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2 episodes with Salieri
Desítky let po Mozartově smrti se začala šířit fáma, že ho otrávil Antonio Salieri. Na historickou skutečnost tuto smyšlenku povýšil Puškin ve své hře Mozart a Salieri, kde zobrazil bohem nadaného génia, kterého jedem usmrtí netalentovaný a závistivý kolega z branže. Tyto fámy pak pronikly do populární kultury a přiživil je i Formanův film Amadeus. To, že byl Salieri považován, za velkého Mozartova konkurenta a dokonce vraha, je ale naprostý nesmysl. Zemřel 7. května 1825.Všechny díly podcastu Příběhy z kalendáře můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.
durée : 00:15:10 - Le Disque classique du jour du mardi 06 mai 2025 - Dans Cublai, gran kan de' Tartari (1788), Salieri mêle héroïsme comique et satire piquante des monarchies européennes. Censurée avant sa création, l'œuvre est enfin ressuscitée dans cet enregistrement par Les Talens Lyriques et Christophe Rousset.
durée : 01:27:40 - En pistes ! du mardi 06 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Avant même sa création, Cublai de Salieri a été censuré. Christophe Rousset nous fait découvrir cette partition piquante avec son ensemble Les Talens Lyriques. Autre opéra, "Adriana Mater" de la compositrice finlandaise Kaija Saariaho, créé en 2006 et gravé pour la première fois au disque.
durée : 00:15:10 - Le Disque classique du jour du mardi 06 mai 2025 - Dans Cublai, gran kan de' Tartari (1788), Salieri mêle héroïsme comique et satire piquante des monarchies européennes. Censurée avant sa création, l'œuvre est enfin ressuscitée dans cet enregistrement par Les Talens Lyriques et Christophe Rousset.
durée : 01:27:40 - En pistes ! du mardi 06 mai 2025 - par : Emilie Munera, Rodolphe Bruneau Boulmier - Avant même sa création, Cublai de Salieri a été censuré. Christophe Rousset nous fait découvrir cette partition piquante avec son ensemble Les Talens Lyriques. Autre opéra, "Adriana Mater" de la compositrice finlandaise Kaija Saariaho, créé en 2006 et gravé pour la première fois au disque.
Salieris Werk war zu seinen Lebzeiten äußerst populär, seine Opern wurden in ganz Europa aufgeführt. Seine angebliche Rivalität mit Wolfgang A. Mozart ist eine Erfindung. Neben seiner Arbeit als Komponist und Direktor der Hofkapelle war Salieri auch als Lehrer und Musikpädagoge bedeutend. Das Institut für Gesang und Stimmforschung in der Musikpädagogik an der Universität für Musik und darstellende Kunst Wien (mdw) ist nach ihrem Mitbegründer Salieri benannt. Salieri war auch maßgeblich an der Gründung der Gesellschaft der Musikfreunde in Wien 1812 beteiligt - deren Konzerthaus, der "Musikverein", ist in der Welt der Klassik weltberühmt.
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Antonio Salieri wurde vom Musikdirektor des Wiener Hofes, Florian Gassmann, als Jugendlicher in Venedig entdeckt und mit nach Wien genommen - wo er bis zu seinem Tod 1825 lebte. Nach dem Tod seines Mentors wurde Salieri dessen Nachfolger und hatte somit eine der einflussreichsten Positionen in der Wiener Musikwelt dieser Zeit inne. Die Spuren seines Lebens sind an vielen Orten der Inneren Stadt zu finden.
Antonio Salieri (1750 - 1825) - La Passione di N.S. Gesù CristoAzione Sacra in 2 parti su versi di Pietro Metastasio Maddalena: Melba RamosGiovanni: Franziska GottwaldPietro: Florian Mock Giuseppe d'Arimatea: Hanno Muller-Brachmann Das Neue OrchesterCologne Musicus ChoirChristoph Spering, conductor
Compositeur à très grand succès à son époque, Antonio Salieri est aujourd'hui le plus connu des compositeurs méconnus et le moins joué des compositeurs les plus joués de l'époque de Mozart. Là où Mozart est devenu le synonyme de génie, le nom de Salieri n'est pas loin d'être devenu le synonyme de musicien raté alors … Continuer la lecture de « Metaclassique #323 – Jalouser »
A finales del siglo XVIII y en el XIX la música de temas religiosos da un giro no solo en la estructura sino en el lugar en donde serán interpretadas. Las obras que presentamos en el programa de Salieri y Schubert son ejemplos de la buena voluntad del primero frente a causas caritativas y del segundo, componer sin un sentido de fe sino el uso del texto por la plasticidad que permite darle la música.
Lynda's concerned for Khalil after the loss of Constanza yesterday. Khalil assures her he's okay. They take Salieri for a walk, the start of a regular thing and Khalil loves it. He admits he sometimes feels stupid and his mother has low expectations of him. Lynda assures him this isn't true. He tells Lynda about a boy whose funeral he attended. Seeing the boy's mum's face put him in mind of his own mum and how she might feel if he died. He knows his cancer could return. He apologises for the dark conversation and Lynda comforts him. She knows his mum's just thrilled he's alive and thriving, and has complete faith in him. Joy checks in with Mick, making sure he's still happy for Rochelle to stay with them. Mick confirms it's all good; he's pleased for Joy that Rochelle's around. Joy declares him a good man. Mick raises the delicate topic of what's really going on between the two women. He needs Joy to be straight with him. Joy gradually opens up, disclosing the extent of her ex husband's betrayal as he conducted a string of affairs. She thinks Rochelle might blame her for her father leaving. Joy worries she leaned on Rochelle a bit too much at that time. She confesses she left for a few days, acknowledging Rochelle was probably too young for this. It was a dark time in their lives; they've never really got over it. Mick understands, relieved Joy's been honest with him. He promises things will be better from now on.
In this episode, Anna and Derek debate what people may know of Salieri's actual legacy, whether this Oscar winner needed to be trimmed up a bit, and much more during their discussion of Milos Forman's Amadeus (1984).Connect with '80s Movie Montage on Facebook, Bluesky or Instagram! It's the same handle for all three... @80smontagepod.Anna Keizer and Derek Dehanke are the co-hosts of ‘80s Movie Montage. The idea for the podcast came when they realized just how much they talk – a lot – when watching films from their favorite cinematic era. Their wedding theme was “a light nod to the ‘80s,” so there's that, too. Both hail from the Midwest but have called Los Angeles home for several years now. Anna is a writer who received her B.A. in Film/Video from Columbia College Chicago and M.A. in Film Studies from Chapman University. Her dark comedy short She Had It Coming was an Official Selection of 25 film festivals with several awards won for it among them. Derek is an attorney who also likes movies. It is a point of pride that most of their podcast episodes are longer than the movies they cover.We'd love to hear from you! Send us a text message.
The Oscars may be over, but we're keeping the party going with a live roundtable review of Amadeus--which racked up a symphony of statues 40 years ago!In Milos Forman's adaptation of Peter Shaffer's play, F. Murray Abraham plays Italian composer Antonio Salieri, whose dreams of musical immortality are shattered when he encounters child prodigy Wolfgang Amadeus Mozart (Tom Hulce). The film opens with Salieri in an asylum, confessing to a priest that he'd killed Mozart years earlier--and much of Amadeus takes us behind the scenes of their tumultuous relationship.This was a first-time watch for Ian and, as you'll soon see, Amadeus is another one of those "They Should've Just Stopped Making Movies After This Movie" movies. But what do the rest of the EMC think? Join us as we compose ourselves while talking spoilers and taking your questions, comments, and SuperChats!Subscribe, like, and comment on Kicking the Seat here on YouTube, and check us out at:kickseat.comXLetterboxdBlueSkyInstagramFacebookShow LinksWatch the Amadeus trailer.Warner Bros recently released a 4K UHD of the Amadeus theatrical cut, available wherever you pick up movies.Watch F. Murray Abraham's moving (and brief!) "Best Actor" acceptance speech at the 1985 Oscars (mentioned in the show).Support all of Earth's Mightiest Critics at their various outlets:Check out Mark "The Movie Man" Krawczyk's The Spoiler Room Podcast.Keep up with Jeff York's criticism and caricatures at The Establishing Shot and Pipeline Artists.Get seated with The Blonde in Front!Follow David Fowlie's film criticism at Keeping It Reel.Get educated with Don Shanahan at Every Movie Has a Lesson…...And Film Obsessive...and the Cinephile Hissy Fit Podcast.Keep up with Annie Banks at The Mary Sue....and We Got This Covered.Make Nice with Mike Crowley of You'll Probably Agree.And stir things up with Will Johnson of the Cinephile Hissy Fit Podcast.
for the full episode join the Patreon [patreon.com/fashiongrunge]To say that I'm beyond thrilled to talk about Amadeus would be an understatement. Like I have mentioned before, I can't believe it has taken this long to review this literal perfect film. The obsessive nature between the two men we compare to more contemporary film dynamics (*cough Saltburn). We are talking the Director's Cut of this film since the extra 20 minutes are just a gift to us as cinefiles. I honestly don't think there is anything bad to say about this film and we talk about how a 'Best Picture' winner hasn't really come close since. Me and Charles had such a great time finding out all the behind the scenes, the history of the real men, and get into how we love to watch films about rivalries. Off-topic rants include: Zoobilee Zoo, who was Kurt Cobain's 'Salieri'?, the Family Guy spoof, and The Cure movie from 1995 ---GIVE US A 5 STAR RATING & SUBSCRIBE to the main Fashion Grunge Podcast feed on (mostly) 90s films!Hosts: Lauren @lauren_melanie & Charles @charleshaslamFollow Fashion Grunge PodcastFind more Fashion Grunge on LinktreeJoin me on Substack: The Lo Down: a Fashion Grunge blog/newsletter☕️ Support Fashion Grunge on Buy Me a Coffee: https://www.buymeacoffee.com/fashiongrunge
Rock us Amadeus! This week on HOAP we enter the 80's with the somewhat irregular period piece, Amadeus. The guys have a long talk about the nature of genius and where it comes from. They each share a story from the ‘85 Oscars, talk about the film's unusually modern portrayals, and discuss the absolution of the ending. Dave tells us why he'd rather be Salieri over Mozart, while Andrew takes a minute to rag on the Kansas City Chiefs. Can I play the piano anymore? Of course you can. Well, I couldn't before. We love you Dr. Zaius.
Per Andersson har även ett och annat att säga till Armand Duplantis. Lyssna på alla avsnitt i Sveriges Radio Play. Hela veckans Morgonpasset i P3 – Gästen hör du i Sveriges Radio Play.Per Andersson är med i pjäsen "Amadeus" som handlar om världens äldsta musikbeef: Salieri och Mozart! Sprallig i vanlig ordning bjuder han på stories om Riche och inte en tysk imitation men hans omgjorda tal på Idrottsgalan. Vad vill Per Anderssson säga till årets manliga idrottare?Programledare: David Druid och Linnea Wikblad.
In this episode, I chat with Dr. Kristin Franseen (Western University) about her musical upbringing as a bassist, her early interest in becoming an orchestral librarian, and her time at McGill University earning a PhD in musicology. We also chat about her first book, Imagining Musical Pasts, and her current research on the intersection of music and gossip, specifically within the supposed feud between Mozart and Salieri. The HMA book club meets this Sunday, January 26th at 3:00 pm EST! Sign up on Substack to get the book and book club emails! Imagining Musical Pasts Kristin's website Kristin's article "Have Quotes about Salieri" Kristin's article "The Salieri Rumor and Why Gossip Matters" Kristin's article "The Song of the Dying Composer" Jazz by Toni Morrison My episode with Jair Gallardo My episode with Brad Osborn My episode with Patrick Nickleson Patrick Nickleson's The Names of Minimalism Get in touch with me at: hermusicacademia@gmail.com
Wolfgang Amadeus Mozart is a remarkably talented young composer who unwittingly finds a fierce rival in the disciplined and determined Antonio Salieri. Resenting Mozart for both his hedonistic lifestyle and his undeniable talent, Salieri is gradually consumed by his jealousy and becomes obsessed with Mozart's downfall, leading to a devious scheme that has dire consequences for both men. Michael and Eric sabotage Amadeus (1984), directed by Milos Forman. Follow Aflixionados Podcast on social media for extended conversations, interesting tidbits, and other news! Linktree | Instagram | Facebook | YouTube | Merch
Donald Macleod explores Vienna in the company of Franz SchubertOf all Europe's major cities, perhaps Vienna is the one with the reputation as the most comfortable, the most sophisticated, and the most musical. In fact, has any other city been home to so many great composers as Vienna? Mozart, Beethoven, Haydn, and Salieri all spent their best years working there. Yet none of those starry names was born in the city, none were true Viennese. This week, Donald Macleod explores Vienna through the lens of arguably the greatest home grown composer the city has ever produced – Franz Schubert – a man whose short life spanned a crucial period in Austrian history, a time of crisis and much change. In his company we'll explore Vienna's churches and theatres, its parks, coffee houses and taverns, and also glimpse the darker side of the city too – the excesses of Europe's aristocracy and the all seeing eyes of Vienna's secret police.Music Featured: “Kupelwieser” Waltz in G flat Major, D Anh I/14 Symphony No 9 in C Major “The Great”, D944 (3rd mvt, Scherzo) String Quintet in C Major, D 956 (2nd mvt, Adagio) Beitrag zur fünfzigjährigen Jubelfeier des Herrn von Salieri, D407 Marches Militaires, D733 (No 1 in D Major) Gretchen am Spinnrade, D118 6 Moment Musicaux, Op 94, D780 (No 3 in F min) Mass No 1 in F Major, D105 (Gloria) Grande Marche Funebre, D859 Symphony No 2 in B flat Major, D125 (4th mvt,Presto) Rosamunde, D797 (No 5 ,Entracte No 3 in B flat Major: Andantino) Licht und Liebe, D352 Quartettsatz Lazarus, Act 2 (unfinished) Schwanengesang, D744 4 Impromptus, D899, Op90 (No 3 in G Flat Major) Symphony No 8 in B minor, D759 “Unfinished” (1st mvt, Allegro moderato) Symphony No 5 in B flat Major, D485 (1st mvt, Allegro) Winterreise, D911 (No 24, Der Leiermann) Der Wanderer, D489 Piano Quintet in A Major, D667 “The Trout” (3rd mvt, Scherzo) 38 Waltzes, D145, Op 18 (Nos 6, 8 & 9 ) An Sylvia, D891, Op 6 (No 4) Fantasy in F minor, D940, Op 103 Ave Maria, D839, Op 52, No 6 Mass No 6 in E Flat Major, D950 (Credo) Rosemunde incidental music, D797 (Nos 7-9) Alfonso and Estrella, D732 (Act I, Aria “Sei mir gegrusst, o Sonne!”) An die MusikPresented by Donald Macleod Produced by Sam Phillips for BBC Audio Wales & WestFor full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Schubert and Vienna https://www.bbc.co.uk/programmes/m0026800 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z
Who's ready to listen to Salieri whine some more? It goes off the rails this week, lil onions, as we conclude our two-part coverage of Amadeus (1984). Carie gets really granular with Mozart's infamous Requiem Mass and Mozart's creative process. Ross continues to bemoan Salieri's inability to just enjoy another's success. The siblings also expand on the circumstances of Mozart's demise. RELATED MEDIA: Great Music Explained SUPPORT US ON PATREON!
Diese Folge gehen wir gleich auf eine doppelte Reise in die Vergangenheit - im Hauptfilm Amadeus duelliert sich Salieri (relativ einseitig) mit Mozart, und im Cage Match zu Butcher's Crossing duelliert sich Nicolas Cage (extrem einseitig) mit zigtausend Büffeln. Übersicht: 0:00:00 - Frage der Woche: "Was ist der beste Film oder die beste Serie für die offensichtlich ein Falco-Song als Inspiration gedient hat?" 0:01:05 - Was haben wir eigentlich gemacht? Megalopolis & Joker: Folie à Deux / The Substance / Dead Dead Demon's Dededede Destruction / Nier: Automata Ver1.1a (Staffel 2) / Pachinko (Staffel 2) / Suicide Squad Isekai (Staffel 1) / Nobody Wants This (Staffel 1) / Mayonaka Punch (Staffel 1) & My Deer Friend Nokotan (Staffel 1) 0:48:41 - Cage Match: Butcher's Crossing 1:02:13 - Trailer Talk: Wildes Land / Googoosh – Made of Fire / The Apprentice / Der Buchspazierer / The Room Next Door / Red One / Flight Risk / Lord of the Rings: War of the Rohirrim / Heretic / Konklave 1:16:41 - Ryde or Wrong: Amadeus Unterstützt den Podcast bei Patreon und erhaltet exklusiven Bonuscontent und Mitspracherecht bei der Filmauswahl: https://www.patreon.com/rydeorwrong Erreichen könnt ihr uns wie immer unter www.facebook.com/rydeorwrong, https://twitter.com/RydeWrongPod, https://www.instagram.com/rydeorwrong oder per E-Mail unter rydeorwrongpodcast@gmail.com. Unser Episodenarchiv findet ihr auf https://rydeorwrong.podcaster.de. Alle Musik von Willi im Wald: http://williimwald.bandcamp.com Folge direkt herunterladen
Part one of the Mafia crime saga - 1930s, Lost Heaven, ILRe-made from the ground up, rise through the ranks of the Mafia during the Prohibition era of organized crime. After a run-in with the mob, cab driver Tommy Angelo is thrust into a deadly underworld. Initially uneasy about falling in with the Salieri crime family, Tommy soon finds that the rewards are too big to ignore.Play a Mob Movie:Live the life of a Prohibition-era gangster and rise through the ranks of the Mafia.Lost Heaven, IL:Recreated 1930's cityscape, filled with interwar architecture, cars and culture to see, hear and interact with.Re-Made Classic:Faithfully recreated, with expanded story, gameplay and original score. This is the Mafia you remembered and much more.
durée : 00:09:30 - Le Disque classique du jour du jeudi 31 octobre 2024 - Nathan Granner présente des airs de ténor de Paër, Mozart, Gluck, Salieri et Bologne, mettant en valeur l'essor du ténor à la fin du XVIIIe siècle, ainsi que l'esprit des Lumières de l'époque.
durée : 00:09:30 - Le Disque classique du jour du jeudi 31 octobre 2024 - Nathan Granner présente des airs de ténor de Paër, Mozart, Gluck, Salieri et Bologne, mettant en valeur l'essor du ténor à la fin du XVIIIe siècle, ainsi que l'esprit des Lumières de l'époque.
¡Vótame en los Premios iVoox 2024! En el programa de hoy os presentamos dos títulos en absoluto opuestos, pero sin duda muy dispares entre sí. En la primera parte de la edición, en nuestra sección Videoteca Lode, destriparemos del derecho y del revés la película AMADEUS, donde se nos contaba una ficción cuasi ucrónica acerca del asesinato sutil y magistralmente orquestado por el maestro Salieri del insigne e irrepetible genio Mozart. Un drama con tintes de thriller que fue llevado a la pantalla hace ahora 30 años de la mano de Milos Forman, donde debemos rendirnos ante la magnífica interpretación de F. Murray Abraham, entre otros. La batuta de dirección correrá a cargo de Antonio Runa, Coronel Nathan Kurtz y Elia Martell. En la segunda parte del programa, en la sección de cómics Entre Viñetas, se analizará la reciente pero espectacular colección SUPERIOR SPIDERMAN, donde Raúl Martín y Rafa Pajis nos hablarán de cómo el Dr Octopues hará algo más que tomar la vida de Peter Parker, en una etapa que los lectores de cómics Marvel recordarán largamente por la alta calidad mostrada en sus páginas. Un programa de La Órbita de Endor que pretende conseguir que paséis unas horas de entretenimiento sin demasiadas pretensiones, con una música, la del Maestro Mozart, que ya es Patrimonio de la Humanidad, y en el segundo bloque de programa, dentro del marco Creative Commons, los temas de Gregoire Lourme. Gracias por habernos elegido y disfrutad del audio. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals
Wiz RECOMMENDS Star Trek: Insurrection An improvement from the last two "Next Generation" films, Star Trek: Insurrection seems like it takes some of the best elements of the best "original series" films and inject it into this crew. What are those elements? Humor and action. Both Generations and First Contact seemed to be a little too serious, including having a scowling Picard and a Riker that seems to just do what he's told, for example. In this film, the personalities seem to be more up front: Picard is more charming, debonair and worldly, Riker has a romantic streak...and hell, even Data seems to have more of a personality with his inquisitive nature. Seriously, it's strangely such a plus to see a good amount of the crew just...smile more. But when the action ramps up, the film is a good amount of fun. Insurrection has some good dogfights and shooting sequences that keep the action lively. But in honesty, there's two problems with the film: First, the villains are boring. Both the corrupt Federation Admiral Daugherty, played by Anthony Zerbe, and Ru'afo, played by Salieri himself F. Murray Abraham, are both not that interesting and Abraham cheeses up the overacting towards the end of the film. The point where the Ba'ku are attacked leads to a end of 2nd/beginning of 3rd act that kind of drags the film down. It just seems like more is going on than is necessary....but in fairness, the end makes it worth the slog. In fairness though, Star Trek: Insurrection is the best time I've had with the "Next Generation" crew thus far. Which is odd considering that some think this is the worst of the four, but I honestly had a better time with Insurrection than the others. It still doesn't even hold a phaser to any of the "Original Series" films, but I'm fairly sure nothing will at this point.
Jolene and Kenton have difficulty photographing their kitten for the kitten naming competition – she keeps disappearing off! Later they spot a boy stroking her in the pub car park, claiming that the kitten was on the road and that he'd practically saved her life. He tells them his name's Kahlil and he's just moved into Beechwood.Later, Kenton's not satisfied with his kitten photos, but Jolene likes the one in the old Shires ashtray and they decide to go with it for the competition photo. Jolene invites Fallon and Harrison over for a drink later – George is in court this week and Fallon's feeling confused about reading out her personal statement in court. Jolene's going there with her for support.Lilian asks Lynda's advice about whether she should encourage Alice to come to court for George's sentencing on Thursday. They stop in mid-flow when they spot a boy appearing to be feeding Lynda's llamas crisps. He's adamant he isn't though, explaining how llama's digestive systems work. He thinks Salieri's constipated. That's too much for Lynda who demands to know the boy's name to report him to his parents. But he runs off before she can finish. Later a girl turns up looking for him. When Lynda suggests he's dropped his drinks can as litter, the girl says it's not his. They're boycotting that drink. The boy reappears and she heads home with him. Slowly Lynda realises who they might've been. Azra lives in Beechwood – what if they're her children? Lynda worries that she might've offended Adil's family practically as soon as they've moved in
Lucian Msamati has played leading roles on our most famous stages: Salieri in Peter Shaffer's Amadeus at the National Theatre, Iago in Othello at the Royal Shakespeare Company and Estragon opposite Ben Whishaw in Waiting for Godot at the Theatre Royal Haymarket in London. He started out performing – in his words – ‘for farmers sitting on beer crates in rural Africa, with tables for a stage'. And when he decided to leave Zimbabwe, where he began his career, to see if he could make it in the UK, he had to work as a cleaner to pay the bills. His perseverance paid off: as well as success on stage, he's appeared in high-profile TV shows, including Game of Thrones and the Number One Ladies Detective Agency. After his role in Amadeus, it's no surprise to find Mozart among his musical passions, which also include Satie, Tchaikovsky and an unusual track by Stevie Wonder.Presenter Michael Berkeley Producer Clare Walker
War Antonio Salieri der hinterlistige Intrigant, der Mozart das Leben schwer gemacht hat? Viele haben ihn wohl erst durch Miloš Formans «Amadeus»-Film kennengelernt. – Der finnische Dirigent Klaus Mäkelä, Chef in Oslo und in Paris, ist eine aussergewöhnliche Persönlichkeit. Die Macht der Bilder zeigt sich auch darin, wie die Öffentlichkeit den Hofkomponisten Antonio Salieri (1750-1825) wahrnimmt. Im Film «Amadeus» erscheint der Italiener als neidzerfressener Ränkeschmied, der dem aufstrebenden Mozart schadet, wo er nur kann. Was ist wahr an dieser angeblichen Rivalität? Und wir sprechen mit Klaus Mäkelä, der schon mit 28 eine eindrückliche Laufbahn als Dirigent vorweisen kann: Chefdirigent in Oslo und beim Orchestre de Paris, ab 2027/28 beim Concertgebouworkest in Amsterdam und beim Chicago Symphony Orchestra ... Weitere Themen: - «Amadeus» – eine Sinfonie aus Eifersucht und Genialität - Gelassenheit ist Pflicht: Dirigent Klaus Mäkelä
When the Springfield Library becomes low on books, the children of Springfield Elementary don't have enough resources to do research for their history papers. To help out, Marge gives the kids verbal anecdotes about historical figures including tales of King Henry VIII, Sacagawea's assistance to the Lewis and Clark Expedition and a very Bart-like Mozart feuding with his sister Salieri. Click the link below to contact us, listen to past episodes, merch, and more! linktr.ee/AnnoyedGruntBoys ***Next Episode: S26 E22 - Mathlete's Feat*** --- Support this podcast: https://podcasters.spotify.com/pod/show/138simpsons/support
Strike up the orchestra and prepare for a crescendo of myth-busting as Dr. Kristin Franseen takes the stage on History Rage. With a passion for the melodious tales of classical music's past, Kristin unravels the tangled web of gossip and anecdote surrounding the legendary figures of Mozart and Salieri. This episode conducts a symphony of truth, debunking the sensationalized rivalry pitched by the famous film 'Amadeus' and diving into the real historical narrative of these iconic composers.Episode Highlights:The Real Mozart and Salieri:Dr. Franseen dissects the historical inaccuracies in 'Amadeus' and illuminates the true relationship between Mozart and Salieri, revealing a collegial bond rather than a spiteful duel.Behind the Music:Explore the collaborative nature of opera in 18th-century Vienna and the roles both composers played in shaping the musical landscape of their time.Teaching Titans:Salieri's esteemed position as a teacher to the greats, including Beethoven and Schubert, is discussed, contrasting with Mozart's reputation as a virtuoso and a prodigy.Gossip as Historical Lens:Kristin encourages us to consider the role of rumours and gossip in shaping our understanding of history, urging a critical examination of what these tales reveal about societal beliefs across the ages.Conclusion:Dr. Kristin Franseen's expert insights orchestrate a fresh understanding of Mozart and Salieri, inviting us to appreciate the complexities of music history beyond the silver screen fiction. Tune in for a harmonious blend of facts and thoughtful analysis that will resonate with history and music enthusiasts alike.Discover more by following Kristin on Twitter @musicologygeek, and don't hesitate to engage with her vibrant discourse. And don't forget to support our continued quest for historical truth at patreon.com/historyrage, where your patronage earns you early episode access, prize draws, and the iconic History Rage mug.To catch up on all the rage from bygone times go to the website www.historyrage.comIf you want to get in touch with History Rage then email historyragepod@gmail.comFollow History Rage on Social MediaFacebook: https://www.facebook.com/HistoryRageTwitter: https://twitter.com/HistoryRageInstagram: https://www.instagram.com/historyrage/Bluesky: https://bsky.app/profile/historyrage.bsky.socialStay Angry, Stay Informed - History Rage Hosted on Acast. See acast.com/privacy for more information.
Movie of the Year: 1984Amadeus (with Katie Walsh!)The Movie of the Year podcast recently turned its attention to the iconic film Amadeus, offering listeners an in-depth analysis of this classic through an engaging conversation with guest critic Katie Walsh. Amadeus, directed by Milos Forman, is not just a retelling of Mozart's life; it's a rich exploration of genius, jealousy, and the complexities of talent. In this episode, the hosts and Walsh delve into the film's themes, focusing on what it means to have talent, the unique approach Milos Forman took to the musician biopic, and the unforgettable performances by Tom Hulce and F. Murray Abraham.Exploring Amadeus: The Nature of TalentThe discussion begins with one of Amadeus's central themes: the nature of talent. The hosts and Walsh explore how the film juxtaposes the extraordinary, almost divine talent of Wolfgang Amadeus Mozart with the more modest abilities of Antonio Salieri. The podcast highlights how Amadeus portrays talent as both a gift and a curse, examining Salieri's agony as he recognizes Mozart's genius, something he can admire but never replicate.Katie Walsh brings an insightful perspective on how the film's portrayal of talent transcends the musical realm and touches on broader human experiences. She notes that Amadeus raises questions about the fairness of life's gifts and the torment that can arise from recognizing one's limitations in the face of someone else's brilliance. The conversation underscores how Amadeus resonates with anyone who has ever felt overshadowed by a more gifted peer, making it a timeless study of human emotion and ambition.Milos Forman's Amadeus: A Revolutionary Musician BiopicMilos Forman's direction of Amadeus is another focal point of the episode. The podcast examines how Forman, already renowned for his work on One Flew Over the Cuckoo's Nest, revolutionized the musician biopic genre with this film. Instead of crafting a straightforward biography, Forman created a lush, operatic drama that blends historical accuracy with artistic license, bringing Mozart's world to life in a way that feels both authentic and larger-than-life.The hosts and Walsh discuss how Forman's approach to Amadeus differs from other musician biopics, particularly focusing on the rivalry between Mozart and Salieri. The film does not merely celebrate Mozart's genius; it also delves into the darker aspects of his life and the intense envy it provokes in Salieri. This choice elevates Amadeus beyond a simple retelling of Mozart's life, making it a profound exploration of human nature, power, and legacy.Katie Walsh praises Forman for his ability to balance the film's grand, operatic scale with intimate character studies, allowing audiences to connect with both the historical figures and the universal themes they represent. She points out that Forman's direction ensures that Amadeus remains accessible and engaging, even for those who might not be familiar with classical music or Mozart's life.Tom Hulce and F. Murray Abraham in Amadeus: A Study in ContrastsNo discussion of Amadeus would be complete without acknowledging the outstanding performances of its lead actors, Tom Hulce and F. Murray Abraham. The podcast dedicates a significant portion of the episode to analyzing how these two actors brought Mozart and Salieri to life with such depth and nuance.Tom Hulce's portrayal of Mozart is described as both electrifying and tragic. The hosts and Walsh discuss how Hulce captures Mozart's childlike exuberance, as well as his...
Wir springen in dieser Folge ins 18. Jahrhundert. In der nördlich von Venedig gelegenen Stadt Ceneda wird im Jahr 1749 ein Junge geboren, dessen Werdegang ihn u.a. von Venedig, nach Wien, London und schließlich New York führen wird. Dazwischen arbeitet er mit niemand Geringerem als Wolfang Amadé Mozart zusammen. Obwohl dies seinen späteren Ruhm begründen wird, ist es vor allem dieser Werdegang, der Lorenzo Da Ponte zu einem der interessantesten Männer seiner Zeit macht. //Literatur – Rodney Bolt. Lorenzo Da Ponte - Mozarts Librettist und sein Aufbruch in die Neue Welt. Bloomsbury Verlag, 2011. in einer Übersetzung von Martin Pfeiffer – Wiebke Krohn und Johannes Schweitzer: „LORENZO DA PONTE: LEBEN UND WERK“. aus "Lorenzo Da Ponte. Aufbruch in die Neue Welt." anlässlich einer Ausstellung im Jahr 2006 im jüdischen Museum Wien. September, 2006. //Erwähnte Folgen – GAG429: Der Eimerkrieg – https://gadg.fm/429 Das Episodenbild zeigt eine Darstellung Da Pontes aus dem frühen 18. Jahrhundert. //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer Becher, T-Shirts oder Hoodies erwerben will: Die gibt's unter https://geschichte.shop Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt!
durée : 00:05:51 - L'ami.e du vendredi - par : Guillemette Odicino - Mon ami Salieri
Para los más conocedores de la cultura musical, tal vez el personaje que más encarna la envidia es un antiguo compositor italiano y por varios siglos, se le ha reconocido como un personaje capaz de hacer lo que sea por prevalecer, por ganar, inclusive, el asesinar a alguien.Bienvenidos a Interesante historia. En este episodio les contaré la realidad de la conocida enemistad entre los compositores Mozart y Salieri.No me demoro más y comienzo con este episodio.Apoya al podcast: https://www.spreaker.com/podcast/interesante-historia--5241488/support.
“Büyüklük sanrıları”, genellikle çeşitli psikolojik rahatsızlıkların semptomu olarak görülebilen, gerçeklikle bağın tamamen koptuğu patolojik bir durum. Peki ya gerçekliğin ne olduğunu nasıl biliyoruz? Karamsar görünen durumlarda sanrılara sığınmak sağlıklı bir baş etme yöntemi mi, yoksa bir kaçış mı? 111 Hz'in bu bölümünde toz pembe gözlüklerimizi takıp bulutlara doğru uçuyor ve anlam arayışımıza farklı bir perspektiften bakıyoruz.Sunan: Barış ÖzcanHazırlayan: Gülşah DimSes Tasarım ve Kurgu: Metin BozkurtYapımcı: Podbee Media------- Podbee Sunar -------Bu podcast, Frink hakkında reklam içerir.Frink uygulaması sol menüde bulunan ''Kupon Kodu Kullan'' alanına FRNKPOD kodunu tanımlayıp üyeliğini 200 TL indirimli başlatabilirsin. Hemen indir, üyeliğini başlat!: tıklayınız.Bu podcast, Hiwell hakkında reklam içerir.Hiwell'i indirmek ve podbee10 koduyla size özel indirimden faydalanmak için tıklayınız.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Kit and Steve revisit the 1984 masterpiece 'Amadeus.' This Oscar-winning film portrays the life of Wolfgang Amadeus Mozart through the envious eyes of his rival, Antonio Salieri. Witness the riveting drama unfold as Salieri's admiration turns to obsession, leading him down a dark path against the backdrop of Mozart's sublime music. Explore with us the intricate dynamics of genius and jealousy, set against the opulence of 18th-century Vienna. Tune in for a deep dive into this cinematic classic.00:00:00 - Introduction:Welcome to a new episode of Streaming Things, where we dive deep into the world of streaming content!00:01:56 - Overall Thoughts:Our hosts share their initial impressions and overarching thoughts on today's movie/TV episode.00:22:07 - Scene by Scene Recap:Join us as we break down the episode or movie scene by scene, offering insights and commentary.Support Streaming Things:Subscribe to our Patreon!Engage with Streaming Things:Merchandise: Check out our BRAND NEW Merch Store for the latest Streaming Things apparel and accessories.YouTube: Don't miss our visual content on Streaming Things YouTube channel.Website: Visit our official website for more updates and content.Connect with Us:Email: Send your feedback and questions to streamingthingspod@gmail.com.Instagram: Follow us @streamingthingspodofficial for behind-the-scenes content.Twitter: Stay updated with our latest tweets @StreamThingPod or follow Chris @moviesRtherapy.Fan Mail:Address: Send your letters and fan mail to:Streaming Things6809 Main St. #172Cincinnati, OH 45244Episode Sponsors:This episode is sponsored by BetterHelp. Get the support you need at betterhelp.com/streamingthings. Hosted on Acast. See acast.com/privacy for more information.
Alan Committie discusses the thrilling drama of Salieri's envy and Mozart'sgenius in this captivating production directed by Geoffrey Hyland. Catch theshow from the 12th April at Theatre on The Bay and get your tickets onWebtickets.See omnystudio.com/listener for privacy information.
Step into the majestic world of classical music and jealousy-fueled rivalry with Movie Mistrial as we unravel the captivating drama of "Amadeus."Milos Forman's masterful direction, coupled with brilliant performances by Tom Hulce and F. Murray Abraham, brings to life the tumultuous relationship between Mozart and Salieri, offering a rich and immersive portrayal of genius, obsession, and the pursuit of artistic excellence.While "Amadeus" is hailed as a cinematic triumph, some critics argue that certain historical inaccuracies and fictionalized elements may distort viewers' perception of the real-life figures and events depicted in the film.Join us for a riveting discussion as we explore the depths of "Amadeus" and its enduring impact on both cinema and classical music.Connect with us and share your thoughts:Twitter: http://tiny.cc/MistrialTwitterFacebook: http://tiny.cc/MistrialFBInstagram: http://tiny.cc/MistrialInstaVisit our website, www.moviemistrial.com, for more captivating episodes and to stay up-to-date with all things movies.
The first Rock Star gets his own biopic with a murder mystery. F. Murray Abraham stole the show as the scheming Salieri, who claims to have murdered Wolfgang Amadeus Mozart-but did he?Roland Uruci's Ready Speaker Podcast on YouTubeFollow us: Instagram Facebook Watch us on YouTube!
"It seemed to me that I was hearing the voice of God." For Episode 304, Thomas and Brandon kick off Rivalry Month with possibly the best rivalry film of all time, AMADEUS. Listen as they discuss the early frontrunners for the main roles, which cast member was hired a day before filming, and why they think AMADEUS is one of the more underrated films of the 1980s. Opening Banter (00:00:10) Intro to the Rivalry Genre (00:05:35) Intro to Amadeus (00:013:54) How Amadeus Got to Production (00:21:19) Favorite Scenes (00:32:13) On Set Life - (00:57:36) Aftermath: Release and Legacy (01:03:20) What Worked and What Didn't (01:12:49) Film Facts (01:19:23) Awards (01:33:30) Final Questions (01:40:35) Preview for Next Week (01:46:06) Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast E-mail: cinenationpodcast@gmail.com
Mozart estaba arruinado y fue enterrado en una fosa común. El Réquiem fue encargado en circunstancias fantasmagóricas y terminado por un Salieri solterón, resentido y envidioso. ¿Cuántos mitos en torno a estos dos hombres y su música han llegado hasta nosotros y por qué? ¿Qué influencia ha tenido la película de Milos Forman 'Amadeus'? Y sobre todo: ¿cuál es la verdadera historia del Réquiem de Mozart y, en concreto, en qué circunstancias llegó a España? Lo investiga a fondo el libro 'El Réquiem de Mozart: Una historia cultural', del doctor en musicología Miguel Ángel Marín. Lo comentamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares y Sergio del Molino. Además, recomendamos las películas 'American fiction' y 'Secretos de un escándalo'. Y conocemos en persona a uno de los grandes mitos de la música clásica.
Mozart estaba arruinado y fue enterrado en una fosa común. El Réquiem fue encargado en circunstancias fantasmagóricas y terminado por un Salieri solterón, resentido y envidioso. ¿Cuántos mitos en torno a estos dos hombres y su música han llegado hasta nosotros y por qué? ¿Qué influencia ha tenido la película de Milos Forman 'Amadeus'? Y sobre todo: ¿cuál es la verdadera historia del Réquiem de Mozart y, en concreto, en qué circunstancias llegó a España? Lo investiga a fondo el libro 'El Réquiem de Mozart: Una historia cultural', del doctor en musicología Miguel Ángel Marín. Lo comentamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares y Sergio del Molino. Además, recomendamos las películas 'American fiction' y 'Secretos de un escándalo'. Y conocemos en persona a uno de los grandes mitos de la música clásica.
On November 18th, I hosted a webinar called "How Professional Screenwriters Create Great Characters", where I talked about how to come up with interesting and unique characters, as well as how tapping into your everyday life interactions with people can help with this. This episode addresses questions you asked in our Q&A session that we didn't have time to answer. There's lots of great info here, make sure you watch.Show NotesA Paper Orchestra on Website: - https://michaeljamin.com/bookA Paper Orchestra on Audible: - https://www.audible.com/ep/creator?source_code=PDTGBPD060314004R&irclickid=wsY0cWRTYxyPWQ32v63t0WpwUkHzByXJyROHz00&irgwc=1A Paper Orchestra on Amazon: - https://www.amazon.com/Audible-A-Paper-Orchestra/dp/B0CS5129X1/ref=sr_1_4?crid=19R6SSAJRS6TU&keywords=a+paper+orchestra&qid=1707342963&sprefix=a+paper+orchestra%2Caps%2C149&sr=8-4A Paper Orchestra on Goodreads: - https://www.goodreads.com/book/show/203928260-a-paper-orchestraFree Writing Webinar - https://michaeljamin.com/op/webinar-registration/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Newsletter - https://michaeljamin.com/newsletterAutogenerated TranscriptMichael Jamin:And why are we rooting for him? We're rooting for this meek man who's going to die soon to make some money for his family, but also to feel like he's alive for the first time in his life because he's just lived this very meek existence. And so that's why we're rooting for him. That's why we like him. And when he makes mistakes, he may go off track, but we hope he comes back. We're still rooting for him. You are listening to What The Hell Is Michael Jamin talking about conversations in writing, art, and creativity. Today's episode is brought to you by my debut collection of True Stories, a paper orchestra available in print, ebook and audiobook to purchase and to support me on this podcast, please visit michael jamin.com/book and now on with the show. Hey everyone, it's Michael Jamin and you're listening to, what the Hell is Michael Jamin talking about? Well, today we're doing another q and a from II's free writing webinars, and there's a lot of questions that people had. We couldn't answer 'em all on the end. We ran out of time, and so we're going to address 'em here. But this episode, Phil, I'm here with Phil Hudson.Phil Hudson:What up, Phil?Michael Jamin:Today's episode is brought to you by a paper orchestra, which is my collection of personal essays. It's David Saris meets Neil Simon on sale on my website, michael jamin.com, or you can find it anywhere. Books are sold, Amazon, Barnes and Noble, apple Books, all those places. Go get it. Go check it out. It's a fun read. Yeah. Okay.Phil Hudson:Worth checking out all the versions though too. I was just listening to the audio book and we talked about this in your episode about the book itself, but the music cues and the intros, very well done. Very well produced. You're also telling me about, thank you, Phil, how hellacious of a process it was to do itMichael Jamin:ToPhil Hudson:The quality you like.Michael Jamin:Yes. Because you only get to put it out once, but yeah. But thank you. So Phil got the audio book, but it's available ebook and print as well, however you consume your written materials. Love it. Alright, Phil, we got some questions. Enough about me. Let's ask me some questions.Phil Hudson:Yeah, let's talk to you some more about you. This is from the November 18th webinar. These are like you said, q and A stuff, and the topic of this webinar was how professional screenwriters create great characters. This was, I think, a first run on this topic. You hadn't done this topic before.Michael Jamin:It could be. Yeah, this was a good one. Yeah, this turned out to be a good one I thought.Phil Hudson:I think so too. We can tell, there's some metrics we can tell in terms of how long people stay, questions that are asked, how long it goes. And I was going to say too, we didn't get to these questions because typically when we first started doing this almost a year ago, February will be a year doing these. It was like 30 minutes of lesson and then it was a bunch of q and a and that has transitioned into about 45 minutes of lesson and then a little bit of q and a where we can get it. And then we even have VIPQ and A now where you can just pay a small fee to join for an hour after and you just talk to people on Zoom and they get to go live and ask you questions and some really, really good questions being asked in that. So if you're interested in attending these webinars, go to michael jamin.com/webinar where you can sign up for that. But then you can also sign up on that page to get into the VIP. If you want to ask Michael directly a question that you have if youMichael Jamin:Can't get to it. So to be clear, the webinars are always free, and if you want to spend extra time with me, that costs you something. But I should also say right now it seems like we have four that we're going to have a rotation, but we may keep adding different topics, but right now we have four good ones, so if you missed it, just sign up and maybe we'll do it again. CorrectPhil Hudson:Me if I'm wrong, but I think some of the topics you've come up with have come from the q and a that you do on these topics. How do I overcome? Writer's block are like, I'm really struggling with a character or development. So they kind of incept the idea of like, okay, here's a topic we should go down. So lots of great value there. Alright, well again, just for housekeeping, we do split these up into topics. So we have kind of general topics. We have craft breaking in questions related to your course or the webinar topic and then miscellaneous. So we're going to start with K Craft. I think again, people want to know how to do the job, which I think is helpful.Michael Jamin:Yes.Phil Hudson:So Chad, Chad Siime or cme, I don't know how to pronounce that. Sorry, Chad,Michael Jamin:He doesn't, doesn't know either.Phil Hudson:He probably's probably making it up. Was it like Ari, one of the writers in Taco, they pronounced their name. It was changed at one point.Michael Jamin:Yeah, he says his own name wrong. Poor guy.Phil Hudson:I know someone who was a Heinrich and then when World War II happened, they changed it to Heinrich, Henrik Henrich because they didn't want to be associated.Michael Jamin:Yeah, yeah.Phil Hudson:There you go. Chad asked, do you have examples of writers who have successfully experimented with story structure? What principles did they stick to and where did they deviate?Michael Jamin:I don't really know. I mean, I don't really know if I have a good answer to that. Every time I watch something I go, oh, it falls into the good. I guess there's some really high level writing. Christopher Nolan. Okay. So I would say many of his movies do not fit what I would teach, like Memento, but Forget or Inception. I don't know how many times I've watched it and I still don't understand it. So it's a great movie though.Phil Hudson:Yeah. But I would say that I can see that clearly the writing structure in those.Michael Jamin:You can. Okay.Phil Hudson:Oh yeah, you're definitely an inception too. It's like how do we get on this journey and how are we making decisions and where this stakes, all that stuff. I think it's all,Michael Jamin:A lot of it playing at the timeline, memento when he's playing with it. I don't even know what year it's supposed toPhil Hudson:Be. You're right. But I wonder if that's, it's all there and it's just been split to change and mess with your head a bit, but it's all there, which is why it resonates with people.Michael Jamin:But I guess my advice is like, listen, if you want to operate at the high level, that's great, but let's just get to the professional level first before you become the masterPhil Hudson:Level. And Christopher Nolan's a great example of that because he had made a feature before he did Memento, so he had a full feature. He was making short films all the time in film school before he even started experimenting with timelines and things like that. Yeah, okay. Listen to me just arguing. Michael jamin on his own podcast.Michael Jamin:What do I know? You might bePhil Hudson:Right, maybe my head did get big. Kevin and Steve. Alright, Marianne wants to know, you have such a great understanding of human nature. Was there something you've always been good at or did you develop it as a writer?Michael Jamin:No, I didn't. I have a very low emotional iq. My parents are great people, well, great parents, but terrible, low emotional IQs themselves just because that's the household they grew up in. And so it's not a knock on them, it's just like this is the product of your parents. This is how they communicate. And so a lot of this I learned I gained from my wife just from being with her. And then the rest of it, of course, I learned as I became, I became a writer because that's your job as a writer is to really understand people and to get into their shoes. And one of the, it's so funny, I've spoken about this in the past, but my first writing teacher was a guy who really wanted everyone to be in psychoanalysis. That's what he called it because he was so old. They don't even call it like that anymore.It's psychotherapy. But he thought every writer has to be in psychoanalysis because if you don't understand yourself, how could you possibly understand someone else and you or a character? And I think he's absolutely right. I didn't want to believe he was right, but he is right. If you don't understand yourself, and most people do not, and we know this because they go through life unconscious of the people of the damage they're leaving, of the people they're hurting because they're just not even aware of it. And you see it all the time. You could see it on social media, people saying really mean things. It's like you might even be a good person, but why would you put that in print? What is wrong with you that you would say that? What part of yourself is so wounded that you think you need to say this in writing? And so I appreciate the compliment, but everyone else, I'm a work in progress and I think writing definitely has helped me.Phil Hudson:Yeah, that's great. Albert Klein wants to know, and this is again contextual here. These are people who are live chatting questions throughout this episode or this webinar. But I said relatability is key in full caps. I think where you're talking about with the characters. Do these characters need to be relatable? Do I need to understand who they'reMichael Jamin:Yeah, and it's the same thing with Tony Soprano. How do we relate to a mobster? I don't, and he's probably a sociopath as well, but what we can relate is the fact that we know what it's like to be a boss. Maybe you know what it's like to be a boss, to have people undermining you, your underlings. And he certainly had those problems. We know what it's like to be a father and to have children that are rebellious or whatever. That's the part we relate to with, so we don't relate to the part where he's going to wax somebody because he's late with the whatever. But we do relate to this other issues, which isPhil Hudson:Anxiety, the stress and family life. His psychotic mother.Michael Jamin:And that's what the show is about. It's not aboutPhil Hudson:Crazy. He deals with his in-laws too. Joey Pants, I think is his brother-in-Law or something, right?Michael Jamin:I don't remember whatPhil Hudson:He was. Yeah. Anyway, it's all relatable because it is just a heightened version of what go through. Yeah,Michael Jamin:His job is a little more interesting than our job, but it's all, that's not what it's about. It's not about the mafia, it's about the emotions that we all relate to.Phil Hudson:Great answer. Reik vid. So do you find the anti-hero more interesting than a traditional hero?Michael Jamin:Anti-hero is not even a term I use. I don't know. I think everyone, your hero has to be likable. I don't know. I can't even say I've lost interest. If your character is so unlikable, I don't really care what happens to him or her. I am out. So this notion of anti-hero, I don't even think of your writing that way. You have a hero. I think anti-heroes is one of these terms that, I dunno, expert writers will tell you it's an anti-hero. What?Phil Hudson:Yeah, people say that. People have said that the whole time since I've said I've wanted to study screenwriting or be a writer publicly said, oh, I'll describe what I like. Oh, you like an anti-hero? Batman's an anti-hero. And I was like, why? He's not goody hoo Superman. You've described him. He is a deeply wounded person who is using every resource he has, all of his willpower to stop other people from suffering.Michael Jamin:And how is he, I mean, we were on his side. He's complicated, but we're on his side. We're rooting for him. If we're not, we got a problem.Phil Hudson:Alright. What about Walter WhiteMichael Jamin:Breaking back? Yeah. What about Walter White? So that's a great, is he an anti-hero? I don't know. Who cares? To me, he's a guy who's dying in the pilot episode. He's dying, he's a teacher, so he doesn't have any money. What is he going to leave his family when he's gone? He's got to come up with money fast. And the only way he knows how to do that fast is by capitalizing on his skillset, which is he's a chemistry teacher so he can make meth in a lab. Does that make him an anti-hero? To me, he's just a hero.Phil Hudson:He's a person. And then you find out that he gave up tremendous wealth because that was like, he had that partnership at that company where he had the ability to adjust multimillions of dollars and he's a public school chemistry teacher. So it's those layers of decisions and regret. It's exploring the human condition. Definitely justMichael Jamin:And why are we rooting for him? We're rooting for this meek man who's going to die soon to make some money for his family, but also to feel like he's alive for the first time in his life because he's just this very meek existence. And so that's why we're rooting for him. That's why we like him. And when he makes mistakes, he may go off track, but we hope he comes back. We're still rooting for him.Phil Hudson:Yeah. Great. Chad, back again. Chad, how deep should someone go in developing a film or television character knowing that the director actor in the show's evolution will shape their personality?Michael Jamin:Yeah, I mean, you should go deep enough to get their interest so that they want to buy your work or work with you. But just know that's the thing about film. The minute you sign up for a film or you sell your film, the director's in charge, they're the boss. It's their movie. They might fire you. They're going to probably hire five other writers to rewrite the hell out of you. You may not even get screen credit because that'll be arbitrated by the Writer's Guild. Which writer did the most work on it? And so you should do as much possible as work possible to entice people to get on board your project. But once they get on board, you're out. Except in tv, it's a little different tv. The writer is the boss, not the director.Phil Hudson:And the actor needs to play that role. Right? You've got to entice them with your writing. And then good for you, man, congratulations. You can cry about it and wipe your tears with a hundred dollars bills,Michael Jamin:Right? Or write something. Write a book. If you're so protective, then do it your way. Write a bookPhil Hudson:Like me.Michael Jamin:Listen, like me, a paper orchestra available @michaeljamin.com or Amazon or Barnes and Nobles or Apple Books or anywhere books are found. And now back to our show film. Excellent Commercial Break.Phil Hudson:KU Ghana. I'm so sorry. I did not get that right. How would you go about creating a character who is far removed from your life, for example, based on a myth or legend? And it seems like there's a two-parter here, so maybe addressMichael Jamin:That one. How would I go about, well, what's the second part maybe? Or is it so unrelatedPhil Hudson:And advice for generating side characters, how to get the balance right between, so,Michael Jamin:Oh, that part. I could teach in the course, the side characters, but how do I go about creating characters that are, what was the first that were mythical or something?Phil Hudson:If you have characters are so far removed from who you are, and I'm assuming this is the job or the thing they do not necessarily the difference in who they are saying myth or legendary heroes.Michael Jamin:Yeah. Well, I would say try to do some research if you're not modeling it after someone, if a psychopath get to know them and try to figure out steal from them or a family member or someone. And if you don't, then it's on you to do a lot of research. Then you're going to have to get books on people who you want to be authentic. You don't want to, that's part of your job is the research part.Phil Hudson:Yeah,Michael Jamin:I prefer to steal, I prefer to steal from people. I know.Phil Hudson:There you go. That's why all of his crazy characters are named Phil Hudson. I couldn't figure it out. But this ties back to David s goer's comment about the Man of Steel movie that he wrote and he asked, what's the theme? He's like, it's about fathers and it's like Superman has an Earth father, but he has this other father and it's literally dealing with your father relationships. And then the second one is about mothers, and it's Batman and Superman dealing with this. Both of their mothers are Martha and they're struggling. And so there's this balance even of, we all know what it's like. You can even jump to Iron Man and Civil War when they're fighting and he's fighting. He finds out this other character killed his mom and Captain America is trying to stop him. And he goes, he killed my mom. And he's like, you can't be mad at Iron Man for wanting to fight this guy who's been his ally because he killed his mom. Even if the guy doesn't remember doing it, he kills your mom. So that's all super heightened, super superhero things. But what I'm trying to get to is there's humanity in every character and your life experience mining your life for stories like Michael teaches. That's how you do that.Michael Jamin:Yeah.Phil Hudson:Okay. Kim wants to know what about inner conflict, like being raised strictly religiously and discovering the joys of secular humanism and the transition from the medieval mindset to Renaissance?Michael Jamin:Well, you're probably a better person to answer than me.Phil Hudson:So this feels very specific to a type of story that they're writing.But when we talk about internal conflict, this is something I struggle with because as someone who's religious and been raised religious, I'm not anti-religious. I'm still very active in my faith and there are a lot of people who are very interested in what it means to be a Mormon, to be a latter day saint. I've struggled with how to approach that type of story. You've been telling me to write that for a long time, and I've struggled because I don't want to be preachy and I don't want to tear down my faith. And then I did find a balance and that balance is, let me just take a step back and look at all of the characters that I grew up with in this secular religion and what is so intriguing about the mommy blogger, the multilevel marketer, the jock has been who's now a real estate or the guy who went on to sell summer sales and has so much money but zero personality and then puts some interesting character struggling with their faith in the middle of that so you can exploreMichael Jamin:Because these are all characters that you grew up with in your faith,Phil Hudson:TheMichael Jamin:Multilevel, all of these people. Do you think Mormonism has something? Do you think there's a trait in Mormonism that applies to m multilevel marketing or something?Phil Hudson:I do, yeah. There's no better networked religion I think than the LDS faith. You, everything's divided geographically. You have 10 congregations that are geographically divided in what we call a stake. Then you have wards, which is literally a term to define a geographical area. So your neighbors all go to church with you, you do this, you know everybody, you know their name, you're encouraged to know their families and look after them and take care of them. And this is like pioneer heritage. This is a religion that was chased out of city after city, A Mormon extermination order made it legal to kill us in Missouri. And it wasn't appealed until the 1960s or seventies. They circle the wagons mentality of pilgrims or pioneers and they still treat it that way. And so present yourself nicely taken to an extreme is have perfect teeth. Go to the gym for three hours a day, wear nice clothes, live above your means, keep up with the Joneses. Really. It's like I totally see that I didn't grow up in that type of familyMichael Jamin:In that room. That's interesting to me. See, but you feel like if you were to writePhil Hudson:That you'd be caring? No, now I'm saying I know how to do that and I do know how to explore it because I'm not making fun of the religion necessarily or my theology. I am doing something that has always been interesting. It's the hypocrisy,Michael Jamin:The hypocrisy,Phil Hudson:The hypocrisy of it. And there's a lot of that. It's befriend everybody, but don't play with those kids. They don't go to church. Oh, I see. Interesting. If Jesus said we should love our neighbor as ourselves, then why are we not playing with the kid who's just moved here from South Dakota? So there's all those things. So what I would say advice is you need to look at what is interesting and what's your personal feelings about those things. And I left Utah because I didn't like necessarily the culture. It wasn't about the religion that was prominent there. It was the culture of the people, and that is something I have a lot of opinion about. So why am I not writing about that?Michael Jamin:Yeah, right. Good,Phil Hudson:Good. You'll be getting a draft within the next month or so fromMichael Jamin:Michael. Good. Send it along. You are listening to What the Hell is Michael Jamin talking about? Today's episode is brought to you by my new book, A paper Orchestra, A collection of True Stories. John Mayer says, it's fantastic. It's multi timal. It runs all levels of the pyramid at the same time. His knockout punches are stinging, sincerity, and Kirker view says those who appreciate the power of simple stories to tell us about human nature or who are bewitched by a storyteller who has mastered his craft will find a delightful collection of vignettes, a lovely anthology that strikes a perfect balance between humor and poignancy. So my podcast is not advertiser supported. I'm not running ads here. So if you'd like to support me or the podcast, come check out my book, go get an ebook or a paperback or if you really want to treat yourself, check out the audio book. Go to michael jamin.com/book and now back to our show.Phil Hudson:John wants to know, so if you choose the worst person to go on a journey, does that mean you came up with a scenario or premise or actual journey first? This goes back to in this episode or this webinar, you said it's not about finding the perfect character, it's finding the Yeah. And then I want to let people watch that webinar so they can get this thing here.Michael Jamin:Yeah. The question basically is which comes first character or the story? And to me it's the story. If most people say, oh, well I'm writing a movie about a guy, whatever comes back from the war with post-traumatic stress syndrome and now have to integrate into the real world, okay, that's the story. So now you have to go, who's the character? What's the best character for that story? Was he a seal, a navy seal or was he one of these accountant pencil pushers? He might've been a grill cook or something and I didn't sign up for this, and now he's coming back to the railroad with PTSD because the bomb went off or something. So that might be more interesting than a seal. I don't know. But you came up with a story first.Phil Hudson:Oh, can you imagine? You have legitimate PTSD and there's stories from even World War ii. It's like things are bad when the chef is loading their pistol. When the cook is loading it, they advance so far across the line that the cooking staff are now preparing to defend themselves. That's a problem. So you imagine that guy comes back and he's in a support group and he's like, yeah, I'm just struggling. And people are talking about, well, we dropped in, we night roped fast, roped in at night to get this guy and an IED went off and this guy is like, well, yeah, our position was overrun. I was like, and what did you do? I was like, I was a cook, and it diminishes your PTSD, but it shouldn't. But it's like That's fascinating.Michael Jamin:Yeah, you may go into the army because you want to become a dentist and the army will pay you to become, learn how to become a dentist, but you're not signing up to carry a pistol. You're signing up to drill teeth and somehow if you got PTSD, like you're saying, your base was overrun or a bomb went up or whatever, this is not what I signed up for and that might be interesting.Phil Hudson:Very interesting. I want to see that story. Yeah. Four eyes concepts. Can a non-human character be relatable?Michael Jamin:Can a non-human character be relatable? Well, they should be relatable. We watch the movie cars, it's about cars, but they're not, not cars. They're people who drawn to look like cars. I mean,Phil Hudson:We talked about data, data from Star Trek, right?Michael Jamin:Yeah. Everything should be, no one wants to care about a car.Phil Hudson:Wally.Michael Jamin:Wally. Exactly. All those arePhil Hudson:Short circuitMichael Jamin:Smurfs. Yeah, they're people justPhil Hudson:Drunk. Johnny five is alive, man.Michael Jamin:Yeah, so they're not cars or toys. They're people.Phil Hudson:Yeah. Awesome. So it's a craft section. Let's talk questions related to the topic and course Jim Garcia wants to know, how would you approach a true story? Someone they just got the ip, so that sounds like they've optioned it for a CIA badass who did badass things. Would you focus on areas of his life where he isn't such a badass? His complicated backstory?Michael Jamin:Yeah. Yeah, right. To me, it's much more interesting to write about someone's weaknesses than it is to write about their strengths. And so yeah, that's exactly right. What's his problems? What are his weaknesses? That's what I would write about.Phil Hudson:Yeah. What was that movie you told me to review with Bob Odenkirk where he was like, oh,Michael Jamin:What was it called again? I likedPhil Hudson:It. I can see the poster getting punched. Yeah, it'll come to me in a second. But that was an example of someone who just seems like a normal regular paper pusher and then you find out he's got this rich backstory, but it's him struggling to get back there. He's not good at it at first. He's like getting his butt kicked.Michael Jamin:Yeah, I like that movie.Phil Hudson:Yeah. The name will come to me in a second. TJ wants to know when does a scene end or when should you end a scene is probably a better question.Michael Jamin:I teach this in a course in bit greater detail, but the scene ends when the character's attitude is no longer the same as it was at the beginning of the scene. And that's when the scene is over. When the character, so for example, well, I got to think now, I won't put it on the spot. I can't think of a, but it is basically a character will get some piece of information and they go, oh, I got to go apologize to her. Or, oh, that does it. I got to rob a bank. It's like now their attitude has shifted. It's slightly different. It was in the beginning, and this is a mistake that most new writers make, is like the scenes continues long after the character. They're continuing to write, even though the scene ended 10 minutes ago. So when the character's attitude is different, has shifted, you're seen is over.Phil Hudson:Yeah. That's great. Refi wants to know, is story structure pretty much the same worldwide with the exception of cultural differences?Michael Jamin:I believe so. What differences difference does the language make? And to be honest, I am interested in stories from other cultures because look, we all have love. Love doesn't change from culture to culture. This culture, you may have a range marriage and this culture, you don't have a range marriage and this culture, a marriage ceremony might look different than this culture's marriage ceremony, but love is love and so you're just writing about the same thing. And I appreciate the window into your world because you have a different culture, but we're all humans. We all share the same human emotions, and so that's where people get hung up. It's like, no. Yeah, it's the same. We're all the same.Phil Hudson:Yeah. I met this kid here who's from Iran here in Los Angeles, and we were chatting and I had the opportunity in film school and at Sundance to catch several Iranian films by this Iranian filmmaker and a couple of his cohorts, and he was so impressed by that because I was able to talk about the story structure of these films. And what's interesting is how they have to navigate the politics of a government that funds everything, but also censors everything and how you have to use show, don't tell, and speaking indirectly to get across your message that kind of is political and anti-government, but have the government fund it and think you're doing good work for them. The other, but it's story is what connects and carries through. And the other great film everyone should check out from 2013 is called The Lunchbox, and it's this beautiful film I saw at Sundance and it ties in culture so beautifully to how we approach story. I would absolutely check that one out. David wants to know how can you add to the skeleton of a good character if you have the basis for a compelling character story, but you feel you need to add more to make your character real?Michael Jamin:Yeah. One of the things I have in the course is a whole worksheet. It's a chart that you need to GamePhil Hudson:Changer.Michael Jamin:Yeah. It's a chart so that you have to fill out a bunch of questions that you have to ask yourself about this character and filling out this chart will really help you flesh out your character in a way you couldn't even imagine. And then there's other characters in this chart, and then you have to say, okay, how does this characteristic, Matt? How do these characters interact? That's another question. And so all of that, if you're really interested, go sign up for my course@michaeljamin.com/course.Phil Hudson:Yeah. You quickly learn that you're painting all of your characters to be mirrors of each other because you want to talk about that thing, and then it highlights how you can make all of those interactions more beautiful and more interesting, more conflict to just really improve your story. You got that from somebody. Do you want to say who you got that from?Michael Jamin:Yeah, I learned that from Steve Levitan who I worked under. Just shoot me. So much of the knowledge that I teach in this course is just from sitting at the feet of writers who are more experienced than I was.Phil Hudson:Yeah. Do you have your notebook? I don't know if you want to show to peopleMichael Jamin:Every once in a while we take this down,Phil Hudson:So this is something we bring up in the webinars, often even give away a free PDF based on this notebook called the insider's guide to terminology, but that's your notes in your career writing, just writing stuff down from conversations, right?Michael Jamin:Yeah, exactly. I would work with other writers and they'd say something smart and I jot into my notebook, and then when I made the course a couple years ago, I just referred to my notebook. I go, this is what I want to teach.Phil Hudson:Yeah, it's awesome. This is Christina in our course, and this isn't really a question, but Kevin, who prepped this for me, left it in says in Michael's course, I learned how to figure out once and for all those act breaks that were a real headache for me before story structure is so well explained. It becomes much easier after. Yeah. She'sMichael Jamin:Had a good lot of success. Christina,Phil Hudson:She doing well. I was about to say she's taken her life mind for all these rich stories, and she's written, I think books and then now plays and those plays are being performed and touring. SoMichael Jamin:NotPhil Hudson:Bad. She credits you for helping her figure out how to break the story, but you didn't tell her what life to live and her experience or how to paint the story. You said this is how you tell your story, and she did that.Michael Jamin:Yeah. Yeah. Right. Yeah. Good for her.Phil Hudson:Awesome. We have one question on breaking in. This is from new legend pictures. I've been wondering about writing for a foreign audience. For example, I'd like to write something in the vein of Korean dramas. I know there's probably no way to break it into the US market.Michael Jamin:Writing a Korean drama.Phil Hudson:Yeah, just writing for other things, specifically a Korean drama.Michael Jamin:Well, are they Korean or are they American? IPhil Hudson:Sounds immediate. It's because this is a foreign audience. Sounds to me like this is someone who really enjoys Korean dramas and wants to take a stab at writing one.Michael Jamin:Oh, I see. I don't know anything about KoreanPhil Hudson:Drama. I think you were just saying, is that worth doing to try to break in? Is that a good sample?Michael Jamin:I would assume if that's your culture and you can write something, like I said, you can write a story that it could be, I could have a window into your culture. That's interesting to me to see what that's about, but at the end of the day, you still experience love the way I do. It's the same. Sure. If that's your culture, right, and you understand the Korean culture better than because you're Korean. Yeah. Lean into it.Phil Hudson:Lean into it. What if you're not Korean and you just like ca dramas,Michael Jamin:Then you're in dangerous territory. Someone might say, what do you know you're talking about? Or people might have a problem with you. I don't want to debate whether it's right or wrong, but you make run into trouble with that.Phil Hudson:Yeah. I would think that if you want to just write it to get it out of your system and it helps you improve your craft, great. But be tread lightly. Right. Next. Do most shows have, this is the same person, do most shows have each episode have their own full story arc? Or is it the whole season or the series or both?Michael Jamin:Well, every episode has to have a complete story, and then you may have a longer a story arc. This character is going back to college for the first time, but that one episode has to feel fulfilling. It has to feel like, yeah. Okay. And that there has to be a story in that episode. If it's not a complete story, people are going to be bored by it. And then the next episode, you're taking that journey a little further, but this is a question whether you want to serialize or your project or not. But again, you don't need to worry about any of this. You need to write one complete compelling episode of television. You don't need to worry about seasons, episodes two through 10. Just give me one damn good episode. Give me the pilot. That's all I need.Phil Hudson:Yeah. Ruth wants to know, say your agent is into a spec script, but you want to pursue it, can you try to pitch it yourself? How bound are you to what your agent wants?Michael Jamin:I wonder if they're talking about me or themselves.Phil Hudson:I think what they're saying is like, Hey, I have an agent and I've got the spec script. It's a film and my agent says he's not into it. Can I go pitch it myself or do I have to listen to my agent?Michael Jamin:No, you can do whatever you want. I, but I don't expect your agent to help you with that. If you want to go for it, they can't stop you go for it. I mean, the agent's trying to help you, and if they feel like they're helping you, they're going to give you their best advice. But if you don't want to take it, don't take it.Phil Hudson:Yeah. I was listening to an interview with Dead Mouse, and he said that there was a track that he wasn't really into, and his tour manager was like, dude, this is great. You got to drop it. And he didn't want to do it. And for months and months he didn't. And they kept tour manager kept saying, when are you going to drop it? And he ran out of stuff. He dropped it. It's his biggest hit. Sometimes you don't even know what is good for you, but Vice First is sometimes other people don't know what's good for you, and it's all risks, risk and reward. William, go for it. David Cook is Amadeus. Amadeus is I think something that came up in the webinar.Michael Jamin:Yeah, I love that movie.Phil Hudson:Yeah. My wife's favorite film. I think I told you she wants me to name one of our kids, Wolfgang. And I was like, no. And you're like, I might be on her side.Michael Jamin:Wolfie.Phil Hudson:That's what she wants to call him. She wants to name Wolfgang to call him Wolfie, which I think just whatever is Amadeus a story about an extraordinary person in an ordinary world or about Salie, an ordinary person in the extraordinary world of Amadeus.Michael Jamin:That's so interesting. It really is a story within a story, and you keep popping back out to Salieri in present time. Why did he go mad? Because, so yeah, it's a story within a story. There's really two stories. You're watching Solis descent into Madness because he killed this beautiful creature. Why did he do it? Yeah. So who's the hero of that?Phil Hudson:Well, it's called Amadeus.Michael Jamin:It is called Amadeus. Yeah,Phil Hudson:Right. So this is like Sicario. Did you ever see Sicario?Michael Jamin:I did,Phil Hudson:Yeah. So who is it about? Is it about Emily Blunt or is it about Benicio Del Toro and I think it wasn't until I got about three quarters of the way through, I was like, oh, we started on Emily Blunt, but that is not the protagonist.Michael Jamin:It's really just a framing device. The soli part of it. Who's got 90% of the screen time? Amadeus.Phil Hudson:Yep. Alright. Marla wants to know hat on a hat. New favorite saying, do you want to tell people what that is?Michael Jamin:We often say when you refer to a joke, sometimes you put a punchline on top of the punchline. And so we say it's a hat on a hat, ifPhil Hudson:You like that come to the webinar where we can give out that book based on the free ebook based on Michael's notebook, insider Guide to Writing terminology.Michael Jamin:Yeah. There's a bunch of terms that we give away. If you want to learn what they are, come to these webinars and we give 'em away.Phil Hudson:Yeah, everybody gets that for just coming. So I had an eye hat, new favorite. If you base a character on someone in your life or someone in your life recognizes themselves in your writing, can they sue you?Michael Jamin:I don't know. I don't give legal advice, but I'll say you're protected. If you change their name, I would assume you can change their name, you could change their occupation, you could hide who they are. And if they were to come out, they're essentially calling themselves out. Why would they be dumb enough to do that? But I'm not worried about it, but I don't give legal advice. So yeah,Phil Hudson:I think that the person that will need to worry about that is the studio that buys it, and it becomes so wildly successful. That person has a financial incentive to sue you. I don't think it's necessarily something you need to worry about on a spec.Michael Jamin:I would hope not. Yeah.Phil Hudson:Ruth, w what criteria do you consider when taking a job? Early in your career, you worked for both Steve Levitan and Greg Daniels, but then you didn't work on Modern Family or The Office. WhyMichael Jamin:Fired? Oh, fired. Fired. I wasn't offered jobs on Fired. Fired, offered fired. I wasn't offered jobs on those, but I mean, I also had a job. So when Modern Family came out that season, I remember actually meeting with Steve and my partner and I already had a job on, we were running a show called Glen Martin, so it wasn't even like we were trying to get that job. I don't remember what the office was doing, but I'm sure I also had, I've worked every year, I'm sure I also had a job at the time. So a lot of times, and by the way, I've missed out on opportunities, I've missed out on shows that were really big simply because I already had a job and when the show, it's not like this show was going to be a giant hit. You don't know this. Even a great show could be a flop.Phil Hudson:And Glen Martin, that was the first time show running right for you. And C, itMichael Jamin:Was the first time show running, and I was very happy to be running a show. I was like, oh, good. I've never done it before. So it was exciting and I'm glad I did it, but I would've made a lot more money had I been on Modern Family for sure.Phil Hudson:Awesome. Follow up question. When you get to a higher level of writer, say co-producer, do you still need to submit a script to the showrunner or is hiring based on your interview and past EV work you've done?Michael Jamin:Oh no. You almost always, you have to be read. You need a writing sample, and it has to be a current writing sample, and it has to be good. You're never done writing for free in Hollywood. You're always writing.Phil Hudson:Yeah. Derek Nyberg. What if the audience can't differentiate between fiction and reality and carries those powerful story themes into the voting booth? Does this explain why the worst of all possible characters are now elected officials walking around the Capitol building in Washington? Does this explain society's addiction to conflict?Michael Jamin:I don't think the two have anything to do with each other. Just to be clear, I think you're giving us way too much credit that the characters we create somehow become political figures. IPhil Hudson:Think that's like asking, was Shakespeare's success with Caesar, with Julius Caesar or with King Richard III or any of these other things he'd done, was that successful because he wrote them as story and then that led to other people being crazy? Or is it because he was writing about the reality of these people? Life imitates art imitates life, whereas it'sMichael Jamin:Chicken cat. Yeah, it goes in both directions. But basically you take a show like the one Julie Louis Red come on talking about the political, sorry, beep Veep. Yes. Yeah, sorry. That show would not have been made if there already weren't people in politics acting like jackasses because you wouldn't believe you couldn't sell the show. You'd be like, I don't buy that. Any elected official could be that fricking stupid, but because it was already out there, you see it now, you can sell a show on it. Yeah.Phil Hudson:Yeah. That's great. Alright, and this is a comment, not a question, but I thought this was a good way to end this. Braves wants to know, I'm an aspiring screenwriter from India, and the knowledge you share on your Instagram helped me get my first internship. Always look forward to developing my skillset further. Thank you.Michael Jamin:Oh, good for you. Congratulations.Phil Hudson:And that's someone who's not only in your social media, but the webinars, and that's a reminder to everybody to come to the webinars. They're free. We do them very regularly, and there's always something to learn in those.Michael Jamin:Yeah, that's it. This is a short one, but thank you everyone. Thanks for listening once again. This episode's brought to you by a paper orchestra, my debut collection of personal essays available. You can get on Amazon, you can get anywhere you want. Barnes and Nobles ApplePhil Hudson:Sign copies@michaeljamin.com.Michael Jamin:If you want, get it from me directly, I'll sign it for you. And that's it, Michael. Yeah, thank you so much everyone. Thank you. Thank you for your questions.Phil Hudson:Until next time,Michael Jamin:Keep reading,Phil Hudson:Keep reading. Keep readingMichael Jamin:My book. Read the book. Okay, everyone,Wow. I did it again. Another fantastic episode of What the Hell is Michael Jamin talking about? How do I do it week after week? Well, I don't do it with advertiser supported money. I tell you how I do it. I do it with my book. If you'd like to support the show, if you'd like to support me, go check out my new book, A Paper Orchestra. It asks the question, what if it's the smallest, almost forgotten moments that are the ones that shape us most? Laura Sanoma says, good storytelling also leads us to ourselves, our memories, our beliefs, personal and powerful. I love the Journey. And Max Munic, who was on my show says, as the father of daughters, I found Michael's understanding of parenting and the human condition to be spot on. This book is a fantastic read. Go check it out for yourself. Go to michael jamin.com/book. Thank you all and stay tuned. More. Great stuff coming next week.
Is 60 the new 40? Is Chris too old to look like Jesus? Remember the patch on Julia Child's blouse? Of course, the twins go down rabbit holes in this eipsode - and it's probably Roger's fault. From rock video shoots to Bible difficulties, Pete Townshend to L.A. Guns, Depeche Mode to W.A.S.P, the banter continues into books, pipes and tobacco, streaming television and more - including a musical gem from the archive. SHOW NOTES: 0:00 - "Salieri" by Chris Yale 4:07 - Greetings and about the song / "Amadeus" / "Rock Spock" aka Peder Rudling / GarageBand / Logic Pro 6:26 - Myrtle Beach versus Carolina Forest / Bible Difficulties / "Encyclopedia of Bible Difficulties" by Gleason Archer / God and John Cena: "You Can't See Me" 7;48 - Old Testament rules and regulations / New Testament / Opposition to Jesus by "religious" people / Man-made religion / Truth to power 9:02 - "The Chosen" series / "Julia" series / Julia Child / "Hazel" Shirley Booth / It's not Alice Brady, dumbass / Julia's "L'Ecole des Trois Gourmandes" patch 10:12 - Pete Townshend album, "Scoop" 10:52 - Is 60 the new 40? / Blood pressure / Drinking 12:42 - Roger's solo gig at LuLu's North Myrtle Beach / Allen & Heath ZED-12FX 14:04 - "Rehab is for quitters" and "meetings are for alcoholics" / Songwriting challenge / Zoom LiveTrak L-8 for multitracking and as an audio interface 15:57 - Chris' encounter with Dave Gahan of Depeche Mode at Spotlight Tattoo in Hollywood 17:10 - Chris is too old to look like Jesus / Other biblical figures / Walt Whitman / "Song of Myself" / "I Sing the Body Electric" / "Fame" movie 18:21 - L.A. Guns / Kelly Nickels / Sass Jordan video shoot - "Make You a Believer" / John Corabi / Jim Alden 20:00 - Chris Holmes / W.A.S.P. / "Mean Man" / "The Decline of Western Civilization" / Control freaks / More about W.A.S.P / Blackie Lawless / Rogue Alley - attempts to get signed / Tromping around the Sunset Strip / "Sunset Strip" documentary 26:52 - "The Coddling of the American Mind" / Safetyism 26:52 - Chris' pipe collection / Mississippi River barrel-aged pipe tobacco / "Ready Rubbed" / Edgeworth Ready Rubbed 28:22 - Staggering growth in Myrtle Beach 28:39 - More about "Julia" and "The Chosen" / "Sound Pictures: The Life of Beatles Producer George Martin, The Later Years, 1966-2016" by Kenneth Womack / "Green Lights" by Matthew McConaughey / Bebe Neuwirth / Jill Abramson / Vocal fry / Fry Baby / Cry Baby / Fender Tone Master Princeton Reverb 31:26 - Roger's "piano elbow" / Little strap-on / Chris' shoulder / Stretching / Old man noises 33:36 - Parting shots / Cidny Bullens in Lefsetz Letter / "TransElectric: My Life as a Cosmic Rock Star"
Amy & Paul hum along to 1984's classical fantasia Amadeus! They learn how closely this unusual biopic matches the true history of Mozart, discover a Marvel reference to Salieri, and praise director Milos Forman for highlighting what made Mozart's compositions endure. Plus: The phenomenon that inspired a smash novelty single. Next week, Paul & Amy are talking about American Beauty! You can join the conversation on Paul's Discord at https://discord.gg/ZwtygZGTa6. Check out this week's spotlight episode from the Unspooled archives, One Flew Over The Cuckoo's Nest: https://www.earwolf.com/episode/one-flew-over-the-cuckoos-nest/ Paul's book Joyful Recollections of Trauma is on presale now! Find it at https://www.harpercollins.com/products/joyful-recollections-of-trauma-paul-scheer Learn more about the show at unspooledpod.com, follow us on Twitter @unspooled and Instagram @unspooledpod, and don't forget to rate, review & subscribe to us on Apple Podcasts, Spotify or where you listen to podcasts.
The second of my Listeners' Favorites episodes for January is introduced by my dear friend Elliot Levine, a founding member of the Western Wind Vocal Ensemble, with whom he sang bass for 47 years. He is also an exceptional composer (who among his many other works has composed material expressly for me which I have sung with great pleasure and joy), He is also a valued choral singer and clinician. He has been a devoted listener to, and supporter of, Countermelody since its inception and among his many favorite episodes, he has chosen one of my very favorites to highlight, my birthday tribute, first published three years ago, to superbissima Margaret Marshall, who celebrates her birthday on January 4th. Since she burst upon the scene in the late 1970s, Margaret Marshall has been a favorite of lovers of great singing. Her timbre, artistry, and technical facility evoke comparisons with many treasured singers of the past. Though she retired from public performance in 2005, in the year 2020 she launched, in tandem with her daughter Nicola and a group of dedicated supporters, a website called Songbird, which focuses on the early years of her career, and which features many rare soundclips, both live and studio, from that period, many of which have been assembled into a new downloadable release entitled “Margaret Marshall Songbird.” Today's episode features a wide range of her live and studio recordings, including a few samples from the Songbird release. Included are works by Galuppi, Pergolesi, Vivaldi, Bach, Handel, Haydn, Mozart, Salieri, Gluck, Elgar, Finzi, Richard Strauss, and Alban Berg in recordings and performances between 1975 and 1990, with collaborators including conductors Neville Marriner, Riccardo Muti, John Eliot Gardiner, Vittorio Negri, Charles Groves, Antal Doráti, Philip Ledger, and Rafael Kubelik and fellow singers Ann Murray, Francisco Araiza, Alfreda Hodgson, Felicity Palmer, and Sesto Bruscantini. Compiling this episode has provided my ears and spirit with many blissful hours; I wish my listeners the same experience! Many thanks to both Margaret and Nicola for providing advice and guidance in the selection of today's material, and many happy returns to the “Scottish supersoprano”! Since this episode was published, Margaret has published a second series of rare recordings available via download on her website, as well as Apple and Spotify. Margaret Marshall Songbird 2 includes exquisite performances of Bach, Mozart, Schubert, Wolf, and Sacchini, and, like the performances on this recording, simply must be heard to be believed. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford.
SynopsisOh, to have been in Vienna on today's date in 1785! Wolfgang Mozart had just finished a new piano concerto a week earlier and quite likely performed it himself for the first time as an intermission feature at a performance of the oratorio Ester, by Karl Ditters von Dittersdorf, conducted by Antonio Salieri.Now wouldn't that have made for a good scene in the movie Amadeus?Fast forward 11 years for another memorable concert at the Theater an der Wien, when on today's date in 1806, it was Beethoven's turn to premiere one of his new concertos in Emanuel Schikaneder's Viennese theater. Alongside works of Mozart, Méhul, Cherubini and Handel, Beethoven's Violin Concerto was introduced to the world, with Franz Clement as the soloist.Beethoven's friend Czerny recalled that Clement's performance was greeted with “noisy bravos.”But a contemporary Viennese music critic wrote: “While there are beautiful things in the concerto … the endless repetition of some commonplace passages could prove fatiguing.” The reviewer's final assessment? “If Beethoven pursues his present path, it will go ill with him and the public alike.”Music Played in Today's ProgramWolfgang Mozart (1756-1791) Piano Concerto No. 22; Mitsuko Uchida, piano; English Chamber Orchestra; Jeffrey Tate, cond. Philips 420 187Wolfgang Mozart (1756-1791) Magic Flute Overture; Zurich Opera House Orchestra; Nikolaus Harnoncourt, cond. Teldec 95523Ludwig van Beethoven (1770-1827) Violin Concerto; Anne-Sophie Mutter, violin; New York Philharmonic; Kurt Masur, cond. DG 471 349
The film “Amadeus” was a huge hit in the mid-1980s. It depicted Wolfgang Amadeus Mozart and Antonio Salieri as musical rivals in the Austrian court in the late 18th century, which ultimately ends with Mozart's early death. But was anything in the film accurate? Did Salieri plot to kill Mozart? Was jealousy over musical genius really that serious? Dr. Kristin Franseen explains it all. Rather than being a buzzkill, she shows us that the real story is actually more interesting than the film version! Episode 540.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5455565/advertisement
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