Podcasts about academy award ceremony

Photo: John Mathew SmithUsage: Wikipedia CC BY-SA 2.0Both Whitney Houston and Natalie Cole has left us. Whitney left us in 2012 and Natalie left us in 2015. Whitney left first and I remember Natalie‘s hit song miss you like crazy released in 1989. Whenever I hear that song, I think of her and Whitney and I miss them like crazy. But they left us some singing memories together.There is an undeniable magic when Whitney Houston and Natalie Cole came together on stage. They left audiences breathless. Natalie Cole stood out as the perfect counterpart for Whitney, a true gem in a crown that also features Whitney‘s family, the Winans, and Mariah Carey.Their chemistry was electric, each glance and smile shared while singing spoke volumes. Who can forget that unforgettable night at the 2000 Grammy party? They were sharing a piece of their souls with us singing “This Will Be” by Natalie Cole.Their song choices were impeccable. They sang “I Say a Little Prayer” and “Bridge Over Troubled Water” back in the 1990s on stage together. The songs were experiences we relive whenever we hear them. Then of course Natalie gave a wonderful tribute to Whitney in 1990 at the 65th Academy Award Ceremony, now reminding us of Whitney‘s incredible legacy while showcasing the deep connection these two icons shared.Whitney and Natalie left  indelible mark in the hearts of their fans, giving memories that are both joyful and bittersweet.I'm Gail Nobles. Thank you for listening to the Whitney soul podcast.

Prepare for the Academy Award Ceremony with Sam and Ian's big discussion of the nominees. 

On Oscars weekend, Matthew looks back on the 70th Academy Award Ceremony, to date the most watched ever Oscars. What was it about the films of 1997 that really caught the public imagination? Featuring classic scores from James Horner (Titanic), Hans Zimmer (As Good As It Gets), Edward Shearmur (The Wings of the Dove), Jerry Goldsmith (Air Force One) and Michael Nyman (Gattaca).

We've got this one out early for you! Ross, Rodrigo, our patron Dynia and her friend Jasmond (with a brief appearance from a sleep-deprived Brian) break down the psychology of "The Slap" from last weekend's Academy Award Ceremony. Then, the team pick up on where we last left off with Dynia and Jasmond.Body Language Analyst Reacts to The SlapClick Here to Watch What Brian Pulled an All-Nighter forConfused about BioTypes? Here's a starter episode that explains the Unani Biotypes and Systemic Psychology we reference.For more information on BioTypes visit www.RGPdevelopment.comFOLLOW US ON SOCIALSRodrigoInstagram (English)Facebook (English)Instagram (Español)Facebook (Español)RossInstagramFacebookTwitterBrianInstagramTwitterYouTubeEdited by Dan PurcellSupport the show (https://www.patreon.com/rgpdevelopment)

This week on How is it Now? we talk about Guess Who's Coming to Dinner! This movie won two Oscars for Best Actress and Original Screenplay at the 1967 Academy Award Ceremony in 1968! Support the show at:  www.patreon.com/nintendomainpodcast  

The 19th edition of the Academy Awards of the Academy of Motion Picture Arts and Sciences (AMPAS) was held on March 13, 1947 at the Shrine Auditorium in Los Angeles, United States, awarding the best films of the year 1946. The ceremony was presented by Jack Benny. The movie with the most nominations at the Academy Awards 1947 was The Best Years of Our Lives with 8 nominations and The film that won the most awards was The Best Years of Our Lives, winning 7 of the 8 nominations.

This week on How is it Now? We talk about Midnight Cowboy! This movie won best movie, director, and adapted screenplay at the 1970 Academy Award Ceremony!

Sumner, Spencer and Wes attempt to comment while they watch the Oscars live. Here are some of the highlights.

This week’s English News Weekly podcast reports on the controversy surrounding the nominees for this year’s Academy Award Ceremony. The Oscars will be handed out next month, but for the second year in a row all of the 20 acting nominees are Caucasian. What has been the response to this all white list of names? English News Weekly will explain all... Image credit: David Shankbone via Wikipedia CC BY 3.0. Download MP3

This week’s English News Weekly podcast reports on the controversy surrounding the nominees for this year’s Academy Award Ceremony. The Oscars will be handed out next month, but for the second year in a row all of the 20 acting nominees are Caucasian. What has been the response to this all white list of names? English News Weekly will explain all... Image credit: David Shankbone via Wikipedia CC BY 3.0. Download MP3

The moral arguments in defense of slavery hinged on the claim that it was the best arrangement for all parties involved, especially the slaves. Thomas Jefferson, for example, argued that the differences between black slaves and white masters were ‘fixed in nature’, with blacks being condemned to an existence driven more by ‘sensation than reflection’, thus making them incapable of comprehending the full weight of their predicament, let alone improving it. Freedom, according to John C. Calhoun, was the enemy of the black slave and would condemn him or her to the miserable life of a ‘pauper in the poor house’, rather than the ‘superintending’ care of masters and mistresses. When Jefferson returned from long trips, according to some biographers, he would have to wade through a throng of slaves eager to touch him, to thank him, to celebrate their master’s return. The minstrel, to many African Americans, is the physical embodiment of these arguments: the word made flesh. The minstrel stalks our collective imaginations like a grinning, groveling, hand-clapping, toe-tapping Freddie Krueger. He leaps out just when we let our guards down and turns dignified moments into disgraceful debacles. He transforms the Academy Award Ceremony into a tribute to the trials and tribulations of pimps. He turns televisions shows about the plight of the poor in the inner city into buck-eyed dyno-mite (!!!!) joke fests. He morphs news stories into youtube songs and memes – bedroom intruders, AK-47 fried chicken disputes, Jordan sneaker riots. Somewhere the minstrel lies in wait, ready to leap back into the hearts and minds of the American public at the expense of those of us who demand dignity and respect, but as with all things American the story of the minstrel is more complex. In Darkest America: Black Minstrelsy from Slavery to Hip-Hop (W.W. Norton, 2012), Yuval Taylor and Jake Austen explore the minstrel tradition and put it in its proper context. While many of us may have used the label to attack particular artists or actions (see above), Taylor and Austen dissect it as a creature of American art, commerce, and racism that occasionally created opportunities for advancement – even for those who wore the mask. Yuval Taylor was kind enough to speak with me. I hope you enjoy. Learn more about your ad choices. Visit megaphone.fm/adchoices

The moral arguments in defense of slavery hinged on the claim that it was the best arrangement for all parties involved, especially the slaves. Thomas Jefferson, for example, argued that the differences between black slaves and white masters were ‘fixed in nature’, with blacks being condemned to an existence driven more by ‘sensation than reflection’, thus making them incapable of comprehending the full weight of their predicament, let alone improving it. Freedom, according to John C. Calhoun, was the enemy of the black slave and would condemn him or her to the miserable life of a ‘pauper in the poor house’, rather than the ‘superintending’ care of masters and mistresses. When Jefferson returned from long trips, according to some biographers, he would have to wade through a throng of slaves eager to touch him, to thank him, to celebrate their master’s return. The minstrel, to many African Americans, is the physical embodiment of these arguments: the word made flesh. The minstrel stalks our collective imaginations like a grinning, groveling, hand-clapping, toe-tapping Freddie Krueger. He leaps out just when we let our guards down and turns dignified moments into disgraceful debacles. He transforms the Academy Award Ceremony into a tribute to the trials and tribulations of pimps. He turns televisions shows about the plight of the poor in the inner city into buck-eyed dyno-mite (!!!!) joke fests. He morphs news stories into youtube songs and memes – bedroom intruders, AK-47 fried chicken disputes, Jordan sneaker riots. Somewhere the minstrel lies in wait, ready to leap back into the hearts and minds of the American public at the expense of those of us who demand dignity and respect, but as with all things American the story of the minstrel is more complex. In Darkest America: Black Minstrelsy from Slavery to Hip-Hop (W.W. Norton, 2012), Yuval Taylor and Jake Austen explore the minstrel tradition and put it in its proper context. While many of us may have used the label to attack particular artists or actions (see above), Taylor and Austen dissect it as a creature of American art, commerce, and racism that occasionally created opportunities for advancement – even for those who wore the mask. Yuval Taylor was kind enough to speak with me. I hope you enjoy. Learn more about your ad choices. Visit megaphone.fm/adchoices

The moral arguments in defense of slavery hinged on the claim that it was the best arrangement for all parties involved, especially the slaves. Thomas Jefferson, for example, argued that the differences between black slaves and white masters were ‘fixed in nature’, with blacks being condemned to an existence driven more by ‘sensation than reflection’, thus making them incapable of comprehending the full weight of their predicament, let alone improving it. Freedom, according to John C. Calhoun, was the enemy of the black slave and would condemn him or her to the miserable life of a ‘pauper in the poor house’, rather than the ‘superintending’ care of masters and mistresses. When Jefferson returned from long trips, according to some biographers, he would have to wade through a throng of slaves eager to touch him, to thank him, to celebrate their master’s return. The minstrel, to many African Americans, is the physical embodiment of these arguments: the word made flesh. The minstrel stalks our collective imaginations like a grinning, groveling, hand-clapping, toe-tapping Freddie Krueger. He leaps out just when we let our guards down and turns dignified moments into disgraceful debacles. He transforms the Academy Award Ceremony into a tribute to the trials and tribulations of pimps. He turns televisions shows about the plight of the poor in the inner city into buck-eyed dyno-mite (!!!!) joke fests. He morphs news stories into youtube songs and memes – bedroom intruders, AK-47 fried chicken disputes, Jordan sneaker riots. Somewhere the minstrel lies in wait, ready to leap back into the hearts and minds of the American public at the expense of those of us who demand dignity and respect, but as with all things American the story of the minstrel is more complex. In Darkest America: Black Minstrelsy from Slavery to Hip-Hop (W.W. Norton, 2012), Yuval Taylor and Jake Austen explore the minstrel tradition and put it in its proper context. While many of us may have used the label to attack particular artists or actions (see above), Taylor and Austen dissect it as a creature of American art, commerce, and racism that occasionally created opportunities for advancement – even for those who wore the mask. Yuval Taylor was kind enough to speak with me. I hope you enjoy. Learn more about your ad choices. Visit megaphone.fm/adchoices

The moral arguments in defense of slavery hinged on the claim that it was the best arrangement for all parties involved, especially the slaves. Thomas Jefferson, for example, argued that the differences between black slaves and white masters were ‘fixed in nature', with blacks being condemned to an existence driven more by ‘sensation than reflection', thus making them incapable of comprehending the full weight of their predicament, let alone improving it. Freedom, according to John C. Calhoun, was the enemy of the black slave and would condemn him or her to the miserable life of a ‘pauper in the poor house', rather than the ‘superintending' care of masters and mistresses. When Jefferson returned from long trips, according to some biographers, he would have to wade through a throng of slaves eager to touch him, to thank him, to celebrate their master's return. The minstrel, to many African Americans, is the physical embodiment of these arguments: the word made flesh. The minstrel stalks our collective imaginations like a grinning, groveling, hand-clapping, toe-tapping Freddie Krueger. He leaps out just when we let our guards down and turns dignified moments into disgraceful debacles. He transforms the Academy Award Ceremony into a tribute to the trials and tribulations of pimps. He turns televisions shows about the plight of the poor in the inner city into buck-eyed dyno-mite (!!!!) joke fests. He morphs news stories into youtube songs and memes – bedroom intruders, AK-47 fried chicken disputes, Jordan sneaker riots. Somewhere the minstrel lies in wait, ready to leap back into the hearts and minds of the American public at the expense of those of us who demand dignity and respect, but as with all things American the story of the minstrel is more complex. In Darkest America: Black Minstrelsy from Slavery to Hip-Hop (W.W. Norton, 2012), Yuval Taylor and Jake Austen explore the minstrel tradition and put it in its proper context. While many of us may have used the label to attack particular artists or actions (see above), Taylor and Austen dissect it as a creature of American art, commerce, and racism that occasionally created opportunities for advancement – even for those who wore the mask. Yuval Taylor was kind enough to speak with me. I hope you enjoy. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies