Podcast appearances and mentions of floyd mutrux

This week we welcome Shawn Barker as Johnny Cash! Shawn Barker was born and raised in the metro St. Louis area where like most entertainers, Shawn's first experience with music was attending church with his family. From singing in church, playing drums in the school marching band or singing in cover bands and coffee houses, music and entertainment has always been in Shawn's blood. In 2004, Shawn auditioned for the part of Elvis Presley in the Broadway production of “Million Dollar Quartet”. The Director, Floyd Mutrux, (“Dick Tracy” & “American Hot Wax”) recognized Shawn's unique talent and requested Shawn to submit an audition for the part of Johnny Cash. Shawn agreed and was instantly cast in the part with Mutrux saying, “We have 100 people who can play Elvis, but we only have one that can play Johnny Cash.” Since then, Shawn has performed his unmatchable tribute to Johnny Cash all over the world touring in Australia, Europe, Canada and across the United States. Shawn has performed as Cash in the world-famous tribute shows “Legends in Concert” and “One Night in Memphis,” the four-part show paying tribute to Sun Records recording artists Elvis, Johnny Cash, Jerry Lee Lewis and Carl Perkins. He has also been the star of the long running Brown Production, “The Man in Black Show.” Shawn currently resides in Las Vegas, Nevada and continues to bring his tribute to Johnny Cash to fans around the world. Legends in Concert is located along the famous 76 Strip and has been a part of the Branson entertainment scene over two decades. Two power-packed hours of fabulous entertainment awaits you! This world famous live tribute show features an amazing cast of all-star entertainers assembled on one stage in one of the most sought after productions in the world. Don't miss out on this extravagant concert in Branson.
 To order tickets or for more information call the Dick Clark American Bandstand Box Office: 417-339-3003 or visit www.LegendsInConcert/Branson

The bros find out they're bound by honor in this week's episode about the 1993 film, Blood In Blood Out. Written by Jimmy Santiago Baca, Jeremy Iacone, and Floyd Mutrux and Directed by Taylor Hackford. Instagram: https://www.instagram.com/thefilmbrospodcast Youtube: https://www.youtube.com/channel/UC4g9YbMBwRIKzDTV4uXt5Eg The bros Letterboxd's: @_isaiahlucas @lilabey @NickGowinPlaces

This week we welcome Shawn Barker as Waylon Jennings! Shawn Barker was born and raised in the metro St. Louis area where like most entertainers, Shawn's first experience with music was attending church with his family. From singing in church, playing drums in the school marching band or singing in cover bands and coffee houses, music and entertainment has always been in Shawn's blood. In 2004, Shawn auditioned for the part of Elvis Presley in the Broadway production of “Million Dollar Quartet”. The Director, Floyd Mutrux, (“Dick Tracy” & “American Hot Wax”) recognized Shawn's unique talent and requested Shawn to submit an audition for the part of Johnny Cash. Shawn agreed and was instantly cast in the part with Mutrux saying, “We have 100 people who can play Elvis, but we only have one that can play Johnny Cash.” Since then, Shawn has performed his unmatchable tribute to Johnny Cash all over the world. While performing as Johnny Cash for Legends in Concert in Branson, Missouri, Shawn heard that they were going to open a new show, Legends of Country®, in 2021 and that they were looking for some top- quality country acts. A long time Waylon Jennings fan, Shawn decided to put an act together and see what would become of it. The production department at Legends in Concert was blown away by his transformation. He looks and sounds just like the outlaw, Waylon Jennings. You can currently see Shawn Barker performing as Waylon Jennings in our Legends in Concert Spring cast, Feb. 4th – May 24th, 2022. Shawn also performs as Johnny Cash in our Legends of Country® Spring cast, Feb. 13th – June 5th, 2022, Sundays at 3pm. Legends in Concert is located along the famous 76 Strip and has been a part of the Branson entertainment scene over two decades. Two power-packed hours of fabulous entertainment awaits you!
 This world famous live tribute show features an amazing cast of all-star entertainers assembled on one stage in one of the most sought after productions in the world. Don't miss out on this extravagant concert in Branson. To order tickets or for more information call the Dick Clark American Bandstand Box Office: 417-339- 3003 or visit www.LegendsInConcert/Branson.

Revisiting things a few years later can be perilous and More American Graffiti is maybe a very good example of this. Even lacking most of the creative team from the first movie American Graffiti still manages to spawn a weird alternate reality sequel to American Graffiti (1973) that comes out a year later called The Hollywood Knights. Knight Time is the Right Time Of the two, The Hollywood Knights is the much more beloved. In writing this episode description I finally cracked the code. I was shocked that an uncredited writer for Two-Lane Blacktop and Aloha, Bobby and Rose would end up making this movie however Floyd Mutrux worked at Second City and, realistically, The Hollywood Knights feels like a very produced graduation improv show where they find a story somewhere in there among all the antics. This movie 100% has Hot Rod credentials. I mentioned Project X and I had known it mostly as a Hot Rod Magazine car because Popular Hot Rodding was on the decline but it, indeed, was the car of Popular Hot Rodding for some time. All of these brands have been eaten up by Motortrend, it seems. The T bucket "rail job" was a cool and very authentic car that rarely shows up in movies. More Isn't Better I wish it was, though. There was some heart and thought put into this movie but I think that the hand of Lucas weighed heavily on the steering wheel of development and production. We can, in hindsight, see that it was inevitable as we've seen the saga of Star Wars but it's unfortunate that it had to be that way. Bill Norton didn't have a prolific credited writing career but was a journeyman TV director. He wouldn't necessarily show up on the list of people who would push back on that as More American Graffiti was at an early point in his directorial career. In a weird tie-in to car movies in general, Monte Hellman was assistant director to Bill Norton on Cisco Pike (1971). Milner was racing what we, today, call a "sling shot" and wearing those masks to not die from the nitromethane fumes was definitely an eye-catcher. Racing was wild back then but these racing scenes, for the most part, are very staged and slow. Other movies have done racing much better (even American Graffiti) but I guess they saved it up for that one last shot. Filming everything for Milner at the track makes it basically a "bottle episode" so I guess that was one way to save some money. Music Matters So the commonality here is the music. A ton of hits. An actual ton. More American Graffiti definitely goes into the later protest songs and hippy movement music while The Hollywood Knights stays in the pockets with The Beach Boys, Jan and Dean (the other The Beach Boys), The Four Seasons, The Chiffons, The Supremes, etc). I think THK shows a bit more range, culturally, than More American Graffiti (which very dedicated to Vietnam and its protests) especially when Newbomb Turk farts "Volare". Interestingly, and I hope it was intentional because I, in my head canon, really want this connection to be real and strong, The Hollywood Knights ends with Martha & The Vandellas' "Heat Wave" and More American Graffiti opens with Martha & The Vandellas' "Heat Wave". For the Audio Enthusiasts Used the WA-47 Jr (cardioid pattern) on the UA Volt 276 with the compressor and vintage modes on. No additional compression was used on the main part of the episode (there was limiting on the whole thing but it was fairly conservative). Stereo section was Rode M5s into a Zoom F6. There was severe wind noise so I cut out a lot of the low end. I did need to run a little bit of voice de-noise because I guess I wasn't speaking very loud and the noise levels around me were wild. The errata part was a Rode VideoMic Go II and I did get rid of some room tone on that one as well. Thanks for listening. Rate, like, and bell that smash for subscribe.

Warren Beatty's Dick Tracy is a beautiful recreation of the four-color world of Chester Gould's square-jawed detective. It's also something of an uneasy marriage of Stephen Sondheim songs, Madonna, and a cavalcade of character actors as Gould's "Rogues Gallery."Interviews feature Glenne Headly who plays Tracy's love interest, Tess Trueheart, as well as author Garyn G. Roberts, and Dick Tracy afficianado Dan Kampling. We also hear just a bit of executive producer Floyd Mutrux from a previous interview.Jared Case and Frank Santopadre join Mike to debate if the film ultimately works. Learn more about your ad choices. Visit megaphone.fm/adchoices

Special Guests: Glenne Headly, Garyn G. Roberts, Dan KamplingGuest Co-Hosts: Jared Case, Frank SantopadreWarren Beatty's Dick Tracy is a beautiful recreation of the four-color world of Chester Gould's square-jawed detective. It's also something of an uneasy marriage of Stephen Sondheim songs, Madonna, and a cavalcade of character actors as Gould's "Rogues Gallery."Interviews feature Glenne Headly who plays Tracy's love interest, Tess Trueheart, as well as author Garyn G. Roberts, and Dick Tracy afficianado Dan Kampling. We also hear just a bit of executive producer Floyd Mutrux from a previous interview.Jared Case and Frank Santopadre join Mike to debate if the film ultimately works. 

Bob Wilcox and Gerry Kowarsky review (1) OR,, by Liz Duffy Adams, at Slightly Askew Theatre Ensemble, (2) THE NINA VARIATIONS, by Steven Dietz, at Flying Blind, (3) BIG LOVE, by Charles Mee, at the Webster Univ. Conservatory, (4) ANY NUMBER CAN DIE, by Fred Carmichael, at KTK Productions, (5) RUMORS, by Neil Simon, at Saint Louis Univ., (6) BLUES FOR MR. CHARLIE, by James Baldwin, at Washington Univ., (7) THE TEMPEST, by William Shakespeare, at Univ. of Missouri-St. Louis, (8) MILLION DOLLAR QUARTET, by Floyd Mutrux, Colin Escott, et al., at the Fox Theatre.

On this episode, Gerry Kowarsky and guest host Mark Bretz review 1) WAITING FOR GODOT, by Samuel Beckett, at St. Louis Actors' Studio, (2) THREE SISTERS, by Anton Chekhov, at Saint Louis Univ., (3) MILLION DOLLAR QUARTET, by Colin Escott & Floyd Mutrux, at the Fox Theatre, (4) LEGALLY BLONDE THE MUSICAL, by Laurence O'Keefe, Nell Benjamin, & Heather Hach, at Webster Univ. Conservatory, (5) SMASH/HIT!, by Steve Broadnax and Michael Bordner, at The Black Rep, (6) IN THE NEXT ROOM (Or the Vibrator Play), by Sarah Ruhl, at Washington Univ., (7) FOOL FOR LOVE, by Sam Shepard, at Tesseract Theatre, and (8) TROUBLE IN TAHITI, by Leonard Bernstein, at Union Avenue Opera.

More of the interview with writer Floyd Mutrux from the Adventures of Ford Fairlane episode.Learn more about your ad choices. Visit megaphone.fm/adchoices

More of the interview with writer Floyd Mutrux from the Adventures of Ford Fairlane episode.