Podcast appearances and mentions of maude lebowski

Dear VoiceHeads,Welcome to episode 3 in the series.  Here we take a trip to Wembley Stadium (I beg your pardon?  I don't even know what a green screen is!) and do a breakdown of Freddie Mercury's vocal technique on lesser-known Queen hit, "It's A Hard Life", track 3 off of album 'The Works'.  We talk Chest Voice, Head Voice, vocal rasp and distortion, but I try to keep it 'in the parlance of our times' as Maude Lebowski would say.Audio quality's a little less than you've come to expect- apologies on that!  Shower was running and my software plugin C-Vox left just a little static around the edges.  Hopefully you stay riveted with my comedy and insights.allvoicemedia.com/backstage

Film writer, editor, and podcaster Jake Tropila joins from Los Angeles to discuss the Coen Brothers' 1998 comedy 'The Big Lebowski', starring Jeff Bridges, John Goodman, Julianne Moore, and Philip Seymour Hoffman. Though middlingly received both critically and commercially upon release, the film has gone on to become a genuine cult classic, launching a cottage industry of fan screenings, conventions, and even a religion.We discuss the film's patchwork of influences, including larger-than-life characters withing the Coens' orbit and the works of author Raymond Chandler, especially as adapted by Robert Altman for his 1973 film 'The Long Goodbye'. Then we discuss the film's unrivaled cast, including a superb John Goodman, who turns in an awards-caliber performance as the gun-toting, militant bowling enthusiast Walter Sobchak. Finally, we discuss the film's windy, inarticulable plot, and the way that its mechanics might conceal a deeper level of criticism about the sociopolitical landscape of America on the eve of The End of History. Watch the trailer for The Big Lebowski. Watch Mortimer Young for Forever Young Films #1 - The Grand Lebowski.Follow Jake Tropila on Twitter.Read Film Inquiry.Listen and Subscribe to Optimism Vaccine.Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

On this episode, we line up the pins and head down the lane back to 1982, to recast the Coen Bros  ultimate classic, 1998's The Big Lebowski!Tanner finds religion, Nick pours in a few memorable quotes too many,, and Cory has questions a plenty, including why Tanner and Nick even like this movie.Its chaos as usual for the Quantum crew, so grab the Kahlua, kick back, and hit play to find out who we cast!TwitterInstagramFacebookor at quantumrecast.com! Starring:Cory Williams (@TheLionFire)Nick Growall (@NickGrowall)Tanner Risner (@TheTannerRisner) Editing by: Jesse Risner (@Aquaneersupreme) (00:05:15) -Nit or pick (00:15:27) - Useless Critic Stats  (00:20:08) - Why Did We Choose It  (00:25:46)- We Have Questions  (00:33:42) - Junk Draw Trivia(00:45:38)- Box Office  (00:47:04) - Oscars   (00:52:37) - What Changes (00:55:39) - Rules rundown (00:58:23) - 30 Sec or Less(01:01:43) - Lead Nihilist(01:06:46) -  Brandt(01:12:19) - Jeffrey Lebowski(01:19:51)- Donnie(01:27:39) - Maude Lebowski (01:37:05) - Walter (01:47:02) - The Dude(01:55:37) - The Final Rundown(01:57:41) - What's Next

  Jason's guests this week on the pod are Micheal Chernus and Emily Simoness, a married couple who join him to take a very deep dive into all the wonderful, like, greatness, man, of 'The Big Lebowski'.   Michael's a Julliard-trained stage, TV, and film actor currently appearing on TV as speechwriter Ken Rosey opposite Edie Falco on the CBS series 'Tommy'.     You might have also seen him as  Piper's brother Cal Chapman on 'Orange Is The New Black' or playing Congressman Edward Tavner in Amazon's 'Patriot'.   Michael's movie roles include portraying The Tinkerer, the original McGyver, in Marvel's Spider-Man: Homecoming; playing Tom Hanks' first mate Shane Murphy in the excellent Paul Greengrass film 'Captain Phillips'; and appearing opposite Will Smith in 2012's 'Men In Black 3".     The other half of this power-couple, Emily, is the founder and executive Director of SPACE on Ryder Farm, a non-profit artistic residency program and organic farm located on the grounds of a 225-year-old family homestead in Putnam County, New York.   But outside their professional accomplishments, they're just wonderful midwestern good people, whose self-effacing humor and innate smarts you'll hear on display in the podcast as we discuss the Coen Brother's 'The Big Lebowski'. ABOUT THE MOVIE:  The Big Lebowski (/ləˈbaʊski/) is a 1998 crime comedy film written, produced, and directed by Joel and Ethan Coen. It stars Jeff Bridges as Jeffrey "The Dude" Lebowski, a Los Angeles slacker and avid bowler. He is assaulted as a result of mistaken identity, after which The Dude learns that a millionaire (also named Jeffrey Lebowski) was the intended victim. The millionaire Lebowski's trophy wife is kidnapped, and he commissions The Dude to deliver the ransom to secure her release; the plan goes awry when the Dude's friend Walter Sobchak (John Goodman) schemes to keep the ransom money. Julianne Moore, Steve Buscemi, David Huddleston, John Turturro and Philip Seymour Hoffman also appear, in supporting roles. The film is loosely inspired by the work of Raymond Chandler. Joel Coen stated, "We wanted to do a Chandler kind of story – how it moves episodically, and deals with the characters trying to unravel a mystery, as well as having a hopelessly complex plot that's ultimately unimportant."[4] The original score was composed by Carter Burwell, a longtime collaborator of the Coen brothers. The Big Lebowski was a disappointment at the U.S. box office and received mixed reviews at the time of its release. Over time, reviews have become largely positive, and the film has become a cult favorite,[5] noted for its eccentric characters, comedic dream sequences, idiosyncratic dialogue, and eclectic soundtrack.[6] In 2014, the film was selected for preservation in the National Film Registry by the Library of Congress, being deemed "culturally, historically, or aesthetically significant".[7][8] A spin-off based on John Turturro's character, titled The Jesus Rolls, was released in 2019 with Turturro also acting as writer and director. Cast Jeff Bridges as Jeffrey "The Dude" Lebowski. Bridges had heard or was told by the Coen brothers that they had written a screenplay for him. John Goodman as Walter Sobchak; a Vietnam veteran and bowling partner and friend of "The Dude." Walter was based, in part, on screenwriter and director John Milius. Julianne Moore as Maude Lebowski; Jeffrey "The Big" Lebowski's daughter, a feminist and an avant-garde artist. Steve Buscemi as Theodore Donald "Donny" Kerabatsos; a bowling partner and friend of "The Dude." Walter's repeated response, "Shut the fuck up, Donny!" is a reference to Fargo, in which Buscemi's character was constantly talking and interrupting conversations when he is not paying attention to the story. David Huddleston as Jeffrey "The Big" Lebowski; a millionaire philanthropist for whom "The Dude" is mistaken. Philip Seymour Hoffman as Brandt; Jeffrey "The Big" Lebowski's executive assistant Tara Reid as Bunny Lebowski; Jeffrey "The Big" Lebowski's blonde 20s-something trophy wife and former porn video performer (“Log Jammin’”) for Jackie Treehorn Productions. According to Reid, Charlize Theron also tried out for the role. Philip Moon as Woo; a Jackie Treehorn thug Mark Pellegrino as the Blond Treehorn thug Peter Stormare, Torsten Voges, and Flea as Uli Kunkel/Karl Hungus, Franz, and Kieffer, the German nihilists; Uli originated on the set of Fargo between Ethan Coen and Stormare, who often spoke in a mock German accent. Jimmie Dale Gilmore as Smokey; a hippie bowler in the league whom Walter threatens at gunpoint over an attempt to mark his frame an eight despite letting his foot move over the alley line Jack Kehler as Marty; The Dude's landlord, who is also a performance artist John Turturro as Jesus Quintana. The Coen brothers let Turturro come up with a lot of his own ideas for the character, like towel-shining the bowling ball and the scene where he dances backward from his bowling alley line, which he says was inspired by Muhammad Ali. David Thewlis as Knox Harrington, an avant-garde videographer-friend of Maude Lebowski Sam Elliott as The Stranger, a smooth-talking urban cowboy who also serves as the narrator of the film Ben Gazzara as big-time porn video producer Jackie Treehorn, to whom Bunny Lebowski owes money Jon Polito as Da Fino, a private dick who mistakes the Dude for a "brother shamus", hired by Bunny's family to return her to them Leon Russom as the Malibu police chief Aimee Mann as Nihilist Woman/Franz's Girlfriend who donates her amputated green nail-polished little toe (proof of Bunny Lebowski's kidnapping) Lu Elrod coffee shop waitress SOUNDTRACK The original score was composed by Carter Burwell, a veteran of all the Coen Brothers' films. While the Coens were writing the screenplay they had Kenny Rogers' "Just Dropped In (to See What Condition My Condition Was in)", the Gipsy Kings' cover of "Hotel California", and several Creedence Clearwater Revival songs in mind.[25] They asked T-Bone Burnett (who would later work with the Coens on O Brother, Where Art Thou? and Inside Llewyn Davis) to pick songs for the soundtrack of the film. They knew that they wanted different genres of music from different times but, as Joel remembers, "T-Bone even came up with some far-out Henry Mancini and Yma Sumac."[26] Burnett was able to secure songs by Kenny Rogers and the Gipsy Kings and also added tracks by Captain Beefheart, Moondog and Bob Dylan's "The Man in Me".[25] However, he had a tough time securing the rights to Townes Van Zandt's cover of the Rolling Stones' "Dead Flowers", which plays over the film's closing credits. Former Stones manager Allen Klein owned the rights to the song and wanted $150,000 for it. Burnett convinced Klein to watch an early cut of the film and remembers, "It got to the part where the Dude says, 'I hate the fuckin' Eagles, man!' Klein stands up and says, 'That's it, you can have the song!' That was beautiful."[25][27] Burnett was going to be credited on the film as "Music Supervisor", but asked his credit to be "Music Archivist" because he "hated the notion of being a supervisor; I wouldn't want anyone to think of me as management".[26] For Joel, "the original music, as with other elements of the movie, had to echo the retro sounds of the Sixties and early Seventies".[16]:156 Music defines each character. For example, "Tumbling Tumbleweeds" by Bob Nolan was chosen for the Stranger at the time the Coens wrote the screenplay, as was "Lujon" by Henry Mancini for Jackie Treehorn. "The German nihilists are accompanied by techno-pop and Jeff Bridges by Creedence. So there's a musical signature for each of them", remarked Ethan in an interview.[16]:156 The character Uli Kunkel was in the German electronic band Autobahn, an homage to the band Kraftwerk. The album cover of their record Nagelbett (bed of nails) is a parody of the Kraftwerk album cover for The Man-Machine and the group name Autobahn shares the name of a Kraftwerk song and album. In the lyrics the phrase "We believe in nothing" is repeated with electronic distortion. This is a reference to Autobahn's nihilism in the film.[28]

EL GRAN LEBOWSKI En 1998 Hollywood estrenó dos películas de culto, Miedo y Asco en Las Vegas, de Terry Gilliam y El Gran Lebowski, de los Hermanos Coen. Ambas profundamente arraigadas en la tumultuosa historia y cultura de la segunda mitad del siglo XX cuyas secuelas perduran aún en la vida de los Estados Unidos; ambas convertidas en películas de culto por un público adicto a sus personajes, pero poco ducho en los entresijos históricos o en las reflexiones que estas plantean. Como el reflejo de un espejo esperpéntico y distorsionado, pero reflejo al fin y al cabo,  El Gran Lebowski funciona como una comedia agridulce plagada de juegos de palabras que se entrelazan con una puesta en escena sembrada de detalles referenciales de una realidad social tan amarga como verídica. Los dos lados de una sociedad crispada desde la Guerra Fría que dio a luz a una década de revueltas sociales que cristalizaban por las calles de Estados Unidos en forma de hippies y de grupos sociales dispuestos a llegar hasta el final en su lucha por los derechos civiles. Corea, Vietnam, el asesinato de JFK, el surgimiento del Black Power, las feministas, los hippies, el Watergate…. Una época de cambios convulsos de la que los estadounidenses aún tratan de hacer borrón y cuenta nueva.   El Dude, el Nota para los españoles, y su alter ego contemporáneo, el Gran Lebowski, y su alter ego del pasado, Walter, los nihilistas y Bunny, Donny y Jesús, anclados todos ellos en un pasado del que no pueden o no quieren renunciar, configuran un ramillete de personajes atrapados en una compleja red de falsedades, en las que caen y a las que contribuyen sin descanso. Un solo personaje se salva de la falta de realidad a la que todos parecen sometidos, Maude Lebowski. Durante la última década del siglo XX resurgió con fuerza el movimiento feminista, dándose en llamar a este último resurgimiento la tercera ola. Los noventa eran años plagados de artistas conceptuales, especialmente mujeres, que reivindicaban la feminidad con fuerza imperativa y que sostenían el centro de su obra sobre el sexo femenino. La huella de Carolee Schneemann así como de Yoko Ono resulta inequívocamente clara en el personaje de Maude, la única que lo sabe todo, lo controla todo, lo entiende todo. En 1962, explica Dude, el fue uno de los redactores del llamado Port Huron Statement,  Michigan, “del primer borrador, no del segundo corregido”.  Los estudiantes decidieron reunirse en aras de la defensa de una sociedad democrática y en contra de la guerra de Vietnam. We are people of this generation, bred in at least modest comfort, housed now in universities, looking uncomfortably to the world we inherit. The American political system is not the democratic model of which its glorifiers speak. If we appear to seek the unattainable, as it has been said, then let it be known that we do so to avoid the unimaginable.   Somos personas de esta generación, criados con al menos un modesto confort, ahora alojados en universidades, mirando incómodamente al mundo que hemos heredamos. El sistema político estadounidense no es el modelo democrático del que hablan sus glorificadores. Si parece que buscamos lo inalcanzable, como se ha dicho, entonces debe saberse que lo hacemos para evitar lo inimaginable.   Y después, en 1972, Dude será uno de los Siete de Seattle, Seattle Liberation Front. Y es allí donde encontramos a ese otro personaje real, Jeff Dowd que da origen a la inspiradora figura del Dude. El coche rojo, (uno de los varios que se dejan ver en la película) de Bunny, corriendo a toda velocidad haciendo sonar el Vivan Las Vegas de Elvis, trae resonancias de aquel otro coche de Hunter S. Thompson con el que Johnny Depp cruzará el desierto y que nos traerá aquel otro famoso discurso, menos poético, menos atractivo, de lo que quedó de la ola hippie y las consecuencias de las drogas. Hay que tener en la piel la historia, el respirar y el sentir de Estados Unidos para entender a los Coen, un par de judíos de Nueva York profundamente estadounidenses y enamorados de su país.. Comedia sí, banal o estúpida, definitivamente no.

EL GRAN LEBOWSKI En 1998 Hollywood estrenó dos películas de culto, Miedo y Asco en Las Vegas, de Terry Gilliam y El Gran Lebowski, de los Hermanos Coen. Ambas profundamente arraigadas en la tumultuosa historia y cultura de la segunda mitad del siglo XX cuyas secuelas perduran aún en la vida de los Estados Unidos; ambas convertidas en películas de culto por un público adicto a sus personajes, pero poco ducho en los entresijos históricos o en las reflexiones que estas plantean. Como el reflejo de un espejo esperpéntico y distorsionado, pero reflejo al fin y al cabo,  El Gran Lebowski funciona como una comedia agridulce plagada de juegos de palabras que se entrelazan con una puesta en escena sembrada de detalles referenciales de una realidad social tan amarga como verídica. Los dos lados de una sociedad crispada desde la Guerra Fría que dio a luz a una década de revueltas sociales que cristalizaban por las calles de Estados Unidos en forma de hippies y de grupos sociales dispuestos a llegar hasta el final en su lucha por los derechos civiles. Corea, Vietnam, el asesinato de JFK, el surgimiento del Black Power, las feministas, los hippies, el Watergate…. Una época de cambios convulsos de la que los estadounidenses aún tratan de hacer borrón y cuenta nueva.   El Dude, el Nota para los españoles, y su alter ego contemporáneo, el Gran Lebowski, y su alter ego del pasado, Walter, los nihilistas y Bunny, Donny y Jesús, anclados todos ellos en un pasado del que no pueden o no quieren renunciar, configuran un ramillete de personajes atrapados en una compleja red de falsedades, en las que caen y a las que contribuyen sin descanso. Un solo personaje se salva de la falta de realidad a la que todos parecen sometidos, Maude Lebowski. Durante la última década del siglo XX resurgió con fuerza el movimiento feminista, dándose en llamar a este último resurgimiento la tercera ola. Los noventa eran años plagados de artistas conceptuales, especialmente mujeres, que reivindicaban la feminidad con fuerza imperativa y que sostenían el centro de su obra sobre el sexo femenino. La huella de Carolee Schneemann así como de Yoko Ono resulta inequívocamente clara en el personaje de Maude, la única que lo sabe todo, lo controla todo, lo entiende todo. En 1962, explica Dude, el fue uno de los redactores del llamado Port Huron Statement,  Michigan, “del primer borrador, no del segundo corregido”.  Los estudiantes decidieron reunirse en aras de la defensa de una sociedad democrática y en contra de la guerra de Vietnam. We are people of this generation, bred in at least modest comfort, housed now in universities, looking uncomfortably to the world we inherit. The American political system is not the democratic model of which its glorifiers speak. If we appear to seek the unattainable, as it has been said, then let it be known that we do so to avoid the unimaginable.   Somos personas de esta generación, criados con al menos un modesto confort, ahora alojados en universidades, mirando incómodamente al mundo que hemos heredamos. El sistema político estadounidense no es el modelo democrático del que hablan sus glorificadores. Si parece que buscamos lo inalcanzable, como se ha dicho, entonces debe saberse que lo hacemos para evitar lo inimaginable.   Y después, en 1972, Dude será uno de los Siete de Seattle, Seattle Liberation Front. Y es allí donde encontramos a ese otro personaje real, Jeff Dowd que da origen a la inspiradora figura del Dude. El coche rojo, (uno de los varios que se dejan ver en la película) de Bunny, corriendo a toda velocidad haciendo sonar el Vivan Las Vegas de Elvis, trae resonancias de aquel otro coche de Hunter S. Thompson con el que Johnny Depp cruzará el desierto y que nos traerá aquel otro famoso discurso, menos poético, menos atractivo, de lo que quedó de la ola hippie y las consecuencias de las drogas. Hay que tener en la piel la historia, el respirar y el sentir de Estados Unidos para entender a los Coen, un par de judíos de Nueva York profundamente estadounidenses y enamorados de su país.. Comedia sí, banal o estúpida, definitivamente no.

Join Cap on a solo mission as they give hints to the latest happenings at The Nerdy Show Network, muse on the Network's (and this show's) 10th year of podcasting, share the ups and downs of kitten fostering, and highlight two amazing comics you should read: Gillen and Hans's Die and Okorafor and Tana's LaGuardia. But all that's just a prelude to the main event!In preparation for an upcoming collaborative art project, Cap dusts off some fan fiction they wrote with Local-Shop in which their favorite pretentious art ladies of the 90s meet: Judy Funnie (from Nickelodeon/ Disney's Doug) and Maude Lebowski (from The Big Lebowski). Indulge in Cap's all too thorough knowledge of Doug continuity as we explore Judy's undocumented time at Vole University and Maude's continued interest in work that's strongly vaginal. No, this isn't slashfic, but hopefully the artsy fartsy feminist storyry therein won't make you uncomfortable.Vagina.For links and more info, head to the main episode page:https://nerdyshow.com/2019/01/judy-funnie-meets-maude-lebowski/ See acast.com/privacy for privacy and opt-out information.

Hi, Achievers! In this episode, we began by discussing some nerdy news (e.g., the truth about Groot, Batgirl the movie). Next, we expressed our thoughts on Walter Sobchak and his anger problems. We talked about intermittent explosive disorder and the types of treatment approaches people use to treat anger problems. Then, we talked about Maude Lebowski … Continue reading Jedi Counsel Podcast 85 – The Big Lebowski, Part 2

Brad and Adam are joined by special guest Laura to talk about Beyonce's game of linguistic telephone with Maude Lebowski, getting down to cases, the cognitive pressure cooker model of The Dude, how WFMZ and Christopher Cross relate to Styxlove, Vlad's hat, an argument over Maude's living arrangements, and pre-vagina chin setting. Links: Fisk and Fern | paper and household goods Beyoncé Sampled the French Version of The Big Lebowski Styx on Regis and Kathy Lee The most popular card game in the Old West - origin of the phrase "let's get down to cases" Brass Tacks

JULIANNE MOORE! Welcome to the first episode of HWYW that features an interview with an actual goddess. Join us as we chat with legendarily talented and beautiful and cool and sweet and funny and generally just spectacularly awesome actor and human, JULIANNE MOORE, and learn about how she met Paul Thomas Anderson, what her favorite line as Maude Lebowski is, her complicated relationship with birds, and why it's important to admit that you don't eat bread when you don't, and to say hi to other redheads on the street. Other things happen on the podcast this week, too. We announce the HOW WAS YOUR WEEK APP, for one, and that is something you can buy for yourself if you want access to this Monday's HOW WAS YOUR MANSON extrasode and future premium content. It's super cool and so are you! Also: Julie painfully recaps the "Stewmaker" episode of THE BLACKLIST, prays to God that she needn't see BAD GRANDPA with a girl, a plea for Halloween costumes at the Oct 30 HWYWLive, and an exciting new way to reach the layer of self-pity and loneliness that is never further than a tiny step away! Enjoy this wonderful show starring the Queen of The Redhead Hall of Fame.  

  A dangerous but joyful presence introduces the show, Chris and Nikki discuss Snapchat, terrible gifts for parents, the adolation of Nikki, mallwalkers, Cut Hut, Suncoast Video, Hook Nook, Nikki's gotta catch 'em all, Marge's age, RC Cola, Jacques, Euro-sleaze, SF Brunch spots, Helen Lovejoy, The Big (crush on Maude) Lebowski, Chris explains what a Pin Spotter is, the 5 (or 8) stages of grief, Nikki's Pixar-colored glasses, and the fork in the road.