Podcasts about Family album

Family & Children on SermonAudio

The Family Album

Play Episode Listen Later Jul 29, 2024 32:00

A new MP3 sermon from Grace Orthodox Presbyterian Church is now available on SermonAudio with the following details: Title: The Family Album Subtitle: Exodus Speaker: Nathan Hornfeld Broadcaster: Grace Orthodox Presbyterian Church Event: Sunday - AM Date: 7/28/2024 Bible: Exodus 6:14-27 Length: 32 min.

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http://www.copperplatemailorder.com Copperplate Podcast 295 presented by Alan O'Leary July 2024 www.copperplatemailorder.com 1.Danu:The Garsun Who Beat His Father.All Things Considered. 2. McCarthy Family: The Tempest/The Steam Packet. The Family Album 3 Bobby Casey: Colonel Fraser/Toss the Feathers. The Spirit of West Clare 4. Danu: Bridget Donahue. All Things Considered5. Caoimhin O'Feaghaill & Paddy Tutty: Palm Sunday/Mulqueeney's. Flute & Fiddle 6. Patsy Moloney & John Regan: McGettrick's 2/Mist on the Mountain. The Old Bog Road 7. John McEvoy & John Wynne: Ask My Father/Boys of Mayo/Eddie Moloney's Fave. The Dancer at the Fair 8. Sean O'Driscoll: The Clare HP/Pol Ha'enny. So There You Go 9. Kate Purcell:The Green Hills of Clare. Independent Soul 10. Sorcha Costello: John Naughton's/Ryan's Rant. The Primrose Lass11. Eamonn Cotter: Lady Gordon/Lord Gordon. Trad Music from Clare 12. Daith Gormley: Bill McEvoy's no1/Connolly's/The Banks of the Shannon. Fiddling Without A Bow 13. Tommy Keane & Jacqueline: Repeal of the Union/My Sweetheart Jane. The Wind Among the Reeds 13. Ben & Charlie Lennon: The Primrose Polka. The Natural Bridge 14. Tim Dennehy: Farewell to Miltown Malbay. Farewell to Miltown Malbay15. Mick O'Brien & Terry Crehan: Farewell to Miltown Malbay/West Clare Railway/Sporting Nell. May Morning Dew

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Lucy Kalantari Performs Live From Family Album, 'Creciendo'

All Of It

Play Episode Listen Later Jun 26, 2024 28:45

Today is the last of day of school in New York City public schools. To kick off summer vacation, let's listen to some music for families! Lucy Kalantari is a Grammy-award winning musician who specializes in children's music. Her new album, Creciendo, is her first full-length project in Spanish, inspired by her Puerto Rican and Dominican identity. Kalantari joins us in studio to perform live, and talk about her process as a songwriter for the new "Dora" series.*This segment is guest-hosted by Tiffany Hanssen

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Don't Judge (Airdate 2/26/2024)

Bob & Sheri

Play Episode Listen Later Feb 26, 2024 82:11

Don't Judge. Family Album. Morons in the News. Down the Rabbit Hole. Everyone Needs a Laugh. No More Shoe Laces? Talkback Callers. Work & Happiness. Can You Believe This S***? Gift Bags. From the Vault.See omnystudio.com/listener for privacy information.

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Stereo Embers The Podcast: Holly Palmer

Stereo Embers: The Podcast

Play Episode Listen Later Jan 10, 2024 75:46

"A Family Album" The California-born and Washington-raised Holly Palmer has had quite a career. Signed to Reprise in the mid-nineties, Palmer garnered well-deserved critical-acclaim and toured with the likes of Paula Cole, k.d. Lang and Shawn Colvin. David Bowie asked her to sing background vocals on his Hours album and then he asked her to join his 1999 world tour as a singer/percussionist. Some career highlights: she joined Gnarls Barkley on their World Tour, recorded a duet with Michael Buble', sang background and played acoustic guitar on Idina Menzel's I Stand Tour, wrote the theme to the television show Mob City, and formed the musical duo Bubbles and Cheesecake with Ailee Willis who wrote September and Boogie Wonderland with Earth, Wind & Fire. She's worked with Jellyfish's Roger Manning Jr, Dr. Dre, Don Was and Dave Navarro--how's that for range? She can do anything. Holly Palmer has put out five perfect solo albums including her 1996 self-titled debut, 2007's Songs For Tuesday and 2017's A Family Album. A graduate of the Berkelee College Of Music Palmer has since gone on to explore the nuances of voice and music composition. Her phrasing, her timing and her beautiful timbre make her one of the greats. She's a mom, a wife, an artist and a student all at once and she just keeps crushing it. www.hollypalmerlife.com www.stereoembersmagazine.com www.embersarts.com www.bombshellradio.com www.alexgreenbooks.com Twitter: @emberseditor IG: @emberspodcast Email: editor@stereoembersmagazine.com

The family album

Cities and Memory - remixing the sounds of the world

Play Episode Listen Later Dec 7, 2023 3:32

"This sound of flowing water in a stream of Parco Naturale del Conero, takes me back to holidays when I was a little boy. A picnic by the water; I am sitting on a rug, surrounded by family with whom everything is still fine. My father takes photos to preserve a memory for later. I still have his old camera; the shutter is now broken. But sometimes, the golden light of those summers reflects in the lens again." Parco Naturale del Conero stream reimagined by Molenari (Ernest Molenaar).

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The Lamb's Book of Life

Oxford Bible Church - Living in the Last Days

Play Episode Listen Later Aug 16, 2023 26:36

The Lamb's Book of Life is God's Family Album with the names of all those saved through the Blood of the Lamb. At the Great White Throne at the end of time, Christ will open this Book to verify that the names of those who had rejected God and His salvation were not included in it (Revelation 20:11-15). So they are judged according to what is written in the books of their lives. Whether or not you are written in the Book of Life defines your eternal destiny (Revelation 20:12,15, 21:27). It is the Lamb's Book, for if anyone's name is included, it is because they have been redeemed by His Blood. Derek goes through the various Scriptures that refer to this Book (Daniel 12:1, Revelation 3:5, Luke 10:20, Philippians 4:3, Isaiah 49:16). On the one hand, the Bible talks about changes being made in this Book as time goes on, which reflects human freedom of choice. Many assume that our name is written in the Book of Life when we trust in Christ, but that is not supported by Scripture, which only talks of names of people being blotted out for rejecting God (Exodus 32:32,33, Revelation 22:19). In fact, everyone who is alive physically is written in the Book of Life at their conception, but if they die in a state of sin (having reached the age of accountability) their names are blotted out (Psalm 69:28). On the other hand, the Bible says that the final list of names in the Book has been foreknown and fixed by God from eternity, and so these names were written in His Book from before the foundation of the world (Revelation 17:8, 13:8), which reflects God's Sovereignty. Thus the Book can be seen from the 2 viewpoints of eternity and time, from God's eternal viewpoint and from man's temporal viewpoint. The eternal Book of Life is unchanging, but its manifestation in time necessarily changes, because of human free-will. At the end of time, as time moves into eternity, the temporal form of the Book will assume its eternal (fixed) form, which was written by God from the foundation of the world. Either your sins will be blotted out by the Blood of Christ (Isaiah 44:22, Acts 3:19), or your name will be blotted out of His Book (John 3:16,36).

The Lamb's Book of Life

Oxford Bible Church - Living in the Last Days (audio)

Play Episode Listen Later Aug 16, 2023 26:36

S4 EP8 "Family Album"

Still Not Ready; A Podcast about Super Cringy 90's Canadian Teen Drama "Ready or Not"

Play Episode Listen Later Jul 6, 2023 54:06

Ready or Not Blogger MELISSA (@readyornotreviewed) is back for a ridiculously dramatic episode. Amanda finds out her Dad cheated on her Mom, Melissa has THE BEST reboot idea AND Busy has officially run out of good advice. Turn down the Mariah Carey and hit play on STILL NOT READY. Check out Melissa's hilarious reviews of READY or NOT Right Here; https://readyornottv.wordpress.com/about/

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Copperplate Time 441

Copperplate Podcast

Play Episode Listen Later Jun 25, 2023 88:23

http://www.copperplatemailorder.com Copperplate Time 441 presented by Alan O'Leary www.copperplatemailorder.com My Miltown Rambles1. Bothy Band: Green Groves/Flowers of Red Hill. After Hours 2. Grace Kelly: Down at the Willie Clancy Week. Single 3. Willie Clancy: The Connaught Heifers/Corney is Coming. The Gold Ring 4. Bobby Casey: Colonel Fraser/Toss the Feathers. The Spirit of West Clare 5. Bobby Casey & Tommy McCarthy: The Gallowglass/The Legacy Jig. Spirit of West Clare6. The McCarthy Family: An Buachaill Dreoite/Kitty Got A Clinking. The Family Album 7. PJ Crotty: Christy Barry's Jigs. Ceol Agus Fionn 8. Brendan McGlinchey: McGlinchey's HP/The Acrobat. Music of a Champion9. Tim Dennehy: Farewell to Miltown Malbay. Farewell to Miltown Malbay. 10. Niall, Keiran & Terry Crehan: Farwell to Miltown/West Clare Railway/Maud Miller. Download 11. Junior & Tony Crehan: Scullys & Bobby's Jigs.Ceol & Fionn12. Daithi Gormley: My Love is Fair |& Handsome/Maids of Mt Kisco/Clancy's Fancy. Fiddling Without A Bow13. Marcas O'Murchu & Oisin MacDiarmada: The Boy in the Gap/Boy in the Boat/Boy on the Hilltop. Turas Ceoil 14. Caoimhin O'Fearghaill: Bonaparte's Retreat/Callaghan's HP. Uilleann Piping from Waterford15. Delores Keane: Galway Bay Best of DK16. Sean & James Keane: Reel of Mullinavat/Connaught Heifer/Boys of Ballinahinch Roll Away the Reel World 17. James Kelly & Jimmy O'Brien Moran: Gaffney's Fave Son/The Humours of Rahey. The Ring Sessions 18. Eamon McGiveney & John Joe Tuttle: An Suisin Ban.Ceol & Fionn 19. Patsy Moloney: The Sweet Heart/Farewell to London. The Temple in the Glen 20. John & Catherine McEvoy: The Glentaun/Temple Hill Reel/Captain Kelly's. Trad Irish Fiddle 21. Séamus O'Rócháin & BrÍd O'Donohue: We'll Meet in Miltown/The Sloping Meadows/Ellis. We'll Meet in Miltown 22. Bothy Band: Green Groves/Flowers of Red Hill. After Hours

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084 - "Dream On" Showrunner Stephen Engel

Screenwriters Need To Hear This with Michael Jamin

Play Episode Listen Later Jun 7, 2023 64:54

Stephen Engel is an Emmy Nominated Showrunner of Dream On. He's known for The Big Bang Theory, A.N.T. Farm, Mad About You, and Just Shoot Me! Join Michael and Stephen as they discuss how Stephen broke in, what it takes to make it in Hollywood, and how he approaches story.Show NotesStephen Engel on IMDB - https://www.imdb.com/name/nm0257145/Stephen Engel on Wikipedia - https://en.wikipedia.org/wiki/Stephen_EngelFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAuto-Generated TranscriptsMichael Jamin:You're listening to Screenwriters Need to hear this with Michael Jamin.Hey everyone, this is Michael Jamin. Welcome back to another episode of Screenwriters. Need to hear this. My next guest is a great dude and one of the first dudes I've ever worked with in Hollywood as a TV writer, Mr. Stephen Engel. And his credits are, well, geez man. These guys come fantastic credits. Dream on which you ran. He was the showrunner of Dream on. I did. We're going to talk about that because that was one of my favorite shows. Mad about You. All right. Already. Which you created. You co right? You co-created it orStephen Engel:You created I didn't create it. I ran it though. You ran it? Executive. I supervised an executive who the pilot and then ran the series. Co-ran the series.Michael Jamin:All right. Okay. Just shoot me, which we worked on together. Work With Me. Which that were you cr Wait,Stephen Engel:Did you create That? I created, that I createdMichael Jamin:Now was it work with Me or Work With Me? ItStephen Engel:Was work with me. It was work with me. It was Work with meMichael Jamin:Inside Schwartz, which I know you created and I, yes. Remember I helped out for a day or a day and a half. Yeah. I think I gave you a three hours worth of work in a day and a half.Stephen Engel:It was very appreciated.Michael Jamin:The big house. Yeah. Quintuplets, the war at Home, big Bang Theory. Ant Farm, mighty Med Sigman and the Sea Monsters. Yeah. Yeah. You got a lot of credits, dude. Now I,Stephen Engel:I've been around. I've been around. You'veMichael Jamin:Been around. Tell me, well, let's first begin with the beginning. Okay. Because I know you started as a lawyer.Stephen Engel:That is correct.Michael Jamin:And how long were you lawyering?Stephen Engel:It felt like forever, but it was really only three years maybe. AndMichael Jamin:This is in New York, right out of law school.Stephen Engel:I went to law school, which was a very big mistake. I knew within a month that I'd made a terrible mistake, maybe sooner.Michael Jamin:But why?Stephen Engel:I just got there. I went straight from college. Really? Cause I didn't know what else to do. And back then I didn't know I lived in New York. I grew up in a town away from you. And I didn't know what the TV was. I didn't know anything about. And so I was good at going to school. So I went to law school, I applied, I got into a good law school. I went and I just got there and it was like just stultifying, if that's the word it was. ButMichael Jamin:I thought, what I've heard is that law school is interesting. It's being a lawyer. That's not fun.Stephen Engel:No, I had all through college, I wasn't really do a lot of creative writing. I didn't take creative writing courses. But I was actually looking back at some, I found some of my old economics papers and I reread them and I wrote them as if they were Woody Allen vignettes for the new they, they had these big tee ups that were comedic. And then I would get into the substance, but it was with examples that were funny. And then I would sort of sum them up at the end and my professor would always be like, thank you. After reading 25 papers, there's a pleasure to read something that was entertaining. Oh,Michael Jamin:That's nice. SoStephen Engel:When you get to law school, there was no leeway for that. It was, everything was just completely dry. So intellectually it was kind of interesting, but it was very creatively stifling.Michael Jamin:But as a kid you didn't do any creative. No. You were in the theater, you weren't doing anything like that?Stephen Engel:No, not really. I mean, I was interested in comedy. If I look backwards, I could see all of these things that I did. I did a TV show in college, a game show that I wrote and hosted. I taught a class on 20th century humor and satire. So all of the things were there. In retrospect, you could see a path that was leading to writing comedy. But I didn't know that it was a job. And it wasn't really until law school that I started exploring doing comedy. I started doing standup a little bit. Really?Michael Jamin:I didn't know that.Stephen Engel:Yeah.Michael Jamin:But then how did you realize it was a job? At what point?Stephen Engel:At the time, I had a friend who was doing from college who was doing standup also. We, our girlfriends were best friends and he was a year behind me. He was applied to law school, didn't go and decided he wanted to try to break into writing. And we were both doing standup. And then we said, we just started talking and said we should write a movie. We're like, okay. So we kind of got together one weekend. He was living in la I was in NYU law school. I interviewed for law at law firms in California. So they would fly me out so that we could get together and talk about movie ideas.Michael Jamin:OhStephen Engel:Wow. Yeah. So we came up with an idea. We started writing separately and we knew nothing. We literally knew nothing about writing screenplays. We just had seen movies and you knows. And so we were like started writing this idea that we thought it was really great. We had about 50 pages that we thought were fantastic. So we ended up through, a friend of a friend had lunch with a guy who was a professional screenwriter and he told us, you know, should read this book screenplay by Sid Field, which everyone should read. They're trying to write. So we read this book and we're like, oh no, you're doing it wrong. We dunno anything. And we realized that the 50 pages that we wrote that we thought were gold should have been five pages. Nothing was happening. It was just character development, character development, joke, joke, joke, joke, joke, funny scenes. So we took those 50 pages, compressed them down to five pages and came up with a proper structure. And then we were writing this whole movie. Well, he was pursuing his career and I was a lawyer guy guy's name by the way is Rob Burnett, who we were writing partners. And he went on to great success at David Letterman. And he was executiveMichael Jamin:Producer of le. But was he the head writer or executiveStephen Engel:Producer? Head writer, executive producer. And basically president of Worldwide Pants. And we wrote five movies together for studios, various studios. And ultimately I got a job on Dream On and moved out to LA to write by myself because he was writing a Letterman by himself. And at that point we didn't need to collaborate because we both had individual careers.Michael Jamin:You skipped a step. How did you get hired on Dream On?Stephen Engel:Okay. He and I were writing this movie. I got a law job when I graduated. They, I'd worked there for the summer. They offered me a job when I graduated. And I did the first risky thing I'd ever done in my life. I had never done anything remotely rebellious. And I decided that I was going to take probably the first gap year that anyone ever took. Oh wow. I asked the firm if I could defer my job for a year because I was trying to write. They're like, okay, yeah, no problem. You'll have a job waiting for you in a year. So during that year we kept working on this screenplay and trying to finish it and hone it. And he was still working at Letterman and he at that point had had risen from an intern to work in the talent department to being a writer.So he worked with a woman, we finished a screenplay and he worked with a woman. He shared an office in the talent department with a woman who had been there a long time and decided to leave to become a manager. And her only client at that point was I think Chris Elliot who had been on Letterman. So he knew, she knew that we had this movie because Rob had mentioned, she's like, let me see it when you're done. I'll see if I could do anything with it. So she read it and she sent it out and got us hired to write a movie for 20th Century Fox. Oh wow. A week before I started my law job. And I didn't want to not start the law job because we were a writing team. It was like guild minimum. I thought this may be the only writing job I ever have and I have a pretty high paying law job. Let me try to do both and keep both paths open as long as I can. So I did that essentially for three years. I practiced law while I was writing the entire time writing movies for studios.Michael Jamin:And Wait, and you were practicing law out here in la?Stephen Engel:I was in New York. YouMichael Jamin:Were still in New York?Stephen Engel:I was still in New York. And essentially the law didn't know what I was doing. So I had this double life where I was treating my law job, this very prestigious law job. I was a bartender gig writing movies at the same time. And eventually I couldn't keep all the balls up in the air. The law firm said, you know what? We want you to go, we got a great treat for you. We're going to send you back to law school at night to get your master's in tax law. I'm like, that's fantastic. And I didn't tell them was, now I had two jobs and I was going to school at nightMichael Jamin:And you couldn't turn down. You couldn't turn on their offer.Stephen Engel:I couldn't tell them. And eventually I couldn't do it anymore. I was getting too much work at the law firm. I had school screenplays, deadlines. I just finally kind of went into work one day and just kind of said, I no moss.Michael Jamin:How'd that go over?Stephen Engel:They were like, you know what, this makes so much sense because we were all, you seem really smart and you're really good at what you do, but it just didn't feel like your heart was in it. Yeah, right. So they could tell and it answered a lot of questions for them. So then I quit and decided to write full time panicked that I had just thrown my entire life away. So we ended up getting, because by the way, that manager was Lori David. She went out to marry Lori Leonard who went out to marry Larry David and divorce Larry. David and then produce an Inconvenient Truth as she won an Oscar for that.Michael Jamin:But then she submit you to get, how did you your Hands fund forStephen Engel:Dream On? For Dream on. So I had, eventually what happened was we got a second screenplay deal to write another movie and she said, by the way, I am not allowed to negotiate your deal cause I'm a manager, so I'm going to bring an agent in to negotiate your deal. And we kind of said, well then I guess maybe we should look for an agent rather than just have this guy come in and do the deal and I'm not sure we really need a manager and an agent. Back then you didn't. We ended up getting an agent at icm. Right. A feature agent. And we then did a couple of other projects and eventually I started between drafts of a movie I was writing. Rob by the way, was at this point a writer at Letterman and I quit my law job. So I was like, well if he has a day job while we're writing movies at night, I need my own career as an individual.So I wrote a movie by myself, gave it to my agent, he shopped it around. I got a lot of meetings and stuff. And then I wrote a just a TV spec on the whim between drafts of this movie because I felt like taking a break from it. And I gave that to my feature agent. He gave it to a TV agent at ICM who loved it and started submitting me around. And I ended up meeting with Kaufman and Crane for a show, not Dream On, they had Dream on. And they had another pilot that was going to series on nbc.Michael Jamin:What show was that? AndStephen Engel:It was a show called The Powers that nobody saw. It was with John Forsyth and Right. David Hyde had an amazing cast. So I go to meet with them and my agent had sent me episodes of Dream On and had sent me the pilot of the show. So they come in and they go, what'd you think of the pilot? I go, yeah, it was pretty good, but I really like Dream on. I'd never seen it before. And I kept talking about Dream On and how much I loved it. And we had a really good meeting. And then when I get back, my agent calls me and says, just so you know, when you go up for a show and someone says, how'd you like the pilot? And that's the show you're up for. Yeah. You loved the pilot and it gets the show you want to work on. Right. They're not hiring for Dream on right now and they don't want to hire you on this pilot cause you didn't seem interested, interested. I'm like, okay. Yeah. And then a month later they were hiring for Dream On and they remembered me and they hired me for that instead. So I did. And in fact, I ended up back backing into this job that I much preferred.Michael Jamin:How, but how many years were you dream on before they bumped you to showrunner? Okay,Stephen Engel:So I was a stor. I went as staff writer, not had not worked a day in television. Really? Andy Gordon was Andy and Eileen. It was their first day right writer named Howard Morris. It was his first day. We were all three staff writers, but I had written five movies. So I had a pretty good understanding of story structure and if you can write a movie, you can write a tv. So I did the first season Astor as staff writer. The next season I was a story editor and then the showrunners left and they needed to find a new showrunner and they couldn't find anyone they liked. And eventually they just said, I think Stephen can do it. So I literally went from being my second year, I was a story editor or executive story editor, maybe I got a bump at the end to showrunner.Michael Jamin:That's crazy.Stephen Engel:So I was, I didn't know if I was ready at all. I was just, the only reason to say no would've been out of fear. And I realized worst case scenario, if I completely flame out then so they bring someone in over me and I'm still in the same position.Michael Jamin:And then what were they? Or they fire you, but they getStephen Engel:Rid of you. Well, I don't think they probably would've just kept me around because I was the only one who knew the show.Michael Jamin:And how many years did you run it for?Stephen Engel:I ran for the next two seasons, the last and then the show ended.Michael Jamin:And why do you think they left? Why did they leave the show? Their own show. They had a deal somewhere.Stephen Engel:Har and Crane created the show, ran it for three seasons. They were getting paid like a dollar to do this. They had never done anything. It was insane how little money they were making. And they got a deal at Warner Brothers. So between season two and three, they had created a show before Friends called Family Album. And I went and worked on that between Seasons of Friends, between Seasons of Dream On. And then I went back to Dream on as the showrunner. So the season, the second season, two other writers who had been on, who had been producers, Jeff Greens son and Jeff Straus rose to showrunner, then they left and took a deal at Universal. So there was nobody, because they weren't paying a lot, so people were going to more lucrative jobs. So they needed a showrunner and nobody had else had worked on the show. And they were like, we could bring in someone else who doesn't know the show or we could let Steven try.Michael Jamin:And I mean, you were not intimidated by, I mean, IStephen Engel:Was scared shitless.Michael Jamin:Right. I mean,Stephen Engel:I didn't know what I was doing. I had no idea. I learned, fortunately I learned from really good people,Michael Jamin:But I remember when we worked together and just shoot me the first six episodes. First season, yeah. I was, was useless. And I didn't know what to say. And I would look at you guys, the more senior writers. I'm like, how did they know what to say? How did they know? I mean it was real. I was so lost. Yeah.Stephen Engel:I think part of it had been that I was a little older than you were. I had already been a lawyer for, so I was like 30 when I had my staff writer job. So maybe I was a little bit more confident just in Gen general. You were like 25, 23.Michael Jamin:I was 26. I was 26. Ok. But ok.Stephen Engel:So I had gotten my first writing job when I was 26 writing a movie. And I, so I done a bunch of movies, I understood structure, I had a confidence in that I knew how to tell a story. So I guess I kind of, the first day of Dream On, I remember pitching something where they were telling a story that had a fairly conventional ending where everything worked out really well. And I pitched this subversive twist on it where the character looks like the character was going to win. And then at the end it all got pulled out from under him. And they were all, I think that's better because I had just not really been around network television or even any kind of television. So I was pitching kind of a lot of, I don't know, movie, more movie-like ideas I guess.Michael Jamin:That's so interesting because I really remember, I remember on jhu Me, you would stand at the board a lot. I remember, to be honest, we often disagree with Levitan. And you made such a compelling case and you're always at the board. You had immaculate handwriting and you're always standing at the board breaking the story and you'd make an argument. And it was so compelling. I'm like, maybe we should be listening to this guy. It was dooms. If we don't what's going to happen, of course there's many ways you could do it, but of course I was like, of course. I was like, wow, what's going to happen if we don't do it that way?Stephen Engel:It's very funny. I remember the first season of Dream on Howard Morris who I love. He's a great guy, very emotional guy. And I was very logical in a lot of ways. And he had written a script and he had this whole run that he really was in love with. And the script was long. We needed cuts. And I was like, I think we can cut from here to two pages later. And you really, the story actually, not only would you not miss it, but the story would actually be working better and be more tight. And he was like, you can't do that. You can't possibly do that. This is the greatest thing that's ever been written. It is really good. But I think we need cuts. And I don't think it's actually, and one by one, everybody in the room was like, I think he's right. And he was losing his mind. He was like, right, don't listen to him using his logic on you. He's a magician. And we ended up cutting it and it ended up working better. So it's funny that I guess the legal training came in, I guess to some useMichael Jamin:Well, yeah, I, but I also remember you saying, I quote you as this saying this, that I have to get this right. Your worst day as a writer was still better than your best day as a lawyer.Stephen Engel:It was probably, I'm not sure that's true anymore.Michael Jamin:I believe thatStephen Engel:For a long time that was true. I would say there have been some dark days. But whatMichael Jamin:Do dark days look like then for you? Yeah. What isStephen Engel:It? Well, the day your show gets canceled, right? There were days, there was a, one show got canceled where I was like, oh, thank God. Right? Because I had a deal behind it and it was like a nightmare. And I hated going there every minute. And I was like, I had to go into the room and pretend like I got really bad news. Everyone, the show's been canceled. I was like, this is the best thing that's ever happened to me. There are sometimes when it's so bad you're like, just end it. Just fucking euthanize me. So that there are days where it show you isn't going badly, gets canceled and then it's kind of heartbreaking.Michael Jamin:Now do you have a preference? Cause you've done a lot. Do you have a preference between working single camera R? Right. Writing.Stephen Engel:I prefer single camera. Why? I think it comes from my feature writing career. It was funny, I made such a conversion when I worked on that show family album with Kauffman and Crane. We went in and there was some joke in my script and it was a good joke I thought. And we go to the table read and it doesn't do great at the table. This is my first time I've ever had been to a multi cam table read ever my first multi cam script. And everyone in the room is kind of like, yeah, I think we maybe want to punch this joke. And David Crane to his credit was like, no, I believe in this joke. And there's a really good smart joke. So we go to the run through first run through, it dies. And again, everyone's like, maybe we want to pitch on this. And David's like, no, no, I really, let's give it one more day. I don't think, I feel like they didn't do a great job on it. Let's give it one more day. By the third day it dies again. And same thing. And David's like, let's give it another day. He goes, I think it's rye. I'm at this point I'm completely converted. I'm like, fuck rye. Rye is fucking crickets.We could pitch 20 more jokes. It took me three days to realize that, you know, can't get away with clever. You need to get real laughs.Michael Jamin:Right.Stephen Engel:And I'd like, I like it. I just like the storytelling in Multicam a little bit better. OrMichael Jamin:Just you, the storytelling multicam better.Stephen Engel:No, no. In single Camm a bit better. Yeah. Frankly, I used to think a perfect job for me would be you write the scripts and then you send them out magazines. You don't actually have to produce them. Oh yeah. That was always where the hard,Michael Jamin:It's never as funny as it is. It's never asStephen Engel:Funny. Sometimes it is. It depends on your cast. But other times it's the rewriting and the endless rewriting. It's just have them read it and let them imagine what it might look like.Michael Jamin:It's called a book.Stephen Engel:It's called a book. Yeah.Michael Jamin:There was a episode, I think it was, not sure if you were there then, but I, I was fighting, I fought with Sievert, my partner about a joke that I wanted in the script. I go, this joke is going to kill. And he's like, this joke is terrible. I'm like, it's going in, it's going. And we got blows over it. We put it in the script, we go to the table and the joke just dies. It gets nothing. And then I start laughing hysterically. He goes like, cause how could I have been so wrong and so arrogant? And I'm laughing hysterically Now everyone's looking at seabird because they're like, it's his joke. You're laughing atStephen Engel:Him. And now I'mMichael Jamin:Laughing even more. I'm like, yeah, it's his fucking trouble.Stephen Engel:There's nothing more humbling than watching your jokes die on a stage. Like after a while you get used to it. But the great thing about single cam on, dream on, we'd write it, we'd go out and film it. And if no one's laughing, you never know.Michael Jamin:You never know. Right. But did you can't believe in it. But you did table reads for Dream on, I'm sure, right? DidStephen Engel:Not do table reads.Michael Jamin:That's so interesting. How did you get away away with that?Stephen Engel:They had no, they didn't. They gave no notes. H B O gave no notes. I remember getting one note one time and being like, I can't work like this. This joke is, I'm not changing this joke. And I was like, indignant a playwright. Eugene O'Neal had beenMichael Jamin:MarriedStephen Engel:To change a stage direction. And then I got to network and it was like, oh, okay.Michael Jamin:Yeah. Now these are notes. This is how it works. When you were, now you've done also a lot of kit shows. I mean, you get a lot of notes on Kit shows more or less. Oh myStephen Engel:God. Yeah. You'd get tons of notesMichael Jamin:More than networks.Stephen Engel:I did. Oftentimes you get a note, it's like, I please take some of these jokes out. I we doesn't need to be this funny,Michael Jamin:Real, what's the problem with, all right,Stephen Engel:I can get you the best punch down. Writers in. Yeah,Michael Jamin:Bring them in. But really they don't want fun. Is that what kind of notes they give you in these show? I did aStephen Engel:Show, did a show this, show this Sigma and the Sea Monsters reboot, which wasMichael Jamin:Very scaryStephen Engel:For Amazon. And the first thing we turned in there, it was very funny. And they were like, we don't really do this. It's like, we don't want this to be funny. As nearly as funny as this script is, it's just don't feel compelled to put a joke on every page. I'm like a joke. You don't want one joke on it on every page. And they're like, no, if it's warm and fuzzy and they just were afraid that it was going to feel too Disney or tooMichael Jamin:NoStephen Engel:Jokey networky or jokey or whatever.Michael Jamin:Because when you look back at sitcoms from the sixties and seventies family affair, there weren't a lot of jokes in Family Affair. I mean,Stephen Engel:No, I think that's what they were going for. They were going for just kind of poignant and sort of warm. They, I feel they felt like jokes would alienate people and be too controversial. Or they kept referring to their viewers as customers,Michael Jamin:Buyers. TheyStephen Engel:Want buyers.Michael Jamin:Buyers,Stephen Engel:Our buyers, our customers don't really want that. I'm like, okay, all right.Michael Jamin:That's so good. I wonder if that's, that's really how they saw them is like, yeah, what else were they going to about?Stephen Engel:Yeah, yeah. It was,Michael Jamin:Oh my God. Did that make the hours easier since you didn't have to punch upStephen Engel:Or doing a sort of family shows?Michael Jamin:Are you getting out earlier?Stephen Engel:Yeah. Yeah. I think so. For the most part. We never phoned it in. We were always trying to do, and we never wrote down the shows that I worked on. We made them as funny as we could and as bendy and weird as we could, oftentimes we would get notes saying, this is too, I think you're, you kids aren't going to get this. But what they don't get, they'll ask their parents or their older siblings and let's not underestimate the audience watching Bugs Bunny cartoons. You're going to still laugh and you may not get every level. So we were kind of writing it for the adults.Michael Jamin:You were able to push back on that.Stephen Engel:Yeah, yeah. I mean, I guess their recourse was ultimately to cancel you if you weren't doing what they wanted you to do.Michael Jamin:Well, do they have different ways of I they must, different ways of measuring. We haven't done too many streaming shows, but measuring when people are dropping off, what kind of stuff they like more statistics. Do they share that with you?Stephen Engel:No,Michael Jamin:No, never.Stephen Engel:I only did mean the Amazon was the only streaming show and they never really wanted this show. I don't think to begin with. I think it was inherited from the previous regime or something. It was like the whole thing was driven by puppets and they were, if we had our druthers, we wouldn't even have the puppets in it. Well, well the main character is a puppet, so you're kind of stuck.Michael Jamin:So, oh man, that's Hollywood man. Yeah. Now do you, but you must get more obviously opportunities in the children's businesses.Stephen Engel:I don't. I don't. Don't. And I don't pursue them. I didn't really want to do it. Right. I basically did it. I only did it because it was a show writing opportunity and I didn't want work on someone else's show at that point. And I also leveraged it into, I wanted, I said, I'll do it if I can direct.Michael Jamin:Okay.Stephen Engel:So I ended up getting in the DGA and directing a handful of episodes.Michael Jamin:And they were single camera?Stephen Engel:No, they were multiMichael Jamin:Camera, multi and so interesting.Stephen Engel:And it was kind of fun. I mean, I had just sort of aged out of coaching my kids little league and basketball teams and stuff. So they were now just had just more or less finished that. So working on a show, that was almost like being a coach or a camp counselor in a weird way. You'd go to the stage, the kids would be thrilled to see you, you'd get down on one knee and get eye level with them and give them a compliment sandwich. Do you know that from coaching?Michael Jamin:No. What is that?Stephen Engel:A compliment sandwich is basically in baseball you would literally get down on a knee and you'd say you're doing tee-ball. And in tee-ball what happens invariably is a kid hits the ball to left field and every kid on the field runs to get the ball from every position, or at least a handful of them do. So you get down on the knee and you go, I love your hustle and great enthusiasm. Then you put the criticism in the middle and you're like, but you know, need to stay where your position is so that everybody has their own spot. And if the balls it to you, the ball, you know, field it. If the balls it to left field, they field it. But again, great energy and keep up that enthusiasm. So you put the constructive criticism in between two compliments. IMichael Jamin:Would think that they would remember the first thing and the last thing they heard.Stephen Engel:Well, that's great job. We did a joke like that. We did a joke like that where a character on an forum was giving a note to somebody. They were doing a musical performance or something, and the main character said to this other character, I really like your enthusiasm. Try to hit at least any of the notes if possible because your singing's not good at all. But again, great energy. And the character goes, thanks. Hey, thanks.Michael Jamin:Yeah, that's what I would, so that's so interesting. And were you dealing with a lot of parents on adult momager orStephen Engel:Whatever? Yeah, there was a lot of that. It was fun, but creatively it was like, I'm done. This I just want to do, I'd rather not work and just write stuff I want to write than write on a kid show at this point. Because I also felt like they weren't really looking for you to do anything smart and that smart or that funny. It's changed. I think they're trying to be more creative and more inventive now, but at the time it just felt like, I don't really feel like doing this anymore. It's just not like someone would say, what are you working on? I'm like, it's not important. Don't worry about it. You're not going to watch it. It's fine.Michael Jamin:WellStephen Engel:Fine for what? But I don't watch it. You're not going to watch it.Michael Jamin:But when you say working on your own stuff now, so whatever, you'll just write stuff on spec and hope toStephen Engel:Sell. Yeah, I'll pitch stuff. I'll write stuff on spec. I've written a bunch of specs recently where I've tried every possible way to skin a cat in this business. I'm like, it's all I'm going to write spec scripts. That way they'll totally see what the show is. And then I would have a bible behind it to pitch all of these things. And I've had a couple of things where I had studios say, let's go out with this, but let's pitch it. You didn't write itMichael Jamin:Right yet.Stephen Engel:I'm like, well, why would you do that? Because I've got it right here. AndMichael Jamin:Because they want to put their thumbprints on, theyStephen Engel:Want to put their imprimatur on it. So the way I put it is, if you give, give someone a baked fully baked cake, they'll be like, this is a, it's a good cake, but I've got this recipe for a cake. Yeah, that's going to be the best cake that's ever been made and we're going to put in all these different ingredients and make it even better. And then that gets turned in and they're like, it's a cake. There's always that unknown potential of what a pitch is going to be. Whereas a spec, they'll go, well, there's this one thing I'm not sure about or this other thing and they want to get involved.Michael Jamin:But have you ever sold anything on spec? BecauseStephen Engel:When you, honestly, I don't think I have. IMichael Jamin:Know haven't written a few.Stephen Engel:I have a project, I have a project right now that it, we're going back and forth on negotiations, negotiating an option for them to, to option the script. And they're trying to decide whether we should go out with the script or go out or whether I should reverse engineer the pitch.Michael Jamin:ButStephen Engel:We have an option. They have an option for a year within a purchase with a purchase price to buy the script. What would happen is if we pitch it, they would basically go, okay, just wait three months and then turn in the script that you've already written because we left the script. But again, it's unclear as to what my feeling is. We should send out the script because the idea and it's in and of itself is not necessarily that unique. It's the execution of the idea. That's unique. Of course. And I think that's what got you interested. If I had just pitched you this idea, you probably would've said, well, I don't know. It seems like there's stuff out there like that. But it was my script that got you excited.Michael Jamin:Right, right. I remember early on, I wonder if you still feel this way. I remember I just shoot me, you telling me, yeah, because you were ready to leave, move on. And you're like, yeah, I want to go back to running a show. And then you did couple many shows. Yeah. But do you still feel that way? Do you care so much whether you're running it or,Stephen Engel:No, I've had good experiences and bad experiences doing both for a while after the big house, which was a good experience. My kids were at that point, maybe, how old were they? Eight and six. And I was running a show was very all consuming. And you, yeah, you never go home. I mean, yeah, even when you're home, you're like, you've got outlines to read, you've got cuts to watch, you've got the weight of the show on your shoulders at all times. You can't get away from it. And I was like, I really want to be more present. I want to be able to go to my kids' games. I want to be come home and be able to relax. So I'm like, I want to go on be someone else's, like consigliere, I'll be the number two. Yeah. I'll go, here's what I would do. Do it. Don't do it whatever you want. And then go home and be like, I'm done for the day. And I did that for a while. And I think in retrospect it sort of took me off of the showrunner showrunner's list for doing that for three or four years. I think people were necessarily remembering or thinking me necessarily when they were looking for showrunners because I was all of a sudden now someone's number two. But I don't regret it because I got to spend the time with my family.Michael Jamin:But now I now want to go back to running. I mean, it is a lot of work,Stephen Engel:My kid, well, right now, honestly, nobody, you know me, but anyone under the age of 40 doesn't, has never worked with me and doesn't know who I am. So for me to get a job on another show, because I, it's been a while since I've worked on a show where with people who would be young enough to go, oh, we need to work with this guy. He's really smart and good and funny. If I'm going to get a job, it's because I'm going to create a show myself and run it. And that's the job I'll have. I don't even know if my agent even submits me. I have no idea. So I'm back to just pitching and writing my own stuff and if it sells, of course I'll run it. So look, they both have their perils. I missed my kind of adolescence as a TV writer. I went from being right a second grader to a college student. I never had that. So I got to go and be on someone else's show. And sometimes it was good and sometimes it was bad. I worked in the Big Bang theory and it was not funMichael Jamin:From a lot of people. TheStephen Engel:Most fun place to work, it was delightful show. But I used to not going to work every day. Right. Cause I didn't take the tone of the show, the work environment, I mean the tone of the show, I was fine not dictating the tone of the show, but I was not enjoying the tone of the work environment.Michael Jamin:I got you. I know what you'reStephen Engel:Saying. So it was not a good experience. I dreaded going every day. It was a job. It, I might as well have been a lawyer again.Michael Jamin:Hey, it's Michael. If you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not going to spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.Yeah. You've had many experiences like that though. Were you like you pitting your stomach every morning?Stephen Engel:Not that many once on my own show, just because I had a difficult situation with one of the stars who it's not worth going into, butMichael Jamin:At least on the air.Stephen Engel:What'sMichael Jamin:That? At least? At least not on the air. NotStephen Engel:On the air. But most shows have been, some are better than others. I worked on a show that it was very dysfunctional and I've gone into work on shows where, where I had a deal where they were like, we need you to go help on this show. And it's kind of in shambles. I'm like, I'll go in and help, but I'm going in between the hours of 10 and seven. And if they start at five, I'll be there from five to seven.Michael Jamin:But okay, you can make that deal with the studio. But then the minute the showrunner finds out about that, during I made itStephen Engel:With the show, I made the deal with the showrunner.Michael Jamin:Oh, okay.Stephen Engel:Because they needed the help. And I was like, I'm not going down this sinkhole. I've already, I'm in a deal. I don't, I'm doing this. I'm helping out because I want to be a team player, but I'm going to help out within the hours that are reasonable hours. And it was so dysfunctional, people would show up and play guitars for four hours and play ping pong. And I'm like, are we going to work or not work? So I'm like, let me know when we're starting and I'll be there.Michael Jamin:Yeah, I know. I wonder, I don't know if that happens so much anymore. I think that's something that's been cleaned up a little bit.Stephen Engel:I don't know. I don't know mean, look, some shows, some showrunners are not, some creators become writers, become creators are not prepared to be a showrunner. They don't know how to manage a business. That'sMichael Jamin:Exactly right.Stephen Engel:And it's a different skillset being a talented writer and being a manager or a C E o or different skillsets. And some people are lucky enough to have both skills. Some people are good CEOs but not great writers and they need a better team. And some people are great writers and need someone to help them literally get through the day. AndMichael Jamin:People don't realize that because no one goes into comedy writing to become a manager of people. No.Stephen Engel:And if you have the talent, you eventually rise to a level where you're expected to all of a sudden be in charge of 150 people and to show up every day on time and to try to be responsible and actually conduct yourself in a way that's professional. And not everyone can do that.Michael Jamin:And always the trickiest thing. I think as a show runners, no one went to push knowing how far you can push back against a network note or even a difficult actor. Yeah. And what's your thought on that?Stephen Engel:Well, what I used to do is they never would give me a note. The trick to getting and addressing notes is to get them to realize that they're being heard. And you'll say, we're not going to figure this out right now together. I hear you. I know what, I know exactly what to do. And then go off and change it enough that they feel like you've taken their, at least into consideration their thought, their thoughts into consideration. But oftentimes what I would sometimes do is they'd give a note. I'm like, we can do that. But just so you know, here's the ripple effect. If we do that, then this scene here no longer makes sense because this scene that you really love won't make sense because we've already revealed this information. So this scene doesn't play and then this scene doesn't work because whatever this and this and this, we can do it. And I'm have to change those scenes and I'm willing to, but just realize that it's not as simple as making this one change here. There are ripple effects throughout the rest of the script. And they're like, you know what? You're right. Stuff's working great. Don't worry about it.So they don't know. They don't necessarily always see the big picture and understand how pulling one thread could unravel the entire sweater. So I just present it to them and go, would you like me to do that? We can do that. And then they go, no, no. Like I, I hear what you want and I'll massage it without having to do those things. But I hear what you're saying and I'll try to adjust it as best I can without unraveling the whole scriptMichael Jamin:And then working. What about working with difficult actors?Stephen Engel:That's harder. That's harder because you can'tMichael Jamin:Put the words in their mouth. You can't make mistake, you can'tStephen Engel:Make them do it. I mean, had an actor who literally was so he just wanted to take over the show and was, he never should have done it. They backed up a money truck to get him to do it and he didn't want to do it. And he did it reluctantly and didn't wanted it to be his show and not my show. So I think wanted tried to get rid of me and came to table reads with sunglasses on and just looked down the whole time. And which was the best thing that ever happened because the network saw that he was not doing his job. He was doing my job, but he wasn't doing his. But they'reMichael Jamin:Still going to take his side. TheStephen Engel:Show went down, but I didn't get, they were like, you handed yourself really professionally. And that person,Michael Jamin:Were you worried so much about that? Are you worried so much about protecting your reputa reputation like that within the industry? I mean,Stephen Engel:You always have to be a little bit worried. I, I would probably think that just given my, I don't know, I guess I have a, it's maybe it's coming from being a lawyer. I can see, if you tell me, like I mentioned, if we should change this joke or this line or this, do we need this? I can see all of the ramifications all at once. So sometimes I will, by pointing out the flaws in the note, some executives don't want to hear that. They don't want to know. They just want to think that they're right. Or they also want you to basically, I remember in one situation on a show where they were like, we've got great news. The network wants to do a mini room. I'm like, great.Michael Jamin:How's that? Great news? The news?Stephen Engel:I thought the deal was they're either going to pick up the show or not. That's why we went there. It'sMichael Jamin:Great news for us.Stephen Engel:They're like, well, why wouldn't you want to delve into the characters more? And I do, but that's not the deal we negotiated and now you're basically, I have to do all the same work for one 10th of the money. And they didn't want to hear that. So I think sometimes it's just best to be like, and I would also maybe sometimes have a tendency if somebody is lying blatantly to me and I say, wait, I don't understand last, yesterday you said X, Y, and Z, but now you're saying A, B, and C. So I'm confused. And they just want to go. They don't want to be called out on that.Michael Jamin:Right?Stephen Engel:So they're like, look, why are you being difficult? I'm like, I'm not, I'm just asking for clarification. Cause it seems like you're telling me two different things and I don't understand as opposed to just going, okay, I hear you. We'll do it without any. So I think sometimes you just have to swallow your pride and just eat shit and not speak up about it.Michael Jamin:The problem is you're saying, I feel like most of those fights are not winnable.Stephen Engel:They're not winnable. So there's no point in pointing it out. But sometimes I'm just, I don't, don't understand. Just tell me what, what's going on and then we can move forward. But they sometimes they don't even remember what's what they're spinning.Michael Jamin:I don't think I've ever convinced an studio or network executive that I was and they were wrong. I don't think I'veStephen Engel:Ever, it may have been a per victory, but I have.Michael Jamin:You were fired shortly afterwards.Stephen Engel:No, I mean it just may be whatever. Yeah, you're right if you're doing it this way. But in the long run, they just maybe weren't that happy with the direction, generalMichael Jamin:Direction. Right.Stephen Engel:I did the show where this kid show, and it was about a superhero hospital and there were villains and there were heroes and superheroes and super villains. And we wanted the villains and the heroes to have distinct personalities and flaws and be funny. They could be a villain and be funny at the same time. They're like, look, just have them villains. Just be scary and don't give them, they don't have to be funny. But we're writing a comedy and eventually we took a lot of the jokes out, but we didn't want to deliver a show that we didn't believe in. And then ultimately they were like, we did two seasons. And they were like, this is not really what we want to do. So they didn't do a third season. So you either go down with your ship and what you do, the show you want to do and have it not get picked up for another season or do a show for four seasons that you don't believe in.Michael Jamin:Though a lot of people on social media, they say, well, they don't understand. I think all the writers in Hollywood terrible, because if all the shows I'm like, you don't understand how shows are made. It's like, no, no. Sometimes the system is designed to make a show bad and there's really nothing you can do about it other than either,Stephen Engel:I mean, no one's looking to make a show bad. It's just what the creator thinks is good and what the network thinks is good may not be the same thing. There's that famous story about what those guys who did that Stephen Weber show called Cursed,Michael Jamin:I dunno if I know this story. Okay.Stephen Engel:Steven Webber did a show, there was a show starring Stephen Webber, it was called Cursed. It was for n b NBC back in the nineties. And the premise was, Stephen Webber is like this kind of womanizing dating machine who goes on this date and with a I, you shouldn't even say Gypsy, I guess, I dunno if it's derogatory, but a woman who puts a spell on it, he basically ghosts her or doesn't call her or is not nice to her on a date. And turns out she puts a curse on him that he's never going to find love and oh, his romantic life is going to be a disaster. Okay. So the cast, Steven Weber, he's super charming and funny. They decide to pick up the show and they go, we're picking up the show, but we have one elemental change if we'd like to pick. It's a small note. They're like, okay, what is it? He goes, we don't want him to be cursed. They're like all cursed. They're like, well, we can change it. We'll like so. Well, well, the Steven Weber show.Michael Jamin:Okay,Stephen Engel:So now what's the premise about Steven Weber dating?Michael Jamin:Oh, okay. But he is not having a hard time dating. He'sStephen Engel:Just, he either is but there's no curse.Michael Jamin:There's no curse.Stephen Engel:Yeah. Okay. Nig did a show called Inside Schwartz, and the whole idea of it was that you're inside the main character's head. Right. So the idea is that, you know, get to see his internal and hear his internal dialogue with characters he's talking to that only he can see. All right. And at one point about halfway through the series, the president of the network came to run, came to talk to me after a run through and said, look, we really like the main character. He's a great actor, but he's like, we want it to be more of a Michael J. Fox character dives into things without thinking. I'm like, well, the character is written is an overthinker and he's thinking about everything. And we dramatize those in the forms of him talking to these people who only he sees. He goes, well we, no, we don't. We want him to not be an overthinker. We want him to be just to jump into stuff. I'm like, so I'm writing inside Schwartz and you want outside Schwartz, right? And they went exactly perfect. I said, all right, I guess. But at that point it's like, how do you turn a aircraft carrier aroundThrough, and you've got four or five scripts that are ready to go that are all, hold on, I'mMichael Jamin:HollywoodStephen Engel:That are written inside Schwartz, and you want outside Schwartz. And they're like, well come up with new scripts, you know, can take an extra week, a hiatus and change. So we had to basically change course and make an adjustment. So just because they think, what if they changed their minds? They love something when they saw it and then they start to panic that they think it should be this, and they the next day have a completely different idea. But it, it's just, that's the idea they woke up with.Michael Jamin:Or often it's whatever was a hit over the weekend, that's what they want and make it more like that.Stephen Engel:Exactly. Exactly. So that has ramifications and real life ramifications that you've then got to make work. And it's your job, unfortunately sometimes is to try to turn a cat into a monkey. It's just like, all right, that's what I'm going to have to try to do.Michael Jamin:And are you able to do this with a good attitude?Stephen Engel:I to, I think I have probably, I have a better attitude about it now. I'm just more mature and it's like, all right, it is what it is. I understand it. Back then, I think I took everything much more personally and I was agonized more about it. Now I'm just like, I come, it's coming and you just have to deal with it or not deal with it or whatever. I, I've walked away from it. I've walked away from a deal on a show where I was like, I didn't feel right about it.Michael Jamin:What do you mean you didn't feel right about it?Stephen Engel:I just didn't, I don't know, I just wasn't comfortable ultimately with the people I was going to be working with. As I got to know them better, the deal wasn't the greatest deal and I was like, I don't think this is worth it. I think this is going to be a nightmare. And I just said, I turned wouldn't, they didn't come up. I just said, you know what, no mean, at the time I was running a different show, so this was development behind it, so I didn't need the job, but I was like, I see the writing on the wall here and if I can't, you can't meet my numbers and this is going to be unpleasant. And I can already tell. AndMichael Jamin:How do you think they took it when you did that? No one likes to hear thatStephen Engel:They were really not happy. I mean, yeah, really. I said, look, I'm just not comfortable with it. And I just, things had changed. It was an idea that it's not worth going into. It was easier to just say, forget, don't rather not do it than go into what I know is going to be a shit stormMichael Jamin:Right now. Not enough money. The industry has changed so much even in the past maybe 10 years or so. But I dunno, what are your thoughts on it? What are your thoughts on where it's going? Look,Stephen Engel:I'm one of those people who, whatever, everyone who's not in the industry says, oh, must be so great now, all these different streaming networks and some to sell shows. I'm like, it's not great. First of all, these places are, you know, do all the same work and you're doing six episodes or eight episodes or 10 episodes, and that's exactly when the curve starts to get, there's a very steep curve getting a show off the ground. And then it's like, now I get the show and now it's sort of the, it's heavy lifting at the beginning and then it sort of tapers off and it's always heavy lifting, but you start to figure it out. And then for the back nine it's like, it's not as hard if you stay on top of it and you get stories broken on time. So you're doing all of the heavy lifting without any of the economies of scale and you're only getting paid by the episode and you're working 40 weeks to do seven episodes or eight episodes instead of 40 weeks to do 22 episodes.Michael Jamin:Okay. So in, cause they make, that's not the case on many of the shows we're doing. Maybe they're lower budget, they just usually bring you on thete, the writing staff in pre-production. And so then you're the showStephen Engel:Runners. But as a showrunner, you've got to do, you're there for whatever the eight saying you're doing eight episodes, you're going to do eight weeks of pre-production and writing. You're going to do eight weeks or more of production, then you're going to do eight to 10 weeks of post. And yeah, you're working 35 weeks to do those eight episodes. Whereas if you're working on a network show for 22 episodes, you work 40 weeks and you do, you get 22 fees. So the writers who come in and do their six or 12 weeks get paid for their eight episodes and not, that said they work there eight weeks and they do their 12, their eight episodes. Do youMichael Jamin:Feel this affects the quality of writers that you're able to hire now because they have less training?Stephen Engel:I think so. They're not around production. They don't understand or understand production as well. It, it's tricky. I also think that to some extent, I may be alone in this. I think that some of the storytelling and streaming, it feels like a lot of shows feel like they, someone took a movie and they probably didn't sell this movie, and they said, I got an idea for a series and it would be a great movie. But what they end up doing is they, it's those chest spreaders if you were to have a heart bypass or something, it's like they put a chest spreader into the screenplay and they open it up and they jam six episodes of filler in the middle. And the beginning is the first half of a good movie. And the last two episodes, this is the second half of a pretty good movie, and the middle is just treading water. And you're just like, yeah, each episode becomes a chapter in a book. So a lot of writers are not learning how to tell an episode that has a beginning, middle, and end because it's all middle.Michael Jamin:Right?Stephen Engel:Episode one is a beginning, episode eight is the ending, and everything in the middle is middle. No. Those episodes don't have a beginning, middle, and end. They're picking up from the middle and ending somewhere else in the middle. They're moving the ball down the field. But you don't have a kickoff and you don't, I think a lot of writers maybe don't know how to tell a complete story anymore because there aren't any freestanding episodes.Michael Jamin:How do you think these new writers are breaking in today? It's very different than when we were breaking in. How are they getting in?Stephen Engel:I teach a course at UCLA and I always, they always ask the same question. How do you get an agent? How do you break in? I guess it's not that different other than the fact that there are maybe fewer barriers to entry. You want to write a web series and shoot it on your phone and send it out to a million people on. Now the trick is it's getting people to see it, but no one was going to read your screenplay. If you're a new writer and you say, Hey, will you read my script and you're in my class? They're like, Hey, can I send you a new script I just wrote? I'm like, no. Yeah, I'm not going to read that. But if they send me, Hey, I wrote a one minute episode, you want to, would you watch it? I'm like, okay. I mean, I could watch a one minute episode of something.Right? And if it's interesting, then you could go, that's really kind of interesting. Let's talk about it. So there are ways to get in. I hired a writer on an farm I was writing with a guy named Dan Sinner. Sinner, great guy, funny writer. And we were looking for an assistant. So we met this woman and she came in and she had no experience as an assistant, but she had just graduated from Harvard six months earlier. But she mentioned she had a Twitter feed and that she had written a couple of jokes that somehow Maude Aow had found. And she was like 12. And she tweeted it, retweeted it, and then because Judd Aow followed her and saw the jokes, he started following her and retweeted it. And then a lot of his followers were started following her. So all of a sudden I had 10,000 followers.So anyway, we finished interviewing her. I really liked her. And I'm like, what's the feed? What's the Twitter feed? She told me And I went and I read it and there were, I read the first 10 jokes. Eight of them were a plus jokes. And I said to Dan, I'm like, let's hire her as our assistant. If we need jokes, we, she's really good at joke writing and we're still looking for a last staff writer. And she was our assistant for a day. I'm like, do you have a spec? You've written? Like, I wrote a 30 Rock. So I read it and it was green, but first five pages, five great jokes. So finally Dan and I were like, let's hire her today because in three years we're going to be looking for her to hire us because she was that talented.Michael Jamin:Have had three years passed.Stephen Engel:She very quickly became very successful and has over a million Twitter, Twitter dollars.Michael Jamin:But is she working as a writer?Stephen Engel:She ended up working on Silicon Valley and Oh wow. Parks and Rec and she ended up working on The Simpsons. And soMichael Jamin:You were right. The good place.Stephen Engel:Yeah. I mean she was really talent. It was undeniable. So I always tell writers, write Jo, if you could write jokes, you'll work to, you're 90. To the extent shows like to have jokes anymore, which a lot of them don't. Right. I always think about that joke. I dunno if you remember this from the Emmys, maybe like four or five, six years ago, Michael Chay and Colin Jost hosted the Emmys. And I always tell this to my class, Colin, Joe says that the opening monologue, he says, tonight we give awards for the best comedies and dramas in television. And for those of you who don't know, a drama, a comedy is a drama that's 30 minutes long.Michael Jamin:Yeah.Stephen Engel:There's just so many shows now that are not really that funnyMichael Jamin:That I ain't going for it. What is this club, what's the class called that you're teaching at U ucla?Stephen Engel:It's in the professional program through the school of the Film School write writing a half hour pilot.Michael Jamin:So a graduate. So they have a grad, graduateStephen Engel:Program. It's not a M ffa and it's not undergrad. It's like a professional program where you can apply, it's a one year program. You take three quarters, 10 weeks each, and you go from basically Idea to finish script in 10 weeks.Michael Jamin:And it's at, you say, so it's not used to extension, it's something else.Stephen Engel:No, it's not Extension. It's a, it's through the School of Television, film and theater. Wow. That's theater, film and television, I guess it's called. Yeah. So eight to 10 people. And you're kind of, wow. I kind of act as the showrunner, but I want to hear, get everybody's input. Everyone gets input from each other about their ideas. So it's like a writing class group.Michael Jamin:They'd be lucky to get in your class. For sure.Stephen Engel:Yeah. I tend to give them a lot of, I think, very thorough notes and hopefully it's helpful. And I don't mince words. I mean, I'm gentle with it. I'll always, I'll do my notes and then I'll go back and soften them. I'll be like, instead of this, I don't think this is working. I would say, I wonder if some readers might think this is a bit confusing as opposed to, this is confusing. Or I remember confusing.Michael Jamin:I remember. And just shouldn't be turning to you. I can't remember. It was a script. Levi 10 was running the show, and I think we had a problem with the scene. And I seem to remember you helping us. You pulled you aside, Hey, how do you think this scene should work? Because we were lost and you were very helpful.Stephen Engel:Well, I had at that point already run Dreman for several years and and had some showing experience. And look, Ste, Steve was a great showrunner and one of his, he's smart enough and secure enough to know that I will benefit by having other experienced showrunners on working with me and other very experienced writers. Cause I may not have the answer all the time.Michael Jamin:Oh, I also remember thinking that I don't want to bother the boss. I'll bother someone who's not the boss.Stephen Engel:Yeah. But again, was you were your first job and you're want to make sure you don't do any. I've worked on shows where staff writers are told, don't even say a word.Michael Jamin:Oh, really?Stephen Engel:More or less. It's just you're there to generate jokes on your own and just keep quiet. Which is to me is if I can get a joke from a pa, I'll take it. I don't care where the joke comes from. If it helps make the script better. If a PA comes in and delivers a pizza and goes, what'd be funny? I'm like, that is funny. Right. I'll put that in.Michael Jamin:Right. Yeah. You whatever gets you home earlier. Yeah. Yeah.Stephen Engel:And makes the script better. And hopefully makes the script better. It's all going to make you look better as a showrunner.Michael Jamin:Yeah, it was. And you're right, dude. I mean that show that it was really top heavy, just shoot me. It's top heavy. And it was, that's probably what was so intimidating to me was everyone was so funny. And I remember even turning to Marsh after several weeks. It was like, Marsha, I, I'm laughing too much. I'm not pitching enough. I'm enjoying myself too much. Right. What do I do? Because I'm not here to observe.Stephen Engel:I can see how it would be intimidating. I was lucky enough that on my first job it was Kauffman and Crane were the showrunners. Greenstone and Strass were like the producer, co-producer, exec producer, kind of supervising producer level. And then we had three staff writers who were all pretty new. So it felt democratic. But you come into a Topheavy show and you're, you were the only staff writers. Yeah. There.Michael Jamin:And there's Tom Martin. There's Tom Martin. Oh,Stephen Engel:Tom. Right

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A Family Album

Andy & Jeremy Listen to Music

Play Episode Listen Later May 8, 2023 50:39

Jeremy assigns Andy: Tiny Moving Parts by Tiny Moving Parts. Andy assigns Jeremy: Dance Songs For Hard Times by Reverend Peyton's Big Damn Band. AAJLTM Theme Music by Ryan Robinson. Follow him here: https://www.instagram.com/ryrobraw/ AAJLTM Original Images by Jade Armstrong. Follow her here: https://www.instagram.com/mintybxbe

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Play On Shakespeare with Lue Douthit (Ep. 26)

101 Stage Adaptations

Play Episode Play 32 sec Highlight Listen Later Apr 20, 2023 74:14

Shakespeare's birthday is coming up, and this week Melissa talks to Oregon Shakespeare Festival's former Director of New Play Development Lue Douthit about the giant playwriting project known as Play On Shakespeare. Grab a Mounds bar and learn how she helped usher the Bard into the 21st Century. In this episode, we discuss:What Play On Shakespeare is and does and how the project came to beWhy they are called Shakespeare translationsWhat's happening now that all 39 plays have been writtenThe various educational possibilities for the translationsAnd more!Resources MentionedPlay On ShakespeareOregon Shakespeare FestivalPlay On Shakespeare PodcastResearch in Action at Shakespeare's Globe in July 2023Order the plays at ACMRS PressAbout Our GuestLue Morgan Douthit is the President/Co-Founder of Play on Shakespeare. Prior to that, she spent 25 seasons at the Oregon Shakespeare Festival where she was director of new play development and dramaturgy. She also was the Production Dramaturg for more than 50 productions, including 15 world premieres: Hannah and the Dread Gazebo, Head Over Heels; A Wrinkle in Time; Family Album; The Unfortunates; The Tenth Muse; WillFul; Throne of Blood; Equivocation; Don Quixote; Welcome Home, Jenny Sutter; Tracy's Tiger; By the Waters of Babylon; Continental Divide; and The Magic Fire. She has worked on over a dozen Shakespeare productions, including co-adapting a six-actor Macbeth and seven-actor Measure for Measure, which were both produced at OSF and elsewhere. She was the co-producer and founder of the Black Swan Lab (2009) at OSF and subsequently produced the Lab until 2016. Lue is the recipient of the 1999 Literary Manager & Dramaturgs of the Americas (LMDA) Prize in Dramaturgy and The Elliott Hayes Award for her work on Lorraine Hansberry's play Les Blancs. She received her PhD from the University of Washington, her MFA from Trinity University, and her MA from University of Arizona.Connect with host Melissa Schmitz***Sign up for the 101 Stage Adaptations Newsletter***101 Stage AdaptationsFollow the Podcast on Facebook & InstagramRead Melissa's plays on New Play ExchangeConnect with Melissa on LinkedInWays to support the show:- Buy Me a Coffee- Tell us your thoughts in our Listener Survey!- Give a 5-Star rating- Write a glowing review on Apple Podcasts - Send this episode to a friend- Share on social media (Tag us so we can thank you!)Creators: Host your podcast through Buzzsprout using my affiliate link & get a $20 credit on your paid account. Let your fans directly support you via Buy Me a Coffee (affiliate link).

FBI FAMILY ALBUM

Mathew J. Mari's View From Mulberry Street

Play Episode Listen Later Mar 15, 2023 14:34

EPISODE 34 – FBI FAMILY ALBUM Little did Matt know that one day he would accidently be locked in an FBI office with nothing to do but page through a collection of unique Family Albums. Unique because they focused in on only one kind of family. What they like to consider Organized Crime, to them the ultimate “family business.” “Sally Dogs” Lombardi, Gerard “Jerry” Chilli, Dominick “Sonny Black” Napolitano and the infamous Motion Lounge occupy this story, and of course the FBI. Le t Matt tell you what really happened.

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A City of Shining Stars (Back Matter) w/ Jeff Stormer

Team-Up Moves

Play Episode Listen Later Jan 24, 2023 80:12

It's time to dissect A City of Shining Stars by Aaron Lim, with our guest from this run, Jeff Stormer. For our Origin Story segment, we took the opportunity to interview Jeff about how he prepped for this game with a lifetime of watching, reading, and studying superhero stories.Back IssuesMarvels by Kurt Busiek and Alex Ross (1994). The influential, and optimistic, mini-series follows a non-powered photographer through his career in Silver Age Marvel New York, looking at super-people as they emerge and alter the city's history. (Not to be confused with The Marvels, a more recent comic about superheroes at war.)Astro City by Kurt Busiek and Brent Anderson: a creator-owned, unified, multi-generational superhero story, as much about the city as about the heroes, and especially: “That Was Then” (2022), Family Album trade paperback (1997), Through Open Doors trade paperback (2014); stories about Jack-in-the-Box, a friendly neighborhood superhero with real-life family problems, or the Silver Agent, an era-spanning, time-traveling, tragic do-gooder (some of these stories collected in Shining Stars, 2014); the individual older stories and issues “Ellie's Friends,” “What I Did on My Vacation,” and “The Sky's the Limit.”Welcome to Tranquility (2007) by Gail Simone and Neil Googe. Action, detection and history in a retirement community for superheroes, with plenty of throwbacks and flashbacks to the eras when these superheroes were in their primes.History of the Marvel Universe (2020) by Mark Waid and Javier Rodriguez. It is what it says on the tin. And it's good.The Other History of the DC Universe (2021) by John Ridley and Giuseppe Camuncoli. In-universe DC history over the decades, through the eyes of characters of color, interwoven with real-life US events.The DC Book of Pride (forthcoming in 2023) by Jadzia Axelrod. A reference work of LGBTQ+ characters from DC past and present.The CastJeff Stormer (he/him, @PartyOfOnePod)Stephanie Burt (she/her, @accommodatingly/@accommodatingly@zirk.us)Fiona Hopkins (she/her, @fionawhim/@fionawhim@dice.camp)Show InfoWebsite: https://teamupmoves.com/Email: show@teamupmoves.comTwitter: @teamupmovesMastodon: @teamupmoves@dice.campTheme Music: “Play” by Sleepyhead

We Are All Worthy of Love

The Earth Sea Love Podcast

Play Episode Listen Later Jan 23, 2023 15:16

Welcome back to another episode from your host Dr. Sheree Mack, where she is sharing her healing journey for 2023. In this episode, Sheree starts with a poem. 'When George Met Anita, Bradford 1968.' Taken from Sheree's first full collection of poetry titled, Family Album, 2011, Flambard Press, Sheree shares this poem to shed light on the love she witnessed between her mum and dad while growing up. Also in this episode, Sheree talks about: * The love between soulmates * The love of a good woman can save a life * The story of her marriage breakdown * The grieving to healing journey * The expectations of marriage * Committing to spending time alone to heal * The power of love as a healing resource * As a Blackwoman in white supremacy culture * Listening to the podcast, Soft Where? by Ayana Zaire Cotton * To be in relationship with love and care * Testing the healing process. " We are all worthy go love, we are all worthy of care, we are all worthy of possibilities." Ayana Zaire Cotton

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The Tragic Story of JFK Impersonator Vaughn Meader and The First Family Album

This is the President

Play Episode Listen Later Jan 16, 2023 23:20

This is one of the saddest stories in the history of Presidential impressions. At the end of 1962, comedian Vaughn Meader was flying high off the success of the smash hit comedy album The First Family. Produced by former radio DJ Bob Booker, The First Family Album provided a comic look at the adventures of the Kennedy clan and their New Frontiersman in the 1960s White House. And then, in November 1963, tragedy struck - not only for the young President and his family, but to the career of Vaughn Meader. Special thanks to Bob Booker for taking the time to talk to us over the phone.

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Family Album - Vincent Price - OTR

The Foggy Jack Podcast

Play Episode Listen Later Nov 30, 2022 27:55

VIDEO SHOWS ALSO AVAILABLE ON YOUTUBE!! - Audio for this and other shows are found on https://zootradio.com/Suspense.php https://www.oldradioworld.com/ https://www.oldtimeradiodownloads.com/ PLEASE SUPPORT THEM AND THIS SHOW!! SUBSCRIBE/ SHARE/ AND RATE!! Thank You @Foggyjack13 --- Send in a voice message: https://podcasters.spotify.com/pod/show/foggyjack13/message

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Ep. 82- On The Beat- Interview- Tim Greene Sr.

The Score

Play Episode Listen Later Nov 28, 2022 47:31

On the Beat: A discussion in percussion pedagogy and common practices with Tim Greene Sr.In this week's episode, Eric and Justin talk with special guest and friend percussion educator extraordinaire Tim Greene Sr. In this episode, you will get a chance to hear an honest conversation on the aspect of change in the world of music education. Hear hard truths and perspectives on where we are and where we could be in our journey as music educators. We hope to affirm and encourage you to be the change you want to see in the ever-evolving world of music education. Please check out this week's episode to be encouraged and inspired. Enjoy and share!!!Connect with Tim and the Southern Percussion Ensemble (SPE) - Instagram| EmailIn Rotation:"No Se Va" Grupo Frontera- Eric"The Family Album" Red Hands- Justin McLean"Fly Like Me" Bruno Mars- Tim Greene Sr.Connect with us on Facebook, Twitter & Instagram: @podthescoreEmail: podthescore@gmail.com | The Score Podcast WebsiteSupport The Score on Patreon or PaypalMusic Credits:Intro: Justin McLean @jusmackmuzikIn Rotation & Outro: Ben Bohorquez - @jamin_musicSupport the show

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BROCKHAMPTON TM/The Family Album Reviews

Mixed Beetles Rap Reviews

Play Episode Listen Later Nov 28, 2022 17:46

Tito and Trujillo give their opinions on the new controversial BROCKHAMPTON album. He really outdid himself this time!

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Ericca Latza - The Family Album - Ep 72

Songwriter Connection

Play Episode Listen Later Oct 12, 2022 50:20

Ericca Latza is the real deal! A brilliant writer and performer. She has a new record out and some great stories behind the songs. Ericca moved to Nashville from Mt. Airy North Carolina in 2019 and has been making inroads in the music and songwriting community.Support this podcast at — https://redcircle.com/songwriter-connection/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

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25. Joel Waggoner & Comedy Song Writing

The Nerd Expansion

Play Episode Listen Later Jun 28, 2022 80:19

Welcome back to The Nerd Expansion! Today's guest is the one and only Joel Waggoner and his nerd love is Comedy Song Writing. Woah. It's awesome.JOEL WAGGONER (he/him-ish) is a singer/songwriter, performer, multi-instrumentalist, music director, arranger, teacher, comedian, and one-time game show winner. He performed on Broadway in School of Rock and Be More Chill. His breakout Instagram series "Advent Carolndar" with Julia Mattison has been featured on Jimmy Kimmel Live! with Ben Platt and NPR Weekend Edition. Off-Bway: Southern Comfort (Public Theater), The Joel Waggoner Experience (Joe's Pub). TV: Original series, Wig Mediums on Broadstream,“$100,000 Pyramid” Season 3 Premiere. Joel's original musicals include Presto Change-o and The SupaDupa Kid, both produced at Barrington Stage Company. Vocal Arranger: Joe Iconis & Family Album, Broadway Bounty Hunter (Off-Bway Cast Recording.) MFA from NYU Tisch. “Unlikely Warrior” available on iTunes.Find Joel:www.JoelWaggoner.comUnlikely Warrior video Wig MediumsOn Instagram: Joel WaggonerAdvent CarolndarJoelCappellaJoel & Sasha:Pamphlet by Joel Waggoner & Sasha WeissEmpathy by Joel Waggoner (commissioned by Sasha Weiss)Control by Joel Waggoner (performed by Sasha Weiss)Joel recommends:The Quitters PodcastOh My GauzeA Slight Change of Plans PodcastHosted By: Nick Bowan & Sasha WeissTheme song written by Korrie YamaokaPerformed by Sasha Weiss & Korrie Yamaoka

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Gabriela Alemán and Dick Cluster in Conversation with Oscar Villalon

LIVE! From City Lights

Play Episode Listen Later Jun 10, 2022 57:29

In conjunction with Zyzzyva, City Lights presents Gabriela Alemán and Dick Cluster in conversation with Oscar Villalon, celebrating the publication of "Family Album: Stories," published by City Lights Books. "Family Album" is Ecuadorian author Gabriela Alemán's rollicking follow-up to her acclaimed English-language debut, "Poso Wells." This event was originally broadcast live via Zoom and hosted by Peter Maravelis. You can purchase copies of "Family Album: Stories" directly from City Lights at a 30% discount here: https://citylights.com/family-album-stories/ Gabriela Alemán was born in Rio de Janeiro, Brazil. She received a PhD at Tulane University and holds a Master's degree in Latin American Literature from Universidad Andina Simón Bolívar. She currently resides in Quito, Ecuador. Her literary honors include a Guggenheim Fellowship in 2006; member of Bogotá 39, a 2007 selection of the most important up-and-coming writers in Latin America in the post-Boom generation; one of five finalists for the 2015 Premio Hispanoamericano de Cuento Gabriel García Márquez (Colombia) for her short story collection "La muerte silba un blues;" and winner of several prizes for critical essays on literature and film. Her novel "Poso Wells" was published in English translation by City Lights in 2018. Oscar Villalon is the managing editor at the literary journal ZYZZYVA. His writing has appeared in Freeman's, the Virginia Quarterly Review, The Believer, Stranger's Guide, Literary Hub, and other publications, and in the anthology There's a Revolution Outside, My Love: Letters from a Crisis (Vintage). A former board member of the National Book Critics Circle, and a former book editor at the San Francisco Chronicle, he lives in San Francisco. Dick Cluster is a writer and translator based in Oakland, California. His original work includes three novels and two books of history, most recently "The History of Havana" (with Rafael Hernández). Other Cuban writers he has translated include Aida Bahr, Pedro de Jesús, and Abel Prieto. This event was made possible by support from the City Lights Foundation: citylights.com/foundation

God’s Family Album with Tammy McElhenny

Dothan First

Play Episode Listen Later May 8, 2022

Check out this message from Various at Dothan First.

A Family Album (Apr 25, 2022)

Daily Treasure

Play Episode Listen Later Apr 25, 2022

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295: Chosen Family Album Walkthrough with Negro Justice and Aaron Dethrage

We Own This Town: Music

Play Episode Listen Later Mar 15, 2022 178:07

Epic track-by-track breakdown of the Negro Justice album, Chosen Family.

03-13-22 Joshua: A Family Album of Promise

New Vision Life

Play Episode Listen Later Mar 13, 2022 36:25

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Listening Party: Fyütch's Family Album, 'Family Tree'

All Of It

Play Episode Listen Later Mar 9, 2022 15:20

Harold Simmons II, whose stage name is Fyütch, is a Bronx-based musician, social justice artist, and proud dad who combines hip-hop and storytelling to create music that educates and inspires the next generation of kids. Last summer, he released his first full-length family album, Family Tree, with songs about Black history he hopes to pass down to his own daughter. Fyütch joins us for a Listening Party for the family album.

Family Album – Romans 16

Calvary Chapel Newberg

Play Episode Listen Later Mar 6, 2022 52:53

Speaker: Pastor John Terry

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PREVIEW The FAMily Album Ep63 - Chris Camfield talking Slash's Snakepit

Play Episode Listen Later Feb 11, 2022 4:38

*The full podcast is available exclusively for Primordial Radio members via the website or via the Primordial app. Check it out here https://primordialradio.com/* Every week on the afternoon show, Dews plays an album in full, chosen by a member of the the PRFam, who then joins him on-air to have a chat about it. This podcast is the recording of those chats, minus the music. In ep63 of the podcast Dews is joined by Chris Camfield to talk about the Guns 'N' Roses album that could have been, learning guitar to attract girls, and the eternal worry that - should any of us pass away early - our partners will sell our guitars/motorbikes/*insert-thing-here* for what we said we paid for them! They also discuss one of their favourite albums; Slash's Snakepit's 1995 debut "It's Five O' Clock Somewhere"

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PREVIEW The FAMily Album Ep62 - Mark Edge talking Pendulum

Play Episode Listen Later Feb 4, 2022 6:57

*The full podcast is available exclusively for Primordial Radio members via the website or via the Primordial app. Check it out here https://primordialradio.com/* Every week on the afternoon show, Dews plays an album in full, chosen by a member of the the PRFam, who then joins him on-air to have a chat about it. This podcast is the recording of those chats, minus the music. In ep62 of the podcast Dews is joined by Mark Edge to talk about car stereo theft, how someone goes from being into dance music to being a full-on rocker, and Pendulum's 2008 album "In Silico".

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PREVIEW The FAMily Album Ep61 - Corrina Lukins

Play Episode Listen Later Jan 27, 2022 5:58

*The full podcast is available exclusively for Primordial Radio members via the website or via the Primordial app. Check it out here https://primordialradio.com/* Every week on the afternoon show, Dews plays an album in full, chosen by a member of the the PRFam, who then joins him on-air to have a chat about it. This podcast is the recording of those chats, minus the music. In ep61 of the podcast Dews is joined by Corrina Lukins (northern Corrina of the PRFam as we do have a southern one too!) to talk about entering education late in life, and why one should just go for it. They also talk about one of Corrina's favourite albums, NOFX's 1996 classic "Heavy Petting Zoo."

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PREVIEW The FAMily Album E60 - David Moss

CBS Radio Mystery Theater

Play Episode Listen Later Jan 25, 2022 7:43

*The full podcast is available exclusively for Primordial Radio members via the website or via the Primordial app. Check it out here https://primordialradio.com/* We're aware that we *may* have missed a few FAMily Album podcasts. More than a few, in fact. The last one was Ep53 ffs! Blame Dewsbury. Every week on the afternoon show, Dews plays an album in full, chosen by a member of the the PRFam, who then joins him on-air to have a chat about it. This podcast is the recording of those chats, minus the music. In ep60 of the podcast Dews is joined by David Moss of the PRFam to talk about his love of southern rock, why freebird is halfway to being the greatest song ever, and why the quiet benefits of your son's electric drums are completely negated when he gets a full kit.

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CBS Radio Mystery Theater_78-01-04_(0763)_Family Album

Play Episode Listen Later Dec 30, 2021 45:07

A new episodeSupport this podcast at — https://redcircle.com/cbs-radio-mystery-theater/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

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Women We Should Know and Honor: Clotilda, Bertha, and Balthild: Three Women of the Early Medieval Church

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Play Episode Listen Later Oct 10, 2021 56:36

Women We Should Know and Honor: Clotilda, Bertha, and Balthild: Three Women of the Early Medieval ChurchSeries: Women We Should Know and Honor - Portraits from the Family Album of our Spiritual Heritage Speakers: Jon HinksonKevin HoffmanChristian EducationDate: 10th October 2021

Women We Should Know From the New Testament & Early Church

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Play Episode Listen Later Oct 3, 2021 72:25

Women We Should Know From the New Testament & Early ChurchSeries: Women We Should Know and Honor - Portraits from the Family Album of our Spiritual Heritage Speaker: Tom SchmidtChristian EducationDate: 3rd October 2021

Women We Should Know: Betsey Stockton

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Play Episode Listen Later Sep 26, 2021 75:00

Women We Should Know: Betsey StocktonSeries: Women We Should Know and Honor - Portraits from the Family Album of our Spiritual Heritage Speaker: Jon HinksonChristian EducationDate: 26th September 2021

Women We Should Know: Hannah More

Play Episode Listen Later Sep 19, 2021 53:36

Women We Should Know: Hannah MoreSeries: Women We Should Know and Honor - Portraits from the Family Album of our Spiritual Heritage Speaker: Jon HinksonChristian EducationDate: 19th September 2021

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Women We Should Know & Honor: Katharina Zell

Play Episode Listen Later Sep 12, 2021 71:42

Women We Should Know & Honor: Katharina ZellSeries: Women We Should Know and Honor - Portraits from the Family Album of our Spiritual Heritage Speaker: Jon HinksonChristian EducationDate: 12th September 2021

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Women We Should Know and Honor: Selina Hastings, Countess of Huntingdon