Podcasts about i saw it

The Old Dogs ramble about sneaky supermarket switches. We discover a new kind of syndrome that makes you drunk without drinking. We present another edition of I Saw It on the Boob Tube. We notice how people never smile in old photographs. We wonder why some people are so annoying to us. And we talk about the way supermarkets tend to confuse us. The Old Dogs conversation is with Gary and Gaby Keller. Two folks who left Switzerland a long time ago and are now heading back. 

In this inaugural episode of the Canadian Wargamer Podcast, hosts and BFFs Mike (@MarshalLuigi) and James (@JamesManto4) introduce one another and address the crucial question: does the world need another miniature wargames podcast in which two (youngish) granddads natter on?  Spoiler alert - yes, it does. We explain our Concept of Operations for the podcast: 1. Tell stories about the Canadian wargaming scene, a small scene in a BIG country.  2. Introduce Canadian hobby leaders - figure sculptors and producers, bloggers, local linchpins - and hear they stories; and 3. Explore connections between Canadian military history and wargaming.  Of course, we may talk about our goblin wolf riders and Prussian grenadiers, but we are particularly interested in representing Canadian battles and soldiers on the tabletop. We talk about what's keeping us busy for the next month:   James - lots of decidedly non-Canadian Napoleonics. Mike - might get to those 15mm Canadians in Sicily this month. We also shamelessly steal Sean Clarke's virtual library schtick from his God's Own Scale podcast.  We intend to ask each guest to "donate" one or two books with a Canadian military connection. In this issue, we each put two books on the digital shelves. James' choices: Mark Zuehlke, Brave Battalion: the Remarkable Story of the 16th Battalion (Canadian Scottish) in the First World War (2008). https://www.amazon.ca/Brave-Battalion-Remarkable-Canadian-Scottish/dp/0470154160 Chris Wattie, Contact Charlie: the Canadian Army, the Taliban, and the Battle that Saved Afghanistan (2008). https://www.amazon.ca/Contact-Charlie-Canadian-Taliban-Afghanistan/dp/1554700841 Mike's choices: Frederick George Scott, The Great War as I Saw It (1922). https://www.amazon.ca/Great-War-Frederick-George-Scott/dp/0978465253 https://archive.org/details/greatwarasi00scotuoft Farley Mowat, The Regiment (1974). https://www.amazon.ca/Regiment-Farley-Mowat/dp/1551251221   Let us know what you thought of the podcast and tell your friends!   Also, check out our blogs: James: http://rabbitsinmybasement.blogspot.com Mike: http://madpadrewargames.blogspot.com          

I SAW IT! I SAW IT! Captain, another B-Nake tune, straight ahead! Ramming speed! CWs for this episode: Bullying, abuse ALSO IN THIS EPISODE: The Barenaked Ladies: Good At Music? The Life and Death of Chet Creeggan Someone please teach us how to play dominoes. BONUS SEGMENT: PIECE OF CAKE and THANKS THAT WAS FUN and SAME THING and FUN AND GAMES! Get yourself some IABD shirts! Wear a logo on your chest!: https://www.teepublic.com/user/itsallbeendonepodcast Catch us on the 'net!: Facebook: https://www.facebook.com/profile.php?id=1593559714014720 Twitter: @beendonepod Thanks to The Orange Groves (theorangegroves.com) for hosting us. Subscribe to their Patreon: https://www.patreon.com/theorangegroves and join their discord: https://discordapp.com/invite/GdTsg8C !

This week, we are talking Jim’s song “I Saw It”.  I know.  No pun.  That’s because I knew you would say, “I saw it coming.”   https://soundcloud.com/user-946961552/episode-138-i-saw-it All In Good Time (2009)  Plugs  Trevor on stage with BNL!!!!  Watch Trevor on Mondays put on a mini-show!  “Barenaked Ladies and Me”  Trailer: https://youtu.be/7gRMRP5g2BI  Full Movie: https://youtu.be/fEn9XleWJxQ  Appearance 

Listen in as Chris rants against arbitrary Summer bedtimes, the bifurcation of films, and the hubris of an unchecked Henson. Sound good to you? “I Saw It on Linden Street” tackles “The Dark Crystal”- Join Us! --- Send in a voice message: https://anchor.fm/LSCE/message

My birthday was recent and I wanted to talk about a person that I looked up to while growing up and even tell the time I encountered Vin Scully! For those of you who aren't into sports Vin Scully was a baseball announcer for the Los Angeles Dodgers and even the reason in LA Transistor Radios became popular, he was the Dodgers Announcer for 67 years, and their is a reason why near Dodger Stadium it's now Vin Scully Ave. If you are interested to learn more about Vin Scully after this episode go Google Search and even there are some books I Saw It on the Radio and Pull Up A Chair! Thank you Industry Horror Hearers and especially to the Industry Horror Family for giving me a memorable birthday! They already gave me the great gift of opportunity,work, friends, confidence and the rarity of applying what I learned and trained in school and applying to work, I know that's crazy right! --- Send in a voice message: https://anchor.fm/industryhorrorcoffincast/message

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices

In her new book Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Hillary Chute analyses the documentary power in the comics-form sometimes known as “graphic novels.” Chute is particularly interested in Art Spiegelman’s Maus, Keiji Nakazawa’s I Saw It, and Joe Sacco’s series Palestine, but she also introduces us to the long history of hand-drawn documentation of war-time trauma dating to Goya and Callot. Chute treats comics as a serious literary form that is especially efficacious for representing the act of witness-to-war and those who witness. It is through the power of graphic illustration combined with the written word–the comics-form–that the otherwise unspeakable atrocities of modern war can be conveyed. The book also serves as a primer to the language of comics–words like “gutter” and “tier”–and the craft of decoding comics as practiced by scholars such as Chute. In this interview Chute responded to questions about her path into comics as an academic pursuit, her thoughts on the newest trends in documentary comics, and her views from the college classroom on the pedagogy of comics. Jerry Lembcke can be reached at jlembcke@holycross.edu, Ellis Jones at ejones@holycross.edu.   Learn more about your ad choices. Visit megaphone.fm/adchoices