Podcasts about Here Be Monsters

In this week's episode, we chat with Chris Prosser, Lecturer in Theory at the Butler School of Music, about the upcoming 2025 Here Be Monsters music festival. Chris walks us through this year's exciting and eclectic lineup, which spans two nights of cutting-edge performances.On Saturday, May 24, the festival kicks off at 6:45 PM and features acts like Maru Haru, Jessy Eubanks + Band, Density 512, LOLA (Local Opera Local Artists), Amorsima Trio, VAMP, Anuj Bhutani, Tetractys New Music + Zed, and the Kraken Quartet.Sunday, May 25 starts with student composers from Studio A, followed by performances from Austin Unconducted, One Ounce Opera, Golden Hornet, Line Upon Line with Aida Shirazi, Man Woman Friend Computer, Invoke, Tatsulok Trio, Goliath Was Bigfoot, and Panoramic Voices.For more information or to buy tickets visit https://www.tetractysnewmusic.com/hbm25

Jeff walks to the edge of Berlin and explains why the Here Be Monsters feed has been quiet for so long. On the way, Jeff talks about plans for upcoming episodes, looks at the ways that moving to Berlin has changed him, and discusses a pair of films featuring Tilda Swinton: Cycling the Frame (1988), and The Invisible Frame (2009). Both movies feature Swinton riding a bicycle around the entirety of the Berlin Wall—or, in the case of the latter, where the Berlin Wall used to be. Please follow Here Be Monsters on Patreon: patreon.com/HBMpodcastField recordings heard in this episode (starting around the 17:20): a former site of the Berlin wall in Marienfelde ~ birds and insects near Portbou, Spain ~ canoe paddling near the in Germany's Spreewald ~ geese and peacocks calling on Peacock Island (Pfaueninsel) ~ dusk crickets near Locarno, Switzerland ~ a massive pipe organ that was part of Italy's submission to the 2024 Venice Biennale ~ public transport boats in Venice revving their engines ~ Jeff singing in a bathroom while a faucet drips ~ Water splashing against cement in Banyuls-sur-mer, France ~ Hiking the Walter Benjamin memorial trail on the France / Spain border ~ Baby goat at the peak of a mountain on the France / Spain border ~ A canal boat passing in Amsterdam, Netherlands ~ An announcement bidding visitors to be quiet while visiting France's Cathedral of Our Lady of Strasbourg. Producer: Jeff EmtmanMusic: The Black Spot

Jeff walks to the edge of Berlin and explains why the Here Be Monsters feed has been quiet for so long. On the way, Jeff talks about plans for upcoming episodes, looks at the ways that moving to Berlin has changed him, and discusses a pair of films featuring Tilda Swinton: Cycling the Frame (1988), and The Invisible Frame (2009). Both movies feature Swinton riding a bicycle around the entirety of the Berlin Wall—or, in the case of the latter, where the Berlin Wall used to be. Please follow Here Be Monsters on Patreon: patreon.com/HBMpodcastField recordings heard in this episode (starting around the 17:20): a former site of the Berlin wall in Marienfelde ~ birds and insects near Portbou, Spain ~ canoe paddling near the in Germany's Spreewald ~ geese and peacocks calling on Peacock Island (Pfaueninsel) ~ dusk crickets near Locarno, Switzerland ~ a massive pipe organ that was part of Italy's submission to the 2024 Venice Biennale ~ public transport boats in Venice revving their engines ~ Jeff singing in a bathroom while a faucet drips ~ Water splashing against cement in Banyuls-sur-mer, France ~ Hiking the Walter Benjamin memorial trail on the France / Spain border ~ Baby goat at the peak of a mountain on the France / Spain border ~ A canal boat passing in Amsterdam, Netherlands ~ An announcement bidding visitors to be quiet while visiting France's Cathedral of Our Lady of Strasbourg. Producer: Jeff EmtmanMusic: The Black Spot

School is back in session, as King Baby Duck and JonStar talk about recent classroom interactions. Haru Nemuri and Mass of the Fermenting Dregs brings some great sounds to Shibuya WWW X, and our host watches both Tokyo Godfathers and Heavy Trip for the first […] The post Duck Amuck in Japan | Episode 24: Here Be Monsters appeared first on B3 - The Boston Bastard Brigade |.

STEVE HATCHER considers some TELEVISION MONSTERS (but maybe not the ones you were expecting) First broadcast on FAB RADIO INTERNATIONAL at 19:00 on April 28th 2024 Today on VISION ON SOUND, “HERE BE MONSTERS!” as the saying goes, but not necessarily the kind of monsters that you might be expecting. Well, they certainly weren't the ones that I was expecting when our regular contributor STEVE HATCHER got in touch and told me that he wanted to do a show on the theme of monsters. After all, amongst other things, STEVE is very much one of the movers and shakers of DOCTOR WHO fandom, and so I kind of assumed that those sort of monsters were the ones that he most probably had in mind, although, as I was reaching out to grab my copy of the monster book, he explained that he had the more human kind of monster in mind, the kind of testosterone-fuelled monsters that used to inhabit the offices, boardrooms and bedrooms of those high-profile dramas of the sixties and seventies which used to clog up our TV screens with ambitious pant-dropping capitalist anti-heroes involving themselves in dodgy deals and shady shenanigans that somehow came to define the notion of what the world of big business resembled for generations of viewers. And so, in today's show we involve ourselves in a whistle-stop tour of the melodramatic corporate power games of THE POWER GAME, MOGUL, THE TROUBLESHOOTERS, THE MAIN CHANCE, MAN AT THE TOP, and HINE, and a couple of others that get mentioned along the way. So, let's take a trip into a toxic world of back-stabbing, ladder-climbing power-grabs, where everyone is out to get to the very top by any means necessary… PLEASE NOTE - For Copyright reasons, musical content sometimes has to be removed for the podcast edition. All the spoken word content remains (mostly) as it was in the broadcast version. Hopefully this won't spoil your enjoyment of the show.

On this week's episode, Writer Adam Pava (Boxtrolls, Lego Movie, Glenn Martin DDS and many many more) talks about his writing career, and why sometimes when he writes features, he doesn't always get credited. Tune in for much more!Show NotesAdam Pava on Twitter: https://twitter.com/adampava?lang=enAdam Pava on IMDB: https://www.imdb.com/name/nm1106082/Free 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/watchlistAutogenerated TranscriptAdam Pava:I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can. I think that's the first thing, but to get those open writing assignments, I think it's just a cool errand to even try because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things and then they'll seen you've done it. You're listening to Screenwriters Need to Hear This with Michael Jenman.Hey everyone, it's Michael Jamin. Welcome back for another episode. I may be retitling the name of my podcast. So I'm, I'm going to be vague for everyone, but I'm here with my next guest, Adam Pava, who's a very talented writer I worked with many years ago on show called Glen Martin, d d s, and he works. We'll talk. I'll let you speak in a second. Pava, you just relax. I'm going to bring you on with a proper introduction because you've worked a lot, lot of features, a lot of animation. So I'm going to run through some of your many credits. Some of them are credited and some of them just are not so credited. We're going to talk about that even though you've done the work. So I think you started early on on shows like Clone High, Johnny Bravo, I'm going to skip around.You worked with us on Glen Martin d d s, but then you've also done Monsters versus Aliens Dragons. I'm going to jump around, but wait, hold on. I'm skipping a lot of your credits, Pavo, a lot of the box trolls you've done, you work a lot with Lord and Miller on all their stuff, all the Lego movies, goblins. You have something in the works with Leica, which is one of the big animation studios which you're attached to direct as well, and then also some other shows. Let's mention My Little Pony dreamland. What else should we talk about? A bunch of the label, it's hard to talk about the credits because so many of 'em are things that are either in production or development that they're not supposed to talk about yet, or they're things that I was uncredited on. And so it's a weird thing.And why are you uncredited? How does that work? It's super different from TV and movies. So back when I worked in tv, I did tv. I mean, back when we worked together it was like what, 10, 15 years ago? Something like that. But I did TV for the first decade of my career and everything you work on, you're credited, even if you're just like the staff writer in the corner who says three words and doesn't make, get a joke into the script. You're one of the credited writers. Movies are a different situation. It's like one of these dirty secrets of Hollywood where they always want to credit one writer or a team of writers. Sometimes it'll be two writers that get the credit if both of 'em did a huge chunk of the work. But the thing that usually happens these days on big studio movies anyway is they will go through three or four writers over the course of the years and years of it being in development and all those writers who worked on it before the final writer or sometimes just the first writer and the last writer will get credit and all the ones in the middle won't get credit.Or it's like the W G A has these arbitration rules where it's like, unless you did a certain percentage of the final shooting script, you're not going to get credit at all. So even though the guy who brings catering gets credit and every person on, so will you arbitrate for credit or do you go into these projects knowing that you're not going to get credit? Usually I go in knowing that I'm not going to get credit or I will. Sometimes there'll be a situation. I did about a year's worth of work on the Lego movie, the first Lego movie, and Phil and Chris, Phil Lauren and Chris Miller who directed that and wrote the first draft of the script and the final draft of the script. They're buddies of mine and so I'm not going to arbitrate against 'em and I want them to hire me in the future and I love them and they really wanted, they're written and directed by title, and so of course I'm not going to arbitrate in that sort of situation.And also to be fair, I don't think I would win that arbitration because they wrote the first draft and it was already the idea and it was brilliant and it came out of their minds and it was awesome. And then they had me do four or five drafts in the middle of there where I was just addressing all the studio notes and all the notes from the Lego Corporation and all the notes from Lucasville and all that kind of stuff while they're off shooting 21 Jump Street and then they come back. So you were just doing it to move it closer and then they knew they were, yeah, exactly. They knew they were coming back onto it and they were going to direct it and they would do another pass. They would do multiple passes once it goes into storyboarding once it's green lit. So I was just trying to get it to the green lit stage, so they had written a draft and then I did a bunch of drafts addressing all these notes and then we got a green lit off of my drafts and then they came back on and they started the storyboard process and directing process.And the story changes so dramatically during that process anyway that the final product is so far removed from the drafts I did anyway, but it was a valuable, my work was needed to get it to that point to where they can jump back onto it. But very little of that final movie is anything that I can take credit for and I wouldn't want to take credit away from them on that. So I do a lot of that kind of work. Did they have other writers that worked on Legos movie as well, or just you? On the first one, it was them and me. There was these two brothers, the Hagerman brothers who had done a very early treatment, but that had set up the original idea for the movie of Allego man sort of becoming alive. So they got a story by credit, and then they definitely always have a stable of writers that they bring in to do punch up work and to just watch the animatic and give notes and stuff like that.So there's a whole bunch of people that are contributing along the way. Funny, they come from tv, so they really run it. They run it as if they're still on TV a hundred percent. They have their writers. And so I've gotten to work on a lot of their projects as one of their staff writer type people basically is the idea. So it's all uncredited work, but it's great work. They're such great guys and you're working on really cool things every time. And so now there's a new, in the last few years, the W G A started this new thing called additional literary Material credit. And so if Lego were to have come out now, I think I would've gotten that credit on it, but at the time, that didn't exist, so I got a special thanks. And how did you, oh, really? Okay. And how did you meet these guys?They gave me my first ever job before I knew you. I mean, I had written a movie script that was an animated movie. This is like 99 or 2000. I was just out of grad. I wrote it while I was in grad school. And Wait, hold on. I didn't even know you went to grad school. Did you study screenwriting in grad school? Yeah, I went to U S C screenwriting. Oh, I did not. I hide it from you. Why do you hide it? For me? I don't know. It's a weird thing where I feel like a, it's like I was in this weird secondary program that wasn't part of the film school. It was the master's of professional writing and screenwriting. And so people would get confused and I didn't want to lead them on, but also I just feel like it got me to a place and then I was like, I didn't want be part of a good old boys club where people are just hiring U S C people or whatever.That's the whole point of going to USC for Yeah, people ask me, should I go to film school, get an M F A, and my standard answer is, no one will ever ask for your degree. No one caress about your degree. The only thing they care about is can you put the words on the page that are good a hundred? But why did you, but what it did offer me, and I'll get back to how I met Phil and Chris in a little bit, but this is a good side conversation. It gave me an opportunity to do some internships on a couple of TV shows. And that was super, super valuable. So when I was at U SS C, it was 99 and 2000, and so I interned my first year on a little show called Friends, which was still on the air. I was on the air at the time.I was just the stage intern. So I was moving the chairs around during the rehearsals and fetching coffees and getting frozen yogurt for cast members or whatever, just shitting my pants, trying to be a normal human being around all these superstars and was not, I wouldn't say it was the best experience of my life. It was definitely one of those things where I was like, everybody was super intimidating and everybody was really busy and the cast were in the middle of a renegotiation, so they're all showing up late. It just felt like everyone was angry the whole time. And I was like, dunno if I want to work in tv. But there was one writer's assistant who was just like, yeah, because on the stage you're a writer, you need to be in a writer's room, you should be an intern in a writer's room.And I was like, oh. And then so I was able to get an internship on Malcolm In the Middle, which had just sold, it was in his first year, so it was a summer show. So I jumped onto that in the summer and was able to do that. And then in that writer's room, I was like, oh, these are my people. These are actual, wait, you were an intern. They let you sit in the writer's room one. It was like for doing all, getting the lunches and making the coffee and all that stuff. Linwood was nice enough to let me just observe in the room for one day a week just to, well, if I didn't have other stuff I needed to get done. So it was super nice as long as I didn't pitch or say anything and I was just, I never would.But it was cool to, that experience showed me that show was so well written and it was so tight and those writers were all geniuses or I thought they were all geniuses. And then I'd go in the room first, I would read the scripts and I would think, oh my God, I'd never be able to do this. And then I got in the room and I'm like, oh no, they're just working really, really hard and banging their head against the wall until they come up with a perfect joke. And then by the time it's done, it seems like it's genius. But it all was just really hard work, really long hours to get to that place. So that taught me like, oh, maybe I can be one of those people. If I'm just one cog in this room, I could do that. And so that gave sort of the confidence to do that.So I had done those. Getting back, I can loop back into the Phil and Chris thing now because this actually connects really well. I had done those internships. I graduated U Ss C and I had this script that I'd written as my final project or whatever, and it was an animated movie, and I thought you could just sell an animated movie, but I didn't know, they didn't teach me this in grad school that at the time they developed 'em all. It was like only Disney and Dreamworks were doing 'em at the time. This is 2000. And they just hire directors and sort of were an artist in-house to sort of create the stories or back then that's how they would do it. And so I sent it to some agents and the response was always like, Hey, you're a really funny writer. This is really good.I can't sell this. I don't know anybody that buys animated movies, but you should write a live action movie if you can write it as good as this. And so I wrote another movie that was Live Action, but it was silly. It seemed like it might as well have been an, I go back and read it now and I'm like, it's basically an animated movie, but it didn't say it was animated, it was live action human beings. And I submitted it to a small boutique agency at the time called Broder. I don't know if you remember them, Broder Crow, we were there. Yeah. And so Matt Rice was an agent there at the time, and he had on his desk, his assistant was Bill Zody. I dunno if you know him, he's a big name agent now, but he was an assistant at the time.He read that script that I wrote and was like, oh, you know who this reminds me of these other clients that Matt has, Phil and Chris. And so he passed it on to those guys and they were looking for a writer's assistant on Clone High because they had just sold their first TV show. They were a young hotshot writers that were just deal. And so I met with Phil and Chris, and they hired me as the writer's assistant on Clone High, which was like, they were the same age as me. They were just like, we don't know what we're doing. But they're like, you've been in a writer's room, you've been knock on the middle and I friends and you, I didn't know anything. I didn't know what I was doing at all, but it said on my resume that I had had these experiences.So they thought I would be a good writer's assistant for that reason. But they were the coolest dudes from the very beginning. They were just like, you're the writer's assistant, but also you should pitch in the room. You should act like you're another writer. We have a really small staff, we have seven writers, and you're going to get episode eight. I mean, it was crazy. They were just like, they gave me a lance and that never happens anymore. How did they get an overall deal when they came? Oh, it's the craziest day. So they went to Dartmouth, they made each other at Dartmouth and then they were doing cartoons while they were there studying animation. And one of Phil's, I think it was Phil, I think it was Phil won the Student Academy Award for a student film that he did. And it was written about in the Dartmouth Alumni magazine.And there was a development exec at Disney whose son went to Dartmouth and read that article and was like, Hey, called them in their dorm room. And we're like, if you guys ever go out to la lemme know. We'll set a meeting. And they literally, the day after they graduate just drove to LA and then called 'em up and we're like, we're ready to get hired. And it worked and they got hired, it worked. They got hired just to do Saturday morning stuff, and they did that for a little bit and everything they were doing was too crazy for Saturday morning, but it was like Disney. But then Disney was like, well, you can start developing stuff for adult Disney or for primetime stuff. And so they came up with the idea for Clone High, and it originally sold to Fox as a pilot to be after the Simpsons or whatever, but then it didn't get picked up and then M T V picked it up and then they had a show.So it's crazy what a trajectory their career has. Yeah, I know. And now they're running Hollywood. Yeah, pretty much. Pretty much. Yeah. They were good guys to meet right away mean honestly, it was like to become friends with them and just to ride their wake and get some of their sloppy seconds and some of the stuff that they don't want to deal with, it's honestly, it was great. Did they call you a lot with stuff like that? Hey, we don't want to do this. It's yours less now than they used to. I mean, there was a point where I was one of their stable guys that they would call. I think they have met a lot of people in the 20 years since then, but early on it was like, I mean, even their first movie was Claudio with a Chance of Meatballs, and they brought me on to help rewrite the third act at one point.And it was just from then on, they would always send me their scripts and just add jokes or to give feedback or whatever, and they've always been like that. And then I've noticed the last maybe six or seven years as they've gotten these huge deals and all their projects are now just these massive things, it's not quite the same relationship where they would just text me or email me and be like, Hey, read this. Now. It's like they have a whole team of people. They have a machine now, but we still are friends. And then things will come up where they'll hire me for things here and there. I wonder, honestly, I don't want to make this differe about them, but it's so interesting. I kind of think, I wonder what it's like to be that busy. It almost feels like, oh my God, I'm too busy.They're so busy. They're the hardest working people I know. It's like people always wonder how this stuff comes out so good. And it's not that, I mean honestly, it's just good because they stay up later than everybody. They never stop tinkering with things. They're never satisfied. They always think the next thing they do is going to ruin their career. And so they run on this fear that propels them that, I mean, they harness it. It's not like it's a secret. They know that this is what makes them great and utilizing all their friends utilizing, they're the kind of people that are the best idea in the room wins. If you could be the PA or the head of the studio and if you have a great idea, they're like, let's try it. And they also try a lot of stuff that doesn't work and they're given the leeway to go down a lot of dead ends and then realize that's not the answer, and then back up and then try it again and try it again and try it again.And that's how a lot of animated movies are done. And so it drives everybody crazy, but also creates amazing product. That's what, because I've interviewed a couple of guys who worked at dreamworks, which John Able who does a lot of the kung movies, and he describes it the same way. I was like, wow, it's so different from writing live. It's so different from writing live action. The whole experience sounds exhausting to me. Do you find it the same? Yeah, I mean when I first started in it, I was like, this is ridiculous. Why don't they just write a script and then shoot the script? And then over the years, I've learned to love the process. I mean, I was frustrated early on when I would realize how much gets thrown out and how much changes and how much. It's just, it's out of the hands of one writer.And I think a lot of it is also just ego thinking that you could do it better than everybody. And then once I embraced, oh no, you have a bunch of really brilliant storyboard artists and you have a bunch of really brilliant character designers and head of story and a director and all these different people who, and layout artists and even the animators themselves, they all add something so vital and valuable to it, and you learn stuff from each of their steps and then you're just given the leeway to be able to keep adjusting and adjusting until you get it right. And that's why animation comes out so much tighter often than live action is just because you've been able to see the movie so many times and keep tweaking and tweaking until you get it right. Now there is a point where sometimes I feel like you can take that too far and then it just becomes like, oh, we had a great version, four drafts to go and now we've lost our way, or we're just spinning our wheels or whatever.See, that's why I get lost sometimes. I've been in shows where you rewrite something to death and then someone says, we should go back to the way it was, and I'm like, what was the way it was? I don't even remember anymore a hundred percent, and I've stopped ever thinking You can do that. I used to think I would hold out hope though they'll realize that the earlier draft was better. They'd never do. It's like everybody forgets it, and then you just have to have the confidence to be like, well, we know we'll come up with something better together that it'll be from the collaborative mind of all of us. And then I think now I've seen actually the last few years, there's a little bit of a tightening of the belt budgetarily, and that leads to faster schedules. And so instead of having seven times that you can throw the story up from beginning to end on the storyboards, like the reels and watch this movie, you can only do it three times or so.That gives you a little bit more of a window of like, okay, we got to get it right in three drafts or whatever, in three storyboard drafts. And who's driving the ship then in animation? Is it not the director in this case, it's Lord Miller, but they're the writers. Well, Lord Miller are often the directors, and so when they're the directors, they're in charge when they're the producers, they're in charge When they're on the Spider Verse movies, for example, they're the writer or Phil writes them and then they hire directors. But Phil and Chris are the producers, but they're sort of like these super directors. They're very unusual. Yeah, it's not, yeah, that's an unusual situation. But other movies somebody do at dreamworks and there's somebody do at Leica Leica, it's like the director and the head of the studio, Travis Knight, who it's his sandbox and it's his money because he's a billionaire that funds the studio.He has the ultimate say, and so the directors are always working with him, but it's always collaborative. It's always like you get in a room. When I'm working at Leica, it's always like me, the director and Travis trying to figure it out, and he's trusted me to be, I feel like he doesn't trust a lot of people. He is kind of closed off in that way, but once you earn his trust, you will be in that room and you'll figure it out together or whatever. But every movie's different, and sometimes I'm on a movie just to help fix it for a little bit, and then I'm just a fix it person that comes in for a little bit. Sometimes I just add jokes. Sometimes I just, there's been movies where it was a mystery animated movie and they're like, can you just rewrite the mystery?I was like, what a weird assignment. But I had three weeks still. But in this case, they're calling you. How are you getting this work? Just reputation, they're calling you out of nowhere? Mostly now it's reputation. I mean, sometimes I'll be submitted to it. I mean, the first time it's always like you have to be submitted. And I mean, I can tell you how I got hired on box rolls. That was a big breakthrough to me. I mean, it was after I'd done, so Lego was obviously just having known and worked with Phil and Chris forever, and then they got hired on Jump Street, and they needed somebody that they trusted to dear the ship for a while while they're gone. And so I was able to do that, and that was a huge big break. It was like, you couldn't ask for that. I just, I'm the luckiest guy in the world.But after that, at Leica, they had a draft of a movie before it was called box Rolls, it was called Here Be Monsters, and it had been in development for years and years and years and gone through a bunch of writers and they hadn't quite figured it out. It was kind of a mess. It was a big sprawling story that had a lot of moving parts to it, and they had heard that on Lego, I was able to harness a lot of the crazy ideas that Phil and Chris had and put it into a structure that made sense. And so they asked me to come in and do the same thing, or before they even did that, I did a punch up. I got hired to do a punch up on that movie, and I knew that it was going to be a huge opportunity to impress them.I really, really wanted to work at Leica because at the time, they had only had Coralline come out and I loved that movie. And then I had seen maybe ParaNorman had come out or it hadn't come out yet, but it was about to, whatever it was, I knew it was a new animation studio doing really unique original stuff, and I got asked to be part of this round table, and it was all these heavy hitter Simpsons writers. It was like J Kogan and Gamo and Pross, all these people that you're like, these are all legends. They've done a million shows and they get hired to do punch up all the time. That's like their bread and butter, right? I'm not so sure anymore, but okay, no, no, but this is in 2011 or whatever.And I was like, I am going to take this script and analyze it and come up with character moments and come up with, I'm not going to be able to compete with those guys with the best joke in the room necessarily. I'll have good jokes to pitch, but I'm going to have like, oh, what if we adjust the character to be more like this? And where those guys were all, not those guys specifically, but the room in general, these were all guys who were maybe reading five pages ahead and then pitching off the top of their head. And I spent a couple of days writing jokes in the margin and ideas in the margin, and I killed in that room. I got a lot of stuff in and to the point where a few months later when they needed a big overhaul, they asked me to come in and do sort of what I had done on Lego, just take this big thing and hone it down into, so it was a rewrite job at the beginning, and then it turned into three years of working with the director in the studio to change that story.We threw everything out and started over basically a couple times over the course of those years end up, but how are you get paid? Are you getting paid on a weekly scale? Because I don't know how that would work. Do you get paid? It starts off with a draft and then it'll be a typical thing like a draft in two rewrites, but you quickly run through those and then they keep needing your work. At least they're not getting free work out of you. They're picking no, then it turns into either a day rate or a weekly rate, and that's where I bought my house.I made so much money on my day rate. They would literally just, Leica would call me and just be like, oh, we're going to record an actor in a few days. Can you just go through all their scenes and write three or four alts for every joke? Just have a bunch of stuff. And I would spend a few days doing that, and then a day rate, you get paid really, really well, that stuff adds up. Or they would be like, we just need one more pass on the third act, or we just need to go through the whole script and remove this character. And so all these little weekly assignments, and then you're just like, that was very lucrative doing it that way.Michael Jamin:Hey, it's Michael Jamin. 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.Adam Pava:You usually, because done so much animation and it sounds like you always set out to do animation, is that I did set out to do it, and then I didn't set out to only do it. I thought I could do both, but you kind of get pigeonholed a little bit. It's hard. I've gotten hired to write a few live action movies, but there were always a live action movie that had an animation element to it. It could be a hybrid movie or be a family movie that they think, oh, because you've done family work, you can do this. But nobody would ever hire me to just do a horror movie or whatever. And I don't know if I'd be the right guy for that either. I think my sensibility tends to be more animation based, but also, I think movies are such a different thing than TV where there's like, they're so expensive.If you're spending $80 million or whatever, you want to hire somebody that's done it before. So it's really, really hard for the studio bosses or even the lower level executives to fight to hire you if you've never done that kind of thing before. And so you get, it's not pigeonholed. I love doing it and I love the work, but it's also, I get why I get hired for certain things and not for other things. But also I feel super lucky because animation is one of the only parts or the only genres of film that has not shrunk over the years. Movies in general, they've stopped making live action comedies almost completely, except for stuff on streamers. They don't make rom-coms anymore. They barely make action comedies. It's like they make superhero movies and Star Wars movies, but then animation movies are evergreen. And so I feel really lucky that I sort of fell into this area that there is still work to be had.So yeah, I mean, you really have put together a really pretty impressive career. And I know not all your credits, not all your work is credited, so what I mean? Yeah, well, it's either uncredited or there's so many projects that died Vine. So it's like you read my, I said you that list of credits and it's like I'm looking at it over earlier today. Oh, it's just a list of debt projects, but that's expected. When you go into it, you go, okay, they're not all going to go. That's expected. It's all right. I was looking at my, I was organizing my, it's a strike, so I have time to do these things, organizing my folders on my computer and putting everything in, and I had over 150 folders of each. One is its own project, and not all of those are work that I've done.Some of them are like, I got sent this thing to pitch on, and then I had one meeting and it went away. And some of 'em I did a few weeks on, or some of 'em I just did day work on, but 150 projects over the years. Some of 'em I'm on for a year or two or three years. So it's insane. And so the hit ratio is super low of, I got really lucky when I transitioned out of TV and went into movies. It was like the first two things. Well, I sold a thing to Dreamworks that didn't get made, but then right after that, it was Lego and box trolls. They both came out in 2014, and I worked on both of 'em, and I was like, oh, this is going to be easy. You work on a movie and then it comes out and then it's cut to 10 years later and it's like nothing else is my name on it has come out.I've worked steadily. I've worked really well. I've been very happy. But it's definitely, it's a different thing than TV where you're just working and getting credited all the time. Well, yeah, but it also sounds like, I don't know, it sounds like to me, maybe I'm wrong. It sounds like you don't need to hustle as much doing what you do. No, I feel like it's the opposite because on TV you can get on a show and you're running for years, but on a movie you always know what's going to add, but they're coming to you. People are coming to you with offers, in other words. Oh yeah, sometimes. I mean, yes, the ones that end up happening, that's true. But there's so many that I'm just on a list at the studio, but I'm in a bake off with six other writers and I don't get it.So you put a lot of work so people don't know what to bake off is. So this is when you have to pitch to get the job and you have to put in several weeks of work. That's the worst. That's just the worst. And that's the majority of my life. Oh, is it? That's like, yeah. Yeah. So there's definitely, I mean, between Phil and Chris and Laika, I have, and a little bit of Dreamworks now. I'm doing my third movie for them right now. So that's pretty good over 10 years, three movies. But other than those places, it's always like you're getting sent stuff, but that doesn't mean they want you. It just means they want to hear a bunch of takes, and so you have to try to fight for the job if you really want it. Or I used to spend months or maybe eight months coming up with the take and having every detail worked out.And then I realized over time, they don't actually want that. They want a big idea and some themes and some ideas of what the set pieces are, and they want to know that you, I mean, honestly, it's, I don't even recommend that young writers go out for them because you're not going to get it anyway, because they're always going to go with somebody that has done it before. Especially, I mean, not always, if you might be the rare exception, but so much. Well, then what do you recommend to young writers to do? Dude, I don't know. I mean, I think you have to write great samples. I mean, I think that's the main thing is have samples that show exactly what your voice is and exactly what makes you different than everybody else, and what you can bring to the table that nobody else can.I think that's the first thing. But to get those open writing assignments, I think it's just a fool's errand to even try, because they're just so risk averse to hire anybody that hasn't done it before. I think the better shot that you have is to make smaller things, and then they'll see you've done, it's not even try to get these big studio things, get a small indie thing if you can, or make your own thing if you can, or just try to work your way up in a smaller way. I mean, all the big name directors out there all started on small indie movies. And I think that's got to be the same for writers now too. So many fewer movies. Is there anything that you're doing on the side just for the love of it that you're creating for yourself? Or is it, I haven't, in the last few years, I haven't.I've just been busy with work, but during the pandemic, I had plenty of time. Nobody was buying movies, and I am wrapped up on something and I had an idea that I thought was going to be my next big sale, and that it was an idea about a virus that went, it was a comedy thing, but it was this idea where it was sort of based on the idea that Christmas is getting longer and longer every year, where people put up their lights in decorations sooner and sooner, and you start seeing the stuff for sale in October or whatever. And so I was like, oh, it felt like Christmas was a virus that was slowly taking over the world. And I was like, what if it's a zombie movie, but Christmas is the virus? And so it was sort of a Christmas apocalypse thing where Christmas takes over the world and one family didn't get infected and had to fight back.So I was like, this is going to be a big seller. And then I was like, and then Covid hit, and it was like nobody wanted to buy a thing about a virus taking over the world, so I literally spent the pandemic. To answer your question, I wrote it as a novel. Instead, I wrote it as a middle grade novel, a y, a novel. Did you publish it? Not yet. We're trying. So we're out to publishers, and it took a while to figure out literary agents, which are very different world and everything, but the idea is to hopefully sell it as a book and then be able to adapt it as a feature. But yeah, it was so fun to write, and it was so freeing to not be stuck in 110 pages and to, I mean, I already had the whole thing outlined from the pitch when I was going to pitch it, so I knew the structure of it, so I just kept it as the structure of a movie, but I expanded on it and got more into the character's heads and that kind of stuff.But I had such a fun time writing that, and I was just like, man, someday when the work dries up, I am going to look forward to writing novels instead. And oh, yeah. The funny thing is when you describe the literary word going out to publishers, it's not that different from Hollywood. You think It is. It's not. It's the same hell. Oh, absolutely. But you and I haven't had to deal with breaking into Hollywood in a long time. And then in the literary world, they're like, oh, you've written movies. We don't care. We don't care at all. So it's starting over. And U T A tried to help a little bit, but they're like, we don't really know what to do. And then, so it's, I've been, my manager has been introducing me to editors and stuff, literary editors, and they've been really receptive, and it's been good trying to find the right one and the person I jive with. But it's very much like, oh, you're starting from scratch all over again. And for less money, no money. I mean, literally, I don't know how you would make a living off of this. I mean, I think we're spoiled a little bit, but what was the money they were telling you? Can you say, I don't want to say you don't, but it was basically about, it was less than a 10th that I would get paid on a movie.It was about my weekly rate. So I was telling you, I do weekly jobs on movies, and it's like if I do a weekly on a studio movie or I could sell a novel, or you could work five years on a novel, and I'm like, oh, this is not a way to support a family, but it was really fun. Someday when I'm just doing it for fun, I would love to do it. Wow, how interesting. Wow. So your best advice, because you're not an animator, you're not even an artist, are you? No, I don't draw or anything. I just love animation. I just always loved animation. So I don't know. I think when I was in seventh grade when the Simpsons started, and that blew my mind, and I was like, I remember telling my dad, I think I want to write on this. It was the first time I recognized, oh, people are writing these jokes. It was very, I think, more self-aware than most comedy was. And I was in junior high and I was just like, I want to be a writer on a show like this. I never was a writer on that show, but a bunch of other stuff.Now, as far as directing, because I know you're attached to possibly direct this project, where does your confidence come from that to direct? I mean, I don't know if I have confidence in it. I mean, I would want to co-direct it. In animation, you often get paired with another, if you're a writer, you'd get paired with an experienced animation director who comes from the visual side. So either an animator or a store wear artist or visual development artist. And I just feel like some of the projects I've been doing, you sort of act as more than just a writer anyway. You're sort of meeting with the creative heads all the time, making these big decisions that affect the projects. And at a certain point, I'm like, well, if I write something, that project that I, that's at life that I was attached to, it probably won't even happen at this point.It's been a few years, and it's kind of sitting there waiting for Travis to decide if he wants to make it. But it was a personal project to me, and it was like this would be the one that I was like, I would really want to see this all the way through. And I'm sure at that studio at this point, he's, Travis himself who runs the studio, is kind of directing all the latest projects anyway, so I would be co-directing with him. And so he would really be in charge, and I would just be, they're up in Seattle, right? Portland? Yeah, Portland or in Portland, yeah. So do you go up there a lot for Yeah, when I'm on a project, so usually it's like if I'm just writing it before it's green lit, which is most of the time I'll just fly up there for meetings just to get launched or whatever, and then go back up after I turn it in to get notes. But if it's in production on box trolls, and then there's another upcoming one that I did a bunch of production work on, they'll fly me up there to work with the board artists and stuff. And that's a crazy, that place is so nice.It's like a wonderland. I mean, it's like this giant warehouse downstairs that they have all the stages and they're all covered with black velvet rope, I mean black velvet curtains. So to keep all the light out and everything. And that's where they're moving all the puppets and everything, the stop motion. And then upstairs it's like the offices, and it just feels like a corporate office building with cubicles and stuff. It's very weird. But you go downstairs and it's like there's people animating, there's this huge warehouse where they're building all the props and they're like armature section where they're adding all the skeletal armature to the You never went with us to, because Kapa was like that in a cup of coffee in Toronto when we did Glen Martin. Yeah, it was amazing though. Similar. But Kapa is doing it on a budget, and these guys are spending so much money, it's not a viable way to make money to make these animated stop motion animated movies.They don't do it to make money. He does it. He loves it. Oh, really? Oh my gosh. Yeah, because Travis Knight is the son of Phil Knight who've gone to Nike, so he's got sort of a lot of money, and it's his hobby shoe money. He's got shoe money, but he is a brilliant animator. He is a super smart, interesting dude who wants to make things that are different than anybody else. And so it's an amazing place to work because nowhere else do you ever have the conversation of like, oh, we could do this if we wanted to do it, where more people would see it, or we could do it this way, which is cool and we want to do this. It's fun and weird.Not that he doesn't care about an audience, he does care about an audience, but it's not most important to him is making something that's awesome to him for the art. And so it's a very different way of looking at things. But I've been in situations there where it's like we're doing upstairs, doing a rewrite with me and the director changing the whole third act or whatever, and then I go downstairs and just tour the stages and the workshops, and I'll meet a puppeteer who's like building this giant puppet who's telling me this is the biggest puppet that's ever been created in Stop motion, and here's the 17 different places where I can articulate it. And I'm just thinking like, dude, we cut that yesterday upstairs. Oh no. And he's been working on it for a month. Oh, no. But I can't say anything. I'm just sort of like, oh, yeah, that's awesome.It's so great. You're doing great work. Anyway, I'm going to get back upstairs. That's so heartbreaking. But they burn through so much money just doing it all by hand. It's so crazy. But it's so beautiful, so I love it. And so you were literally upstairs, they gave you a small office and you just start typing? Yeah, that's literally, I mean, usually when I'm there, it's like they just put me in some random cubicle that nobody else is using or it's not a cubicle, a little office that is or whatever, somebody office. And you'll stay there for a few days or a few weeks or what? Yeah, exactly. Depending on how much they need me. So it either be a few days or a few weeks. And then on box rolls, I was up there. I would be up there for a week, relining some stuff, and then I'd come back home for two weeks and write those pages up.And I mean, I'd be writing in the evenings after the meetings and stuff too, while I was up there. But when we are rewriting, it's a train that's moving and it's like the track is you're running on a track and you got to keep pressure. What did you think of staying there in Portland? Did you like it? I did it. It's hard because my family's here and life is here, but if that movie had gone that I was attached to Coder Act, we were planning on moving there for that for three or four years. That's how it would take. Interesting. Would you have sold your house here or just rented it out? I'd have rented it out, I think. Interesting. Yeah, you, it was like we were having all these conversations, and then it's the longer it goes, we're like, that's probably not going to happen.We don't have to think about this right now. How interesting. That's so key. It really takes that long, man. Oh yeah. They're so long. And then also, it's like there is this weird thing in animation where it's not uncommon for a movie to go through two or three directors over the course of its many years in production. So it's like, why? I know. Just because they're beasts. And sometimes in the same way that you're changing the story so many times over the years, sometimes you make such a drastic change that it's no longer the vision of that director, and it's just not a right fit anymore. And I've seen that happen on a lot of movies that I've been on. I mean, Boxtrolls didn't end up with the same two directors that it started with. One of the two stayed on it, but the other one didn't.Oh, no, this sounds very frustrating to me. It sounds It does. And then other movies up there have gone through different directors, and so I was like, even if I had gotten hired as the director, I was in the back of my head. I always knew this might not last even if I'll do my best and I'll try to make it work. But you haven't even started and you're finding I'm being fired. Yeah, totally. But I mean, it's a weird thing. It's not TV where you're on a show for a year and then hopefully you get the second year if you get one. It's like in movies, they fire and hire different writers all the time, and so directors less, but writers, it really is pretty common. I've been on both sides of it where it's like, I used to take it really harder, fired off a movie.You're like, oh my God, did they not like the draft? I did. And usually it's like, no, we liked it, but now there's a director on it and they want to take a different direction. Or Oh, the director has a friend that they want to work with that they work with as a writer. Or other times I've been that guy that a director has brought on to rewrite somebody else, and I always try to be super nice about it. Now that I've seen both sides of it, I always try to reach out to the previous writer and be like, Hey, I just want you to know it's in good hands. Or sometimes if I'm the one that's fired, I reach out, be like, Hey, if you want to know where the skeletons are buried, happy to get in lunch with you. Just to be like, here's the pitfalls to look out for.This is where people don't realize that people on the outside just don't realize what it's actually like when you're the writer. You're a successful working writer. And I think they have a very different vision of the reality of a hundred percent. I didn't know the job was, I thought the job was going to be writing the whole time. Most of the job is it's playing politics with the studio and the executives and the director and Well, what do you mean politics, getting navigating the notes? What do you mean? Yeah, yeah. I mean, it's like the notes, but also the personalities. It's like a lot of the job I feel like is to go in and to make everybody feel comfortable with where you're taking it. Because you walk into a room and sometimes you could feel like, oh, the director thinks they're making a very different movie than the head of development thinks.Then that's different than what the producer thinks. And that's different than what the head of the studio thinks. It's like I've been in a room where it's like Jeffrey Katzenberg is just like, guys, guys, guys, you're all thinking about this all wrong. And you just have to be like, okay, how can I find solutions that makes everybody happy, that make everybody happy? And that's a huge part of the job. I mean, honestly, when I did the Lego rewriting with Phil and Chris, that's what the whole job was, was just like, how do I make Warner Brothers who didn't know what they had? They thought it was a toy commercial. They were very skeptical of the whole thing, Phil and Chris, who wanted to make some beautiful art. And it was cool with cool ideas. And Lego Corporation who wanted to make a toy commercial and Lucasfilm who didn't want their characters to be in it, and DC who didn't know whether they should be or not.And you're just like, how do I get in a room? And and usually if you come up with a great gag or great joke that articulates the, that illuminates the tone of the thing. So they all go, oh, okay. That's the thing. So the round of notes, like you're saying, oh, it's incredible, but for everybody and everyone's got conflicting. I don't even know walking into that job, and all I care about is I don't want my friends, Phil and Chris to think I fucked up their movie because they're trusting me just so I keep it moving. But I would think even for them, it's like, how do I get this movie made when I have so many competing notes and to their credit account, great, but still that is a hundred percent to their credit, they have a genius ability to, not only are they great writers and great directors, I think more than that, they have this sense of how to make everybody in a room think that the ideas came from them.It's like, yeah, they're great at, they'll go into a room, I think sometimes having some ideas in their pocket, but it feels like the room came up with the ideas together, and then everybody's like, yes, we did it. Pat ourselves on the back. And everybody, the executives' seem happy. But sometimes it actually does come out that, I mean, those brainstorm sessions really do create a new idea, and sometimes it's them trusting the process that that's going to work out. And sometimes I think they literally are like, well, we can go this way or this way, but I know it'll be easier if they think they had the idea. So let's go this way for now. And then later they know it's going to change a thousand times anyway in the storyboards, and then they could figure it out for real later. Because all these see people like that.They're very well paid, but in my opinion, they're earning every penny of this a hundred percent. They're earning every, it's not that easy. This job, I feel like I've gotten better over the years where I've taken my ego out of it. I used to have a much bigger ego, you might remember, but I feel like I can be, now, I can just go in a room and be like, I'm just going to try to help. I'm just going to be like, how could I make everybody feel comfortable? How can I make everybody feel like we're on the right page together and create this thing? I know that it's like the process is going to take years and years, and the relationship is more important than the individual story note or whatever. It's like that's what's going to matter over the long term of this project.It's that we all trust each other and that we can make something great together. And that's more important than fighting for a joke or fighting for a story moment or a take, or even exactly, either. It's about fighting the relationship, and I've said this before, it's about the relationship is the most important thing, and sometimes you have to sacrifice what you think is the best story, the best moment for the greater good of the relationship. A hundred percent. A hundred percent. Wow. I feel like this has been eyeopening even for me, and I feel like my eyes are fucking opened. You know what I'm saying?We've done some movie work, but obviously we work mostly in tv, but the movie side, the movie side was never really appealing. I remember because we shared the same agent for our futures, and I remember he gave us a conversation. I was like, I dunno if I want to work in movies again. It's weird. It sounds hard. It's different because in TV you're the boss, right? I mean, when you're the showrunner, you're the boss. Yeah. You've been there for a long time. And in movies, you're never the boss. I mean, I gave up on, I mean, before I worked with you, there was one TV show I ran and I co ran with my friend Tim, and we were the bosses, and I hated it. I did not enjoy it. It was like all the meetings and all the decisions and the budgets and the interpersonal relationships and all that stuff.I was like, I was not good at it back then, and I don't know if I'd be better now, and I just was like, you know what? I just want to be part of a team and I want to be a writer. And it's like in movies, that's what you are. You're just part of this big team in a different way. I mean, I guess when you're a staff writer or coming up through the ranks and tv, you're part of a team too, but you can be like, you're also a much more integral part of the team, the one writer on it at the time. Or in movies, you're like, when you're the writer, you're the writer and they all look to you for that one job. Or if you're on a staff when I'm on a show with you or whatever, you might look to me for one type of, it's very different. I'm a cog in this room.It's never, you never have to be a hundred percent on your A game every day for you can showing it in a little bit coast. Wow. Adam Paval, what an interesting conversation. This is enlightening for me. Very enlightening. Yeah, man. Are you having everybody on from the old days, Brian? Well, I had Alex Berger on a while ago. We talked a little bit about that script that you guys wrote together. Well, there's two things on Glen Martin. You were always pestering me to do a musical. Yeah, I think, I don't know how to write a musical. And you're like, this is why I've work in animated features. I've written three musicals since I, so lemme let you do the movie. I was like, dude, I don't know how to do so go ahead and knock yourself out. That was fun. And then you guys came back with that Christmas episode. I thought you guys both hit it out of the park. I was like, let's shoot it, let's shoot it.I think it took, because that was all second year stuff and it took a little bit of time to figure out tonally what we were doing and then just to get a little crazier. And then, I mean, those episodes were like, yeah, I could be a little bit more myself of writing the weird stuff that I wanted. I mean, the other one I remember fondly is that weird Funshine episode. Was that the musical one or was that, I don't remember. Dude, fun cine was, it was like the planned community in Florida that was basically celebration Florida and they all realized that everybody was on being drugged and were lactating out of their breast and all that. Oh, that's right. Now I remember the guy, there was a scene where there's a pregnant man or something. It was fucking nuts. And I was like, oh, now we're writing the show that I could write.The first year, I think it was a little bit more like I was a little square pa in a round hole where it was like I didn't have a family at the time and it was a family show. It was about a dad and a mom trying to navigate their crazy kids and I was like, I don't know what the fuck. Crazy in that show. It's a shame. We didn't do more seasons. We weren't nuts. It was fun. It was a fun time. For sure. I got some of the puppies right over there, so see, yeah, I got the one you gave me of me that one from the college episode. Oh right, the college episode. That's right. We put you in. You ran the gauntlet I think, didn't you? I think that, yeah, that's exactly right. Funny. Yeah, funny. Adam, Papa, where can people, is there anything want, we can plug people, find you.Are you on social media? Is there anything? I'm not super active. I'm on Twitter. You can find me on Twitter. Adam Papa or Adam or whatever it's called now. X X, I'm on X, but don't really, I'm not super active on it. I don't have anything to plug. Everything's going to come out in four years. Yeah, right. Yeah. Look for Adam Papa in four years when something drops to the movies. That's the process. Dude, thank you again so much for doing this. This was a really interesting conversation. I haven't talked yet, spoken to anybody about this kind of stuff. You are a wealth of information. Alright. Yeah, it's fine. Everyone, thank you so much. Until the next episode drops, which will be next week. Keep writing.Phil Hudson:This has been an episode of Screenwriters Need to Hear this with Michael Jamin and Phil Hudson. If you're interested in learning more about writing, make sure you register for Michael's monthly webinar @michaeljamin.com/webinar. If you found this podcast helpful, consider sharing it with a friend and leaving us a five star review on iTunes. For free screenwriting tips, follow Michael Jamin on social media @MichaelJaminwriter. You can follow Phil Hudson on social media @PhilaHudson. This podcast was produced by Phil Hudson. It was edited by Dallas Crane Music by Ken Joseph. Until next time, keep writing.

Is identity based politics a weapon that has been used to 'divide and conquer' the left? We are joined by the author of the rather spicy book 'Here Be Monsters'.  We discuss the suppression of class understanding, the consequences of organizing around identity, and the revealing use of identity based language by Goldman Sachs, the CIA and the US military: a few players can change but the game must stay the same. Rhyd makes the case for organizing around shared material conditions and the power of unlikely friendships that come from such struggles. "Rhyd Wildermuth reveals the roots of current identity conflicts and political contradictions in feminism, anti-racist theory, Marxism, Frankfurt School theorists, and the many other leftist attempts to put the world back into balance." References: Here Be Monsters: How to Fight Capitalism Instead of Each Other: https://repeaterbooks.com/product/here-be-monsters/ Who paid the piper?: The CIA and the cultural Cold War: https://www.goodreads.com/book/show/1902020.Who_Paid_the_Piper_ -- Support us on Patreon: https://www.patreon.com/itsnotjustinyourhead Email us with feedback, questions, suggestions at itsnotjustinyourhead@gmail.com. -- Harriet's other shows: WBAI Interpersonal Update (Wednesdays): https://wbai.org/program.php?program=431 Capitalism Hits Home: https://www.youtube.com/playlist?list=PLPJpiw1WYdTNYvke-gNRdml1Z2lwz0iEH -- ATTENTION! This is a Boring Dystopia/Obligatory 'don't sue us' message: This podcast provides numerous different perspectives and criticisms of the mental health space, however, it should not be considered medical advice. Please consult your medical professional with regards to any health decisions or management. ⸱1 Like --- Send in a voice message: https://podcasters.spotify.com/pod/show/itsnotjustinyourhead/message

Rhyd Wildermuth returns to the show on the occasion of his latest book launch, Here Be Monsters. So we have a freewheeling chat about the mutation and fall of leftism, the what and where of activism accordingly, whether things are getting 'worse' or 'better', updated definitions of capitalism and fascism, Russell Brand, all kinds of incendiary stuff. Oh, and gay werewolves. Show Notes Get Here Be Monsters. Rhyd on Substack. Rhyd on X.

***All new episodes will be Patreon exclusive*** patreon.com/agitator On this episode: Best beat producer tags, Cyberpunk DLC, where we're each at with our next books (both late), Rhyd Wildermuth's Here Be Monsters and why Marxists rub Kelby wrong, the return of magic in a godless world, intersectionality and the dilemma of wokeism, Samurai Champloo, Pirates of the Carribean, The Bear, A Knight's Tale, boat life, modern day Conservative Christians, David trips about time, remembering Josh Hartnett and Shannyn Sossamon, the new Alien movies are tight, book tours and promo ideas, the trickster archetype, continued hype on Elle Nash's Deliver Me, writing dangerously, and more.  

“An enclosure with about a dozen captive pigeons in a park who are fluffing their feathers and flying around with sticks.” Recorded for the Here Be Monsters episode 153: Klänge […]

Allen H Greenfield is a UFOlogist and occult researcher. He's also a father of three. His first child, Alex was the subject of HBM155: Ghosts Aliens Burritos. In that episode, Alex tells stories from his childhood of chasing strange phenomena with his father. In this episode, Here Be Monsters host Jeff Emtman talks to Allen to get the “fatherly perspective” on UFOs, black lodges, tarot, The Day the Earth Stood Still, and (most of all) how to be a good parent. Allen Greenfield is currently working on the final installment of a trilogy whose first two entries are Secret Cipher of the UFOnauts and Secret Rituals of the Men in Black. The forthcoming book is yet to be titled. Also heard on this episode: Rick Emtman, who is Jeff's dad.Content Note: LanguageProducer: Jeff EmtmanMusic: Serocell, The Black SpotSponsor: Pal's PlantsPal's Plants is a Flatbush, Brooklyn based subscription service for potted plants and intriguing zines. Plants can be delivered to the 5 boroughs of New York City. Zines can be delivered anywhere in the USA. Pal's Plants is customized to your preferences. They'll have you fill out a short survey when you sign up so that you can be sure to get something you like each month in the mail. Pal's Plants makes a great gift. Use offer code HBM50 at signup to get half off your first month's subscription. Thank you Pal's Plants for sponsoring Here Be Monsters.

Allen H Greenfield is a UFOlogist and occult researcher. He's also a father of three. His first child, Alex was the subject of HBM155: Ghosts Aliens Burritos. In that episode, Alex tells stories from his childhood of chasing strange phenomena with his father. In this episode, Here Be Monsters host Jeff Emtman talks to Allen to get the “fatherly perspective” on UFOs, black lodges, tarot, The Day the Earth Stood Still, and (most of all) how to be a good parent. Allen Greenfield is currently working on the final installment of a trilogy whose first two entries are Secret Cipher of the UFOnauts and Secret Rituals of the Men in Black. The forthcoming book is yet to be titled. Also heard on this episode: Rick Emtman, who is Jeff's dad.Content Note: LanguageProducer: Jeff EmtmanMusic: Serocell, The Black SpotSponsor: Pal's PlantsPal's Plants is a Flatbush, Brooklyn based subscription service for potted plants and intriguing zines. Plants can be delivered to the 5 boroughs of New York City. Zines can be delivered anywhere in the USA. Pal's Plants is customized to your preferences. They'll have you fill out a short survey when you sign up so that you can be sure to get something you like each month in the mail. Pal's Plants makes a great gift. Use offer code HBM50 at signup to get half off your first month's subscription. Thank you Pal's Plants for sponsoring Here Be Monsters.

Berlin's Schwerbelastungskörper is a massive concrete structure that, today, is hidden in plain sight between a railroad and an apartment building. It's one of just a dozen remaining pieces of Nazi Architecture in Berlin. And it's not much to look at. It was built in 1941 as a test structure for a triumphal arch that Hitler wanted to build in that spot. The Schwerbelastungskörper (“heavy load-bearing body”) is the arch's test structure. It weighs about 12,650 metric tonnes, or about 28 million pounds, and it's the equivalent weight of one of the four massive legs of the never-built arch.This plan was abandoned as World War 2 accelerated. And the structure remained, slowly sinking into Berlin's marshy soil, providing proof of the arch's impossibility. In this episode, HBM host Jeff Emtman visits the Schwerbelastungskorper, records some impulse responses in the structure's single room and reflects on his discomfort in finding beauty in another Nazi structure nearby, Tempelhof Airport (now a public park and refugee camp). Also mentioned on this episode: The Berlin Airlift, Austrian Tyrol, The Little Mermaid (1989), and Der Herr Der Ringe (Lord of the Rings movies dubbed in German). Here Be Monsters is an independent podcast supported by listener donations. If you'd like to make a small monthly contribution, visit patreon.com/HBMpodcast. Registration for the Here Be Monsters Art Exchange is open until November 10th, 2022. Sign up: https://HBMpodcast.com/art/Producer: Jeff EmtmanMusic: The Black Spot

Berlin's Schwerbelastungskörper is a massive concrete structure that, today, is hidden in plain sight between a railroad and an apartment building. It's one of just a dozen remaining pieces of Nazi Architecture in Berlin. And it's not much to look at. It was built in 1941 as a test structure for a triumphal arch that Hitler wanted to build in that spot. The Schwerbelastungskörper (“heavy load-bearing body”) is the arch's test structure. It weighs about 12,650 metric tonnes, or about 28 million pounds, and it's the equivalent weight of one of the four massive legs of the never-built arch.This plan was abandoned as World War 2 accelerated. And the structure remained, slowly sinking into Berlin's marshy soil, providing proof of the arch's impossibility. In this episode, HBM host Jeff Emtman visits the Schwerbelastungskorper, records some impulse responses in the structure's single room and reflects on his discomfort in finding beauty in another Nazi structure nearby, Tempelhof Airport (now a public park and refugee camp). Also mentioned on this episode: The Berlin Airlift, Austrian Tyrol, The Little Mermaid (1989), and Der Herr Der Ringe (Lord of the Rings movies dubbed in German). Here Be Monsters is an independent podcast supported by listener donations. If you'd like to make a small monthly contribution, visit patreon.com/HBMpodcast. Registration for the Here Be Monsters Art Exchange is open until November 10th, 2022. Sign up: https://HBMpodcast.com/art/Producer: Jeff EmtmanMusic: The Black Spot

It is that time of year again as The Occasionalists welcome in spooky season with our annual celebration of all things scary, the Fright Fest! Fright Fest IV comes with one warning for all brave enough to listen: Here Be Monsters! This year we are taking a deep dive into the creatures that have been making our skin crawl for the past 100+ years of cinema. From giant creatures, to mini monsters, from those that look like us, to those that take over us and so many more.  Join us all month long as we Monster Mash!

An underwater photographer sets out on a quest to document harp seals and experiences a moment that becomes a part of her forever. And everyone in the city of Pumpkintown is hunting for Sasquatch, including the only man who knows exactly where Bigfoot lives. STORIES Thin Ice An underwater photographer sets out on a quest to document harp seals and experiences a moment that becomes a part of her forever. This story contains descriptions of animal death in the wild. Sensitive listeners, please be advised Thank you, Jennifer Hayes, for sharing your story with us! Special thanks to Jennifer's guide Mario Cyr and her husband David Doubilet. You can find Jennifer and David's stunning photographs of harp seals in National Geographic Magazine, on their website, or on Jennifer's Instagram. Produced by Shaina Shealy, original score by Renzo Gorrio, artwork by Teo Ducot The Sasquatch of Pumpkintown Everyone in Pumpkintown is hunting for Sasquatch… except Ben Becker. He knows exactly where Bigfoot lives. This episode does contain strong language, sensitive listeners please be advised. This story originally aired on the Here Be Monsters podcast hosted by Jeff Emtman. Listen and subscribe for more awesome stories! Produced by Jeff Emtman Snap Classic - Season 13 - Episode 44

Content Note: pervasive language, brief mentions of bigotry.Alex Greenfield says that there was no such thing as a normal day when he was a kid. His dad (Allen H Greenfield) self describes as a “researcher in the shadow world.” And his mom soon grew tired of her husband's lifestyle, which included a lot of time on the road: chasing rumors of cryptids, ghosts, and aliens. But after his parents split up, Alex, his dad, and an ever changing cast of motorcycle gang members and step-moms kept seeking the occult. Some of the topics discussed in this episode: St. Simons Island in Georgia (and reported hauntings), The Okefenokee Swamp (and the ignition of swamp gas), The Three Mile Island Nuclear Accident (and subsequent protests), Mono Lake in California (and the UFO sightings there), and a movie called Being There (wherein the character played by Peter Sellers appears to walk on water).Alex Greenfield is the writer of The Sand, 10.0 Earthquake, and other movies. He also used to be the head writer for WWE Smackdown. Alex's dad, Allen H Greenfield (aka. T Allen Greenfield), is a UFOlogist and occultist. He is the author of Secret Cipher of the UFOnauts, The Story Of The Hermetic Brotherhood Of Light, and other books. Unrelated to this episode, but do give a listen to the limited series that Jeff's been mixing for Crooked Media. It's called Another Russia, and it's about the assassination of Russian dissident Boris Nemtsov, as told by Ben Rhodes and Zhanna Nemtsova. Available now on every podcast app. Also, Jeff's headed back to Berlin, Germany for about a month. If you know any good stories/interviews he should record while he's there, send a DM on Twitter or Instagram, or use the contact form.Here Be Monsters is an independent podcast supported by listeners and sponsors. Producer: Jeff EmtmanMusic: The Black Spot, Circling Lights, August FriisSponsor: is / ought books is / ought books is a publisher of spiral bound self help manuals, art books, and non literary works on paper.All titles from is / ought books are available to buy online via the link below. is / ought books are also distributed via Small Press Distribution (SPD).Thank you is / ought books for sponsoring Here Be Monsters.

Content Note: pervasive language, brief mentions of bigotry.Alex Greenfield says that there was no such thing as a normal day when he was a kid. His dad (Allen H Greenfield) self describes as a “researcher in the shadow world.” And his mom soon grew tired of her husband's lifestyle, which included a lot of time on the road: chasing rumors of cryptids, ghosts, and aliens. But after his parents split up, Alex, his dad, and an ever changing cast of motorcycle gang members and step-moms kept seeking the occult. Some of the topics discussed in this episode: St. Simons Island in Georgia (and reported hauntings), The Okefenokee Swamp (and the ignition of swamp gas), The Three Mile Island Nuclear Accident (and subsequent protests), Mono Lake in California (and the UFO sightings there), and a movie called Being There (wherein the character played by Peter Sellers appears to walk on water).Alex Greenfield is the writer of The Sand, 10.0 Earthquake, and other movies. He also used to be the head writer for WWE Smackdown. Alex's dad, Allen H Greenfield (aka. T Allen Greenfield), is a UFOlogist and occultist. He is the author of Secret Cipher of the UFOnauts, The Story Of The Hermetic Brotherhood Of Light, and other books. Unrelated to this episode, but do give a listen to the limited series that Jeff's been mixing for Crooked Media. It's called Another Russia, and it's about the assassination of Russian dissident Boris Nemtsov, as told by Ben Rhodes and Zhanna Nemtsova. Available now on every podcast app. Also, Jeff's headed back to Berlin, Germany for about a month. If you know any good stories/interviews he should record while he's there, send a DM on Twitter or Instagram, or use the contact form.Here Be Monsters is an independent podcast supported by listeners and sponsors. Producer: Jeff EmtmanMusic: The Black Spot, Circling Lights, August FriisSponsor: is / ought books is / ought books is a publisher of spiral bound self help manuals, art books, and non literary works on paper.All titles from is / ought books are available to buy online via the link below. is / ought books are also distributed via Small Press Distribution (SPD).Thank you is / ought books for sponsoring Here Be Monsters.

Michael, Jake and Steph head into the depths of Cheesebridge for The Boxtrolls, Laika's very loose adaptation of Alan Snow's children's novel, Here Be Monsters.Join us on Patreon for ad-free and bonus episodes, Discord access and show footnotes and more: Patreon.com/ghibliothequeEmail us: ghibliotheque@gmail.com or follow us on Twitter @ghibliotheque and Instagram @ghibliotheque.pod.@MichaelJLeader – Michael@jakehcunningham – Jake@_stephwatts - StephProduced by Michael Leader, Jake Cunningham, Harold McShiel and Steph Watts. Music by Anthony Ing. Get bonus content on Patreon Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Sally Grainger was originally a chef, but in her 20's, she was gifted a copy of an ancient Roman cookbook called Apicius. Apicius is a bit of a fluke.  It shouldn't have survived the 2000-ish year journey into the modern era, but it did.  And in this episode of Here Be Monsters, Grainger explains how Apicius persisted due to being a favorite text for monks-in-training to practice their gilding skills.  And thus, this fascinating book of recipes (featuring cooking instructions for boiled ostrich soup, complex sauces, and cucumbers stewed with brains) is still feeding people today.While cuisine today might seem distant from ostrich soup, Grainger thinks that Roman food often gets inaccurately portrayed as overly decadent or overly spiced.  Cooked correctly, the cuisine is quite balanced, she says.  And in her book, Cooking Apicius, she uses her knowledge of ancient Roman life to put the recipes in context for a contemporary kitchen and contemporary cooks. Also, on this episode, Jeff also reads from a 1932 English translation of Apicius by Joseph Dommers Vehling, which is available in the public domain thanks to Project Gutenberg. Producer: Jeff EmtmanMusic: The Black SpotHave you seen the new HBM stickers? They're beautiful.  Get yours here.  As of publish date: if you buy 4, one of them will be free.  The discount gets applied automatically when you add them to your cart.

Sally Grainger was originally a chef, but in her 20's, she was gifted a copy of an ancient Roman cookbook called Apicius. Apicius is a bit of a fluke. It shouldn't have survived the 2000-ish year journey into the modern era, but it did. And in this episode of Here Be Monsters, Grainger explains how Apicius persisted due to being a favorite text for monks-in-training to practice their gilding skills. And thus, this fascinating book of recipes (featuring cooking instructions for boiled ostrich soup, complex sauces, and cucumbers stewed with brains) is still feeding people today.While cuisine today might seem distant from ostrich soup, Grainger thinks that Roman food often gets inaccurately portrayed as overly decadent or overly spiced. Cooked correctly, the cuisine is quite balanced, she says. And in her book, Cooking Apicius, she uses her knowledge of ancient Roman life to put the recipes in context for a contemporary kitchen and contemporary cooks. Also, on this episode, Jeff also reads from a 1932 English translation of Apicius by Joseph Dommers Vehling, which is available in the public domain thanks to Project Gutenberg. Producer: Jeff EmtmanMusic: The Black SpotHave you seen the new HBM stickers? They're beautiful. Get yours here. As of publish date: if you buy 4, one of them will be free. The discount gets applied automatically when you add them to your cart.

“Bells on the weekend coming from the church. They give way eventually to birdsong.” Recorded for the Here Be Monsters episode 153: Klänge from Berlin https://www.hbmpodcast.com/podcast/hbm153-klange-from-berlin

In 2012, a street preacher walking three small dogs tried to convince Jeff Emtman of his way of thinking about gender and the afterlife. In this Here Be Monsters brief, Jeff shares the short essay he originally wrote about the dinner party where they attempted to make an uneasy friendship. Jeff re-edited the essay in 2022 and gave pseudonyms to the main characters (“Cliff” and “Sophie”). Producer: Jeff EmtmanMusic: The Black SpotHere Be Monsters is an independent podcast supported by listeners and advertisements from small businesses. If you'd like to support the show, consider sponsoring an episode, or becoming a supporter on Patreon. Some other news: 1. Album of German field recordingsThe recordings from the last episode (HBM153: Klänge from Berlin) are now available as an album.  Listen and purchase here.2. New HBM stickers are here! They're beautiful, screen printed, die-cut, clear vinyl versions of the “HBM” logo.  Available for purchase on the HBM store. Patreon supporters can get some for very nearly free by following the instructions in this post.

In 2012, a street preacher walking three small dogs tried to convince Jeff Emtman of his way of thinking about gender and the afterlife. In this Here Be Monsters brief, Jeff shares the short essay he originally wrote about the dinner party where they attempted to make an uneasy friendship. Jeff re-edited the essay in 2022 and gave pseudonyms to the main characters (“Cliff” and “Sophie”). Producer: Jeff EmtmanMusic: The Black SpotHere Be Monsters is an independent podcast supported by listeners and advertisements from small businesses. If you'd like to support the show, consider sponsoring an episode, or becoming a supporter on Patreon. Some other news: 1. Album of German field recordingsThe recordings from the last episode (HBM153: Klänge from Berlin) are now available as an album. Listen and purchase here.2. New HBM stickers are here! They're beautiful, screen printed, die-cut, clear vinyl versions of the “HBM” logo. Available for purchase on the HBM store. Patreon supporters can get some for very nearly free by following the instructions in this post.

The composer Pauline Oliveros thought there was a difference between hearing and listening.  She defined hearing as a passive act, something done with the ears.  But she defined listening as something active saying that listening happens in the brain.  Sam Parker is a recordist who takes inspiration from Oliveros' words and work.  About six years ago, on an episode of Here Be Monsters called Sam's Japan Tapes, Sam shared dozens of recordings he made during his first (and only) trip to Japan.  He released those recordings under the name Observance as an album called Japan, 6/21 - 7/14.On this episode, Here Be Monsters host takes two trips to Germany, and records the sounds of Christmas in Berlin, New Years in Saxony, and many hours of people and birds just going about their daily lives in the late winter and early spring. Before Jeff leaves on his first trip, he calls Sam Parker back, to ask for recording advice before the trip, and Sam offers three tips: Take lots of time.Capture moments of everyday routine. Trust your instinctsThe recordings on this episode are available as an album called “Field Recordings: Germany, 2021-2022” and it's available for purchase on Bandcamp, under Jeff Emtman's The Black Spot moniker.  Until June 30th, 2022, all profits from the sale of this album will be donated to The International Committee of the Red Cross. Producer: Jeff EmtmanMusic: Remixes from the recording session in HBM049: Sam's Japan Tapes.Photos: Jeff EmtmanThank Yous: Sam Parker, Johanna Gilje Sponsor: HBM's Patreon SupportersHere Be Monsters' supporters on Patreon send a small monthly (or yearly) donation to help cover Jeff's living expenses, pay contractors, fees, taxes, etc.Listener Kit Roberts supports HBM on patreon, saying “I'm a patron of HBM because no other podcast has ever made me feel like this one does…so small and singular and yet connected to everything all at once.”Thank you so much, HBM Patrons.👽👉Become a patron👈👽Recordings heard in this episodeMM:SS - Description.  (📸 means there's a photo in the gallery)08:45 - Train to SeaTac airport.09:45 - Announcements on an Air France flight.11:00 - Turbulance and people rustling.12:30 - Berlin's Brandenburg Airport13:15 - A brown swan hissing and chirping13:30 - Boats rubbing against wooden piers and a small dog barking.14:15 - Cars driving on cobblestone streets.14:45 - Ice Skating at Berlin's Alexanderplatz 📸15:30 - Swing ride with metal chains at Alexanderplatz. 📸16:00 - Riding on the subway, then walking up several flights of stairs.18:45 - Radio playing advertisements, news, and christmas music20:45 -  A Christmas Eve service in a cathedral with a speaker reading a children's story.21:30 - Christmas carols playing as people mill around.22:00 - A wedding party in front of the Brandenburg Gate.23:15 - A Christmas exhibit with a lit up polar bear and fog machine.24:00 - Birds chirping in Berlin's Mauerpark as people walk by.25:00 - Crunching frosted leaves on a cold morning.25:30 - Walking through a forest in the Saxony Region of Eastern Germany.📸26:15 - Whistling through hands in the forest.27:00 - Buying 5 kilograms of potatoes from a vending machine as a dog barks.📸27:30 - Mountaintop shop selling hot drinks and snacks in Czechia.27:45 - Chopping kindling. Distant fireworks echoing through the hills in Saxony.28:30 - Snaps and pops of a small fire29:00 - Distant fireworks to celebrate the start of 2022.29:30 - Close fireworks echoing.30:00 - A strong wind blowing on a mountaintop in Saxony.📸30:30 - A tree swing creaking.31:15 - 6AM on the outskirts of Berlin.  Traffic starting, crow screaming.32:45 - Captive pigeons fluffing their feathers and cooing at Hasenheide Park34:00 - Slow motion recording of a sudden hailstorm.34:30 - A motorized billboard in a subway station35:00 - Accordion player performs in a subway station in Berlin's Mitte neighborhood.37:45 - Applause after a play.38:15 - A small bird singing several songs.39:30 - Church bells ringing.40:45 - Wind flapping the torn domes of the Teufelsberg listening station as people sing.📸43:00 - Walking through the forest near Teufelsberg as bikes pass.

The composer Pauline Oliveros thought there was a difference between hearing and listening. She defined hearing as a passive act, something done with the ears. But she defined listening as something active saying that listening happens in the brain. Sam Parker is a recordist who takes inspiration from Oliveros' words and work. About six years ago, on an episode of Here Be Monsters called Sam's Japan Tapes, Sam shared dozens of recordings he made during his first (and only) trip to Japan. He released those recordings under the name Observance as an album called Japan, 6/21 - 7/14.On this episode, Here Be Monsters host takes two trips to Germany, and records the sounds of Christmas in Berlin, New Years in Saxony, and many hours of people and birds just going about their daily lives in the late winter and early spring. Before Jeff leaves on his first trip, he calls Sam Parker back, to ask for recording advice before the trip, and Sam offers three tips: Take lots of time.Capture moments of everyday routine. Trust your instinctsThe recordings on this episode are available as an album called “Field Recordings: Germany, 2021-2022” and it's available for purchase on Bandcamp, under Jeff Emtman's The Black Spot moniker. Until June 30th, 2022, all profits from the sale of this album will be donated to The International Committee of the Red Cross. Producer: Jeff EmtmanMusic: Remixes from the recording session in HBM049: Sam's Japan Tapes.Photos: Jeff EmtmanThank Yous: Sam Parker, Johanna Gilje Sponsor: HBM's Patreon SupportersHere Be Monsters' supporters on Patreon send a small monthly (or yearly) donation to help cover Jeff's living expenses, pay contractors, fees, taxes, etc.Listener Kit Roberts supports HBM on patreon, saying “I'm a patron of HBM because no other podcast has ever made me feel like this one does…so small and singular and yet connected to everything all at once.”Thank you so much, HBM Patrons.

What do you want to happen to your body when you die?  It's a touchy topic where tradition, religion and death denial all come into play.  But across much of the world, there are just two options: burial and cremation, which both have substantial ecological impacts. In 2019, Washington State passed SB 5001, which legalized several new options for deathcare. In this episode, host Jeff Emtman visits Return Home, a facility in Auburn, Washington that's using one of those new options, called “Natural Organic Reduction” (NOR) which is commonly called “human composting”.  Return Home has built the world's largest NOR facility to date, with 74 available individual vessels.  Their process (which they've trademarked as “Terramation”) takes about two month to complete, and involves dressing a deceased person in a pressed cotton gown and placing them a bed of organic material, and left to naturally break down using active composting techniques that bring the contents of the vessel to well above 100° Fahrenheit for much of the composting period. The techniques used by Return Home were largely inspired by Katrina Spade, a death activist and the owner of Re:Compose, another NOR facility located near Seattle.  Spade was one of the people who strongly advocated for the passage of SB 5001.There's currently one other NOR facility in Washington State: Herland Forrest in Wahkiacus.  Currently two other states, Colorado and Oregon have legalized NOR.  NOR's future isn't known.  It's new and still relatively rare. Do enough people want to be composted to have it be a viable business model? Each of these companies have different approaches to their process.  Return Home's model relies on scale.  They wouldn't disclose the exact cost of building their facility, or how many simultaneous descendants they'd need in their facility to be profitable.  As of publishing, they charge $4,950 for their process and they have 15 of their 74 slots occupied.  And in some ways, the full ecological benefits for Return Home's process also rely on scale.  In a follow up email, CEO Micah Truman stated that “We calculate our inputs as follows. Our electricity bill each month is about $1,700, and is sufficient to Terramate 74 bodies. This comes to $22 per body. In current gas terms ($5 a gallon at present) that is roughly 4 gallons of gas, which is about 1/8 the amount of gas used for cremation. The number is actually quite a bit better than that, as our electricity bill also powers our entire facility, not just the Terramation equipment.”When asked about the relative emptiness of the facility, Katey Houston (Return Home's Services Manager) said, “The funeral industry is so slow to change. When cremation became a thing, it took sixty years to become mainstream.  The fact that we've served just over thirty families now in four months, is quite amazing.  And we've continued to grow month-over-month, and that's all I can ask for.”Thank you Hannah Suzanna for help with research for this episode. Here Be Monsters is an independent, listener supported podcast.  Consider supporting the show on Patreon. Producer: Jeff EmtmanMusic: The Black Spot and SerocellSponsor: Sleep With Me PodcastSleep With Me is a podcast that helps you fall asleep.  Host Drew Ackerman tells tangential stories, reads old catalogs, makes metaphors about washing machines, and does other calming things all in pursuit of slowing your mind down and letting you drift off to sleep more peacefully.  Subscribe to Sleep With Me on any podcast app.

What do you want to happen to your body when you die? It's a touchy topic where tradition, religion and death denial all come into play. But across much of the world, there are just two options: burial and cremation, which both have substantial ecological impacts. In 2019, Washington State passed SB 5001, which legalized several new options for deathcare. In this episode, host Jeff Emtman visits Return Home, a facility in Auburn, Washington that's using one of those new options, called “Natural Organic Reduction” (NOR) which is commonly called “human composting”. Return Home has built the world's largest NOR facility to date, with 74 available individual vessels. Their process (which they've trademarked as “Terramation”) takes about two month to complete, and involves dressing a deceased person in a pressed cotton gown and placing them a bed of organic material, and left to naturally break down using active composting techniques that bring the contents of the vessel to well above 100° Fahrenheit for much of the composting period. The techniques used by Return Home were largely inspired by Katrina Spade, a death activist and the owner of Recompose, another NOR facility located near Seattle. Spade was one of the people who strongly advocated for the passage of SB 5001.There's currently one other NOR facility in Washington State: Herland Forrest in Wahkiacus. Currently two other states, Colorado and Oregon have legalized NOR. NOR's future isn't known. It's new and still relatively rare. Do enough people want to be composted to have it be a viable business model? Each of these companies have different approaches to their process. Return Home's model relies on scale. They wouldn't disclose the exact cost of building their facility, or how many simultaneous descendants they'd need in their facility to be profitable. As of publishing, they charge $4,950 for their process and they have 15 of their 74 slots occupied. And in some ways, the full ecological benefits for Return Home's process also rely on scale. In a follow up email, CEO Micah Truman stated that “We calculate our inputs as follows. Our electricity bill each month is about $1,700, and is sufficient to Terramate 74 bodies. This comes to $22 per body. In current gas terms ($5 a gallon at present) that is roughly 4 gallons of gas, which is about 1/8 the amount of gas used for cremation. The number is actually quite a bit better than that, as our electricity bill also powers our entire facility, not just the Terramation equipment.”When asked about the relative emptiness of the facility, Katey Houston (Return Home's Services Manager) said, “The funeral industry is so slow to change. When cremation became a thing, it took sixty years to become mainstream. The fact that we've served just over thirty families now in four months, is quite amazing. And we've continued to grow month-over-month, and that's all I can ask for.”Thank you Hannah Suzanna for help with research for this episode. Here Be Monsters is an independent, listener supported podcast. Consider supporting the show on Patreon. Producer: Jeff EmtmanMusic: The Black Spot and SerocellSponsor: Sleep With Me PodcastSleep With Me is a podcast that helps you fall asleep. Host Drew Ackerman tells tangential stories, reads old catalogs, makes metaphors about washing machines, and does other calming things all in pursuit of slowing your mind down and letting you drift off to sleep more peacefully. Subscribe to Sleep With Me on any podcast app.

Season 10 of Here Be Monsters starts and host Jeff Emtman hallucinates his adolescence while working long hours.  Scenes from middle school dances, dawn bus rides, the basement, and ( most crucially), a late-night raffle at a hardware store.Do you like Here Be Monsters? Tell your friends, support HBM on Patreon, and have your boss sponsor an episode.Producer: Jeff EmtmanMusic: Serocell and The Black SpotSponsor: RadioLabAre you curious about the world, but also want to be surprised, and even moved? Radiolab experiments with sound and storytelling allowing science to fuse with culture, and information to sound like… well, music. Join hosts Lulu Miller and Latif Nasser for an experiential investigation that explores themes and ideas through a patchwork of people, sounds, and stories. Listen to Radiolab

Season 10 of Here Be Monsters starts and host Jeff Emtman hallucinates his adolescence while working long hours. Scenes from middle school dances, dawn bus rides, the basement, and ( most crucially), a late-night raffle at a hardware store.Do you like Here Be Monsters? Tell your friends, support HBM on Patreon, and have your boss sponsor an episode.Producer: Jeff EmtmanMusic: Serocell and The Black SpotSponsor: RadioLabAre you curious about the world, but also want to be surprised, and even moved? Radiolab experiments with sound and storytelling allowing science to fuse with culture, and information to sound like… well, music. Join hosts Lulu Miller and Latif Nasser for an experiential investigation that explores themes and ideas through a patchwork of people, sounds, and stories. Listen to Radiolab

Today on Journey Map, we're joined by Matt Bielby, Creative Director and Partner at Here Be Monsters. In this episode, we talk to Matt about the risk of launching an agency, brands that they've taken to uncharted places, and how he uses the MAYA (Most Advanced Yet Acceptable) principle for results.Hear more from Matt and Here Be Monsters:Visit Here Be Monsters: https://www.herebemonsters.ca/Connect with Matt: https://www.linkedin.com/in/matt-bielby-77633646/

The origins of Julia Susara's chronic fatigue are hard to pin down.  She still doesn't know exactly how it started but suspects that a deeply broken heart had something to do with it.  She spent about three years going through some excruciating physical sensations: immense chills, brain fogs, pregnancy nightmares and the feeling that her blood was about to boil through her skin. Doctors weren't able to figure out what was wrong, nor were the array of alternative healers she visited. Feeling that no one was able to help, she was at the edge of giving up. But, at her brother's suggestion, she reluctantly visited a hypnotherapist who gave Julia instructions to swim daily in cold water.  So she started jumping in the ocean each day and felt a strange and near immediate change in her symptoms.  If you're feeling suicidal, here are some numbers you can call to speak with someone who will listen. USA Suicide Lifeline: 1-800-273-8255UK Samaritans: 116 123Canada Crisis Services: 1.833.456.4566Japan Tell JP:  03-5774-0992Australia Lifeline: 13 11 14Denmark Livslinien: 70 201 201Other countries: check the list available at suicide.org~~~~~~~~~~~~~~~~This episode marks the end of Season 9.  Season 10 is coming, but the date is currently unknown.  Stay subscribed!  And keep an eye on the HBM Patreon page for an upcoming message with a season debrief and some musings about the show's future.  That post will be public, so no need to be a member to read it.  Also, please note that due to some summer busy-ness, Jeff will not be able to run an HBM summer art exchange this year.  Sorry about that.  Thank you for all your support through Season 9.  It is such a pleasure to make this show. ~~~~~~~~~~Producer: Jeff EmtmanMusic: Julia's choir group and The Black SpotSponsor: AnimasusEmilius Martinez is an illustrator and designer who runs Animasus.  Animasus can help you design email campaigns, websites and improve the overall branding for your business.  Speaking of which, Emilius designed the new HBM t-shirt, which is wonderful. Thank you Animasus for sponsoring Here Be Monsters!

The origins of Julia Susara's chronic fatigue are hard to pin down. She still doesn't know exactly how it started but suspects that a deeply broken heart had something to do with it. She spent about three years going through some excruciating physical sensations: immense chills, brain fogs, pregnancy nightmares and the feeling that her blood was about to boil through her skin. Doctors weren't able to figure out what was wrong, nor were the array of alternative healers she visited. Feeling that no one was able to help, she was at the edge of giving up. But, at her brother's suggestion, she reluctantly visited a hypnotherapist who gave Julia instructions to swim daily in cold water. So she started jumping in the ocean each day and felt a strange and near immediate change in her symptoms. If you're feeling suicidal, here are some numbers you can call to speak with someone who will listen. USA Suicide Lifeline: 1-800-273-8255UK Samaritans: 116 123Canada Crisis Services: 1.833.456.4566Japan Tell JP: 03-5774-0992Australia Lifeline: 13 11 14Denmark Livslinien: 70 201 201Other countries: check the list available at suicide.org~~~~~~~~~~~~~~~~This episode marks the end of Season 9. Season 10 is coming, but the date is currently unknown. Stay subscribed! And keep an eye on the HBM Patreon page for an upcoming message with a season debrief and some musings about the show's future. That post will be public, so no need to be a member to read it. Also, please note that due to some summer busy-ness, Jeff will not be able to run an HBM summer art exchange this year. Sorry about that. Thank you for all your support through Season 9. It is such a pleasure to make this show. ~~~~~~~~~~Producer: Jeff EmtmanMusic: Julia's choir group and The Black SpotSponsor: AnimasusEmilius Martinez is an illustrator and designer who runs Animasus. Animasus can help you design email campaigns, websites and improve the overall branding for your business. Speaking of which, Emilius designed the new HBM t-shirt, which is wonderful. Thank you Animasus for sponsoring Here Be Monsters!

Episode 149 is an odd duck for sure.  It changes every day due to some coding trickery that is happening behind the scenes. That episode is a part of a bigger project, a new podcast project that's potentially the first of its kind.  It's called Neutrinowatch, and every day, each episode is regenerated with new content. But this is a conversation between Jeff Emtman (Here Be Monsters' host), and Martin Zaltz Austick (Answer Me This, Song By Song, Pale Bird and others) about the hows and whys of Neutrinowatch: A Daily Generative Podcast (available now on most podcast apps 😉)

A short episode from the new show Neutrinowatch: A Daily Generative Podcast.  Each episode of Neutrinowatch changes a lil' bit every day.  This episode, The Daily Blast, features two computerized voices (Wendy and Ivan), who share the day's news. To get new versions of this episode, you'll need to either stream the audio in your podcast app/web browser, or just delete and re-download the episode.  It's updated every 24 hours.  Note: Due to Spotify's policy of downloading and rehosting podcast audio, this episode won't work very well on Spotify.  Most other podcast apps should handle it well though. Neutrinowatch is a project of Jeff Emtman (Here Be Monsters' host), and Martin Zaltz Austick (Answer Me This, Song By Song, Pale Bird and others). If you'd like to know more about generative podcasting and the story of Neutrinowatch, listen to So What Exactly is Episode 149? and Jeff's blog post called The Start of Generative Podcasting?Neutrinowatch is available on most podcast apps, and as of publish date, there's currently 6.5 episodes available.  Each updates daily. Producers: Jeff Emtman and Martin Zaltz AustwickMusic:The Black Spot

Something a bit different and exciting this week in lieu of a normal show. One of the things the premium members will be doing over the coming month is participating in calls and Q&As with thinkers who have something to share or contribute to this notion of operating at the level of the living field. First cab off the rank is none other than Rhyd Wildermuth. Finding The Ekumen gets its name from Ursula K. Le Guin's space utopia, effectively an anarchist version of Star Trek's far more militant United Federation of Planets. So if we are going to have a series of discussions beyond traditional politics, we should begin with a discussion of what politics is, what it isn't and where it might be that you come in. I can think of no one better than Rhyd for that chat, so here it is! Big thanks to Rhyd and the members for participating! This is obviously a video discussion if you would prefer to watch on YouTube or Odysee. Further Reading Rhyd's Substack. Rhyd's essay, Here Be Monsters. Saul Newman's Anarchism and the Politics of Ressentiment. The works of Silvia Federici. Human Scale. Postmodern Anarchism in the Novels of Ursula K. Le Guin. Against Identity Politics.

As a teenager, HBM host Jeff Emtman fell asleep most nights listening to Coast To Coast AM, a long running talk show about the world's weirdnesses. One of the guests stuck out though; one who spoke on his experiences with lucid dreaming. He'd learned how to conjure supernatural entities and converse with his subconscious. Lucid dreams are dreams where the dreamer knows they're asleep. Some sleepers become lucid completely at random, but lucid dream training can drastically increase the frequency of their occurrence.Months ago, Jeff put out a call for dream prompts on social media. He asked if anyone had questions for an all-knowing being to be conjured in a forthcoming lucid dream. Some of the questions are heard in this episode. While training for this episode, Jeff used two approaches to trigger lucid dreams. The first was an audio recorder by the bedside. Each morning, Jeff recorded his dreams (lucid or not). The second method was a series of “wakefulness checks” throughout each day, stopping at random times to test reality, and to make a determination on whether he's currently awake or asleep. This tactic is useful as it may eventually trigger the same behaviour in a dream. In this episode, Jeff attempts to lucid dream to answer listener questions, but finds the progress slower than he hoped. Here Be Monsters is an independent podcast that is funded entirely by individual sponsors and donors. You can become a donor at patreon.com/HBMpodcastProducer: Jeff EmtmanMusic: The Black Spot, Phantom Fauna, and Serocell. Sponsor: Sleep With Me PodcastSleep With Me is a podcast that helps you fall asleep. Host Drew Ackerman tells tangential stories, reads old catalogues, recaps old Charlie Brown specials and does other calming things all in pursuit of slowing your mind down and letting you drift off to sleep more peacefully. Subscribe to Sleep With Me on any podcast app.

As a teenager, HBM host Jeff Emtman fell asleep most nights listening to Coast To Coast AM, a long running talk show about the world’s weirdnesses.   One of the guests stuck out though; one who spoke on his experiences with lucid dreaming.  He’d learned how to conjure supernatural entities and converse with his subconscious.  Lucid dreams are dreams where the dreamer knows they’re asleep.  Some sleepers become lucid completely at random, but lucid dream training can drastically increase the frequency of their occurrence.Months ago, Jeff put out a call for dream prompts on social media.  He asked if anyone had questions for an all-knowing being to be conjured in a forthcoming lucid dream.  Some of the questions are heard in this episode.  While training for this episode, Jeff used two approaches to trigger lucid dreams.  The first was an audio recorder by the bedside.  Each morning, Jeff recorded his dreams (lucid or not).  The second method was a series of “wakefulness checks” throughout each day, stopping at random times to test reality, and to make a determination on whether he’s currently awake or asleep.  This tactic is useful as it may eventually trigger the same behaviour in a dream.  In this episode, Jeff attempts to lucid dream to answer listener questions, but finds the progress slower than he hoped.  Here Be Monsters is an independent podcast that is funded entirely by individual sponsors and donors.  You can become a donor at patreon.com/HBMpodcastProducer: Jeff EmtmanMusic: The Black Spot, Phantom Fauna, and Serocell. Sponsor: Sleep With Me PodcastSleep With Me is a podcast that helps you fall asleep.  Host Drew Ackerman tells tangential stories, reads old catalogues, recaps old Charlie Brown specials and does other calming things all in pursuit of slowing your mind down and letting you drift off to sleep more peacefully.  Subscribe to Sleep With Me on any podcast app. 

In this episode, we’re breaking down the great work that goes into the narrative podcast Bodies, with creator and host Allison Behringer. This is a highly produced and deeply researched show that leaves no details left unattended. Host Jay Acunzo and Behringer get into the great value of prep calls, research, and editing; how Allison conceived of her show by following her curiosity; the process Allison went through to pitch her show and get support from KCRW; and so much more—as we do! SUBSCRIBE TO THE NEWSLETTER FOR CREATORS Every week in Playing Favorites, 3 Clips host Jay Acunzo shares a new idea or story all about making things that make a difference. If you’re tired of all the tips, tricks, cheats, and hacks, and you just want to make more resonant things, join thousands of your peers who get Jay’s note every week, plus exclusive access and discounts to other projects: Subscribe: https://jayacunzo.com/newsletter PODCAST COURSE: GROWABLE SHOWS Jay’s on-demand course deconstructs dozens of real-world show examples and offers 10 original videos plus a guided system for developing your ideas to be more deeply resonant, refreshingly original, and worthy of your audience’s subscription. Don’t just make Yet Another podcast. Make the podcast that only you can make. INSIDE THIS EPISODE: Bodies can be found here: https://www.bodiespodcast.com/ Follow Bodies host Allison Behringer on Twitter here: https://twitter.com/albtweetin Follow Bodies on Twitter here: https://twitter.com/bodiespodcast From Play It Forward: This week’s recommended podcast is Here Be Monsters: https://www.hbmpodcast.com/ Follow 3 Clips host Jay Acunzo on Twitter here: https://twitter.com/jayacunzo/ You can find all episodes of 3 Clips wherever you listen to podcasts, or by browsing the show’s home page at https://jayacunzo.com/3-clips

Animals sometimes make noises that would be impossible to place without context.  In this episode: three types of animal vocalizations—described by the people who recorded them. Ashley Ahearn: Journalist and producer of Grouse, from Birdnote and Boise State Public RadioJoel Balsam: Journalist and producer of the upcoming podcast Parallel Lives.  Joel co-created a photo essay for ESPN about the “pororoca”, an Amazonian wave chased each year by surfers. Kevin Coffey, Ph.D.: Co-creator of DeepSqueak and researcher at VA Puget Sound and the University of Washington.  Kevin co-authored the paper DeepSqueak: a deep learning-based system for detection and analysis of ultrasonic vocalizations in Nature’s Neuropsychopharmacology journal. Also heard: calls of the Indies Short Tailed Cricket (Anurogryllus celerinictus), which may be the perpetrator of the so-called “sonic attacks” recently reported in Cuba.  Sound sent in by HBM listener Isaul in Puerto Rico.  Producer: Jeff EmtmanMusic: The Black SpotSponsor: Chas CoChas Co takes care of cats and dogs in Brooklyn (especially in Prospect Lefferts Gardens, Bed Stuy and surrounding neighborhoods). Chas Co welcomes pets with special behavioral and medical needs, including those that other services have turned away.  They offer dog walking, cat visiting, and custom care arrangements too. Visit ChasCo.nyc to book an appointment. Thank you Chas Co for sponsoring Here Be Monsters. Please consider becoming a patron of Here Be Monsters at patreon.com/HBMpodcast/

Animals sometimes make noises that would be impossible to place without context. In this episode: three types of animal vocalizations—described by the people who recorded them. Ashley Ahearn: Journalist and producer of Grouse, from Birdnote and Boise State Public RadioJoel Balsam: Journalist and producer of the upcoming podcast Parallel Lives. Joel co-created a photo essay for ESPN about the “pororoca”, an Amazonian wave chased each year by surfers. Kevin Coffey, Ph.D.: Co-creator of DeepSqueak and researcher at VA Puget Sound and the University of Washington. Kevin co-authored the paper DeepSqueak: a deep learning-based system for detection and analysis of ultrasonic vocalizations in Nature's Neuropsychopharmacology journal. Also heard: calls of the Indies Short Tailed Cricket (Anurogryllus celerinictus), which may be the perpetrator of the so-called “sonic attacks” recently reported in Cuba. Sound sent in by HBM listener Isaul in Puerto Rico. Producer: Jeff EmtmanMusic: The Black SpotSponsor: Chas CoChas Co takes care of cats and dogs in Brooklyn (especially in Prospect Lefferts Gardens, Bed Stuy and surrounding neighborhoods). Chas Co welcomes pets with special behavioral and medical needs, including those that other services have turned away. They offer dog walking, cat visiting, and custom care arrangements too. Visit ChasCo.nyc to book an appointment. Thank you Chas Co for sponsoring Here Be Monsters. Please consider becoming a patron of Here Be Monsters at patreon.com/HBMpodcast/

1,420,405,751* hertz is a very important frequency.  It’s the frequency that hydrogen radiates at, creating radio waves that can be detected far away.  And astronomers can learn a lot about the history and shape of the universe by observing this “hydrogen line” frequency with radio telescopesExtraterrestrial research astronomers also take a lot of interest in the hydrogen line...and it’s for the same exact reason, though the context is different.  It’s thought that if an alien species is capable of communicating with us, wouldn’t they also have figured out the importance of the hydrogen line?  And is it possible that just maybe, they’d use it (or frequencies near it) to communicate with us?  The theory being that the hydrogen line could be used as a kind of universal hailing channel for intelligent species—a representation of a shared understanding of physics. Talk of the hydrogen line was front and center in 1977, when an American astronomer named Jerry R Ehman found a very strong signal on the printout from a radio telescope dubbed “The Big Ear” at the Ohio State University.  The signal he found was close to the hydrogen line.  He noted the abnormality of the strong the signal by writing “Wow!” in red ink on the margins of the printout.  The so-called “Wow! Signal” has long been cited as potential evidence for alien communication. But Dr. Seth Shostak (senior astronomer at The SETI Institute and co-host of Big Picture Science) isn’t convinced.  His organization searches for extra terrestrial intelligence across the universe with a high degree of skepticism.  And he’s experienced a false positive or two over the years.  Seth thinks the Wow! Signal (and other related anomalous signals) are almost always tied back to human interference. In 1979 (not long after the Wow! Signal), frequencies near the hydrogen line became protected when a group called the International Telecommunication Union (ITU) created a 1000+ page document that included a worldwide recommendation to keep these channels clear for astronomy and SETI purposes, citing the “special importance to mankind to determine the existence of extraterrestrial civilizations.” (see page 920 of the Finals Acts of the World Administrative Radio Conference, Geneva, 1979)  Despite this protection, Seth Shostak says there’s still interference on the hydrogen line from human sources.  That interference draws the ire of radio astronomers everywhere. Seth says, “It’s like turning on a bright light in a movie theater—you don’t ingratiate yourself with the [theater’s] patrons.”*give or take some fractional hertzProducer: Jeff EmtmanMusic: The Black SpotSponsorHBM’s Patreon SupportersHere Be Monsters’ supporters on Patreon send a small monthly (or yearly) donation to help cover Jeff’s living expenses, help pay contractors, and help pay fees/taxes associated with running the show.Listener Andrew Conkling says he signed up for the Patreon because Here Be Monsters is one of his favorite podcasts: “I wanted to be part of the journey seeing it continue.”Please note that HBM is free and there are currently no plans to change that.  However, patrons do receive some modest perks for their support. And that support means a lot. Thank you so much, HBM Patrons. 👽Want to become a patron? https://www.patreon.com/HBMpodcast

1,420,405,751* hertz is a very important frequency. It's the frequency that hydrogen radiates at, creating radio waves that can be detected far away. And astronomers can learn a lot about the history and shape of the universe by observing this “hydrogen line” frequency with radio telescopesExtraterrestrial research astronomers also take a lot of interest in the hydrogen line...and it's for the same exact reason, though the context is different. It's thought that if an alien species is capable of communicating with us, wouldn't they also have figured out the importance of the hydrogen line? And is it possible that just maybe, they'd use it (or frequencies near it) to communicate with us? The theory being that the hydrogen line could be used as a kind of universal hailing channel for intelligent species—a representation of a shared understanding of physics. Talk of the hydrogen line was front and center in 1977, when an American astronomer named Jerry R Ehman found a very strong signal on the printout from a radio telescope dubbed “The Big Ear” at the Ohio State University. The signal he found was close to the hydrogen line. He noted the abnormality of the strong the signal by writing “Wow!” in red ink on the margins of the printout. The so-called “Wow! Signal” has long been cited as potential evidence for alien communication. But Dr. Seth Shostak (senior astronomer at The SETI Institute and co-host of Big Picture Science) isn't convinced. His organization searches for extra terrestrial intelligence across the universe with a high degree of skepticism. And he's experienced a false positive or two over the years. Seth thinks the Wow! Signal (and other related anomalous signals) are almost always tied back to human interference. In 1979 (not long after the Wow! Signal), frequencies near the hydrogen line became protected when a group called the International Telecommunication Union (ITU) created a 1000+ page document that included a worldwide recommendation to keep these channels clear for astronomy and SETI purposes, citing the “special importance to mankind to determine the existence of extraterrestrial civilizations.” (see page 920 of the Finals Acts of the World Administrative Radio Conference, Geneva, 1979) Despite this protection, Seth Shostak says there's still interference on the hydrogen line from human sources. That interference draws the ire of radio astronomers everywhere. Seth says, “It's like turning on a bright light in a movie theater—you don't ingratiate yourself with the [theater's] patrons.”*give or take some fractional hertzProducer: Jeff EmtmanMusic: The Black SpotSponsorHBM's Patreon SupportersHere Be Monsters' supporters on Patreon send a small monthly (or yearly) donation to help cover Jeff's living expenses, help pay contractors, and help pay fees/taxes associated with running the show.Listener Andrew Conkling says he signed up for the Patreon because Here Be Monsters is one of his favorite podcasts: “I wanted to be part of the journey seeing it continue.”Please note that HBM is free and there are currently no plans to change that. However, patrons do receive some modest perks for their support. And that support means a lot. Thank you so much, HBM Patrons.

Everyone in Pumpkintown is hunting for Sasquatch... except Ben Becker. He knows exactly where Bigfoot lives. This episode does contain strong language, sensitive listeners please be advised. This story originally aired on the Here Be Monsters podcast hosted by Jeff Emtman. They just dropped a new season… listen and subscribe for more awesome stories! Produced by Jeff Emtman, artwork by Teo Ducot Snap Classic - Season 5 - Episode 12

Today’s poem is “Our Blood Aligns Toward Something” by Colin Cheney. He is the author of Here Be Monsters and co-creator of the podcast, Poet in Bangkok. He teaches at the Salt Institute for Documentary Studies.

Today’s poem is “Our Blood Aligns Toward Something” by Colin Cheney. He is the author of Here Be Monsters and co-creator of the podcast, Poet in Bangkok. He teaches at the Salt Institute for Documentary Studies.

In our conversation, you'll learn:- How to sharpen and improve your storytelling abilities.- How photography greatly influences Jeff's storytelling in a purely audio format.- The overwhelming power of belief and how it shapes the world around us.Episode #23 of "The Process" podcast features Jeff Emtman, creator of the "Here Be Monsters" podcastBefore we get started I just want to say that this is one of my favorite episode ever.Jeff is the creator of the critically acclaimed “Here Be Monsters” podcast which is an immersive storytelling experience that dives deeply into our fear, beliefs, and the human experience.One of the many (many) ways I have great respect (And much jealousy) for Jeff is his ability to create a three dimensional atmosphere within an audio format that world-class. When you listen to his show the world kind of dissolves and fades away and, when it ends, there's this movie credits like snap-back-to-reality that has always held a special place in my heart.To listen to this episode of "The Process with Brad Wilson" podcast, click that download or play button now.Join my email newsletter at: Join my email newsletter at: http://www.MentallyInvincible.com/TheProcessFollow @the_process_podcast on InstagramReach out to me directly at brad@mentallyinvincible.com

Episode 33. This week sees TG on a date with THREE SISTERS (Remix), getting REVENANT, and joining Zavvi's SECRET SOUNDTRACK CLUB. SJ gets all weird and French (as he does) with TACET and LIBRA, and travels to his home world of Arrakis for a rendevous with JODOROWSKY'S DUNE. We also lay a couple of belters on yer ears, with our MAIN THEME and HERE BE MONSTERS of the week. Our guest this week joining us on the virtual DFC sofa is fellow record collector and soundtrack fan Layne Harvey from South Carolina U.S.A. who chats about where his love of film music began, lays out some of his desert island OSTs and takes the Vinyl Score challenge. Created by Tony Giles & Scott Johannsson Recorded at Solatron Studios, Birmingham UK Theme Music by Scott Johannsson DFC Logo by Dan Cullinan December 19th 2015

Episode 30. This week's roundup includes TG snagging an OG TOURIST TRAP, SJ waking NOSFERATU with Faust, TG voyaging to a JURRASIC WORLD, SJ takes on some FOES and TG goes to COLLEGE. We debut a new feature - TG explores the MAIN THEME in film soundtracks, whilst SJ unleashes HERE BE MONSTERS. Created by Tony Giles & Scott Johannsson Recorded at Solatron Studios, Birmingham UK Theme Music by Scott Johannsson DFC Logo by Dan Cullinan November 28th 2015

Transport yourself into the unknown with two stories from KCRW's newest podcast, Here Be Monsters.