Podcasts about columbia studios

Todd McCaffrey was born to Anne McCaffrey on April 27th, 1956. The then-named Todd Johnson came into the world as a rather precocious middle child. Anyone who questions the precocious part has only to read some of the anecdotes in “Dragonholder” to have any doubt removed. He spent most of his childhood on the East Coast of the USA until moving to Dublin, Ireland with his mother and sister in 1970. Like most of the boys growing up in the '60s, McCaffrey became space mad. However, unlike most of the other young men running around their yards in pretend helmets and throwing toy rockets into the air, he was given a “complete” set of the actual Lunar Module Pilot Study Guides in 1968. The number of hours spent devouring them repeatedly from cover to cover is evident in the fact that he has been known to quote excerpts from them during convention panels. When the time came for him to pursue higher education, McCaffrey attended Lehigh University in Bethlehem, Pennsylvania, for a year—and hated it. But he did discover one of the great loves of his life while he was there, computers. He graduated with Honors—or rather, “Honours”—in 1985 from Trinity College, Dublin. Having never lost his love for space, he left Ireland for Los Angeles, California, in the hopes of working in the aerospace Find out more at: pernhome.com/tjm/ STEVEN L. SEARS Writers, Producer, etc. – Biography Steven L. Sears has worked as a Writer, Story Editor, Producer and Creator in Television, Film, digital media and animation. His lengthy career has encompassed over fifteen separate Television series, and development deals with many major studios in the industry, including Columbia Studios, Sony/Tristar Television, Rhysher Entertainment, Artists Inc., Cookie Jar Entertainment, Digital Pictures and many others. Steven's initial foray into professional Television writing came with his hiring as a staff writer on the Stephen J. Cannell Productions hit TV series RIPTIDE, for the NBC Television Network. He followed that up by adding his talents to the writing staff of one of the more popular genre series of its time, THE A-TEAM, also for NBC. From there, he continued his career by writing and working on such popular series as HARDCASTLE & McCORMICK, JJ STARBUCK, STINGRAY, WALKER-TEXAS RANGER, HIGHWAYMAN, ROBIN'S HOODS, HOLLYWOOD DETECTIVE, FATHER DOWLING MYSTERIES, HARDBALL, GRAND SLAM, JESSE HAWKES, SUPERBOY, S.H.E. SPIES and many other Television favorites. His animation experience includes ITSY BITSY SPIDER, TRANSFORMERS: RESCUE BOTS and working with the legendary animation Director Don Bluth as writer on the short feature THE GIFT OF THE HOOPOE. More than just a writer, Steven also moved up through production as a Story Editor and Producer to Creator of Television series. After Producing SWAMP THING for USA network and RAVEN for CBS, he soon moved to a series that has made its mark in Television and pop culture history, as Co-Executive Producer of the wildly popular series XENA – WARRIOR PRINCESS. He followed that up by co-creating the latest incarnation of the legendary comic book heroine SHEENA for Sony/TriStar Television, which ran for two seasons. A popular figure at genre sci-fi/pop culture conventions, Steven has an eclectic fan base as a result of his many series and accomplishments and is a frequent guest speaker at colleges and universities. Find out more at: StevenLSears.com

Send us a textIn this episode, Victoria Riskin, daughter of Oscar-winning writer Robert Riskin and Fay Wray, and award-winning writer-producer Steven C. Smith reveal the impact of director Frank Capra and his friend and collaborator writer Robert Riskin on the early success of Columbia Pictures.  We also discuss two audio commentaries they provided for inclusion in the recently released FRANK CAPRA AT COLUMBIA COLLECTION, featuring 20 films in HD, plus nine films in 4K, plus tons of extras, all on 27 discs. Purchase links:  FRANK CAPRA AT COLUMBIA COLLECTIONFay Wray and Robert Riskin: A Hollywood MemoirMusic by Max Steiner: The Epic Life of Hollywood's Most Influential ComposerPrepare to embark on an enlightening journey through the legacy of Frank Capra at Columbia Pictures. Learn how Capra's immigrant background and early hardships shaped his storytelling genius, contributing to Columbia's rise as a powerhouse in the film industry. From tackling the transition to sound films to creating financially and culturally significant works, Capra's journey illustrates the power of determination and creativity. Through engaging anecdotes and insights, Steven and Victoria reveal how Capra's collaborations with Robert Riskin gave birth to classics like "It Happened One Night," demonstrating the strength of their partnership despite differing political ideologies during a tumultuous era.Join our conversation as we celebrate the enduring messages of integrity and community values in films like "American Madness" and "Mr. Deeds Goes to Town." The fascinating history of "American Madness" unfolds, highlighting its timely relevance during the Great Depression and its innovative technical directing. Meanwhile, "Mr. Deeds Goes to Town" captures the triumph of the common man, with Gary Cooper's memorable performance and the film's seamless blend of comedy and drama. Through personal anecdotes and reflections, Steven and Victoria underscore the significance of these films, inviting listeners to appreciate the artistry and dedication behind Hollywood's most beloved classics. The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog GroupOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. www.otakumedia.tv

Kontrastreich in vielerlei Hinsicht: Béla Bartók schreibt 1938 im Auftrag des Klarinettisten und «King of Swing» Benny Goodman ein Trio: die «Contrasts» für Violine, Klarinette und Klavier. 1940 emigriert das Ehepaar Bartók in die USA. Im Gepäck das neue Trio. Noch im selben Jahr nimmt Bartók zusammen mit dem Geiger Josef Szigeti und Gooodman in den Columbia Studios sein neues Stück auf Schallplatte auf. Soll man sich von dieser 80 Jahre alten Aufnahme heute beeinflussen lassen? Immerhin sass der Komponist persönlich am Klavier. Ist sie so etwas wie das Original oder ist es besser, die Geschichte der «Contrasts» neu zu erzählen? So wie das einige der jüngeren Aufnahmen des Stücks machen. Das will diese Diskothek herausfinden. Gäste von Benjamin Herzog sind die Klarinettistin Michal Lewkowicz und der Pianist Tomas Dratva.

Legend has it that when Jean Arthur walked out of Columbia Studios for the very last time, she shouted "I'm free! I'm free!" If it didn't happen that way, well, Jean had her own habit of stretching the truth so The Old Movie Lady thinks it's okay. She was the unusual character with the quirky voice who became a star in her mid-thirties (shhh!) and appeared in a string of classics like Mr Deeds Goes to Town, The Devil and Miss Jones, Mr Smith Goes to Washington, The More the Merrier. and You Can't Take It With You. But how did she get there, and what lead to Jean's ecstatic departure from Harry Cohn's studio? Find out that and more, in this special episode of OML, this is Close Up: Jean Arthur. This episode contains (mild) language that may be inappropriate for some listeners. Hosted on Acast. See acast.com/privacy for more information.

This month on TNT, your hosts Thanh + Tim dive into the debut solo album from Japanese electronic maestro, composer, producer, artist, actor and activist Ryuichi Sakamoto, and his 1978 output “Thousand Knives.” This marks the second in our two-part series on artists that have recently passed, with Sakamoto sadly departing this world for the great beyond on March 28, 2023, at the age of 71.

David Jackson Live on Game Changers with Vicki Abelson What a delight music legend David Jackson is. No surprise. I was warned by his legions of loyal fans, most of whom are his brilliantly talented contemporaries. This was fabulous fun, topped perhaps by pre-fed stories with lots of misinformation which paved the way for the truths, which proved to make it all even more fun. So what if David wasn't actually at Columbia Studios when George Harrison hid the pot from the cops, he told great story! Who cares if David was with Cher in DC, not the Chateau Marmont when she got a call from Jimmy (President Carter), not Henry Kissinger, or when he was offered his own show after being a regular on The Andy Williams Show he didn't turn it down, it just… well… he tells it... and then some… and then some more. Great stories, all. We hear about Hoyt Axton and how they wrote Ringo's No No Song, and Three Dog Night's Joy To The World, and what happened to David in both, there's the Chambers Brothers, Bo Diddley, Jackson Browne, John Denver, Sonny, and Sonny and Cher, Glen Frey, Jimmy Buffett, a GREAT story about Roger Miller and Glen Campbell, The Bohemian Grove, what that gentleman's club is really all about, and his upcoming trip to Marrakesh to play and… play. What a life. Well lived, still living to the max. This man is damn delight. Top to bottom, start to finish. I can't wait for his return to the States and his Friday nights at The Write Off Room with The Deductions. Till then I'll be hitting his Bandcamp https://davidpjackson1.bandcamp.com/album/first-waltz?fbclid=IwAR1FNNSEtyXUFWpxRjACYgs2844fFTyteIwhZUcxmpW0YxaBvfMngJfS_nk. David Jackson has a new huge fan. *raises hand* David Jackson Live on Game Changers with Vicki Abelson Wednesday, Sept 27th, 5 PM PT, 8 PM ET Streamed Live on my Facebook Replay here: https://bit.ly/45ZpZ0l

It is a pleasure to welcome singer-songwriter Trapper Schoepp to The Jake's Take with Jacob Elyachar Podcast. In 2019, the Milwaukee resident made headlines when he put a significant accomplishment on his resume – a co-write with music legend Bob Dylan. In 1961, the “Blowin' in the Wind” singer-songwriter recorded a song about Wisconsin in the Columbia Studios. However, he lost the lyrics sheet. Years later, the lyrics resurfaced, and it was auctioned for $30,000. Trapper took the opportunity and set the words to music. With Bob Dylan's permission, he released the song – “On, Wisconsin,” and it caught the attention of significant media outlets such as Billboard, National Public Radio (NPR), and Rolling Stone. Throughout his career, Trapper shared the stage with a plethora of Americana groups such as Frank Turner, the Jayhawks, Old 97's, and the Wallflowers. He also performed live streams for socially conscious organizations such as Guitars 4 Vets, Harmony 4 Hope, and RAINN (Rape, Abuse, and Incest National Network).In this edition of The Jake's Take with Jacob Elyachar Podcast, Trapper spoke about his new album: May Day, and some of the stories behind some of the tracks. He also talked about opening for Wilco on September 10 for Summerfest.

What do the A-Team and Xena Warrior Princes have in common? Today's guest--writer/producer/author Steven. L. Sears.  Steven  has worked as a Writer, Story Editor, Producer and Creator in Television, Film, digital media and animation. His lengthy career has encompassed over fifteen separate Television series, and development deals with many major studios in the industry, including Columbia Studios, Sony/Tristar Television, Rhysher Entertainment, Artists Inc., Cookie Jar Entertainment, Digital Pictures and many others.   Here's a slice of what you'll hear Steven and Dr. Fred discuss in today's lively conversation: The "imposter phenomenon" (and the 3 words that cured Steven of it) "No" as an affirmation of a deliberate choice The victory is in the journey Difference between a "life pursuit" and a "project pursuit" Goals as "directions" (rather than an end) The gift of genuine feedback Dealing with the primal aspects of our humanity Key phrases to use when receiving feedback Forgiving ourselves for our mistakes   Episode Length: 0:58:26   STEVEN L. SEARS'S RESOURCES Website > https://stevenlsears.com Twitter > https://twitter.com/fsuwriter Instagram > https://www.instagram.com/fsuwriter Steven's Amazon Author Page > https://www.amazon.com/Steven-L-Sears/e/B00O8QLMCW   POWERFUL QUOTES FROM TODAY'S GUEST "Do not ever, ever, ever, ever, ever underestimate the impact that your passion and creativity can have on the world."   "You are more than just a butterfly wing —you are an amazing force."   WELCOME TO HUMANITY RESOURCES Podcast Website >  http://www.welcometohumanity.net/podcast PURCHASE DR. FRED'S BOOK (paperback or Kindle) > Creative 8: Healing Through Creativity & Self-Expression by Dr. Fred Moss http://www.amazon.com/Creative-Healing-Through-Creativity-Self-Expression/dp/B088N7YVMG   FEEDBACK  > http://www.welcometohumanity.net/contact

Il 15 giugno del 1965 , se avessimo potuto avere il dono dell'ubiquità saremmo entrati    New York    in una vecchia chiesa che aveva smesso di essere tale dopo la fine della guerra per trasformarsi nei Columbia Studios.Erano passati 10 anni da quando Glenn Gould aveva registrato proprio lì la sua versione capolavoro del Clavicembalo ben temperato di Johann Sebastian Bach. Vi avremmo trovato un giovane Dylan affiancato dal produttore di colore Tom Wilson che aveva già collaborato con l'artista.Solo che questa era una giornata particolare.Per ascoltare la playlist di Spotify della puntata di oggi clicca qui! https://rbe.it/?p=66112

After an original song from Chris' archives, the twins go down a rabbit hole, mostly about Hollywood Boulevard in the 1970s - when it was new to them. They also discuss their South African heritage, the old Columbia Studios on Gower and Sunset, Western Costume and much more. SHOW NOTES: 0:00 - "Castaway" by Chris Yale 5:18 - Chris' "Emotional Support" Chihuahuas 6:52 - Our South African Heritage 8:32 - The Castle Beer Show - Original Yale Brothers 9:51 - Dad's apartment at Peyton Hall in Hollywood / McLean Stevenson / It was at Hollywood and Fuller, not Orange / Olympic-sized pool and Esther Williams 12:14 - Macho Posturing 13:02 - "Hello Larry" vs. "M*A*S*H" 13:02 - Baltimore / KIX / Author Troy Nooe / "Don't Close Your Eyes" 16:13 - Hollywood Boulevard in the 1970s La Brea Avenue / Hollywood Walk of Fame / Hollywood Magic / Hollywood Toys 20:15 - Chris' Vintage Magic Tricks / Tarbell Course in Magic / Mark Wilson's Course in Magic / Robert Harbin / Walter Gibson aka Maxwell Grant - "The Shadow" 22:43 - Pickwick Books / Collector's Bookstore / Bennett's / Bond Street Books / Cherokee Bookstore 23:48 - Chinese Theatre / Egyptian Theatre / Paramount/El Capitan Theatre / Pantages 25:22 - ArcLight Cinemas (Cinerama Dome) / Musso and Frank Grill / Newsstands / The Gold Cup 28:13 - Crying at Concerts 29:39 - Miceli's / Bobby Pompey's Las Palmas Barber Shop 31:16 - Columbia Studios / Sunset Gower Studios / The "Hollywood USA" idea 34:43 - Western Costume, Sherlock Holmes and "Targo" 35:48 - LuLu's North Myrtle Beach 36:17 - Hurricane Colinz 36:29 - Thoughts on COVID-19, booking shows and more 37:17 - Sick Stooges (Roger was a founding member. Read his tribute HERE.

Marilyn attends an auction with acting coach Natasha Lytess and reclaims a white piano from her childhood. She re-experiences the period she lived with her mother, childhood sexual abuse traumas, and her mother’s psychotic episode which leaves Gladys institutionalized. The aftermath fragments little Norma Jeane’s daily life as Grace struggles to find a place for her with stable living conditions. A teenage Marilyn is signed to the Blue Book Modeling agency and learns to protect herself in the male-powered entertainment industry. She later attempts to negotiate her contract with studio mogul Harry Cohn at Columbia Studios.

PODCAST:David N. Bruskin Behind the Three Stooges: The White Brothers. Jules White, the Stooges and Columbia Studios. Our guest is Author/film story analyst David N. Bruskin is the author of a book in conjunction with the Director Guild. “Behind the Three Stooges: The White Brothers: Conversations With David N. Bruskin” is a legendary history of the White Brothers who were true comedy film pioneers. For people who can't get enough reading about the Stooges, for those who care about how the shorts department of a major studio functioned, and for a look at B-filmmaking from men who were in the thick of it, this is must reading. Valuable and fascinating…. marvelous insight into the frantic schedules and cost-cutting that dictated the production style of the Columbia two-reelers from the 1930s to the late Fifties. We discuss everything from the creation of the Stooges and Jules White's influence on the team and Columbia short subjects --- Support this podcast: https://anchor.fm/RickLertzman/support

"Hello darkness, my old friend, I’ve come to talk with you again."How would you describe your relationship with silence and solitude?//Hello darkness, my old friendI've come to talk with you againBecause a vision softly creepingLeft its seeds while I was sleepingAnd the vision that was planted in my brainStill remainsWithin the sound of silenceIn restless dreams I walked aloneNarrow streets of cobblestone'Neath the halo of a street lampI turned my collar to the cold and dampWhen my eyes were stabbed By the flash of a neon lightThat split the nightAnd touched the sound of silenceAnd in the naked light I sawTen thousand people, maybe morePeople talking without speakingPeople hearing without listeningPeople writing songs that voices never shareAnd no one daredDisturb the sound of silence"Fools," said I, "You do not knowSilence, like a cancer, growsHear my words that I might teach youTake my arms that I might reach you"But my words, like silent raindrops fellAnd echoed in the wells, of silenceAnd the people bowed and prayedTo the neon god they madeAnd the sign flashed out its warningIn the words that it was formingAnd the sign said, "The words of the prophets Are written on the subway wallsAnd tenement halls"And whispered in the sounds of silence//The reflection at the beginning of this episode was written and recorded by Ben Grace. Ben recorded the cover but he didn’t write the song, but you probably knew that already. This episode was produced by Rev. Jim Keat. Background tracks include Button Mushrooms by Podington Bear.The Sound of Silence was written by Paul Simon in 1963-64 and recorded by Simon & Garfunkel in March 1964 at Columbia Studios in New York City for inclusion on their debut album, Wednesday Morning, 3 A.M.. Ironically, the album was a commercial failure and led to the group disbanding but after the song hit No. 1 on January 1, 1966 the iconic duo reunited and recorded their second album, Sounds of Silence.Visit www.trcnyc.org/BeStillAndGo to listen to more episodes from all five seasons of Be Still and Go.Visit www.trcnyc.org/Donate to support this podcast and other digital resources from The Riverside Church that integrate spirituality and social justice.Ben Grace is an Australian singer/songwriter. You can find his music on Spotify and Soundcloud and Apple Music and all the places you would expect. And you can find out more about Ben on his website at www.BenGraceMusic.com.This season of Be Still and Go is supported in part by Convergence as they help share each episode with their community. (You should do the same!) Convergence a network that supports the reshaping of organizations, congregations and leaders engaged in an age of movement from “organized religion” to “organizing religion” driven by the values of an inclusive, progressive theological vision for a more just world for all. Visit www.convergenceus.org to find out more.

"Hello darkness, my old friend, I’ve come to talk with you again."How would you describe your relationship with silence and solitude?//Hello darkness, my old friendI've come to talk with you againBecause a vision softly creepingLeft its seeds while I was sleepingAnd the vision that was planted in my brainStill remainsWithin the sound of silenceIn restless dreams I walked aloneNarrow streets of cobblestone'Neath the halo of a street lampI turned my collar to the cold and dampWhen my eyes were stabbed By the flash of a neon lightThat split the nightAnd touched the sound of silenceAnd in the naked light I sawTen thousand people, maybe morePeople talking without speakingPeople hearing without listeningPeople writing songs that voices never shareAnd no one daredDisturb the sound of silence"Fools," said I, "You do not knowSilence, like a cancer, growsHear my words that I might teach youTake my arms that I might reach you"But my words, like silent raindrops fellAnd echoed in the wells, of silenceAnd the people bowed and prayedTo the neon god they madeAnd the sign flashed out its warningIn the words that it was formingAnd the sign said, "The words of the prophets Are written on the subway wallsAnd tenement halls"And whispered in the sounds of silence//The reflection at the beginning of this episode was written and recorded by Ben Grace. Ben recorded the cover but he didn’t write the song, but you probably knew that already. This episode was produced by Rev. Jim Keat. Background tracks include Button Mushrooms by Podington Bear.The Sound of Silence was written by Paul Simon in 1963-64 and recorded by Simon & Garfunkel in March 1964 at Columbia Studios in New York City for inclusion on their debut album, Wednesday Morning, 3 A.M.. Ironically, the album was a commercial failure and led to the group disbanding but after the song hit No. 1 on January 1, 1966 the iconic duo reunited and recorded their second album, Sounds of Silence.Visit www.trcnyc.org/BeStillAndGo to listen to more episodes from all five seasons of Be Still and Go.Visit www.trcnyc.org/Donate to support this podcast and other digital resources from The Riverside Church that integrate spirituality and social justice.Ben Grace is an Australian singer/songwriter. You can find his music on Spotify and Soundcloud and Apple Music and all the places you would expect. And you can find out more about Ben on his website at www.BenGraceMusic.com.This season of Be Still and Go is supported in part by Convergence as they help share each episode with their community. (You should do the same!) Convergence a network that supports the reshaping of organizations, congregations and leaders engaged in an age of movement from “organized religion” to “organizing religion” driven by the values of an inclusive, progressive theological vision for a more just world for all. Visit www.convergenceus.org to find out more.

"When we actually get that peace and quiet it can be louder than the world we thought we left behind."What does peace and quiet sound like to you?//Hello darkness, my old friendI've come to talk with you againBecause a vision softly creepingLeft its seeds while I was sleepingAnd the vision that was planted in my brainStill remainsWithin the sound of silenceIn restless dreams I walked aloneNarrow streets of cobblestone'Neath the halo of a street lampI turned my collar to the cold and dampWhen my eyes were stabbed By the flash of a neon lightThat split the nightAnd touched the sound of silenceAnd in the naked light I sawTen thousand people, maybe morePeople talking without speakingPeople hearing without listeningPeople writing songs that voices never shareAnd no one daredDisturb the sound of silence"Fools," said I, "You do not knowSilence, like a cancer, growsHear my words that I might teach youTake my arms that I might reach you"But my words, like silent raindrops fellAnd echoed in the wells, of silenceAnd the people bowed and prayedTo the neon god they madeAnd the sign flashed out its warningIn the words that it was formingAnd the sign said, "The words of the prophets Are written on the subway wallsAnd tenement halls"And whispered in the sounds of silence//This episode was written and recorded by Rev. Vince Anderson. It was produced by Rev. Jim Keat. Background tracks include Button Mushrooms by Podington Bear.The Sound of Silence was written by Paul Simon in 1963-64 and recorded by Simon & Garfunkel in March 1964 at Columbia Studios in New York City for inclusion on their debut album, Wednesday Morning, 3 A.M.. Ironically, the album was a commercial failure and led to the group disbanding but after the song hit No. 1 on January 1, 1966 the iconic duo reunited and recorded their second album, Sounds of Silence.Visit www.trcnyc.org/BeStillAndGo to listen to more episodes from all five seasons of Be Still and Go.Visit www.trcnyc.org/Donate to support this podcast and other digital resources from The Riverside Church that integrate spirituality and social justice.Reverend Vince Anderson is a New York City based musician. He has had a regular show at Union Pool for decades and his music is described as "dirty gospel". He has been described as a Brooklyn institution.This season of Be Still and Go is supported in part by Convergence as they help share each episode with their community. (You should do the same!) Convergence a network that supports the reshaping of organizations, congregations and leaders engaged in an age of movement from “organized religion” to “organizing religion” driven by the values of an inclusive, progressive theological vision for a more just world for all. Visit www.convergenceus.org to find out more.

"When we actually get that peace and quiet it can be louder than the world we thought we left behind."What does peace and quiet sound like to you?//Hello darkness, my old friendI've come to talk with you againBecause a vision softly creepingLeft its seeds while I was sleepingAnd the vision that was planted in my brainStill remainsWithin the sound of silenceIn restless dreams I walked aloneNarrow streets of cobblestone'Neath the halo of a street lampI turned my collar to the cold and dampWhen my eyes were stabbed By the flash of a neon lightThat split the nightAnd touched the sound of silenceAnd in the naked light I sawTen thousand people, maybe morePeople talking without speakingPeople hearing without listeningPeople writing songs that voices never shareAnd no one daredDisturb the sound of silence"Fools," said I, "You do not knowSilence, like a cancer, growsHear my words that I might teach youTake my arms that I might reach you"But my words, like silent raindrops fellAnd echoed in the wells, of silenceAnd the people bowed and prayedTo the neon god they madeAnd the sign flashed out its warningIn the words that it was formingAnd the sign said, "The words of the prophets Are written on the subway wallsAnd tenement halls"And whispered in the sounds of silence//This episode was written and recorded by Rev. Vince Anderson. It was produced by Rev. Jim Keat. Background tracks include Button Mushrooms by Podington Bear.The Sound of Silence was written by Paul Simon in 1963-64 and recorded by Simon & Garfunkel in March 1964 at Columbia Studios in New York City for inclusion on their debut album, Wednesday Morning, 3 A.M.. Ironically, the album was a commercial failure and led to the group disbanding but after the song hit No. 1 on January 1, 1966 the iconic duo reunited and recorded their second album, Sounds of Silence.Visit www.trcnyc.org/BeStillAndGo to listen to more episodes from all five seasons of Be Still and Go.Visit www.trcnyc.org/Donate to support this podcast and other digital resources from The Riverside Church that integrate spirituality and social justice.Reverend Vince Anderson is a New York City based musician. He has had a regular show at Union Pool for decades and his music is described as "dirty gospel". He has been described as a Brooklyn institution.This season of Be Still and Go is supported in part by Convergence as they help share each episode with their community. (You should do the same!) Convergence a network that supports the reshaping of organizations, congregations and leaders engaged in an age of movement from “organized religion” to “organizing religion” driven by the values of an inclusive, progressive theological vision for a more just world for all. Visit www.convergenceus.org to find out more.

"And no one dared disturb the sound of silence.” -Paul SimonWhen was a time that you experienced the sound of silence?//Hello darkness, my old friendI've come to talk with you againBecause a vision softly creepingLeft its seeds while I was sleepingAnd the vision that was planted in my brainStill remainsWithin the sound of silenceIn restless dreams I walked aloneNarrow streets of cobblestone'Neath the halo of a street lampI turned my collar to the cold and dampWhen my eyes were stabbed By the flash of a neon lightThat split the nightAnd touched the sound of silenceAnd in the naked light I sawTen thousand people, maybe morePeople talking without speakingPeople hearing without listeningPeople writing songs that voices never shareAnd no one daredDisturb the sound of silence"Fools," said I, "You do not knowSilence, like a cancer, growsHear my words that I might teach youTake my arms that I might reach you"But my words, like silent raindrops fellAnd echoed in the wells, of silenceAnd the people bowed and prayedTo the neon god they madeAnd the sign flashed out its warningIn the words that it was formingAnd the sign said, "The words of the prophets Are written on the subway wallsAnd tenement halls"And whispered in the sounds of silence//This episode was performed by Sidney Outlaw and accompanied by Dr. Hsin- I Huang. It was produced by Rev. Jim Keat. Background tracks include Button Mushrooms by Podington Bear.The Sound of Silence was written by Paul Simon in 1963-64 and recorded by Simon & Garfunkel in March 1964 at Columbia Studios in New York City for inclusion on their debut album, Wednesday Morning, 3 A.M.Visit www.trcnyc.org/BeStillAndGo to listen to more episodes from all five seasons of Be Still and Go.Visit www.trcnyc.org/Donate to support this podcast and other digital resources from The Riverside Church that integrate spirituality and social justice.Sidney Outlaw is an opera powerhouse and a member of The Riverside Church choir. Visit www.SidneyOutlaw.com to find out more.This season of Be Still and Go is supported in part by Convergence as they help share each episode with their community. (You should do the same!) Convergence a network that supports the reshaping of organizations, congregations and leaders engaged in an age of movement from “organized religion” to “organizing religion” driven by the values of an inclusive, progressive theological vision for a more just world for all. Visit www.convergenceus.org to find out more.

"And no one dared disturb the sound of silence.” -Paul SimonWhen was a time that you experienced the sound of silence?//Hello darkness, my old friendI've come to talk with you againBecause a vision softly creepingLeft its seeds while I was sleepingAnd the vision that was planted in my brainStill remainsWithin the sound of silenceIn restless dreams I walked aloneNarrow streets of cobblestone'Neath the halo of a street lampI turned my collar to the cold and dampWhen my eyes were stabbed By the flash of a neon lightThat split the nightAnd touched the sound of silenceAnd in the naked light I sawTen thousand people, maybe morePeople talking without speakingPeople hearing without listeningPeople writing songs that voices never shareAnd no one daredDisturb the sound of silence"Fools," said I, "You do not knowSilence, like a cancer, growsHear my words that I might teach youTake my arms that I might reach you"But my words, like silent raindrops fellAnd echoed in the wells, of silenceAnd the people bowed and prayedTo the neon god they madeAnd the sign flashed out its warningIn the words that it was formingAnd the sign said, "The words of the prophets Are written on the subway wallsAnd tenement halls"And whispered in the sounds of silence//This episode was performed by Sidney Outlaw and accompanied by Dr. Hsin- I Huang. It was produced by Rev. Jim Keat. Background tracks include Button Mushrooms by Podington Bear.The Sound of Silence was written by Paul Simon in 1963-64 and recorded by Simon & Garfunkel in March 1964 at Columbia Studios in New York City for inclusion on their debut album, Wednesday Morning, 3 A.M.Visit www.trcnyc.org/BeStillAndGo to listen to more episodes from all five seasons of Be Still and Go.Visit www.trcnyc.org/Donate to support this podcast and other digital resources from The Riverside Church that integrate spirituality and social justice.Sidney Outlaw is an opera powerhouse and a member of The Riverside Church choir. Visit www.SidneyOutlaw.com to find out more.This season of Be Still and Go is supported in part by Convergence as they help share each episode with their community. (You should do the same!) Convergence a network that supports the reshaping of organizations, congregations and leaders engaged in an age of movement from “organized religion” to “organizing religion” driven by the values of an inclusive, progressive theological vision for a more just world for all. Visit www.convergenceus.org to find out more.

"When I let go of my certainty, I thought I would also let go of peace and yet surprisingly, that’s where I found it."What would it look like for you to let go of your certainty?//Hello darkness, my old friendI've come to talk with you againBecause a vision softly creepingLeft its seeds while I was sleepingAnd the vision that was planted in my brainStill remainsWithin the sound of silenceIn restless dreams I walked aloneNarrow streets of cobblestone'Neath the halo of a street lampI turned my collar to the cold and dampWhen my eyes were stabbed By the flash of a neon lightThat split the nightAnd touched the sound of silenceAnd in the naked light I sawTen thousand people, maybe morePeople talking without speakingPeople hearing without listeningPeople writing songs that voices never shareAnd no one daredDisturb the sound of silence"Fools," said I, "You do not knowSilence, like a cancer, growsHear my words that I might teach youTake my arms that I might reach you"But my words, like silent raindrops fellAnd echoed in the wells, of silenceAnd the people bowed and prayedTo the neon god they madeAnd the sign flashed out its warningIn the words that it was formingAnd the sign said, "The words of the prophets Are written on the subway wallsAnd tenement halls"And whispered in the sounds of silence//This episode was written and recorded by Melissa Greene. It was produced by Rev. Jim Keat. Background tracks include Button Mushrooms, B7 Bomber, and Cold Feet by Podington Bear.The Sound of Silence was written by Paul Simon in 1963-64 and recorded by Simon & Garfunkel in March 1964 at Columbia Studios in New York City for inclusion on their debut album, Wednesday Morning, 3 A.M.. Ironically, the album was a commercial failure and led to the group disbanding but after the song hit No. 1 on January 1, 1966 the iconic duo reunited and recorded their second album, Sounds of Silence.Visit www.trcnyc.org/BeStillAndGo to listen to more episodes from all five seasons of Be Still and Go.Visit www.trcnyc.org/Donate to support this podcast and other digital resources from The Riverside Church that integrate spirituality and social justice.Melissa Greene is a speaker, singer, curator, pastor, and writer. Visit www.MelissaGreene.net to find out more or follow her on twitter at www.twitter.com/MelissaGreene/.This season of Be Still and Go is supported in part by Convergence as they help share each episode with their community. (You should do the same!) Convergence a network that supports the reshaping of organizations, congregations and leaders engaged in an age of movement from “organized religion” to “organizing religion” driven by the values of an inclusive, progressive theological vision for a more just world for all. Visit www.convergenceus.org to find out more.

"When I let go of my certainty, I thought I would also let go of peace and yet surprisingly, that’s where I found it."What would it look like for you to let go of your certainty?//Hello darkness, my old friendI've come to talk with you againBecause a vision softly creepingLeft its seeds while I was sleepingAnd the vision that was planted in my brainStill remainsWithin the sound of silenceIn restless dreams I walked aloneNarrow streets of cobblestone'Neath the halo of a street lampI turned my collar to the cold and dampWhen my eyes were stabbed By the flash of a neon lightThat split the nightAnd touched the sound of silenceAnd in the naked light I sawTen thousand people, maybe morePeople talking without speakingPeople hearing without listeningPeople writing songs that voices never shareAnd no one daredDisturb the sound of silence"Fools," said I, "You do not knowSilence, like a cancer, growsHear my words that I might teach youTake my arms that I might reach you"But my words, like silent raindrops fellAnd echoed in the wells, of silenceAnd the people bowed and prayedTo the neon god they madeAnd the sign flashed out its warningIn the words that it was formingAnd the sign said, "The words of the prophets Are written on the subway wallsAnd tenement halls"And whispered in the sounds of silence//This episode was written and recorded by Melissa Greene. It was produced by Rev. Jim Keat. Background tracks include Button Mushrooms, B7 Bomber, and Cold Feet by Podington Bear.The Sound of Silence was written by Paul Simon in 1963-64 and recorded by Simon & Garfunkel in March 1964 at Columbia Studios in New York City for inclusion on their debut album, Wednesday Morning, 3 A.M.. Ironically, the album was a commercial failure and led to the group disbanding but after the song hit No. 1 on January 1, 1966 the iconic duo reunited and recorded their second album, Sounds of Silence.Visit www.trcnyc.org/BeStillAndGo to listen to more episodes from all five seasons of Be Still and Go.Visit www.trcnyc.org/Donate to support this podcast and other digital resources from The Riverside Church that integrate spirituality and social justice.Melissa Greene is a speaker, singer, curator, pastor, and writer. Visit www.MelissaGreene.net to find out more or follow her on twitter at www.twitter.com/MelissaGreene/.This season of Be Still and Go is supported in part by Convergence as they help share each episode with their community. (You should do the same!) Convergence a network that supports the reshaping of organizations, congregations and leaders engaged in an age of movement from “organized religion” to “organizing religion” driven by the values of an inclusive, progressive theological vision for a more just world for all. Visit www.convergenceus.org to find out more.

1. Villagers of Cáceres, La Mancha: Christmas processional, Christmas Eve 19522. Merritt Boddie and Marigolds band: Christmas Machete, Gingerland, Nevis, July 19623. Norman Edmonds and the Old-Timers: Breaking Up Christmas, Hillsville, Virginia, August 19594. Sophie Loman Wing and group: All Night Long, St. Simons Island, Georgia, June 19355. Kelley Pace and prisoners: Holy Babe, Cumins State Farm, near Gould, Arkansas, 19426. Vera Ward Hall: No Room At the Inn / Last Month of the Year, Livingston, Alabama, October 19597. Phil Tanner: The Gower Wassail, Columbia Studios, London, 19378. Shirley and Dolly Collins: The Moon Shines Bright, from “For As Many As Will” (Topic, 1978)9. 1959 United Sacred Harp Musical Association: Sherburne (#186), Fyffe, Alabama, September 195910. Villagers of Hío, Aragon: Buenas Entradas de Reyes, Hío, Galicia, November 195211. Bessie Jones and the Georgia Sea Island Singers with Hobart Smith, Nat Rahmings, and Ed Young: Yonder Come Day, St. Simons, Georgia, 1960. Preceded by 1962 discussion about the song between Jones and Antoinette Marchand. And the complete 1957 BBC broadcast of “Sing Christmas and the Turn of the Year,” produced and hosted by Alan Lomax. Songs and performers listed here (although we have edited out Lomax's performance of "No Room At the Inn" for reasons [primarily] of file size). https://www.discogs.com/Various-Sing-Christmas-And-The-Turn-Of-The-Year/release/6156619

1. Villagers of Cáceres, La Mancha: Christmas processional, Christmas Eve 19522. Merritt Boddie and Marigolds band: Christmas Machete, Gingerland, Nevis, July 19623. Norman Edmonds and the Old-Timers: Breaking Up Christmas, Hillsville, Virginia, August 19594. Sophie Loman Wing and group: All Night Long, St. Simons Island, Georgia, June 19355. Kelley Pace and prisoners: Holy Babe, Cumins State Farm, near Gould, Arkansas, 19426. Vera Ward Hall: No Room At the Inn / Last Month of the Year, Livingston, Alabama, October 19597. Phil Tanner: The Gower Wassail, Columbia Studios, London, 19378. Shirley and Dolly Collins: The Moon Shines Bright, from “For As Many As Will” (Topic, 1978)9. 1959 United Sacred Harp Musical Association: Sherburne (#186), Fyffe, Alabama, September 195910. Villagers of Hío, Aragon: Buenas Entradas de Reyes, Hío, Galicia, November 195211. Bessie Jones and the Georgia Sea Island Singers with Hobart Smith, Nat Rahmings, and Ed Young: Yonder Come Day, St. Simons, Georgia, 1960. Preceded by 1962 discussion about the song between Jones and Antoinette Marchand. And the complete 1957 BBC broadcast of “Sing Christmas and the Turn of the Year,” produced and hosted by Alan Lomax. Songs and performers listed here (although we have edited out Lomax's performance of "No Room At the Inn" for reasons [primarily] of file size). https://www.discogs.com/Various-Sing-Christmas-And-The-Turn-Of-The-Year/release/6156619

Sign on the Window is like that necktie and your Panama hat... it helps you look good in the face of utter destruction. Each week we listen to a random Bob Dylan song and this week, from 1976, "Black Diamond Bay." We talk context (5:45), the merits of traveling over staying in LA drinking a beer (12:00),the song itself (23:00, theories (30:00) and storytelling. We talk Conrad, Achebe, and Kendrick Lamar so buckle up. CONTEXT (5:45)“Black Diamond Bay” was recorded at Columbia Studios in New York City on July 29, 1975 in 12 takes, then on July 30 in 5. There is a connection to Joseph Conrad, namely the 1915 novel Victory, as Ian Bell notes:There is no hero, certainly no epic journey, least of all a spiritual rebirth. Instead, the song owes everything to Conrad’s use in Victory of doubled perspectives, physical and moral, and to the idea of fate, blind and mute, that permeates Blood on the Tracks. In ‘Black Diamond Bay’, good and evil contend; people scurry around on their plots, affairs and petty human errands; the volcano explodes regardless. The End. — Ian Bell, Time Out of Mind: The Lives of Bob DylanThis song was played only 1 time. Or was it?!?!Bob Dylan dot com, your home for most things Bob Dylan, says that the song was performed in Salt Lake City, Utah, on May 25, 1976, at the end of the Rolling Thunder Revue. Ian Bell mentions a 2003 collection by **Les Kokay (Songs of the Underground: A Collector’s Guide to the Rolling Thunder Revue 1975–1976)which notes the supposed performance but accepts that the claim is based on a single unsupported report of a show with no bootleg extant.TRAVELING OR STAYING IN LA WITH A BEER? (12:00)This song was written with the end in mind. The closing line makes it clear: there’s always another hard luck story that you’re gonna hear. Dylan told Neil Hickey in 1976:I don’t feel that to live in this country you have to watch the TV news. You learn from talking to other people. You have to know how people feel, and you don’t get that from television news.And in the end I never did plan to go anyway to Black Diamond Bay. As two traveled people who can conceptualize nameless, faceless people far away living lives of imagination and passion, do we relate to Dylan’s apathy?SONG ITSELF (23:00)Definitely a hidden gem in the Dylan catalogue, as ambitious as “Lily, Rosemary and the Jack of Hearts” and “Changing of the Guards” as a stand alone fiction. It’s got this old movie kind of vibe, the “movie-spinning” as Michael Gray calls it. You can almost see this in black and white while present day schlub, drink in hand, is vividly, embarrassingly, in color.The narrative is engaging and the chord sequences complement the mood. The level of detail is astounding as are Dylan’s casual flexes with the songs internal rhyming (“veranda” with “necktie and a;” “open” with “rope and;” “second floor” with “Ambassador;” “vous plaît” with “fly away;” “the basement blew” with “je vous aime beaucoup”).Dylan populates this islands with memorable characters. Our main character, the woman in the Panama hat, is trying to start her life over before it’s too late. The Greek tries to kill himself, fails (?, or doesn’t), but the volcano goes off anyway. The desk clerk reassures everyone the rumblings “happen everyday.” The soldier and the tiny man, the loser and dealer. The Soviet ambassador. It just goes on!Which makes the end of the song wallop. Daniel likened it to the end of Chinua Achebe’s masterpiece Things Fall Apart. The novel, which focuses in Okonkwo in nineteenth century Nigeria, closes with this passage (imagine the Commissioner in LA drinking a beer on some sofa):The Commissioner went away, taking three or four of the soldiers with him. In the many years in which he had toiled to bring civilization to different parts of Africa he had learned a number of things. One of them was that a District Commissioner must never attend to such undignified details as cutting a hanged man from the tree. Such attention would give the natives a poor opinion of him. In the book which he planned to write he would stress that point. As he walked back to the court he thought about that book. Every day brought him some new material. The story of this man who had killed a messenger and hanged himself would make interesting reading. One could almost write a whole chapter on him. Perhaps not a whole chapter but a reasonable paragraph, at any rate. There was so much else to include, and one must be firm in cutting out details. He had already chosen the title of the book, after much thought: The Pacification of the Primitive Tribes of the Lower Niger. — Chinua Achiebe, Things Fall ApartThe irony that we just read an entire book on a man who will be reduced to a paragraph resonated. All those hard luck stories that you’re gonna hear are worthy, even if we concede that we don’t have the capacity to hear them all. Achiebe, and Dylan, challenges our perception and empathy for others.THE EPISODE’S BOOKLET & PLAYLISTRECOMMENDATIONSKelly “discovered” the back catalog of Kendrick Lamar. ‘Bout time. Daniel played Great Collapse Neither Washington Nor Moscow… Again (and The Redskins Neither Washington Nor Moscow… from 1986.ENDINGSKelly guessed #402. “Let’s Stick Together.” Would be our first from Down in the Groove. It’s #451. The classic "Up to Me," which originally premiered on 1985’s Biograph.Next week: No one else could play that tune...Follow us wherever you listen to podcasts. See our real-time playlist See That My Playlist is Kept Clean on Spotify. Follow us intermittently on Twitter and Instagram.Tell your friends about the show, rate and review wherever they let you, and consider supporting us by subscribing or at Patreon. This is a public episode. If you’d like to discuss this with other subscribers or get access to bonus episodes, visit signonthewindow.substack.com/subscribe

Stephen Nathan (Bones, Joan of Arcadia, Family Law) discusses career in executive producing sit-coms and one-hour drama series and offers a detailed look into a ten-year run on the hit comedy-procedural Bones.   We talk about: The future of consuming visual content Writing and executive producing Bones for a decade  The special 200th "Hitchcock" episode of Bones in Technicolor The evolution of two central characters  Balancing plot and character within episodes Social media fan support -- the positive and the negative Transitioning from New York and the stage to LA and a role in Bonanza  The demanding schedule of a showrunner Cross-training with playwriting   Quotes from the show: "Ten years on one show... I could have become a doctor." "There are two characters; we pick them up at one part of their lives, and then, when the series ends, you leave them in another part of their lives." "The more controversial something is-- or the more upset the audience was-- the more they talked about it, and the more people wanted to see what they were talking about." "I have felt so lucky and so fortunate to be able to do what I love, and eat because of it. I don't take that lightly." "There has to be an element of truth. That holds true for any genre, any literature... What's the ticker? What's that little piece of humanity that's the reason we watch the show?"

Let's cut to the chase. When Richard Pryor says to you, "After you're done wiping, do you think you could drive yourself over to Columbia Studios to help me work on a script?" You put the crossword puzzle down, flush the toilet and haul ass into Hollywood. Writer, Director, Producer Rocco Urbisci drops by and chats about all things Pryor and Carlin. Oh, and by the way, it's milk milk lemonade TIME!!!