Podcast appearances and mentions of keith silva

Keith SIlva is a Storyboard Director working currently at Nickelodeon. We talk about his animated journey from the Bay Area to Los Angeles. I pick his brain about working at the prestigious Joe Murray Studios & ink it with some music and pop culture references that tickle us like school girls. Follow the man behind the Storyboard here: https://www.keithrsilva.com/ Follow him on Instagram @ksilvaanimation Please also be on the lookout for Kamp Koral Season 2 on Paramount + Buy Official Stoop Kid Podcast Merch or anything Dead Air Digital here: Follow us on Instagram Have feedback or questions relating to our show? please email us at: Stoopkidpod@gmail.com DeadAirDigital.com --- 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/stoopkid/message

For their latest Four-Color Flashback, Paul and Arlo are exploring the world of Si Spurrier and Jeff Stokely's 2015 mini-series The Spire. Our location is a massive, tiered city surrounded by a desolate wasteland; our cast of characters include privileged aristocrats and the undesired “Sculpted,” hybridized from human and animal DNA; and our story is one of noir sleuthing, extreme violence, racial intolerance, and classism. The boys discuss Spurrier and Stokely's deceptively simple storytelling; the “soft edges” around their world-building; Stokely's manga-influenced art; and just how in-spire-ing it all is. Plus, a number of previous FCF selections are hitting the small screen, including Y: The Last Man, The Sandman, and most unbelievably of all, Grendel.   NEXT: what's that? It's October? Time for Gobbledyween 2021. Our annual horror-fest kicks off with a discussion of Ti West's 2009 indie phenom The House of the Devil, featuring our old pal Greg Sahadachny.     BREAKDOWN 00:00:51  -  Intro / Comics on TV banter 00:22:11  -  The Spire 01:34:42  -  Outro / Next     LINKS   Netflix Orders Grendel Series Based On Dark Horse Comic With Abubakr Ali To Star, 8 More Cast by Alexandra Del Rosario, Deadline The Sandman First Look Teaser Strange Cities, Stranger Crimes and “Glorious Weirdness”: An Interview with Simon Spurrier on The Spire by Tobias Carroll, Paste World Building: Character and Color in Stokely and Spurrier's The Spire by Alex Spencer, ComicsAlliance Not Controlling the Outcome: Si Spurrier and Jeff Stokely Talk The Spire by Keith Silva, Comics Bulletin     MUSIC “Gumshoe” by Penny & Sparrow, Finch (2019) “Fresh Tendrils” by Soundgarden, Superunknown (1994)     GOBBLEDYCARES National Suicide Prevention Lifeline: https://suicidepreventionlifeline.org/  Support AAPI communities and those affected by anti-Asian violence: https://www.gofundme.com/c/act/stop-aapi-hate Support the AAPI Civic Engagement Fund: https://aapifund.org/ Support Black Lives Matter and find anti-racism resources: https://blacklivesmatters.carrd.co/ Advocate for writers who might be owed money due to discontinuance of royalties: https://www.writersmustbepaid.org/  Help teachers and classrooms in need: https://www.donorschoose.org/ Do your part to remove the burden of medical debt for individuals, families, and veterans: https://ripmedicaldebt.org/ Register to vote: https://vote.gov/

Keith Silva joins Jason this week to talk about two of the greatest sports movies of all time. Keith loves Slap Shot and infects Jason with his passion - and Jason finds some stealth greatness in the film as well. As for Hoosiers, well, that movie triggers an interesting debate, which we'd love to hear your opinion about. Oh yeah, and Jason sings in this episode. We're sorry. It's an hour-twenty of great listening we think you'll enjoy. Well, maybe except for the singing. --- Send in a voice message: https://anchor.fm/jason-sacks/message

It's hard to find two movies more opposite movies than All That Jazz and Singin' in the Rain. But the two movies can be seen as a kind of yin and yang when it comes to movie musicals. One is light, breezy and charming while the other is heavy, dark and self-lacerating. And yet both are astonishing films, movies that deeply inspite Keith Silva and Jason Sacks. Join them for an hour and twenty minute chat about these two great films. If you enjoyed this podcast, please subscribe and leave a rating on iTunes! --- Send in a voice message: https://anchor.fm/jason-sacks/message

Keith Silva joins Jason Sacks again to talk about two celebrated films about drinking. First they discuss the cult classic Withnail and I, which Jason doesn't quite get but which Keith is persuasive about. Then they discuss the Academy Award-nominated Another Round, which both agree is extraordinary and special. It's an hour-twenty of great conversation we're sure you'll enjoy! --- Send in a voice message: https://anchor.fm/jason-sacks/message

Keith Silva joins Jason again to talk about two crime classics. Point Blank is a dizzyingly intriguing and complex crime thriller, directed by John Boorman and starring Lee Marvin, Angie Dickinson and Keenan Wynn, and One False Move, directed by Carl Franklin and starring Billy Bob Thornton, Cynda Williams and Bill Paxton. These are both outstanding, novelistic films which provide a fascinating contrast to each other. Keith and Jason dig into both movies and find them to be even better than they appeared at first glance. It's an hour and ten minutes of great listening. --- Send in a voice message: https://anchor.fm/jason-sacks/message

Keith Silva joins host Jason Sacks for a fun, interesting and lively discussion of two very different yet very similar films: Klute, from 1971, directed by Alan J. Pakula and starring Jane Fonda, and "She Dies Tomorrow", from 2020, directed by Amy Seimetz and starring Kate Lyn Sheil and Jane Adams. It's a great kickoff to this podcast, and we think a fascinating listen. WARNING: THERE ARE SPOILERS FOR BOTH FILMS! --- Send in a voice message: https://anchor.fm/jason-sacks/message

The Comics Cavalcade Book Club is back in session as Daniel Elkin and Keith Silva join Jason to discuss a surprising choice for books: 2019's House of X/Powers of X. It's surprising because Daniel and Keith are not huge superhero fans, but like the pros they are, Daniel, Keith and Jason dig deep into Jonathan Hickman's magnum opus to tease out depth, symbolism and just what was up with Professor X's hat. It's 75 minutes of fun, fast listening I think you'll enjoy. --- Send in a voice message: https://anchor.fm/classiccomics/message Support this podcast: https://anchor.fm/classiccomics/support

Welcome to the first episode of the Classic Comics Cavalcade Book Club, as Keith Silva and Daniel Elkin join Jason for an in-depth discussion of a fascinating graphic novel sure to become a classic, Upgrade Soul by Ezra Clayton Daniels. It's fair to say that Daniel, Keith and Jason found the book to be fascinating, and they spend an interesting hour discussing it before they move to the exciting announcement by Daniel of his new Fieldmouse Press, a collaboration with some of his friends devoted to bringing some great indie comics to life. --- Send in a voice message: https://anchor.fm/classiccomics/message Support this podcast: https://anchor.fm/classiccomics/support

This week Jason is joined by Comics Journal writer and reviewer Keith Silva to discuss the complicated legacy of Dave Sim, the controversial aueturist creator of Cerebus. Sim is generally acknowledged as one of the finest cartoonists of his era but the subject of his alleged misogyny continues to haunt his legacy. Jason and Keith discuss that legacy and attempt to help find Sim's place in the pantheon. Jason and Keith wrote about Sim before in 2013. That article is available on Comics Bulletin. Show notes at comicscavalcade.tumblr.com --- Send in a voice message: https://anchor.fm/classiccomics/message Support this podcast: https://anchor.fm/classiccomics/support

1. Heartbeat City - The Cars 2. All Roads Lead To Rome - The Stranglers 3. I Die: You Die - Gary Numan 4. Auto Music (Razormaid! Mix) - Our Daughter's Wedding 5. To Cut A Long Story Short (12" Version) - Spandau Ballet 6. Fun City (12" Mix) - Soft Cell 7. 8:15 To Nowhere - Vicious Pink 8. Telecommunication - A Flock Of Seagulls 9. New Life (Remix) - Depeche Mode 10. Devil Inside (12" Remix) - INXS 11. Still Angry - Book Of Love 12. Today (Extended Version) - Talk Talk 13. A Forest (Tree Mix) - The Cure 14. The Metro (Extended Version) - Berlin 15. Take On Me (Tony Mansfield 12" Version) - A-ha Notes and other random things: So, hello again! Nice to make your acquaintance. Good to finally carve out an evening to record another podcast. I swear, these days I blink and three or four months go by. I suppose, relatively speaking, the same could be said for this episode as it is officially the shortest podcast in CRC history, clocking in at just under one hour. "So, Mr. DJ Tintin," I'm sure you're saying to yourself, "for all my patience waiting for you to give me some new tunes you reward me with LESS music???" It seems that way. You still get the requisite 15 songs, but many of these were single or album versions as opposed to remixes. That's the only defense I have. BUT, look at this artist and track list! Those of you looking for some stuff you haven't heard before may have just hit the mother lode. The Stranglers? Our Daughter's Wedding? Not exactly household names. "Fun City", "Heartbeat City", "Still Angry"? Not exactly the songs anyone would recall off the top of their heads by Soft Cell, The Cars or Book Of Love, respectively. But enough justification. On to the bands ... So, why were the 80s so great? A loaded question to be sure. But ask yourself how many bands in recent memory could have a member, who owned a hair salon, rent out a space above said hair salon, form a band, get discovered by Bill Nelson of Be Bop Deluxe fame, decide upon wearing women's clothes for a video shot in three days on a shoestring budget and become superstars thanks in some part to a fledgling music network called MTV and a now-famous hairstyle? Such was the fate of A Flock of Seagulls, a band that certainly helped alter my musical trajectory and, with the song I Ran (So Far Away), created one of the most iconic and lasting songs of the decade. THAT is the greatness of the 80s - the fact that music was not yet paint-by-number. There was room for experimentation. Sure, you had to be marketable, but the definition of marketable was fluid. And the rules were fluid. As long as someone in the know heard something they liked or saw a creative spark it was sometimes enough for a label to take a chance on you. Spoken like someone who thinks the music they grew up with is the best, I know. But I ask again: could that backstory exist today? Perhaps, but I just don't see it. As for the song in this podcast, "Telecommunication", it is sort of a cult hit at this point and probably an accidental one at that. "(It's Not Me) Talking" was the first single release by AFOS in 1981, but it was the futuristic lyrics and "wall of sound" energy, later praised by uber-producer Phil Spector, that propelled "Telecommunication" into the clubs and into hearts of new wavers. The tune still sounds cool and futuristic even today and reminds me of a moment in time when musical possibilities were still limitless. "No sequencers were used" reads the liner notes of Our Daughters Wedding's first EP, "Digital Cowboy". Layne Rico (electronic percussion / synth), Keith Silva (vocals / synth) and Scott Simon (synth / saxophone) wanted everyone to know that their electronic wizardry and sleight of hand was due entirely to coordination and skill and not programming and triggers like many of their contemporaries such as Depeche Mode and OMD, two groups to which ODW was often compared after their switch over from punk rock and guitars to new wave and synths. And while the group, who sang about lawnchairs and made frequent appearances on MTV with Martha Quinn in the early days of the network, somewhat ironically dismissed DM and OMD as being too "gimmicky", the group did score opening slots for some of the giants of the day including Duran Duran, Talk Talk, Iggy Pop, The Psychedelic Furs and U2. They even worked with famed producer Colin Thurston to record the aforementioned EP. Not bad for a US-based band who suffered the slings and arrows and broken beer bottles of misfortune hurled at them for using electronics on stage at a time when punk was still king. But even skill and deigning to employ sequencers could not save the group from a dust up with their label, EMI. According to Scott Simon, the LA office killed the momentum of their full-length album, Moving Windows, which was released in 1982, because a label exec had a personal issue with one of the band's representatives. The track here, Auto Music, is a Razormaid! mix of the lead track to that first and only full-length. The sweet electronic bass line you hear came about from Simon and David Spradley, the producer for Moving Windows, "jamming one morning in our Union Square loft." To cut a long story short, Spandau Ballet are good. Go buy their records. Seriously, though, Spandau Ballet seems like a perfect name for a slick and sophisticated band who helped spearhead the New Romantic movement, an era of glossy images and high fashion that gave rise to groups like Duran Duran and Visage and others. That is until you remember that, like other groups, SB had their roots in the punk scene and that their name was Allied trench warfare slang for corpses whose bullet-riddled bodies twisted and danced on barbed wire as they were hit by German gunfire. Perhaps they would have been better off going with The Cut or The Makers, both previous band names. But, the name Spandau Ballet stuck as did the amazing voice of Tony Hadley, the Kemp brother's guitar prowess (Martin and Gary), Steve Norman's saxophone riffs and John Keeble's percussive underpinnings. That classic lineup produced a string of Top 10 hits (10 to be precise) including "Gold", "Only When You Leave", "True", "Chant No. 1" and the song in this podcast, "To Cut A Long Story Short", the groups' debut single, which reached #5 in the UK. Speculation surrounding the song is that it pertains to a veteran suffering from post-traumatic stress disorder after being drafted, but getting no explanation why he must join the war. This song apparently inspired Vince Clarke (Depeche Mode, Yaz, The Assembly) to write DM's third single, "Just Can't Get Enough" which, as a side note, is currently being used in a Wal-Mart advertisement. I did NOT see that coming! What more can be said about Gary Numan that hasn't already been said over the course of four decades by the music press? Probably nothing, so I'm not even going to try to break new ground. But, in case you missed it, Gary did just drop his 18th solo album, Savage (Songs From A Broken World), this past September and it instantly shot all the way up the album charts to #2 in the UK and #1 on the UK Indie charts. Call it a love of the man and his music or an indictment of the current music scene, but for a guy who goes down in history as the first artist to secure a #1 song using an all-electronic approach with the highly-coveted and frequently-covered "Are Friends Electric?" way back in 1979, the fact that Gary is still making music that questions, challenges, lifts, destroys and defies convention is impressive. Despite the lofty charting position of the new album and its predominant use of electronics, it failed to register on the Billboard Electronic charts because, according to a Billboard executive, “Sonically, the Numan album just does not fit in" with Billboard's perception of electronic dance music. Seems a bit ridiculous, but Numan is no stranger to such disinterest or indifference on the part of the music cabal. In fact, even during his heyday, "Are Friends Electric?" was perched atop the British charts for three weeks before any radio station would add it to their playlists. The song in this podcast, "I Die: You Die", which appeared in 1980 on the Telekon album a mere two years after his Tubeway Army signing with Beggars Banquet, is his rebuke of the music press and their God complex, star-maker/star-breaker tendencies. The track eventually reached #6 on the UK singles chart. And finally, speaking of the music press, the last band I'd like to mention here had them completely baffled and befuddled for the bulk of their career, or at least until 1990 when Hugh Cornwall left the group. The Stranglers, originally known as the Guildford Stranglers when they embarked as a band in 1974, were comprised of guitarist/keyboardist Hugh Cornwall, bassist/vocalist Jen-Jacques Burnel, keyboardist Dave Greenfield and drummer Brian Duffy (aka Jet Black). Though not one member hailed from Guildford, they were "tweeners" in every sense of the word, dabbling in numerous styles from electropop to soul during the course of their long and storied career. And while many of their successes came during their early punk days, they never quite fit into the punk scene. Ostracized for their relative age, their humorous, often self-deprecating lyrical style contrasted with their often anti-politically correct stage antics, their stunningly fast musical growth and development, and their hit-making skill, which generated 21 Top-40 singles, The Stranglers set themselves apart from their punk contemporaries and gave the press fits as they did not know how to put square pegs into round holes. The track here, "All Roads Lead To Rome" was from their seventh album, Feline. As you can hear, it has distinct new wave overtones, which makes total sense having been released in 1982, but it is certainly a brave departure from their earlier work. And while this track did not chart, it still stands as one of the high points from the Feline album and provides a glimpse into a chameleon-like band that was firmly in transition. Another episode in the books. Thanks for reading/listening. Enjoy the music!

Mark and Aaron are joined by Keith Silva to look at the Coen Brothers' debut to cap of #Noirvember. The film cannot be viewed without the exploring the context of the Coen library and their successful career to follow, but it stands alone as a debut film that sets the stage for their style. We focus quite a bit on the noir aspect, how they were going for a specific aesthetic that shows their film heritage. We evaluate why this film works, how these neophytes meticulously crafted a slow burning art film at the height of the 1980s mainstream blockbusters. About the film: Joel and Ethan Coen's career-long darkly comic road trip through misfit America began with this razor-sharp, hard-boiled neonoir set somewhere in Texas, where a sleazy bar owner releases a torrent of violence with one murderous thought. Actor M. Emmet Walsh looms over the proceedings as a slippery private eye with a yellow suit, a cowboy hat, and no moral compass, and Frances McDormand's cunning debut performance set her on the road to stardom. The tight scripting and inventive style that have marked the Coens' work for decades are all here in their first film, in which cinematographer Barry Sonnenfeld abandons black-and-white chiaroscuro for neon signs and jukebox colors that combine with Carter Burwell's haunting score to lurid and thrilling effect. Blending elements from pulp fiction and low-budget horror flicks, Blood Simple reinvented the film noir for a new generation, marking the arrival of a filmmaking ensemble that would transform the American independent cinema scene. Episode Links & Notes Special Guest: Keith Silva from Interested in Sophisticated Fun, Comics Bulletin, and Psycho Drive-In. You can find him on Twitter. 1:50 – Welcome Keith Silva 4:50 – Blood Simple CCU10: House, The Shining Blood Simple – Criterion Blood Simple – IMDB Criterion Essay: Down Here, You're On Your Own Episode Credits Mark Hurne: Twitter | Letterboxd Aaron West: Twitter | Blog | Letterboxd Criterion Close-Up: Facebook | Twitter | Email Next time on the podcast: French 1930s, Part Two

Mark and Aaron are joined by Keith Silva to look at the Coen Brothers' debut to cap of #Noirvember.