Podcast appearances and mentions of jim may

Call Caryn's personal archive number to hear the most recent five episodes of It's All About Food: 1-701-719-0885 Hartglass & De Mattei, The Poop on Toilet Paper Caryn and Gary share stories about Caryn's recent birthday which occurs on Earth Day. Things to look out for in toilet paper are covered along with artificial sweeteners like aspartame.     Links mentioned in the program: How Toxic Is Your Toilet Paper? Investigation of Brands Toilet paper is an unexpected source of PFAS in wastewater, study says Now We Need to Worry About Harmful ‘Forever Chemicals' in Our Toilet Paper Too All the Ways We've Wiped: The History of Toilet Paper and What Came Before All About Reusable Toilet Paper: What You Should Know Do You Need To Cut Out Aspartame? Jim May, The Stevia Story

Tell us what you though of the episodeIn this episode, editor Jim May shares his journey through the creation of "The Chronicles of Narnia: The Lion, The Witch, and The Wardrobe." Discover behind-the-scenes secrets, including how key moments like Lucy's first steps into Narnia came to life and the challenges of crafting compelling edits that resonate with audiences.Jim May is a seasoned film editor known for his dynamic storytelling, precise pacing, and ability to elevate narratives across genres. With a career spanning over two decades, he has worked on major Hollywood blockbusters, critically acclaimed dramas, and high-profile studio projects.May's editing expertise shines in films such as  Non-Stop (2014),  GI Joe: Retaliation (2013), and Goosebumps (2015), where his keen sense of rhythm and emotion played a crucial role in crafting compelling cinematic experiences. His collaborations with top directors and production teams have made him a sought-after talent in the industry.Beyond feature films, May's versatility extends to television and streaming projects, bringing the same level of precision and narrative finesse to every frame he cuts. His ability to shape performances, build tension, and seamlessly blend action with character depth has cemented his reputation as one of Hollywood's top editors.#visualstorytelling #videoediting #benbarnes #tildaswinton #tumnus http://twitter.com/dreamingkingdomhttp://instagram.com/kingdomofdreamspodcasthttp://facebook.com/kingdomofdreamspodcast Watch the feature films that I have directedCitizen of Moria - https://rb.gy/azpsuIn Search of My Sister - https://rb.gy/1ke21Official Website - www.jawadmir.com

Dance Talk” ® with Joanne Carey and special guest, Samantha Géracht, Artistic Director, Sokolow Theatre/Dane Ensemble. In this episode of Dance Talk, host Joanne Carey speaks with Samantha Géracht, the Artistic Director of Sokolow Theatre/Dance Ensemble. Together they discuss the influence of Anna Sokolow's work, the legacy of Anna Sokolow's immense catalogue of work and what an integral modern dance pioneer Sokolow is to the dance community. They also discuss the upcoming concert that emphasizes joy and light during the winter season. Samantha shares insights into her role as artistic director the growth of the company, the transformative experience of working with Sokolow's choreography, and the vision for the future of the company. Samantha Géracht performed with Anna Sokolow's Players' Project for eleven years and is a founding member of the Sokolow Theatre/Dance Ensemble. In 2017 Ms. Géracht was appointed the ensemble's artistic director. She has toured and taught Sokolow's repertory nationally and internationally, setting Ms. Sokolow's works on professional companies, university dance programs, and solo dance artists, including the Centre de Danse Nationale de Paris, the Boston Conservatory, Williams College, The Ailey School/Fordham University, Loyola Chicago, Franklin and Marshall College, Barnard College, Clarence Brooks, Jennifer Conely, Sandra Kaufman, Kanopy Dance Company and Academy, Ellen Robbins Dance, and Christine Dakin. Ms. Géracht studied technique and composition with Alwin Nikolais and Murry Louis, Humphrey/Limon with Jim May, Betty Jones, Fritz Luden, and Gail Corbin, and Weidman with Deborah Carr. She has taught in the Professional Studies program at the Limon Institute, the Herbert Berghoff (‘HB') Studio, and is on the faculty of the Hoboken Charter School. Ms. Geracht performed the Humphrey/Weidman repertory with Deborah Carr Theater Dance Ensemble and Gail Corbin. She has appeared with Rae Ballard's Thoughts in Motion, and as a guest artist with David Parker and The Bang Group. In 2016 she choreographed Shadowbox Theatre's The Earth and Me, a critically acclaimed climate change puppet/dance opera created for NYC public schools and community centers. Ms. Géracht served as a panelist for the Library of Congress opening of the “New Dance Group” archives. She holds an MFA in dance from Montclair State University (NJ) and a BS in dance from the University of Wisconsin-Madison. Ms. Géracht is committed to the preservation of early American Modern Dance, making the works of modern dance pioneers more accessible to dance education programs, young artists, and new audiences. https://sokolowtheatredance.org/ Upcoming Performance: JOY: Dances for Midwinter Choreography of Anna Sokolow, Charles Weidman, and Claudia Gitelman, set to the music of Scriabin, Rachmaninoff, Bach, and Schubert. December 12 & 13, 2024, 7:00 pm Stone Circle Theatre 59-14 70th Avenue, Ridgewood, New York 11385 Tickets: https://stonecircletheatre.org/ “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. ⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠ Tune in. Follow. Like us. And Share. Please leave us review about our podcast! “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

NASA has tried to get Extra Vehicular Activity Number Ninety underway since June 13th. The first attempt was thwarted by a space suit comfort issue, the second by a water leak that created a blizzard of ice inside the  Quest airlock. Are the Shuttle-Era Extra Vehicular Mobility Units (EMU) or space suits finally showing their age? Also, what about Collins Aerospace and their recent withdrawal from their NASA contract to build the next generation of space suits for the ISS and the Artemis Lunar Program when they indicated back in February that all was going well? We discuss. On June 17th, the FAA held a virtual public hearing to receive comments concerning SpaceX's plans to use Launch Complex 39-A and NASA's Kennedy Space Center to support Starship Super Heavy Launches. We discuss what occurred during the session and the fallout from statements put into the record by both Blue Origin and United Launch Alliance. Talking Space continues our Boeing Space CST-100 Starliner Crewed Flight Test coverage. The team continues to examine the “Starliner is Stuck at the ISS” misconceptions and asks what NASA & Boeing Space could have done to alleviate such headlines. We also look at a detailed explanation posted on Twitter from Jim May, a Boeing Engineer who was part of the NASA-TV coverage, of why “Calypso” remains on the ISS. The basis of his discussion comes from the actual NASA flight certification plan. Heather Smith mentions the observations of a NASA flight director and his assessment of how Starliner performed during its first actual safe-haven exercise.  All this and more in this edition of Talking Space! (Recorded July 5th, 2024) Host: Larry Herrin Panel Members: Gene Mikulka, Mark Ratterman, Heather Smith

Sherman, Texas. Our little town, now busting at the seams with "Broad Horizons." Back in 1974, it was a different time, different people, with a different pace. This Reunion Series for the Class of '74 is a unique platform for classmates to share their memories of childhood, school days, and reflect on this unique window of time. Today's guest is Jim May. He was #43 on the Championship Basketball Team. Of course, Jim remembers every single shot from every single game. He also remembers the winning shot by Harold Holland against the 5th ranked team in the state. You may also like to hear Jim's stories about Piner, dating his high school sweetheart and his eventual career as a builder. Enjoy this special conversation that mentioned Coach Swetnam on several occasions. You can listen to that episode by clicking on this link- https://www.spreaker.com/user/www.transformedtraveler.com/smtl-dickswetnamTo be on this reunion series, email rick@successmadetolast.com.

Pastor Jim May 21st 2023

Pastor Jim May 7th 2023

This time around, we discuss what an absolute joke the Rock N Roll hall of fame is. We talk about some of the worst cast members in SNL history. Jim hits it out of the park with two great albums to review, Tool's Lateralus and Metallica's ...And Justice For All. We decided to restart our movie reviews for next week, and the first movie picked is a Miller choice. This may end badly..... --- Support this podcast: https://podcasters.spotify.com/pod/show/ohnonotthempod/support

Jim and May describe themselves as a "gringo/Mexican international couple" on a mission to connect English speakers to the Spanish-speaking world. Their excellent podcast, YouTube channel, blog, and Spanish immersion retreats in Mexico help learners bridge the gap between learning and actually living in Spanish. In the interview, they share what they have each learned in their own language learning journeys, their best tips for learning Spanish, and favorite resources for immersing yourself in Spanish right at home. For show notes, visit LanguageMastery.com/show For more about Jim and May and tips for learning Spanish, visit SpanishAndGo.com.

In this episode Todd and Jay discuss music, comedy, television, relationships, baseball and more during our sit down with the very funny and extremely talented Jim Florentine. Make sure to catch Jim May 7-8 at The Plaza in Las Vegas

In this episode, Olly chats with the dynamic duo behind Spanish and Go, Jim Fricker II, a self-proclaimed 'gringo from Minnesota', and May Larios García, a teacher from Colima, Mexico. On their site, podcast, and popular YouTube channel, they share tips and tools for learning the real Spanish you need to speak the language with confidence, travel more easily in Spanish-speaking countries, and having meaningful conversations with locals. In the interview, they discuss 1) how Jim got fluent in Spanish, 2) how to dive into the Spanish-speaking world even when you don't feel 'ready', and 3) some of their favorite experiences in Mexico and Puerto Rico. Connect with Jim & May: Jim & May's website: SpanishandGo.com Jim & May's podcast: SpanishandGo.com/podcast Jim & May's YouTube channel: YouTube.com/c/SpanishandGo Do You Have A Question? This show exists to answer your language learning questions! Send me your questions by visiting: https://www.iwillteachyoualanguage.com/ask ...and I’ll do my best to feature it on the show! Leave a Review If you'd like to support the show, the best way to do that is to: Leave an honest review of the show wherever you get your podcasts. (You can normally do this within the app you're using.) Share this episode with a friend (use the share buttons on your screen) Olly's Language Courses If you're learning a new language, or improving an existing one, then check out my language courses. From complete beginner courses, to grammar and listening training, I've created unique, story-based programmes to help you reach you language goals. Please visit: https://www.iwillteachyoualanguage.com/language-courses-select-your-language --- Send in a voice message: https://anchor.fm/iwillteachyoualanguage/message

Oh yeah, we are back.  Disney Rewind returns with the first of many episodes. I've prerecorded a ton, just need to edit and juggle that with school. Who cares about that though, we are here for Disney Rewind.  Episode 7: The Sword In The Stone where we get political (shocker), talk about the historical inaccuracies of this film, and discuss why in gods name that Wart had 3 voice actors. THREE. Also I make a really stupid comment about freshwater fish. Like legendarily dumb.  Ratings: Ash 1.5, Max 4, Ben 2, Mom 1.5, Dad 2.5, Avg: 2.3/10 Sources:  "Story Buys". Variety. February 1, 1939. p. 20. Disney Writers Prep for Trio of New Features". Variety. June 28, 1944. p. 3. Hill, Jim (December 31, 2000). "The "Chanticleer" Saga -- Part 2". Peet, Bill (1989). Bill Peet: An Autobiography. Houghton Mifflin Harcourt. pp. 168–71. Beck, Jerry (October 28, 2005). The Animated Movie Guide. Chicago Review Press. pp. 262. Korkis, Jim (November 8, 2017). "Floyd Norman Remembers The Sword in the Stone: Part Two". Thomas, Bob (December 28, 1963). "Changing Voices a Problem". Evening Independent. McCullagh, Jim (May 18, 1991). "'Robin' To Perk Up Midsummer Nights" (PDF). Billboard. p. 78. Big Rental Pictures of 1964". Variety. January 6, 1965. p. 39. "Box Office Information for The Sword in the Stone". The Numbers. The 36th Academy Awards (1964)". Academy of Motion Picture Arts and Sciences. Parade of Dreams The Sword in the Stone - Pulling the Sword - Walt Disney World - Magic Kingdom Wells, John (2015). American Comic Book Chronicles: 1960-64. TwoMorrows Publishing. p. 192. Mega Drive Longplay [140] World of Illusion - Starring Mickey Mouse and Donald Duck (2P) (a) Square (November 15, 2002). Kingdom Hearts. PlayStation 2. Square Electronic Arts.  

Recorded live in front of a "studio audience" at the National Association of Broadcaster's convention, editor Bob Ducsay (The Mummy, Looper, Knives Out) discusses his work on director Rian Johnson's entry into the Skywalker saga, Episode VIII - The Last Jedi. Bob details the pre-viz process from the 'Battle on Crait' scene, as well as how post-viz was a powerful weapon in his editorial arsenal. Bob also walks the audience through the "Snoke's Throne Room" scene and describes how an editor utilizes "suspense" versus "surprise". He also describes working with the pre-existing template of the Star Wars universe and modifying it both visually and sonically to create something new and different within the trilogy. Bob's work on his new film, Knives Out, has been nominated for a 2020 ACE Eddie Award in the category of Best Edited Feature Film (Comedy). To hear all the latest interviews with the biggest names in TV and Film Post Production, subscribe to The Rough Cut. Get your own Avid Media Composer and use the same editing tools that bring the Star Wars movies to the big screen! Leave us a message at (781) 334-8369‬ with suggestions or questions.  If I use it in a podcast, I'll send you something cool!   TRANSCRIPT>> Matt Feury Okay, ladies and gentlemen, please welcome to the stage editor Bob Ducsay. Bob Ducsay Matt! Nice to be here with you. Matt Feury Okay, so that was a little intense. Reflections? Thoughts? What do you remember most about cutting that sequence there? Bob Ducsay It looks exhausting to do. Matt Feury It felt exhausting. Bob Ducsay I know. But interestingly enough, this particular sequence had challenges that you wouldn't necessarily guess because a lot of the great complexities of the sequence were worked out in prep and in early post production. In this particular case, in early post production. This sequence was pre-visualized, which is sort of a low resolution cartoon that's made of the sequence. But what happens in a sequence like that is you have this template that you start with, but then you start to make all of the changes in the sequence as the photography comes in, and this sequence was no different in that way. And one of the big challenges of a sequence like this is because it's so visual effects intensive. In my editorial job, I'm heavily involved with the visual effects, and mapping all that out, and how all of those things interact, and all of the timings, even though some of those things will have been worked out, you know, as a template and a starting point in the pre-vis, there's an enormous amount more work that has to happen. So this sequence is really a lot about the complexity of the visual effects. But you get all of these extra things when you're shooting. And so the sequence changes and evolves over time. And another thing about the sequence is, this isn't the whole Battle of Crait. This isn't just a clip from it. But even what's in the final movie was considerably shorter than what was originally envisioned and photograph but, you know, in the total run of the movie, we found that it was a little bit long, so we compressed it. So those are the sort of challenges that a sequence like this has. Matt Feury You mentioned the animatic part of it. I found that really interesting, the pre-prep, because I remember a lot of the talk about the original Star Wars back in 1977, George Lucas would cut together shots of aerial dogfights from old World War Two movies, as a point of reference, and this is very similar to that, where you're literally putting together a sequence that represents what you're finally going to do, and then laying over the new shots on top of that. Bob Ducsay Well, to some degree, yes. And I mean, that's amazing what they did back in, you know, 1976, when they were making the movie. Because they didn't have the ability, they didn't have these tools that we have now. So, it's a fantastic way of envisioning and it's something that we kind of refer to as rip-o-matics. And we still do those sort of things because even in this film, there are times when you want something that just represents something that you think you need, and if we can go to another movie that we know has something like that, it could be another Star Wars movie, but it could be something completely different depending on the idea. And we'll source that and put it that in as a temporary thing that might only represent what the camera is supposed to do. It might represent the rough length of the thing. But it's something to allow us to envision what we're looking for and what we need from the visual effects guys, and then ultimately what happens in post production on these movies is that you have a post-viz department. And what that is, is there's a series of animators that are around that you can literally walk down the hall and you could say, I need a shot where the Falcon dodges this TIE Fighter moving left to right, and does this sort of thing. And they will build that shot. And then that shot becomes a template for for ILM to do the visual effect. So it's a very iterative process, but it's an unbelievable tool that allows us to represent things that don't exist. Matt Feury So I find that, as I do these interviews, I forget until the very end to ask about the overall process and people go, "Why didn't you ask them what they shot and what the editing room setup was like"? So, could you just walk us through a brief synopsis of the editorial process from the handoff from production into post and over to the other viz and sound departments? Bob Ducsay Sure. Well, the the movie was photographed principally in the United Kingdom, outside of London, at Pinewood Studios. And at Pinewood, FotoKem, which was one of our vendors, the lab vendor, they built a digital lab there, including scanning. So all the scanning was in house and just for our operation. The movie was photographed I'd say somewhere around 70%, maybe 75% on 35 millimeter scope film. And then the rest of it was a combination of Alexa digital Alexa 65 digital and some small amount of IMAX. So the film would come in, they'd scan everything at 4K, they would build DNX 115 files for us to use in editorial but then they would generate all the other various needs for people, including pulling material for ILM, because we're turning visual effects over while we're shooting. And so there was a whole infrastructure put together for this particular film that was specific to this film. Matt Feury Early on in your career you did films like The Mummy, The Mummy Returns. And those were groundbreaking in terms of the visual effects stuff done there. There were treatments that you used in those films that became points of reference for years after that, with the particle effects that you did. Here in Star Wars, you already have this sort of, it feels like a template about the visual world there. Did you find that constraining that you had to sort of conform to this way of doing things, or did you take the existing elements and tweak them and take them in different directions? Bob Ducsay Well, when you talk about some things in the movie,. I mean, it is true, you know, a Tie Fighter looks like a Tie Fighter, an X wing looks like an X wing. And so there are some things that a really strong template exists for, but then there's many, many things that are specific to this film that are designed from the ground up. I mean, if you think of the sequence with Snoke, who Andy Serkis plays in motion capture, and he's a digital character. So that's all very, very specific to this film, and there's there's a lot of things that are like that. And then even in like this sequence, you know, the the skim speeders, which are the vehicles that you saw in this clip, one of the things that Ryan Johnson the director wanted was he had a very, very specific, I'm going to call it "art direction" notion of what that material should look like, and what the colors should be. And this went into prep on the movie. In as much as there are actually physical effects of those explosions. So a lot of the ideas behind that started to be worked out in prep on the movie and physical effects that were going off in the movie. And the actual physical production led to a portion of the design work for the visual effects. However, all of that still continued to evolve in the post production process. So that, just as an example, is an idea that hasn't been explored in any other movies and maybe some of the technical aspects of executing that were the same as some that have been used before. But for this particular film, there was a tremendous amount of focus on how that sequence, from a visual effects standpoint and even from an editing standpoint, is art directed. Matt Feury How about sonically? Because, if you think about the Star Wars world, it's the sounds more than anything; the lightsabers, the blasters, the sound of an X wing and a Tie Fighter, that are so well established. But I noticed in watching the Crait battle, there's almost a new set of sounds that were really more organic, the sort of the thudding of the guns, they sounded more like organic guns and things like that. When you're cutting, do you just go back to Ben Burtt's original sound effects library because you can and you start incorporating that where and when you please? Bob Ducsay Well, I mean, it's a whole slew of things to be precise, because just anecdotally, the first week we were in and we started cutting the movie, my assistant does a lot of the sound effects tracking for me, and, I'd walk in in the morning and I would hear sounds that I'd heard my entire life and I wanted to know why somebody was putting Star Wars sounds in our movie. And so these are such iconic important sounds that a lot of things, some of them even go back to the original Ben Burtt designs. But then there are other things you know, we had an incredible sound team up at Skywalker. They invented many, many things that hadn't been used and some things were modified from some of the original Ben Burtt sounds. And it's interesting that you pointed out the the sort of thumping of the impacts hitting the ground because I love that sound effect. And it's something that we worked really very hard on. And what that is, is that we never really got what we wanted. And then during the dub, one of the sound effects editors who's sitting there while we're mixing the movie, tried some drum hits. And that's actually what those things are. So they're the furthest thing from explosions, but they have the right sort of emotional sense that you want from it. And this is something that we're always striving for while we're cutting the movie, both with the cutting of the movie, the telling of the story, the sound effects, the visual effects; you're always trying to evoke a strong emotion from the audience and, in that particular case, something quite unusual was used. Matt Feury You mentioned Snoke and we actually do have a scene from the lightsaber battle in the scene with Snoke and Rey and Kylo. Let's talk a little bit about that scene and the challenges you faced working on that particular scene. Bob Ducsay Well, I just I really love this scene, because, you know, the the heart of the movie to me is the "Luke, Rey Kylo" triangle, and the Rey/Kylo part of it really takes some twists and turns in this moment in this section of the film. And one of the things that was difficult about doing this movie is that we never got to screen the film for an audience, because you just don't do it because there's too many things that can't get out there. We cut the movie on the Walt Disney lot in Burbank and they built a small theater for us that seated 14 people. So the most, the biggest number of people that ever saw the movie was 14. So you don't really get the kind of reaction, you have to really kind of hope that it's working. And we had great confidence, for us, that this was awesome. And it was gonna work. But we never had any type of verification from an audience until the premiere, which happened just a few weeks before the movie was released. And for the first time, we showed the movie in front of 2500 people and the audience went nuts for the sequence and all those things that you're excited about. People were really reacting to the way that we had hoped. But you on films of this size, that isn't normally the case. You normally get to take them out and show them to somebody to understand things that the audience doesn't get or things that don't work. So that was a particular challenge and many of the things in the movie, but in this scene in particular,was something that we had really hoped would work, and thankfully it did. But I think one of the most interesting things about the sequence is, from an editorial standpoint, is that you're working with a motion capture character. And in this particular case, Andy Serkis played this character and gave a tremendous performance of which in the sequence nearly all of what you see is Andy's performance. There's a shot where Snoke looks down at the lightsaber and he looks over to Rey and Kylo. That's a keyframe shot because we didn't have that specific shot in the movie, or in the in the mocap when the movie was photographed. But besides that, most of it's, you know, nearly all Andy stuff. But the difficulty is that because you can take things from different takes, and you can, even within a shot within a close up, you can be switching takes, it adds a tremendous amount of overhead for the editor, because there are so many options as to what you can do. And I think that that's a particular complexity here. And another thing about motion capture is because ultimately, I mean, nearly all those shots are completely digital shots, including the background, what you see in the original photography, the camera doesn't have to be there. So now you could start talking about, "Well, I want the camera to do this. and I wanted to come around there". So, the director in conjunction with me, we're figuring those things out. So it adds an extra layer of complexity when things are not really there that are ultimately there in the final movie. Matt Feury To call this a big movie is the understatement of the year. But what kind of pressure does that put on you as an editor, in terms of time and in terms of expectations? Did you approach it the same way you'd approach a film like Looper or a film like The Mummy? Bob Ducsay Well, I think the main thing that you have to do, no matter what the film is, you have to try to do the best that you can to tell a great story and to do everything that you can to make the characters work absolutely the best they possibly can and to be true to themselves. So in that way, this movie is like every other film, because those are your goals and those have to be your goals no matter the budget, no matter what the resources. In this particular film, I would say the biggest pressure was simply the expectations of the film. Because people were very excited about the film, as they are on all Star Wars films, and you don't want to screw it up. So that's something that you think about every day, and all the people in my cutting room and the director and the producer, everyone loves Star Wars so much that we felt a particular responsibility to do our very best and to make [a great film]. So I would say that's the biggest pressure because you talk about schedule and all that, I mean, we had a tremendously long schedule on the film, I was on the film 19 months, and we finished three months before the movie came out. So it's at the long end of things and that's extremely helpful and also it's a little bit like driving a Maserati with a lot of gas. Because we could do so many things with it. And we had the resources to accomplish those things. So if you have an idea that might be complicated or might require some shooting, and everyone thinks it's a good idea, you have the ability to do that. Whereas in a movie like Looper, for example, we had the photography and we did everything that we could with the film, and it turned out great, of course, and some might say that having less resources may be helpful sometimes, and I would agree with that. But you didn't have the opportunity if you had a great idea that would require shooting something that you could do. And with these sorts of films, you have that ability and I think, you know, as an editor, it's liberating creatively to be able to have those resources. Unknown Speaker The notion of a trilogy in Star Wars is nothing new. We've gone through two of them already. In each case with George Lucas at the helm. Here again, we have a trilogy and there's a handoff between stories, but there are different production teams doing them. Literally, in the case of Last Jedi, you pick up right where Force Awakens leaves off. What sort of handoff from production teams ,what sort of conversations took place to get from A to B, so to speak? Bob Ducsay Well, there was a very loose, I mean, Ryan has talked about this a lot. There's a very loose connection between each of the films. There is one that exists, of course, because Ryan based his script on the episode seven script and JJ Abrams, who's making the the next film and who made the first in this trilogy, had this movie in existence as he wrote the next movie, and there are some very broad connections or things that are figured out in advance, but the majority of it is exactly as you as you mentioned, it is a baton handoff between between the movies. But if you think about it, some of that's not completely different than the first trilogy because there are certainly many things in Empire that happened that weren't necessarily completely thought out in Episode Four. So I don't think it's completely different than that. Matt Feury In terms of the post production setup, you know, you have your Avid system, but how many others are "cooking"? How many assistants do you have working? And do you tie in visual effects directly and sound directly? Or is it just, you deliver a package to them, Bob Ducsay There were a total of 10 systems on an ISIS, plus two more software-only systems that we're done for doing turnovers and generating QuickTimes. So that's a dozen systems. One of them was in our theater, because everything that we made it was, you know, you could run DCP's in there, but really what we ran in there all the time was directly out of an Avid that was in the theater. And, you know, the project, of course, is shared among everyone on the team, and then as far as the visual effects are concerned, ILM, who was the vendor on the movie and did nearly all the visual effects in the film, they essentially had the same movie. So the way that we worked with them was we just sent bins back and forth, because they had all the media for the film so, it wored really well. I mean, essentially, you're just sending these small files back and forth from the bins to collaborate. Matt Feury So you're on location at Pinewood. Most of the editorial I'm assuming down there is about dailies and putting together basic scene structure, and then you bring it back to LA to do the finished editing or is the whole thing done up... Bob Ducsay So the shooting schedule is long on the movie. It was like 120 days, and that's a little bit over six months of shooting. And then I got back to LA and Ryan came in two weeks after we got back to LA and we started to watch the movie. Now, the way that he and I work is the movie was on nine reels. It was a long movie, and he came in day one, and we went through reel one and we did a pass through a reel one. And we worked our way through the whole movie. And once we made it to the end of the film, we put the whole film, well the film was together of course, but we went and ran it in the theater for the first time. And so that was, that was pretty much the procedure for us. That isn't necessarily the case on every feature film because usually what happens is, you know, roughly two weeks after you're done shooting, everybody comes down, the director comes in, the producer comes in, maybe the producer comes in and we all sit down and we watch the film, but in this case Ryan wanted to take a reel by reel pass which he and I did on Looper and I think that works really well. Matt Feury So there are multiple storylines always going on in this film. You know, one of the things you did, you sort of broke away from the A" story and you have the casino planet stuff. Are you bouncing back and forth between things or do you literally just do a hard wall like, "Okay, now we're going to work for the next so many weeks and months on this storyline". Bob Ducsay Well, look, I mean, it's a little bit of both because what happens is you screen the movie, and every time you screen the movie you go, "Oh, jeez, that doesn't work. It worked before but it doesn't work now. What happened"? So you'll go and you'll concentrate on things that are problematic. But generally speaking, the way that we work and the way I personally prefer to work, and this is how Ryan works, is we screened the movie, and then we go back to reel one, and we work our way through the movie. And we did this process, I would say, it would take us about two weeks to turn the movie around. So every two weeks we would sit down and we'd watch the movie. And you know, we did our best within our small group to try to keep people fresh, because we really couldn't show the movie to anybody except our group. And occasionally, you know, there were a lot of filmmakers who came in to see the film as we're working but that was basically the process, and every two weeks we go watch the movie again. Matt Feury The original editor's cut...how long was that first cut that you did? Bob Ducsay The very first cut of the movie was three hours and ten minutes. And the finished film, the actual run of the film without credits is I think two hours and twenty-one minutes. So what is that? That's fifty minutes of material. I mean, a certain amount of that is fat. I mean, I try to get to where we want to go immediately. So a little bit of it is just, "well, you really don't need that", but a lot of it's actual sequences and scenes and the blu-ray's got a lot of deleted material. It's over thirty minutes worth of material. And of course, there's other stuff that we didn't include on that. So, you know, it's a good amount of material that's cut out of the film. Matt Feury Yeah, I think one of the things that, when the blu-ray first came out, there was a lot of talk about the, you know, Finn vs. Captain Phasma scene. How different that was {from the theatrical cut]. What was the decision, and you probably have to set it up for everybody, the difference between what was in the movie and what was cut out, what was your decision making process in terms of like, "No, we don't need to see her, you know, the stormtroopers around realize that she was a traitor" and all that? Bob Ducsay Well, if you're familiar with the film, what we're talking about is, there was a there was an encounter between Finn and Phasma on the top of an elevator, he basically calls her out to what she did in Episode Seven, basically kind of being weak. And she kills a couple of stormtroopers. And the he kills her in a different way. And it was pretty good, actually. But the thing is, when you got to this sequence, you felt that it was way too long, like, way too long. And so that was the biggest cut we made in the scene, although we did a lot of other compression in it, to try to get the time down. And in fact, we actually considered cutting the whole sequence. You know, literally not having any of that in the film. And ultimately, everybody that we were showing the movie to including the studio really liked the sequence. And we didn't think it was enough of a problem to take the scene out. But that is an interesting area, and that has specifically to do with pace. Many, many things that came out of the movie came out because of pace. Matt Feury So you went right from Last Jedi into Rampage. How much of a break did you have between the two because it seems like after a campaign like this, whether it was an easy cut, or it was a challenging film, you'd want a little bit of a break and some down time. Bob Ducsay Well, I knew the director on Rampage and I knew the picture editor that started it because I didn't actually start the film. I came on right after they finished the director's cut. And, so I came on to help, which they absolutely needed help because their schedule...we just got done talking about nineteen months to make this unbelievably complicated movie here...on that movie (Rampage), they were, from the time they started photography to the time that it's in the theaters is less than a year and it has an enormous amount of creature effects in it which are extremely complicated and time consuming, etc. So that film had a very, very compressed schedule and Jim May who was the principal editor on the movie, he'd done an incredible job getting the movie in the shape that it was in, but there was just too much work to do for one person. Matt Feury You know, from a career standpoint as an editor, looking at your body of work...heavy in science fiction. From The Mummy, The Mummy Returns and Looper and Jedi and Rampage. Do you feel like that's the lane you want to stay in and continue building in that genre? Or do you get to this point and go, "You know what, I'd like to do a romantic comedy or some sort of smaller indie drama"? Bob Ducsay It's a complicated question, because the thing is, the kind of movies I got to do are the kind of movies that I loved growing up. And I can't believe that I got to do this. And, you know, this movie in particular, I was a huge Star Wars fan. And to be able to live this dream was, I mean, I honestly, I still can't believe I got to do this film. So I love these sorts of films. But I find that I go to a lot of movies that are not these sorts of films. And so my interests are extremely wide. And I mean, to me, the most important thing is, is it a good story with good characters, and those are the things that interest me the most, but you know, I feel a little bit like Michael in The Godfather Three, every time I think I'm out, they pulled me back in. And so because I do these sorts of films, people want you to do these sorts of films and so it becomes a little bit of a, you know, a self fulfilling prophecy. But that's okay though. I'm not complaining. I love it. Matt Feury Well, I'm glad you got to live that dream. I'm glad you got to do that film that you always wanted to do, being a Star Wars fan, and I'm thrilled that you we're able to be here with us today. And I'd like everybody to help me in thanking Mr. Ducsay for being here today.

The group docks at New Elysium to be welcomed by Filip. Once obligatory PR speech is given, credits are forwarded along to everyone. Ever the high-end resort host, Filip personal takes our heroes on a tour through the gardens.   Title (Intro and Outro) music adapted from "Light Years Away" Copyright 2007 Chuck Silva "Light Years Away" Chuck Silva (https://chucksilva.bandcamp.com/) (https://sampleswap.org/mp3/song.php?id=886) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Thomas J. King, businessman, television producer, filmmaker, and author, delivers an interesting overview of the ketogenic diet, keto products, sugar alternatives, and healthy living. King leads the successful healthy food company known as Icon Foods. Icon Foods supplies the health food industry with various natural alternatives to sugar. Icon Foods will be appearing soon at the Metabolic Health Summit. King received a BA in environmental studies from Chadwick University and attended graduate school at the University of California, Los Angeles, where he studied law. King founded Stevia Brands as a company that delivers an alternative to the sucrose and high-fructose corn syrup used in so many food products and food preparation. Stevia Brands Inc. is now one of the largest importers, manufacturers and distributors of truly clean-label sweetening systems as well as natural sweeteners. Thom has been passionate about food and nutrition for a long time, and this passion led him to the ketogenic diet, of which he is a devoted fan. King discusses his background and early years growing up in Colorado and Arizona. He talks in-depth about some of the people who were influential in his journey of discovery, such as Jim May, who was a pioneer in the discovery of herbs and compounds in Central America. This important meeting of two minds was what led to the eventual birth of Stevia, a product that we all know today and see on our grocer's shelves regularly. Thom King continues with his discussion of all things ‘sweet' and delves into other sugar alternatives on the market such as aspartame and sucralose, which King carefully points out, do not exist in nature and thus may confuse the body and trigger an insulin response. King talks about their custom sweetening solutions and the various compounds that his company utilizes in their products that manufacturers then use in theirs. King's new book, Guy Gone Keto: How to Lose Weight, Feel Great and Achieve Lifelong Fitness is an insightful literary journey into the world of keto. The essential guide and how-to book delivers a wealth of information on the topics of good health through diet, losing weight (and keeping it off), and fat burning. As someone who struggled with weight loss for years, Thom understands the frustration many may have as they try to lose weight unsuccessfully. Guy Gone Keto explains the details of how fat is burned and how a high-fat, low-carb diet can produce amazing results for most people if they stick to it and are dedicated. The book elaborates on diet and nutrition, explains how to understand food labels, and includes many recipes to help people get started on their journey to good health.  King talks about some of the success stories that people report after having major transformations in health and weight, and how they inspire him to keep moving forward delivering products and information that help people reach their personal goals. Continuing the discussion of his company's vision, King describes some of the biggest challenges he faces when trying to make certain foods into keto-compliant versions. And he tells the story of his own personal desire to have keto-approved condiments to replace the non keto ones on the market, and how his own taste buds pushed him to create these products that later he found many others wanted as well. Lastly, King talks about the upcoming Metabolic Health Summit that he is enthused about and the many products and events that will be there for everyone to enjoy and experience in this 4-day immersive health summit.

Dr. Thomas Forbes is a professor of surgery and RJ Elliot Chair and Division Head of Vascular Surgery at the University of Toronto (@UofTVascular), and the program director of the Advanced Aortic Surgery Fellowship at the University of Toronto. He is also an associate editor of the Journal of Vascular Surgery and the chair of the Document Oversight Committee of the Society for Vascular Surgery. He joins us to discuss the application of new technologies in vascularsurgery, insight into Canadian vascular surgery, vascular surgical training, subspecialization and regionalization, personalized medicine, and the personality of the vascular surgeon.(0:20) Full biography: https://surgery.utoronto.ca/content/thomas-forbes (5:57) Dr. Wayne Johnson - Founding Chair in the Division of Vascular Surgery at the University of Toronto Division, founder of the Canadian Society for Vascular Surgery: https://www.uhn.ca/PMCC/media/Globe_Mail/Pages/forefather_vascular_surgery_Canada_globe-2016.aspx (7:28) Dr. Jim May of the Royal Prince Alfred Hospital, Australia, one of the early pioneers of endovascular surgery: http://sydney.edu.au/medicine/people/academics/profiles/james.may.php (8:27) “Iliac on a stick”; terminology for removing devices of the time: https://bit.ly/2SvtXaW (10:08) A model approach that allows Canadian surgeons to implement new technologies in practice: The PMCC Innovation Committee, co-founded by a vascular surgeon, Dr. Barry Rubin: https://www.uhn.ca/PMCC/media/Globe_Mail/Pages/Peter-Munk-Cardiac-Centre-Innovation-Committee-2017.aspx (11:28) Recent FDA proposed changes to device approval process spark fears of dangers of rapid device adoption: https://vascularnews.com/us-fda-plan-shakeup-of-its-510k-clearance-programme/ (13:44) Regionalization of fenestrated endovascular device practice patterns: https://www.ncbi.nlm.nih.gov/pubmed/29843567 (19:08) Advanced Aortic Surgery fellowship at the University of Toronto: https://surgery.utoronto.ca/fellowships-division-vascular-surgery (29:55) Centers of Excellence: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5516836/pdf/12913_2017_Article_2340.pdf (31:26) SVS Clinical Practice Guideline: https://vascular.org/research-quality/guidelines-and-reporting-standards/clinical-practice-guidelines (33:18) Leapfrog initiative: http://www.leapfroggroup.org/about (33:23) The Volume Pledge: https://www.healthleadersmedia.com/clinical-care/surgical-specialization-may-trump-volume-measure-quality (35:31) “Personalized vascular surgery”: https://www.mdedge.com/vascularspecialistonline/article/106142/vascular-surgery-its-personal (38:43) Dr. Forbes on heart health: “Let’s be more active”: https://www.youtube.com/watch?v=KhhW_E9cAr4 (40:28) Vascular surgeons are the firefighters of the surgery world: https://bit.ly/2G7UFF5 (42:51) MEGS: The Montefiore endovascular grafting system: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1421179/figure/f1-2/?report=objectonly

Directed by Brad Peyton Directed by Brad Peyton Produced by Brad Peyton, Beau Flynn, John Rickard, Hiram Garcia Screenplay by Ryan Engle, Carlton Cuse, Ryan J. Condal, Adam Sztykiel Story by Ryan Engle Based on Rampage by Midway Games Starring Dwayne Johnson, Naomie Harris, Malin Akerman, Jake Lacy, Jeffrey Dean Morgan Music by Andrew Lockington Cinematography Jaron Presant Edited by Jim May, Bob Ducsay Release date April 4, 2018 (Microsoft Theater), April 13, 2018 (United States) Running time 107 minutes Budget $120 million Box office $417.9 million

House Rules Live With Special Guest Jim May 17th 2018, NBA Celtic Cavs, Legal Gambling, MLB by House Rules --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/house-rules-podcast/message Support this podcast: https://anchor.fm/house-rules-podcast/support

Thom King is a serial entrepreneur who was introduced to stevia in 1999, by Jim May, the father of stevia. He immediately understood the potential, and he embarked on a five year process to figure out a safe way to extract the sweetness from the leaves, without leaving behind contaminants. And he succeeded. His company […] The post Episode 118 – Thom King makes the case for stevia appeared first on Ketovangelist.

Past Grandmaster of Arizona Jim May talks about his path to high office and how he discovered Masonry through Jobs Daughters. Recorded March 9th, 2016.

This is a special episode as it marks the 2nd anniversary of Loud Pipes!  Also this date is import in American history as it marks the 15th anniversary since 9/11, so the guys take a moment to remember all the lives lost on this day.Tonight the guys are going to give updates on past guest that have been on the show as well as some special guests calling into the show.Smith from Mortons custom cycleAlex Crookes from EatSleepRIDE - No major update on app, but they are heading to the "Tail of the Dragon"Lee Conn from MotusRecent appearance on Jay Leno's garageRichard Janis MotorcyclesDiscovery days coming up in SeptemberLooking forward to seeing them at Barber againNeville Lee 2 wheels 1 causeMatthew WilliamsNo major moto vlogging update.  He has fixed the Manga from issues on June mountain ride. Jim May - Mathews Fun MachinesFlying Fortress is in and they have a demo bike, stop by and take it for a rideCharlie Hearn - Motorcycle of CharlotteBMW has a Scrambler coming out soonBMW has a 310R coming out soonTriumph is talking about redoing the Street Triple to an 800 modelUral has a new special edition. The Gear Up SaharaZero had two new bikes release this year - DSR and FXS.  They also have a 10th Anniversary DSR.  There is talk that a redesign of bikes for 2018.MV Agusta updated their Brutale 800 this yearMorgan three wheelers announced an EV Model.  As will be bringing 4 wheel cars to America, but no date yet.Events:The Distinguished Gentleman's Ride - September 25th.  This event was started in 2012 and in 2015 the ride had over 37,000 participants in 410 cities in 79 countries which raised over $2.3M (US) for prostate cancer research.Indian Motorcycles in Gastonia is now hosting a Bikes, Cars, and Coffee on Saturday.  The first event was September 3rd.Deb Gasque (The Fashionista has an iron butt) - Joined the guys for the showWill be doing the 50CC at the end of September, leaving from Jacksonville, FL and riding to San Diego, CA in 50 hours.After completing the 50CC will take back road back to east coast and stop at Barber to visit with the guys.Kevin McKinney from Throttled PodcastAlso attending Barber and will meet up with the guysOne year anniversary show will be in a couple of weeksTed Ketler from Motorcycle Men Podcast - Called into the showAerin Shaw from Dr. Jekill and Mr. HydeRobert Rivera airbrush artistJocelyn Dorsey WBTV-2Roundtable Aaron Smith, road hogs, and vloggersEVENTSUpcoming events that one or more Loud Pipes! members plan to attend: 2017 Harley Milwaukee Eight demo rides.  September 17th and 18th (pre-open house event, no-sign up and will be first come first serve)12th Annual Barber Vintage Festival (October 7th-9th, 2016)   PATRON UPDATEWe are working on a new support level called the "Barber Shop" to coincide with our 2nd annual trip to the Barber Vintage Festival.  As of now we have set the support level at $10/month with a new logo t-shirt and some sort of annual Loud Pipes! swag.Help keep the show AD free and receive rewards for your contribution by visiting loudpipes.net/donate.  Patreon is our focus and is an ongoing support model.  There is also a link for one time donations and support of any size is greatly appreciated.Running time: 1 hour 11 minutes 05 secondsQuestions or comments: feedback@rdubstudios.com or the Feedback page

Motorcycle Podcasters Challenge starts Monday August 1, 2016Follow the post on EatSleepRIDE for daily updatesTOPICSYamaha FJ-09 ride reviewCheck out the ride review video on YouTubeVisit Matthews Fun Machines to purchase an FJ-09 or other motorcycle, great people there, super friendly and chat with Jim May about Guzzi while you are there!Rich also joined Kevin on the Throttled Podcast as a guest for episode 40Indian Touring bikes get a touchscreenNew motorcycle lineup from Victory for 2017Some rumors starting to swirl of new engine from Harley, Revzilla has the scoopRich received a paper Dyna Low Rider S model in the mail from Harley to build and it’s very cool and realistic!  Pictures/video coming soonSkully has ceased operationsEVENTS:Upcoming events that one or more Loud Pipes! members plan on attending: Flat Track racing at Charlotte Motor Speedway (July 30th, 2016)Harley Davidson Demo Rides at Charlotte Motor Speedway12th Annual Barber Vintage Festival (October 7th-9th, 2016)   If you enjoy the show, want to keep it AD free, and receive generous rewards for your contribution, check out our donation page loudpipes.net/donate.  Patreon is our focus and is an ongoing support model.  There is also a link for one time donations and support of any size is greatly appreciated.Running time: 1 hour 1 minuteQuestions or comments: feedback@rdubstudios.com or the Feedback page

A special Story for Mother's Day. Recorded Live at the 2015 Three Rivers Storytelling Festival comes a touching tale by Jim May. It's a tale that focuses on memories of Jim's mother, Agnes. Show Notes: www.storylisteners.com/4

This episode we sat down with Jim May from Matthews Fun Machines and he shares his riding experience from last 45 years and his passion for Moto Guzzi Motorcycles.Rico has made it back to the states, but is off traveling again with his new found mezcal.We have officially kicked off our patreon page.  Patreon provides a way for us to establish the "value for value" relationship.  If you find value with our show, then your support is much appreciated.  We have three goals identified as well as rewards for different pledge levels.  Please visit our Patreon page for more detail and look forward to hearing more about this as we move forward and start to post Patreon only content.Jon surprises Rich and Rico with the thought of giving up riding motorcycles if given a billion dollars.  As this was one of the topics from Matthew Williams moto blogging videos.  After Rich and Rico thought for a few moments they both agree they could as they could use put the money to A LOT of good use.Interview with Jim May:Jim has been working at Matthews Fun Machines for 2 years.We discuss new and upcoming Moto Guzzi motorcycles and the history of the companyMoto Guzzi started using the 90 degree v-twin in 1967Modified exhaust can sound like a V-8 engine and some aftermarket exhaust is made across the street from the Moto Guzzi factory.On the roof of the factory is an oval track.  Moto Guzzi still takes bikes to the roof for a 1-2 miles ride to make sure bike is function correctly before being shipped to dealers.Bikes are 100% hand built in Mandello del Lario, Italy.Jim has been riding since 1975.First Moto Guzzi was 850T and trading in a 750 Ducati for it.One of his favorite bikes was a Moto Guzzi SB1000Le Mans line was another favorite bikePreviously owned a California 1100Currently has a California 1400, which Rico test rode this back and we talked about it during episode 31Has owned 7 Ducati, 8 Moto Guzzi, Buell, Harley Davidson and some small Honda bikes over his lifetime.Has restored a 1970's Moto Guzzi 750 Bike and might see it a Easyriders show in Charlotte in January.Jim said that Matthew Fun Machine is hoping to get 2 Moto Guzzi Flying Fortress once they are released.  One might be a demo bike so that will allow Rich to take it out for a little spin.Upcoming events that one or more LoudPipes! members plan on attending: Easyriders Charlotte, NC Bike Show Tour (January 23, 2016) Charlotte AutoFair (April 7th-10th, 2016) 12th Annual Barber Vintage Festival (October 7th-9th, 2016)   Visit RDubStudios.com/donate if you would like to support the show. The donations are just recommendations you can give more or less to us improve the show. During the process, sign up for our newsletter for details on improvements and future plans.  This page now also includes a direct link to our Patreon page, that allows for ongoing support for the show with rewards. Running time: 1 hour 07 minutesQuestions or comments: feedback@rdubstudios.com

Sharon Gamble invited the Hoosier Salon's new executive director, Jim May, to talk with her about his new responsibilities and what he see for the future of the vibrant nonprofit organization as it continues to celebrate Indiana's artistic heritage. In anticipation of the release of the movie Paper Towns this weekend (July 25, 2015), we'll replay an interview from our archives that Travis DiNicola did with Green in 2012 - before his books were being made into movies. Writer Tamara Winfrey Harris first book is The Sisters are Alright: Changing the Broken Narrative for Black Women in America, and Sharon Gamble invited Tamara in to learn what inspired her to write the book.

Crosspoint Free Methodist Church

Woody Overton and Jim Chapman open up season 3 of Bloody Angola: A Podcast by Woody Overton and Jim Chapman give you a ton of insight into Louisiana State penitentiary at Angola by reading you the actual diary of the founder of the "Angolite" magazine and editor Old Wooden Ears" from the 1930's!#Louisianastatepenitentiary #AngolaPrison #Podcast #Applepodcast #spotifyTranscript of episode2023 Jim: Hey, everyone. Welcome back to another edition of Bloody-Woody: -Angola.Jim: A podcast 142 years in the making.Woody: A Complete Story of America's Bloodiest Prison. Jim: And I'm Jim Chapman.Woody: And I'm Woody Overton.Jim: First of all, Woody Overton, it's Season 3.Woody: Yes, love, right? [chuckles]Woody: I can't believe that. Thank you everyone for liking us and sharing us and helping us grow. It's been amazing. Chase Team members and now all our higher levels of Patreon.Jim: Warden.Woody: Warden and C.E.R.T. Team. Thank you so much. We appreciate you. But yeah, Season 3, it's amazing. We've sold out two live shows now. Y'all's Response has been phenomenal. We appreciate you. You're about to start getting Bloody Angola three days a week.Jim: And as is our tradition, Woody Overton, we always start with a classic story from Angola.Woody: This is a classic story. Not only about the person it's about, but we are going to bring it to you from what should be a story in its own.Jim: Yes.Woody: The Angolite.Jim: The start of the Angolite, which for those of you that are not familiar, that's a magazine that is released by the prison for inmates to read.Woody: Not only inmates. I had a subscription to it back in 1992 or 1993 and they used to mail it to my house.Jim: All we're doing is telling people how old we are. Woody: [chuckles] Okay, sure. Yeah.Jim: [crosstalk] -Pony Express back then. [laughs]Woody: Yeah, right. That was definitely snail mail. It always fascinates the shit out of me what the criminal mind does. This is after I worked in the prison system too. But it's a phenomenal award-winning magazine.Jim: It really is. The guy who started that magazine is who we're going to really be talking about today. The interesting deal with this gentleman is that he was the original editor and the guy who started the Angolite. But not only did he do that, he also, in addition, kept probably one of the best diaries of Angola. As a matter of fact, I'm going to go ahead and say the best diary of Angola you would ever come across. And he had a nickname. I'm going to tell you about that nickname first. They called him Old Wooden Ears.Woody: Wooden Ears.Jim: The reason they called this gentleman that is he was beat by a correctional officer at some point during his early years in Angola and actually went deaf in one ear. So, he was known by the prisoners as Old Wooden Ears. We're going to tell you about the diaries of William Sadler, and we're going to name this episode Old Wooden Ears.Woody: Wooden Ears.Jim: The interesting thing with this episode is that we're going to actually read you the diary because we can't do this justice without actually reading you the entry. We're just going to take these back and forth. Trust me, this is interesting, y'all. This is the real diary.Woody: Think about it. You don't have a whole lot to do in prison. At least this guy was keeping himself busy by keeping a diary.Jim: And didn't hold back.Woody: Right. He told the truth according to him.Jim: Mm-hmm. That's right. We're going to start with January 1st, 1936. This was New Year's Day on Angola, and it was celebrated by all hands out in the field with the exception of Camp E, most of whom are assigned to the refinery. Sugarcane cutting going on full blast with no Sundays or holidays off until grinding ends, which will be about the middle of the month. Red Hats out in the cane shed.Woody: Red Hats.Jim: If you listen to our Red Hats episode, you'll find out a little bit more about them. But he'salready mentioning the Red Hat.Woody: Yeah. On January 3rd, 1936, he writes, "There was hail on the Gola this day. The refinery has been making 100% white sugar and shipping it to the brokers in Chicago under the Pelican Refinery, Baton Rouge label, so consumers wouldn't get onto the fact that it was made by convict labor. The last month, some of those dudes loading freight cars at Camp B siphoned off sugar out of several sacks and filled holes with striped convict clothes. When the sacks hit Chicago in the retail market and a howl went up, this was heard way down here. The result? About 16 men caught the bat, anywhere from 30 to 45 lashes each. But those who were beaten weren't the guilty ones, strange to say. It seems their clothing had been stolen and shoved into the sacks. And since the dudes bore their laundry numbers, it made them automatically guilty. The actual perpetrators of the switch got off scot-free, which is often the case on this Angola."Jim: How about that?Woody: Right. Y'all, go back and listen to some of our other episodes. The bat was basically a big leather strap. That's what they're referring to. Now, that's pretty smart. Let me tell youthis real quick. When I was in basic training in the army, they had a guy on a cot across from me that snored every night, and I wouldn't get any sleep anyway, I've been on a light sleeper. So, before the lights went out, you had to line your shoes underneath the bunk, I stole one of his boots. When the lights went out, he started snoring, I reared back and I threw that boot, I hit him in his head as hard as I could. He jumped up and he was like, "You motherfuckers. I'm going to get you. I got your boot. When I turn on the lights in the morning, I'm going to find out who it is." But guess what? It was his. These prisoners were smart like that. They stole somebody else's clothes and other inmates' clothes and numbers and plugged the holes. They were hoping to get the uprising, which they got. But unfortunately, for the victims that they stole from, well, they got the bat.Jim: They got the bat. 30 to 45 lashes, y'all. You're starting to see the brutality with Angola and why they called it Bloody Angola. Another thing that I found interesting about that entry was the fact that they would switch the labels. The reason they would do that, back in the 30s, people weren't down with convict labor like that.Woody: They still do it. When I worked at DCI, they had the crawfish plant, and they ran 24 hours a day. They brought in two 18-wheeler loads of crawfish a day and they boiled them. The inmates had to peel 16 pounds of tail meat and they got to weigh it in their 12-hour shift. If they didn't peel the 16 pounds, they went to the hole. But guess what? They packaged it under Louisiana Crawfish Company and sold it. That's the shit you buy in the grocery store when you buy Louisiana Crawfish-- It used to be when you buy Louisiana Crawfish tails.Jim: There it goes. The next time you buy, you think about that.Woody: [crosstalk] -crawfish season, they made them cut onions and they sold the cut-uponions like the Holy Trinity. But they damn sure didn't say it was done by prisoners.Jim: That's right. We continue on. And you're seeing that brutality take place. "January 5th, 1936. Narrowly missed the bat myself this day. Captain JH Row-" that's a good cager name, "-of Camp A missed credit for a carload of cane which had been sent to the mill. There's always been more confusion out in the yard when the cane cars are brought in by railroad crews at night. In this case, the weight ticket evidently became lost, not by fault, but close shave nevertheless."Woody: Wow, close shave-- [crosstalk] Jim: Yeah. And he narrowly missed that bat.Woody: I can't imagine there were a lot of lights and shit on the trains, they were rolling. I think about sugarcane, y'all, that's what he's talking about. Look, there's a certain time you got to cut it and get it out and get it to the mill to get it pressed. I know they were working sun up to sun down.Jim: Oh, yeah. And sugarcane was a huge commodity. Woody: Still is.Jim: It still is, yes.Woody: All right, y'all. So, the next one, his journal entry is on January 9th, 1936. He says, "It was cold and pouring down rain today. No slickers, no boots, no gloves. All camps that work in the fields, negro women cutting cane from on headland, white men from Camp G working toward them. John Henry on the turn row. Dinner served out in the open. Rain so hard, the whippoorwill peas bounce off your plate faster than you can spoon down. Menutoday, chicken, chopped grits, stove pipe gravy, soybean bread, and coffee made from horse beans for breakfast."Jim: I'm hungry already. [laughs] Woody: Right? I can't imagine. Jim: Out in the rain, y'all.Woody: Hey, it's raining so hard, you try to eat your shit before it gets any soggier, but the fat drops are hitting your plate so hard that your peas are bouncing off the plate? That's crazy. Hey, they didn't give a shit. They were getting that sugar cut.Jim: That's right. "14th January, 1936. The whistle blew today for the end of the 1935-36 grinding season. Tonnage figures showed one of the biggest years in Angola history, but no sugar on the table. They found over nine tons which had been hidden in various places around the refinery for use during the coming year by the refinery crew. The hideouts were tipped off by the Black Cat, who as a convict had helped plan it. Two weeks ago, he was paroled to the state for work in the refinery, so his first duty was to put the finger on the hidden sugar."Woody: Wow. Gave it up. Jim: Gave it up.Woody: You know that went on, man. Sugar is a commodity. Even the free people that worked in the mill, I guarantee the inmates kept some too make that homemade brew. All right, y'all, so we're going to January 20, 1936, again from Wooden Ears' diary. He says, "Camps all at work in the field hoeing stubbles. Rainy and wet today. Wet clothes worn into the camp dormitories, which are heated only by a wood-burning stove made out of a discarded 50-gallon oil drum. Clothes are wet when you put them on next morning. This kind of work cut in the weather bring a siege of pneumonia in the free world. The old saying on the Gola is, "You can't kill a convey that easy.'"Jim: You can't. [laughs]Woody: First of all, when we talk about the stubble, after you cut the sugarcane, you got basically the stumps of the roots, and they had to clear that so they could plant the next year's crop.Jim: Amazing.Woody: And wet ass clothes. I guess they slept naked.Jim: Yeah.Woody: I wonder if he got the-- I guess the big bull near the door and got to put his clothes closest to the wood. You know what I'm saying?Jim: Yeah. Shot caller. Woody: Yeah. The shot caller.Jim: "February 1st, 1936. Those alert characters at Camp B have rigged up a new wrinkle to beat the daily shakedown at the gate."Woody: Uh-oh.Jim: Uh-oh. "Where every bit of garden produce was confiscated. It often became a problem to smuggle a contraband article into the yard and into the dining room. So, the dudes trained one of the various mongrel dogs to fetch and carry. Now, the garlic and even pokes of sugar outside the fence. The pooch scrambles underneath the wire and the guards' noses and brings it into the plant." [chuckles]Woody: 24 hours a day, 7 days a week, I'm going to figure out how to get everyone. But on my birthday on February 5th, 1936, Wooden Ears writes, "it was cold and raw this morning. Camp G is working over on Monkey Island, getting in the spinach and radish crops off the overflow land before the rise of Mississippi gets them. It is said the long line must wade the bayou waist deep, going to and coming from the camp. Then, working the water over a foot deep to harvest the crop. And this in winter."Jim: Crazy.Woody: It's crazy. Y'all know Monkey Island is located where Louisiana and Mississippi meet at the rear of the prison and was a notoriously miserable place to work. An area border in Mississippi river, it remained flooded and marshy most of the year and was infested with mosquitoes and snakes.Jim: Yeah, and that's a big problem with Angola that we're going to talk about in the future is the flooding. They've had to evacuate prisoners from Angola many times because the Mississippi river water was up. We're going to move on to February 8th, 1936. "Oscar Loki, the long line water boy, finished up this eight years day for day yesterday. A Yankee lad, he came out on Angola when he was 18. He made and sold out in the field and from his profits over the eight years saved a total of $74."Woody: Whoa.Jim: Hey, that's probably a lot of money to an inmate. "His best friend, Frenchie LeBlanc, was the last to tell him goodbye yesterday at the receiving center where he was dressed out. Oscar showed officials his role of hard-earned money, flipped off the rubber band under which was a dollar bill, and found the rest of the role was merely coffee coupons." Basically, this officer took all the money. "No one knows whether LeBlanc stole the money, but Loki said LeBlanc was the only one who knew where he kept it hidden." correction, LeBlanc, his friend, stole the money, put coffee coupons in there with a dollar on top of.Woody: Thought he's rolling out with $74-- [crosstalk] Jim: [laughs] But he's got plenty of free coffee, apparently.Woody: Crazy. "On February 9th, 1936, Bill Brazil, the guard at the finery, died today. He had only a few months to go to through a life sentence. A piece of metal, lead, the size of a fist had fallen from one of the beams and it struck Brazil square on the top of his head. Two characters who were working painting the steel structure three stories above Brazil were questioned to no avail. It is not clear how the lead, which had no business in the refinery anyway, happened to fall on Brazil like a bomb."Y'all, Angola death records listed no one named Brazil dying in 1930s, but a William B. Brazil, inmate number 20030, is listed as dying at Camp B where the sugar refinery was located on April 20th, 1935. His cause of death was listed as broken neck caused by fall from being in the top of refinery. Records have also shown that suspicious deaths were oftenlisted as accidents. He is buried at the original Point Lookout Road where they bury inmates. That's crazy.Jim: Yeah, it really is.Woody: You don't want to say it's an inmate-on-inmate murder. The pen is mightier than thesword, right?Jim: That's right.Woody: Whatever. He was there, I believe old Wooden Ears saw the lead.Jim: Y'all, Old Wooden Ears tells the truth. This is his personal diary. He didn't know that anyone was ever going to see this.Woody: He didn't know y'all were going to be listening to that.Jim: Guaranteed he didn't know that, Woody Overton.Woody: Almost 100 years later.Jim: Yeah, so find that interesting too, because we talked about in old episodes how records back in those days were altered or not kept.Woody: I even wonder, you've mentioned broken backs and shit. I'm like, "Oh, yeah. You break your back," you're not jumping out of a window.Jim: Yeah, get that bat.Woody: That's right.Jim: "February 12th, 1936. Sweet potato stew for dinner and supper these days. Usually, there's a piece of meat somewhere in the pan, but you have to be mighty quick with your fingers to find it. Thank goodness they have stopped making bread with soybean flour, but they are still serving boiled soybeans on the table." Now, mills were served to prisoners in those days with typically the cheapest ingredients you could possibly find in order to save money. When the food items of any real quality appeared, it was often skimmed or outright stolen from prisoners or employees looking to make a little money.Woody: Again, the soybeans shit is shit they grew. So, we're going to February 15th, 1936. "Vernon Hancock is a saddler, a wiser man at Camp E today. Vernon, who works in the Ice House, was a big shot gambler. He owned all the poker tables. So, two weisenheimers sent out and brought two decks of reader cards, marked, of course. They finagled Vernon into buying into the decks at a bargain price, seals unbroken. Then proceeded to sit into Vernon's game. This all began three weeks ago. Today, Vernon is broke and the pair has all his dough. The two friends who tipped the switch off to Vernon after it happened, he replied, 'Well, them cards wasn't marked. I broke the seals on the new decks myself.' Barely a fool and his money."Jim: [laughs] I mean, they're running a casino in Angola.Woody: Right. Gambling is a huge thing in prison, but it says no-- the entries, along with the entry in the opposite column are just more glaring examples of how good fortune, whether in saving for the future or perceived luck at the gambling table, often created problems for everyone involved.Jim: No doubt about it. Old Wooden Ears going to tell the truth, like we said. Woody: He got no reason to lie. He's writing for himself, not anybody else.Jim: That's right. Now, February 18th, 1936. "Well, these jailhouse swindles never cease. Mitchell Lafleur-", if you notice, a lot of these names are Cajun names, y'all, "-no-read-and-write cell room guard at Camp E also has been taken to the cleaners, financially speaking. Seems a dude had a catalog with some pictures. He induced Mitchell to pick out a dame who claimed to have $50,000 and was looking for a husband. The dude wrote in the letter for Mitchell. Of course, when the replies came, the dude read them to the guard. The love interests were hot. Finally, the dame said she would come see Mitchell and marry him. Only her $50,000 was tied up in a legal snarl. And as soon as they were married, she would sign over half to him. But right now, she said would Mitchell sent her $100 for the train fare. This is crazy. "He did." [chuckles] Now, this is a guard, y'all. He gave it to the dude to send for him, and that's the last he's heard or ever will hear. Even back in 1936, you had these hustlers, man, and they were, "Send me $100." Nowadays it's through email, back then, it was through a regular mail.Woody: The calls from Jamaica, saying, "Oh, you won a million dollars. Send us $10,000 for legal fees."Jim: Went on in 1936.Woody: It only takes 1 out of 100 if you do it. If you're successful 1 out of 100, then you'resuccessful. Jim: Yeah.Woody: All right. On February 21st, 1936, Wooden Ears writes, "Getting so they put the bat in action three times a day nowadays. During breakfast, after dinner, and after supper. Foreman calls out the unlucky ones and tells the captain they are lazy or insubordinate, and the poor devils usually catch from 20 to 30 lashes apiece. One yesterday had his third beating in 10 days. How long, O Lord?" I mean, he's just--[crosstalk]Jim: Third beating in 10 days.Woody: Probably, the correctional officers were-- to the inmates who are pushing the lines, what they call them the inmate guards, were like, "Hey, we're going to make an example out of somebody." Now, they're doing it three times a day. It helps keep the other people in line.Jim: I wonder if it was the same guard that lost that $100, Woody Overton, [chuckles] taking it out on people. February 26th, 1936. "Little Doc Goodman at Camp E was strung up naked by his wrist to a beam in the ceilings in the camp lobby today and whipped with at least 50 lashes. Those who had listened said they lost count. Doc has been accused of laziness and insubordination many times in the past. His body is a mass of scar tissue from burns suffered outside. So, he seems to be immune to ordinary punishment. So, the idea of stringing him up naked was devised. He's supposed to hang there 72 hours without food or water."Woody: Wow. Crazy.Jim: Y'all, wrap your mind around that. When we tell you Bloody Angola back in the day wasn't no joke, it wasn't a joke. Now, the lengths that the prison or guard would go through to punish people apparently knew no bounds. Despite the dangers of whipping someone asmuch as they whipped Goodman, hanging him by his wrist for 72 hours was infinitely more dangerous. Such punishments, with a body position aching to crucifixion, could easily cause suffocation by the pressure exerted on the lungs and the diaphragm by three days of such torture.Woody: Not only that, three days, that's the maximum you can go without the water, right? Jim: We can never confirm or deny that that existed, but Old Wooden Ears says it did.Woody: Yeah. [crosstalk] -again, it's all, I would say, to control the population. This guy being a repeat offender, insubordination, etc., like, "We'll show you." But anyway, let's go to February 28th, 1936. Wooden Ears writes, "Safe burglars intent on plying their trade even on Angola. Last night, burrowed through the tag plant wall into the general warehouse and broke into the safe there. They say over $1,000 is missing. Or is this a red herring to cover a cash shortage? How could those guys get out of the cell room building last night to do their burglarizing?"Jim: That's freaking crazy. [laughs]Woody: Well, he had a good point.Jim: He had a good point [crosstalk] guard.Woody: [crosstalk] -missing, and you've got to blame it on a convict, right? Jim: Yeah. $1,000. And they tried to say they burglarize-- [crosstalk] Woody: [crosstalk] -accused of $1,000 in '36, that's like $100,000 now.Jim: Okay, so we move on to the next. March 1st, 1936. "Heard today Angola was going to have a doctor. Not like the one present joker who comes up from Baton Rouge once a week, but a full-time medical man. Maybe now they will start examining and classifying fresh fish so they won't be dying out in the fields of such things as exposure and exhaustion. Is this progress?" That's a good point that Old Wooden Ears brings up, Woody. That is when you're new to Angola, they put you out in the fields and bodies have to acclimate. So, these fresh fish, as he calls them, they go out in that field and they're not used to the sun 12-15 hours a day.Woody: The episode we did with Kelly Jennings talked to one guy whose first job he ever had in his entire.Jim: His entire life. Woody: Yeah. Jim: That's crazy.Woody: Them bringing a doctor in wasn't because they gave a damn about the convicts. They just wanted to keep them alive. They cared about keeping them alive so they can keep them working.Jim: That's right.Woody: All right, let's go to March 3rd, 1936. He writes, "Pursuant to an edict from the pen of the warden, there are neither dogs nor cats on Angola today. His letter to all captains said,'Dogs and cats are taking the place. I want them gotten rid of.' So, there was a general roundup and many of pet went to the river via croaker sack. They tipped me off that if farm superintendent, GAG, ever comes in to weigh on my scales, to be sure to tell him 20 to 30 pounds less than its actual weight. He's very myopic. When I wanted to know why, they said, If you don't, he'll beat the hell out of you with his stick."' Vanity. All these are interesting. Shit, this guy was very articulate for a convict in 1936.Jim: April 27th, 1936. "The count at Camp E came up one man short last night." Woody: Uh-oh. [crosstalk]Jim: "Dewey Brian, ice plant worker, was missing. He was found in the cold storage room dead drunk. The discovery touched off a smelling of breaths of having--"[laughter]Jim: This is so crazy. "The discovery touched off a smelling of breaths of having taken a covet nip of the local joy juice and everyone was pulled out and whipped." So, basically, if they had alcohol on their breath, they pulled them out and whipped them with the bat. "Brian was given 85 lashes for being dead drunk. Felt no pain." [laughs] "This morning, they had to cut him loose from his mattress where the blood on his back had dried and stuck into it. He is not the first, nor will he be the last."Woody: Wow. Crazy. Jim: I mean, wow, y'all.Woody: Yeah. [unintelligible 00:28:54] know some bad shit, but it ain't worth 80 licks, I can tell you that.Jim: Stuck to the mattress.Woody: Yeah, that's going to suck. And your whole back with scab. All right, on April 28th, 1936, he writes, "Despite a workday, which now begins at 05:15 AM and ends at 6:30 at night, the menu remains the same. For breakfast, grits, gravy and bread."Jim: "29th April 1936, Gerald Red Kramer, who was shot four times by a convict guard in the okra patch near E, got a visit from his mother today." [crosstalk] "Kramer's bed is his coffin because he is expected to die. His mother talked to him across the coffin." And there's a note underneath, it says, "Camps where a prisoner died often pooled money to purchase materials for his coffin. Generally, the camp store kicked in also."Woody: It's crazy. April 30th, 1936. "Pollywog Jones- Jim: Oh.Woody: -who was shot in the arm and leg in the okra patch at the same time as Gerald Kramer has gone to work. The foreman drove him out of the Red Hat cells this morning with a stick."[laughter]Woody: He [unintelligible [00:30:18] beat him on.Jim: Yeah, Pollywog going to learn his lesson eventually.Woody: Pollywog got the stick.Jim: I love this. "May 1st, 1936. A buyer of potatoes complained today his tubers were arriving skinned up. He was taken into the field where a long line of negroes were harvesting potatoes on their hands and knees. The buyer inspected box after box and the negro who had been skinning his potatoes was whipped. Several offenders caught the bat, they say."Woody: Crazy.Jim: Y'all, this is life back then in '36 in Angola.Woody: Day in and day out. And he goes to May 2nd, 1936, "John Francis Carney died last week in the Camp E hospital. He had complained for weeks of stomach ulcers. Pleaded for milk since he could not digest his regular fare. Dr. Gwynn, the new LSP physician, had this to say about Carney in his report to the warden. 'I find nothing wrong with this man. He is faking and fully able to do fieldwork.' The autopsy showed the cause of Carney's death, stomach ulcers and peritonitis." That's crazy. There's a note underneath says, "Angola death records listed James Francis Carney's death as August 22, 1938. The official cause recorded was peptic ulcer, chronic malignant degradation, carcinoma stomach, etc. LSP records indicate he was buried at the prison. So, he resides at one of the graves with the illegible markers or perhaps in the communal grave where the remains from the various cemeteries located near defuncts camps were consolidated." Crazy.Jim: "May 3rd, 1936. The orders gone out to all foreman in the field that they must carry a fever thermometer. When an inmate gets overheated, the foreman is supposed to take his temperature and give him a blow in the shade--" [laughs] "But most of these foremen can neither read or write. How will they take a temperature and read a thermometer?" That's a good point, Old Wooden Ears.Woody: [unintelligible [00:32:35] what a blow in the shade means.Jim: Yeah.Woody: I'm assuming, y'all, that it meant a rest.Jim: I assume as well. But he had some interesting [unintelligible 00:32:45] for that one.Woody: May 4th, 1936, he writes, "Skinned-up potatoes brought an application of the bat to harvesters at Camp C today. 15 were given from 20 to 25 lashes each. 'Can't harvest a crop without leather,' the general manager says." I guess he means, you can't push the line without a beating.Jim: That's right. "May 5th, 1936. The new issue of coffee from the warehouse today is half horse beans, parched and half peaberry." But that's good because it has been all horse beans before. There's a letter underneath that says, "Creative efforts were constantly made to enhance the poor quality of coffee available to the inmates. Any manner of items such as chicory or walnuts would be added to create a more palatable brew. But it rarely worked."Woody: Shit. For sure, they thought it was a big thing in prison. All right. We go into May 6th, 1936, he writes, "Sundays will be worked until the potato crop is harvested according to the order issued to all camps today."Jim: Now, that's the Lord's Day, Woody Overton.Woody: Right. The Lord's Day, but that's also-Jim: Workday.Woody: They didn't want the potatoes rotting in the ground. Then on the next day, on May 7th, 1936, he writes, "Milton Good, New Orleans sex fiend, got a dollar watch from the free world, thinking to make suction with the foreman. He gave it to the man today so he could tell knocking-off time. The man beat him over the head with the watch and chain, breaking the watch because he can't tell time."[laughter]Jim: That is so great. Woody: [crosstalk]Jim: I mean, ruined a perfectly good watch. Now, "May 8th, 1936. George Buckley was awarded the line pusher to job today for his diligence in keeping the man informed on who was leaving potatoes on his row unpicked." So, he's a rat, basically, and got him a job based on telling on his boys. And then May 9th, he continues, and he says, "Mosquitoes in the cell room are making the night a veritable hell at Camp E. No screens on the windows. Oil lamps after 8:30 at night. Shower bath is a pipe 6 feet long with holes punched in it."Woody: Wow.Jim: Yeah. That's just a good look into their everyday life.Woody: Mosquitoes on Angola are more like sabretooth rock breakers [crosstalk] fuckers down there on the river. On May 10th, the next day, 1936, he writes, "Shipments of potatoes to date total 253 carloads. All have gone to buyers in Chicago. Coals are being served on the lines tables at camps. It is said the tomato harvest will start about two weeks earlier this year."Jim: That was obviously a big deal for them were-- crops. That was their life--[crosstalk] Woody: [crosstalk] -everything going in Chicago. There's no gangsters in Chicago, right?Jim: [chuckles] Nah. That's it. "May 11th, 1936. I have been transferred to Camp B for the duration of the shipping season so that my job as a clerk for the packing shed will be handier. At B are about 150 teenagers who all should be either in school or at home with their mothers." Then, he continues on the 12th of May, he says, "Called camp B today over the phone and asked him for two refrigerator cars to be sent via the prison railroad. Henry von Schumer, who answered the phone, told me a fresh fish had grabbed the man's hickory stick and broken after the man struck him with it. The poor devil didn't know he had a session with the back coming when he got back to the camp. But it was poetic justice and I said, 'I'd have given $10 to see the melee.' Carried to Camp E this night where Henry, the butcher boy of New Orleans, and I painted signs until 2:00 or 3:00 in the morning for Governor Elect Leche's Inaugural Ball which is to be held May 14th in Baton Rouge."Woody: Wow. That's just crazy unreal.Jim: And you can see, they used them for all kinds of things.Woody: First, they hit them with the stick, like FU, took a stick from them and broke it. And now he's going to get away with it. That's the entertainment other than me saying you that shit was coming.Jim: Oh, yeah.Woody: And then writing signs for the governor? That's not illegal. Jim: [laughs]Woody: He writes the next day, May 13th, 1936, "After 3 hours sleep, I awoke with the rest of the camp. Was taken into custody to the camp kitchen where Old Tangle Eye, the captain, was waiting for me. He asked if I had ever been whipped yet. When I told him I hadn't, he told me to remove my clothes, for I was about to catch a dose of red heffer for wisecracking over the phone the day before. The captain then called in four men to hold my arms and legs, spreadeagling me so as I couldn't move. The first blow was liquid fire. It was as though I had been seared with a white, heated iron poker. I yelled and begged for mercy because if I hadn't, he would have beaten me until he could no longer wield the bat. Those trying to eat breakfast, as this was going on, told me later I caught 35 lashes. My back and up and down my thighs are all bloody where the skin has broken. I can't lie down. May God curse me if I ever forget this day, May the 13th." Note: Old Tangle Eye was Captain J. L. Carmichael, one of the more prolific applicators of flogging."Jim: Holy crap.Woody: [crosstalk] -with his first bat.Jim: Yeah. 35 lashes.Woody: You get lashed like that, I imagine you shit yourself, you piss yourself, if you don't throw up, everything from the pain. Can you imagine?Jim: They make you strip. They have you take it all off. Woody: They don't want to rip up prison clothes.Jim: Yeah, that's a good point.Woody: [crosstalk] -state property.[laughter]Jim: It is indeed. "May 14th, 1936. Back at work at the packing shed today despite my sore back, which keeps me from sleeping. A grapevine kike today tells me that Henry von Schumer received 25 lashes for telling me the incident of the stick and the man over the phone." They beat him just for talking about it. "The charge was for broadcasting camp business over the phone."Woody: What?Jim: Dang. I don't remember seeing that in the rulebook.[laughter]Woody: There are probably not the operators there anymore listening either, right?Jim: Yeah.Woody: May 15th, 1936. He writes, "Old timers at work at the packing shed after looking at my back, tell me I got only a dusting. Where whippings are concerned, 35, it is said, is light. God Almighty, what is heavy?"Jim: [laughs] This is nuts.Woody: Next day, May 16th, 1936, he writes, "The captain of Camp B told me today he needs a good office man. I said, 'I was the best.' He said I'd get better food and private sleeping quarters if I took the job at his camp. But he added a sticker. He said, 'I want you to go over in the yard and find out what the men are plotting and tell me.' I said, 'Captain, any man who tells you about someone else will tell someone else about you.' I didn't get the job."[laughter]Woody: Surprising he didn't get another bat.Jim: I'm telling you. Old Wooden Ears, turning down the job. Woody: Turning down the job.Jim: "May 17th, 1936. My back and thighs are blue, black and still swollen. Well-wishers have given salve to keep my clothes from sticking to me. May the good Lord let me meet the man who beat me somewhere in the free world."Woody: Yeah, right.Jim: Look, he's praying for vengeance on that one.Woody: He's still in the pain.Jim: And all joking aside, y'all, I mean, beating them so bad that the clothes were sticking--[crosstalk]Woody: Yeah. Your body can never fully heal because it's trying to scab over, your clothes are sticking to you, you have to rip that off and it makes it fresh every day.Jim: [sighs] Jesus.Woody: Crazy. May 17th, 1936, he writes, "Called back to the warehouse at Camp E today to check the LSP cattle inventory. This is a yearly affair. At the slaughter pins where the count was made, the tally came up 245 heads short. The cattle foreman, a free man, explained, 'The rest of them steers is up in the hills. Can't get them today.' They say the shorts has been stolen and sold to farmers over the Mississippi line." Now, you know this shit won't--[crosstalk]Jim: Likely story.Woody: I heard stories in 1990s about one calf went to the state, one calf dropped, went somewhere else. I'm not saying any names, I'm going to get [Jim laughs] [crosstalk] about it. I bet you, 235 heads? In the Tunica Hills? [unintelligible [00:42:35] -cows ain't in the Tunica Hills.Jim: Nope. They're in somebody's belly. Woody: Right.Jim: May 18th, 1936, "Preacher Doc Careway of Shreveport, a recent arrival, has laid his bible down today in the long line at Camp B. He raised his arms to the skies and discovered his belief in divinity. Said Doc, 'There can't be a god who would allow a place like Angola to exist.'"Woody: May 19th, 1936, he writes, "The potato harvest is over for this year. More than 300 cars have been shipped at an average price of $286 per car. No account has been made of the cost in blood from Angola's 300 slaves, however. I have been transferred back to Camp E to work in the general warehouse this date." There you go. The next day, he writes on May 20th, he says, "Machinery at the Pelican Cannery here is being readied for the tomato harvest. The plant will be under the supervision of Captain JNW who is head man at the woman's camp. The canned products will be labeled Pelican Cannery, Baton Rouge, and will be sold in the open market, it is said." That's crazy. In the note, it says that, "Captain JNW referred to was captain J. N. Willis. In March 1940, the cannery was the subject of controversy following complaints about the labeling and pricing of the canned goods process there. The cannery was later destroyed by fire in October 1940."Jim: "May 21st, 1936. My back is slowly healing from the beating I received last week-" Man, he started-- [crosstalk] I'm telling you, "-will leave only faint scars, I am told. But the mental scars will never heal. Today, Ray Carroll, Camp E office clerk, told me the record showed only 16 lashes. If Captain Tangle Eye had gotten his head all over the 16 he put on me, it would have killed him." We got to look up Tangle Eye.Woody: I bet there's stories on him, yeah.Jim: "May 26th, 1936. The women are to be worked alongside the Camp E long line in the cannery next week according to informed sources. The LSP policy on tomatoes is to eat what can't be canned, and can all you can't eat."Woody: Informed sources. I love that. This is how he's writing, a convict in 1936. May the 23rd, 1936, writes, "Jack Dorset and Tom Abbottsford, the former having enacted for over a year as physician here and who was responsible for many an ill man being placed in the fields were brought back from furlough violations. Both have been nabbed while passing bad checks in New Orleans and each blame the other. They were soundly whipped and later engaged in an old-fashioned bareknuckle fight. Each continued to blame the other for their arrests. It's laughable because each was only too eager to run the water on the other. Where is that honor among thieves business you hear about? Both also were busted to the field detail."[chuckles]Jim: May 24th, 1936, "Artie "Gold Brick" Joiner-" man, they got some great nicknames, "-who slept adjoining me for 11 months and who shared my tobacco and coffee all during that time was last week turned out convict guard. Today, I inadvertently passed his guard post. He racked down on me with his double-barreled flat back and was all fixed to blow my head off. Our friendship, it seems, has now ended." [laughs]Woody: Oh, my God. Jim: I love that one.Woody: He's talking about convict guards. That's what they did to keep the cost down of securing the prison. Think that, his old--[crosstalk]Jim: Cellmate for a year.Woody: His own bunkie for a year almost, and they gave him a shotgun and he almost blewhis head off.Jim: That's cold blooded of Old Gold Brick to do that.Woody: Old Gold Brick'll have to eat some soggy potatoes or whatever.Jim: I'm telling you. "May 25th, 1936. The warden put on a new sign at the Peckerwood Hill graveyard today." What a great name. "It straddles the entrance way and is a foot high in letters of old English font. It says, 'Through the sins be as scarlet, they shall be as white as snow.' But since the sign facing the roadway, the convicts buried behind it can't read it, whose sign does it refer to?" It says underneath, "Note: Peckerwood Hill was a nickname for Point Lookout, the prison cemetery. The first recorded reference to Point Lookout was in 1935 for Jesse Anderson, who was buried on Row 2, Grave 11. His death was caused by cerebral hemorrhage and syphilis."Woody: Oh, shit. We're definitely going to do an episode on Point Lookout. Jim: I can't believe they called it Peckerwood Hill. [laughs]Woody: I'm not sure of this, but I'm pretty sure that they didn't bury blacks and whites together. Maybe they called it Peckerwoods for that, that being a derogatory term for whites. All right. May 26, 1936, writes, "There were several fallouts in the Camp B long line out in the field. Heat stroke. Foreman is supposed to let them blow in the shade [Jim chuckles] if they're [chuckles] overheated. The water boy carries the fever thermometer, but the bulb is broken off the end." It says, "Note: Comments about the lack of attention given to overheated inmates were common, as supervisors seemed to feel that overheating was an excuse for inmates to rest. Despite their excuses, in 1936, at least five inmates died of heat-related causes."Jim: Wow.Woody: Crazy.Jim: Broke the [unintelligible 00:49:08].Woody: Give them that blow in the shade there, boys. Jim: Yeah, give them a blow in a shade.Woody: I want to get me a blow in the shade-- [laughter]Jim: "May 27th, 1936. George Basil Weisenheimer, a lifer, was instructed this morning to sweep off the cannery steps and porch. He did. He also swept everything in the yard and into the porch. When asked who told him to give the yard a sweep, he said, 'God told me to.' They put 30 lashes on him. He was only recently released from an insane asylum and is definitely not right."Woody: Nice. [chuckles]Jim: "May 28th, 1936. Tomatoes are on the table, stewed in water. No seasoning. Meat ration for Camp E's 375 men is 135 pounds of forequarter beef per week." Per week.Woody: Probably, one of those cows from up in the hill.Jim: Yeah. "By the time the cooks and their friends get through with it, the long line gets achunk about as big as a thumb in the stew once weekly, if they're lucky."Woody: Wow. Crazy. Yeah. The inmate guards were probably having t-bones. All right. May 19th, 1936, he writes, "They say the deducts are beginning to fly on Angola. Each employee from Captain down to Foreman must kick in from 10% to 25% of his monthly paycheck. It's either that or quit. They all pay off at the Camp E general warehouse to Nelson Beauregard, the Superintendent. The cash goes in the Governor Leche's campaign kitty, I'm told. No one knows for sure." It says, "Note: It was not unusual for politicians to apply suggestive pressure on employees and even inmates who were often conscripted as evidenced by [unintelligible 00:50:57] until 5/12/36.Jim: "May 30th, 1936. Today, up in Yankeeland, it is Decoration Day and a holiday, but it is just another workday here on the field. By 4:30, we're in for supper, and at 7:15, to bed. And early to rise sure as hell don't make anyone on the Gola half healthy, wealthy, or wise." On the Gola. "May 31st, 1936. Today I saw the corpse of five babies in the doctor's office at Camp E General Hospital. They are preserved in bell jars and alcohol. The talk is they were born to women at Camp D. No one knows for sure."Woody: Wow.Jim: That's crazy. And there's a note underneath. "Rumors persist to this day about children born to women at Camp D. Few records are available. Yet according to a 1951 article in The Times-Picayune, a child was born to a newly incarcerated woman in February of that year."Woody: I bet you some were born after they were incarcerated, the guards having a poke or whoever, right?Jim: Yeah.Woody: Remember in the first episode, it wasn't a crime for the women to be raped in prison. And if they had the baby-- now, this is 1936, a long time after slavery. If they had the baby while they were locked up, it became property of the state as a slave.Jim: That's right. Woody: Fucking crazy.Jim: Y'all, we hope you enjoyed that. That's just a little taste of his diary. What they did was they produced this in the Angolite last year and they had several issues they put out. We just read from a couple of those issues. But I'll tell you what, I enjoyed this episode.Woody: I love the history, I love the insight. This dude is writing this daily, almost daily, the shit he saw, his perspective.Jim: Yeah. I can only imagine-Woody: [crosstalk] -Angola.Jim: -years and years of that book, I'm a reader--Woody: I wish he was alive so we could interview him.Jim: Old Wooden Ears in studio.Woody: Yes, indeed. Well, we told y'all it would always be different. This is another fine example, something that Jim dug up which I think is fire and we hope you enjoyed it.Jim: Yeah. We thank y'all for allowing us to have a Season 3, all of our Patreon members. Of course, if you can't be a Patreon member, we totally get it and we hope you enjoy the episodes. If you are a Patreon member, thank you so very much. We couldn't do it without them.Woody: Absolutely. Y'all, please, if you would be so inclined, go leave us a review on iTunes or wherever. Like and subscribe to Bloody Angola. Check out all our social media. Y'all want something really cool? Now, we have our own Bloody Angola wine.Jim: Yes.Woody: [crosstalk] -$25 a bottle. We'll sign it for you and send it to you. Tell them about it.Jim: That's right. We have a white wine, a red wine, and we have a rosé, I guess is what they call it, wine. If you're one of the people that are going to the live at the Southeastern Livingston Center here in Livingston Parish, we'll have it there for purchase if you're interested in purchasing bottles. Otherwise, just message us on Facebook and we'll give you.Woody: Yeah. And we're going to announce it for the first time today. If you're a Patreon member, you get $5 off a bottle.Jim: Yes.Woody: So, instead of $25, it'd be $20.Jim: There you go. Always trying to give you more perks out there when you're a Patreon member and support what we do here at Bloody Angola.Woody: And y'all check out on our social media, the new tiers levels, that we have for Patreon members, the different benefits that you get underneath that. If you're kind enough to support us by subscribing through Patreon, we'll give back to you as much as we can.Jim: Amen. And we got transcripts available now, which is a big deal. That's something that y'all have really been asking for. Hey, we listen when y'all ask. We do have transcripts available now that we'll be uploading of each of our new episodes going forward. So, you can read along as you listen along.Woody: Yeah, absolutely. And then next week, you'll be getting three Bloody Angolas.Jim: Three Bloody Angolas a week. They're all going to be entertaining and good, and we're looking forward to bringing that to y'all. So, until next time, I'm Jim Chapman.Woody: And I'm Woody Overton.Jim: Your host of Bloody-Woody: -Angola.Jim: And a podcast 142 years in a making.Woody: A Complete Story of America's Bloodiest Prison. Jim: Peace. [laughter]Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy