#Literary License Podcast

[llpodcast]

(Literary License Podcast)

Watership Down is an adventure novel by English author Richard Adams, published by Rex Collings Ltd of London in 1972. Set in Hampshire in southern England, the story features a small group of rabbits. Although they live in their natural wild environment, with burrows, they are anthropomorphised, possessing their own culture, language, proverbs, poetry, and mythology. Evoking epic themes, the novel follows the rabbits as they escape the destruction of their warren and seek a place to establish a new home (the hill of Watership Down), encountering perils and temptations along the way.

 Watership Down was Richard Adams' debut novel. It was rejected by several publishers before Collings accepted the manuscript; the published book then won the annual Carnegie Medal (UK), annual Guardian Prize (UK), and other book awards. The novel was adapted into an animated feature film in 1978 and, from 1999 to 2001, an animated children's television series. In 2018, a drama of the story was made, which both aired in the UK and was made available on Netflix.

 Adams completed a sequel almost 25 years later, in 1996, Tales from Watership Down, constructed as a collection of 19 short stories about El-ahrairah and the rabbits of the Watership Down warren.

  Watership Down is a 1978 British animated adventure-drama film, written, produced and directed by Martin Rosen and based on the 1972 novel by Richard Adams.  It was financed by a consortium of British financial institutions and was distributed by Cinema International Corporation in the United Kingdom. Released on 19 October 1978, the film was an immediate success and it became the sixth-most popular film of 1979 at the UK box office.

 It features the voices of John Hurt, Richard Briers, Harry Andrews, Simon Cadell, Nigel Hawthorne and Roy Kinnear, among others, and was the last film work of Zero Mostel, as the voice of Kehaar the gull. The musical score was by Angela Morley and Malcolm Williamson. Art Garfunkel's hit song "Bright Eyes" was written by songwriter Mike Batt. It has garnered a cult following.

  Opening Credits; Introduction (1.21); Background History (20.15); Watership Down Plot Synopsis (21.57); Book Thoughts (29.16); Let's Rate (50.29); Introducing a Film (52.51); Watership Down Film Trailer (1978) (56.13); Lights, Camera, Action (59.36); How Many Stars (1:40.44); End Credits (1:44.27); Closing Credits (1:45.25)

 Opening Credits– Epidemic Sound – Copyright . All rights reserved

 Closing Credits:  Bright Eyes from Watership Down by Art Garfunkel. Taken from the album Fate for Breakfast. Copyright 1978 Columbia Records.  

 Incidental Music:  Music from Watership Down by Angela Morley.  Available on the Watership Down 1978 Original Motion Picture Soundtrack. Copyright 1978 Vocation Records.

​

Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. 

 All rights reserved.  Used by Kind Permission.

 All songs available through Amazon Music.

[gingergofastboatsmojito]

"After stuckness comes unstuckness"

Reasons why we won

Been working on this meta for 3 days now, but it's worth it.

This confirms what I have been saying in my #Gingerpovs all along. Remember to follow that tag if you want to have a more comprehensive and historical perspective about my meta (and Sydcarmy predictions that have checked out so far), here's what I curated so far in preparation for S4, or as I always called it: The Sydcarmy ENDGAME season.

But first: Let's not forget that Landgraf is a Disney employee and so is Storer.

Here we go, please watch:

Source: Ringer Movies

“You’re at the point now where if you want more than one season of pickup, we can do it. And it may help you because you have actors that are movie stars now; they’re going to want to go do other things, and you can figure out when you’re going to make the shows and when to release them.” And they said, “No, we can’t work that way. We only want one season.” So we picked up one.

What Landgraf is not saying is that this convo he's referring to happened right after S2's amazing numbers started coming in, back in 2023.

Before the Grand Slam happened in Q1 2024:

So this "change of heart" that Storer had when he called Landgraf back once he already got to work on S3 to accept the 4th season that had previously been offered and turned down, took place right after DISNEY FX offered him an obscenely higher amount of money to reconsider, right AFTER THE GRAND SLAM. So Storer had material for a 4th season but ONLY IF he made S3 the LEGERDEMAIN season it ended up being, meaning if he saved for later THE MEAT THE SYDCARMY ENDGAME. And even then Storer said: "I can split the material I have in 2 seasons but only if I have total creative freedom for S3 and can make of it what I please", which BTW was never off the table, but he specifically agreed under that condition because he wanted to deliver a season that he knew was gonna be heavy on the 'stuckness' and mental health breakdown and how the road to recovery from trauma is not linear and it affects everyone else around, like in his real life, aka: an unpopular season.

So instead of delivering a final 3rd season that was 50%/50% (50% blue period / 50% rosé and ending on a happy note), he went for the 3rd season we all watched (100% blue) and a 4th and final season where all that "Stuckness" is gonna get unstuck, as Landgraf is SPOILING (The rosé period where they are gonna win the Star, which I think will be the scenario where Sydcarmy will blossom, because by the time they rotate to the SPRING MENU, the star will be announced, seeing as the spring menus are typically the Masterpieces of all Michelin starred restaurants, so they will most likely win it with it)

But the scripts for S4's last lap (THE SERIES FINALE) are still in the WR as we speak, the reason being that by the time that "double season pickup" was agreed upon (when Storer was offered more money) and that's why he changed his mind, HE DIDN'T HAVE ENOUGH MATERIAL FOR A 4TH SEASON, HE HAD TO YET COME UP WITH IT:

He may have had a 4th season in mind like I have at least 4 more FF I wanna write and have already been thinking about, some of which I have already plotted, sure! But no, I don't have them yet. So that was a white lie or a literary license Landgraf took when telling this story, TIMING MATTERS.

How will Storer go about that "unstuckness"?

Like this:

Please note that Screenrant used to be a C person stand when Storer was still trying to make that character happen. Now they don't seem to remember her name :)

It all points to Syd, as I always anticipated:

Moreover, it all points to Sydcarmy:

Check the Bonus Track please:

And there is more that Screenrant article is spoiling with complete and total greenlight of Disney and Storer themselves because if you think that Bear S4 INFOMERTIAL was published on the same day as the 2025 Disney promo, S4 teaser and just a couple of weeks after Landgraf said, and I quote:

"THOSE THAT HAVE STAYED WITH IT, THEY'RE GOING TO BE REALLY WELL REWARDED."

think again.

He is in other words saying, all those things you have been bitching about, aka: LACK OF SYDCARMY, LESS CALO, STUCKNESS, and more stuff I went over here, WILL BE TAKEN CARE OF and it's NOT GONNA BE ANOTHER "UNPOPULAR" SEASON. JUST BE PATIENT.

So, that means that we, truthers, may end up having to thank Donna for being THE plot device who brings Syd & Carmy together. Let's not fall into the red herring's trap Storer set for us in that teaser. She's not a DANGER as we all first thought, this new Donna, is a bridge that will connect her son, once he buries the hatchet with her and Syd together. If we think about it, one of the main reasons why Carmy and Syd are not together yet is his trauma, and Donna and his troubled relationship with her are the root cause of it, so once Carmy heals that trauma, having a healthy and loving relationship with a woman, any woman, will be attainable. AKA: BYE C / HI HELLO SYD (which would finally make the edition of the scene below make total sense).

Scratch the "could" because we already know she stayed and signed the agreement as I have been announcing since FOREVER and not just because I'm a truther but because it makes sense plot-wise in terms of Carmy's redemption arc.

Bonus track: UNDER THE TABLE SYDCARMY PODCAST 20TH EP For more details about S4 and more predictions and theories, etc, please listen to our podcast on Mixcloud.

Shoutout to @unladyboss for the YT vid.

Remember to follow my tag #Gingerpovs 💋

[lingthusiasm]

Lingthusiasm Episode 96: Welcome back aboard the metaphor train!

We're taking you on a journey to new linguistic destinations, so come along for the ride and don't forget to hold on! 

In this episode, your hosts Lauren Gawne and Gretchen McCulloch get enthusiastic about metaphors! It's easy to think of literary comparisons like "my love is like a red, red rose" but metaphors are also far more common and almost unnoticed in regular conversation as well. For example, English speakers often talk about ideas as a journey (the metaphor train) or as if they're visual - clear or murky or heavy or maybe fuzzy, but not as fluffy or feathery or metallic or polka-dotted, but other languages can use different metaphors. We also talk about the process of metaphor design, and how metaphors can help us understand - or misunderstand - abstract concepts like electricity or language learning.

Note that this episode originally aired as Bonus 30: Welcome aboard the metaphor train! We've added a few new things about metaphors and an updated announcements section to the top. We're excited to share one of our favourite bonus episodes from Patreon with a broader audience, while at the same time giving everyone who works on the show a bit of a break.

Click here for a link to this episode in your podcast player of choice or read the transcript here.

Announcements:

In this month’s bonus episode we get Tom Scott's Language Files team together on one call for the first and last time! We talk with host/writer Tom Scott, as well as researcher/writer Molly Ruhl and animator Will Marler, about their roles putting the videos togehter, Gretchen's role in the brainstorming and fact-checking process, and what it's like working on a big, multi-faceted project like the Language Files videos.

Join us on Patreon now to get access to this and 90+ other bonus episodes. You’ll also get access to the Lingthusiasm Discord server where you can chat with other language nerds.

Here are the links mentioned in the episode:

Original 'Welcome aboard the metaphor train!' episode on Patreon

Because Internet

Metaphor - etymology (Wikipedia)

Conceptual metaphors 

Gentner, D. (1983). Flowing waters or teeming crowds: Mental models of electricity. In D. Gentner, & A. L. Stevens (Eds.), Mental Models (pp. 99-129). Hillsdale, New Jersey: Erlbaum. (Gentner and Gentner 1983, 2014 reprint)

German 'wichtig'  

Michael Erard's metaphor for language learning 

FrameWorks Institute 

Malaphors 

Cakewalk 

After recording this episode we researched more about cakewalks, which turned out to have their origin in 19th Century dance events held by African Americans. This article by Nicole Emmanuel goes into more on the history of cakewalk. 

You can listen to this episode via Lingthusiasm.com, Soundcloud, RSS, Apple Podcasts/iTunes, Spotify, YouTube, or wherever you get your podcasts. You can also download an mp3 via the Soundcloud page for offline listening.

To receive an email whenever a new episode drops, sign up for the Lingthusiasm mailing list.

You can help keep Lingthusiasm ad-free, get access to bonus content, and more perks by supporting us on Patreon.

Lingthusiasm is on Bluesky, Twitter, Instagram, Facebook, Mastodon, and Tumblr. Email us at contact [at] lingthusiasm [dot] com

Gretchen is on Bluesky as @GretchenMcC and blogs at All Things Linguistic.

Lauren is on Bluesky as @superlinguo and blogs at Superlinguo.

Lingthusiasm is created by Gretchen McCulloch and Lauren Gawne. Our senior producer is Claire Gawne, our production editor is Sarah Dopierala, our production assistant is Martha Tsutsui Billins, and our editorial assistant is Jon Kruk. Our music is ‘Ancient City’ by The Triangles.This episode of Lingthusiasm is made available under a Creative Commons Attribution Non-Commercial Share Alike license (CC 4.0 BY-NC-SA).

[togglesbloggle]

Is it just me, or is there a pretty under-explored niche for a massive D&D fantasy franchise along the lines of Star Wars and Marvel? The sort of missing third genre leg beside science fiction and comics, so to speak.

They've clearly tried this with Tolkien, at least as far as extending the LotR movies to the Hobbit trilogy and the Amazon show which is kinda-sorta in the same lineage. And those things had more than none traction. But the Tolkien estate isn't making it easy with rights licensing, and there's an awkward founder effect they have to contend with- the Jackson LotR trilogy gave the entire franchise a very distinct 'vibe' in the popular imagination, and in practice it seems to be hard to recapture given current production constraints. It seems like it's really hard to make a Tolkien movie or show that 'feels like' the Jackson movies unless you sink a lot in to costuming and practical effects, but the current trends are in the opposite direction, with elaborate greenscreening and digital everything.

But in any case, Middle-Earth really isn't the brand you want for a mass-media culture juggernaut, is it? It's literary when it needs to be pulpy, mournful when it needs to be exciting, pensive when it needs to be strident. The world is vast, but delicate, and written by a single author exploring a narrow, coherent set of themes and styles.

Surely D&D- which is to say, the Forgotten Realms, realistically- is better for this all-around. It has a truly massive baked-in fanbase that's clearly (through 'actual play' podcasts etc.) already chomping at the bit for high production value experiences, a vast backlog of source material to draw on owned by corporate entities rather than a single brittle family estate, a wide variety of scenarios allowing for multiple sub-genres and directoral styles all under the same umbrella. It's just as popular but less sacred, meaning the audience will be more tolerant of failures. It has merchandising options for days, already has beautiful examples of video game and multimedia tie-ins, and has established and successful writing patterns for epic-scale crossover movies, long-running multi-season campaigns, one-shots, and everything in between.

There's one weakness, which is that compared to Star Wars and Marvel, individual characters are less central in the existing property. D&D has some, such as Drizzt, that rose to prominence in the novel spin-offs, so of course this isn't totally wrecked. However, the brand was originally built fundamentally as a game system and as a set of places, with the heroes to be assembled by the consumers themselves; it must be said that iconic characters are somewhat sparse, and awkwardly spread across multiple settings and continuities. But I think if you got the thing really roaring, this might give it longevity that Star Wars and Marvel ultimately lack- Robert Downey Jr. is Iron Man, Mark Hammil is Luke, and notwithstanding AI representations, once those actors are gone, the franchises themselves flounder awkwardly. But if audiences come to identify their enthusiasm for D&D franchise movies with the world and brand itself, then the turnover in the cast is much less damaging to that brand, because the whole thing is already built from the ground up without overly relying on a specific group of 8-10 actors as a lynchpin of the whole operation. Even the leveling mechanic allows for franchise tentpole actors to grow in prominence as they emerge as audience favorites, then conveniently transition in to CG apotheosis or some other suitable end as the actors age out and new favorites are found.

I mean, far be it from me to give advice to the goliaths of culture, but I'm genuinely puzzled about why Disney hasn't bought D&D yet, or why Hasbro hasn't made some kind of big push to do this outside the single (pretty good!) movie. I think I'd even kind of enjoy it.

[queertin-collins]

Listening to the literary license podcast's Don Briscoe tribute rn and @ R*ger D*vis stop going on tangents

[cinemapsychosshow]

Movies That Are BETTER Than The Book!

Is the book always better than the movie???? NOT ALWAYS!

This week, we are digging through our top picks of movies that manage to triumph over their literary source material and why books traditionally have had the edge when it comes to film adaptations.

NEWSLETTER and UNCUT REELS!!!!!

We are adding a weekly companion newsletter for the podcast that will feature EXCLUSIVE BONUS CONTENT, our raw discussions on movies, tv, and life that don't fit the podcast! We're calling it "UNCUT REELS!" SIGN UP HERE TO GET THE BONUS CONTENT!! https://mailchi.mp/41902cbf6549/exclusive-newsletter

  Follow The Cinema Psychos Show on Socials ❤️‍🔥:

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OR LISTEN ON YOUR FAVORITE PODCAST APP! https://cinemapsychosshow.com/follow

  MAIN TITLE: “Red Alert” 

AUTHOR: Jack Waldenmaier

PUBLISHER: Music Bakery Publishing (BMI)

WARNING: UNAUTHORIZED USE OF THE MUSIC CONTAINED IN THIS PRODUCTION IS SUBJECT TO CRIMINAL PROSECUTION. All copyrights, licensing, duplication and distribution rights are held exclusively by Music Bakery Publishing (BMI). 214-636-5887 

musicbakery.com

  Check out this episode!

[jjtax]

Benefits of Copyright Registration in India

Lock down your creative mind to copyright registration! Copyright not only preserves your original intellect but provides many advantages also for authors.

What is Intellectual Property?

Intellectual property (IP) isn't just an idea—it's your creative spark made real, whether it's a book, painting, app, or even a song. In India, the Copyright Act, 1957 safeguards these creations. Copyright registration is the ultimate way to establish ownership of your work and protect it against misuse. So why register your copyright? Here's everything you need to know!

✅ Proof of Ownership Your copyright certificate is legal proof of your authorship. If someone disputes your ownership or infringes on your rights, this certificate solidifies your claim.

Recognized under international copyright treaties, meaning your work is protected globally.

Prevents costly legal battles and strengthens your position in case of disputes.

✅ Safeguards Against Infringement

Your registered copyright gives a clear message to would-be infringers: hands off!

It protects your work against unauthorized use.

You are given the power to seek remedies like injunctions, damages, or seizure of the infringing materials.

In piracy or large-scale infringement, violators may face hefty fines or even jail time.

✅ Public Recognition and Credibility

A registered copyright enhances your credibility as a serious creator.

Increase trustworthiness and reliability with customers and business associates. Positions your brand to be more authentic, professional, as well as being legally shielded.

✓ Monetary Benefits

Your registered copyright can be like a gold mine! Licensing: monetize through licensing others with royalties, or for one-time-only use.

Example: Writers licensing their books to publishers or composers licensing their works.

Monies derived from the sale of merchandise, public performances, or broadcasts.

More Straightforward Licensing and International Contracts

Registered copyrights help smooth out cooperation and licensing agreements.

Clarifies ownership rights; thus, it can quickly negotiate deals with would-be partners.

It is accepted worldwide; therefore, opens a global market and foreign licensing possibility.

Eligible Works for Copyright There are many creative works that are eligible for copyright registration, including

Literary Works: Books, articles, poems, scripts.

Artistic Works: Paintings, sculptures, drawings, photographs.

Musical Works: Compositions, lyrics, sound recordings.

Dramatic Works: Plays, screenplays, dance performances.

Cinematograph Films: Movies, documentaries.

Sound Recordings: Audio files, podcasts.

Computer Programs: Software, apps.

Why Wait? Secure Your Creativity Today!

Copyright registration isn't just an option—it’s essential to protect your creations, expand your opportunities, and increase your revenue.

At JJ Tax, we value your creativity as much as we value you. Got questions about copyright registration? Book a free 15-minute consultation with us today at www.jjfintax.com

Download JJ TAX APP

[kanakkupillai-trademark]

How to Register a Copyright for Books, Music, and Other Creative Works

In the digital age, where content creation is at its peak, protecting intellectual property is paramount. Copyright registration is a critical step for creators to safeguard their original works and ensure they retain exclusive rights. This guide provides an in-depth look at copyright registration, its importance, the process involved, and the benefits it offers to creators.

What is Copyright?

Copyright is a legal protection granted to the creators of original works, including literary, dramatic, musical, and artistic works. It provides the copyright holder with exclusive rights to use, distribute, and license the work, preventing unauthorised use by others.

Importance of Copyright Registration

Legal Protection: Registered copyrights provide solid legal evidence of ownership, which is crucial in infringement cases.

Public Record: Registration creates a public record of the work, making it easier for others to recognise your ownership.

Deterrent to Infringers: The existence of a registered copyright can deter potential infringers from using your work without permission.

Eligibility for Damages: In case of infringement, registered copyrights allow the owner to seek statutory damages and attorney’s fees in court.

International Protection: Registration facilitates protection under international copyright treaties, expanding the scope of protection beyond national borders.

What Can Be Copyrighted?

Copyright protection applies to original works fixed in a tangible medium of expression. This includes:

Literary Works: Books, articles, blogs, software code.

Musical Works: Songs, compositions, lyrics.

Dramatic Works: Plays, scripts.

Artistic Works: Paintings, drawings, sculptures, photographs.

Films and Multimedia: Movies, documentaries, video games.

Sound Recordings: Audio recordings, podcasts.

Architectural Works: Building designs and blueprints.

Copyright Registration Process

Step 1: Prepare Your Work

Ensure your work is original and fixed in a tangible form. Save digital works in a standard file format (e.g., PDF, JPEG, MP3).

Step 2: Complete the Application Form

Visit the copyright office's website or the relevant authority in your country. For example, in the United States, the U.S. Copyright Office provides an online portal for registration. Complete the application form with the required details about the work and the author.

Step 3: Pay the Registration Fee

A fee is required to process your copyright registration. The fee varies depending on the type of work and the submission method (online or paper).

Step 4: Submit Your Work

Submit a copy of the work to the copyright office. For online submissions, you can upload digital files directly through the portal. For physical submissions, send copies as specified by the copyright office.

Step 5: Track Your Application

Once submitted, you will receive a tracking number. Use this number to monitor the status of your application. Depending on the volume of applications and the complexity of the work, the review process may take several months.

Conclusion

Copyright registration is crucial for creators to protect their intellectual property and maintain control over their original works. By understanding the registration process and its benefits, creators can ensure their works are safeguarded against unauthorised use and enjoy the full advantages of their creative efforts. Whether you are an author, musician, artist, or software developer, securing your rights through copyright registration is an investment in the longevity and success of your creative endeavours.

[trekfm]

366: Helicopter Parents of the Galaxy

The Buried Age.     Jean-Luc Picard's life is so much more than his time on the Enterprise, in fact he had a whole lifetime of events that helped forge the man we saw on screen in The Next Generation.

In this episode of Literary Treks hosts Matthew Rushing and Casey Pettitt talk about Lost Era novel, The Buried Age. We discuss Picard's buried age, failure, the Manroloth, the science, setting up TNG, our ratings and final thoughts. 

The news is jam-packed with goodies as we talk about licensing news, a cover reveal and then review Dog of War #4, The Motion Picture Echos #3, Star Trek #10, Star Trek Defiant #5 and Day of Blood #1.   News Licensing News (00:03:35) Cover Reveal (00:07:45) Dog of War #4 (00:10:20) The Motion Picture Echos #3 (00:15:20) Star Trek #10 (00:21:57) Star Trek Defiant #5 (00:27:11) Day of Blood #1 (00:31:50)                 

Feature: The Buried Age Picard's Buried Age (00:37:56) Failure (00:49:59) The Manroloth (00:57:32) The Science (01:10:29) Setting Up TNG (01:15:32) Ratings (01:25:14) Final Thoughts (01:27:31)          

Hosts Matthew Rushing and Casey Pettitt 

Production Matthew Rushing (Editor and Producer) C Bryan Jones (Executive Producer) Greg Rozier (Associate Producer) Casey Pettitt (Associate Producer)

New podcast episode!

[howlgrowlsnarl]

Halloween vs Halloween

My appearance on the Literary License Podcast discussing the original Halloween film vs. the 2007 Rob Zombie remake. Enjoy!

[hexpositive]

Stardust Sessions with Lozzie Stardust - Deuteronomy and Daemonologie (BONUS)

Now available on your favorite podcatcher!

Just one more hiatus episode to go! This month, we’re wrapping up our dive into the life and deeds of King James VI/I with a discussion of his literary exploits, from commissioning an approved English translation of the Bible to pamphlets on how to hunt witches and rule a country effectively.

Learn how one man’s personal demons and some really poor text formatting decisions changed the course of literary and religious history, and why it’s never a good idea to base your entire understanding of the world around one single book.

Check my Wordpress for podcast show notes and information on upcoming events.

Follow the show on Twitter @hex_podcast for the latest updates! You can also find me as @BreeNicGarran on Twitter, TikTok, Instagram, and Wordpress. Follow Lozzie Stardust on TikTok, Instagram, and Twitter @bihexual and come chat with us in the Nerd & Tie Discord!

Visit the Willow Wings Witch Shop to purchase my books and homemade accoutrements for your craft!

Proud member of the Nerd and Tie Podcast Network.

MUSIC CREDITS

“Netherworld Shanty” & “Miri’s Magic Dance” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/

[llpodcast]

(Literary License Podcast)

Auntie Mame: An Irreverent Escapade is a 1955 novel by American author Patrick Dennis chronicling the madcap adventures of a boy, Patrick, growing up as the ward of his Aunt Mame Dennis, the sister of his dead father.

 The book is often described as having been inspired by Dennis' real-life eccentric aunt, Marion Tanner, whose life and outlook mirrored those of Mame, but Dennis denied the connection. The novel was a runaway bestseller, setting records on the New York Times bestseller list, with more than 2 million copies in print during its initial publication. It became the basis of a stage play, a film, a stage musical, and a film musical.

 In 1958, Dennis wrote a sequel titled Around the World with Auntie Mame.

 Auntie Mame is a 1958 American Technirama Technicolor comedy film based on the 1955 novel of the same name by Edward Everett Tanner III (under the pseudonym Patrick Dennis) and its 1956 theatrical adaptation by Jerome Lawrence and Robert Edwin Lee. This film version stars Rosalind Russell and was directed by Morton DaCosta. It is not to be confused with a musical version of the same story that appeared on Broadway in 1966 and was later made into a 1974 film, Mame, starring Lucille Ball as the title character.

 Opening Credits; Introduction (2.21); Background History (15.30); Auntie Mame by Patrick Dennis Plot Synopsis (17.01); Book Thoughts (21.56); Let's Rate (39.06); Introducing a Film (41.18); Auntie Mame (1958) Film Trailer (42.25); Lights, Camera, Action (45.31); How Many Stars (1:13.28); End Credits (1.18.01); Closing Credits (1:20.07)

 Opening Credits– Jingle Bells by Ella Fitzgerald.  Taken from the album Ella’s Swinging Christmas.  Copyright 1960 Verve Records.  All rights reserved.

 Incidental Music:  Auntie Mame Original Motion Picture Soundtrack.  Music by Ray Heindorf and His Orchestra.  Copyright 1958 Master Classics Records.

  Closing Credits:  We Need A Little Christmas by Angela Lansbury, Frankie Michals, Sab Saminino- Original Broadway Cast.  From the album Mame Original Broadway Recording.  Copyright 1966 Columbia Master Works Records.  

​

Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. 

 All rights reserved.  Used by Kind Permission.

 All songs available through Amazon Music.

[the-monkey-ruler]

Beautiful Monkey King (2009) 美猴王

Director: Chen Jiaqi / Geng Shaobo / Shao Jianming / Wu Hanqing / Ma Hua / Ni Jun

Screenwriter: Wu Chengen

Starring: Hao Youyue / Liu Xiaoyu / Zhang Biyu / Li Jinyan / Gao Feng / more...

Genre: Action / Animation / Fantasy / Adventure

Official website: http://space.tv.cctv.com/podcast/mhw

Country/Region of Production: Mainland China

Language: Mandarin Chinese

Premiere: 2009-05-26 (Mainland China)

Number of seasons: 1

Episodes: 52

Episode Length: 22

Also known as: Monkey King

Type: Retelling

Summary:

The 52-episode large-scale cartoon series "The Monkey King" created by CCTV Animation Co., Ltd. over the course of three years will meet with young friends during the winter vacation. "The Monkey King" is the fourth animation blockbuster produced by CCTV Animation. The film will be broadcast on CCTV's "Animation City" program starting from January 25, 2010. In addition, starting from January 26, CCTV Children's Channel will also broadcast the film at the same time. This powerful three-dimensional broadcast mode will allow children who have been looking forward to the film for a long time to enjoy an all-round animation feast during the holidays.

"The Monkey King" is an inspirational and growth-themed cartoon with a strong sense of the times. The scenes of the film are beautifully drawn, and a large number of three-dimensional visual effects are used, reflecting the first-class level of domestic animation production. The whole cartoon uses the well-known classical literary image, the Monkey King, to tell the growth process of a young man who overcomes himself and discovers himself. While inheriting classical themes such as the pursuit of justice and bravery, the film embodies more spirits of the times, such as growth, friendship and teamwork. The team spirit, setback education and self-improvement involved in the story have an important enlightening effect on today's children. 

It is understood that in order to make "The Monkey King" a double harvest in both ratings and the market, CCTV Animation adopted a brand-new operating concept and successfully held the first "Monkey King" brand authorization auction, making China's original animation on the market for the first time. auction table. The auction integrates industry resources such as animation, books, audio-visuals, and toys, as well as various social resources such as the government and the Toy Association. The number of participants, the intensity of publicity, and the enthusiasm for participation are all unprecedented in the field of animation licensing. Related pre-sales are as high as 1,700 ten thousand yuan. 

While cooperating with the main winning bidders of the "Monkey King" brand authorization auction, including People's Literature Publishing House * Tiantian Publishing House, to integrate and develop the "Monkey King" book, audio-visual, and toy industry authorization, "The Monkey King" The development of related products and related industries, as well as the derivative chain of the animation industry of the film are also being fully expanded. It is reported that CCTV Animation will also sign an agreement with Walt Disney Company on the broadcasting of "The Monkey King" on the Disney Channel in Asia. broadcast platform. The projects signed on the same day also included the movie "Monkey King" and the touring project of the stage play of the same name.

Source: http://chinesemov.com/tv/2010/Monkey-King.html

Link: https://m.bilibili.com/video/av12784222 https://www.youtube.com/@monkeyservant4164

[herochan]

Marvel Unveils New York Comic Con Panel Line-Up

Marvel Entertainment is heading to New York Comic Con with all-star panels, activations, exclusive announcements, fan favorite talent signings, and unforgettable fan experiences at the Marvel booth all starting Thursday, October 6 through Sunday, October 9.

Stop by the Marvel booth (#2057) for the livestream broadcast, giveaways, and signings, and check out Marvel’s merch booth (#2261) for exclusive New York Comic Con merchandise, Marvel Unlimited subscription offers, and so much more.

Click to see the full schedule below...

Thursday, October 6, 2022

Captain America: Cold War – A This Week in Marvel Special Event 1:45PM – 2:45PM EST | Room: 401 Co-hosts Ryan Penagos (aka Agent M, VP & Creative Executive at Marvel) and Lorraine Cink (Director of Creative Content at Marvel) return for a lively live-recording of the This Week in Marvel podcast! They’ll be joined by an all-star panel featuring Collin Kelly & Jackson Lanzing (Captain America: Sentinel of Liberty), Tochi Onyebuchi (Captain America: Symbol of Truth), and star-spangled Marvel Comics Editor Alanna Smith to talk about what lies ahead for Marvel’s premier shield-slinging heroes. Hold onto your hats, True Believers - Things are heating up as we hurtle headlong into the 2023 Captain America crossover: Cold War.

Friday, October 7th

Marvel Comics: Marvel Fanfare with C.B. Cebulski 1:30PM– 2:30PM EST | Room: 405 Marvel Comics Editor-in-Chief C.B. Cebulski along with super-secret special guests (TBA) will assemble for a lively discussion and Q&A session about anything and everything Marvel! What was their favorite outfit at the Hellfire Gala? Would they rather be represented by Matt Murdock or Jennifer Walters? Who do they think is the greatest Spider-Man villain of all time? Get your answers to these questions and more. But that’s not all - fans who stay until the end will receive an exclusive giveaway.

Marvel: Books of Future Past 6:00PM – 7:00 PM EST | Room: 408 From original graphic novels to museum quality archival editions, some of Marvel's most exciting books are produced with best-in-class publishing partners! How are these unique collections made? Join host Ryan Penagos (aka Agent M, VP & Creative Executive at Marvel), Marvel's VP of Licensed Publishing, Sven Larsen, Abrams Editor Charlie Kochman (Fantastic Four: Full Circle), IDW Editor Scott Dunbier (Todd McFarlane’s Spider-Man Artist's Edition), Folio Society Editor James Rose (Thor, Black Panther Deluxe Editions) and Penguin Classics Publisher Elda Rotor (Marvel Penguin Classics) as they reveal how these books are created and share a sneak peek at what's coming next.

Saturday, October 8th

Marvel’s Voices: The World Outside Your Window 11:15AM – 12:15 PM EST | Room: 401 Marvel strives to create stories that reflect “the world outside your window” both on and off the page, so we’re bringing together some of our most celebrated creators to talk about a variety of characters and stories. The first-ever NYCC Marvel’s Voices panel is hosted by writer and podcast host Angelique Roche who will be joined by Eve L. Ewing (Monica Rambeau: Photon), John Jennings (My Super Hero is Black), Steve Orlando (Marauders), Cody Ziglar (Miles Morales: Spider-Man), and Marvel’s Voices Editor Sarah Brunstad. Celebrate the growing legacy of Marvel’s Voices in a conversation about their creative processes, collaborations, and professional journeys, as they paint a full picture of the diversity of the Marvel Universe. Plus – attendees will receive a special giveaway.

Marvel Comics: Next Big Thing 4:00PM – 5:00PM EST | Room: 405 This is it, True Believers, the panel you absolutely cannot miss! Learn what’s next for the Marvel Universe as Marvel Comics Executive Editor Nick Lowe and Editor-in-Chief C.B. Cebulski lead a legion of literary legends in discussion, including Gerry Duggan (Dark Web: X-Men, Invincible Iron Man), Jed MacKay (Mary Jane & Black Cat, Timeless), Zeb Wells (Amazing Spider-Man, Dark Web), and more! What lies in store for everyone’s favorite mutants and mutates as dusk falls across the world in the Spider-Man/X-Men crossover Dark Web? What do the hands of fate hold in store for the Marvel Universe in the pages of Timeless? And what hot new 2023 titles will be announced? Plus, stay until the end of the panel for an exclusive giveaway.

Sunday, October 9th

Women of Marvel 

10:30AM – 11:30AM EST | Room 405 The Women of Marvel return to New York!  Writer and podcast host Angelique Roche will lead a lively discussion with Marvel talent including Digital Media Executive Director Ellie Pyle, writer Eve L. Ewing (Monica Rambeau: Photon), Senior Editor Lauren Bisom¸ and more Mighty Marvel guests! What is it like for women working in the industry today, and what is next for Marvel’s woman-led titles?  And don’t miss a special giveaway at the end of the panel.

More details about Marvel Entertainment’s NYCC merchandise, booth, and booth activities, including additional signings and events, are coming soon.

[transparenttriumphzombie]

Jordana LeSesne, formerly known as 1.8.7, is an American musician and producer from Pittsburgh, Pennsylvania.[1] She now produces and performs as Jordana. She became known in the mid-1990s as a drum and bass producer.[2] Vibe magazine called her "one of the most respected Drum ‘n' Bass producers in the US."[3] In 2015, she was named as one of "20 women who shaped the history of dance music" by Mixmag.[4] She is transgender and came out in 1998.[5][2]

She has released over 50 tracks, including four albums, several EPs, and remixes under the alias 1.8.7. The 1997 album When Worlds Collide became known for its "dark pummeling assaults". She has licensed tracks for compilations as well as the Sci Fi Channel. Three of her albums charted in the Top 25 of both the CMJ (College Music Journal) and Mixmag U.S. (later Mixer Magazine, now defunct) for 1997 as well as 1998[6] and 1999. Her third album "The Cities Collection" debuted in the CMJ Top 5 climbed to the #2 position on CMJ Music Monthly's dance chart for June 2000.[7][8][9]

Her works have been reviewed by Billboard,[10] Spin, Rolling Stone, Urb, Mixer, Mixmag, Raygun,[3] as well as Knowledge – the U.K. Drum and Bass magazine. In 1999, she was listed in Raygun's Who's Who of International DJs. She was one of the headlining DJs on Knowledge Magazine's 28 city Kung Fu Knowledge tour in 1999.[11] She also made Out Magazine's OUT100 list for the year 2000.[12]

Contents

1Impact on music

2History

3Hate crime in Ohio

4Additional work in music industry

5Literary mentions

6Personal life

7Vinyl

8CD releases

9Videos

10References

11External links

Impact on music[edit]

Her work has influenced other artists such as well-known dubstep producer Bassnectar, who heavily sampled 5 A.M. Rinse (feat. MC Sphinx), the last song on her first album When Worlds Collide for his song Here We Go of his 2010 EP and single Timestretch.[13] Since the sexual allegations of Bassnectar have become known to her, Jordana has publicly condemned his actions as well as called out the fact that he never delivered contractually promised royalties for the above mentioned work.[14] Additionally, electronic rock act Celldweller sampled "Wake Up" off of her first album as well as "San Francisco" off of her third album "The Cities Collection" in their 2013 song "Uncrowned".[15]

In 1999, Drum & Bass/Hip Hop producer and label owner Hive approached Jordana to remix her song Defcon-1 also off of When Worlds Collide. Hive's remix appears on his 2001 album The Raw Uncut.[16] Jordana collaborated with Lady Sovereign on a song early in Sov's career after the two met through an internet chat room for StrikeFM.co.uk, an online radio station which Jordana had a show, and the now defunct UKGarageWorldwide.com forums. The two would later team up when Jordana under her Lady J alias, had Lady Sovereign MC for her radio show on Flex FM London.[17]

History[edit]

She first came to the attention of the music industry when she was asked to remix Blondie's "Atomic." Her remix appeared along with Armand Van Helden and Diddy’s remixes on the single.[3] A little over a year following that release, Mac McFarlane, the promoter of the well established and legendary New York City club, Konkrete Jungle, contacted her to create a themed song for a CD compilation/mix-CD. Jordana created the song "Konkrete Jungle" for that purpose. Described by CMJ as containing "menacing hardstep attacks",[18] it was released on the Ultra Records compilation, Konkrete Jungle - Maximum Drum & Bass, mixed by BBC Radio 1 Drum'n'Bass show host Jumpin Jack Frost. Following extensive touring throughout North America and abroad as a music producer, Liquid Sky Music, an indie label distributed by Caroline Distribution signed her to a three-album contract in late 1996.

Hate crime in Ohio[edit]

On the night of February 22, 2000 in Kent, Ohio, Jordana was attacked and brutally beaten in a transphobic hate crime by a group of men including Matthew Gostlin.[19] Gostlin and other assailants vaulted her in the parking lot outside of the Robin Hood nightclub where she had just performed on the Cities Collection tour. The attack took place while she was escorted from the event with the event promoter to his car. The group of men attacked suddenly and Jordana lost consciousness almost immediately after being struck in the face. She suffered nerve damage to the lower part of her face from her lower lip down as a result. She was quoted, saying in the May 2000 issue of CMJ New Music Monthly that in the seconds just prior to the attack: "I saw his face. I remember the look on his face. It was this look of utter hate, like 'I'm going to kill you.'"[20] In an interview with the Village Voice, George Meesig, a man from Cleveland, Ohio who defended her during the attack, stated that Gostlin had misgendered her, saying “this is personal”.[21] Other reports noted by the Village Voice on the message board for Breakbeat Science (a Drum'n'Bass record store) mentioned transphobic slurs being shouted during the attack. She subsequently cancelled the tour to recover.[19] Gostlin, while charged, was never arrested nor spent any time in court. Her family was told by the Portage County (Ohio) prosecutor's office that attempts had been made to serve the warrant but Gostlin's whereabouts were unknown. She felt that justice would not be served so she left the United States for England due to concerns about personal safety and well-being.

Additional work in music industry[edit]

In addition to music production, Jordana is a DJ, musician and singer. From 2001 to 2002, she worked at Flex FM in London, England as Lady J, with Lady Sovereign performing for her during her radio show.[22] In 2002, she held a club residency performing UK garage, 2-step garage and house music at the club Trinity in Vauxhall neighborhood.

After returning to the United States, Jordana returned to rock and fronted a goth metal band in Seattle. Prior to that, she was asked to play bass in another band briefly where she met and became close friends with singer/songwriter Shelita Burke. She has toured the world and played many DJ sets. She has been billed alongside Arca for Planet Zolean: Un/Tuck + Hot Mass on the Currents.FM Common Multiverse Initiative.[23] She was featured on the Dekmantel Podcast.[24] She was featured as Mix of the Day for Resident Advisor.[25]

In 2014, Jordana scored the documentary Free CeCe, produced and directed by Jacqueline Gares and Laverne Cox. The documentary details the struggles of CeCe McDonald, an African-American transwoman wrongfully incarcerated for murder for defending herself against a hate attack on her outside a Minneapolis bar.[26][27]

Literary mentions[edit]

She has been featured in several books. Her success in rising from living in a "rust belt" city to being an MTV-featured electronic music artist was mentioned in "The Rise of the Creative Class" by economist Richard Florida. She appears in two books detailing American electronic dance music scene history: Michaelangelo Matos's The Underground is Massive,[28] and Rave Culture, an Insider's Overview by Jimi Fritz and Virginia Smallfry.[29]

An interview with Jordana was featured in multiple books, including a book published in 2012 by rock journalist George Petros.[30] She has spoken on her personal life in interviews for publications such as The Festival Voice,[31] The Brooklyn Rail[32] and href zine.[33]

Personal life[edit]

She currently lives in Seattle, Washington.

Vinyl[edit]

1995 Blondie "Atomic (The Beautiful Drum and Bass Mix)" VV58320 Chrysalis Records/EMI

1996 RockStone Foundation "Dis Soun'" JS007 Jungle Sky

1997 V/A – Nirvana EP "We Are Not Alone" JS114 Jungle Sky

1997 Soul Slinger-Don't Believe "Abducted (1.8.7 Remix) JS118 Jungle Sky

1997 Soul Slinger-Don't Believe "Ethiopia/JungleSky (1.8.7 Megamix)" JS118 Jungle Sky

1997 1.8.7 – When Worlds Collide full-length album EP1 "Defcon 1"/"When Worlds Collide"/"Blueshift"/"Dragonfly" JSK121 Jungle Sky

1997 1.8.7 – When Worlds Collide full-length album EP2 "Wake Up"/"Distant Storm Approaching"/"Ghetto Style"/"Ghetto Style (West Philly Mix)" JSK122 Jungle Sky

1998 Murder 0ne (1.8.7)/T.Farmer "Annihilate"/"Memory" BOOST002 Boosted Records

1998 This is Jungle Sky Vol. 5: Rock N Roll EP Disc 2 "Break In"/"The Return of Shaft"/"Konkrete Jungle" Jungle Sky JSK131

1998 This is Jungle Sky Vol. 5: Rock N Roll EP Disc 3 "Atmosphere Remix"/"The Jam"/Beastie Boys – "Sabotage (1.8.7 JS Remix)" JSK132 Jungle Sky

1998 1.8.7 – Quality Rolls full-length album EP1 "Quality Rolls"/"Relax Your Mind"/"Phobic" JSK136 Jungle Sky

1998 1.8.7 – Quality Rolls full-length album EP2 *"Jerusalem"/"Get Amped" (215 Remix)/"Stigma" JSK 137 Jungle Sky

1998 1.8.7 – Quality Rolls full-length album EP3 "Rock The Party"/"Deep Stealth"/"Cross the Line" JSK138 Jungle Sky

1998 1.8.7 – Quality Rolls full-length album EP3 "United"/"Blue Nile"/"Reboot" JSK139 Jungle Sky

1999 Jordana – "Pure Funk"/Stardust – "Music Sounds Better".. [With Bass] (Jordana JS remix) *whitelabel* JSK149 Jungle Sky

1999 Jordana – Cities Collection 12" 1 "Hollywood (courtesy of Lucasfilm)"/"Los Angeles"/"New York" JSK157 Jungle Sky

1999 Jordana – Cities Collection 12" 2 "Pittsburgh"/"Miami"/"San Francisco" JSK158 Jungle Sky

2000 Loki and Jordana – "Murder" 12" *whitelabel*

2001 Jordana – "Tampa Tantrum"/"In Your Arms" 12" TECO008 Technorganic

2002 Lady J feat. Lady Sovereign – "The Intro Dub" (Flex FM)

2002 Jordana – Full Colour 12" 1 *whitelabel* ConceptAudio

2002 Jordana – Full Colour 12" 2 *whitelabel* ConceptAudio

CD releases[edit]

1994 V/A – Interstellar Outback "Jungleman" ROM01 RomHyperMedia

1995 V/A – Scotto Presents: Drop Beats Vol.1 "Ravestock Anthem" DROP001 Drop Entertainment

1996 V/A – This Is Jungle Sky Vol.2 "Dis Soun" JSK008 Jungle Sky

1997 V/A – This is Jungle Sky Vol.4 "We Are Not Alone" JSK116 Jungle Sky

1997 V/A – Future Groove "We Are Not Alone" ?74321 50089 2 Ariola/BMG

1997 V/A – New York Junglist "We Are Not Alone" AVCD11540 Avex Trax

1997 Soul Slinger-Don't Believe CD "Abducted (187 Remix)" JSK120 Jungle Sky

1997 Soul Slinger-Don't Believe CD "Ethiopia/JungleSky" JSK120 Jungle Sky

1997 1.8.7 – When Worlds Collide CD album JSK124 Jungle Sky

1998 V/A – This is Jungle Sky Vol.5 "The Jam" JSK130 Jungle Sky

1998 V/A – This is Jungle Sky Vol.5 "Atmosphere Remix" JSK130 Jungle Sky

1998 Soul Slinger – Upload: A Continuous Mix CD "Rock the Party" JSK142 Jungle Sky

1998 V/A – Nu Balance: Domesticated Drum & Bass CD "5am Rinse" COA70016-2 City Of Angels

1998 1.8.7 – Quality Rolls CD album JSK135 Jungle Sky

1999 V/A – Sci Fidelity: This is Sci Fi. CD "Deep Stealth" SciFi Channel/Jungle Sky

1999 V/A – This is Jungle Sky Vol.6 CD "Pure Funk" JSK150 Jungle Sky

1999 V/A – This is Jungle Sky Vol.6 CD "Unite Remix" JSK150 Jungle Sky

1999 Jordana presents 1.8.7 – The Cities Collection CD album JSK162 Jungle Sky

1999 V/A – E-Sassin Absolute Friction CD "Worlds Apart" 21C.3007 Quantum Loop

2000 V/A – Digital Empire: DJ Girl "Deep Stealth" 6454-2 Cold Front Records

2001 Hive – The Raw Uncut EP CD "Defcon-1" (Hive Remix) VTXCD-002 Vortex Recordings

2002 Jordana – Full Colour album ConceptAudio Limited Release

2003 V/A – Girls In Space CD "In Your Arms" CD-9213 Urabon Records

2005 Jordana – Jordana EP CD "In Your Arms" TECO CD001 Technorganic Recordings

2005 Jordana – Jordana EP CD "Tampa Tantrum" TECO CD001 Technorganic Recordings

2005 V/A – DJ Psycle-Back From The Future CD "In Your Arms" TECO CD-9213 Technorganic Recordings

2005 V/A – DJ Psycle-Back From The Future CD "In Your Arms" TECO CD-9213 Technorganic Recordings

2008 V/A – What the Bleep & Foi Oi Oi-Feelings For Detroit Vol.3 Yabette – "Babylon (1.8.7 Remix)" EEMIX003 Electronic Enlightenment

Videos[edit]

We Are Not Alone (1998) – directed by MSKW1 aka Michael Whartnaby

Defcon 1 (1998) – directed by MSKW1 aka Michael Whartnaby and DBIDWA aka Dan Bidwa

Worlds Apart (1998) – directed by Gerard Ryan

Atmosphere (1998) – directed by Gerard Ryan

Ring Me Back (2002) – directed by Trevor McKinley

References[edit]

^ "VH1 Biography". Vh1.com. Archived from the original on February 14, 2011. Retrieved September 8, 2010.

^ Jump up to:a b Riedel, Samantha. "This Trans Drum & Bass Musician Was a Pioneer in the 90s. Why Isn't She Getting Her Due?". them. Retrieved September 30, 2020.

^ Jump up to:a b c Vibe Media Group (February 1999). "Vibe". Vibe Vixen. Vibe Media Group: 38–. ISSN 1070-4701.

^ "- - Mixmag". Mixmag.net. Retrieved December 21, 2015.

^ "Roll With the Changes". citypaper.net. Archived from the original on July 7, 2012. Retrieved January 19, 2016.

^ CMJ Network, Inc. (December 1998). "CMJ New Music Monthly". CMJ New Music. CMJ Network, Inc.: 78–. ISSN 1074-6978.

^ CMJ Network, Inc. (March 2000). "CMJ New Music Monthly". CMJ New Music. CMJ Network, Inc.: 48–. ISSN 1074-6978.

^ CMJ Network, Inc. (March 13, 2000). CMJ New Music Report. CMJ Network, Inc. pp. 27–. ISSN 0890-0795.

^ CMJ Network, Inc. (June 2000). "CMJ New Music Monthly". CMJ New Music. CMJ Network, Inc.: 82–. ISSN 1074-6978.

^ CMJ Network, Inc. (June 2000). "CMJ New Music Monthly". CMJ New Music. CMJ Network, Inc.: 95. ISSN 1074-6978.

^ "Kung Fu Knowledge Tour Cities". Bmotion. Archived from the original on October 4, 2013. Retrieved October 3, 2013.

^ Out Magazine (74): 45. January 2000.

^ iphoneunclockseattle. "Bassnectar's Here We Go sample of 1.8.7 feat. MC Sphinx's 5 A.M. Rinse". WhoSampled. Retrieved November 2, 2013.

^ Avery C Kleinman for Vice News. "The Fall of the Bassnectar Empire".

^ jordana. "Celldweller samples Wake Up and San Francisco". WhoSampled. Retrieved May 9, 2014.

^ "Hive – The Raw Uncut EP". Discogs. Retrieved November 2, 2013.

^ "Hot update | Welcome to the FLEX FM NETWORK". FLEX FM Network. May 19, 2002. Archived from the original on June 1, 2002. Retrieved December 21, 2015.

^ CMJ Network, Inc. (October 1998). "CMJ New Music Monthly". CMJ New Music. CMJ Network, Inc.: 62–. ISSN 1074-6978.

^ Jump up to:a b Maximum Rocknroll. Maximum Rock 'n' Roll. 2000.

^ CMJ Network, Inc. (May 2000). "CMJ New Music Monthly". CMJ New Music. CMJ Network, Inc.: 13. ISSN 1074-6978.

^ Bill Werde (February 29, 2000). "Top Jungle Producer Attacked". Villagevoice.com. Archived from the original on January 9, 2019. Retrieved January 8, 2019.

^ Sovereign, Lady (May 18, 2002). "Lock in to FLex FM 2nite". ukmusic.com/. Archived from the original on August 10, 2014. Retrieved May 30, 2013.

^ "Currents.FM Common Stream Multiverse Initiative".

^ "Jordana is one of America's most widely respected drum & bass artists". Dekmantel.

^ "Drum & bass made for the biggest rooms, with plenty of soul, nuance and killer vocal hooks". Resident Advisor.

^ "FREE CeCe! Post-Production Campaign". Retrieved December 21, 2015.

^ "AFROPUNK". Afropunk.com. Archived from the original on December 22, 2015. Retrieved December 21, 2015.

^ Matos, Michaelangelo (April 28, 2015). The Underground Is Massive: How Electronic Dance Music Conquered America. Dey Street Books. p. 154. ISBN 978-0062271785.

^ Jimi Fritz (1999). Rave Culture: An Insider's Overview. SmallFry Press. p. 162. ISBN 978-0-9685721-0-8.

^ Petros, George (2012). Lehman, Deanna (ed.). The New Transsexuals: The Next Step In Human Evolution. Creation Books. pp. 247–274. ISBN 978-0-9855018-1-5. Retrieved December 22, 2015.

^ https://thefestivalvoice.com/black-lives-matter-tfvs-series-on-racial-injustice-jordana/

^ https://brooklynrail.org/2021/05/criticspage/Let-Us-Live/

^ https://href-zine.net/technoid-natures-zine.html

External links[edit]

Jordana discography at Discogs

1.8.7 at Rolldabeats

https://jordanaofficial.bandcamp.com/

https://www.mixcloud.com/jordana/

https://soundcloud.com/jordanaofficial

Jordana at IMDb

[ravingirls]

Happiest of holiday seasons to each and every one of you!

Hi Lovely Listeners! We wanted to send out a short holiday message and podcast update for the coming year. 2020 has been a rough one for so many people, and even if we’ve been silent, you all have been on our minds and in our hearts. Wishing you the best and brightest holidays possible however you might celebrate, and all of our love and hopes for 2021.

Next Episodes: We are hoping to come back with a modified format in early 2021, and ease back into Season 3 as soon as we are able. 

Past Episode Guide: https://ravingirls.com/episodes

Links to Articles, Websites, and Other Discussions: Visit us at https://ravingirls.com for complete podcast details!

Subscribe at: https://link.chtbl.com/d8E86BFy or wherever you get your podcasts, and please comment, rate, or review!

Acknowledgements: The Raven Cycle,The Dreamer Trilogy, and all affiliated properties (The Raven Boys, The Dream Thieves, Blue Lily, Lily Blue, The Raven King, and Call Down The Hawk) are copyright Maggie Stiefvater and Scholastic, Inc. The Ravin’ Girls reference these properties for the purpose of literary analysis.

Intro and Outro music by Damiano Baldoni, used under CC Attribution License: http://freemusicarchive.org/music/Damiano_Baldoni/Lost_Dinasty/

Ravin’ Girls logo and banner art © 2018 Mio Mäkijärvi, All Rights Reserved. Please visit http://kojotei.tumblr.com/ for more information.