Podcasts about warp tour

Trusting the process is a really important way to free yourself, and the film, to discover what it is.Viridiana Lieberman is an award-winning documentary filmmaker. She recently edited the Netflix sensation The Perfect Neighbor.In this interview we talk:* Viri's love of the film Contact* Immersion as the core goal in her filmmaking* Her editing tools and workflow* Film school reflections* The philosophy and process behind The Perfect Neighbor — crafting a fully immersive, evidence-only narrative and syncing all audio to its original image.* Her thoughts on notes and collaboration* Techniques for seeing a cut with fresh eyesYou can see all of Viri's credits on her IMD page here.Thanks for reading The Creativity, Education, and Leadership Newsletter! Subscribe for free to receive new posts and support my work.Here is an AI-generated transcript of our conversation. Don't come for me.BEN: Viri, thank you so much for joining us today.VIRI: Oh, thank you for having me. I'm excited to be here.BEN: And I always like to start with a fun question. So senior year of high school, what music were you listening to?VIRI: Oh my goodness. Well, I'm class of 2000, so I mean. I don't even know how to answer this question because I listen to everything.I'm like one of those people I was raving, so I had techno in my system. I have a lot of like, um. The, like, everything from Baby Ann to Tsta. Like, there was like, there was a lot, um, Oak and like Paul Oak and Full, there was like techno. Okay. Then there was folk music because I loved, so Ani DeFranco was the soundtrack of my life, you know, and I was listening to Tori Amos and all that.Okay. And then there's like weird things that slip in, like fuel, you know, like whatever. Who was staying? I don't remember when they came out. But the point is there was like all these intersections, whether I was raving or I was at Warp Tour or I was like at Lili Fair, all of those things were happening in my music taste and whenever I get to hear those songs and like that, that back late nineties, um, rolling into the Ox.Yeah.BEN: I love the Venn diagram of techno and folk music.VIRI: Yeah.BEN: Yeah. What, are you a fan of the film inside Lou and Davis?VIRI: Uh, yes. Yes. I need to watch it again. I watched it once and now you're saying it, and I'm like writing it on my to-dos,BEN: but yes, it, it, the first time I saw it. I saw in the East Village, actually in the theater, and I just, I'm a Cohen Brothers fan, but I didn't love it.Mm-hmm. But it, it stayed on my mind and yeah. Now I probably rewatch it once a year. It might, yeah. In my, in my, on my list, it might be their best film. It's so good. Oh,VIRI: now I'm gonna, I'm putting it on my, I'm literally writing it on my, um, post-it to watch it.BEN: I'mVIRI: always looking for things to watch in the evening.BEN: What, what are some of the docs that kind of lit your flame, that really turned you on?VIRI: Uh, this is one of those questions that I, full transparency, get very embarrassed about because I actually did not have a path of documentary set for me from my film Loving Passion. I mean, when I graduated film school, the one thing I knew I didn't wanna do was documentary, which is hilarious now.Hilarious. My parents laugh about it regularly. Um. Because I had not had a good documentary education. I mean, no one had shown me docs that felt immersive and cinematic. I mean, I had seen docs that were smart, you know, that, but, but they felt, for me, they didn't feel as emotional. They felt sterile. Like there were just, I had seen the most cliched, basic, ignorant read of doc.And so I, you know, I dreamed of making space epics and giant studio films. Contact was my favorite movie. I so like there was everything that about, you know, when I was in film school, you know, I was going to see those movies and I was just chasing that high, that sensory high, that cinematic experience.And I didn't realize that documentaries could be. So it's not, you know, ever since then have I seen docs that I think are incredible. Sure. But when I think about my origin tale, I think I was always chasing a pretty. Not classic, but you know, familiar cinematic lens of the time that I was raised in. But it was fiction.It was fiction movies. And I think when I found Docs, you know, when I was, the very long story short of that is I was looking for a job and had a friend who made docs and I was like, put me in coach, you know, as an editor. And she was like, you've never cut a documentary before. I love you. Uh, but not today.But no, she hired me as an archival producer and then I worked my way up and I said, no, okay, blah, blah, blah. So that path showed me, like I started working on documentaries, seeing more documentaries, and then I was always chasing that cinema high, which by the way, documentaries do incredibly, you know, and have for many decades.But I hadn't met them yet. And I think that really informs. What I love to do in Docs, you know, I mean, I think like I, there's a lot that I like to, but one thing that is very important to me is creating that journey, creating this, you know, following the emotion, creating big moments, you know, that can really consume us.And it's not just about, I mean, not that there are films that are important to me, just about arguments and unpacking and education. At the same time, we have the opportunity to do so much more as storytellers and docs and we are doing it anyway. So that's, that's, you know, when, it's funny, when light my fire, I immediately think of all the fiction films I love and not docs, which I feel ashamed about.‘cause now I know, you know, I know so many incredible documentary filmmakers that light my fire. Um, but my, my impulse is still in the fiction world.BEN: Used a word that it's such an important word, which is immersion. And I, I first saw you speak, um, a week or two ago at the doc NYC Pro panel for editors, documentary editors about the perfect neighbor, which I wanna talk about in a bit because talk about a completely immersive experience.But thank you first, uh, contact, what, what is it about contact that you responded to?VIRI: Oh my goodness. I, well, I watched it growing up. I mean, with my dad, we're both sci-fi people. Like he got me into that. I mean, we're both, I mean he, you know, I was raised by him so clearly it stuck around contact for me. I think even to this day is still my favorite movie.And it, even though I'm kind of a style nut now, and it's, and it feels classic in its approach, but. There's something about all the layers at play in that film. Like there is this crazy big journey, but it's also engaging in a really smart conversation, right? Between science and faith and some of the greatest lines from that film.Are lines that you can say to yourself on the daily basis to remind yourself of like, where we are, what we're doing, why we're doing it, even down to the most basic, you know, funny, I thought the world was what we make it, you know, it's like all of these lines from contact that stick with me when he says, you know, um, did you love your father?Prove it. You know, it's like, what? What is proof? You know? So there were so many. Moments in that film. And for me, you know, climbing into that vessel and traveling through space and when she's floating and she sees the galaxy and she says they should have sent a poet, you know, and you're thinking about like the layers of this experience and how the aliens spoilers, um, you know, show up and talk to her in that conversation herself.Anyways, it's one of those. For me, kind of love letters to the human race and earth and what makes us tick and the complexity of identity all in this incredible journey that feels so. Big yet is boiled down to Jody Foster's very personal narrative, right? Like, it's like all, it just checks so many boxes and still feels like a spectacle.And so the balance, uh, you know, I, I do feel my instincts normally are to zoom in and feel incredibly personal. And I love kind of small stories that represent so much and that film in so many ways does that, and all the other things too. So I'm like, how did we get there? But I really, I can't, I don't know what it is.I can't shake that film. It's not, you know, there's a lot of films that have informed, you know, things I love and take me out to the fringe and take me to the mainstream and, you know, on my candy and, you know, all those things. And yet that, that film checks all the boxes for me.BEN: I remember seeing it in the theaters and you know everything you said.Plus you have a master filmmaker at the absolute top Oh god. Of his class. Oh my,VIRI: yes,BEN: yes. I mean, that mirror shot. Know, know, I mean, my jaw was on the ground because this is like, right, right. As CGI is started. Yes. So, I mean, I'm sure you've seen the behind the scenes of how theyVIRI: Yeah.BEN: Incredible.VIRI: Years.Years. We would be sitting around talking about how no one could figure out how he did it for years. Anybody I met who saw contact would be like, but how did they do the mirror shot? Like I nobody had kind of, yeah. Anyways, it was incredible. And you know, it's, and I,BEN: I saw, I saw it just with some civilians, right?Like the mirror shot. They're like, what are you talking about? The what? Huh?VIRI: Oh, it's so funny you bring that up because right now, you know, I went a friend, I have a friend who's a super fan of Wicked. We went for Wicked for Good, and there is a sequence in that film where they do the mirror jot over and over and over.It's like the, it's like the. Special device of that. It feels that way. That it's like the special scene with Glenda and her song. And someone next to me was sitting there and I heard him under his breath go,wow.Like he was really having a cinematic. And I wanted to lean over and be like, watch contact, like, like the first time.I saw it was there and now it's like people have, you know, unlocked it and are utilizing it. But it was, so, I mean, also, let's talk about the opening sequence of contact for a second. Phenomenal. Because I, I don't think I design, I've ever seen anything in cinema in my life like that. I if for anybody who's listening to this, even if you don't wanna watch the entire movie, which of course I'm obviously pitching you to do.Watch the opening. Like it, it's an incredible experience and it holds up and it's like when, yeah. Talk about attention to detail and the love of sound design and the visuals, but the patience. You wanna talk about trusting an audience, sitting in a theater and that silence Ah, yeah. Heaven film heaven.BEN: I mean, that's.That's one of the beautiful things that cinema does in, in the theater. Right. It just, you're in, you're immersed in this case, you know, pulling away from earth through outer space at however many, you know, hundreds of millions of miles an hour. You can't get that anywhere else. Yeah. That feeling,VIRI: that film is like all the greatest hits reel of.Storytelling gems. It's like the adventure, the love, the, you know, the, the complicated kind of smart dialogue that we can all understand what it's saying, but it's, but it's doing it through the experience of the story, you know, and then someone kind of knocks it outta the park without one quote where you gasp and it's really a phenomenal.Thing. Yeah. I, I've never, I haven't talked about contact as much in ages. Thank you for this.BEN: It's a great movie. It's there, and there were, there were two other moments in that movie, again when I saw it, where it's just like, this is a, a master storyteller. One is, yeah. When they're first like trying to decode the image.Mm-hmm. And you see a swastika.VIRI: Yeah. Oh yeah. And you're like,BEN: what the, what the f**k? That was like a total left turn. Right. But it's, it's, and I think it's, it's from the book, but it's like the movie is, it's, it's, you know, it's asking these questions and then you're like totally locked in, not expecting.You know, anything from World War II to be a part of this. And of course in the movie the, go ahead.VIRI: Yeah, no, I was gonna say, but the seed of thatBEN: is in the first shot,VIRI: scientifically educating. Oh yes. Well, the sensory experience, I mean, you're like, your heart stops and you get full Bo chills and then you're scared and you know, you're thinking a lot of things.And then when you realize the science of it, like the first thing that was broadcast, like that type of understanding the stakes of our history in a space narrative. And, you know, it, it just, there's so much. You know, unfurling in your mind. Yeah. In that moment that is both baked in from your lived experiences and what you know about the world, and also unlocking, so what's possible and what stakes have already been outside of this fiction, right?Mm-hmm. Outside of the book, outside of the telling of this, the reality of what has already happened in the facts of it. Yeah. It's really amazing.BEN: And the other moment we're just, and now, you know, being a filmmaker, you look back and I'm sure this is, it falls neatly and at the end of the second act. But when Tom scars, you know, getting ready to go up on the thing and then there's that terrorist incident or whatever, and the whole thing just collapses, the whole, um, sphere collapses and you just like, wait, what?Is that what's gonna happen now?VIRI: Yeah, like a hundred million dollars in it. It does too. It just like clink pun. Yeah. Everything.BEN: Yeah.VIRI: Think they'll never build it again. I mean, you just can't see what's coming after that and how it went down, who it happened to. I mean, that's the magic of that film, like in the best films.Are the ones where every scene, every character, it has so much going into it. Like if somebody paused the film there and said, wait, what's happening? And you had to explain it to them, it would take the entire movie to do it, you know, which you're like, that's, we're in it. Yeah. Anyway, so that's a great moment too, where I didn't, and I remember when they reveal spoilers again, uh, that there's another one, but when he is zooming in, you know, and you're like, oh, you know, it just, it's, yeah.Love it. It's wonderful. Now, I'm gonna watch that tonight too. IBEN: know, I, I haven't probably, I probably haven't watched that movie in 10 years, but now I gotta watch it again.VIRI: Yeah.BEN: Um, okay, so let's talk doc editing. Yes. What, um, I always like to, I heard a quote once that something about when, when critics get together, they talk meaning, and when artists get together, they talk paint.So let's talk paint for a second. What do you edit on?VIRI: I cut mainly on Avid and Premier. I, I do think of myself as more of an avid lady, but there's been a lot of probably the films that have done the most. I cut on Premier, and by that I mean like, it's interesting that I always assume Avid is my standard yet that most of the things that I love most, I cut on Premiere right now.I, I toggle between them both multiple projects on both, on both, um, programs and they're great. I love them equal for different reasons. I'm aBEN: big fan of Avid. I think it gets kind of a, a bad rap. Um, what, what are the benefits of AVID versus pr? I've never used Premier, but I was a big final cut seven person.So everybody has said that. Premier kind of emulates Final cut. Seven.VIRI: I never made a past seven. It's funny, I recently heard people are cutting on Final Cut Pro again, which A adds off. But I really, because I thought that ship had sailed when they went away from seven. So with, I will say like the top line things for me, you know, AVID forces you to control every single thing you're doing, which I actually think it can feel hindering and intimidating to some folks, but actually is highly liberating once you learn how to use it, which is great.It's also wonderful for. Networks. I mean, you can send a bin as a couple kilobyte. Like the idea that the shared workflow, when I've been on series or features with folks, it's unbeatable. Uh, you know, it can be cumbersome in like getting everything in there and stuff like that and all, and, but, but it kind of forces you to set up yourself for success, for online, for getting everything out.So, and there's a lot of good things. So then on conversely Premier. It's amazing ‘cause you can hit the ground running. You just drag everything in and you go. The challenge of course is like getting it out. Sometimes that's when you kind of hit the snaps. But I am impressed when I'm working with multiple frame rates, frame sizes, archival for many decades that I can just bring it into Premier and go and just start cutting.And you know, also it has a lot of intuitive nature with other Adobe Pro, you know, uh, applications and all of this, which is great. There's a lot of shortcuts. I mean, they're getting real. Slick with a lot of their new features, which I have barely met. I'm like an archival, I'm like a ancient picture editor lady from the past, like people always teach me things.They're just like, you know, you could just, and I'm like, what? But I, so I guess I, you know, I don't have all the tech guru inside talk on that, but I think that when I'm doing short form, it does feel like it's always premier long form. Always seems to avid. Team stuff feels avid, you know, feature, low budge features where they're just trying to like make ends meet.Feel Premier, and I think there's an enormous accessibility with Premier in that regard. But I still feel like Avid is a studios, I mean, a, a studio, well, who knows? I'm cut in the studios. But an industry standard in a lot of ways it still feels that way.BEN: Yeah, for sure. How did you get into editing?VIRI: I went to film school and while I was there, I really like, we did everything.You know, we learned how to shoot, we learned everything. Something about editing was really thrilling to me. I, I loved the puzzle of it, you know, I loved putting pieces together. We did these little funny exercises where we would take a movie and cut our own trailer and, you know, or they'd give us all the same footage and we cut our scene from it and.Itwas really incredible to see how different all those scenes were, and I loved finding ways to multipurpose footage, make an entire tone feel differently. You know, like if we're cutting a scene about a bank robbery, like how do you all of a sudden make it feel, you know, like romantic, you know, or whatever.It's like how do we kind of play with genre and tone and how much you can reinvent stuff, but it was really structure and shifting things anyways, it really, I was drawn to it and I had fun editing my things and helping other people edit it. I did always dream of directing, which I am doing now and I'm excited about, but I realized that my way in with editing was like learning how to do a story in that way, and it will always be my language.I think even as I direct or write or anything, I'm really imagining it as if I'm cutting it, and that could change every day, but like when I'm out shooting. I always feel like it's my superpower because when I'm filming it's like I know what I have and how I'll use it and I can change that every hour.But the idea of kind of knowing when you've got it or what it could be and having that reinvented is really incredible. So got into edit. So left film school. And then thought and loved editing, but wasn't like, I'm gonna be an editor. I was still very much on a very over, you know what? I guess I would say like, oh, I was gonna say Overhead, broad bird's eye.I was like, no, I'm gonna go make movies and then I'll direct ‘em and onward, but work, you know, worked in post houses, overnights, all that stuff and PA and try made my own crappy movies and you know, did a lot of that stuff and. It kept coming back to edit. I mean, I kept coming back to like assistant jobs and cutting, cutting, cutting, cutting, and it just felt like something that I had a skill for, but I didn't know what my voice was in that.Like I didn't, it took me a long time to realize I could have a voice as an editor, which was so dumb, and I think I wasted so much time thinking that like I was only search, you know, like that. I didn't have that to bring. That editing was just about. Taking someone else's vision. You know, I'm not a set of hands like I'm an artist as well.I think we all are as editors and I was very grateful that not, not too long into, you know, when I found the doc path and I went, okay, I think this is where I, I can rock this and I'm pretty excited about it. I ended up working with a small collection of directors who all. Respected that collaboration.Like they were excited for what I do and what I bring to it and felt, it made me feel like we were peers working together, which was my fantasy with how film works. And I feel like isn't always the constant, but I've been spoiled and now it's what I expect and what I want to create for others. And you know, I hope there's more of us out there.So it's interesting because my path to editing. Was like such a, a practical one and an emotional one, and an ego one, and a, you know, it's like, it's like all these things that have led me to where I am and the perfect neighbor is such a culmination of all of that. For sure.BEN: Yeah. And, and I want to get into it, uh, first the eternal question.Yeah. Film school worth it or not worth it?VIRI: I mean, listen, I. We'll share this. I think I've shared this before, but relevant to the fact I'll share it because I think we can all learn from each other's stories. I did not want to go to college. Okay? I wanted to go straight to la. I was like, I'm going to Hollywood.I wanted to make movies ever since I was a kid. This is what I'm gonna do, period. I come from a family of teachers. All of my parents are teachers. My parents divorced. I have my stepparent is teacher, like everybody's a teacher. And they were like, no. And not just a teacher. My mom and my dad are college professors, so they were like college, college, college.I sabotaged my SATs. I did not take them. I did not want to go to college. I was like, I am going to Los Angeles. Anyways, uh, my parents applied for me. To an accredited arts college that, and they were like, it's a three year try semester. You'll shoot on film, you can do your, you know, and they submitted my work from high school when I was in TV production or whatever.Anyways, they got me into this little college, and when I look back, I know that that experience was really incredible. I mean, while I was there, I was counting the days to leave, but I know that it gave me not only the foundation of. You know, learning, like, I mean, we were learning film at the time. I don't know what it's like now, but like we, you know, I learned all the different mediums, which was great on a vocational level, you know, but on top of that, they're just throwing cans of film at us and we're making all the mistakes we need to make to get where we need to get.And the other thing that's happening is there's also like the liberal arts, this is really, sounds like a teacher's kid, what I'm about to say. But like, there's also just the level of education To be smarter and learn more about the world, to inform your work doesn't mean that you can't. You can't skip college and just go out there and find your, and learn what you wanna learn in the stories that you journey out to tell.So I feel really torn on this answer because half of me is like. No, you don't need college. Like just go out and make stuff and learn what you wanna learn. And then the other half of me have to acknowledge that, like, I think there was a foundation built in that experience, in that transitional time of like semi-structure, semi independence, you know, like all the things that come with college.It's worth it, but it's expensive as heck. And I certainly, by the time I graduated, film wasn't even a thing and I had to learn digital out in the world. And. I think you can work on a film set and learn a hell of a lot more than you'll ever learn in a classroom. And at the same time, I really love learning.So, you know, my, I think I, my parents were right, they know it ‘cause I went back to grad school, so that was a shock for them. But I think, but yeah, so I, I get, what I would say is, it really is case, this is such a cop out of an answer, case by case basis. Ask yourself, you know, if you need that time and if you, if you aren't gonna go.You need to put in the work. You have to really like go out, go on those sets, work your tail off, seek out the books, read the stuff, you know, and no one's gonna hand you anything. And my stories are a hell of a lot, I think smarter and eloquent because of the education I had. Yeah.BEN: So you shuttle on, what was the school, by the way?VIRI: Well, it was called the, it was called the International Fine Arts College. It no longer exists because Art Institute bought it. It's now called the Miami International University of Art and Design, and they bought it the year I graduated. So I went to this tiny little arts college, uh, but graduated from this AI university, which my parents were like, okay.Um, but we were, it was a tiny little college owned by this man who would invite all of us over to his mansion for brunch every year. I mean, it was very strange, but cool. And it was mainly known for, I think fashion design and interior design. So the film kids, we all kind of had, it was an urban campus in Miami and we were all like kind of in a wado building on the side, and it was just kind of a really funky, misfit feeling thing that I thought was, now when I look back, I think was like super cool.I mean, they threw cans of film at us from the very first semester. There was no like, okay, be here for two years and earn your opportunity. We were making stuff right away and all of our teachers. All of our professors were people who were working in the field, like they were ones who were, you know, writing.They had written films and fun fact of the day, my, my cinematography professor was Sam Beam from Iron and Wine. If anybody knows Iron and Wine, like there's like, there's like we, we had crazy teachers that we now realize were people who were just probably trying to pay their bills while they were on their journey, and then they broke out and did their thing after we were done.BEN: Okay, so shooting on film. Yeah. What, um, was it 16 or 35? 16. And then how are you doing sound? No, notVIRI: 35, 16. Yeah. I mean, we had sound on Dax, you know, like we were recording all the mm-hmm. Oh, when we did the film. Yeah, yeah. Separate. Yeah, yeah, yeah. We did the Yeah. Syncs soundBEN: into a We did a,VIRI: yeah, we did, we did one.We shot on a Bolex, I think, if I remember it right. It did like a tiny, that probably was eight, you know? But the point is we did that on. The flatbed. After that, we would digitize and we would cut on media 100, which was like this. It was, I think it was called the, I'm pretty sure it was called Media 100.It was like this before avid, you know. A more archaic editing digital program that, so we did the one, the one cut and splice version of our, our tiny little films. And then we weren't on kind of beautiful steam backs or anything. It was like, you know, it was much, yeah, smaller. But we had, but you know, we raced in the changing tents and we did, you know, we did a lot of film, love and fun.And I will tell you for your own amusement that we were on set once with somebody making their short. The girl at the AC just grabbed, grabbed the film, what's, oh my God, I can't even believe I'm forgetting the name of it. But, um, whatever the top of the camera grabbed it and thought she had unlocked it, like unhinged it and just pulled it out after all the film just come spooling out on set.And we were like, everybody just froze and we were just standing there. It was like a bad sketch comedy, like we're all just standing there in silence with like, just like rolling out of the camera. I, I'll never forget it.BEN: Nightmare. Nightmare. I, you know, you said something earlier about when you're shooting your own stuff.Being an editor is a little bit of a superpower because you know, oh, I'm gonna need this, I'm gonna need that. And, and for me it's similar. It's especially similar. Like, oh, we didn't get this. I need to get an insert of this ‘cause I know I'm probably gonna want that. I also feel like, you know, I came up, um, to instill photography, 35 millimeter photography, and then when I got into filmmaking it was, um, digital, uh, mini DV tape.So, but I feel like the, um, the structure of having this, you know, you only have 36 shots in a still camera, so you've gotta be sure that that carried over even to my shooting on digital, of being meticulous about setting up the shot, knowing what I need. Whereas, you know, younger people who have just been shooting digital their whole lives that just shoot everything and we'll figure it out later.Yeah. Do do you, do you feel you had that Advant an advantage? Yes. Or sitting on film gave you some advantages?VIRI: I totally, yes. I also am a firm believer and lover of intention. Like I don't this whole, like we could just snap a shot and then punch in and we'll, whatever. Like it was my worst nightmare when people started talking about.We'll shoot scenes and something, it was like eight K, so we can navigate the frame. And I was like, wait, you're not gonna move the camera again. Like, it just, it was terrifying. So, and we passed that, but now the AI stuff is getting dicey, but the, I think that you. I, I am pretty romantic about the hands-on, I like books with paper, you know, like, I like the can, the cinematographer to capture, even if it's digital.And those benefits of the digital for me is like, yes, letting it roll, but it's not about cheating frames, you know, like it's about, it's about the accessibility of being able to capture things longer, or the technology to move smoother. These are good things. But it's not about, you know, simplifying the frame in something that we need to, that is still an art form.Like that's a craft. That's a craft. And you could argue that what we choose, you know, photographers, the choice they make in Photoshop is the new version of that is very different. Like my friends who are dps, you know, there's always like glasses the game, right? The lenses are the game. It's like, it's not about filters In posts, that was always our nightmare, right?The old fix it and post everybody's got their version of their comic strip that says Fix it and post with everything exploding. It's like, no, that's not what this is about. And so, I mean, I, I think I'll always be. Trying to, in my brain fight the good fight for the craftiness of it all because I'm so in love with everything.I miss film. I'm sad. I miss that time. I mean, I think I, it still exists and hopefully someday I'll have the opportunity that somebody will fund something that I'm a part of that is film. And at the same time there's somewhere in between that still feels like it's honoring that freshness. And, and then now there's like the, yeah, the new generation.It's, you know, my kids don't understand that I have like. Hand them a disposable camera. We'll get them sometimes for fun and they will also like click away. I mean, the good thing you have to wind it so they can't, they can't ruin it right away, but they'll kind of can't fathom that idea. And um, and I love that, where you're like, we only get 24 shots.Yeah, it's veryBEN: cool. So you said you felt the perfect neighbor, kind of, that was the culmination of all your different skills in the craft of editing. Can you talk a little bit about that?VIRI: Yes. I think that I spent, I think all the films, it's like every film that I've had the privilege of being a part of, I have taken something like, there's like some tool that was added to the tool belt.Maybe it had to do with like structure or style or a specific build to a quote or, or a device or a mechanism in the film, whatever it is. It was the why of why that felt right. That would kind of be the tool in the tool belt. It wouldn't just be like, oh, I learned how to use this new toy. It was like, no, no.There's some kind of storytelling, experience, technique, emotion that I felt that Now I'm like, okay, how do I add that in to everything I do? And I want every film to feel specific and serve what it's doing. But I think a lot of that sent me in a direction of really always approaching a project. Trying to meet it for like the, the work that only it can do.You know, it's like, it's not about comps. It's not about saying like, oh, we're making a film that's like, fill in the blank. I'm like, how do we plug and play the elements we have into that? It's like, no, what are the elements we have and how do we work with them? And that's something I fought for a lot on all the films I've been a part of.Um, and by that I mean fight for it. I just mean reminding everybody always in the room that we can trust the audience, you know, that we can. That, that we should follow the materials what, and work with what we have first, and then figure out what could be missing and not kind of IME immediately project what we think it needs to be, or it should be.It's like, no, let's discover what it is and then that way we will we'll appreciate. Not only what we're doing in the process, but ultimately we don't even realize what it can do for what it is if we've never seen it before, which is thrilling. And a lot of those have been a part of, there have been pockets of being able to do that.And then usually near the end there's a little bit of math thing that happens. You know, folks come in the room and they're trying to, you know, but what if, and then, but other people did. Okay, so all you get these notes and you kind of reel it in a little bit and you find a delicate balance with the perfect neighbor.When Gita came to me and we realized, you know, we made that in a vacuum like that was we, we made that film independently. Very little money, like tiny, tiny little family of the crew. It was just me and her, you know, like when we were kind of cutting it together and then, and then there's obviously producers to kind of help and build that platform and, and give great feedback along the way.But it allowed us to take huge creative risks in a really exciting way. And I hate that I even have to use the word risks because it sounds like, but, but I do, because I think that the industry is pushing against, you know, sometimes the spec specificity of things, uh, in fear of. Not knowing how it will be received.And I fantasize about all of us being able to just watch something and seeing how we feel about it and not kind of needing to know what it is before we see it. So, okay, here comes the perfect neighbor. GTA says to me early on, like, I think. I think it can be told through all these materials, and I was like, it will be told through like I was determined and I held us very strict to it.I mean, as we kind of developed the story and hit some challenges, it was like, this is the fun. Let's problem solve this. Let's figure out what it means. But that also came within the container of all this to kind of trust the audience stuff that I've been trying to repeat to myself as a mantra so I don't fall into the trappings that I'm watching so much work do.With this one, we knew it was gonna be this raw approach and by composing it completely of the evidence, it would ideally be this kind of undeniable way to tell the story, which I realized was only possible because of the wealth of material we had for this tracked so much time that, you know, took the journey.It did, but at the same time, honoring that that's all we needed to make it happen. So all those tools, I think it was like. A mixed bag of things that I found that were effective, things that I've been frustrated by in my process. Things that I felt radical about with, you know, that I've been like trying to scream in, into the void and nobody's listening.You know, it's like all of that because I, you know, I think I've said this many times. The perfect neighbor was not my full-time job. I was on another film that couldn't have been more different. So I think in a, in a real deep seated, subconscious way, it was in conversation with that. Me trying to go as far away from that as possible and in understanding what could be possible, um, with this film.So yeah, it's, it's interesting. It's like all the tools from the films, but it was also like where I was in my life, what had happened to me, you know, and all of those. And by that I mean in a process level, you know, working in film, uh, and that and yes, and the values and ethics that I honor and wanna stick to and protect in the.Personal lens and all of that. So I think, I think it, it, it was a culmination of many things, but in that approach that people feel that has resonated that I'm most proud of, you know, and what I brought to the film, I think that that is definitely, like, I don't think I could have cut this film the way I did at any other time before, you know, I think I needed all of those experiences to get here.BEN: Oh, there's so much there and, and there's something kind of the. The first part of what you were saying, I've had this experience, I'm curious if you've had this experience. I sort of try to prepare filmmakers to be open to this, that when you're working with something, especially Doc, I think Yeah. More so Doc, at a certain point the project is gonna start telling you what it wants to be if you, if you're open to it.Yes. Um, but it's such a. Sometimes I call it the spooky process. Like it's such a ephemeral thing to say, right? Like, ‘cause you know, the other half of editing is just very technical. Um, but this is like, there's, there's this thing that's gonna happen where it's gonna start talking to you. Do you have that experience?VIRI: Yes. Oh, yes. I've also been a part of films that, you know, they set it out to make it about one person. And once we watched all the footage, it is about somebody else. I mean, there's, you know, those things where you kind of have to meet the spooky part, you know, in, in kind of honoring that concept that you're bringing up is really that when a film is done, I can't remember cutting it.Like, I don't, I mean, I remember it and I remember if you ask me why I did something, I'll tell you. I mean, I'm very, I am super. Precious to a fault about an obsessive. So like you could pause any film I've been a part of and I'll tell you exactly why I used that shot and what, you know, I can do that. But the instinct to like just grab and go when I'm just cutting and I'm flowing.Yeah, that's from something else. I don't know what that is. I mean, I don't. People tell me that I'm very fast, which is, I don't know if that's a good or a bad thing, but I think it really comes from knowing that the job is to make choices and you can always go back and try different things, but this choose your own adventure novel is like just going, and I kind of always laugh about when I look back and I'm like, whoa, have that happen.Like, you know, like I don't even. And I have my own versions of imposter syndrome where I refill mens and I'm like, oh, got away with that one. Um, or every time a new project begins, I'm like, do I have any magic left in the tank? Um, but, but trusting the process, you know, to what you're socking about is a really important way to free yourself and the film to.Discover what it is. I think nowadays because of the algorithm and the, you know, I mean, it's changing right now, so we'll see where, how it recalibrates. But for a, for a while, over these past years, the expectations have, it's like shifted where they come before the film is like, it's like you create your decks and your sizzles and you write out your movie and you, and there is no time for discovery.And when it happens. It's like undeniable that you needed to break it because it's like you keep hitting the same impasse and you can't solve it and then you're like, oh, that's because we have to step outta the map. But I fear that many works have suffered, you know, that they have like followed the map and missed an opportunity.And so, you know, and for me as an editor, it's always kinda a red flag when someone's like, and here's the written edit. I'm like, what? Now let's watch the footage. I wanna know where There's always intention when you set up, but as people always say, the edit is kind of the last. The last step of the storytelling process.‘cause so much can change there. So there is, you know, there it will reveal itself. I do get nerdy about that. I think a film knows what it is. I remember when I was shooting my first film called Born to Play, that film, we were. At the championship, you know, the team was not, thought that they were gonna win the whole thing.We're at the championship and someone leaned over to me and they said, you know, it's funny when a story knows it's being filmed. And I was like, ah. I think about that all the time because now I think about that in the edit bay. I'm like, okay, you tell me, you know, what do you wanna do? And then you kind of like, you match frame back to something and all of a sudden you've opened a portal and you're in like a whole new theme.It's very cool. You put, you know, you put down a different. A different music temp, music track, and all of a sudden you're making a new movie. I mean, it's incredible. It's like, it really is real world magic. It's so much fun. Yeah,BEN: it is. It's a blast. The, so, uh, I saw you at the panel at Doc NYC and then I went that night or the next night and watched Perfect Neighbor blew me away, and you said something on the panel that then blew me away again when I thought about it, which is.I think, correct me if I'm wrong, all of the audio is syncedVIRI: Yeah. To the footage.BEN: That, to me is the big, huge, courageous decision you made.VIRI: I feel like I haven't said that enough. I don't know if folks understand, and it's mainly for the edit of that night, like the, I mean, it's all, it's, it's all that, but it was important.That the, that the sound would be synced to the shock that you're seeing. So when you're hearing a cop, you know, a police officer say, medics, we need medics. If we're in a dashboard cam, that's when it was, you know, echoing from the dashboard. Like that's what, so anything you're hearing is synced. When you hear something coming off from the per when they're walking by and you hear someone yelling something, you know, it's like all of that.I mean, that was me getting really strict about the idea that we were presenting this footage for what it was, you know, that it was the evidence that you are watching, as you know, for lack of a better term, unbiased, objectively as possible. You know, we're presenting this for what it is. I, of course, I have to cut down these calls.I am making choices like that. That is happening. We are, we are. Composing a narrative, you know, there, uh, that stuff is happening. But to create, but to know that what you're hearing, I'm not applying a different value to the frame on, on a very practical syn sound way. You know, it's like I'm not gonna reappropriate frames.Of course, in the grand scheme of the narrative flow with the emotions, you know, the genre play of this horror type film, and there's a lot happening, but anything you were hearing, you know, came from that frame. Yeah.BEN: That's amazing. How did you organize the footage and the files initially?VIRI: Well, Gita always likes to laugh ‘cause she is, she calls herself my first ae, which is true.I had no a, you know, I had, she was, she had gotten all that material, you know, she didn't get that material to make a film. They had originally, this is a family friend who died and when this all happened, they went down and gathered this material to make a case, to make sure that Susan didn't get out. To make sure this was not forgotten.You know, to be able to utilize. Protect the family. And so there was, at first it was kind of just gathering that. And then once she got it, she realized that it spanned two years, you know, I mean, she, she popped, she was an editor for many, many years, an incredible editor. She popped it into a system, strung it all out, sunk up a lot of it to see what was there, and realized like, there's something here.And that's when she called me. So she had organized it, you know, by date, you know, and that, that originally. Strung out a lot of it. And then, so when I came in, it was just kind of like this giant collection of stuff, like folders with the nine one calls. How long was the strung out? Well, I didn't know this.Well, I mean, we have about 30 hours of content. It wasn't one string out, you know, it was like there were the call, all the calls, and then the 9 1 1 calls, the dash cams. The ring cams. Okay. Excuse me. The canvassing interviews, audio only content. So many, many. Was about 30 hours of content, which honestly, as most of us editors know, is not actually a lot I've cut.You know, it's usually, we have tons more than that. I mean, I, I've cut decades worth of material and thousands of hours, you know, but 30 hours of this type of material is very specific, you know, that's a, that's its own challenge. So, so yeah. So the first, so it was organized. It was just organized by call.Interview, you know, some naming conventions in there. Some things we had to sync up. You know, the 9 1 1 calls would overlap. You could hear it in the nine one one call center. You would hear someone, one person who called in, and then you'd hear in the background, like the conversation of another call. It's in the film.There's one moment where you can hear they're going as fast as they can, like from over, from a different. So there was so much overlap. So there was some syncing that we kind of had to do by ear, by signals, by, you know, and there's some time coding on the, on the cameras, but that would go off, which was strange.They weren't always perfect. So, but that, that challenge unto itself would help us kind of really screen the footage to a finite detail, right. To like, have, to really understand where everybody is and what they're doing when,BEN: yeah. You talked about kind of at the end, you know, different people come in, there's, you know, maybe you need to reach a certain length or so on and so forth.How do you, um, handle notes? What's your advice to young filmmakers as far as navigating that process? Great question.VIRI: I am someone who, when I was a kid, I had trouble with authority. I wasn't like a total rebel. I think I was like a really goody goody too. She was borderline. I mean, I had my moments, but growing up in, in a journey, an artistic journey that requires you to kind of fall in love with getting critiques and honing things and working in teams.And I had some growing pains for a long time with notes. I mean, my impulse was always, no. A note would come and I'd go, no, excuse me. Go to bed, wake up. And then I would find my way in and that would be great. That bed marinating time has now gone away, thank goodness. And I have realized that. Not all notes, but some notes have really changed the trajectory of a project in the most powerful waves.And it doesn't always the, to me, what I always like to tell folks is it's, the notes aren't really the issues. It's what? It's the solutions people offer. You know? It's like you can bring up what you're having an issue with. It's when people kind of are like, you know what I would do? Or you know what you think you should do, or you could do this.You're like, you don't have to listen to that stuff. I mean, you can. You can if you have the power to filter it. Some of us do, some of us don't. I've worked with people who. Take all the notes. Notes and I have to, we have to, I kind of have to help filter and then I've worked with people who can very quickly go need that, don't need that need, that, don't need that.Hear that, don't know how to deal with that yet. You know, like if, like, we can kind of go through it. So one piece of advice I would say is number one, you don't have to take all the notes and that's, that's, that's an honoring my little veary. Wants to stand by the vision, you know, and and fight for instincts.Okay. But the second thing is the old classic. It's the note behind the note. It's really trying to understand where that note's coming from. Who gave it what they're looking for? You know, like is that, is it a preference note or is it a fact? You know, like is it something that's really structurally a problem?Is it something that's really about that moment in the film? Or is it because of all the events that led to that moment that it's not doing the work you think it should? You know, the, the value is a complete piece. So what I really love about notes now is I get excited for the feedback and then I get really excited about trying to decipher.What they mean, not just taking them as like my to-do list. That's not, you know, that's not the best way to approach it. It's really to get excited about getting to actually hear feedback from an audience member. Now, don't get me wrong, an audience member is usually. A producer in the beginning, and they have, they may have their own agenda, and that's something to know too.And maybe their agenda can influence the film in an important direction for the work that they and we all wanted to do. Or it can help at least discern where their notes are coming from. And then we can find our own emotional or higher level way to get into solving that note. But, you know, there's still, I still get notes that make me mad.I still get notes where I get sad that I don't think anybody was really. Watching it or understanding it, you know, there's always a thought, you know, that happens too. And to be able to read those notes and still find that like one kernel in there, or be able to read them and say, no kernels. But, but, but by doing that, you're now creating the conviction of what you're doing, right?Like what to do and what not to do. Carrie, equal value, you know, so you can read all these notes and go, oh, okay, so I am doing this niche thing, but I believe in it and. And I'm gonna stand by it. Or like, this one person got it and these five didn't. And I know that the rules should be like majority rules, but that one person, I wanna figure out why they got it so that I can try to get these, you know, you get what I'm saying?So I, I've grown, it took a long time for me to get where I am and I still have moments where I'm bracing, you know, where I like to scroll to see how many notes there are before I even read them. You know, like dumb things that I feel like such a kid about. But we're human. You know, we're so vulnerable.Doing this work is you're so naked and you're trying and you get so excited. And I fall in love with everything. I edit so furiously and at every stage of the process, like my first cut, I'm like, this is the movie. Like I love this so much. And then, you know, by the 10th root polling experience. I'm like, this is the movie.I love it so much. You know, so it's, it's painful, but at the same time it's like highly liberating and I've gotten a lot more flowy with it, which was needed. I would, I would encourage everybody to learn how to really enjoy being malleable with it, because that's when you find the sweet spot. It's actually not like knowing everything right away, exactly what it's supposed to be.It's like being able to know what the heart of it is. And then get really excited about how collaborative what we do is. And, and then you do things you would've never imagined. You would've never imagined, um, or you couldn't have done alone, you know, which is really cool. ‘cause then you get to learn a lot more about yourself.BEN: Yeah. And I think what you said of sort of being able to separate the idea of, okay, something maybe isn't clicking there, versus whatever solution this person's offering. Nine times outta 10 is not gonna be helpful, but, but the first part is very helpful that maybe I'm missing something or maybe what I want to connect is not connecting.VIRI: And don't take it personally. Yeah. Don't ever take it personally. I, I think that's something that like, we're all here to try to make the best movie we can.BEN: Exactly.VIRI: You know? Yeah. And I'm not gonna pretend there aren't a couple sticklers out there, like there's a couple little wrenches in the engine, but, but we will, we all know who they are when we're on the project, and we will bind together to protect from that.But at the same time, yeah, it's, yeah. You get it, you get it. Yeah. But it's really, it's an important part of our process and I, it took me a while to learn that.BEN: Last question. So you talked about kind of getting to this cut and this cut and this cut. One of the most important parts of editing, I think is especially when, when you've been working on a project for a long time, is being able to try and see it with fresh eyes.And of course the, one of the ways to do that is to just leave it alone for three weeks or a month or however long and then come back to it. But sometimes we don't have that luxury. I remember Walter Merch reading in his book that sometimes he would run the film upside down just to, mm-hmm. You know, re re redo it the way his brain is watching it.Do you have any tips and tricks for seeing a cut with fresh eyes? OhVIRI: yeah. I mean, I mean, other than stepping away from it, of course we all, you know, with this film in particular, I was able to do that because I was doing other films too. But I, one good one I always love is take all the music out. Just watch the film without music.It's really a fascinating thing. I also really like quiet films, so like I tend to all of a sudden realize like, what is absolutely necessary with the music, but, but it, it really, people get reliant on it, um, to do the work. And you'd be pleasantly surprised that it can inform and reinvent a scene to kind of watch it without, and you can, it's not about taking it out forever, it's just the exercise of watching what the film is actually doing in its raw form, which is great.Switching that out. I mean, I can, you know, there's other, washing it upside down, I feel like. Yeah, I mean like there's a lot of tricks we can trick our trick, our brain. You can do, you could also, I. I think, I mean, I've had times where I've watched things out of order, I guess. Like where I kind of like go and I watch the end and then I click to the middle and then I go back to the top, you know?And I'm seeing, like, I'm trying to see if they're all connecting, like, because I'm really obsessed with how things begin and how they end. I think the middle is highly important, but it really, s**t tells you, what are we doing here? Like what are we set up and where are we ending? And then like, what is the most effective.Journey to get there. And so there is a way of also kind of trying to pinpoint the pillars of the film and just watching those moments and not kind, and then kind of reverse engineering the whole piece back out. Yeah, those are a couple of tricks, but more than anything, it's sometimes just to go watch something else.If you can't step away from the project for a couple of weeks, maybe watch something, you could, I mean, you can watch something comparable in a way. That tonally or thematically feels in conversation with it to just kind of then come back and feel like there's a conversation happening between your piece and that piece.The other thing you could do is watch something so. Far different, right? Like, even if you like, don't like, I don't know what I'm suggesting, you'd have to, it would bend on the project, but there's another world where like you're like, all right, I'm gonna go off and watch some kind of crazy thrill ride and then come back to my slow burn portrait, you know, and, and just, just to fresh the pal a little bit, you know?I was like that. It's like fueling the tanks. We should be watching a lot of stuff anyways, but. That can happen too, so you don't, you also get to click off for a second because I think we can get, sometimes it's really good to stay in it at all times, but sometimes you can lose the force for the, you can't see it anymore.You're in the weeds. You're too close to it. So how do we kind of shake it loose? Feedback sessions, by the way, are a part, is a part of that because I think that when you sit in the back of the room and you watch other people watch the film, you're forced to watch it as another person. It's like the whole thing.So, and I, I tend to watch people's body language more than, I'm not watching the film. I'm like watching for when people shift. Yeah, yeah. I'm watching when people are like coughing or, you know, or when they, yeah. Whatever. You get it. Yeah. Yeah. That, that, soBEN: that is the most helpful part for me is at a certain point I'll bring in a couple friends and I'll just say, just want you to watch this, and I'm gonna ask you a couple questions afterwards.But 95% of what I need is just sitting there. Watching them and you said exactly. Watching their body language.VIRI: Yeah. Oh man. I mean, this was shoulder, shoulder shooks. There's, and you can tell the difference, you can tell the difference between someone's in an uncomfortable chair and someone's like, it's like whenever you can sense it if you're ever in a theater and you can start to sense, like when they, when they reset the day, like whenever we can all, we all kind of as a community are like, oh, this is my moment.To like get comfortable and go get a bite of popcorn. It's like there's tells, so some of those are intentional and then some are not. Right? I mean, if this is, it goes deeper than the, will they laugh at this or will they be scared at this moment? It really is about captivating them and feeling like when you've, when you've lost it,BEN: for sure.Yeah. Very. This has been fantastic. Oh my God, how fun.VIRI: I talked about things here with you that I've haven't talked, I mean, contact so deeply, but even film school, I feel like I don't know if that's out there anywhere. So that was fun. Thank you.BEN: Love it. Love it. That, that that's, you know, that's what I hope for these interviews that we get to things that, that haven't been talked about in other places.And I always love to just go in, you know, wherever the trail leads in this case. Yeah. With, uh, with Jody Foster and Math McConaughey and, uh, I mean, go see it. Everybody met this. Yeah. Uh, and for people who are interested in your work, where can they find you?VIRI: I mean, I don't update my website enough. I just go to IMDB.Look me up on IMDB. All my work is there. I think, you know, in a list, I've worked on a lot of films that are on HBO and I've worked on a lot of films and now, you know, obviously the perfect neighbor's on Netflix right now, it's having an incredible moment where I think the world is engaging with it. In powerful ways beyond our dreams.So if you watch it now, I bet everybody can kind of have really fascinating conversations, but my work is all out, you know, the sports stuff born to play. I think it's on peacock right now. I mean, I feel like, yeah, I love the scope that I've had the privilege of working on, and I hope it keeps growing. Who knows.Maybe I'll make my space movie someday. We'll see. But in the meantime, yeah, head over and see this, the list of credits and anything that anybody watches, I love to engage about. So they're all, I feel that they're all doing veryBEN: different work. I love it. Thank you so much.VIRI: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit benbo.substack.com

WEDNESDAY HR 5 The K.O.D. - His HIghness reacts to the ticket prices to Warp Tour 2025. Monsters going to Vegas. The biggest tours this summer. Monster Messages & Hot Takes Tuning them out?

This episode features an interview with the artist MEGG, who combines her love for pop music with her punk rock background to create a unique sound for a diverse audience of tomboys, romantics, and misfits. Born and raised in LA's South Bay, MEGG has achieved significant milestones such as performing at Dodgers Stadium, headlining at Saint Rocke Music Venue, and opening for bands like The Used. This summer, she will be playing at Van's Warp Tour in Long Beach, California.The conversation begins with MEGG recalling her first concert experience, a Madonna show, attended with her parents and a friend, which left a lasting impression on her as a child. They discuss various best concerts she has attended, including performances by Beyonce, Alicia Keys, and Missy Elliot. This inspires MEGG to share how these experiences shaped her musical career, leading her to attend the Los Angeles County High School for the Arts and later the University of Southern California's Popular Music Performance Program.MEGG recounts forming several bands along the way, including Runway MMC with her friends, supported by her mother's visionary clothing line idea, and Party for One, a pop-punk band she started with her buddies from USC. MEGG's career took significant turns with these projects, growing from performing at college parties to headline venues like Saint Rocke. MEGG delves further into pivotal moments such as playing the Musink Tattoo Music Festival, opening for The Used, and the journey to secure a spot at Warped Tour 2025. MEGG's experiences exhibit her resilience and dedication to her craft amidst various challenges and the evolving music industry landscape. Towards the end of the interview, MEGG discusses her musical influences, her recent single releases, and plans for upcoming projects, such as an EP to be released in the fall following her performances at Warped Tour. She emphasizes the importance of staying true to her musical style while being versatile across different genres. As an added treat, the interview includes a live acoustic rendition of MEGG's 'The Hangover Song.'BANDS: Blink 182, Every Time I Die, Fleetwood Mac, Guns N Roses, Hot Water Music, Mumford and Sons, Nirvana, No Doubt, Paramore, Pennywise, Pennywise, Spice Girls, Sum 41, Taking Back Sunday, The Used, Tomorrow's Bad Seeds, Tomorrow's Bad SeedsVENUES: Break Room, Dodger Stadium, Forum, Musink Tattoo Music Festival, Redwood Bar, Saint Rocke, Staples Center, Warped Tour. PATREON:https://www.patreon.com/SeeingThemLivePlease help us defer the cost of producing this podcast by making a donation on Patreon.WEBSITE:https://seeingthemlive.com/Visit the Seeing Them Live website for bonus materials including the show blog, resource links for concert buffs, photos, materials related to our episodes, and our Ticket Stub Museum.INSTAGRAM:https://www.instagram.com/seeingthemlive/FACEBOOK:https://www.facebook.com/profile.php?id=61550090670708

EPISODE 72 of Five At The Door features an insightful conversation with Pat from Save the Cat, a prominent figure in the DIY booking scene. Join us as we delve into Pat's journey from humble beginnings to becoming a go-to booking agent for emerging artists, all while navigating the complexities of the music industry.In this episode, Pat shares their experiences in the DIY scene, discussing the early days of Save the Cat and the pivotal moments that shaped their career. They reflect on the importance of community and collaboration, emphasizing how grassroots efforts and intimate shows create lasting memories and connections. Listeners will gain a deeper understanding of the challenges and rewards of being a booking agent, as well as the significance of supporting artists in their growth.The conversation touches on the evolution of the DIY music scene, the impact of social media, and the nuances of booking shows in various markets, including the challenges faced in saturated cities like Nashville. Pat candidly discusses the balance between passion and financial sustainability in the music industry, and the joy that comes from witnessing artists thrive.Get ready to hear "Words That Rhyme With a Different Etc" by Sports, a track that captures the essence of creativity and the spirit of collaboration in the indie music scene. This episode is a celebration of the DIY ethos, the power of music, and the connections that bring us all together.Here's a taste of the track that embodies the essence of Sports. Tune in:[https://music.apple.com/us/album/words-that-rhyme-with-different-etc/1067464766?i=1067464843]Remember, whether you're an aspiring artist, a passionate fan, or simply curious about the music industry, this episode offers valuable insights into the heart of the DIY music community.Don't miss this episode as we explore the vibrant world of DIY booking and the incredible stories that shape our musical landscape.Show notes penned by your favorite chronicler of the musical journey at Five At The Door.(00:00) Pat from Save, uh, the Cat is a booking agent(02:17) I grew up in Lancaster, Pennsylvania, and there wasn't much DIY scene(08:55) Harrison says he loves going on tour to witness historic moments(16:36) Connor: Coachella sold out within 24 hours this year(22:35) I want listening to smaller artists because there's so many amazing small artists(26:47) Nashville has too much going on, it's too oversaturated(29:06) Leisure Hour recently played Arcane Workshop in Nashville and sold out(36:15) I'm gonna bring up the whole Warp Tour discourse(42:51) I grew up going to Warp Tour. And the first world tour I went to was in 2014(47:38) And I think that that, uh, like, just to tie it all together is important(48:52) I think it's important to take that platform and to say something(53:41) I think bands should stick to the whole DIY ethos as possible(57:06) As a booker, you have to be tapped in to everywhere(01:04:07) If you're playing in front of no one, it sucks(01:04:38) Sports would love to play a song of your choosing on the podcast(01:06:55) I have a couple of cool tours coming up that you guys should go to(01:11:49) All right, well, listen, you. You have, like, the coolest rest of your day. Have a good night. Take care.

Big O talks Warp Tour

Topics discussed on today's show: National No Shave Day, National Mashed Potatoes Day, K-Mart News, The Coolest Kid in School, Constitution Sold, Universal Tony Orlando, Warp Tour, Birthdays, History Quiz, The Trendmill, 20 in 24, Cataoke, Stay Or Go: Fallen Saints, New Music Friday, and Apologies.

thedisruptors.bc.ski@gmail.com Email me with any suggestions for future guests, topics you'd like me to cover, and any feedback about the show.

Welcome to The Bits episode on Warp Tour ,where we talk about... you guessed it... Season 1 Episode 36 of Steven Universe! Listen to us go on a warp tour! Send a message to our Diamond Line at thebitssupod@gmail.com with your thoughts and theories going forward! We would love to hear from you. Make sure to subscribe so you know when our next episode drops and rate and review if you like what we are doing. IG: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/thebitssupod/⁠⁠⁠⁠⁠⁠ Tumblr: ⁠⁠⁠⁠⁠⁠https://www.tumblr.com/thebitssupod⁠⁠⁠⁠⁠⁠ Follow Charlie: IG:⁠⁠⁠⁠⁠⁠ www.instagram.com/greenpixie12/⁠⁠⁠⁠⁠⁠ and⁠⁠⁠⁠⁠⁠ www.instagram.com/greenpixiedraws/⁠⁠⁠⁠⁠⁠ Follow Of the Eldest Gods: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/oftheeldestgodspod/⁠⁠⁠⁠⁠⁠ Follow Robert: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/thedammemepage/⁠⁠⁠⁠⁠⁠ Follow Entering Storybrooke: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/storybrookepod/⁠⁠⁠⁠⁠⁠ Follow That's The Sitch: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/thatsthesitchpod/⁠⁠⁠⁠⁠⁠ Follow The Truham Grammar Book Club Podcast: ⁠⁠⁠⁠⁠⁠https://www.instagram.com/truhamgrammarbookclubpod/⁠⁠⁠⁠⁠ Follow Zach's Podcast My Cabbages!: https://instagram.com/mycabbagecast?igshid=MzRlODBiNWFlZA==

In this episode I have on Jordan and we have a lot of fun talking about his recovery and what he is up to now! Jordan has been on tour across the world playing drums for different bands all while speading the message of mental health and the ways that we can improve ourselves.  He gets into detail about his own mental helath issues and what he has done to recover from those.  If you have any questions you can reach us at Tom@realrecoverytalk.com and Ben@realrecoverytalk.com

Shelby Stanger has been passionate about storytelling since she inked her first article in a national publication at age 15. As a longtime adventure journalist in the outdoor sports world, Shelby has standup-paddled a portion of the Peruvian Amazon, reported about a summer-long punk concert series called the Vans Warped Tour, surfed from Tofino to Tavarua, had her own adventure column in five San Diego newspapers, and interviewed countless CEOs, entrepreneurs and pro athletes on assignment for national publications like Outside Magazine, ESPN, CNN.com, and Shop-Eat-Surf.com. Prior to becoming a full-time storyteller and consultant, Shelby worked at the iconic shoe company, Vans, where she helped oversee all the women's branding and later the international marketing for the Americas and Australasia regions. She later served as a media consultant to brands including Nike, PrAna, and Body Glove.In 2016, Shelby created Wild Ideas Worth Living podcast, which she sold to REI Co-Op four years later in 2020 and still hosts. The show features high-impact interviews with world-class adventurers, authors, scientists, athletes, health experts and explorers who have turned their own wild ideas into a reality. She also created a podcast about health and humor called Vitamin Joy in 2020, and has hosted a travel show for Lufthansa.This year, Shelby released her first book, Will to Wild, published by Simon and Schuster. She will also be giving her first TEDx talk about the power of nature and adventure to change your life.In addition to her work as a storyteller and journalist, Shelby is a longtime board member for Outdoor Outreach, a non-profit that helps empower at-risk kids in San Diego through outdoor programming like rock climbing, snowboarding, and hiking.The common thread to everything she does: A little adventure is life's antidote. To second chances. To soul seeking. To success. When not on assignment or behind a microphone, the San Diego native enjoys sampling the best coffee, surf breaks, and smoothies around the county.Join Shelby with Travis and Mace for a fun and wide-ranging conversation on a variety of topics: Shelby's new book; the importance of engaging with scary stuff; cultivating perspective; microdosing nature; surfing, Vans, Luke Jay, Warp Tour and punk rock; and more.In This Epiosde:Will to Wild: Adventures Great and Small to Change Your Life TrailerShelby Stanger Instagram | Website Order Shelby's Book Will to Wild www.neuroreserve.com/travismacy and code TRAVISMACY for 15% off RELEVATE by NeuroReserve: Core Dietary Nutrients for Lifelong Brain HealthTravis Macy Instagram | WebsiteThe Feed Instagram | Website- - - - - - - - - - -If you like this podcast, please consider our book, A Mile at A Time: A Father and Son's Inspiring Alzheimer's Journey of Love, Adventure, and Hope*30% off with discount code MACE

Our guest this week is a musician, artist, and surfer. He worked at Ocean Pacific and Gotcha as a graphic designer and later founded Epic Clothing in the 80's. He has had multiple bands throughout his life, including El Centro and Uprising. His bands were featured and toured on the Warp Tour. He has even had a song appear on CSI Miami. His life forever changed on October 12, 2002, BALI BOMBING, when he lost his best friend Steve Webster. He had horrific head trauma, broken bones, burns across his body, loss of hearing, he was a warrior. He fought to save his friend's life and others and made a way through the rubble to save other people. More importantly we can't wait to hear about all of his talents, including music, art, writing, surfing and how he is inspiring others with his positivity. We welcome Steve “CRABBY” Cabler!! See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Bizarre is back! He and Adam casually talk about dating inmates, (female inmates of course), recreational dr*gs, their favorite fast food joints, trains and more! ----- 00:00 Intro 2:50 Bizarre says he can't say the wild things he used to say  7:33 Bizarre is working on losing weight and doing p*rn  8:14 Most girls won't wait for the dude to get h*rd on set  10:14 Bizarre was left on read by a few p*rn stars 12:18 Adam wants to take Bizarre to O Block 15:10 What age should you take a child seriously when they express they want to be a different genre 16:26 Bizarre had a relationship with a female in jail  17:57 The lady did 5 years, they talked for like 2 years, after she came home it lasted 2 weeks  27:35 So many rappers from the D now, Bizarre shoutouts some of his favorites right now 28:49 Is it DJ Smallz or Small Eyes? 32:15 Adam wants to know if they are any lowkey gay rappers 32:35 Adam asks if Bizarre knows some illuminati members 39:04 Yung Zee (Outsidaz) wanted a pill and grabbed a diabetic pill from Bizarre's bag by mistake 40:53 Adam says Bizarre is too old to do any pills 44:41 Bizarre says "F**k Arby's!" 49:30 How Bizarre's new phrase came to be: "He's got a g*n!!" + Meeting producer Foul Mouth 52:01 Girls wanna get f*cked w his signature shower cap on  53:00 Girl from Russia requested a train ran on her by Bizarre and his homies 56:15 ICP not touring anymore, health issues, tour life really takes a toll on you  57:25 Tech 9ine and ICP tour with back to back shows without hotel room, wash up in like truck stops 58:29 Bizarre remembers the Warp Tour with Eminem, that was brutal  59:44 Bizarre didn't like Game's diss song, technically it wasn't a good song, hopes that Game will learn from it  1:02:02 Bizarre had a stroke before and it was really scary 1:04:54 Bizarre is rapping-rapping in this new project 1:09:57 Adam says Em should get Rio on a song when he gets outta jail ----- NO JUMPER PATREON http://www.patreon.com/nojumper CHECK OUT OUR NEW SPOTIFY PLAYLIST https://open.spotify.com/playlist/5te... FOLLOW US ON SNAPCHAT FOR THE LATEST NEWS & UPDATES https://www.snapchat.com/discover/No_... CHECK OUT OUR ONLINE STORE!!! http://www.nojumper.com/ SUBSCRIBE for new interviews (and more) weekly: http://bit.ly/nastymondayz  Follow us on SPOTIFY: https://open.spotify.com/show/4ENxb4B... iTunes: https://itunes.apple.com/us/podcast/n... Follow us on Social Media: https://www.snapchat.com/discover/No_... http://www.twitter.com/nojumper http://www.instagram.com/nojumper https://www.facebook.com/NOJUMPEROFFI... http://www.reddit.com/r/nojumper JOIN THE DISCORD: https://discord.gg/Q3XPfBm Follow Adam22: https://www.tiktok.com/@adam22 http://www.twitter.com/adam22 http://www.instagram.com/adam22 adam22hoe on Snapchat Learn more about your ad choices. Visit megaphone.fm/adchoices

He MUST have this when playing @TheAmp Delayed Gratification. Last week The Amp, in Saint Augustine, hosted the popular bands, Pepper & Slighty Stoopid. After a wild and fun round of golf, Yesod williams sat down with Todd Juliano backstage at The Amp to discuss just how HARD and how much WORK goes into being a successful musician. Who doesn't want to be a rockstar, perform on stage in front of thousands of people and be PRAISED for your sound? Well when you hear how much DEDICATION & WORK goes into reaching the top, it might just be the line in the sand that some people won't cross to get there. Listen in as Yesod spills about playing the 2001 Warp Tour, his favorite MUST have when he's in Saint Augustine, and a REUNION TOUR ANNOUNCEMENT??? Thank you again to Yesod Williams, Miles Doughty, Oguer Ocon, and Andy Geib for playing a round of golf with us and giving us a peak behind the curtain at our very own, Saint Augustine Amphitheater. --- Send in a voice message: https://anchor.fm/on-the-mic-tj/message

Join Daria and Ivy as they watch and talk about Warp Tour and cover such topics as Peridot's design and status as a modern Gem, Daria's theory about whether Gems need to keep their Gems exposed, the 'no one believes the protagonist' trope, what Peridot might be on Earth to do, Steven's allergies, the nature of Warp Space, death-related language in cartoons, theories about Garnet's third eye, and whether Lapis somehow triggered Peridot's visit. Probing Question: What does Daria think about the realistic possibility of mortality in cartoons? Today's recipes: Macaroni Cheese / Macaroni & Nothing: https://love-takes-work.tumblr.com/post/172575615632/macaroni-cheese-macaroni-and-nothing-i Garnet's Chocolate Chip Cookies: https://love-takes-work.tumblr.com/post/175930276452/make-cookies-for-your-steven-or-feed-them-to-your Today's merchandise: A Peridot Plushie. This episode with pictures: https://www.youtube.com/watch?v=-By5hzjL8No Follow us on Facebook: https://www.facebook.com/notsogiantwomen

Can Billy Long mount a comeback? Why does Eric Schmitt suck so much ass? How old is too old to attend Warp Tour? Now More Than Ever, Support Your Local Abortion Fund: Arkansas Abortion Support Network www.arabortionsupport.org/ Missouri Abortion Fund www.mofund.org/ The Roe Fund (Oklahoma) www.roefund.org Find an abortion fund or services near you: National Network of Abortion Funds abortionfunds.org www.hootnhollerpod.com www.patreon.com/hootnhollerpod @hootnhollerpod on Twitter and Instagram facebook.com/hootnhollerpod hootnhollerpod@gmail.com Theme: "When the Moon Comes Down in Blood" As sung by Reba Dearmore, Mountain Home, Arkansas on January 7, 1969. Cat. #0647 (MFH #709) in the Max Hunter Folk Song Collection at Missouri State University. maxhunter.missouristate.edu/songinforma…aspx?ID=647 Outro: "Meet Me Tonight in the Moonlight" As performed by Jimmy Driftwood (Morris), Timbo, Arkansas on August 30, 1969. Cat. #0897 (MFH #521)in the Max Hunter Folk Song Collection at Missouri State University. https://maxhunter.missouristate.edu/songinformation.aspx?ID=897

Trigger Warning: Stalking, AssaultJoin Brody, Caitlin, and Jessi as they create the definitive Scary Derek threat-o-meter.  Highlights include: they absolutely played Warp Tour, leave me alone you aren't my husband!, no time for Gavin we've got shit to do, being reminded that these are teenagers who got married, going from zero to Scary Derek in 2 episodes, the pregnancy news knocked the psychopath out of Rachel real quick, using old headshots for new props, we can finally verify someone's age on this show, red flags with Jessi, imitating real human feelings, the return of the Voldemort hug, thank you Rizzoli and/or Isles, the levels of Scary Derek, the best day of Dan's life was signing a basketball paper, John Tucker is more of a model than this guy, it is a scene in this TV show…, she's a literal sour patch kid, if only this change of heart had killed Dan, Whitey's gonna be a grandpa!, we are at level 4 Scary Derek, THAT BOY HAS A HEART CONDITION!!, the kind of brother energy that Peyton deserves, this is a lot of trauma for a teenager without a therapist, speaking of Everwood…, the tangent to end all tangents, LIZZO FOR ALL FIVE MUSES, and more!Don't forget to subscribe and rate the podcast on itunes or any of your favorite podcatchers!  Follow us on Instagram, Facebook, Twitter, and TikTok at @onwednesdayspod, follow us on Spotify at Nostalgic Millennials, or email us at onwednesdayspod@gmail.com.

27th Hour Podcast Episode 83 with Ocelot

Episode Notes: Oink. 2014 vids. Do you have any kendamas? Hardcore kid to hippy dude. Bret. No competition just collaboration. How can you not be friends with Rod. Haley at Warp Tour. Connecting with counter culture. Dropping glasses in the pit. Natural growth of Terra. It's done when you say it's done. The anti contest. Bring a towel. Going solo to events. Basic! All Girls Kendama started in Denmark. Thanks for entering. Judging. The males are coming over. Pink tax. Cultural society. Outro: You Won't Get What You Want by Daughters Support the show with $1 a month to get video episodes: www.patreon.com/kendertainment Follow us on IG: @damanerds @mj_incro @roddama @kendertainment -GUEST IG: @lightrein @hbishhh

Follow this link to check out Order of Dust: https://amzn.to/2Vx9LN2 Follow this link to check out The Ones Who Could Do Anything: https://amzn.to/3ttCvCQ The following is a transcript for this episode. For the complete transcript, please navigate to the show's website. [00:00:00] So I have a very important question for you, my dear friends, and this is how we're starting off this episode. Are you passionate enough about the things you like to do? And because this is this podcast, are you passionate enough about writing to be able to release something bad at first, knowing that you will get better later that going through those trials and going through the process of releasing something is part of the experience of getting better. Then you need to take a second and listen to today's guest, Nicholas J. Evans, who went from writing a collection of short stories in high school that he was convinced nobody would want to read to landing a three book deal today on Writing in the Tiny House. [00:00:58] Hello. Hello. Hello, and welcome to the show. Welcome to Writing in the Tiny House. I am your host Devin Davis, and I am the guy living in a tiny house who is here to show you that you can write that work of fiction regardless of how busy you think you are. And the perfect example of that is today's guest Nicholas J. Evans. He is 30 years old. He works full time. And in his spare time, when he's not playing with his kids, he writes. And he has a beautiful message to share. And we will get to that message here in half a second.  [00:01:58] As far as announcements go with this podcast, I have teamed up with Editor Krissy Barton, from Little Syllables Editing. She was on the show back in March, and we had a wonderful show. I fully recommend that you go back and listen to the final show that happened in March. She was here with me in the tiny house, talking about the process of editing. Anyway, I have teamed up with her to roll out kind of a new program. And I say that as a way to kind of tease. [00:02:35] I apologize right now, but I want to let you know that fun things are rolling out, provided things work out according to a specific schedule. Sometimes I get some hairball ideas and sometimes the execution is kind of hard to do, kind of impossible to do at other times. And so we are discovering different ways that I can share my writing with you, my listeners, and also with people who don't listen to this show. [00:03:10] So basically I have started writing some smaller things. I have blabbed on and on and on about my book about my works in progress, and I still have those. And those have certainly not been like thrown in the garbage or something stupid like that. They have been put on the back burner for a second, just because I am eager to share my writing. On this podcast I blab all day long about the tips and tricks to do it. And so I actually want to show examples. Release something for people to read sooner than a book, sooner than a full blown novel, which can take up to two years or longer to write or produce or whatever, especially if you're not already published through a major publisher. [00:04:03] And so I have started doing some shorter things. They all tie into the books that I'm writing. They are short stories set in the same world as the books that I am working on too. And these, I am going to put on a schedule. I will tell you more about what that whole schedule will look like in a later episode of Writing in the Tiny House, but be excited. [00:04:30] This whole process is so fun. Writing something according to a schedule is hard and awesome. And it really gets me excited about writing and it gets me more eager to share it with you, my listeners, what I can do, what I have done, some of the ideas that are in my mind. And so it's not just about advice or guidelines anymore. [00:04:59] Now we are going to actually have the real written word to share with you on a regular basis. So I will touch base on a later episode to give better explanation and better description as to what all of this is actually going to be. But I wanted to share with you today that things are in the works. And so that's super exciting. [00:05:26] So without further ado, let's go ahead and meet our guest. Nicholas J. Evans. [00:05:35] I'm originally from New York and I've moved a lot over the course of becoming an author, and I'm writing novels and writing short fiction, so I lived in Delaware for a brief period of time. And I currently live in Maine with my wife and our three very young children. We have three daughters, all under the age of five and I work full time. [00:05:56] I travel for work which means I, am not home as much as I would like to, be, but I try and use that time to my advantage. And that's where I work on a majority of my stories. So I work on them when I'm in hotels. I work on them when the kids are asleep at nap times, pretty much whenever I get the opportunity. Even going as far back as to when I started writing short stories, I would work on them on my phone, just so I would have the time during brief periods of the day. [00:06:22] As you can see, Nick is a busy man and the idea of fitting in writing where you can fit it in is not new to most writers. Most writers do not support themselves with their craft. And so to be working a job and to be cranking out novels in his spare time is something that a lot of us are doing, which is so cool and so admirable. [00:06:44] And so I wanted to find out a little bit more about his published works and what he's working on now. [00:06:52] I began writing Order of Dust, which was my debut novel all the way back in 2017. I actually was working on a different novel at the time and I had hit writer's block. It was a completely different genre too. And I was like, I need something to work on. What am I going to be working on, while I'm just sitting here staring at a screen not knowing what to put down? [00:07:11] So I began writing something that I originally thought I was going to release as a graphic novel. Actually, I began writing it in a script format with the hopes of sending it out that way. and I found that might've not been the right medium. So I turned around and started drafting it into a novel. And then around 2018, I was finished up with the second draft of it. And then I had started sending it out to publishers directly because it was my first work. I didn't want to get anything agented. I didn't think I was there yet. And I was lucky enough to get picked up by the Parliament House for a trilogy for my series. So I was very excited about that and I mean, that led to where we are now with the novel release in 2020, which was a weird time for books to release. It was a little bit of a different experience because everything had to be pushed digitally. We couldn't do signings. We couldn't do cons. We couldn't do anything. so a lot of it had to be just reaching out to different digital agencies to take care of things for us and hope that things were going to go well. Luckily enough, they did go well, which led to me working on throughout 2020 after we were already edited and everything was finished up for Order of Dust. I ended up working on the second novel of the series. And I had just finished a different novel, that I'll go into in a little bit that is actually releasing this September for a different publisher. COVID was very, very unfortunate and working from home was very difficult, but at the same time I was able to try and use as much downtime as possible to really hammer this out and give what I feel like is even a better product than the first novel.  [00:08:48] So the name of the trilogy is For Humans, For Demons, which will make sense in the grand scheme of things? So it's For Humans For Demons. The second, book comes out January of 20 22, no release date on the third, but I am halfway through the first draft of it and very excited. And then, Like I said, I do have another novel coming out with a different publisher in September of this year.  [00:09:11] The For Humans For Demon series is essentially about what if modern religion collapsed Similar to what we've seen in history where different religions end up taking the forefront. And this is about what if it's turned on its head and what if in a modern society what everybody believed to be true ends up not being? And everybody finds out about that truth and the chaos that ensues. [00:09:36] So bringing that as the larger universe, it focuses on the story of one character Jackson Crow who dies at the hands of the Unascended, which essentially to bring it to better terms a soul in this universe is called a Dust and sometimes they do not ascend for different reasons. So they end up remaining and taking on a host basically. They take over a body of a living person and they hide among people. Jackson was unfortunate for him and his fiance, were assassinated by one of the Unascended, which leaves him with a little bit of a grudge, and he gets the chance from the true higher beings to come back and basically work for them to take care of the issue, which is these Unascended who are hiding as normal people are committing heinous crimes that they are not actually being targeted for.  [00:10:28] So it's all about his story, about getting revenge. And then it slowly opens up to this bigger issue at hand, which is the world around him that is essentially collapsed because people do not have a belief structure anymore. And that goes for all of the different religions and how it affects the different groups of people, which really ends up coming out in the second and the third books [00:10:52] So I have read Order of Dust and it is a wild ride. It is fast paced. It is exciting. It is filled with action and all of the things you could hope from a book like that. And so I wanted to figure out what was his inspiration to write a book like this. [00:11:10] I wanted to write something That was, based on religion. I wanted to go that route. But originally when I was doing this, the only idea I had was what if somebody had to hunt people? What if somebody had this job where they had to hunt people cause they were different? And it just kept breaking down until I was like, well, what if he's also different? A lot of the influences for that book came right from graphic novels from monga, from old scifi, noire stories. So things like Philip K Dick or even things like Alan Moore or Neil Gaiman. A lot of inspiration from Yasuhiro Nightow who is best known for writing Trigun in the nineties and Gunn Grave. So a lot of that I want it to kind of mush together and I was like, this would just be something fun. And, and that's what I did.  [00:12:00] Book number two was Wing Clipper, that one releases in January of 2022. And that one is going to break into the larger world. The first book was very focused on Jackson, focused on introducing characters and introducing some antagonist, but the second book really opens up. It is longer. So it won't be as fast of a read. But that was the goal. I wanted to introduce people in a way, almost like what Stephen King did with Gunslinger, the dark tower series. The first book gunslinger is very short. It's a very quick read and then slowly gets longer. [00:12:31] That was my goal here is I want to get people drawn in and then really open it up in the second and say like look how everybody else has been affected by this. And then the third book right now is called The Arm of the Savior. In the third book, we'll close everything out in a very large scale. I've been building up to something with these hoping that it ends in a larger way than it started, where it starts very narrow, very singular, and it ends more global. And that one does not have a release date as of yet just because the second book's not even out, but I would say that's probably going to be somewhere around, early to mid 2023.  [00:13:07] Now while his trilogy for humans for demons is with one publisher. Nick has done what many successful writers have done. And he is publishing another book under a different publisher. Another publishing house picked him up for this book for this idea. And so. Just depending on contracts and agreements, it is entirely possible for a person to put out work under various different publishing houses. [00:13:39] And Nick has done that too with his upcoming novel that releases this month, even though in the dialogue here in the audio, it says it releases in September. We get to remember that it is now September and this interview wasn't recorded this month. So please don't get confused.  [00:13:57] The book releasing in September is with a different publisher, Black Rose. What ended up happening was I was working on another while I was doing the editing process for Order of Dust. I wanted to work on something else, but I didn't want to dive into the second book without first working with the different content editors, the line editors to kind of get their idea and feedback on that first book. But I wanted to work on something. [00:14:19] I had been writing a lot of shortstories, and I wanted to break it up from the normal. And at the time I had just come up to Maine for work. So I was very far away. My wife and kids were down in Delaware. On the weekends I was driving down there 10 to 12 hours to see them and then driving back So it was a lot of alone time for Monday through Friday. And I just felt like I needed to do something with this time, so I wrote the book. [00:14:43] It's called The Ones Who Could Do Anything. And it's an urban fantasy, but it's mainly just about dealing with struggles. I don't want to give too much away, but surviving after something terrible happens. And it follows just a group of young people who find each other because of their misfortunes and discover that they have some innate abilities that lend themselves to each other. So it's, again, it's something that at first, and this is, this is what I loved when I had brought up to the publisher at first, they were like, this sounds like, like the premise of it, like something that we've read a hundred times. [00:15:21] And I was like, I know, you know, I'm not trying to give you something that everybody already knows just by looking at the cover of the book. But luckily they were like, you know, We read the first three chapters of it. Can you send us the rest of the manuscript? And when they did, they really like, they're like, this is different. [00:15:37] As many writers bring out a certain work or certain ideas or bring these different things to life. Oftentimes there are specific goals that they have with these things. And I wanted to find out what was the reason behind four humans were demons and this new book, because they are so different, different publishing houses. [00:16:06] Different ideas, different concepts. And so I wanted to figure out more about that. [00:16:11] One thing I would love for everybody to know is everything that I write and put out. I want to be very different. And I think the people who enjoy For Humans For Demons and enjoy that series, maybe would read The Ones Who Could Do Anything and feel like, this is different. It's a little bit darker and more base of reality rather than something that's completely scifi. [00:16:33] But I want everybody to be open minded to that. I think some of my favorite authors branching from every different medium, have always tried to dabble in that a lot of their books are not linear. Obviously there are authors out there who do release very similar books and they do very well. But when I think of my favorite Neil Gaymon I don't feel like his books are the same. I feel like I pick up any of his books and they're different and that's my overall goal. And I wanted to let people know that right from the start, because I want people to pick up different books and be like, this is different from that one. And I love them for what they are.  [00:17:06] And so came the big question. How did any of this get started? How far back does this go for him? When was the first time he put pen to paper in a creative way? And how did all that go? [00:17:24] I appreciate this coming up because I don't get to share this a lot because I don't want them to intertwine, but I've been in bands my entire life. I was a musician for most of my life. I'm 30 now. I was in bands all through high school and everything. [00:17:36] And then in 2011, I was in a band called Nora Stone, and we were a post hardcore group. I say we were, but they're still together. A hardcore group. And we ended up releasing a short EP and it got us on a label. We did a lot of traveling. We did a lot of touring. So were on the road, a good amount. We did Metal Mayhem Festival. [00:17:56] We did Crowd Surf America with CHODOs and Blessed the Fall. This is all a bunch of Warp Tour bands. But we did a lot of that for a very long time. And after the birth of my first daughter, I realized I had to start dwindling it down. I had already started the career I'm in now. [00:18:11] And I was like, what can I do? And back in high school, and when we're on the road, I would just write short stories. A lot of it, I'm going to be honest with you. If anybody remembers my yearbook shout outs to to New York, if anybody remembers my yearbook, it asks something about what do you want to do? [00:18:26] And at the time I want it to be a graphic novel writer. And that is in my yearbook. So I would just create characters, write backstories for them. And that's what I would do on my phone to pass the time is what I thought was fun. So when I moved to Delaware and parted ways with the band, I needed something to occupy my time and I did not want to dive back into music. [00:18:45] I had done it for too long. I didn't want to start over. I ended up just writing short stories again on my phone for fun. And my wife had actually read one of them and she was like, how come you never release anything? Like, how come you just sit here and write in the notes section of your phone and then delete it. [00:18:59] And I was like, I don't know. I don't think I have anything people want to read. I worked on something and she read the first draft of it and was like, I really like this. Like, you should just try and get this published. And I was like, I don't think people are going to like it, but okay. And then it got published. [00:19:13] And then all of a sudden I have my mother, my friends, my family, who were like, you know, I like this. I don't understand why you didn't do this sooner. And I'm like, I, I don't know. You probably wouldn't like what I wrote in high school. [00:19:23] And so this is actually the take home, this upcoming little statement that Nick makes for me during this interview. And this is why I opened this episode with that question of, are you willing to release something bad or at least release something that requires some refinement and requires some work in order for you to get better? [00:19:45] My biggest piece of advice, would first, I guess we'll start with one. Right. Even if it's bad, even if you just have a story in mind and you're like, I'm not going to put these words together properly, and people are not going to like this Cause that's where I was at. Write. And then just send it in. Have faith in yourself, send it in and trust me, trust me When I say the publishers are going to tell you when it's bad I've had a lot of publishers. I've had my own publishers tell me it's bad. And that's just part of the process is how you get better. And I've said this in the beginning, but I feel like every time I write something new, it gets better. [00:20:24] And for new writers, that's going to be the case. The first thing you put out there might not even get published. And then you have to really look at the feedback you got and say. [00:20:31] Okay. They didn't like it for these reasons. Is it the story? Is it me? Is it something I need to change? But at the same time, you want to maintain your own voice and you're not going to please everybody. [00:20:42] And eventually you'll get good enough. And eventually the right publisher will come along, have faith in your project and really carry you through the way. And second piece of advice, listen to your publishers. If you're going that route, if you're going self published Listen to your beta readers and listen to the editors that you bring on. [00:20:58] But if you're going a traditional or an indie publisher route, listen to them. Because most of the time, 99% of the time from my experience so far, they want what's best for your book without removing the parts of the book that make it yours. So definitely just write whatever you can send it in. They're going to tell you it sucks and then listen to them when they tell you it sucks. [00:21:22] And that is the biggest lesson with developing any form of talent, just like learning to play the piano or learning to play a musical instrument or learning how to paint or draw or whatever. It may be different skills that you have at work. So wing. I don't know. All of these things are talents and talents require practice and paying attention to feedback. [00:21:49] And so that means that sometimes you get to be brave and you get to write something that may not be great. And you get to give it to a few trusted people in order for them to find the holes in it that you don't see. And in order for them to pick apart some of the clunky things and to offer some guidance and some advice. [00:22:10] So that, that bit of work can be even better than it was when it, when you began it. And so that is the take home from me to you. If you are looking to seriously get into writing, and it's not something that you do all the time, just start, write anything and then give it to somebody to critique. [00:22:34] The feedback is the most important lessons. With writing so that you can get better hearing how your work can improve is a very vulnerable space to be in. But it, like I said, it is the biggest lesson on how to do it better and on how to make that specific piece better. So that is it for today. If you are interested in reading Order of Dust or The Ones Who Can Do Anything, go ahead and follow the link in the show notes and you will be able to check those out.  [00:23:09] Otherwise, thank you so much to my patrons who donate to this show every month without your generous donations, the show could not be possible. Go ahead and follow me on social media. My Instagram handle is @authordevindavis and my Twitter handle is @authordevind. Thank you so much for listening and have fun writing. [00:23:33] 

Welcome to the Big Apple! We have a very special guest and special host today! Our special co-host today is Abigail Montgomery, Bill's wife. And we are talking with composer Tom Morrison. He is a good friend of Hillary's from the University of Montana where he started as a forestry major but then quickly found a place within the music studies. Hillary, Abbie, and Tom chat about readjusting to the city, cheating on your therapist, Tom's piece Big Sky Music, creating poetry with A.I., flashbacks to Warp Tour, and so much more. All rabbit holes are followed and a wonderful time was had. So check it out and enjoy the vast open spaces of the music by Tom Morrison!Guest:Tom MorrisonPersonal Links:www.instagram.com/lastchairviola tom-morrison.com Hosts: William F. Montgomery - www.williammontgomerycomposer.com Hillary Lester - www.thehealthymusiciansite.com Special Guest:Abigail Montgomery Become a Patreon:Patreon Link - https://www.patreon.com/soundsoftheworldpodcast Links for social media: Website – www.soundsoftheworldpodcast.com Host site link - https://redcircle.com/shows/sounds-of-the-world Instagram - https://www.instagram.com/soundsoftheworldpodcast Facebook - https://www.facebook.com/soundsoftheworldpodcast Apple - https://podcasts.apple.com/us/podcast/sounds-of-the-world/id1532113091YouTube - https://www.youtube.com/channel/UCsaZzOWvr_VaPQ_6_sB3OowTwitter - @SoundsoftheWTik Tok - @soundsofdaworldpodcast © Sounds of the World Podcast 2021Support this podcast at — https://redcircle.com/sounds-of-the-world/donations

27th Hour Podcast Episode #55 with Danny Bateman Founder /Producer of @bonanzacampout also was on the Reality show on Fuse Warped Tour Roadies & played a big part in the Warp Tour throughout the years & so much more Definitely check this episode out to hear it all!! Great conversation! We are On all major podcast networks and YouTube make sure to share subscribe like and give us some feedback.

Goyfs ride the river boat through Immersturm with Kaya and Tyvar as they go full metal hatchet. Here is the continuation of the Kaldheim story by Roy Graham, with contributions from Jenna Helland, "EPISODE 4: INTO THE DEMONS' REALM" Give the ‘Goyfs +1/+1 by using their affiliate link on Card Kingdom: www.CardKingdom.com/loregoyfs And become a ‘Goyf on Patreon: www.patreon.com/Loregoyfs Thank you, Yosh of Dangerous Audio, for editing.

Hello and thank you for listening to this special clip of our Patreon show. BSIDE is all the things that you do not get to hear during the regular recording of the episodes. It might be before the mic, after the mics or right in the middle ! We also post the UNCUT video version every week on Patreon ! How do you get to listen to the UNCUT version ? Subscribe for $3 at https://www.patreon.com/shootintheshiznit ! We also stream all of the UNCUT episodes as they are happening and they go into the Patreon archives ! We have had close 300 posts in the last two years and it grows every week. Get over the https://www.patreon.com/shootintheshiznit and subscribe ! Here is the link to the complete free show on the feed !

Sam talks about her work producing arena and shed shows over the years in Chicago, her favorite things about her job, being a Warp Tour girl, what she misses most about concerts and her most recent work at Super Bowl LV. I confuse the movie Endless Summer with One Crazy Summer because I'm an idiot. Fins Up!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This episode covers so much - Hot dogs, Rose Quartz, Steven, Lion, and Pearl watching Steven sleep.... But mostly it's about S1:E35 & E36 of Steven Universe. *Please note that there is a brief mention (at ~22 minutes) about pet death - but that story has a happy ending.   | Thank YOU for listening. Please check out The Center Cut Podcast, Wack Brackets Podcast, Only Stupid Podcast, & the art of @viridializard

peridot send us voice messages at Anchor.fm/Jackpot4484/message --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/jackpot4484/support

Fronzilla talks about his tremendous journey as a teenage rock star, touring non stop since 13/16 years old, taking over the Warp Tour, his work ethic, getting on Only Fans and more! ----- FOLLOW US ON SNAPCHAT FOR THE LATEST NEWS & UPDATES https://www.snapchat.com/discover/No_Jumper/4874336901 FOLLOW OUR NEW SPOTIFY PLAYLIST! https://open.spotify.com/playlist/529mn7of2HBKdLfrAMUzcK?si=rWVBWCuWSXeh0TFYb2P-dQ CHECK OUT OUR ONLINE STORE!!! http://www.nojumper.com/ SUBSCRIBE for new interviews (and more) weekly: http://bit.ly/nastymondayz Follow us on Soundcloud: https://soundcloud.com/nojumper iTunes: https://itunes.apple.com/us/podcast/no-jumper/id1001659715?mt=2 Follow us on Social Media: https://www.snapchat.com/discover/No_Jumper/4874336901 http://www.twitter.com/nojumper http://www.instagram.com/nojumper https://www.facebook.com/No-Jumper-198283650194402/ http://www.reddit.com/r/nojumper JOIN THE DISCORD: https://discord.gg/Q3XPfBm Follow Adam22: http://www.twitter.com/adam22 http://www.instagram.com/adam22 and adam22hoe on Snapchat

This week we have to thank the listeners for bringing an equally strange and offensive song to our attention. We’re discussing the Say Anything song Wow! I Can Get Sexual Too (2004). Also in this prepisode music news of the weird, listener questions and we announce next week’s album. In this episode we discuss True Blood, Back to School 2, Zeus, mutants, Warp Tour, codes, rules, mustaches, roller derby, Flavortown Ohio and so much more! Hatepod.com | TW: @AlbumHatePod | IG: @hatePod | hatePodMail@gmail.com

BIG O SHOW JUNE 22 SEG #8 MUSIC TALK THEM EVILS VANS WARP TOUR INTERRUPTERS AND MORE

On this 12th installment of Bumper 2 Bumper, Chris & Rick picks u former band member turned chef, Bradley Grace and his wife as they head to LAX airport. Bradley talks about the time he met Chris at the Van's Warp Tour in the early 2000s while a member of the hardcore punk band, Poison The Well. They also chat about Bradley's love for food, his former vegetarian days and the book that transformed him from vegetarian to omnivore. Available on Apple Podcasts, Spotify and Google Play. Available to WATCH on Youtube at https://youtu.be/pHZ5xGgU8-0 Opening & Closing Music by Charlie Scovill.

The Rude Behavior podcast welcome’s San Diego Ska-Punk outfit, ‘MAD COW DISEASE’ to the studio for a deep dive into the roots of the band and beyond. Stay tuned for the next episode discussing the impact of the early ‘Warp Tour’ days.Mixed and edited by: Anthony Garcia-Munoz

The Rude Behavior podcast welcome’s San Diego Ska-Punk outfit, ‘MAD COW DISEASE’ to the studio for a deep dive into the roots of the band and beyond. Stay tuned for the next episode discussing the impact of the early ‘Warp Tour’ days.Mixed and edited by: Anthony Garcia-Munoz

We’re back for another week of anime iffiness after once again no delay whatsoever. It’s honesty sort of eerie how regularly this podcast comes out at this point. I wouldn’t be surprised if someone couldn’t catch up with all the episodes, seeing as to how prolific and consistent we are. This week, we watched the 2003 classic Trigun. All of us had a great time, and nobody cried. We also played the game Gungrave or Warp Tour 2003. Open a deluxe box of donuts, and join us in the desert.

The Gems are afraid and avoiding dealing with Steven's view. Stevonnie steps on the scene. The post Warp Tour appeared first on Here Comes a Thought.

Jenny and Jeff bend light and time to travel across the known galaxy to bring you a knowledge drop on Warp Drive. Zefram Cochrane, first contact, and faster than light travel! Take a bite out of the warp burrito and join us for Episode 2!

Kiki Love talks to Blanca & Alma of Coatl and Hunter & Brooke of Chase Petra. This is a collaboration with Rad Dog Zine. Head to their website to read the articles here: https://www.raddogzine.com/lifestyle-1 Follow Rad Dog: instagram.com/raddogzine —————————————————————— Coatl is an LA metal band that is the brainchild of guitarist and vocalist Alma Perez. Representing females in rock and the latinx community, the ladies of Coatl talk about their experience with shady promoters and how they wish to see more womxn in metal. Song in episode: “Apocalitica” Follow Coatl here: instagram.com/coatlmusic/ Listen to their album here: https://coatlmusic.com/discography —————————————————————— Creepy hugs from creepy guys are a no no says Slim Shady— I mean Chase Petra! Inspired by the bass player from School of Rock and the prime years of Warp Tour they never looked back after forming the band. As much as they enjoy female shows they believe it is just as important to put ladies on regular bills! Song in episode: “In an Emergency Such as the End of the World” Follow Chase Petra here: instagram.com/chasepetramusic/ Listen to their music here : soundcloud.com/chasepetramusic —————————————————————— Follow the Podcast: 
instagram.com/badass.chicas Follow the Chicas: 
instagram.com/xeeela 
 instagram.com/kiki.love.art

Welcome to Episode 29 with this festive Punks In Pubs special. Liam talks to the Flogging Molly ringmaster; Dave King. Dave kindly gave up some of his time, even though he was feeling a little under the weather (heads up, you can hear him chewing on a throat sweet at the start - so if that kind of sensual noise isn't your thing then maybe skip the first few moments of the pod). It wouldn't be Christmas without presents, and booze. Liam brings both. Liam and Dave talk Punk Rock, and Dave talks about one of his music heroes Ronnie Drew of The Dubliners. Dave talks about moving to L.A. and then finding himself becoming an illegal immigrant. This kept him in America for eight years and unable to see his mum - Dave shares a heartbreaking story on the subject matter. You will also hear Liam and Dave discussing Frank Turner, Warp Tour and playing in Ireland for the first time. They, of course, talk Flogging Molly, Flogging Molly's Salty Dog Cruise (Punks in Pubs may or may not be going on ) and we talk a little politics as well. Playing out the show this week is Buenos Aires Folk punk artists Billordo, worth a listen so stick around to the end for that. Punks in Pubs T-Shirts are now on sale going for £15 excluding p&p; You can order your shirt by emailing punksinpubs@gmail.com. Go rate and review. Follow the podcast on all the socials @punksinpubs and all that jazz. We will see you in 2019, Happy Christmas.    

These episodes are chock-full of tears and fears! Cares and Scares! Awws and AHHHHS! Jam with us, won't you?Music: "Happy Ukulele" by Scott Holmes www.scottholmesmusic.com

These episodes are chock-full of tears and fears! Cares and Scares! Awws and AHHHHS! Jam with us, won't you?Music: "Happy Ukulele" by Scott Holmes www.scottholmesmusic.com

Beer, Bros & BS is back with another edition of the “At the Brewery Series” as we recorded live at Spanish Marie Brewery in Miami. We were joined on the show with two guests from the brewery, Jaime & Alberto. Because we recorded at the brewery all the beer we had was made only a few feet from where we recorded.On this episode, we discussed Popeyes moving their headquarters to Miami, MoviePass and their continuously changing policies, Warp Tour, the start off the Premier League, Steven Seagal becoming an ambassador of Russia and more!As always, we started off the show with a few rounds of Would You Rather and we end it with What Burns Your Bacon. Be a friend of the show and be sure to share this and subscribe.Cheers!http://beerbrosbs.com/episode-96/

Get the featured cocktail recipe: Suntory Whisky Toki™ Drummers, Bartenders, Experts...Oh, my! On this episode, meet Designated Drinker Gardner Dunn. His fascinating journey begins in Rando Beach, where he's parents' appreciation for Japanese art and tradition left a lasting impression on him. His pursuit for a degree in music took him and his drumsticks to big sky country. Yes, that's Montana. As a pizza delivery guy and attending his during his 3rd year of college, he was asked to join the Chris Hiatt Band, which was an offer too good to let pass by. This sets him on a journey he would have never imagined. From a professional drummer on the “Warp Tour” to becoming the ambassador of award-winning Suntory Japanese Whiskys, Gardner's travels have taken him to all corners of the world, and back. Don't forget to subscribe, download and review! Click to learn more about Suntory Whisky Toki™.

GC13 and David discuss the first four issues of the new comic series, which for some reason have been dubbed “Warp Tour” when compiled together. It’s a great start to the comic series, with great humor, characters we don’t often get to see, and an art style far more faithful to the show. It’s also … Continue reading

Tambour Bieker and Zach Schuman talk to Alexus about a new student organization, Hope Through Headphones. HTH uses music to raise awareness for mental health. Topics include favorite lyrics, Warp Tour, Kim Possible and the emotional value of music.

This week's lecture is on the subject of "Warp Tour" and we learn exactly why Chris doesn't introduce the show... "Heeeeeeey!". You can catch us on Twitter @nothinbutstatic or mail@nothingbutstatic.co.uk

'Ello Kiddies. Northern American summer's here and it's time to take a trip - a trip 2000s style with some punk and garage music. Direct from the thrift store, Eric covers a couple of Punk and Garage comps he saved from the bins. First up, a couple of comps from the Warp Tour, a shoe company-sponsored run around the USA featuring mainly US punk bands from the 90s. There's some names you'll know and some you may not. The important thing is these comps are all about music for driving in the car and blasting at 3AM to get the cops to come and visit.    Eric also presents a compilation of Detroit bands from the 90s and 2000s. Once again there will be some names you'll know and some you won't but all good stuff. This comp was sponsored by a local craft brewery... Ghetto Blaster.   You can download the show by searching for Love That Album in the iTunes store or downloading streaming directly from http://lovethatalbum.blogspot.com   Send the show feedback at rrrkitchen@yahoo.com.au (written or mp3 voicemail) or join the Facebook group at http://www.facebook.com/groups/lovethatalbum  

Bob and Zipp talk about hot air balloons, space travel, Rasputin, FaceTime, Warp Tour, sports injury, pro wrestling, movie casting, ghost hunters, and the Houston Oilers. Follow NRQ! It’s the best way to find new episodes, see memes, and the occasional butt or two! Website: NRQpodcast.com Facebook: Facebook.com/NRQpodcast                                Twitter: Twitter.com/NRQ_podcast  Instagram: Instagram.com/NRQpodcast      Youtube: Youtube.com/channel/UCEmxHabHFkSnXnQhYJpEWPQ Facebook Group (it’s lit): Facebook.com/groups/119684931960080/?ref=br_rs Patreon: Patreon.com/NRQpodcast Music provided by The Bass Chef. He can be contacted for gigs at the following:
 Twitter: @The_Bass_Chef
 Snapchat and Instagram: thebasschef
 Email: thebasschef@gmail.com 
Soundcloud: Bass Chef

July 27, 2016 FestPop interview with music festival producer legend Kevin Lyman founder of the Vans WARP Tour.

Richie T was honored to interview the lead vocalist for Deftones, Chino Moreno. Richie begins the interview telling Chino the intense story of his experience with his cousin during Deftones’ visit to SLC in 1998 at the Warp Tour concert. It would be the last day Richie spent with his cousin, who passed away that very night, unexpectedly. Chino was moved and blown away by this story, giving condolences and relating to his pain of having lost someone close. Richie then takes the conversation into a lighter tone, asking Chino if Deftones has a regular process for making music, talks about their 30 years together, as well as gets the juicy details on touring with White Zombie and the legendary Pantera.

Richie T was honored to interview the lead vocalist for Deftones, Chino Moreno. Richie begins the interview telling Chino the intense story of his experience with his cousin during Deftones’ visit to SLC in 1998 at the Warp Tour concert. It would be the last day Richie spent with his cousin, who passed away that very night, unexpectedly. Chino was moved and blown away by this story, giving condolences and relating to his pain of having lost someone close. Richie then takes the conversation into a lighter tone, asking Chino if Deftones has a regular process for making music, talks about their 30 years together, as well as gets the juicy details on touring with White Zombie and the legendary Pantera.

 On this episode Wayne, Rum and Adam kick this episode off with insulting each other then Adam asks Rum to settle a fight between him and his mom. Then Wayne talks about the Vans Warp tour, theirs a greatest friendship photo off, Blood stock and Adam's newest favorite band name, high pitched vocalists, Rum tells us he was accosted in the bathroom by protesters and he is totally pissed about it, jury duty, crystal Pepsi is back baby, the Canes murder, Adam tells a wedding story and his comic con experience. England left the EU and what political party do you most align with, Wayne has his 1st magic show and fat jokes,dick jokes, old jokes , drunk jokes and a ton more !!  Also check out our friends DisAfterDark here for the best Disney coverage out there. You should also check out our friends at the Couch Pilots Podcast here. Also check out our friends on the FYFcast right HERE Music by Patrick Plata  Podcast produced and mixed by: Wayne Share us, friend us, follow us and just like us on all social networks you're on!! Please check out our new Twitch channel right here ----> MetalHandOfGaming. Dont miss a single episode on this channel. Check for us on Twitter: @mhogpodcast & Instagram: mhog_podcast Check us out on Stitcher, Facebook & iTunes. Our website is www.mhogpodcast.com Check out Adam's new Disney youtube show Full Metal Mouse. Gamers can find Wayne and Justin under the tags "Nutso 187"and "The Rum Guy" on x-box live

GC13, Sophia, and Dakota discuss a big episode: Warp Tour. So Peridot didn’t turn out to be the biggest, baddest Gem we’d ever see—in fact she turned out to be great and lovable! That doesn’t make her reveal any less amazing. Looking back on Warp Tour with the benefit of knowledge gained in later episodes we know … Continue reading

Hey! It's Episode 56 of The Ringo Zone! This week, we talk about Warp Tour. As Dillon wasn't in this one, and didn't record it, an issue came up; it was recorded as one mixed down file, not separate audio tracks. Thus, no real way to edit it, and that results in some audible typing and yawning and stuff. Sorry about that. The Ringo Zone can be found on our official website, theringozone.com, and you can find us on a whole load of other places by checking us out there or, if you're listening to this on SoundCloud, on our SoundCloud page. You can find us on Stitcher as well as iTunes! Search for our name to find us. If you like us, please, reblog this episode on tumblr! Appreciate it on reddit if you dig it! Share it on SoundCloud, or whatever the hell that thing is! Show your friends! Exposure like that actually does really help us, yo.

 On this episode we welcome Mr. Michael Gossard from the band Acidic. We talk about the bands tour, there new album, there influences and the fact that they will be in New Orleans on Oct. 8th! We also talk about the House of Shock, organic pyrotechnics, a possible eating challenge for there drummer, the experience they had on Warp Tour, and we explain what a southern gentleman is... We also talk a ton more crazy things... so ENJOY!!! If you want to hear or know more about the band Acidic then check out there website : http://acidicband.com and there Facebook page : https://www.facebook.com/ACIDICband or follow them on Twitter : @ACIDICBand Share us, friend us, follow us and just like us on all social networks you're on!! Music by: Patrick Plata Other music by: Acidic  Podcast produced and mixed by: Nutso187 Don't forget you can also hear us on Stitcher .So if you have a smartphone download the free app and look us up on Stitcher. Also like us on Facebook, also please leave us comments on iTunes. Now we have an official M.H.O.G. Podcast webstie www.mhogpodcast.com  . Please go and check it out, like it and spread the word ... Thanks for all the support. Dont forget to check out Buck and Rum's other shows : Buck and Rum's Disney/ Universal Studios podcast, RADIO DCP. Buck's comic book podcast, the BSI Comics Podcast. Gamers can find Wayne and Justin under the tags "Nutso 187"and "The Rum Guy" on x-box live.

the ODDCAST – LIVE #141- Blind Dates 101 Click here to PLAY/ Right Click to Download TONIGHT! Desy makes her triumphant return from Warp Tour and Hootenanny and back from her second appearance on Playboy Radio.  Blind Dates is what we are tackling tonight.  … Continue reading →

the ODDCAST – LIVE #140 – Pick Up Lines Click here to PLAY/ Right Click to Download TONIGHT! Desy is at Warp Tour interviewing bands for her next Playboy Show…So its a Sausage Fest tonight!  No Vaginas…well except Octomoms…and a random female phone masturbator!  Dusty’s friend … Continue reading →

Enjoy your summer vacation. BBe glad to be a teen. What? Its just me Guy in A Tie telling you to be happy being a teen. Welcome to Skyline and GuyInATie.Enjoy the tracks today. Email GuyInATie@gmail.comsharing music, love of life, teaching and working w/ my students.'Click the subscribe in iTunes button rather than listening on your computer.Good choice! Enjoy these tracks.Listen/RightClick -just click the musical note to listen or the pop-up player!!!If you don't have iTunes.........get it!Hey, do me a favor and show a friend how to subscribe to podcasts and then how to listen to them. Thanks and give me feedback. Bye - Guy In A Tie (www.GuyInATie.com)Tracks for this 'cast, check 'em out, email the bands that you heard them on Guy In A Tie podcast or purchase your fav's.......All time low- Dammed if we do.boys LIke Girls- The Great Escape.breath carolina - miley cyrus.Mayday Parade - Kids In Love.sleeperstar - we go.

Enjoy your summer vacation. BBe glad to be a teen. What? Its just me Guy in A Tie telling you to be happy being a teen. Welcome to Skyline and GuyInATie.Enjoy the tracks today. Email GuyInATie@gmail.comsharing music, love of life, teaching and working w/ my students.'Click the subscribe in iTunes button rather than listening on your computer.Good choice! Enjoy these tracks.Listen/RightClick -just click the musical note to listen or the pop-up player!!!If you don't have iTunes.........get it!Hey, do me a favor and show a friend how to subscribe to podcasts and then how to listen to them. Thanks and give me feedback. Bye - Guy In A Tie (www.GuyInATie.com)Tracks for this 'cast, check 'em out, email the bands that you heard them on Guy In A Tie podcast or purchase your fav's.......All time low- Dammed if we do.boys LIke Girls- The Great Escape.breath carolina - miley cyrus.Mayday Parade - Kids In Love.sleeperstaar - we go.

I’ve been off the last couple of weeks. Taking some time to reconnect with nature. Find my center. Look at lots of porn. You know the usual. We’re gonna wrap up our Warp Tour interviews today and move on to a bright and sunny future with our other upcoming interviews in the next few weeks. […]