Podcasts about feiffer

Jules Feiffer, illustrator of The Phantom Tollbooth, died last week at age 95. The Pulitzer Prize-winning author and cartoonist began drawing and writing for a living when he was 17. And just last year, Feiffer came out with his first graphic novel for middle grade readers. That book, Amazing Grapes, kicks off with a father's departure, which sets in motion a series of adventures across dimensions for his three children. In today's episode, we revisit a conversation between Feiffer and NPR's Scott Simon about how play became more central to the author's life as he grew older and the importance of "getting away with it."To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Jules Feiffer has been drawing and writing for a living since he was 17 years old. Now 95, the illustrator behind The Phantom Tollbooth is out with his first graphic novel for middle grade readers. That book, Amazing Grapes, kicks off with a father's departure, which sets in motion a series of adventures across dimensions for his three children. A two-headed swan serves as the master of ceremonies for the story. In today's episode, Feiffer speaks with NPR's Scott Simon about how play has become more central to the author's life as he's grown older and about his writing process, which involves a lot of scribbling.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

For thousands of years, desperate writers have struggled with the condition known as writer's block. In this episode, Jacke talks to novelist Kate Feiffer about her book Morning Pages, in which a playwright on a tight deadline tries Julia Cameron's trick of starting her day with some stream-of-consciousness writing - with results that threaten to be more hilarious than productive. Help support the show at patreon.com/literature or historyofliterature.com/donate. The History of Literature Podcast is a member of Lit Hub Radio and the Podglomerate Network. Learn more at thepodglomerate.com/historyofliterature. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kate Feiffer—writer, illustrator, television and event producer, ice cream scooper—joins Daniel Ford to write about her fiction debut Morning Pages.  To learn about Kate Feiffer, visit her official website. Writer's Bone is proudly sponsored by The Bookshop: Lou's Literary Line, Libro.fm, and Everyday Shakespeare.  

Jules Feiffer's comics in the Village Voice were THE THING back in the swingin' 60s or maybe the 50s, but we still remember them best as the thing that the last liberal wanted to read before he got got by Milo and Cutter John in Bloom County. Well, Feiffer wrote a movie script based on his comics back in the 80s and it got lost for 30 years, but now they found it and they made it. Bernard and Huey... get old!

FRICK YOUR FREAKIN' FACES, FRIENDS! It's F! This week, Justin and Erika chat about some of their favorite playwrights of the contemporary time. Justin nerds out about one of the greatest playwrights for monolouge pulls (if your female presenting and within the ages of 20-40), Erika gives us a bio on a record-breaking playwright, and the two of them nerd out ofver a DANCE STYLE?! The EKR is really goofy this week. Freaking have fun! SOME BUSINESS: Thank you to the two playwrights we featured in this episode! You can find some of their plays in the links below. Erika's play, Kill The Bird, can be found on her New Play Exchange and you can purchase and produce Justin's play, Community Garden, through his publisher, Playscripts. Finally, you can check out Justin's YouTube channel for more longform theatre content!Links to our playwrights:Larissa FastHorse's ConcordFor The People by Larissa FastHorse and Ty Defoe currently running at the Guthrie Theatre til 11/12.Halley Feiffer's ConcordHalley Feiffer's DramatistIf you like the show, feel free to subscribe and give us a five star review! Also, follow us on instagram @justinborak and @actualerikakuhn and Justin on TikTok for any news and notes on upcoming episodes and more theatre reccomendations!

My guest today is cartoonist and comedian Teresa Roberts Logan! What is Teresa into? What is Zombies vs Robots about? What are her comics about? What is the Bell Witch? What is "Creepy Cute"? Who is Ballet Ghost? Why does Teresa love horror? Why did Tapas.io ban Teresa briefly? Why does Jesus Freak have a mature warning? Why is it hard to create content for kids? What is The Tao of Comedy about? Where did we buy our comics before we had comic book stores? How has the Hell's Kitchen neighborhood changed? What is Teresa's advice for aspiring cartoonists?  Teresa's IG Reading list: Drawing Power: Women's Stories of Sexual Violence, Harassment, and Survival Washington White Persepolis Votes for Women Neil Gaiman's Death Anthony Bourdain's Hungry Ghosts Roz Chast Lynda Barry Syllabus: Notes from an Accidental Professor Making Comics  William Steig The Walking Dead (free on Kindle Unlimited) Zombies vs Robots Charles Addams Josephine Baker graphic novel Lugosi: The Rise and Fall of Hollywood's Dracula (free on Kindle Unlimited) An Embarrassment of Witches (free on Kindle Unlimited) The Oven by Sophie Goldstein Maus and Maus II Jules Feiffer - Kill my Mother, Feiffer's album Gemma Bovery Richard Thompson's Cul De Sac Fun Home (just read it already) Are You My Mother? Horrifyingly MAD Frank Miller Daredevil (free on Kindle Unlimited) Ruins The Rejection Collection of rejected New Yorker cartoons The Tao of Comedy Best American Comics My Favorite Thing Is Monsters By Teresa Jesus Freak: Losing My Religion (on Tapas.io) gocomics.com laughing redhead comics Fog of Worry (patreon) Watch list: Netflix Daredevil series The Warriors Recorded 10-2-23 via Zoom

ANALYSE Radio Rackham nærstuderer Spirit-historien “Ten Minutes” af Will Eisner og Jules Feiffer, blandt de mest mindeværdige episoder af den legendariske avistegneserie, der i sin godt tiårige levetid satte nye standarder for hvad en tegneserie kan fortælle, hvordan den gør og hvorfor den er sin egen kunstform. “Ten Minutes” blev oprindeligt publiceret i The Spirit Section 11 september 1949, mod slutningen i seriens absolutte storhedstid, ca. 1946-49, hvor Eisner med bl.a den unge Jules Feiffer (senere legendarisk tegner og forfatter i egen ret) viste verden hvad tegneserier kunne. The Spirit Section, i hvilken The Spirit havde udfoldet sig siden 1940 var et avistillæg med tegneserier produceret af Eisners tegnestue og solgt til aviser landet over. Det havde millioner af læsere. Frederik Storm, Thomas Thorhauge og Matthias Wivel læser historien billede for billede for at blive klog på, hvordan Eisner og Feiffer iscenesætter en lille skæbnesfortælling fra New Yorks lejekaserners slum: En bottle episode som det i dag hedder på TV, som udfolder sig i realtid—de ti minutter, det (cirka) tager at læse den, udfolder de ti sidste minutter i hovedpersonens Freddys liv. Kvasi-superhelten The Spirit, seriens angivelige hovedperson, optræder kun i margin. Læsningen af “Ten Minutes” giver anledning til en bredere diskussion af The Spirit, herunder Eisners litterære ambitioner og hvor godt—eller måske mangelfuldt—de indfries, herunder hans livslange optagethed at tidens natur og skæbnens rolle i vore liv. Udvalgte klassiske historier inddrages, ligesom paralleller trækkes til andre dele af Eisners livsværk og vi lokaliserer måske hans kunst et andet sted, end han selv havde forestillet sig. Læs selv med mens du lytter, “Ten Minutes” kan findes på dansk i Spirit nr. 4 eller i The Spirit Archives VOL 19 og endelig kan du også finde den på Radio Rackhams Instagram

Listen to Build for Tomorrow: https://www.jasonfeifer.com/episode/the-best-ways-to-use-a-crisis/ (40ish mins in)Today's twitter discussion: https://twitter.com/swyx/status/1599890745200377857TranscriptSo turn to the century, the phonograph, brandnew innovation, the very first record player, consider how completely insanelyrevolutionary this was, for all of human history, before the phonograph. If you wantedto listen to music, there was only one way to do it. And that was to be in front of ahuman being who was playing an instrument. There's no other way. How are you goingto listen to music? And then this machine comes along and can do it for you, can playmusic. Unbelievable. Consumers didn't believe it at first. Like they literally, they had tobe shown like, no, there is not a person behind the wall playing music. Like they had tobe shown. And then once they believed it, they loved it. They brought it home. You know who hated this?[00:43:45] Jordan Harbinger: Yeah. I don't know. Musicians?[00:43:46] Jason Feifer: Yeah. Musicians hated it.[00:43:48] Jordan Harbinger: Yeah.[00:43:49] Jason Feifer: Hated it because they saw themselves being replaced here.That, you know, they see this new technology doing the thing that they do and they seechange and they equate change with loss and they say, "We got to stop this," right?They pull a margarine. And the leader of the resistance was this guy named John PhilipSousa. John Philip Sousa, you may not know his name, but you know his music becauseit's still around today. All the military marches, [Dah-dah-dah-dah] John Philip Sousa.[00:44:12] Jordan Harbinger: You know why we know who he is? Because we haverecordings of the music.[00:44:15] Jason Feifer: Bingo! That's exactly right. So John Philip Sousa, he at thetime was the leader of the resistance against recorded music. He wrote this amazingpiece, like Google it because it is hilarious. It's called The Menace of Mechanical Music.It ran in Appleton's Magazine in 1906 and it contains all of these wonderful argumentsagainst recorded music. And my favorite goes like this. He says, "When you bringrecorded music into the home, it will be the end of all forms of live performance in thehome because why would anybody perform music in the home when now there's amachine that can do it for them." So now, because we're going to extrapolate loss,remember I talked about that earlier, right? Like you see changes loss and youextrapolate the loss. So what's next? Well, he says, "Because people are no longerperforming music at home, mothers will no longer sing to their children."[00:45:00] Jordan Harbinger: It's quite the jump.[00:45:01] Jason Feifer: Yeah. Quite the jump. Why would they do that? When amachine could do it. Here's another jump, "Because children grow up imitating theirmothers, the children will grow up to imitate the machines, and thus, we'll raise ageneration of machine babies." That was his argument, like a real thing that—[00:45:16] Jordan Harbinger: Okay.[00:45:16] Jason Feifer: —people took it seriously. I feel like it's fun to like laugh atJohn Philip Sousa for this, but also—[00:45:20] Jordan Harbinger: Sure.[00:45:20] Jason Feifer: —I feel like what he's doing is pretty relatable.[00:45:23] Jordan Harbinger: It is relatable. It's very human.[00:45:24] Jason Feifer: It's very human. You have something and it works for you.And then you see some change come along and you feel like this change is existential.It is going to outmode you. So he tried to stop it.[00:45:36] And it's worth asking ourselves in this moment, three simple questions. Number one, what is this new thing that's happening? Number two, what new habit orskill are we learning as a result? And then number three, how can that be put to gooduse? Because if you do that, it just helps you reframe any moment of change as let'sfocus on the gain. Is there some kind of gain that we can extrapolate? Maybe it's not aseasy to see as the loss, but is it there and what would it look like?[00:46:06] Because if you ran that scenario with John Philip Sousa, what you would seeis, well, okay, what new thing are people doing? Well, what they're doing is they're nowlistening to music on these machines whenever they want. What new habit or skill arewe learning as a result? We're learning that we have control or consumers have a lotmore control over the music that they listen to. And therefore, also have access to a lotmore music because before the only music that they could get was whoever happenedto be able to travel to their town and perform for them. How could that be put to gooduse? Well, come on guys. Come on, John Philip Sousa. Like this means that you couldrecord something yourself. And you could sell it and now people can listen to and enjoyyour music. And you can monetize that in ways that are much more scalable than whatyou're doing now. Because you're coming from a world in which the only thing that youdo is perform for people that you can get in front of. And that means that you have alimited number of people that you can get in front of. But if you can change thatdynamic, then man, oh man, suddenly your economic ability skyrockets.[00:47:02] As it turns out, John Philip Sousa was protecting a system that limited hisown economic ability. And the reason he was doing that was because he was panickingbecause of change. And once he figured it out, he changed his tune. That is not meantto be a pun, but there it is.[00:47:15] Jordan Harbinger: Yeah. I see what you did there. You are a dad, indeed.[00:47:17] Jason Feifer: There it is. I'm nailing it. I got all the dad jokes. And he startedto record himself and he started to perform on radio and he changed. And this issomething that we all need to be mindful of. There is gain in change and we need to runourselves through these things that can just help us focus on it.

Episode 105: This week on the “Dan's Talks” podcast, Dan speaks with Jules Feiffer, cartoonist and author. Feiffer has been considered the most widely … Read More

On a special double feature/dual podcast episode of 70 Movies We Saw in the 70s/Cinematalk commemorating the screenings of both films at UW Cinematheque, Ben Reiser and Jim Healy take a deep dive into a “Fistful of Feiffers”, discussing both LITTLE MURDERS (1971) and CARNAL KNOWLEDGE (1971). ‘71 was a big year for screenwriter/playwright/cartoonist Jules Feiffer, with Alan Arkin's LITTLE MURDERS and Mike Nichols' CARNAL KNOWLEDGE both hitting screens within six months of each other. Listen along as Jim and Ben try to suss out Feiffer's inspirations, figure out what genres these films do and don't fall into, Elliott Gould on top of the world, Candice Bergen's best work, waiting for Godard, Gordon Willis goes wild, Nicholson as man-baby, magnificent Ann Margret, and much more, including not one, but TWO rounds of “What else was playing that week?”.

Mabel reads a special story about one of favorite colors.

Vanity Fair's Katey Rich and Richard Lawson are Still Watching the FX true crime anthology series American Crime Story: Impeachment, covering the Clinton Affair of the late 1990s.  This week covers the fifth episode of the series "Do You Hear What I Hear?" which aired Tuesday October 5th on FX. This episode features Katey in conversation with Halley Feiffer, who wrote this episode of American Crime Story: Impeachment. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Discussion about Vaccine passports, Megan Rapinoe gaslighting Canada, and Loc'r is officially launching not giving a shit for August.  See omnystudio.com/listener for privacy information.

Halley Feiffer is a playwright, TV writer and actress. Plays include I'm Gonna Pray For You So Hard (World Premiere Atlantic Theater Company, OCC Nom.), Moscow Moscow Moscow Moscow Moscow Moscow (World Premiere Williamstown Theater Festival and MCC Theater, Drama Desk and Drama League Noms), The Pain of My Belligerence (World Premiere Playwrights Horizons), A Funny Thing Happened on the Way to the Gynecologic Oncology Unit at Memorial Sloan Kettering Cancer Center of New York City (World Premiere MCC Theater) and How To Make Friends and Then Kill Them (World Premiere Rattlestick Playwrights Theater). Her plays have been produced around the country and in the UK, and are published by Dramatists Play Service and Overlook Press.

Lille Clio var kun 6 måneder, da Caroline Feiffer, 31, opdager en knude ved sit kraveben og får konstateret lymfekræft. Hør Caroline fortælle sin rørende og hjerteskærende historie, der starter med fødslen af Clio, men især handler om, hvordan det er være alvorligt syg som nybagt mor og føle sig utilstrækkelig. Jordemoder Tilde Bøgild fra Smertefri Fødsel er som altid med til at besvare spørgsmål.

Jason Feiffer shares how companies that have clear missions are better at navigating challenges and embracing change. If you’re wondering how your company can stand out in the marketplace, he says that first, you should make a great product, but it’s how you tell your story and relate to people that can make the difference. And if you want to build a long-lasting business, he says the key is to make difficult decisions early, while you still have control.    What you will learn: Giving back is good for business The difference between your What and your Why Differentiate with your story Sustainable companies can have larger impacts The importance of situational awareness Resistance is for losers Get to your first failure   Quotes: “This is about building long-term relationships, and that’s how you make money for a long time to come.” – Jason Feiffer “Frankly, if you’re going to survive as a business in times like these, then you have to go beyond just offering a product or service. You have to be really meaningful to people in their lives.” – Jason Feiffer “The companies that are really crystal clear about their mission are the ones that are going to thrive, and the other ones may not have a place in this new world.” – Jason Feiffer “Can you identify what role you played in people’s lives and then pivot towards that? This is something I think that we all need to be doing all the time.” – Jason Feiffer “So, the way that you differentiate is not just by the great product that you make, though of course, you should make the best product you can. But it’s also the story that you tell and the way you relate to people.” – Jason Feiffer “You can’t do good with your company unless your company is profitable. Because otherwise it’s not there to do good with.” – Jason Feiffer “The only thing you can do with that is to trust yourself and understand what you know and what you don’t know and continually strive to be better and to be open, I think, about what your own concerns are.” – Jason Feiffer “When people resist a new innovation, the only thing that they really do, is they stop moving and they let everybody pass them by, because the future is not optional. You can’t opt out of the future.” – Jason Feiffer “There’s an element of faith and risk that goes into anything, and you have to be willing to take that to achieve anything great.” – Derrick Kinney “You’re going to have failures along the way, so make sure you at least get to your first failure and then see how you react and see if you can get your company through it, because it’s going to happen. You’re going to have a lot of them.” – Jason Feiffer   Free Valuable Report for our Listeners: “3 Beliefs About Money Your Kids Should Learn That No One is Teaching Them” https://goodmoneyframework.com   Follow Good Money Good Hands Good Work on Instagram! https://www.instagram.com/goodmoneyframework    Recommended Resources: JasonFeiffer.com Entrepreneur.com

For our 100th episode, we wanted to try something a little different. You’re going to hear what the team behind this show has found most interesting from the conversations we’ve had with futurists and leaders from across a wide variety of disciplines. We’re going to bring you some of our favorite clips from our archive, narrated by Jeremy and his team of motley producers. If you've never listened to an episode before, you're in for a treat.This episode features:Author Nir EyalWashington Post CMO Miki Toliver KingEditor-in-Chief of Entrepreneur Jason FeiferToronto mayor John ToryAdvertising icon Cindy GallopVox Co-founder Matthew YglesiasChief co-founder Lindsay KaplanJournalist & author Alex Kantrowitz As always, we welcome your feedback. Please make sure to subscribe, rate, and review on Apple Podcasts, Spotify, Stitcher, and Google Play.

Feiffer talks about his new picture book and more, and Steve Inskeep discusses "Imperfect Union."

After a great friend of mine connected me with her uncle, Ted Swindley, I invited him to sit down with me and have a very open, very candid discussion about his success writing "Always...Patsy Cline" and a new work that he had recently finished titled "Rebel Yell." Ted and I share experiences and excitement about his new work and I shared with him how "Honky Tonk Angels" really made me fall in love with a different aspect of theatre. Ted is an old soul, he's gentle and very understanding. It was extremely refreshing to cross-generational borders with him during this conversation. Please like, subscribe, and follow for future content. Thank you. As Playwright and Director, Mr. Swindley created the hit musical ALWAYS…PATSY CLINE, which has been produced all over the world. Mr. Swindley has served as dramaturg on numerous new plays which had their premiere at Stages Repertory Theatre in Houston. Internationally, he has directed touring productions in the UK and Australia. Mr. Swindley is the Founding Artistic Director of Stages Repertory Theatre, the second-largest theatre in Houston, Texas. There he implemented such diverse programming as the Texas Playwrights’ Festival, for which he won national recognition in 1986 from the Wall Street Journal and Backstage magazine. Jules Feiffer’s CARNAL KNOWLEDGE had its World Premiere at STAGES. Although it had been originally written as a play, Mike Nichols produced and directed the film adaptation. However, the Feiffer play had never been produced until Swindley contacted Jules Feiffer. Both at STAGES and later at Pasadena Playhouse, Jules Feiffer was in residence working with Swindley each day. Feiffer said years later, “It was the best creative collaboration of my career.”

Lille Clio var kun 6 måneder, da Caroline Feiffer, 31, opdager en knude ved sit kraveben og får konstateret lymfekræft. Hør Caroline fortælle sin rørende og hjerteskærende historie, der starter med fødslen af Clio, men især handler om, hvordan det er være alvorligt syg som nybagt mor og føle sig utilstrækkelig. Jordemoder Tilde Bøgild fra Smertefri Fødsel er som altid med til at besvare spørgsmål.

In questa puntata parliamo del Restauro del padiglione 9 ex mattatoio Roma con Anna Raimondi Anna Raimondi è architetto e socia dello studio Feifferr e Raimondi con sede a Venezia e Cremona. L'interessantissimo sito dello studio Feiffer e Raimondi lo trovate all'indirizzo:http://www.feiffereraimondi.com

An actor and playwright whose plays have been produced, commissioned and developed by several highly regarded New York theatre companies. Ms. Feiffer’s latest work, Moscow Moscow Moscow Moscow Moscow Moscow, can currently be seen at MCC.

A.L. Kennedy discusses a personal mixtape of early influences (Cummings, Burgess, Pinter, Feiffer), with reference to their appearances at New York’s 92nd Street Y, with the 92Y’s Reading Series producer Bernard Schwartz. The 92Y has been a home to the voices of literature for 80 years, hosting in its famed Reading Series the greatest literary artists of the 20th century and recording for posterity their appearances as part of its vast audio archive. The Writers on Recordings series invites contemporary authors to discuss the legendary voices that have meant the most to them. Each conversation features rare archival recordings and is led by Bernard Schwartz, who produces 92Y's Reading Series as director of its Unterberg Poetry Center. The series is produced in collaboration with the 92nd Street Y and Queen Mary University of London. See acast.com/privacy for privacy and opt-out information.

From 2008: Jules Feiffer is one of comics’ great characters himself. He famously got his start with Will Eisner, creating and drawing a children’s strip called “Clifford” and eventually writing during the last years of “The Spirit”’s original run in the late 1940s and early 1950s. Besides his long-running strip “Feiffer,” he might be best-known for his children’s work, from illustrating "The Phantom Tollbooth" and writing the original screenplay for the Robin Williams film, "Popeye."

The finale to Feiffer’s inimitable noir trilogy is grand indeed. Told with Feiffer’s subtly-toned yet irrepressible graphics, this homage to noir that began with Kill My Mother and continued with Cousin Joseph unfolds against a Hollywood backdrop rich with politics, back-stabbers, femme fatales, and more. As this final volume opens, it’s 1953. Tinseltown is haunted by spooks of all sorts, both supernatural and political. The witch hunts are in high gear and Archie Goldman, of Goldman and Mother, Confidential Investigators, is searching for a screenplay that reveals a real-world conspiracy behind the Hollywood blacklist. But is the film itself truth or a fake? And in a town where almost everyone has something to hide, is there reason for the paranoia or is it all another con?https://www.politics-prose.com/book/9781631493133Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike talks to filmmaker and Slamdance co-founder Dan Mirvish about his latest feature film, Bernard & Huey. Based on a comic series and script by Jules Feiffer (Little Murders, Carnal Knowledge, Popeye), the film stars Jim Rash and David Koechner as our titular characters.

Mike talks to filmmaker and Slamdance co-founder Dan Mirvish about his latest feature film, Bernard & Huey. Based on a comic series and script by Jules Feiffer (Little Murders, Carnal Knowledge, Popeye), the film stars Jim Rash and David Koechner as our titular characters.

Time Codes: 00:24 - Introduction 02:16 - Setup of interview 04:20 - Interview with Jules Feiffer 58:54 - Wrap up 59:26 - Contact us In 2014 Jules Feiffer published Kill My Mother (Liveright Publishing), a noir crime narrative set in 1933 -- and then later moving forward into 1943 -- involving not only hard-boiled characters, but also their exploits within the entertainment industry. Feiffer followed that up in 2016 with Cousin Joseph, the second book in what was now projected as a trilogy. That graphic novel is, in many ways, a prequel to the earlier book. Taking place in 1931, readers are introduced to police detective Sam Hannigan, a figure who looms largely over Feiffer's recent run. His spirit is likewise prevalent in the new graphic novel, The Ghost Script. With this book, Feiffer wraps up his series, which he has called an “accidental noir trilogy.” In this interview, Derek talks with Feiffer about the “accidental” nature of his writing and how the idea for a trilogy came into play. They also discuss his writing style, where, curiously enough, Feiffer sees himself as both instigator and observer to what unfolds under his pen. Over the course of their conversation, Feiffer meditates on his love of noir fiction and films, the challenges he faced in writing this trilogy, and the overriding influences of such legends as Milton Caniff and, especially, Will Eisner. He also discusses the impact of 1950s red scare and the blacklist, which is the temporal setting of The Ghost Script, what that time meant to him as a young writer, and how those politics are not entirely alien to us today. The guys had the pleasure of talking to Feiffer back in 2014 when Kill My Mother was released, so it's only appropriate that Derek talk with him again upon the completion of his noir trilogy.

Exclusive interview with Jules Feiffer. BookNerd Mark talks with Feiffer to discuss "Bernard and Huey", a 2017 American drama/comedy film directed by Dan Mirvish, that was written by Feiffer based on characters he created for his eponymous comic strip in The Village Voice.

From the moment flight 1549 narrowly glided past the Washington State Bridge, to wading through the cold, waste-deep waters of the Hudson River awaiting rescue, to the career and life reawakening which followed; we explore Post Traumatic Growth Syndrome with plane crash survivor and President of Dave Sanderson Speaks Enterprises, Dave Sanderson, in a candid, in-depth interview. Learn how to thrive by managing your mental state, leading effectively, and communicating clearly. Plus, Entrepreneur Magazine Editor-in-Chief, Jason Feifer, shares how you can achieve the new American dream. [00:00:00] Achieving the American Dream with Entrepreneur [00:04:09] Brace for Impact: The Hudson Miracle [00:11:30] Thriving After Your Personal Plane Crash [00:18:21] Manage Your Mental State in Moments that Matter [00:27:52] Learn to Live with Purpose at Halftime Institute [00:33:21] Find Your Core Mission, Lead with Certainty

Welcome to episode #1 of Entrepreneur Weekly, your definitive guide to the diverse challenges of business ownership hosted by award-winning broadcast professional, Alan Taylor. To commemorate Entrepreneur Media's launch into talk radio, we open the show with communication expert, best-selling author, and award-winning actor/writer/director, Alan Alda. Alan reveals his top communication techniques and gives us a preview of his new book, If I Understood You, Would I Have This Look On My Face?. Then, we get a preview of the June edition of Entrepreneur Magazine with Editor-in-Chief, Jason Feifer, celebrate 25 years of ThinkPad innovation with Lenovo's Tom Butler, and learn how to prevent a data hack with cyber security expert, Jayson Street. [00:00:00] Alan Alda's Communication Guide [00:05:51] Alda Communication Training Tackles Gender Bias [00:11:30] Selling Your Vision with "M*A*S*H*" Star [00:18:20] Permanent Beta: Constantly Innovating [00:23:25] ThinkPad Celebrates 25 Years of Innovation [00:33:21] Fight Cyber Terrorism and Water Hole Attacks

Ug ug ug ug ug ug! Grab your schooners and your spinach cans as NostalgiaCast looks back at POPEYE, Robert Altman's live-action, comedy-musical adaptation of the classic E.C. Segar comic strip. Jonny and Darin stare wide-eyed in wonder at all the fantastical sights, sounds, and cartoon shenanigans of seaside Sweethaven, and what happens to the townsfolk there when a muttering, semi-deformed sailor man steps off the docks and into their hearts. But does Altman's signature style lend itself to the comic book format? Or do the whimsical songs and spot-on character impersonations get lost in the fray? Have a listen and we'll gladly pay you Tuesday for a hamburger today!   Rent/stream POPEYE on Amazon, Google Play, or Vudu today!

This week on The Comics Alternative podcast, those funky PhDs, Andy and Derek, discuss three recent titles revolving around the mercenary side of crime fighting. They begin with Jules Feiffer's Cousin Joseph (Liveright Publishing), the second in a planned trilogy of noir-tinged graphic novels. It is the follow up to 2014's Kill My Mother, a text that Feiffer discussed with the Two Guys in a previous interview. The events in Cousin Joseph predate those of the earlier book, making it a sort of prequel. In fact, many of the major players in Kill My Mother make appearances in this new work. Most notable are the characters Elsie and Annie, whose husband/father Sam becomes the central figure in the current narrative. Derek and Andy note the fact that Cousin Joseph is a more tightly constructed, and even a more ambitious, work than its predecessor, especially in its engagements with the sociopolitical matters of its setting. Next, the guys look at the first issue of a new series by Kurtis Wiebe and Mindy Lee. Bounty (Dark Horse Comics) is a futuristic adventure focusing on the exploits of two anticorporate criminal sisters who eventually become bounty hunters. Almost from the beginning, the guys compare this title to Wiebe's Rat Queens, but both Andy and Derek feel that the first issue in this new series lacks the humor and cohesion of the earlier comic. Indeed, there were parts of the story that were unclear -- some of it due to writing, and some because of the its visual perspectives -- and the exposition at the very beginning unintentionally compounded this confusion. Nonetheless, the premise shows promise, and Mindy Lee's art went a long way in carrying the narrative forward. Finally, the Two Guys wrap up with another first issue...sort of. The Paybacks #1, written by Donny Cates and Eliot Rahal, with art by Geoff Shaw, is part of Heavy Metal's new initiative to produce monthly ongoing series, but this isn't the first time we've seen this title. Last year Dark Horse published the series' first narrative arc, four issues recently collected in a trade, and now this recent manifestation picks up where the earlier one left off. Derek and Andy set a context by discussing the Dark Horse series and then segue into the new issue. The transition between publishers is seamless, with Cates and Rahal sustaining the humor and action of their high concept. But what really gets the guys' attention is Shaw's art, with its detail of character expression and more realistic flourishes. Andy and Derek comment that if The Paybacks is the kind of story we can expect coming out from Heavy Metal Comics, then we might just have a publishing endeavor similar to AfterShock on the horizon.

Lindsay, Jack, and Liz chat about what we’re excited to see this month at the theater in New York City: A Funny Thing Happened on the Way to the Gynecologic Oncology Unit at Memorial Sloan-Kettering Cancer Center of New York City by Halley Feiffer at MCC Theater Universal Roberts by Mac Rogers[...]

As has become an annual event, Andy and Derek use their penultimate show of the year to discuss the current volume of Houghton Mifflin Harcourt's The Best American Comics. The series is overseen by Bill Kartalopoulos -- whom the guys interviewed on the show last year -- and this year's collection is edited by novelist Jonathan Lethem. The entries collected in The Best American Comics 2015 represent what both Lethem and Kartalopoulos consider to be the most outstanding comics published between September 1, 2013, and August 31, 2014. The guys begin by highlighting the organization of this year's volume, pointing out that Lethem has retained the topic- or theme-based approach used by Scott McCloud in last year's collection. The editor breaks down his entries into ten different chapter topics, ranging from the self-evident "Storytellers" and "Biopics and Historical Fictions" to more obscurely intriguing groupings such as "Brainworms" and "Raging Her-Moans." The guys are familiar with most of the contributions included this year -- to paraphrase Andy, The Best American Comics volumes just seem to reinforce their tastes in comics-- and many of them have been the subject of previous Comics Alternative reviews and interviews. They comment on the sheer number of entries that are excerpts from longer works, including Roz Chast's Can't We Talk about Something More Pleasant?, Jules Feiffer's Kill My Mother, Farel Dalrymple's The Wrenchies, Gabrielle Bell's The Colombia Diaries, Sept 14-16, Cole Closser's Little Tommy Lost, Matthew Thurber Infomaniacs, Anya Ulinich's Lena Finkle's Magic Barrel, Jim Woodring's Fran, Anya Davidson's School Spirits, and Josh Bayer's Theth. Most of these selections easily stand on their own, but some could have benefited from more content or additional editorial context (examples being the excerpts from Anders Nilsen's Rage of Poseidon and Joe Sacco's The Great War.) Some of the highlights in this year's volume include works by creators that either Derek or Andy have never read before, such as Mat Brinkman and his darkly surreal Cretin Keep on Creep'n Creek, or Gina Wynbrandt and her hilariously self-deprecating Someone Please Have Sex with Me. This is another must-read book for the Two Guys, but their discussion isn't without its disagreements. In good Siskel and Ebert fashion, the guys spar over the nature of the Best American Comics volumes and, specifically, over the curious “Notable Comics” list in the very back of the book. (This is a list of other significant comics published between September 1, 2013, and August 31, 2014, but not making it into the volume proper.) Derek mentions the almost complete absence in this list of any titles reflecting mainstream (in a broad sense) sensibilities -- the one exception to this is Geoff Darrow's Shaolin Cowboy from Dark Horse Comics -- and scratches his head over these choices that come with no permission or copyright obstacles. And he argues that discussing a text by what it is not can actually give a firmer grasp of what it actually is. Andy, on the other hand, is completely OK with the totally subjective approach to anthologies such as this, and he questions Derek's assumptions of the book's readership. The guys also discuss the notion that, in many ways, these selections are also political choices, especially when published by a major trade house such as Houghton Mifflin Harcourt. But these are the kinds of debates that should sound familiar to Comics Alternative listeners, especially when it comes to matters of awards, essential readings, and “Best of” collections. The bottom line, though, is that both Andy and Derek agree that The Best American Comics 2015 is yet another important contribution to our ever-expanding understanding of the medium. “Best” or not, these comics are definitely well worth reading.

The artist has been something of a hero before I’d even heard his name, through his illustration work in the aforementioned classic children’s book and as the screenwriter of Robert Altman’s perfectly chaotic 1980 cinematic adaptation of Popeye. Since then, Feiffer’s work has been a constant in my life, from his four decades long stint as an editorial cartoonist for the Village, to his early apprenticeship with Will Eisner, and a stint of film projects like Little Murders, the artist’s work always seems to find its way back into my life. Now in his mid-80s, the modern day renaissance cartoonist is trying his hand at an entirely new endeavor, writing and drawing his first graphic novel 69 years after he first began working his way through Eisner’s The Spirit at the tender age of 16. Kill My Mother maintains the cartoonist’s loose approach in a far more sustained form than his other cartooning works, marking yet another remarkable turn for the octogenarian.   We pulled up a couple of seats in the lobby of the hotel where Feiffer was staying during Baltimore Comic Con to discuss his latest career and the important of perpetually testing one’s limitations.

Filmmaker Dan Mirvish makes great movies, and you've got just a few days left to support his latest film, "Bernard and Huey". Click now here to support Dan's Kickstarter, then come back and enjoy our talk. We chat about how they came to create Slamdance and the talented alumni of the festival (see: Tres Parker & Matt Stone, Jordan Brady, Christopher Nolan), how he resurrected an Oscar category and his latest project. We share a similar philosophy about how to make your film a reality, and I appreciate Dan's candor. After this episode, you will be motivated to get your film up and running. Just 2 days left to save $50 on my Commercial Directing Bootcamp. Class is almost full.  Thank you, Jordan

On today's show, I talk to Tony Award-nominated actor Reed Birney. For most of his career, Reed was a journeyman actor, but that all changed in 2008 when he starred in the OBIE Award-winning Sarah Kane play Blasted at the Soho Rep. Since then he's performed in a number of on and off Broadway plays and received a Tony Award nomination and a Drama Desk Award for his performance in Harvey Fierstein's play Casa Valentina. Reed also plays Donald Blythe on the hit Netflix series House of Cards.This is the website for Beginnings, subscribe on iTunes, follow me on Twitter.

On this Veteran's Day, the Two Guys salute one of the most talented, and certainly the most satirical, men to serve in the U.S. military: Jules Feiffer. They talk with him about his latest book, and his first graphic novel, Kill My Mother (Liveright), and about his decision to write within the noir/crime genre. Derek and Andy are particularly curious about the artist's interest in classic film noir, his handling of fast and smart dialogue, and his use of a cinematic technique to tell his story. They spend a good deal of time asking Feiffer about the evolution of the narrative and the ways his characters unfolded during the creative process. Kill My Mother is set in the 1930s and early 1940s, and Feiffer reveals to the guys — and much to their surprise — that this is just the first in a planned trilogy of stories. The next book, Cousin Joseph, will be a prequel to the recent graphic novel, and then the third will take place during the McCarthy era and deal with the blacklist. Along the way they discuss Tantrum — a “novel-in-pictures,” not a “graphic novel” — the impetus behind the classic The Great Comic Book Heroes, his experiences writing for film and the theater, and his relationship with Will Eisner and his time on The Spirit. This is a great interview, and Andy and Derek are grateful for the time that Jules gave to them. Plus, they're excited because this is the first time they've ever had a Pulitzer Prize winner and and Academy Award winner on the show!

Meet the Feiffers! Pulitzer Prize-winning cartoonist dad, Jules, is well-known for his social commentary, but also writes and illustrates books for young readers. So does his daughter, Kate. Whether working alone or in collaboration, Jules and Kate Feiffer's books are funny and observant, with stories drawn from very real and familiar family situations.To view the full version of this and other author interviews, visit us at www.readingrockets.org, a national education service of public television station WETA. Funding is provided by a grant from the U.S. Department of Education.

Halley Feiffer is a actor and playwright from New York City. She's been in many films including The Squid and the Whale, Margot at the Wedding, and You Can Count on Me and guested on a number of television shows including Flight of the Conchords and Bored to Death. This last year, she made her Broadway debut in The House of Blue Leaves with Ben Stiller and Edie Falco and in 2012, she'll release her film He's Way More Famous Than You, which she co-wrote and stars in. Earlier this week, Halley stopped by the Wrestling Team apartment, and this is what happened! We learned what you can say if you have a black sister! Mark debuted his new stand-up persona, Mr. Hate! Halley takes us on a tour through the (in?)famous Stagedoor Manor! All this and moooooooore!

Feiffer, Kate. PRESIDENT PENNYBAKER

An interview with TOM STERN, director, co-writer, and producer of THIS IS A BUSINESS - an indie feature in the truest sense. Made on a modest budget and completely outside established studio channels, THIS IS A BUSINESS is an Ionesco-esque comedy about a shipping clerk named Turtletaub who starts his own business knowing only that he intends either to create a product or to provide a service, and whichever one it is, he pledges, it will be good... for everyone. Turtletaub hires an awkward, kind day laborer (Ernesto) as his assistant and a confident yet conflicted salesman (Baltimore) as his sales force. Now all that Turtletaub needs is to figure out what it is that his business will do. But there is constant noise streaming through the vent in the ceiling of Turtletaub's unit, and the landlord keeps giving Turtletaub the run around, and his salesman has somehow started bringing in investment money even though they do not know what it is that their business does, and Turtletaub is not sure what it is, exactly, that he owes these investors. As the pressure builds and things start to move, Turtletaub seems farther and farther away from having his idea. Until one night, it hits... and it's great... Stern has also directed, produced, and written six short films and a number of plays. His short films - BLUE ME and THE AUTOBIOGRAPHY OF TOM STERN, CHAPTER SIX: THE NEW SCIENCE - have been programmed in festivals on both coasts (Imagefest, LA Shorts, Independent Exposure 2007), and his stage production of FEIFFER'S PEOPLE was performed at The International Fringe Festival in Edinburgh, Scotland.