzer + Bray including Possess, 3:59, Relic, I'm Not Your Manic Pixie Dream Girl, Get Even, Get Dirty, and Ten, as well as the horror/comedy novels #murdertrending—the #1 YALSA Teens' Top Ten pick for 2019— #murderfunding, and #noescape. Her most recent novel for Disney*Hyperion is Dig Two Graves, pitched as a YA Strangers on a Train, to be followed by Three Drops of Blood in 2023 and Four-Letter Word in 2024. Gretchen's books have been published in more than a dozen languages all over the world. Ten: Murder Island, the film adaptation of Ten starring China Anne McClain, premiered on Lifetime in 2017, and Get Even and Get Dirty have been adapted as the series “Get Even” and “Rebel Cheer Squad: a Get Even series” for the BBC and Netflix. Gretchen is repped by Ginger Clark of Ginger Clark Literary. Our theme music is by Sir Cubworth, with embellishments by Edward Elgar. Music from “April Fool's Day” by Charles Bernstein. For more information on this film, the pod, essays from your hosts, and other assorted bric-a-brac, visit our website, scareupod.com. Please subscribe to this podcast via Apple or Google Podcasts, Stitcher, Spotify, or wherever you get your podcasts. If you like what you hear, please leave us a 5-star rating. Join our Facebook group. Follow us on Instagram. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In this podcast, Charles Bernstein, MD, speaks about psychiatric comorbidities that occur in patients with Crohn disease and how they differ from other IBD disorders, the collaboration necessary within the clinician care team managing patients with IBD, and the connection between IBD symptoms and mental health. Dr Bernstein also spoke about these topics during his session at The Advances in Inflammatory Bowel Diseases (AIBD) conference 2022 titled “Addressing Mental Health and Psychiatric Comorbidities in IBD.”

In this podcast, Charles Bernstein, MD, discusses the definition of mild Crohn disease, treatment and therapeutic options for managing patients with mild Crohn disease, and a holistic approach to managing patients with mild Crohn disease. Dr Bernstein also spoke about these topics during a session at The Advances in Inflammatory Bowel Diseases (AIBD) conference 2022 titled “Managing Mild Crohn's.”

Hosted by Al Filreis and featuring Julia Bloch, Charles Bernstein, and Eric Falci.

WTOP Entertainment Reporter Jason Fraley celebrates Halloween by chatting with "A Nightmare on Elm Street" composer Charles Bernstein, who wrote the music for Freddy Krueger. They spoke in 2020 about his memories of working with Wes Craven to craft the creepy ditty "1, 2, Freddy's coming for you." He even recreates the music live on his piano during the interview. (Theme Music: Scott Buckley's "Clarion")

Happy Halloween from ATTT! If you can believe it, we've now done 11 of these with our beloved monster-in-training-in-residence, Mr. Halloween Himself Matt Dinan. In this year's Halloween Spectacular, we explore the cinematic side of spookiness. So many memorable visuals from our favorite horror films are accompanied by intensely memorable music from these iconic scores. In Part 1, Matt helps us dig deeper into the world of dark, dark cinema. Get your fix of silly Halloween fun over at Matt's LA Frankenstein Youtube Channel:https://www.youtube.com/channel/UCnnTJKNN8AIgKsGZh7MOCbgIf you must have more ATTT in your life by all means check out the Patreon Thing, where we're still cooking up monthly bonus episodes. Find out more at the website:https://alltimetoptenpod.com

This week we watched our Vampire Council Member Troy's recommendation: Love at First Bite from 1979. It's long episode title is "Our Most Problematic Episode Wherein We Confront Glaringly Uncomfortable Racism". And we're glad we did. We learned stuff ya'll. Stuff AND things. We learnedTroy is a chimera. A CHIMERA!!! All the vampire films were made in 1979. Weird. Because we're so clumsy at talking about this, we've given ourselves homework. RECOMMENDED READING So You Want to Talk About Race by Ijeoma OluoFollow us on the gram: https://www.instagram.com/bloodsuckerspod/Support us on Patreon: https://www.patreon.com/littlerenegadefilmsTHANK YOU THANK YOU THANK YOU FOR LISTENING!Love at First Bite is a 1979 American comedy horror film directed by Stan Dragoti and written by Robert Kaufman, using characters originally created by Bram Stoker.[3] It stars George Hamilton, Susan Saint James, Richard Benjamin, and Arte Johnson.[3] The original music score was composed by Charles Bernstein. The film's tagline is: "Your favorite pain in the neck is about to bite your funny bone!" An earlier version of the script by director Richard Rush was titled Dracula Sucks Again.[4]Support the show

Recorded by Academy of American Poets staff for Poem-a-Day, a series produced by the Academy of American Poets. Published on July 27, 2022. www.poets.org

Program note: This was one of the earliest episodes we recorded, and as such, the audio isn't great in certain spots. We enjoyed recording this episode, though, and IOHO, think it's smart and funny enough to include in the season, which officially comes to an end with this episode. Thank you for joining us, and we look forward to terrorizing you in season two. "I'm your boyfriend now, Nancy." Where were YOU on November 11, 1984? If that was anywhere other than your local multiplex, you missed out on a seminal cultural event of the decade: the premiere of A NIGHTMARE ON ELM STREET, Wes Craven's surreal slasher, in which a long-(thought)-dead child murderer begins haunting (and killing) teenagers in their dreams. With a cast led by Heather Langenkamp, Amanda Wyss, Robert Englund, and "introducing Johnny Depp," ELM STREET struck a chord in the zeitgeist, and went on to spawn a franchise than only became funnier and campier as it went along. But the original remains a landmark of indelible images and ingenious practical effects. Background (spoiler-free) 0:00-19:30 Discussion (spoiler-heavy) 19:31-42:05 Awards (spoilers for days) 42:06 Our theme music is by Sir Cubworth, with selections from the ANOES soundtrack by Charles Bernstein. The song “Nightmare” is by 213. For more information on this film, essays from your hosts, and other assorted bric-a-brac, visit our website, 21jumpscare.com. Please subscribe to this podcast via Apple or Google Podcasts, Stitcher, Spotify, I Heart Podcasts, or wherever you get your podcasts. If you like what you hear, please leave us a rating. Follow us on Facebook. Follow us on Instagram. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Join Justin, Daniel, and Angelique as they chat with legendary film composer Charles Bernstein about the Elm Street franchise, the early days of composition, underground Jazz clubs in France, navigating the industry, and more!Be sure to visit MonstersMadnessandMagic.com to stay up to date on all horror, history, metal and mystery. The digital doors of the Sanctuary of the Strange are open to you!Monsters, Madness and Magic on Facebook.Monsters, Madness and Magic on Twitter.Monsters, Madness and Magic on Instagram.

White Lightning from 1973 is our film this week. We talk the phenomenal cast, Burt Reynolds & Hal Needham's friendship, the birth of a subgenre, Charles Bernstein's original score, and much more. Let's get our movie talk in! FIND US: theturnbuckletavern.com

John Bleasdale talks to J Blake Fichera author of Scored to Death and Scored to Death 2, available here.Scored to Death collects 14 info-packed, terrifyingly entertaining interviews with renowned film composers who have provided music for some of the horror genre's greatest films and franchises, including Halloween, A Nightmare on Elm Street, Friday the 13th, Hellraiser, Maniac, The Fog, Prince of Darkness, Cujo,Dawn of the Dead, Deep Red, Suspiria, Santa Sangre, Zombie, The Beyond, Insidious, The Conjuring, Hostel, The Strangers, House of the Devil, and many more!​Interviewed are director-composer John Carpenter; sound designer-composer Alan Howarth; Italian composers and members of the band Goblin (known for their scores for Dario Argento films) Claudio Simonetti and Maurizio Guarini; Hollywood composers Christopher Young, Tom Hajdu (of the composing team tomandandy), Charles Bernstein, Jay Chattaway, and Nathan Barr; as well as horror notables Fabio Frizzi, Simon Boswell, Joseph Bishara, Jeff Grace, and Harry Manfredini.Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

Al Filreis convenes Charles Bernstein, Anthony Elms, and Laynie Browne to talk about two poems by George Quasha. The book, published by Spuyten Duyvil in 2020, titled Not Even Rabbits Go Down This Hole, consists of eight gatherings of preverbs; our two poems, coming from the final section — which bears the name of the book — are “self fast” (numbered 12) and “that music razors through” (numbered 13). The recordings we use in this episode can be found on PennSound's extensive Quasha author page. These preverbs were recorded by Chris Funkhouser on December 27, 2017.

Hosted by Al Filreis and featuring Charles Bernstein, Laynie Browne, and Anthony Elms.

I am Steven Phillips with Lake 97.7 WJUL Radio. I do a live talk show every morning from 8-9 eastern time called “The Morning Dish”. I won the 2017 and 2020 best On-Air Personality of the Year for the state of Georgia. Our station is rated #1 five years running and my show is the biggest and at 9 years, the longest running show in the North Georgia and Western North Carolina mountains. With the Nielsen ratings in this year 23,900 out of 88,700 total people listen to us each week. That's amazing, considering how many people listen to satellite or internet radio and don't listen to AM/FM. I have interviewed lots of people in these 9 years. It is more comedy than serious; we like to call it “unfair and unbalanced”.Some of the people that I have interviewed are Mark Farner, Paul Roberts (Sniff “n” the Tears), Tommy Emmanuel, Chuck Leavell, Beth Nielsen Chapman, Paul Teutul Sr, Matt King, Stuart Margolin (Angel Martin on Rockford Files), Catherine Bach (Daisy Duke), Charles Bernstein, Scott Innes (the official voice of Scooby Doo), Markos Papadatos, Josh Morningstar, John Schneider, Barry Corbin, Rodney Justo, Barton Gilliam, Reno Collier, Adam Boyer, T Graham Brown, Jon Reep, Brande Roderick, Georgette Jones, Cindy Wills, Thomas Gabriel, Bo Hopkins, Don McLean, Ronnie Millsap, Kyle Bush, Dean Miller, Gigi Garner, Sonny Sawyer, Whitney Miller, James Gregory, Gary Chapman, Sid Davis, Paul Thorn, who regularly calls into the show and some people we would be ashamed to mention and the list keeps growing. It is a good time with dedicated listeners.You can listen in live every morning at wjulradio.com or listen to past shows on the YouTube Channel “Steven Phillips with The Morning Dish”.

Steven Phillips and the Midnight Express is a group of musicians that have come together and formed one of the best country/southern rock bands you've heard in a long time featuring a wide variety of original songs including “Lightning Road” and “Brayton Mountain” which are getting high ratings. Steven also is with Lake 97.7 WJUL Radio. He does a live talk show every morning from 8-9 eastern time called “The Morning Dish”. He won the 2017 and 2020 best On-Air Personality of the Year for the state of Georgia. Our station is rated #1 five years running and my show is the biggest and at 9 years, the longest running show in the North Georgia and Western North Carolina mountains. With the Nielsen ratings in this year 23,900 out of 88,700 total people listen to us each week. That's amazing, considering how many people listen to satellite or internet radio and don't listen to AM/FM. I have interviewed lots of people in these 9 years. It is more comedy than serious; we like to call it “unfair and unbalanced”.Some of the people that he has interviewed are Mark Farner, Paul Roberts (Sniff “n” the Tears), Tommy Emmanuel, Chuck Leavell, Beth Nielsen Chapman, Paul Teutul Sr, Matt King, Stuart Margolin (Angel Martin on Rockford Files), Catherine Bach (Daisy Duke), Charles Bernstein, Scott Innes (the official voice of Scooby Doo), Markos Papadatos, Josh Morningstar, John Schneider, Barry Corbin, Rodney Justo, Barton Gilliam, Reno Collier, Adam Boyer, T Graham Brown, Jon Reep, Brande Roderick, Georgette Jones, Cindy Wills, Thomas Gabriel, Bo Hopkins, Don McLean, Ronnie Millsap, Kyle Bush, Dean Miller, Gigi Garner, Sonny Sawyer, Whitney Miller, James Gregory, Gary Chapman, Sid Davis, Paul Thorn, who regularly calls into the show and some people we would be ashamed to mention and the list keeps growing. It is a good time with dedicated listeners.You can listen in live every morning at wjulradio.com or listen to past shows on the YouTube Channel “Steven Phillips with The Morning Dish”.

Fence Sounds – 3.5  Season 3, Episode 5, with readings from contributors to the Fence Literary Journal Double print Issue, number 37 slash 38, produced by our Editor-in-Chief, Rebecca Wolff. I'm Jason Zuzga, one of the Nonfiction and Other editors of Fence the print journal, I'm also an editor of one of Fence's online publication arms, Fence Steaming, found at fenceportal.org. Online at fencedigital.com we also have Constant Critic, edited by Emily Wallis Hughes,  with a library of our reviews of poetry.  Emily also edits Elecment on Fence Digital with experiments in media and poetry. Check out fenceportal.org/about to read essays by our editors including me plus a little essay I wrote about fence's history. In this episode, we open with Elizabeth Robinson & Suzanne Dyckman's collaborative ekphrastic poems, read by Elizabeth Robinson, Four Paintings by Agnes Martin, including "Eight Fish Under Water", "Walking," "Blessings," and "Red Bird." Adam Veal will read the poems “Archivore” and “Looper.” Then Claire Dougherty reads the poem “Get Back to Me Sometime.” After that, Michael Borth will read three poems, “Healed and Healed,” “I Have Had a Child,” and “The Strangers of the Land.  Before moving into this episode's short fiction, you'll hear an original song, “James”  by KIKA, who is also featured in this season's first and third episodes. More Music by Kika is available on Soundcloud, Spotify,  Apple Music,  Bandcamp, Pandora, and Tidal.  Next, Michelle Suzann's short story “Bottom of the Hill.” We close with Kika's song "Midnight Drive." Fence Steaming, found at Fenceportal.org, with such offerings as a print and audio collaboration POEMS FROM WHERE HERE WERE WE by Charles Bernstein and Norman Fischer, an essay by Adoley Ammah-Tagoe, METROPOLIS: SCRAPS FROM ACCRA, GHANA, and an essay by Whitney DeVos, "CAN ESTADOUNIDENSES WATCH A 'FOREIGN FILM?' ON CUARÓN'S ROMA." A HISTORY OF FENCE: Including Essays by FENCE Editors and Selected Articles and InterviewsSupport the show (https://www.fenceportal.org/subscribe/)

Welcome to Fence Sounds, Season 3, Episode 3, with readings from the Fence Double print issue, number 37/38 Spring Summer 2021. I'm Jason Zuzga, one of the Nonfiction and Other editors of Fence the print journal, I'm also an editor of one of Fence's online publication arms, Fence Steaming, found at fenceportal.org. Online at fencedigital.com we also have Constant Critic, edited by Emily Wallis Hughes,  with a library of our reviews of poetry.  Emily also edits Elecment on Fence Digital with experiments in media and poetry. Check out fenceportal.org/about to read essays by our editors including me plus a little essay I wrote about fence's history. In this episode, you will hear a fantastic lineup of poets reading their poems along with a short piece of fiction. We open with Stephanie Ellis Schlaifer, reading the poem "The Minister of the Cabinet of Bespoke Futures."  After, Jessica Holburn reads the poem “Comprehensive Worry.”  Next up is  Veronic Kuhn reading “To and Fro.” Stella Corso reads the poem “I Went Back to the City. Mona Kareem reads the poem “The Room of Escape and Leisure”  A Smith reads “The Rub, or Out pops the Genie.” Laura Mullen will read the poem Archive." We will hear a song by Dave JaVu called "undertow." Ashunda Norris will read the poems “For Jair”, an excerpt from the poem “Self Portrait as Teacher Burnout”  and then "Lowdes County, Georgia 1918."  Ted Dodson will read an untitled poem, Then Michael Holt will read his short story “What Was Left.” Adra Raine will read the poem "Malware." And Rob McLellan will round us out with "Four Poems for Fence." We close with the song Sunkissed by Dave JaVu, whose many other songs you can listen to on Soundcloud. Hosted by Jason Zuzga, author of the poetry collection Heat Wake and one of the Nonfiction and Other editors of FENCE.A HISTORY OF FENCE: Including Essays by FENCE Editors and Selected Articles and InterviewsFence Steaming, found at Fenceportal.org, with such offerings as a print and audio collaboration POEMS FROM WHERE HERE WERE WE by Charles Bernstein and Norman Fischer, an essay by Adoley Ammah-Tagoe, METROPOLIS: SCRAPS FROM ACCRA, GHANA, and an essay Support the show (https://www.fenceportal.org/subscribe/)

Featuring the work of FENCE 37/38 contributors.  Season 3, Episode 3. In this episode, we open with Erik Kennedy's prose piece entitled "The Please Stop Killing Us And Destroying Everything that Sustains Us Society."  After, Randy Prunty reads poems "Earth Elegy: Low Tide" and "Earth Elegy, Amateurs."  Next up is Hillary Plum, reading poems “Canal” and “Planned Parenthood.”  Samantha Burns reads their prose poem “Shearling” – then Katie Marya reads their poem "The Crisis Is Not Knowing." Jeff Sirkin will read his poem "Deterritorial" and Andrew Seguin will read his poem "Trees." Our penultimate poet of this episode is Benjamin Niespodziany, reading poems "The Shopping Plaza" and "The Standup Comic," followed by Kathryn Mockler, who closes out the poems with "Tumble in the Hay," "Dark Thoughts," and "I Should Have Invited Him In." Before moving into this episode's short fiction, you'll hear an original song, “Male Manipulator”  by KIKA, who is also featured in this season's first episode. More Music by Kika is available on Soundcloud, Spotify,  Apple Music,  Bandcamp, Pandora, and Tidal.  Next, Jackelyn Hoy's story “Breaking.” We close with Kika's song Crossed Animals. Hosted by Jason Zuzga, author of the poetry collection Heat Wake and one of the Nonfiction and Other editors of FENCE. A HISTORY OF FENCE: Including Essays by FENCE Editors and Selected Articles and InterviewsFence Steaming, found at Fenceportal.org, with such offerings as a print and audio collaboration POEMS FROM WHERE HERE WERE WE by Charles Bernstein and Norman Fischer, an essay by Adoley Ammah-Tagoe, METROPOLIS: SCRAPS FROM ACCRA, GHANA, and an essay by Whitney DeVos, "CAN ESTADOUNIDENSES WATCH A 'FOREIGN FILM?' ON CUARÓN'S ROMA."Online we also have Constant Critic with a library of our reviews of poetry books and Elecment with experiments in media and poetry. All and more which you can find at fencedigital.com. Support the show (https://www.fenceportal.org/subscribe/)

Hosted by Al Filreis and featuring Lee Ann Brown, Pierre Joris, Charles Bernstein, and Rachel Levitsky.

Charles Bernstein has played jazz in the cellars of Paris – danced and played folk music with the Greeks and with gypsies from the Balkans – he has won academic honors including the Woodrow Wilson National Fellowship and a Chancellor's Teaching Fellowship – conducted his own orchestral music at the age of sixteen – written and produced off-Broadway – recorded with great artists and legendary producers – studied composition at Juilliard, and with American master Roy Harris – he is equally at home with electronic, orchestral, ethnic, jazz, pop and music of the spirit. Mr. Bernstein is very active as a composer of film and TV scores. He has composed scores for over 130 motion pictures, including genre classics A Nightmare on Elm Street (the original), The Entity, Stephen King's Cujo, Dracula spoof Love At First Bite, and a wide variety of comedies, dramas and action films. He has provided music for Academy Award winning documentaries Maya Lin: A Strong Clear Vision and the all-music film Czechoslovakia 1968, as well as for the Tom Hanks Vietnam saga, Return with Honor. His many made-for-television films include the Jane Seymour historical epic Enslavement (Emmy Nominated for Best Score), HBO's Emmy Award winning Miss Ever's Boys with Alfrie Woodard, the Michael Mann Emmy winning 10-hour miniseries Drug Wars, Hallmark Hall of Fame's Emmy winning Caroline?, Jack London's The Sea Wolf (Emmy nominated for Best Score), and Emmy Nominated mini-series The Long Hot Summer, as well as the acclaimed historical mini-series Sadat.film music and everything else When he is not writing music, Charles Bernstein is writing about music. National film critic Leonard Maltin calls Charles Bernstein's award winning writings about music "stimulating, informative and fun." According to Oscar winning song writers Marilyn and Alan Bergman, he is "always a fascinating writer." His writings have won the prestigious ASCAP Deems Taylor Special Recognition Award. In addition to scoring movies, Mr. Bernstein has composed for modern dance, theater and the World Festival of Sacred Music. His MASS: Voices of the World won praise from Quincy Jones, who called it "a beacon of light bringing hope to our hearts as we enter the twenty-first century," and from best-selling author Thomas Moore, who deemed it music "to bring re-enchantment into our lives."Mr. Bernstein is currently elected to the Board of Governors of the Academy of Motion Picture Arts and Sciences, the Board of Directors of The Society of Composers and Lyricists, and the Board of Directors of the ASCAP Foundation. He has taught on the graduate film scoring faculty at USC, and holds an annual film scoring seminar in the summers at UCLA Extension.

Etna sumendiaren erupzio berria abiapuntu hartuta, Ioen Gorostarzu, Friedrich Hölderlin, Charles Bernstein eta Jabi Santa Cruz olerkariak ekarri dizkigu Josu Goikoetxeak....

The Entity. Does this early 80’s paranormal film have spirit? Join Darren and Rick as they discuss this powerful and important film.

As the November skies dull to a heavier gray, I have been thinking about the hard days we all have had and that we remember perhaps especially as the year draws to its close. So today I read poems about struggle and adversity by Shakespeare, Gerard Manley Hopkins, Derek Walcott, Miller Williams, Lucille Clifton, Charles Bernstein, and Javier Zamora. I end the program with one of my own poems.

[SILENT NIGHT REVIEW STARTS AT 27:20] It's a slasher special! We're joined by our streamer friend MissMandeee to chat about two of the biggest slasher movies of 1984, both of which were released November 9th. First up, it's the classic dream-based horror A Nightmare on Elm Street. Then it's the controversial Christmas-themed murder-fest Silent Night, Deadly Night. One of them is really good! The other is about Santa... Follow MissMandeee! Twitch: https://www.twitch.tv/missmandeee Insta: https://www.instagram.com/missmandeee_x  Follow the show! Facebook: https://fb.me/oldiebutagoodiepod Omny: https://omny.fm/shows/oldie-but-a-goodie YouTube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA Songs from 1984 Playlist: https://open.spotify.com/playlist/39v1MbWf849XD8aau0yA52 Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://omny.fm/shows/nerdout  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

Ben and Sarah from the Scream Scene podcast join the show! Together, we imagine an immersive Horror Theme Park. This is an all ages show, but in this episode, we definitely reference movies that are not for all ages. Happy Halloween!   Check out the Scream Scene Patreon if you like their show!   Music featured in this Halloween episode: 0:00 Amusement Sparks Original Theme. Andrew Spohn. 9:43 Creepshow. Prologue/Main Title. John Harrison 26:23 Halloween. Laurie's Theme. John Carpenter 33:05 Psycho. Prelude. Bernard Herrmann. 41:56 A Nightmare on Elm Street. Main Title. Charles Bernstein. 46:45 Friday the 13th. Overlay of Evil/Main Title. Harry Manfredini. 50:08 It Follows. Detroit. Disasterpeace. 51:39 The Haunting of Hill House. Main Titles. The Newton Brothers. 1:02:28 and 1:05:06 Hellraiser. Resurrection. Christopher Young. 1:06:59 Color out of Space. The Gardners. Colin Stetson. 1:13:27 The Exorcist. Tubular Bells. Mike Oldfield. 1:27:49 Sinister. Main Theme. Christopher Young. 1:29:45 Amusement Sparks Original Theme. Andrew Spohn.

OBSCURE SCORES WITH ROBERT DANIELS returns with a Halloween Twist! Today, Robert digs up three rare scores from the depths of his collection for your enjoyment! On this program, you will hear selections from WAXWORK by Roger Bellon, THE COVENANT by Charles Bernstein, and UNDEAD by Cliff Bradley. When Robert isn't in search for obscure scores you can find him every Saturday morning from 12-2am (EST) on VISIONS IN SOUND at 98.5 FM in Kitchener, Ontario, Canada or at ckwr.com. Visit VISIONS IN SOUND by going to http://visionsinsound.ca/ And you can listen to the show in podcast form by going to https://podcasts.apple.com/ca/podcast/visions-in-sound-podcast/id1498716815 Enjoy! —— Cinematic Sound Radio is fully licensed to play music by SOCAN. 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

As if the world wasn't scary enough right now, the Halloween season is back in full force at Fire and Water Records. That means it's time once more for A Very Daly Halloween! Join the brothers Neil and Ryan Daly as they discuss seven more horror themed songs from their annual Halloween playlists, plus six TV specials that celebrate the most macabre holiday. Track list: “Devil Inside" by INXS "Bad Things" by Jace Everett "Somebody's Watching Me" by Rockwell "A Nightmare on My Street" by DJ Jazzy Jeff & The Fresh Prince "Remains of the Day" by Danny Elfman "Mz. Hyde" by Halestorm "The Kill" by 30 Seconds to Mars Plus sound clips from six spooktacular TV Specials: Garfield's Halloween Adventure It's the Great Pumpkin, Charlie Brown "If You Give a Mouse a Pumpkin" from If You Give a Mouse a Cookie Bugs Bunny's Howl-oween Special "The Legend of Sleepy Hollow" from The Adventures of Ichabod and Mr. Toad "Pinkeye" from South Park Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com. This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK. Visit our WEBSITE: http://fireandwaterpodcast.com/ Follow us on TWITTER – https://twitter.com/FWPodcasts Like our FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Use our HASHTAG online: #FWPodcasts Or subscribe via iTunes as part of the FIRE AND WATER PODCAST: http://itunes.apple.com/podcast/the-fire-and-water-podcast/id463855630 Support FIRE AND WATER RECORDS and the FIRE AND WATER PODCAST NETWORK on Patreon: https://www.patreon.com/fwpodcasts Additional music this episode: “Trick or Treat for Halloween” by The Mellowmen; "Main Title (A Nightmare on Elm Street)" by Charles Bernstein. Thanks for listening and Happy Holidays!

In 1984, Wes Craven introduced a new kind of horror movie to audiences. In a world where silent, masked killers were falling out of favor with mainstream audiences, Freddy Krueger slipped into everyone's dreams with nightmarish charisma and creepiness. Though it was a movie that spawned a franchise of increasingly silly sequels, the first A Nightmare on Elm Street is a beautiful and terrifying work of art. Listen as chris and Joey discuss the first Nightmare movie in episode one of a ten part retrospective covering every single movie in the series! Download and subscribe on iTunes so you never miss an episode:The Last Theater on iTunesCheck us out on Spotify:https://open.spotify.com/show/5avwVSMlTuPNr1kQ35vDIyTotal Run Time: 1:40:26Theme music: "Rising Game" by Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 3.0Additional Music: Selections from the A Nightmare on Elm Street (1984) Soundtrack by Charles Bernstein

Award winning composer Charles Bernstein conducted his first original orchestral compositions at the age of sixteen. His long career in film scoring can be heard in many popular films and television shows, including Quentin Tarantino's Inglorious Basterds and Kill Bill, Vol. 1 and scores for genre classics, A Nightmare on Elm Street (the original), The Entity, Stephen King's Cujo, the Dracula spoof Love At First Bite, along with a wide variety of Emmy winning dramas, comedies, action films and Oscar winning documentaries. Bernstein is currently a six-term Governor of the Academy of Motion Picture Arts and Sciences, where he has also served as the Academy's Vice President. He sits on the ASCAP Foundation Board and the ASCAP Board of Review, and is a founding and Advisory Board member and current Vice President of the Society of Composers & Lyricists. As an author, Charles Bernstein has received the coveted Deems Taylor Award for his writings on music, and has published over 100 Essays on film music, many of which can be found in his two books, "Film Music and Everything Else” and “Movie Music: An Insider's View,” and will soon be available in a volume of 110 Collected Essays. 

SpokenWeb is a literary research network, dedicated to studying literature through sound. But how did this project begin? What kinds of literary recordings inspired it and where were they found? And what happened next in order for these recordings to be heard? For this inaugural episode of the SpokenWeb Podcast, Katherine McLeod seeks to answer these questions by speaking with SpokenWeb researchers Jason Camlot, Annie Murray, Michael O'Driscoll, Roma Kail, Karis Shearer, and Deanna Fong. All of their stories involve a deep interest in literary audio recordings and all of their stories, or nearly all, start with a box of tapes... Find out more at https://spokenweb.ca/Guests: Jason Camlot, Annie Murray, Michael O'Driscoll, Roma Kail, Karis Shearer, and Deanna FongHost & Writer: Katherine McLeodProducer: Cheryl Gladu RESOURCESBernstein, Charles, ed. Close Listening: Poetry and the Performed. Charles Bernstein. New York: Oxford University Press, 1998.Camlot, J., Swift, T. (eds) (2007) Language Acts: Anglo-Québec Poetry, 1976 to the 21st Century (Véhicule, 2007)Fong, Deanna and Karis Shearer. Gender, "Affective Labour, and Community-Building Through Literary Audio Artifacts," No More Potlucks, online http://nomorepotlucks.org/site/gender-affective-labour-and-community-building-through-literary-audio-artifacts-deanna-fong-and-karis-shearer/McKinnon, Donna. "A New Frontier of Literary Engagement: SpokenWeb's network of digitized audio recordings brings new life to Canada's literary heritage." https://www.ualberta.ca/arts/faculty-news/2018/august/a-new-frontier-of-literary-engagementMorris, Adalaide, ed. Sound States: Innovative Poetics and Acoustical Technologies. Chapel Hill: University of North Carolina Press, 1997.Murray, Annie and Jared Wiercinski. "Looking at Archival Sound: Enhancing the Listening Experience in a Spoken Word Archive." First Monday 17 (2012). https://firstmonday.org/ojs/index.php/fm/article/view/3808/3197Shearer, Karis. "Networks, Communities, Mentorships, Friendships: An SSI Reflection" http://amplab.ok.ubc.ca/index.php/2019/07/09/networks-and-communities-an-ssi-reflection/Toppings, Earle. "Gwendolyn MacEwen." Accompanying Material by Earle Topping about Gwendolyn MacEwen. Earle Toppings Fonds. Victoria University Library (Toronto).Urbancic, Ann, editor. Literary Titans Revisited: Earle Toppings Interviews with CanLit Poets and Writers of the Sixties. Ed. Ann Urbancic. Toronto: Dundurn P, 2017. BIOSKatherine McLeod is an affiliated researcher with SpokenWeb at Concordia University. After receiving her doctorate from the University of Toronto, she held a SSHRC post-doctoral fellowship with TransCanada Institute (University of Guelph) and a SpokenWeb post-doctoral fellowship at Concordia University. She has published on performance and Canadian literature, and her research focuses on broadcasts of poetry on CBC Radio. Most recently, she has co-edited with Jason Camlot, CanLit Across Media: Unarchiving the Literary Event (McGill-Queen's UP, 2019). She tweets from @kathmcleod and curates a list of Montreal poetry readings at http://wherepoetsread.ca/.Cheryl Gladu is a podcast producer with SpokenWeb. She is an interdisciplinary Phd Candidate at Concordia University, studying collaborative communities in both the design and business schools. She first got involved in podcasting through a media project for Future Earth called the Worlds We Want. You can learn about her broad range of seemingly unrelated interests at cgladu.com.*Jason Camlot is the principal investigator and director of The SpokenWeb, a SSHRC-funded partnership that focuses on the history of literary sound recordings and the digital preservation and presentation of collections of literary audio. Camlot's critical works include Phonopoetics: The Making of Early Literary Recordings (Stanford, 2019), Style and the Nineteenth-Century British Critic (Routledge, 2008), and the co-edited collections CanLit Across Media: Unarchiving the Literary Event (McGill-Queen's UP, 2019) and Language Acts: Anglo-Québec Poetry, 1976 to the 21st Century (Véhicule, 2007). He is also the author of four collections of poetry, Attention All Typewriters, The Animal Library, The Debaucher, and What the World Said. He is a professor in the Department of English at Concordia University in Montreal.Deanna Fong recently defended her PhD in English at Simon Fraser University, where her research focuses on the intersections of auditory media, event theory, literary communities, and affective labour. With Ryan Fitzpatrick and Janey Dodd, she co-directs the audio/multimedia archive of Canadian poet Fred Wah, and has done substantial cataloguing and critical work on the audio archives of Japanese-Canadian poet and painter Roy Kiyooka. She has been the first Student Representative on the SpokenWeb Governing Board and has participated on SpokenWeb's Metadata Task Force. She is also cataloguing the "Readings in B.C." collection of audio recordings at SFU Special Collections.Roma Kail is the Head of Reader Services at Victoria University Library in the University of Toronto. She participates in and manages operations and services related to reference, research, instruction, access and circulation. Her current research and coursework involves completion of a certificate in Archives and Records Management from the University of Toronto's Faculty of Information.Annie Murray is Associate University Librarian for Archives and Special Collections at the University of Calgary, where she oversees The Canadian Architectural Archives, Special Collections, the University of Calgary Archives and the Library and Archives at the Military Museums. She is a longtime co-applicant in the Spokenweb project to develop web-based interfaces for the exploration of digitized literary audio recordings. She is currently overseeing the preservation of the EMI Music Canada Archive, with support from The Andrew W. Mellon Foundation.Michael O'Driscoll is a Professor in the Department of English and Film Studies at the University of Alberta, and Vice-Dean in the Faculty of Arts. He is a Governing Board Member and lead U of Alberta Researcher for the SpokenWeb SSHRC Partnership Grant.Karis Shearer, Director of the AMP Lab and the SoundBox Collection, is an associate professor at UBC's Okanagan campus in the Department of English and Cultural Studies. She leads SpokenWeb's Pedagogy Task Force and contributes expertise in the areas of Canadian poetry, performance, pedagogy, and media culture.

In this episode, we talk to Charles Bernstein, inventive poet, writer of libretti, translator, archivist, and, since 2003, a member of Penn's faculty. Bernstein is the Donald T. Regan Professor of English and Comparative Literature and co-director of PennSound. He retired from the Department of English at the end of the spring 2019 semester. In 2019, Bernstein was awarded the Bollingen Prize for American Poetry awarded by Yale University. The Bollingen Prize is awarded biennially by the Yale University Library to an American poet for the best book published during the previous two years or for lifetime achievement in poetry. Produced by Penn Arts & Sciences • Narrated by Lauren Thacker • Edited by Alex Schein • Music by Blue Dot Sessions • Allen Ginsberg "Howl" (Big Table Chicago Reading, 1959) and Robert Frost "Dust of Snow" (Readings at Columbia University, May 5, 1933) courtesy of PennSound: http://bit.ly/2VtVElp Subscribe to the OMNIA Podcast by Penn Arts & Sciences on iTunes (apple.co/2XVWCbC) and Stitcher (bit.ly/2Lf2G9h)

Poems of Revolution, Hope, and Love (Episode 91) This week we feature poems of revolution, of our shared humanity, of our love of community. Poems that highlight our commitment to justice and our desire to fight for equality. Featured poets: Nikki Giovanni, Charles Bernstein, Bill the Butcher, Staceyann Chin, Paul Tran, Lee Mokobe, Joshua Jennifer Espinoza, Henry Lawson, and Audre Lorde. Songs by Richie Haven, Big Mountain, Mavis Staples, In Process, Sweet Honey in the Rock, the Golden Gospel Singers, and others. Tuesday, April 18, 2017. 6pm PST    

In my final episode before taking a Christmas break I invite you to be part of the show in 2017 and to check out this close reading of Charles Bernstein's In a Restless World Like This is, recorded with the wonderful Eleanor Smagarinsky.

Épisode 11. On explore des musiques variés de films variables.. on voyagera autant dans le passé que dans le futur, on entendra autant du piano, de la guitare que des percussions et de l'orgue, on sera dans le drame, l'horreur et le documentaire, et on fera un saut en Allemagne et au Québec entre deux vols au États-Unis. Nils Frahm, Mick Harvey, Explosion in the sky, Charles Bernstein, Richard Grégoire, Serge Gainsbourg, John Carpenter (encore), Philip Glass et plusieurs autres..

There's something truly terrifying about a lovable pet turning on you and attacking. Especially when that pet is a St. Bernard, one of the big dogs with a small barrel of brandy around its neck that's supposed to rescue people lost in the snowy Alps. But that's what makes for great horror, right? Turning something lovable into something horrible. And Stephen King did that perfectly in his novel "Cujo," which was turned into a film in 1983. Join us — Pete Wright and Andy Nelson — as we continue our King series with Lewis Teague's great horror film "Cujo." We talk about what the film means to us and why we both love it so much, whether it's as a kid watching it for the first time or as a parent watching it later in life. We discuss the brilliant performances in the film, led by Dee Wallace and Danny Pintauro, and how they help ground the film in a reality that works incredibly well for this King tale that surprisingly remains free of supernatural elements. We chat about the production of the film, how Teague came into it late, the great cinematography of Jan De Bont, Charles Bernstein's score and more. We contemplate why the critics at the time really didn't like the film at all, and how it really hasn't changed frustratingly. And we chat about the nature of working with animals, and how animal trainer Karl Miller managed to get all the various performances Teague needed to tell his story out of somewhere between 5 and 10 dogs, not to mention a man in a dog suit. It's a film that is considered "rotten" on Rotten Tomatoes, but one that we both love. Watch the film and tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)- [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/)

There's something truly terrifying about a lovable pet turning on you and attacking. Especially when that pet is a St. Bernard, one of the big dogs with a small barrel of brandy around its neck that's supposed to rescue people lost in the snowy Alps. But that's what makes for great horror, right? Turning something lovable into something horrible. And Stephen King did that perfectly in his novel "Cujo," which was turned into a film in 1983. Join us — Pete Wright and Andy Nelson — as we continue our King series with Lewis Teague's great horror film "Cujo." We talk about what the film means to us and why we both love it so much, whether it's as a kid watching it for the first time or as a parent watching it later in life. We discuss the brilliant performances in the film, led by Dee Wallace and Danny Pintauro, and how they help ground the film in a reality that works incredibly well for this King tale that surprisingly remains free of supernatural elements. We chat about the production of the film, how Teague came into it late, the great cinematography of Jan De Bont, Charles Bernstein's score and more. We contemplate why the critics at the time really didn't like the film at all, and how it really hasn't changed frustratingly. And we chat about the nature of working with animals, and how animal trainer Karl Miller managed to get all the various performances Teague needed to tell his story out of somewhere between 5 and 10 dogs, not to mention a man in a dog suit. It's a film that is considered "rotten" on Rotten Tomatoes, but one that we both love. Watch the film and tune in!* * *Hey! You know what would be awesome? If you would drop us a positive rating on iTunes! If you like what we're doing here on TNR, it really is the best way to make sure that this show appears when others search for it, plus, it's just a nice thing to do. Thanks!!- [The Next Reel on iTunes](https://itunes.apple.com/us/podcast/the-next-reel/id478159328?mt=2)- [The Next Reel on Facebook](https://www.facebook.com/TheNextReel)- [The Next Reel on Twitter](http://twitter.com/thenextreel)- [The Next Reel on Flickchart](http://www.flickchart.com/thenextreel)- [The Next Reel on Letterboxd](http://letterboxd.com/thenextreel/)- [Guess the Movie with The Next Reel on Instagram](http://instagram.com/thenextreel)- [Check out the Posters with The Next Reel on Pinterest](http://pinterest.com/thenextreel)And for anyone interested in our fine bouquet of show hosts:- [Follow Andy Nelson on Twitter](http://twitter.com/sodacreekfilm)- [Follow Pete Wright on Twitter](http://twitter.com/petewright)- [Follow Steve Sarmento on Twitter](https://twitter.com/mr_steve23)- [Check out Tom Metz on IMDB](http://www.imdb.com/name/nm1224453/?ref_=fn_al_nm_1)- [Follow Mike Evans on Twitter](https://twitter.com/ubersky)- [Follow Chadd Stoops on Twitter](https://twitter.com/ChaddStoops)- [Follow Steven Smart on Letterboxd](http://letterboxd.com/steamrobot/)