Podcasts about oh brother where art thou

THIS IS A PREVIEW. FOR THE FULL EPISODE, GO TO Patreon.com/worstofall The lads escape a chain gang and become men of constant sorrow as they embark on Joel and Ethan Coen's 2000 Southern Odyssey: O Brother, Where Art Thou? Topics include the charms of George Clooney, the superlative soundtrack, and how to adapt the Odyssey without turning into a horny toad. Media Referenced in this Episode: O Brother, Where Art Thou? Dir. Joel Coen. 2000. Why it's crazy that ‘Oh Brother Where Art Thou' was pulled off - Tim Blake Nelson TWOAPW theme by Brendan Dalton: Patreon // brendan-dalton.com // brendandalton.bandcamp.com Interstitial: “Spree!!!” // Written by A.J. Ditty // Feat. A.J. Ditty as “Spree-Man”

Six String Hayride Podcast Episode 45. The 1990's Episode. In the 1990s, The divide between commercial country music (Garth Brooks, Billy Ray Cyrus, Alan Jackson) and more artistic music (Steve Earle, Emmylou Harris, John Prine and Johnny Cash) gets bigger and bigger. Money and chart position seems to guide the music business more than art and soul. George and Alan, two mainstream millionaires who work for one of the biggest record companies around, don't see the irony when they complain about the death of tradition in classic country. "Oh Brother Where Art Thou", as a film and a record, reminds us of the deep history and soul in classic country, folk, and gospel. We take a look at some of the hit records, bad records, and fun records from the 1990s. Johnny Cash begins a renaissance with his American Recordings Series. Trisha Yearwood has a fun cooking show that makes a great grilled cheese sandwich. We pay our respects to Gene Autry, Jerry Garcia, Stevie Ray Vaughan, Patsy Montana, Minnie Pearl, and Roger Miller. The June Carter cookbook gives us a delicious dessert, Chris makes another cocktail from the John Wayne drinking guide, and all the usual fun on Six String Hayride Classic Country Podcast.https://www.facebook.com/profile.php?id=100086513555749https://www.patreon.com/user?u=81625843

This episode is pretty self explanitory. We talk about every single Coen Brothers directed project in order of release and he are all the titles and time codes for your viewing covinence. BLood Simple (2:11), Raising Arizona (6:38), Millers's Crossing (10:48), Barton Fink (14:31), The Hudsucker Proxy (18:19), Fargo (21:15), The Big Lebowski (26:42), Oh Brother Where Art Thou (36:35), The Man Who Wasn't There (41:59), Intolerable Cruelty (45:48), Lady Killers (50:10), No Country For Old Men (53:44), Burn After Reading (1:00:35), A Serious Man (1:06:31), True Grit (1:11:16), Inside LLewyn Davis (1:15:34), Hail Ceaser (1:20:31), The Ballad of Buster Scruggs (1:23:49), The Tragedy of Macbeth (1:26:50), and finally the newest release from specifically Ethan Coen Drive-Away Dolls (1:30:41)

Korby speaks with director, writer, actor and producer Travis Nicholson about his journey through film and storytelling, from starting his career by crashing the cast party of Oh Brother Where Art Thou through his work on Still the King, a TV show he co-created starring Billy Ray Cyrus (and himself), that ran for 2 seasons on network TV. Travis also directed and co-wrote Morse Code, an award-winning TV pilot created by and starring Korby. They talk about that collaboration, from script to screen, as well as the process of selling a pilot in the current climate.

Rob and Terry discuss Damar Hamlin, internet trolls, smoked wings, the War on Drugs, and do a Retro Review of the George Clooney comedy: Oh Brother Where Art Thou?

Thank you for listening to another episode of DWP! Julia returns to discuss some very dark messaging within The Wizard of Oz and a few other films. check out these movies in your free time and don't give me that "movies steal your loosh bullshit" so does this podcast! Girl Interrupted, The Wizard of Oz, Return to Oz, The Wiz, Eyes Wide Shut, The Shining, Oh Brother Where Art Thou, Poltergeist, Clueless, Hocus Pocus I & II. MORE LISTED IN THE SHOW. 

Thank you for listening to another episode of DWP! Julia returns to discuss some very dark messaging within The Wizard of Oz and a few other films. check out these movies in your free time and don't give me that "movies steal your loosh bullshit" so does this podcast! Girl Interrupted, The Wizard of Oz, Return to Oz, The Wiz, Eyes Wide Shut, The Shining, Oh Brother Where Art Thou, Poltergeist, Clueless, Hocus Pocus I & II. MORE LISTED IN THE SHOW. 

The Director's Cut – Show 13 – Oh Brother Where Art Thou… with Allan Tee

Send your credit card info to 23 & Me and tip your hat to His Holiness, cause this week we're watching Season 2, Episode 15: Oh Brother Where Art Thou? Join Kaitlyn & Robert as they reminisce about carnival dunking booths, the time little Robert learned the word “bastard,” and what Americans actually want in a car. Be sure to check out Kaitlyn's new sticker in her Etsy Store! You can also check out the Simpsons Wiki here.  Remember to follow our social channels! You can find us on Facebook, Twitter, & Instagram! Be sure to join our new Facebook group, too! Feel free to drop us an email, too! You can reach us at escalatortonowherepod@gmail.com. We look forward to hearing from you! -K & R #simpsons #thesimpsons #podcast #podcasts #podcastersofinstagram #ohbrotherwhereartthou #obrotherwhereartthou #dannydevito #homersimpson #margesimpson #maggiesimpson #lisasimpson #bartsimpson #herbpowell #escalatortonowherepod

In the second installment of our interview with veteran VFX Artist and filmmaker, Sean Cunningham we go into detail about the process used on the 1990's action movie True Lies for the missile sequence - featuring some of the earliest uses of Nuke digital compositing at Digital Domain as well as an early version of SideFX Houdini (Prisms).We talk about his role supervising on Strange Days and working on Oh Brother Where Art Thou with the first use of full DI on feature film. We discuss how he raised funds, produced and distributed two indie feature films and his return to VFX.It's a great tour for VFX artists interested in some of the early history of digital FX and the tools we use everyday as well as a case study in indie filmmaking.Full timestamps below:00:00:05 : The Team on True Lies00:00:05 : Marker 100:03:34 : The origin of the name "Nuke"00:04:42 : Nuke always planned as a commercial project00:06:43 : Th Pixel was sacred00:07:56 : Talking through the workflow on a missile shot00:09:09 : The use of Amigas at DD for playback00:10:45 : Everybody would have to queue up their tests00:21:39 : How FVX work teaches you to think about things00:32:46 : Running out to film00:33:30 : First time as Supervisor and the fear00:35:00 : O Brother Where Art Thou - first film with end to end DI00:35:31 : Working with Roger Deakins00:41:13 : Presentation to PETA00:42:28 : From Hollywood  to indie filmmaking00:45:50 : Fundraising first indie feature film00:49:47 : Shooting in a small town00:56:02 : Distribution01:00:09 : After release - back to VFX01:02:03 : A kidnapping01:03:18 : Sick Boy - finally making a horror movie01:08:06 : The response to Sick Boy01:24:37 : Working at Rooster Teeth01:28:12 : How to get out of a creative rut01:29:44 : Remote work opportunities01:32:31 : Final words and adviceAs always, if you liked this episode, please like, comment, subscribe and share!Listen to all episodes on our websitehttps://www.thevfxartistspodcast.com/

We go all the way back the 1990's in this 2 part interview with Sean Cunningham, a veteran of the VFX industry whose credits as an FX Artists include films such as True Lies, Strange Days, The Fifth Element, Godzilla, Oh Brother Where Art Thou and who has directed and produced independent feature films in his own right.This journey takes us from the excitement of the Commodore Amiga, missed proms, the inspiration of T2 and the founding days of James Cameron's Digital Domain studios.We learn about the origins of industry standard tools SideFX Houdini and Foundry Nuke from someone who was using both in their earliest incarnations as SideFX Prisms and Digital Domain's in house compositing tool - Nuke.We go deep and geeky so be warned.00:00 : What to Expect01:53 :  Meet Sean Cunningham03:01 :  How I got started in the industry05:29 : The importance of the Amiga for creative computing07:00 :  Sculpt 3D on the Amiga07:52 :  Lightwave14:10 :  The inspirational effect of T214:33 :  First VFX online bulletin board16:15 :  T2 Comes out, a turning point17:47 :  Calarts23:36 : : Metrolight Studios and Sexy Robot28:07 :  The Role of TD in the 1990's31:05 :  You had to build up an intuition - working without UI feedback36:22 :  Elastic Reality, morphs and splines39:28 :  James Cameron founds Digital Domain42:05 :  Digital Domain in Stan Winston's Creature Shop42:53 :  Stealing Artists and the pirate mentality45:18 :  True Lies49:51 :  Side FX Prisms (which became Houdini)51:51 :  Learning VFX software in the 1990's58:06 :  My Approach to learning at Digital Domain and sinceAs always, if you liked this episode, please like, comment, subscribe and share!Listen to all episodes on our websitehttps://www.thevfxartistspodcast.com/

The Movie Quest Lads continue ethe series with the third topic of "Space" So Aaron kicks off with Satoshi Kon's and eccentric dream llike anime film Paprika.   Films/TV discussed: 00:04:45 Falcon and The Winter Soldier 00:11:15 We're the Millers 00:21:20 Oh Brother Where Art Thou? 00:28:00 The Kingdom of Dreams and Madness 00:36:30 Paprika   Contact us here: Podcast@TheMovieQuest.com Instagram   Listen to us here: Apple Podcasts Google Podcasts Spotify Stitcher  

Mark Kilianski (of Golden Shoals) had the unfortunate experience of coming of age in a time where mainstream rock was just terrible (late 90's - specifically 1999 was pretty bad). He was really getting into bands like Korn and Limp Bizket, and his first guitar was a BC Rich Warlock (a heavy metal style guitar). Lucky for him, he had a cool guitar teacher that introduced him to bands like Black Sabbath and Led Zeppelin. Around high school, he started getting into jazz pretty seriously. He ended up going to school for jazz at Berklee College of Music in Boston. All the while, he was harboring a secret love of roots music which began after watching "Oh Brother Where Art Thou." He started venturing out into the trad and folk scene in Boston and through that met Amy Alvey at school. The two were at the same starting point in their experiment with roots music. Both eventually decided that their academic musical paths of jazz for Mark and classical for Amy were actually not what they wanted to pursue professionally.They formed their band in Boston and moved down to Asheville. The pair spent the majority of their time on the road. Actually, their first experience touring was a two-week walking tour in Massachusetts. Eventually, Amy and Mark settled on the band name Golden Shoals. They released their latest album, a self-titled record, in 2020 with, of course, big plans to be on the road playing live. The pandemic up-ended their touring with Amy in California for a bit and Mark in New Jersey. We talk about all that as well as toxic masculinity, the legacy of Black musicians in country and bluegrass and allyship. Advertising Inquiries: https://redcircle.com/brands

In this week's episode of LIKE THIS POD, Jacqueline and Meghan discuss their favorite Classic Lit Adaptations. Follow I Think You're Gonna Like This Podcast on social media:InstagramFacebookTwitterWebsiteJacqueline InstagramMeghan Instagram If you like the podcast and want to support us, click here.

This week we are talking about jobs. We share stories of our first jobs and discover that Tom looks like a garage sale hipster. Then Tom has some top 10 job lists primarily about cheese cheesemongering. We end with quizzes about the jobs that TV show characters work in and obscure work titles.Sharing Time: Tom and Brad Job Experiences and Top 10 Job lists Quizzes: TV Show Character Jobs and Obscure work titles Top Movies Number 6: Diehard and Oh Brother Where Art Thou

Chris?, Oh Brother Where Art Thou?, The Big Lebowski, HyperX Cloud Flight S, the white russian, Mortal Kombat 11, Hollow Knight, Control, A Short Hike, Brothers, An Old Man's Journey, Spintires, Minecraft, Valorant, Sorcerer, Demon's Souls, PS5, Death Loop, Black Lives Matter, Steam, Detroit: Become Human, Squadron Leader, Tony Hawk Remastered, ska, Pokemon Snap, Ancestors: the Humankind Odyssey, Titanfall 2, The Isle, gamer chair.

Educator Derek Luptak lets us ride sidecar in alongside Ulysses and his crew as he gets in a tangle with cyclops, sirens, goddesses, bad weather, time, terrible decisions, just to name a few. In the process we learn about heroes, home, cancel culture, Oh Brother Where Art Thou?, Juana Rosa Pita and so much more.   (Penelope by Matt Andrews) To hear on Stitcher, click here! To hear on iTunes, click here! To hear on Spotify, click here!

Check out our premium community, join hundreds of Catholics from all over thw world! www.coffinnation.com **************************************************************   Here is my review for the new Sam Mendes World War 1 drama, 1917. The movie showcases a wise blend of newcomers and veterans. Director Sam Mendes has decades of experience in the theater and went on to direct movies like American Beauty, Skyfall, and Road to Perdition I just read that he directed Dame Judi Dench on the stage in England at the age of 24. The Director of Photography is Academy Award winner, Roger Deakins, whose credits include Kundun, The Shawshank Redemption, Oh Brother Where Art Thou, and the underrated movie “The Assassination of Jesse James By the Coward Robert Ford” based on a book by Deacon Ron Hanson. 1917 blends together all that experience to deliver a quiet wallop. While the subject matter is harrowing and mostly terrifying, one has to use the word beautiful to describe the visuals throughout. More on that in a moment. Two very well-known actors have small but critical roles as military commanders, Benedict Cumberbatch—who has one of the most magnificent speaking voices in the world—and Colin Firth. Both of these great actors seem born to play characters from the past. On the other hand, Mendes’ co-writer is a relative newcomer Krysty Wilson-Cairns, who has written a few short films and a TV series. There’s nothing green showing here, though. The dialogue is pithy and rings true to the context and the period. Almost unknowns in the two lead roles: Dean-Charles Chapman as Lance Corporal Blake and George MacKay as Lance Corporal Schofield. These are fine young actors who are mostly unknown to American audiences. and this is a good thing because, from the opening scene, they are a blank slate. The fact that both characters are a bit on the bland side is also a plus because they become “everyman” making it easier to vicariously follow their mission behind enemy lines and alert a British general to halt an invasion that intelligence has discovered is a German trap. The emotional stakes have to do with the fact that Lance Corporal Blake's brother is set to be unleashed into this trap along with 1600 other British soldiers. And this is where 1917 draws an easy comparison with “Saving Private Ryan.” The brutal depiction of what was called The War to End All Wars coupled with the emotional impact of saving a brother makes for a very watchable movie. But 1917 in its basic story components it's much more similar to Gallipoli, the 1981 World War One drama that proved to the world that Mel Gibson could you more as an actor than motorbike to the desert a black leather outfit and bad hair. Gallipoli and 1917 share the same trope of gung ho soldiers maybe or maybe not being stopped before going over the top into enemy fire. No spoiler alerts, so I’ll stop right there on that. 1917 opens and closes with bookend images that show how many physical and emotional miles the characters have undergone. Again, simple and unadorned. Everyone's talking about the single continuous shot which of course is not literally true, as was the case with the Oscar-winning Birdman, directed by Alejandro Gonzalez Innaritu. It WAS the case with the 2002 movie Russian Ark, directed by Alexander Sokurov, and LITERALLY a 90-minute continuous steadicam shot. With 1917, Mendes and Deakins have pulled off a two-hour magic trick by seamlessly blending the cuts along the way to give the uncanny appearance of one single camera perspective, mostly handheld and mostly traveling backward which adds to the sense of disorientation. If you're wondering where they spent the estimated 100 million dollar budget, this is it. cameras mounted on dollies, on cranes, on steady-cam operators, and even on motorcycles, all to take the viewer on a dangerous and unpredictable adventure into hell. Unlike with most war stories that introduce the characters’ backstories, 1917 jumps right into the mission, we don't know who these men are, we're not sure where they came from, we're only half sure of where they're going, And we certainly don't know if they'll live through it. 1917  does not have the same explicit blood and guts visuals of a “Saving Private Ryan.” The obstacles met and the dangers faced by the two leads is more Hitchcock than Spielberg. The non-stop action includes a few stops for breathers, one of which is a beautiful scene involving a young French woman and a baby in the middle of a German-controlled village. I'll mention one more. Special mention here goes to a haunting rendition of a 19th-century gospel ballad called “Wayfaring Stranger,” which has been covered by Johnny Cash, Emmylou Harris, Ed Sheeran, and Jack White. In 1917, we are treated to an angelic acapella version by actor Jos Slovick, who, standing in the middle of the clearing in the forest in front of absolutely exhausted sitting men—many of them teenagers—sings the song like a liturgical hymn. It's one of those memorable movie moments that provides a consoling elixir for both the characters and the audience. For a few moments, a war-torn forest becomes a cathedral. It reminded me of the montage scene with Jose Feliciano haunting version of “California Dreamin’” smack in the middle of Quentin Tarantino's Masterpiece black comedy, “Once Upon a Time in Hollywood.” All this to say that 1917 is going to clean up at Oscar time. Finally, an Academy Award win that makes sense! _____________________________________________________________________  

This week they guys are joined by Jodie B from the Po Boys podcast to discuss the importance of teaching children the facts of life and death. How breakfast is the only thing that can bring us closer as a people, and how disturbing lullabies can actually be. They also put 2 terrible country/rock songs head to head in battle.

It’s brotherly love and terrorism this week, as we discuss “Oh Brother Where Art Thou?”, the episode of the Simpsons that sees Homer reunited with his long lost half brother Herb Powell, voiced by Danny DeVito. For the history we talk about the bombings of Paddington and Victoria stations by the Provisional IRA, part of… Read More »

On this Episode of The Krypton Report Podcast, the all things Superman, Supergirl and anything Kryptonian podcast. Tyler (Superman Blue) and James (Superman Red) tell you what they think of John Cryer as the new Lex Luthor. Together the last Kryptonians look at Supergirl episode 15, Oh Brother Where Art Thou? and episode16, The House of L of season four. What did you think drop us a line? http://facebook.com/kryptonreport twitter: @kryptonreport Skype- Krypton report pod instagram: Kryptonreportpod mailto:kryptonreportpod@gmail.com http://www.southgatemediagroup.com Hosts: Tyler -@jtypatrick on twitter and Facebook Junia -@juniapatrickmusic James- James Cole III on facebook

An Editor-In-Chief living alone in a post apocalyptic wasteland finds himself hunted down by podcast hosts who want him to co-host an episode for their entertainment. Episode 331 of Trick or Treat Radio will wrap up the 2018 edition of New Guest November and we do it in style as we are joined by Andy Triefenbach, editor-in-chief at destroythebrain.com, host of the We Need to Talk About Horror Podcast, and the programmer for the Late Nite Grindhouse! Andy joins us to discuss the Dutch Action/Sci-Fi flick Molly from directors Colinda Bongers and Thijs Meuwese and distributed by our friends over at Artsploitation Films! We also speak other languages poorly, feel Marz’s fury, and talk about the upcoming Double Feature December Cram Jam! So grab a heavy sword, film it all in one continuous take and strap on for the world’s most dangerous talk radio show!Stuff we talk about: Destroythebrain.com, Andy Triefenbach, We Need to Talk About Horror, Late Nite Grindhouse, new computer for the studio, ZipCar, bloodletting, Black Friday, Dispensary, the weed makes you crazy, Three Billboards Outside Ebbing Missouri, The Ballad of Buster Scruggs, Delicatessen, Jean-Pierre Jeunet, Alien: Resurrection, Elm Street Kids Movie Club, Claudio Simonetti’s Goblin, Suspiria, Jarret Blinkhorn, the “beautification” of Worcester, The Cove RIP, Ralphs, Axis and Avalon, assaulted at Subway, Kane Hodder is a Juggalo, To Hell and Back: The Kane Hodder Story, Beast Wars, Optimus Prime, House on the Edge of the Park, Riz Ortolani, Vinegar Syndrome, Wes Craven porn, Giovanni Lombardo Radice, Kids in the Hall, Poolhall Junkies, Lets Consolidate!, Molly, Artsploitation Films, Clancy Brown, Brainscan, Ubermensch, mixed metaphors, Dutch Dollars, Black Magic Pocket Cameras, Bas Rutten, the choreographic, bad choreography, films shot in one continuous take, Rope, Running Time, post apocalyptic worlds, Manborg, Neill Blomkamp, uncircumsized films, Illang: The Wolf Brigade, Cam, The Little Drummer Girl, Park Chan-Wook, Kim Jee-woon, Ted Danson, December Cram Jam, Kids in the Hall, hair helmet, Turbo Kid, Oh Brother Where Art Thou, The Six Degree of Kevin Bacon, Sleepers, MC 900 Ft Wronski, Ray Bradbury’s Balls, Celestial Globes, our remake of Weird Science, Tank 432, Jailbreak, Buy Bust, Vinegar Syndrome, The Children, Mausoleum, Olives for Eyes, “working” directors, Ryan Gosling, Dead Man's Bones, and silence for dramatic effect.Send Email/Voicemail: podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comUse our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TheDeaditesFacebook: http://facebook.com/TheDeaditesYouTube: http://youtube.com/TheDeaditesTVInstagram: http://instagram.com/TheDeaditesBuy our music on Bandcamp: http://thedeadites.bandcamp.comSupport the show (https://www.patreon.com/trickortreatradio)

Later this month Woodland Hills will be doing our annual baptism ceremony at Lake Phalen, and so in light of that Greg used this week's sermon to talk about baptism and contrasting it with the magical way of thinking about it that we see in the movie 'Oh Brother Where Art Thou'.

Later this month Woodland Hills will be doing our annual baptism ceremony at Lake Phalen, and so in light of that Greg used this week's sermon to talk about baptism and contrasting it with the magical way of thinking about it that we see in the movie 'Oh Brother Where Art Thou'.

David Elliot has been working with WLOX for over thirty years and is currently on the air 7 days a week. Dave also has experience working in radio broadcasting from his time in Jackson, Mississippi before he transitioned to the Gulf Coast to work with WLOX in 1985. Show Notes: -Dave's early years and following his father (Head of Speech Department at the University of Minnesota who also taught radio courses, worked in the public television space and did national voice overs) -First radio jobs in Jackson, Mississippi - 3 stations in 3 years -WZZQ Radio Station in Jackson "It was a monster in Mississippi" -The Golden Age of Radio -Key figures of voice in radio: Walter Cronkite, David Brinkley, Peter Jennings -Shifting News Media / Online platforms and reach -"I edit my own material because editing is the story telling of television" - Dave's recent exploration in creating and publishing content with the latest technology -Biggest challenges in the industry -Favorite parts of the business -People behind the scenes -Ethical concerns in journalism -Practices Dave uses to stay sharp in his trade -Great speakers and mentions (Kevin Spacy, Larry David, Johnny Depp) -Advertisers in the news media space -Is the Illuminati running corporate news? -Managing a 7 day on-air schedule -A conversation on literature - Books, genres, authors mentioned: Sinclair Lewis, 1984, Brave New World, Dystopia & Classic genres, Fitzgerald, Hemmingway, Cormac McCarthy -Transitioning to Kindle: "I'm a Kindle guy 100% now" -Elon Musk and underground car sling shots / Tesla cars -Films: No Country for Old Men, Raising Arizona, Fargo, Oh Brother Where Art Thou?, The Big Labowski, There Will Be Blood -Sugar Consumption and Substitutes -Thoughts on Alcohol and Society -Marijuana Legalization/Recent articles & studies/Dave's visit to the Federal Government Marijuana Farm at the University of Mississippi -Thoughts on Medical Marijuana : "I think medical marijuana is a no-brainer. I think your in the dark ages if your a state that doesn't sign off on the value of medical marijuana" -Thoughts on Rodeos  Subscribe on Itunes, Youtube, and major podcast apps. Hosted by Stefan Lawson. 6/29/17  

Comic/writer Vanessa Graddick joins Dwayne and TK to talk about the movie that taught us that all can be forgiven, if you have great hair, “Oh Brother Where Art Thou. Featured Links Oh Brother Where Art Thou On Amazon Oh Brother Where Art Thou On Netflix Guest Information GUEST NAME: Vanessa Graddick GUEST BIO: Born and raised in St. Paul, Talented, driven and most importantly, funny, Stand Up Comedian, Vanessa Graddick has been taking comedy by storm. Though she has only been in the comedy game a short time, Vanessa has performed all over the country including Virginia, Washington DC, New York, Pennsylvania, and more. Based in California she is a regular at venues such as The Comedy Union, Icehouse Comedy Club and the World Famous Comedy Store. Vanessa won first place in the Uncle Clyde's Soup Or Bowl Comedy Finals at the Icehouse Comedy Club in Pasadena, CA. As the winner of this competition, Vanessa competed in the 2007 Boston Comedy Festival. Additionally she has performed in both the New York Underground Festival and the Bay Area Black Comedy Competition. With her introspective and thought provoking comedy, Vanessa Graddick is proving quickly to be a name to watch out for, as this up and coming comedienne is surely on her way. Guest Links WEBSITE: http://www.vanessagraddick.com TWITTER: https://mobile.twitter.com/vanessagraddick?lang=en FACEBOOK: https://www.facebook.com/vanessa.graddick?ref=br_rs  INSTAGRAM: https://www.instagram.com/vanessagraddick/?hl=en YOUTUBE: https://m.youtube.com/channel/UCZax4x2n33urgiABXTHKO3A

My guest this week is bluegrass guitar legend Norman Blake.  Norman's recordings have had a huge impact on me, and I see him as one of the most inspired and quietly influential acoustic musicians of all time. Blake came into view in the late '60s, when he began performing as a sideman with artists such as Johnny Cash, June Carter and Bob Dylan. Norman was also a member of John Hartford's seminal Aero-Plain band. During the '70s, he began a solo career that quickly became one of the most popular and musically adventurous within bluegrass. He continued recording and performing - often with his wife, Nancy - well into the '90s. In recent years he has worked with T-Bone Burnett on soundtracks to "Oh Brother Where Art Thou", "Cold Mountain" and the collaboration between Robert Plant and Allison Krauss "Raising Sand". While Norman has quit touring, he still plays and we are lucky enough to have a brand new album, "Brushwood Songs and Stories" that sees Norman in fine form. Norman was kind enough to discuss all of these aspects of his life and career with me. Enjoy my conversation with Norman Blake, and please subscribe to the podcast for free on iTunes!

Welcome to Episode 14! We’re having so much nerdy fun with these and hope you are, too. This week we discussed one poem a piece by Hilary Jacqmin, Keith Woodruff, and Kierstin Bridger, each submitted for different issues. Another Slush Pile first!  Welcome to Episode 14 of our podcast! We’re having so much nerdy fun with these and hope you are, too. This week we discussed one poem a piece by Hilary Jacqmin, Keith Woodruff, and Kierstin Bridger, each submitted for different issues. Another Slush Pile first! First up was “Private Lives”  by Hilary Jacqmin. Hilary S. Jacqmin earned her MA from Johns Hopkins University and her MFA from the University of Florida. Inspired by Baltimore performance art group Fluid Movement's elaborate water ballets, Hilary aspires to learn synchronized swimming. This summer, Hilary has kept busy by going to entirely too many concerts (including Beyoncé, Weezer, and Jason Isbell), baking a sour cherry pie in honor of her Door County, Wisconsin family heritage, and seeing Hamilton on Broadway Her work has appeared in Best New Poets 2011, edited by D.A. Powell, The Awl, Pank, Subtropics, Passages North, AGNI, and elsewhere. You can also read her article on "killing your darlings" here! This poem struck a chord with everyone at the table. It’s hard to write a poem about boredom that isn’t, well, boring! We were right there with her in her grandparent’s house, trying to pass the time.   Next we discussed Keith Woodruff’s  “Bride of Frankenstein Blues,” submitted for our Monsters issue. Keith “from the Black Lagoon” Woodruff has a Masters in creative writing from Purdue University, and lives with his wife Michelle and son Whitman in Akron, Ohio. His work recently appeared in The Journal, Quarter After Eight, American Literary Review, and is forthcoming in Wigleaf. His haiku have appeared in Modern Haiku, Frogpond, Mayfly, Acorn, A Hundred Gourds, and in Big Sky: the Red Moon anthology. We all sympathized with poor Frankenstein trying to find love in the modern dating world, but this poem also sparked discussion of “pick-up” artists. We wondered what Frankenstein’s Bride would say about his pick-up methods? Regardless, the poem was accessible to all of us.   Last, we read “To the Girl From the Reformatory Town” by Kierstin Bridger, submitted for our Locals issue! Kierstin is a Colorado writer and winner of the Mark Fischer Prize, the ACC Studio award and was shortlisted for the 2015 Manchester Poetry Prize in the UK. Western Colorado is full of incredible writers, and for the past several years they’ve been performing Literary Burlesque! This year they pulled a switch-a-roo on Oh Brother Where Art Thou. They changed it to Oh Sister and combined themes with The Odyssey. Kirsten says, “It was a smash, and so very collaborative.” You can listen to Kierstin read from her book, Demimonde,  here. We were intrigued by the imagery in Kierstin’s poem. Although none of us grew up in a “reformatory town” the emotional language put us in the mindset of the “girl.” Over the years, PBQ often accepts work, contacts the authors, and then gets told there’s been a revision. Almost always, the original is better than the revision. We discussed why this might happen, and how difficult it is to know when your own work is “finished.” Let us know what you think—do you continue to work with your work once you’ve sent it out? You can find PBQ on Twitter @paintedbrideq or on our Facebook. Don’t forget to visit our Facebook event page to discuss this episode, and subscribe to our iTunes account! Read on!     Present at the Editorial Table: Kathleen Volk Miller Marion Wrenn Tim Fitts Jason Schneiderman Caitlin McLaughlin   Production Engineer: Joe Zang   PBQ Box Score: 3:0 -------------------------   Hilary Jacqmin Private Lives   They have retired to lost pines and BurgerTime. When our tan Malibu grinds up the switchback to their mock- Tahitian Village in the Texas hills, the grandparents can barely stand to touch us. But “Little David,” they cry out, until my father blushes. Kindness is cold champagne coupes at 5 and 6 o’clock, then Jeopardy. A walk through bull pine, clearing brush. Whatever can be done with us? My sister’s fist is purpling with cactus spines; my mother’s stomach bites; this week, I will not bathe. The grandparents shy from our commotion. Secretly, we flip through The Handmaid’s Tale. Our shared air mattress crackles like a seed. We’re trapped: now that we’ve come, they won’t let us go out past the dry creek bed. Next year, they’ll never even leave the house. Why is their clubhouse impermeable, a miniature Pentagon? And why can’t we order malteds at Lock Drug? Mother says “We can’t ask why.” Inside, we play endless Rummikub. Uno, uno. “There ought to be a religion for people who don’t know what to believe,” grandmother frets, her bad eye winking like a cut-up moon. Outside, a loop of fire ants works a burnt-out stump, persistent as pump jacks, and night’s an oil field. We are too young to know what granddad did with catalytic crackers at Shell, too dumb to talk duplicate bridge hands, Gravity’s Rainbow, or split stock, but we think hard about the hardwood in the Lockhart smokehouse and how granddad’s bread machine vibrates like a Gravitron. Sometimes, they notice me. They say, “What are you writing? Are you writing about us?” They say, “That makes me so nervous.” I want to tell them there is so little that I can write. Almost nothing. Perfume like propane. A tickless clock. How quickly they both turn away.   Keith Woodruff Bride of Frankenstein Blues   Consider the moon, my friend, how its absence conjures this unromantic air. Here in the bar, smoke unwinds  like bolts of slow lightning across the gauzy light; everywhere you look mouths, small dark graves, chew on drinks. Now the music gropes its way through the crowd looking for phone numbers, drags itself onto the wooden dance floor. This is no night for finding brides. Still, you try, touch her wrist during “talk” & spring the classic recoil. Her black eyes, twitch like nerves, the head cocks bird-like, spindly arms jerk back from your touch & clasp up her breast sacs as the goose hiss splits her blue lips. These damn castles are cold. Some nights, alone again, arms outstretched on the stairs, you think you might prefer the murderous torches. Anything to light you up.   Kierstin Bridger To the Girl From the Reformatory Town You wrestled against the clutches of brothers and cousins, etched lessons in your muscle, broke tendencies, rerouted synapse with unwritten chapters entitled, Risk, Pain, and Tolerance. Though pale and tender as your own, you clawed your way into their flesh; red scratches and waning moons of bruise. You carved a language of ferocious prey and warning but more startling than the DNA that curled from under your nails was the power which made you surge, the breathless current of survival that ran like a lightning rod through the center of your axis as you spun in and out of years knowing blood tracks would either catch up with you or become abandoned to faster byways and untranslatable modes. So you walk, never looking over your shoulder, one step in front of the other, past the fermenting bumper crop yard-fruit. Never mind the dirty shoelace untied, the frayed, grey string dangling over the trestle bridge track. You need this grip of heat, the hot rail under your feet. It's like the static warmth the addicts wear like skullcaps, the chokecherry buzz after needle pierce and plunge. Keep your hair blown back, baby, and charged with the horizon line. Ignore the periphery of prison men in orange. Their 40 ounce cans and spent shells are their business not yours.  Disregard the jackrabbit carcass and its fur which still clings but will sail away soon like dandelion seeds. Remember it's not a charm and their sentence is not your sentence; you can't do that kind of time. Keep going, never say, it'll all blow over someday because lies like that scatter, fade, sink back to soil. They'll transform into fragments so sparse, so swallow-drunk, the next generation will skip the deciphering stone, misspell the story of you, digitize and archive it on some pixelated and odorless, dot com.  

Welcome to the RMPodacst! REVIEWS: Still Alice (Brandon) Home Sweet Hell (Keith) Chappie (Neal)   We have a guest reviewer this week! A personal friend of Keith and Brandon, Neal Singleton gives us his thoughts on the new age robotic action flick, Chappie. Keith channels his inner Oh Brother Where Art Thou discussing the drop in U.S. box office sales in 2014 and Brandon rants about Common and John Legends speeches at the Oscars. Email us at rmpodcast@redmoonpoductions.com or visit our out dated, soon to be changed website; redmoonproductions.com   Segment Starting Times: 2 - 22:44 3 - 34:18