Podcast appearances and mentions of ken fischer

https://m.ebay.co.uk/sch/i.html?sid=tindogpodcast&_pgn=1&isRefine=true&_trksid=p4429486.m3561.l49496 Atlantis: The Lost Empire is a 2001 American animated science fiction adventure film directed by Gary Trousdale and Kirk Wise, produced by Don Hahn, and written by Tab Murphy. Produced by Walt Disney Feature Animation, it stars Michael J. Fox, James Garner, Cree Summer, Don Novello, Phil Morris, Claudia Christian, Jacqueline Obradors, Florence Stanley, David Ogden Stiers, John Mahoney, Jim Varney, Corey Burton and Leonard Nimoy. Set in 1914, the film follows young linguist Milo Thatch, who gains possession of a sacred book, which he believes will guide him and a crew of mercenaries to the lost city of Atlantis. Development of the film began after production had finished on The Hunchback of Notre Dame (1996). Instead of another musical, directors Trousdale and Wise, producer Hahn, and screenwriter Murphy decided to do an adventure film inspired by the works of Jules Verne. Atlantis: The Lost Empire was notable for adopting the distinctive visual style of comic book artist Mike Mignola, one of the film's production designers. The film made greater use of computer-generated imagery (CGI) than any of Disney's previous traditionally animated features and remains one of the few to have been shot in anamorphic format. Linguist Marc Okrand constructed an Atlantean language specifically for use in the film. James Newton Howard provided the film's musical score. The film was released at a time when audience interest in animated films was shifting away from traditional animation toward films with full CGI. Atlantis: The Lost Empire premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001, and went into its general release on June 15. The film received mixed reviews from critics. Budgeted at around $90–120 million, Atlantis grossed over $186 million worldwide, $84 million of which was earned in North America; its lackluster box office response was identified as a result of being released in competition with Shrek, Lara Croft: Tomb Raider, The Fast and the Furious and Dr. Dolittle 2. As a result of the film's box office failure, Disney cancelled a planned spin-off animated television series, Team Atlantis; an underwater Disneyland attraction; and a volcanic Magic Kingdom attraction based on it. Atlantis was nominated for several awards, including seven Annie Awards, and won Best Sound Editing at the 2002 Golden Reel Awards. The film was released on VHS and DVD on January 29, 2002, and on Blu-ray on June 11, 2013. Despite its initial reception, reception in later years became favorable and has given Atlantis a cult following[5] and reappraisal from critics as a mistreated classic, due in part to Mignola's unique artistic influence.[6][7] A direct-to-video sequel, Atlantis: Milo's Return, was released in 2003. Plot In 1914 Washington, D.C., archaeo-linguist Milo Thatch obsesses over finding the legendary lost city of Atlantis, believed to have sunk thousands of years ago. His employers ridicule his theories, but he gains an unexpected ally in eccentric millionaire Preston B. Whitmore, a friend of Milo's deceased adventurer grandfather who also sought the city. Determined to honor his old friend's quest, Whitmore recruits Milo for an expedition to Atlantis, having recently uncovered the Shepherd's Journal, an ancient Atlantean manuscript that contains directions to the lost city. Aboard the submarine Ulysses, Milo meets his teammates: Commander Lyle Tiberius Rourke, Lieutenant Helga Sinclair, demolitions expert Vincenzo Santorini, geologist Gaetan "Mole" Molière, medical officer Joshua Sweet, mechanic Audrey Ramirez, radio operator Wilhelmina Packard, mess cook Jebidiah "Cookie" Farnsworth, and a platoon of mercenaries. Upon reaching a cave entrance leading to the lost city, the submarine is destroyed by a massive mechanical leviathan, killing most of the crew. Milo and the survivors escape in smaller craft, navigating through the cave to emerge among ancient ruins. Milo translates the journal, guiding the team through caves beneath a dormant volcano until they reach the worn remains of Atlantis. There, they are greeted by Princess Kidagakash "Kida" Nedakh, who, despite being around 8,500 years old, has the appearance of a young woman. She leads them to her father, King Kashekim, who orders them to leave. Learning that Milo can read their language—a skill lost to the Atlanteans over millennia—Kida asks for his help in uncovering their forgotten history and highly-advanced technology, without which the city has declined and resources have dwindled. Milo learns that Atlantis is powered by the Heart of Atlantis, a massive crystal that grants longevity and health to its citizens through the smaller crystals they carry. Rourke betrays Milo and the Atlanteans, revealing his true intention to steal the Heart for profit, despite knowing the Atlanteans will perish without it. He mortally wounds the King while seizing control and uncovers the crystal's hidden location beneath the city. Sensing the danger, the crystal merges with Kida, who is then captured by Rourke. He departs with the crystallized Kida and his mercenaries, except for Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie, who refuse to take part in the Atlanteans' destruction. Before dying, the King reveals that Atlantis was devastated by a megatsunami after he attempted to weaponize the crystal's vast power. To protect the city, the crystal merged with a royal family member, Kida's mother. This created a protective dome over the city's inner district, shielding it from total destruction as Atlantis sank beneath the waves, but Kida's mother never returned. To prevent the crystal from ever merging with Kida, the King hid it, inadvertently accelerating Atlantis' decline. He warns Milo that Kida will be lost forever if she is not soon separated from the crystal and pleads with him to save her. Alongside his allies, Milo rallies the Atlanteans to reactivate their long-dormant flying machines. Together, they eliminate Rourke and his mercenaries in the volcano. Milo and the others fly the crystallized Kida back to Atlantis as the volcano erupts. Kida ascends into the air and awakens Stone Guardians, who erect a barrier that shields the city from the lava flow. With Atlantis saved, the crystal separates from Kida and remains suspended in the sky. Milo chooses to stay in Atlantis with Kida, having fallen in love with her. Before returning to the surface, Vincenzo, Molière, Sweet, Audrey, Packard, and Cookie each receive a small crystal and a share of treasure. The six reunite with Preston on the surface and agree to keep their adventure a secret to protect Atlantis. Preston opens a package from Milo containing his own crystal and a note thanking him. The newly crowned Queen Kida and Milo carve a stone effigy of her father to join those of past rulers floating beside the Heart of Atlantis, as the city stands restored to its former glory. Voice cast Production layout sketch of Milo and Kida. Milo's character design was based in part on sketches of the film's language consultant, Marc Okrand. Michael J. Fox as Milo James Thatch, a linguist and cartographer at the Smithsonian who was recruited to decipher The Shepherd's Journal while directing an expedition to Atlantis. James Garner as Commander Lyle Tiberius Rourke, the leader of the band of mercenaries for the Atlantean expedition. Cree Summer as Kidagakash "Kida" Nedakh, the Princess of Atlantis and Milo's love interest. Natalie Strom provided dialogue for Kida as a young child. Summer also voiced the unnamed Queen of Atlantis, Kida's mother and Kashekim's wife who was "chosen" by the Crystal during the sinking of the city. John Mahoney as Preston B. Whitmore, an eccentric millionaire who funds the expedition to Atlantis. Lloyd Bridges was originally cast and recorded as Whitmore, but he died before completing the film. Mahoney's zest and vigor led to Whitmore's personality being reworked for the film.[8] Claudia Christian as Lieutenant Helga Katrina Sinclair, Rourke's German-born second-in-command. Don Novello as Vincenzo "Vinny" Santorini, an Italian demolitions expert. Phil Morris as Dr. Joshua Strongbear Sweet, a medic of African-American and Arapaho descent. Jacqueline Obradors as Audrey Rocio Ramirez, a Puerto Rican mechanic and the youngest member of the expedition. Corey Burton as Gaetan "Mole" Molière, a French geologist who acts like a mole. Jim Varney as Jebidiah Allardyce "Cookie" Farnsworth, a Western-style chuckwagon chef. Varney died in February 2000, before the production ended, and the film was dedicated to his memory. Steven Barr recorded supplemental dialogue for Cookie. Florence Stanley as Wilhelmina Bertha Packard: an elderly, sarcastic, chain-smoking radio operator who is also the expedition's photographer. Leonard Nimoy as Kashekim Nedakh, the King of Atlantis and Kida's father. David Ogden Stiers as Fenton Q. Harcourt, a board member of the Smithsonian Institution who dismisses Milo's belief in the existence of Atlantis. Production Development The production team visited New Mexico's Carlsbad Caverns to get a sense of the underground spaces depicted in the film. The idea for Atlantis: The Lost Empire was conceived in October 1996 when Don Hahn, Gary Trousdale, Kirk Wise, and Tab Murphy lunched at a Mexican restaurant in Burbank, California. Having recently completed The Hunchback of Notre Dame,[9] the producer, directors and screenwriter wanted to keep the Hunchback crew together for another film with an "Adventureland" setting rather than a "Fantasyland" setting.[10] Drawing inspiration from Jules Verne's Journey to the Center of the Earth (1864) and Twenty Thousand Leagues Under the Seas (1870), they set out to make a film which would fully explore Atlantis (compared to the brief visit depicted in Verne's novel).[11] While primarily utilizing the Internet to research the mythology of Atlantis,[12] the filmmakers became interested in the clairvoyant readings of Edgar Cayce and decided to incorporate some of his ideas—notably that of a mother-crystal which provides power, healing, and longevity to the Atlanteans—into the story.[13] They also visited museums and old army installations to study the technology of the early 20th century (the film's time period), and traveled underground in New Mexico's Carlsbad Caverns to view the subterranean trails which would serve as a model for the approach to Atlantis in the film.[14] The filmmakers wanted to avoid the common depiction of Atlantis as "crumbled Greek columns underwater", said Wise.[15] "From the get-go, we were committed to designing it top to bottom. Let's get the architectural style, clothing, heritage, customs, how they would sleep, and how they would speak. So we brought people on board who would help us develop those ideas."[16] Art director David Goetz stated, "We looked at Mayan architecture, styles of ancient, unusual architecture from around the world, and the directors really liked the look of Southeast Asian architecture."[17] The team later took ideas from other architectural forms, including Cambodian, Indian, and Tibetan works.[18] Hahn added, "If you take and deconstruct architecture from around the world into one architectural vocabulary, that's what our Atlantis looks like."[19] The overall design and circular layout of Atlantis were also based on the writings of Plato,[18] and his quote "in a single day and night of misfortune, the island of Atlantis disappeared into the depths of the sea"[20] was influential from the beginning of production.[9] The crew wore T-shirts which read "ATLANTIS—Fewer songs, more explosions" due to the film's plan as an action-adventure (unlike previous Disney animated features, which were musicals).[21] Language The Atlantean letter A, created by artist John Emerson. Kirk Wise noted that its design was a treasure map showing the path to the crystal, "The Heart of Atlantis". Main article: Atlantean language Marc Okrand, who developed the Klingon language for the Star Trek television and theatrical productions, was hired to devise the Atlantean language for Atlantis: The Lost Empire. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language.[16] John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the Atlantean alphabet.[22][23] The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.[24] The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map. — Kirk Wise, director[25] Writing Joss Whedon was the first writer to be involved with the film but soon left to work on other Disney projects. According to him, he "had not a shred" in the movie.[26] Tab Murphy completed the screenplay, stating that the time from initially discussing the story to producing a script that satisfied the film crew was "about three to four months".[27] The initial draft was 155 pages, much longer than a typical Disney film script (which usually runs 90 pages). When the first two acts were timed at 120 minutes, the directors cut characters and sequences and focused more on Milo. Murphy said that he created the centuries-old Shepherd's Journal because he needed a map for the characters to follow throughout their journey.[28] A revised version of the script eliminated the trials encountered by the explorers as they navigated the caves to Atlantis. This gave the film a faster pace because Atlantis is discovered earlier in the story.[29] The directors often described the Atlanteans using Egypt as an example. When Napoleon wandered into Egypt, the people had lost track of their once-great civilization. They were surrounded by artifacts of their former greatness but somehow unaware of what they meant. — Don Hahn, producer[30] The character of Milo J. Thatch was originally supposed to be a descendant of Edward Teach, otherwise known as Blackbeard the pirate. The directors later related him to an explorer so he would discover his inner talent for exploration.[31] The character of Molière was originally intended to be "professorial" but Chris Ure, a story artist, changed the concept to that of a "horrible little burrowing creature with a wacky coat and strange headgear with extending eyeballs", said Wise.[32][33] Don Hahn pointed out that the absence of songs presented a challenge for a team accustomed to animating musicals, as action scenes alone would have to carry the film. Kirk Wise said it gave the team an opportunity for more on-screen character development: "We had more screen time available to do a scene like where Milo and the explorers are camping out and learning about one another's histories. An entire sequence is devoted to having dinner and going to bed. That is not typically something we would have the luxury of doing."[16] Hahn stated that the first animated sequence completed during production was the film's prologue. The original version featured a Viking war party using The Shepherd's Journal to find Atlantis and being swiftly dispatched by the Leviathan. Near the end of production, story supervisor John Sanford told the directors that he felt this prologue did not give viewers enough emotional involvement with the Atlanteans. Despite knowing that the Viking prologue was finished and it would cost additional time and money to alter the scene, the directors agreed with Sanford. Trousdale went home and completed the storyboards later that evening after visiting a strip club where he boarded the new sequence on a napkin.[34] The opening was replaced by a sequence depicting the destruction of Atlantis, which introduced the film from the perspective of the Atlanteans and Princess Kida.[35] The Viking prologue is included as an extra feature on the DVD release.[36] Casting Kirk Wise, one of the directors, said that they chose Michael J. Fox for the role of Milo because they felt he gave his characters his own personality and made them more believable on screen. Fox said that voice acting was much easier than his past experience with live action because he did not have to worry about what he looked like in front of a camera while delivering his lines.[37] The directors mentioned that Fox was also offered a role for Titan A.E.; he allowed his son to choose which film he would work on, and he chose Atlantis.[38] Viewers have noted similarities between Milo and the film's language consultant, Marc Okrand, who developed the Atlantean language used in the film. Okrand stated that Milo's supervising animator, John Pomeroy, sketched him, claiming not to know how a linguist looked or acted.[24] Kida's supervising animator, Randy Haycock, stated that her actress, Cree Summer, was very "intimidating" when he first met her; this influenced how he wanted Kida to look and act on screen when she meets Milo.[39] Wise chose James Garner for the role of Commander Lyle Tiberius Rourke because of his previous experience with action films, especially war and Western films, and said the role "fits him like a glove". When asked if he would be interested in the role, Garner replied: "I'd do it in a heartbeat."[40] Producer Don Hahn was saddened that Jim Varney, the voice of Jebidiah Allardyce "Cookie" Farnsworth, never saw the finished film before he died of lung cancer in February 2000, but mentioned that he was shown clips of his character's performance during his site sessions and said, "He loved it." Shawn Keller, supervising animator for Cookie, stated, "It was kind of a sad fact that [Varney] knew that he was not going to be able to see this film before he passed away. He did a bang-up job doing the voice work, knowing the fact that he was never gonna see his last performance." Steven Barr recorded supplemental dialogue for Cookie.[41] John Mahoney, who voiced Preston Whitmore, stated that doing voice work was "freeing" and allowed him to be "big" and "outrageous" with his character.[42] Dr. Joshua Sweet's supervising animator, Ron Husband, indicated that one of the challenges was animating Sweet in sync with Phil Morris' rapid line delivery while keeping him believable. Morris stated that this character was extreme, with "no middle ground"; he mentioned, "When he was happy, he was really happy, and when he's solemn, he's real solemn."[43] Claudia Christian described her character, Lieutenant Helga Katrina Sinclair, as "sensual" and "striking", and was relieved when she finally saw what her character looked like, joking, "I'd hate to, you know, go through all this and find out my character is a toad."[44] Jacqueline Obradors said her character, Audrey Rocio Ramirez, made her "feel like a little kid again" and she always hoped her sessions would last longer.[45] Florence Stanley felt that her character, Wilhelmina Bertha Packard, was very "cynical" and "secure": "She does her job, and when she is not busy, she does anything she wants."[46] Corey Burton mentioned that finding his performance as Gaetan "Mole" Molière was by allowing the character to "leap out" of him while making funny voices. To get into character during his recording sessions, he stated that he would "throw myself into the scene and feel like I'm in this make-believe world".[47] Kirk Wise and Russ Edmonds, supervising animator for Vincenzo "Vinny" Santorini, noted Vinny's actor Don Novello's unique ability to improvise dialogue while voicing the role. Edmonds recalled, "[Novello] would look at the sheet, and he would read the line that was written once, and he would never read it again! And we never used a written line, it was improvs, the whole movie."[48] Michael Cedeno, supervising animator for King Kashekim Nedakh, was astounded at Leonard Nimoy's voice talent in the role, stating that he had "so much rich character" in his performance. As he spoke his lines, Cedeno said the crew would sit there and watch Nimoy in astonishment.[49] Animation For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); the bottom image was seen in the film (2.35:1). At the peak of its production, 350 animators, artists and technicians were working on Atlantis[50] at all three Disney animation studios: Walt Disney Feature Animation (Burbank, California), Walt Disney Feature Animation Florida (Orlando), and Disney Animation France (Paris).[51] The film was one of the few Disney animated features produced and shot in 35mm anamorphic format. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the CinemaScope format (2.35:1), noting Raiders of the Lost Ark as an inspiration.[52] Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea.[16] The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard aspect ratio (1.66:1) Disney-animated films.[52] Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.[53] Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.[16] The film's visual style was strongly based upon that of Mike Mignola, the comic book artist behind Hellboy. Mignola was one of four production designers (along with Matt Codd, Jim Martin, and Ricardo Delgado) hired by the Disney studio for the film. Accordingly, he provided style guides, preliminary character, and background designs, and story ideas.[54] "Mignola's graphic, the angular style was a key influence on the 'look' of the characters," stated Wise.[55] Mignola was surprised when first contacted by the studio to work on Atlantis.[56] His artistic influence on the film would later contribute to a cult following.[57] I remember watching a rough cut of the film and these characters have these big, square, weird hands. I said to the guy next to me, "Those are cool hands." And he says to me, "Yeah, they're your hands. We had a whole meeting about how to do your hands." It was so weird I couldn't wrap my brain around it. — Mike Mignola[56] The final pull-out shot of the movie, immediately before the end-title card, was described by the directors as the most difficult shot in the history of Disney animation. They said that the pull-out attempt on their prior film, The Hunchback of Notre Dame, "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in Atlantis. The shot begins with one 16-inch (40.6 cm) piece of paper showing a close-up of Milo and Kida. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch (46,000 cm) piece of paper composed of many individual pieces of paper (24 inches [61 cm] or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.[58] Scale model of Ulysses submarine by Greg Aronowitz, used by digital animators as reference during production.[59] At the time of its release, Atlantis: The Lost Empire was notable for using more computer-generated imagery (CGI) than any other Disney traditionally animated feature. To increase productivity, the directors had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Leviathan, the Ulysses submarine and sub-pods, the Heart of Atlantis, and the Stone Giants.[60] During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses.[59] The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork.[61] One scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay into the water. As the camera floated toward it, a 2D Milo was drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.[62] The digital production also gave the directors a unique "virtual camera" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital wire-frame set; the background and details were later hand-drawn over the wireframes. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Leviathan in pursuit.[63] Music and sound Since the film would not feature any songs, the directors hired James Newton Howard to compose the score after they heard his music on Dinosaur. Approaching it as a live-action film, Howard decided to have different musical themes for the cultures of the surface world and Atlantis. In the case of Atlantis, Howard chose an Indonesian orchestral sound incorporating chimes, bells, and gongs. The directors told Howard that the film would have a number of key scenes without dialogue; the score would need to convey emotionally what the viewer was seeing on screen.[64] Gary Rydstrom and his team at Skywalker Sound were hired for the film's sound production.[65] Like Howard, Rydstrom employed different sounds for the two cultures. Focusing on the machine and mechanical sounds of the early industrial era for the explorers, he felt that the Atlanteans should have a "more organic" sound utilizing ceramics and pottery. The sound made by the Atlantean flying-fish vehicles posed a particular challenge. Rydstrom revealed that he was sitting at the side of a highway recording one day when a semi-truck drove by at high speed. When the recording was sped up on his computer, he felt it sounded very organic, and decided to use it in the film. Rydstrom created the harmonic chiming of the Heart of Atlantis by rubbing his finger along the edge of a champagne flute, the sound of sub-pods moving through the water with a water pick, while a ceramic pot from a garden store was used for the sounds of the movement of the Giant stone guardians.[66] Release Atlantis: The Lost Empire had its world premiere at Disney's El Capitan Theatre in Hollywood, Los Angeles, on June 3, 2001[67] and a limited release in New York City and Los Angeles on June 8; a wider release followed on June 15.[4][61] At the premiere, Destination: Atlantis was on display, featuring behind-the-scenes props from the film and information on the legend of Atlantis with video games, displays, laser tag, and other attractions. The Aquarium of the Pacific also loaned a variety of fish for display within the attraction.[68] Promotion Atlantis was among Disney's first major attempts to utilize internet marketing. The film was promoted through Kellogg's, which created a website with mini-games and a movie-based video game give-away for UPC labels from specially marked packages of Atlantis breakfast cereal.[50] The film was one of Disney's first marketing attempts through mobile network operators, and allowed users to download games based on the film.[69] McDonald's (which had an exclusive licensing agreement on all Disney releases) promoted the film with Happy Meal toys, food packaging and in-store decor. The McDonald's advertising campaign involved television, radio, and print advertisements beginning on the film's release date.[70] Frito-Lay offered free admission tickets for the film on specially marked snack packages.[71] Home media Atlantis: The Lost Empire was released on VHS and DVD on January 29, 2002.[72] During the first month of its home release, the film led in VHS sales and was third in VHS and DVD sales combined.[73] Sales and rentals of the VHS and DVD combined would eventually accumulate $157 million in revenue by mid-2003.[74] Both a single-disc DVD edition and a two-disc collector's edition (with bonus features) were released. The single-disc DVD gave the viewer the option of viewing the film either in its original theatrical 2.39:1 aspect ratio or a modified 1.33:1 ratio (utilizing pan and scan). Bonus features available on the DVD version included audio and visual commentary from the film team, a virtual tour of the CGI models, an Atlantean-language tutorial, an encyclopedia on the myth of Atlantis, and the deleted Viking prologue scene.[72] The two-disc collector's edition DVD contained all the single-disc features and a disc with supplemental material detailing all aspects of the film's production. The collector's-edition film could only be viewed in its original theatrical ratio, and also featured an optional DTS 5.1 track. Both DVD versions, however, contained a Dolby Digital 5.1 track and were THX certified.[72][75] Disney digitally remastered and released Atlantis on Blu-ray on June 11, 2013, bundled with its sequel Atlantis: Milo's Return.[76] Reception Box office Before the film's release, reporters speculated that it would have a difficult run due to competition from Shrek and Lara Croft: Tomb Raider. Regarding the market's shift from traditional animation and competition with CG-animated films, Kirk Wise said, "Any traditional animator, including myself, can't help but feel a twinge. I think it always comes down to story and character, and one form won't replace the other. Just like photography didn't replace painting. But maybe I'm blind to it."[61] Jeff Jensen of Entertainment Weekly noted that CGI films (such as Shrek) were more likely to attract the teenage demographic typically not interested in animation, and called Atlantis a "marketing and creative gamble".[77] With a budget of $100 million,[3] the film opened at #2 on its debut weekend, behind Lara Croft: Tomb Raider, earning $20.3 million in 3,011 theaters.[78] During its second weekend, it would drop into fourth place behind the latter film, Dr. Dolittle 2 and The Fast and the Furious, making $13.2 million.[79] The film's international release began September 20 in Australia and other markets followed suit.[80] During its 25-week theatrical run, Atlantis: The Lost Empire grossed over $186 million worldwide ($84 million from the United States and Canada).[4] Responding to its disappointing box-office performance, Thomas Schumacher, then-president of Walt Disney Feature Animation, said, "It seemed like a good idea at the time to not do a sweet fairy tale, but we missed."[81] Critical response Atlantis: The Lost Empire received mixed reviews from critics,[82][83][84] many of whom criticized its story.[85] The review aggregator website Rotten Tomatoes reports that 48% of 144 professional critics have given Atlantis: The Lost Empire a positive review; the average rating is 5.5/10. The site's consensus is: "Atlantis provides a fast-paced spectacle, but stints on such things as character development and a coherent plot".[86] Metacritic assigned the film a weighted average score of 52 out of 100 based on 29 reviews from critics, indicating "mixed or average" reviews.[87] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[88] While critics had mixed reactions to the film in general, some praised it for its visuals, action-adventure elements, and attempt to appeal to an older audience. Roger Ebert gave Atlantis three-and-a-half stars out of four. He praised the animation's "clean bright visual look" and the "classic energy of the comic book style", crediting this to the work of Mike Mignola. Ebert gave particular praise to the story and the final battle scene and wrote, "The story of Atlantis is rousing in an old pulp science fiction sort of way, but the climactic scene transcends the rest, and stands by itself as one of the great animated action sequences."[89] In The New York Times, Elvis Mitchell gave high praise to the film, calling it "a monumental treat", and stated, "Atlantis is also one of the most eye-catching Disney cartoons since Uncle Walt institutionalized the four-fingered glove."[90] Internet film critic James Berardinelli wrote a positive review of the film, giving it three out of four stars. He wrote, "On the whole, Atlantis offers 90 minutes of solid entertainment, once again proving that while Disney may be clueless when it comes to producing good live-action movies, they are exactly the opposite when it comes to their animated division."[91] Wesley Morris of the San Francisco Chronicle wrote positively of the film's approach for an older audience: "But just beneath the surface, Atlantis brims with adult possibility."[92] Other critics felt that the film was mediocre in regards to its story and characters, and that it failed to deliver as a non-musical to Disney's traditional audience. Owen Gleiberman of Entertainment Weekly gave the film a C+ rating, writing that the film had "gee-whiz formulaic character" and was "the essence of craft without dream".[93] Kenneth Turan of the Los Angeles Times said the storyline and characterizations were "old-fashioned" and the film had the retrograde look of a Saturday-morning cartoon, but these deficiencies were offset by its "brisk action" and frantic pace.[94] Todd McCarthy of Variety wrote, "Disney pushes into all-talking, no-singing, no-dancing and, in the end, no-fun animated territory."[95] Stephanie Zacharek of Salon wrote of Disney's attempt to make the film for an adult audience, "The big problem with Disney's latest animated feature, Atlantis: The Lost Empire, is that it doesn't seem geared to kids at all: It's so adult that it's massively boring."[96] Rita Kempley of The Washington Post panned the film, calling it a "new-fashioned but old-fangled hash" and wrote, "Ironically Disney had hoped to update its image with this mildly diverting adventure, yet the picture hasn't really broken away from the tried-and-true format spoofed in the far superior Shrek."[97] In 2015, Katharine Trendacosta at io9 reviewed the film and called it a "Beautiful Gem of a Movie That Deserved Better Than It Got" and said that the film deserves more love than it ended up getting.[6] Lindsay Teal considers "Atlantis" to be "a lost Disney classic". Describing the film as highly entertaining, she praises the writing and characterisation – in particular, Sweet, Helga and Kida.[7] In particular, much praise has been given to the character of Kida.[98] Summer has regarded the character of Kida as one of her favourite roles and even considers the character among the official Disney Princess line-up. Themes and interpretations Several critics and scholars have noted that Atlantis plays strongly on themes of anti-capitalism and anti-imperialism. M. Keith Booker, academic and author of studies about the implicit messages conveyed by media, views the character of Rourke as being motivated by "capitalist greed" when he pursues "his own financial gain" in spite of the knowledge that "his theft [of the crystal] will lead to the destruction of [Atlantis]".[99] Religion journalist Mark Pinsky, in his exploration of moral and spiritual themes in popular Disney films, says that "it is impossible to read the movie ... any other way" than as "a devastating, unrelenting attack on capitalism and American imperialism".[100] Max Messier of FilmCritic.com observes, "Disney even manages to lambast the capitalist lifestyle of the adventurers intent on uncovering the lost city. Damn the imperialists!"[101] According to Booker, the film also "delivers a rather segregationist moral" by concluding with the discovery of the Atlanteans kept secret from other surface-dwellers in order to maintain a separation between the two highly divergent cultures.[102] Others saw Atlantis as an interesting look at utopian philosophy of the sort found in classic works of science fiction by H. G. Wells and Jules Verne.[103] Nadia: The Secret of Blue Water controversy When the film was released, some viewers noticed that Atlantis: The Lost Empire was similar to the 1990-91 anime Nadia: The Secret of Blue Water, particularly in its character design, setting, and story.[104] The similarities, as noted by viewers in both Japan and America, were strong enough for its production company Gainax to be called to sue for plagiarism. According to Gainax member Yasuhiro Takeda, they only refrained from doing so because the decision belonged to parent companies NHK and Toho.[105] Another Gainax worker, Hiroyuki Yamaga, was quoted in an interview in 2000 as saying: "We actually tried to get NHK to pick a fight with Disney, but even the National Television Network of Japan didn't dare to mess with Disney and their lawyers. [...] We actually did say that but we wouldn't actually take them to court. We would be so terrified about what they would do to them in return that we wouldn't dare."[105] Although Disney never responded formally to those claims, co-director Kirk Wise posted on a Disney animation newsgroup in May 2001, "Never heard of Nadia till it was mentioned in this [newsgroup]. Long after we'd finished production, I might add." He claimed both Atlantis and Nadia were inspired, in part, by the 1870 Jules Verne novel Twenty Thousand Leagues Under the Seas.[106] However, speaking about the clarification, Lee Zion from Anime News Network wrote, "There are too many similarities not connected with 20,000 Leagues for the whole thing to be coincidence."[107] As such, the whole affair ultimately entered popular culture as a convincing case of plagiarism.[108][109][110] In 2018, Reuben Baron from Comic Book Resources added to Zion's comment stating, "Verne didn't specifically imagine magic crystal-based technology, something featured in both the Disney movie and the too similar anime. The Verne inspiration also doesn't explain the designs being suspiciously similar to Nadia's."[110] Critics also saw parallels with the 1986 film Laputa: Castle in the Sky from Hayao Miyazaki and Studio Ghibli (which also featured magic crystals, and Atlantis directors Trousdale and Wise both acknowledged Miyazaki's works as a major influence on their own work)[104] and with the 1994 film Stargate as Milo's characteristics were said to resemble those of Daniel Jackson, the protagonist of Stargate and its spinoff television series Stargate SG-1 — which coincidentally launched its own spinoff, titled Stargate Atlantis; the plot of the 1994 film is also paralleled involving a group visiting an unknown world, a fictional language made for the other world's people, the main protagonist having apparent knowledge of the people's culture, falling in love with one of the female locals and electing to stay behind when the others return home.[111] Accolades Award Category Name Result 29th Annie Awards[112] Individual Achievement in Directing Gary Trousdale and Kirk Wise Nominated Individual Achievement in Storyboarding Chris Ure Nominated Individual Achievement in Production Design David Goetz Nominated Individual Achievement in Effects Animation Marlon West Nominated Individual Achievement in Voice Acting – Female Florence Stanley Nominated Individual Achievement in Voice Acting – Male Leonard Nimoy Nominated Individual Achievement for Music Score James Newton Howard Nominated 2002 DVD Exclusive Awards[113] Original Retrospective Documentary Michael Pellerin Nominated 2002 Golden Reel Award[114] Best Sound Editing – Animated Feature Film Gary Rydstrom, Michael Silvers, Mary Helen Leasman, John K. Carr, Shannon Mills, Ken Fischer, David C. Hughes, and Susan Sanford Won Online Film Critics Society Awards 2001[115] Best Animated Feature Nominated 2002 Political Film Society[116] Democracy Nominated Human Rights Nominated Peace Nominated World Soundtrack Awards[117] Best Original Song for Film Diane Warren and James Newton Howard Nominated Young Artist Awards[118] Best Feature Family Film – Drama Walt Disney Feature Animation Nominated Related works Main article: Atlantis (franchise) Atlantis: The Lost Empire was meant to inspire an animated television series entitled Team Atlantis, which would have presented the further adventures of its characters. The series would have been akin to an animated steampunk version of The X-Files and feature a crossover with Gargoyles. However, because of the film's underperformance at the box office, the series was not produced.[119] On May 20, 2003, Disney released a direct-to-video sequel titled Atlantis: Milo's Return, consisting of three episodes planned for the aborted series.[120] Disneyland planned to revive its Submarine Voyage ride with an Atlantis: The Lost Empire theme with elements from the movie. These plans were canceled and the attraction was re-opened in 2007 as the Finding Nemo Submarine Voyage, its theme based on the 2003 Pixar film Finding Nemo, which was far more successful commercially and critically.[121] In addition, after the Submarine Voyage's Magic Kingdom counterpart, 20,000 Leagues Under the Sea: Submarine Voyage, closed down in 1994, four years before Disneyland's, there were proposals of a new attraction that would take its place, with one of them a volcano attraction inspired by that film's Vulcania location, being approved for the Magic Kingdom's Adventureland area. Around 1999, during development of Atlantis: The Lost Empire, it was decided that it would be themed to the movie, with it taking place in 1916, two years after the film's events. The ride would have focused on Preston Whitmore, a character from the film, seeking to make Atlantis existence public and offer expeditions to visitors in newly developed vehicles. However, due to mishaps, the vehicles would be forced to make a detour through the lava-filled caverns of the volcano. The attraction would have used a unique hybrid ride system, in which it would start as a standard coaster before the trains hook up to a suspended track midway through to fly through the caverns. The attraction would have been accessed by a new canyon path in between Pirates of the Caribbean and a re-routed Jungle Cruise that would have led to a Whitmore Enterprises base camp at the edge of the Walt Disney World Railroad path, with the mountain itself being built outside the berm. However, like the previous Submarine Voyage retheme, the ride was cancelled due to the film's disappointment in the box office.[122]

https://youtube.com/live/4_iffBMGZ5s You wouldn't believe Mico Klokoc Thompson's story—it's like something out of a rock and roll legend. This guy's been hooked on electronics since he was just a little kid, probably around six. His grandfather used to tinker with tube TVs, radios, and ham radio setups, so there was always some cool gadget to mess with at his grandparents' house. Oh, and his grandfather also played a little guitar, which kind of planted the seed for Mico's lifelong love of music and tone. By the time he was 12, Mico was already reaching out to big names in the industry. He wrote to Ken Fischer from Trainwreck Circuits and even the artist relations team at Kramer Guitars. And get this—Ken Fischer actually responded and told him to stay in touch. Talk about a promising start! Fast forward a few years, and by 17, he was on the road with Aerosmith, working behind the scenes while Guns N' Roses was the opening act. Can you imagine being a teenager and getting that kind of backstage pass to rock history? From there, he jumped into the Hollywood music scene, fixing tube amps and working with local guitarists at Amp Crazy. It didn't take long for Mico to start rubbing shoulders with the biggest names in the game. He worked with Eddie Van Halen, Ratt, Poison—you name it. And when he moved to Nashville, he didn't slow down. Instead, he started working with country legends like Marty Stuart, Travis Tritt, and Merle Haggard. But Mico's not just some behind-the-scenes tech guy. He's been a key player at Trainwreck Amplifiers for years, partnered with One Control Effects and Amplifiers, and he even designs his own amps now. He's all about restoring vintage gear and helping musicians perfect their tone. I mean, he's worked with everyone from Ted Nugent to Pat Travers, and even up-and-comers like Benito Di Bartolie and Dante Bonasera. Mico's the guy you call when you're serious about tone. Whether it's building a custom amp, restoring a classic, or just dialing in that perfect sound, he's the one who makes it happen. He's a legend in his own right. "Talking Guitars" is your go-to show for all things guitars and guitar gear. Hosted by passionate guitar enthusiasts, the show dives into the latest trends, gear reviews, and industry news, catering to guitar players of all levels. From discussing the newest guitar models to exploring innovative pedal effects, "Talking Guitars" keeps viewers informed and entertained. But it's not just about information - the show also hosts exciting giveaways, fostering a sense of community and fun among guitar enthusiasts. So whether you're a seasoned pro or just starting out, tune in to "Talking Guitars" for a great time and all things guitar!

Release Date: 01-25-21 Kenneth Adkins was a dedicated disciplined breeder of Bluetick hounds. Ken Fischer and  Jacob Campbell join Houndsman XP host Chris Powell for an in depth look at the man, Kenneth  Adkins. Ken and Jacob have dedicated their lives to continuing Mr. Adkins work. Listeners will  enjoy their historical journey that includes a look at the most notable men in blue tick history.Listeners will hear about the character of Mr. Adkins and how he successfully bred his line of  Bluetick Coonhounds that are currently being used for bear hunting, lion hunting and  coonhunting. ►Get Your Houndsman XP Info, Gear & More Here!www.HoundsmanXP.com►Become a Patron of Houndsman XP! Check out our Tailgate Talks.|

Lehramtsstudent Ken Fischer aus Landau hat den Schulalltag in den USA kennengelernt. Sein Fazit: Inklusion läuft dort besser. Was genau ihn beeindruckt hat, erzählt Ken Fischer im Gespräch mit SWR Aktuell-Moderator Andreas Böhnisch.

Here, guest speaker Ps. Ken Fischer explores the concepts of grace and repentance through the story of Jesus healing a man born blind in John 9. He discusses how this miracle showcases Jesus' divine power and reveals the unexpected ways God's grace manifests in our lives.–Stay connected!Website: inspirechurch.comFacebook: facebook.com/inspirechurch Instagram: instagram.com/inspirechurchLove People. Love God. Inspire Our World.Support the Show.

It's the 135th episode of the Truth About Vintage Amps podcast, where amp tech Skip Simmons fields your questions on all-things-tube amps.  Want to be a part of our show? Just email us a question or voice memo to podcast@fretboardjournal.com. Some of the topics discussed this time around:  1:24 Another hopeful story; Winters, California 7:44 The fifth-ever Fretboard Summit: Blake Mills, Adam Levy, vintage amps, new amps, 80 luthiers, JHS and so much more. www.fretboardsummit.org 13:25 One of the greatest boxes of all time: thanks, Ben from Chattanooga! 15:01 Lynn Wheelwright reaches out to Skip 16:33 The very first Standel amp; Tacoma, Washington's Guitar Maniacs  18:53  Our sponsors: Emerald City Guitars (watch the Dumble video here), Amplified Parts, StewMac, and Grez Guitars.  22:10 Thank you, John Ross 23:41 Gibson's GA-45 "Velvet Touch"; Terry Dobbs (Mr. Valco) https://valcoamp.com 27:32 The answer to Ep. 134's Baffler: A Tweed Vibrolux 31:44 A Body & Soul El Pato fuzz giveaway? https://www.instagram.com/bsinstruments/ 34:00 The last remaining Big Boy locomotive is moving through California; Skip's hobo days  https://www.up.com/heritage/steam/schedule/index.htm 37:26 How to satisfy your customer when only one power tube needs to be replaced? CE Distribution; pimento cheese 47:04 A 5E3 build with too much Fender "bacon;" Ken Fischer 49:51 A Rickenbacker M11 with a 60 cycle hum out of V1 57:22 VHT Special Six, redux 1:03:51 A simple cocktail: A Boyhattan; bitters 1:05:15 The history of AIMS amps; 5 ohm amps; The Mosquito Supper Club's boiled shrimp (link) 1:13:34 The pronunciation police; modding a Silver Panel Fender Champ with a Magnatone 213 tone control 1:17:11 Elemental knowledge; California-built Vox amps; Clarkson's Farm 1:25:00 Is variable input impedance worth experimenting with? Bogen guitar amps 1:29:41 Is the two-prong hat offensive? Are fixed-bias amps more touch-sensitive? the phono input in old PAs; GM/IP on tubes 1:33:15 Recommended reading: The All-Music Guide  Recorded June 21, 2024.

CARLYN MONTES DE OCA is a multi-award-winning author, an international speaker, and passionate animal advocate.A former film editor on such movies as Honey, I Shrunk the Kids and Three Men and a Little Lady, Carlyn holds a bachelor's degree from Loyola Marymount University in communication arts and a master's degree in Traditional Chinese Medicine. As a sought after speaker, Carlyn frequently talks on the powerful ways human health, happiness, and longevity are improved through our connection with our animal companions. She has been featured on ABC, CBS, NBC, and Woman's Day Magazine. A longtime resident of Northern California, Carlyn now lives in Santa Fe, New Mexico with her husband, Ken Fischer, an award-winning sound editor, and her beloved rescue dog, Grace. Her latest book, a #1 Amazon bestseller and award-winning book, Junkyard Girl: a Memoir of Ancestry, Family Secrets, and Second Chances, is available now.https://www.pulledbytheroot.com/

This Episode is sponsored by Skunk Brothers SpiritsWebsite: https://skunkbrothersspirits.com/About the author:Carlyn Montes De Oca, MTOM, is the multi award-winning author of Dog as My Doctor, Cat as My Nurse. A former film editor on movies such as Honey, I Shrunk the Kids and Three Men and a Little Lady, Carlyn holds a bachelor's degree in communications and a master's degree in Traditional Chinese Medicine. Today, Carlyn is an animal-human health expert, popular blogger, and passionate animal advocate. She is the founder of The Animal-Human Health Connection where she focuses on educating others about the powerful ways human health, happiness,and longevity are improved through our connection to our animal companions. Montes De Oca has appeared on CBS, ABC, The San Francisco Chronicle, and other media and she gave a dynamic TEDx talk—The Life-Changing Power of the Animal-Human Health Connection. A longtime resident of Northern California, Carlyn now lives in Santa Fe, New Mexico with her husband, Ken Fischer, an award-winning sound editor, and her beloved rescue dog, Grace. Discovering she was adopted turned Carlyn's world upside down. AdoptingFacebook, Instagram, Twitter, Pintrest, TikTok:@carlynmdo YouTube: @Carlyn Montes De OcaDiscount Code: DWA10Music by Jam HansleyFollow Us and Buy Our Books!Website: https://4horsemenpublications.com/All Social Media: @DrinkingWithAuthorsThis Episode is sponsored by Skunk Brothers SpiritsWebsite: https://skunkbrothersspirits.com/Discount Code: DWA10Skunk Brothers Spirits was started by a family of disabled veterans focused on locally-sourced, quality distilled spirits. The Washington-based team is building on their grandfather's prohibition-era moonshine recipe to bring small batch spirits to the Gorge and beyond!

This Episode is sponsored by Skunk Brothers SpiritsWebsite: https://skunkbrothersspirits.com/About the author:Carlyn Montes De Oca, MTOM, is the multi award-winning author of Dog as My Doctor, Cat as My Nurse. A former film editor on movies such as Honey, I Shrunk the Kids and Three Men and a Little Lady, Carlyn holds a bachelor's degree in communications and a master's degree in Traditional Chinese Medicine. Today, Carlyn is an animal-human health expert, popular blogger, and passionate animal advocate. She is the founder of The Animal-Human Health Connection where she focuses on educating others about the powerful ways human health, happiness,and longevity are improved through our connection to our animal companions. Montes De Oca has appeared on CBS, ABC, The San Francisco Chronicle, and other media and she gave a dynamic TEDx talk—The Life-Changing Power of the Animal-Human Health Connection. A longtime resident of Northern California, Carlyn now lives in Santa Fe, New Mexico with her husband, Ken Fischer, an award-winning sound editor, and her beloved rescue dog, Grace. Discovering she was adopted turned Carlyn's world upside down. AdoptingFacebook, Instagram, Twitter, Pintrest, TikTok:@carlynmdo YouTube: @Carlyn Montes De OcaDiscount Code: DWA10Music by Jam HansleyFollow Us and Buy Our Books!Website: https://4horsemenpublications.com/All Social Media: @DrinkingWithAuthorsThis Episode is sponsored by Skunk Brothers SpiritsWebsite: https://skunkbrothersspirits.com/Discount Code: DWA10Skunk Brothers Spirits was started by a family of disabled veterans focused on locally-sourced, quality distilled spirits. The Washington-based team is building on their grandfather's prohibition-era moonshine recipe to bring small batch spirits to the Gorge and beyond!

Carlyn Montes De Oca is an animal advocate, international speaker, and the #1 Amazon bestselling and award-winning author of Dog as My Doctor, Cat as my Nurse. Carlyn has been featured on ABC, CBS, and The San Francisco Chronicle and gave a TEDx talk—The Life-Changing Power of the Animal-Human Health Connection. A long-time resident of Northern California, she now lives in Santa Fe, New Mexico, with her husband, Ken Fischer, an award-winning sound editor, and their beloved rescue dog, Grace. Her upcoming book, Junkyard Girl: A Memoir of Ancestry, Family Secrets, and Second Chances, is available. www.animalhumanhealth.com Evidenced by her many transformations, Meg Nocero understands the power of awareness and intentions while manifesting her greatest dreams. In addition to a successful career as an attorney (former federal immigration prosecutor), she has transitioned her calling to award-winning author, certified empowerment coach and happiness trainer, adjunct professor, and inspirational speaker. In May 2021, she presented a TEDx inspirational talk called "Wake Up!" And in September 2021, she completed her inspirational "Butterflies & Bliss Trilogy." Beginning with The Magical Guide to Bliss: Daily Keys to Unlock Your Dreams, Spirit & Inner Bliss, followed by Sparkle & Shine: 108 M.A.N.T.R.A.s to Brighten Your Day and Lighten Your Way, and finished with Butterfly Awakens: A Memoir of Transformation Through Grief. After being brought on stage in Miami with Oprah Winfrey in 2014, she created a life more closely aligned with her dream and inspired others to follow their bliss. Founder of "The Meg Nocero Network," she runs her company Butterflies & Bliss, L.L.C., a non-profit called S.H.I.N.E. Networking Inc. that provides educational scholarships to young innovative leaders. She is also a Love Button Global Movement Ambassador. In 2021, S.H.I.N.E. received an Inaugural Anthem Award in the Education, Arts & Culture – Networking and Community Organization category. Nocero appeared on CNN Español, BookCon live, podcasts, and online media such as M.S.N.B.C., C.B.S., Boston Herald, and Chicago Tribune. She hosts a YouTube/Podcast channel where she broadcasts Manifesting with Meg: Conversations with Extraordinary People and Amazing Authors. Nocero is a proud Italian-American whose love of language had her master English, Spanish, Italian and conversational French. She lives in Miami, Fl. with her husband, shelties, and two children and is honored to be a "Friend of the Miami Book Fair." Conversations with Extraordinary People is a YouTube/podcast based on The Magical Guide to Bliss. It takes the listener through the year with empowering conversations. Visit www.megnocero.com. Please subscribe to my channel today! --- Support this podcast: https://anchor.fm/meg-nocero/support

Longtime president of Michigan's famed University Musical Society, Ken Fischer explains how this small town attracts world-class talent like Leonard Bernstein, Yo-Yo Ma, Wynton Marsalis, and the Royal Shakespeare Company. But the best insight is Fischer's guiding principle: "Everybody In, Nobody Out.” His take-aways include: A ‘no' is the first step to a ‘yes'!; You have to touch their heart; Get out of the tower, and into the community. You can't lead people you don't know.For info about the book or this podcast please visit our website:http://www.letthemleadbybacon.comhttp://www.johnubacon.comYou can connect with John via these platforms:https://www.facebook.com/johnubaconhttps://twitter.com/Johnubacon

9th May 2021

4th April 2021

21st March 2021

21st February 2021

Kenneth Adkins was a dedicated disciplined breeder of Bluetick hounds. Ken Fischer and  Jacob Campbell join Houndsman XP host Chris Powell for an in depth look at the man, Kenneth  Adkins. Ken and Jacob have dedicated their lives to continuing Mr. Adkins work. Listeners will  enjoy their historical journey that includes a look at the most notable men in blue tick history.  Listeners will hear about the character of Mr. Adkins and how he successfully bred his line of  Bluetick Coonhounds that are currently being used for bear hunting, lion hunting and  coonhunting. Houndsman XP is Powered by Simplecast

Kenneth Adkins was a dedicated disciplined breeder of Bluetick hounds. Ken Fischer and  Jacob Campbell join Houndsman XP host Chris Powell for an in depth look at the man, Kenneth  Adkins. Ken and Jacob have dedicated their lives to continuing Mr. Adkins work. Listeners will  enjoy their historical journey that includes a look at the most notable men in blue tick history.  Listeners will hear about the character of Mr. Adkins and how he successfully bred his line of  Bluetick Coonhounds that are currently being used for bear hunting, lion hunting and  coonhunting. Houndsman XP is Powered by Simplecast

13th December 2020

1st November 2020

From the publisher: Housed on the campus of the University of Michigan in Ann Arbor, the University Musical Society is one of the oldest performing arts presenters in the country. A past recipient of the National Medal of Arts, the nation's highest public artistic honor, UMS connects audiences with wide-ranging performances in music, dance, and theater each season. Between 1987 and 2017, UMS was led by Ken Fischer, who over three decades pursued an ambitious campaign to expand and diversify the organization's programming and audiences--initiatives inspired by Fischer's overarching philosophy toward promoting the arts, "Everybody In, Nobody Out." The approach not only deepened UMS's engagement with the university and southeast Michigan communities, it led to exemplary partnerships with distinguished artists across the world. Under Fischer's leadership, UMS hosted numerous breakthrough performances, including the Vienna Philharmonic's final tour with Leonard Bernstein, appearances by then relatively unknown opera singer Cecilia Bartoli, a multiyear partnership with the Royal Shakespeare Company, and artists as diverse as Yo-Yo Ma, Elizabeth Streb, and Nusrat Fateh Ali Khan. Though peppered with colorful anecdotes of how these successes came to be, this book is neither a history of UMS nor a memoir of Fischer's significant accomplishments with the organization. Rather it is a reflection on the power of the performing arts to engage and enrich communities--not by handing down cultural enrichment from on high, but by meeting communities where they live and helping them preserve cultural heritage, incubate talent, and find ways to make community voices heard. Martin's interview with Ken Fischer was recorded on September 17, 2020.

The air outside might have a chill in it but inside the McKee Financial Resources Studio was warm with the arrival of the always energetic, Robin Lea Pyle.  An artist, cat rescue enthusiast, dancer, writer, and all-around creative woman shared an amazing hour that will have listeners wanting more.  We dove into her time learning dance at a young age that led her to working with some of the greatest choreographers in the world, including Bill T. Jones.     We talk about her exposure to math and science, with her father working on developing one of the first super computers alongside IBM, and some of the amazing research he fielded while at Purdue University.  We also dive into the book both written and about Ken Fischer titled, "Everybody In, Nobody Out: Inspiring Community at Michigan's University Musical Society."  Robin worked closely on the research and development of this book and shares some great perspectives that she saw while working with Ken.   With fascinating stories about her successes, challenges, and why she sees herself just as much an entrepreneur as artist, this episode will fill your mind, body, and soul with inspiration as you continue to grow yourself and your company.   As Ken Fischer repeatedly said, "everyone in, nobody out," Robin's story will have you feeling invited into her life's journey during our October interview.   http://www.thepress.purdue.edu/titles/first-field-breaking-ground-computer-science-purdue-university   https://www.press.umich.edu/9902056/everybody_in_nobody_out   http://www.mckeefinancialresources.com Episodes 7-12 Sponsor https://www.100waters.com

27th September 2020

“We gotta get out of this tower. We’ve got to engage with the communities of Southeast Michigan… the communities of shared heritage, the educational communities, the nonprofit community, the business community, and that means… get out of the tower.” Ken Fischer, President Emeritus of the University Musical Society, speaks to the importance of community engagement in arts organizations.

University Musical Society 

Ken Fischer was President of Ann Arbor’s University Musical Society for three decades. From 1987 to 2017, UMS showcased everyone from the Vienna Philharmonic to the Royal Shakespeare Company, Yo Yo Ma to Wynton Marsalis. In fact, it was Marsalis who wrote the forward to Fischer’s new memoir, Everybody In Nobody Out…

16th August 2020

Support the Truth About Vintage Amps through our brand new Patreon page: https://www.patreon.com/vintageamps Steve Melkisethian of Angela Instruments makes his eagerly anticipated second Truth About Vintage Amps appearance and it doesn't disappoint. Included: Tracking down vintage Marshalls in the UK, selling gear to U2, Ken Fischer, tube sockets, recommended books, Orange amps, Jesse Quitslund of Acme Instruments, Jef Brown, Steve plays drums for the Cramps, and more! Note: Steve recommends two books by author Pete "The Jukester" Sheridan. You can read about them via his website. Both can be purchased by sending him a check/money order to the address on the homepage.  Special thanks, as always, to our sponsors Grez Guitars and Amplified Parts. 

26th July 2020

5th July 2020

21st April 2020

24th May 2020

3rd May 2020

12th April 2020

1st March 2020

24th November 2019

27th October 2019

22nd Sept 2019

4th August 2019

7th July 2019

20th June 2019 (Interviews and Message)

9th June 2019

19th May 2019

21st April 2019

7th April 2019

31st March 2019

17th March 2019

24th February 2019

13th January 2019

6th January 2019

9th December 2018

Ken Fischer Podcast by Ann Arbor SPARK

CEO Podcast with Ken Fischer by Ann Arbor SPARK

Ken Fischer and Isaac Abraham on Rabbi Glantz

Ken Fischer and Isaac Abraham on Rabbi Glantz