Podcasts about aftra

En este revelador episodio del SAG-AFTRA Podcast en Español, Sylvia Villagran conversa con Duncan Crabtree-Ireland, Director Ejecutivo Nacional y Negociador Principal, sobre el nuevo acuerdo con los estudios y streamers tras más de seis semanas de negociaciones. ¿Cómo protegerá este contrato a los actores frente a las réplicas digitales y los polémicos personajes sintéticos creados con IA? Duncan desentraña los cambios más importantes: nuevas protecciones contra sintéticas con arbitrador independiente, consentimiento obligatorio del actor para el doblaje en otros idiomas, la fusión histórica de los planes de pensión de SAG y AFTRA, y un aumento del 40% en el Streaming Bonus Fund. No te pierdas esta conversación esencial y recuerda votar antes del 4 de junio.

Bítið á Bylgjunni með Lilju, Simma og Ómari   Páll Guðbrandsson, eigandi Vatnajökuls travel á Hornafirði, var á línunni og ræddi afnám tollfrelsis. Sigurður Þ. Ragnarsson, Siggi Stormur fór yfir veðurhorfur næstu daga.   Hannes Steindórsson, fasteignasali fór yfir fasteignamarkaðinn eftir útspil Landsbankans. Kári Stefánsson kom í Covid-spjall á mánudegi. Samúel Arnar Hafsteinsson, forritari og heiðvirður hakkari hjá Aftra, settist niður með okkur.   Íþróttafréttamaðurinn Stefán Árni Pálsson fór yfir umferðina í enska boltanum og lok bestu deildar karla. Símatími.

Beware the wrath of AFTRA.

I have been anticipating having the opportunity to speak with Carl Amari on an episode of Unstoppable Mindset for several months. Carl and I share a passion for vintage radio programs sometimes called “old time radio shows”. Carl heard his first broadcast in 1975 when he heard Cary Grant staring in a program from the 20-year long series entitled “Suspense”. That program left the air in 1962, but like other shows, some radio stations kept it alive later.   Carl's interest in vintage programs goes far beyond the over 100,000 transcription master's he has amassed. He has also created some programs of his own. For example, in 2002 Carl asked for and received the rights to recreate the television show, “The Twilight Zone” for a radio audience. He used many famous actors while recreating the series. He talks about what he did and how he brought “The Twilight Zone” to life on the radio.   He also has dramatized five versions of the bible. His most well-known work is “The Word Of Promise Bible”. When I first purchased that bible from Audible, I had no idea that Carl was its creator.   Carl Amari is quite a creative guy making movies, collecting and producing radio programs and he even hosts podcasts.   I hope you have as much fun listening to this episode as I did in creating it with Carl. We definitely will have him back as he has many more stories to tell.       About the Guest:   Carl Amari has been licensing classic radio shows from the owners and estates since 1990.  He has amassed a library of 100,000+ master recordings.  Amari broadcasts these golden-age of radio shows on his 5-hour radio series, Hollywood 360, heard on 100+ radio stations coast-to-coast each week.  Amari is also the Host/Producer of The WGN Radio Theatre heard each weekend on legendary Chicago radio station, WGN AM 720. Amari is the founder and curator of The Classic Radio Club.  Each month Amari selects the best-of-the-best from his classic radio library to send to members.   Amari is also a published author.  In 1996, he began writing a series of books about classic radio for The Smithsonian Institute.  More recently, he teamed with fellow classic radio expert, Martin Grams, to co-write the best-selling coffee-table cook “The Top 100 Classic Radio Shows” (available at Amazon).  Each bi-monthly, Amari writes a classic radio-themed column titled “Good Old Days on the Radio” for the nostalgia publication Good Old Days Magazine.   In 2002, Amari licensed the intellectual property, The Twilight Zone, from CBS and The Rod Serling estate to create and produce The Twilight Zone Radio Dramas, which are fully dramatized audio adaptations based on Rod Serling's Emmy-Award winning TV series.  Hosted by prolific actor Stacy Keach, each hour-long radio drama features a Hollywood celebrity in the title role.  The Twilight Zone Radio Dramas has won numerous awards of excellence including The Audie Award, AFTRA's American Scene Award and the XM Nation Award for Best Radio Drama on XM.  The Twilight Zone Radio Dramas are broadcast coast-to-coast each week on nearly 100 radio stations.    In 2007, Amari parlayed his experience and passion for radio theatre and love for the Bible into the creation of the award-winning Word of Promise celebrity-voiced, dramatized audio Bible published by Christian giant Thomas Nelson, Inc.  The New Testament won 2008's highest Evangelical award, The Christian Book of the Year.  The Word of Promise stars Jim Caviezel (“The Passion of the Christ”) reprising his film role as Jesus, with Michael York, Terence Stamp, Lou Gossett, Jr., Marisa Tomei, Lou Diamond Phillips, Ernie Hudson, Kimberly-Williams Paisley and many other celebrities voicing roles of the New Testament.  In 2008, Amari produced The Word of Promise Old Testament featuring more than 400 actors including: Jon Voight, Gary Sinise, Richard Dreyfuss, Max von Sydow, Malcolm McDowell, Joan Allen, John Rhys-Davies, Sean Astin, Marcia Gay Harden and Jesse McCartney. The Old Testament was combined with the New Testament and released as The Word of Promise Complete audio Bible in 2009 and has won numerous awards, including three Audie awards.  The Word of Promise has become the #1 selling audio Bible of all time.  In 2009, Amari produced The Truth & Life Dramatized Audio Bible: New Testament, a Catholic Bible featuring Neal McDonough, John Rhys-Davies, Malcolm McDowell, Kristen Bell, Blair Underwood, Julia Ormond, Brian Cox, Sean Astin and other celebrities.  It was released by Zondervan Corporation, the largest religious publisher in the world.  Amari secured an Imprimatur from The Vatican and a foreword by Pope Benedict XVI for The Truth & Life Dramatized Audio Bible: New Testament, which has become the #1 selling Catholic audio Bible in the world.  In 2016, Amari produced The Breathe Audio Bible for Christian Publisher Tyndale House.  Celebrities voicing roles include Ashley Judd, Josh Lucas, Kevin Sorbo, Hill Harper, John Rhys-Davies and Corbin Bleu.  Amari currently produces a weekly radio series based on this audio Bible called The Breathe Radio Theatre hosted by Kevin Sorbo, heard on Christian radio stations coast-to-coast.    In 2000, Amari produced the feature film Madison starring Jim Caviezel, Bruce Dern, Jake Lloyd, Mary McCormack and John Mellencamp.  In 2001, Madison was invited by Robert Redford to be the opening film at Redford's prestigious Sundance Film Festival.  Madison was later released worldwide by MGM.  Amari also spends his time creating television series for Warner Brothers and Gulfstream Pictures.  Amari's latest film projects include producing, Wireman, starring Scott Eastwood and Andy Garcia, a true-story set in 1978 Chicago and Crossed, a Zombie Post-Apocalyptic story by The Boys creator Garth Ennis.  Both films will be released in 2025.   Amari's company was twice named to the INC. 500 list of fastest growing privately-held companies.  He was selected as one of Chicago's Very Own by Tribune Broadcasting and his business accomplishments have been highlighted in The Wall Street Journal, The Chicago Sun-Times, The Chicago Tribune, Variety, INC. 500, The Associated Press, Entertainment Weekly, The Washington Post, The Los Angeles Times and The New York Post. Ways to connect Carl:   https://www.hollywood360radio.com/   https://classicradioclub.com/   https://ultimateclassicradio.com/   You can also provide my email address: Carl@ClassicRadioClub.com   About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:20 Well, hello to you all, wherever you may be, welcome to another episode of unstoppable mindset. Oh, it's always good to have an unstoppable mindset. I am really very joy today. I'm really happy because I get to have an hour to chat with someone who I've admired for a while, although I haven't told him that but he, I first heard him on a show. Well, he did a show called Yeah, on a program called yesterday USA, which is a program that plays old radio shows on now two different networks. They have a red network and a blue network, so they have emulated NBC, and they're on 24 hours a day, doing a lot of old radio stuff. And I've been collecting radio shows for a long time, although our guest, Carl has has done, in a broad sense, a lot more than I have. But anyway, he collects shows. He does a lot with master copies of radio shows, and I don't, don't have that many masters, but he's also done some other things. For example, in 2002 he acquired the rights from CBS and the Rod Serling estate to create Twilight Zone radio, and he is created versions for radio of all of the Twilight Zone broadcasts. The other thing that he did that I didn't realize until I got his bio, is that he created something else that I purchased from Audible, probably in 2008 or 2009 the Word of Promise Bible, where he got a number of entertainers and and special people and Celebrities like Michael York and others to create the Bible, and it's only 98 hours long. So you know, it takes a little while to read, but still, it's worth doing. So I would like to introduce you all to Carl Amari and Carl, welcome to unstoppable mindset. Michael,   Carl Amari ** 03:14 thank you so much for having me. It's a real honor. Thanks so much.   Michael Hingson ** 03:19 Well, the honor is, is mine as well. I really am glad that that you're here and we do get to talk about radio and all sorts of whatever comes along. Well, I want to start this way. Tell me about kind of the early Carl, growing up and all that well for an opening, yeah. Gosh,   Carl Amari ** 03:35 that was a long time ago, but when I was 12 years old in 1975 I heard my first classic radio show. It was an episode of suspense, and it starred Cary Grant in a show called on a country road. Yeah, and I was at a sleepover at my friend's house, and we were kind of rowdy, as as 12 year olds will be. And his father had this show, I think it was on an eight track tape or a cassette tape, and he played it, and it was the first time I ever experienced theater of the mind. And I, you know, grew up watching Batman and the Twilight Zone and Wild Wild West, and I had never had anything, you know, that that really, really just blew me away, like hearing a radio drama where you hear the the actors performing, and you see the, you know, they have the sound effects and the music, and it creates this movie in your mind. And I was at a 12 as 12 years old. I was just completely just, you know, flabbergasted, and I wanted to learn all I could about classic radio and and so I spent, really my entire career, the last 40 plus years, licensing and putting out these radio shows, licensing from. The estates and putting them out on radio and on CD and digital download and so forth.   Michael Hingson ** 05:06 Cool. Yeah, I remember on a country road the first show. Well, I remember a few times my parents were listening to radio in the early 50s, and I think one of the first ones I heard was Dick Tracy, but I don't even remember that, but I think it was 1957 in October or so. I was listening to the radio, and all of a sudden I heard, and one of my maybe it was 58 but anyway, one of my favorite songs at the time was Tom Dooley by the Kingston Trio, and this announcement came up that on suspense this Sunday would be the story of Tom Dooley. And I went, Oh, that's Oh, right, right. Listen to that. And I did, and I was hooked for the very same reasons that you were radio really presents you the opportunity to picture things in in your own mind, in a sense, the way you want. And what they do in the radio production is get actors who can draw you in, but the whole idea is for you to picture it in your own mind. So I did it with Tom Dooley, and I got hooked. And I was listening to suspense and yours truly Johnny dollar ever since that day. And then also Gun Smoke and Have Gun Will Travel came along, and then that was fun.   Carl Amari ** 06:23 Yeah, those were those shows that you just mentioned. They were on still in the 50s. Because when you think of the golden age of radio, it was really the 30, late 30s all the way to the very early 50s, golden age of radio. But there were hangers on. There was Johnny dollar, and, like you said, suspense. And you know, some of these programs that were still on fiber, McGee and Molly, even, you know, Jack Benny, were still on during the 50s. And then, of course, most of the shows made the transition to the visual medium of television. But the eyes, I still say, you know, today, listening to these radio shows is more fun, and I think they're more impactful than the television versions. Oh,   Michael Hingson ** 07:07 I think so by any standard. I think that's true. And gun Well, let's see. Suspense went into, I think 1962 Johnny dollar did, and suspense and Gunsmoke and Have Gun Will Travel. Started on television, actually, but then transitioned to radio. There were a few shows, a few of the plots that actually were on both, yes, but John Danner played Paladin on the radio, and that was fun. And then, of course, Gunsmoke as well. So they, they, they all went into the 60s, which was kind of kind of cool, yeah.   Carl Amari ** 07:43 And usually they had, you know, sometimes they had the same cast, and other times a completely different cast, like with Gunsmoke, you know, William Conrad was Marshall Matt Dillon on on radio. And, of course, people remember him as canon on television, also Nero Wolf on television. But William Conrad, who was probably in more radio shows than anyone I can think of. Yeah, was, was Marshall, Matt Dillon, and then on on television, of course, James Arness, so yeah, and but then, you know, the Jack Benny Program, there was the same cast, you know, the very same people that were on radio, moved to television, same with Red Skelton and many of the shows, but other times, completely different cast.   Michael Hingson ** 08:22 I was watching this morning when I woke up, me too. Let's see, was it me too? Yeah, was me TV? They're great and and they had Jack Benny on at 430 in the morning. I just happened to wake up and I turned it on. There's Benny season five, where he took the beavers to county fair. Of course, the Beavers are fun. And I've actually, I've actually had the opportunity to meet Beverly Washburn, which was, oh, sure,   Carl Amari ** 08:52 sure. Oh man, Jack Benny, probably the high water mark of comedy. You know, when you talk about, you know, a guy that was on, he started in vaudeville, you know, and then he had his own radio show, his own TV show was in movies, and probably the most successful. And when you think about Seinfeld, right, when you think about the series, the television series Seinfeld, there's so many correlations between Seinfeld and the Jack Benny Program, you know Seinfeld. It was, was a comedian, you know Jerry Seinfeld, playing himself. He had this cast of Looney characters all around him. Same thing with the Jack Benny show. It was Jack Benny with a cast of Looney characters. And so it's probably was an homage, you know, to to Jack Benny. And   Michael Hingson ** 09:39 I, I'm, think you're right. I think in a lot of ways, that probably absolutely was the case. And you know, there are so many radio shows that that, in one way or another, have have influenced TV. And I think people don't necessarily recognize that, but it's true, how much, yeah, radio really set the stage for so many things. Yeah, I think the later suspenses, in a sense, were a lot better than some of the earlier ones, because they really were more poignant. Some were more science fiction, but they really were more suspenseful than than some of the early ones, but they were all fun.   Carl Amari ** 10:13 Oh gosh, suspense that's now you're talking about, I think the best series of all time, you know, because it was about almost 1000 episodes. It lasted from 42 to, I believe, 62 or 63 and and it had, for a time, there was a lot of true stories on suspense when Elliot Lewis took over. But yeah, you're right. It had the best actors, the best writers, the best production values. So suspense to this day. You know, I think is, of all the shows was, was one of the best, if not the best.   Michael Hingson ** 10:45 Oh, I agree. I can't argue with that at all. And did so many things. And then for at least a summer, they had hour long suspenses, but mostly it was a half hour or Yes, later was 25 minutes plus a newscast, right,   Carl Amari ** 10:59 right, right? It didn't seem to work in the hour long format. They only did a handful of those, and they went back right back to the half hour once a week, you know. But, yeah, no suspense, one of my favorites for sure.   Michael Hingson ** 11:13 Oh, yeah. Well, and it's hard to argue with that. It's so much fun to do all of these. And you know, on other shows in radio, in a sense, tried to emulate it. I mean, escape did it for seven years, but it still wasn't suspense, right,   Carl Amari ** 11:27 right. Closest thing to suspense was escape, but it was never and I think because you know, as as you know Michael, but maybe some of your listeners don't realize this, these actors, these big actors, Humphrey Bogard and chair, you know, James Stewart and Cary Grant, they were, they were studio, they were under a studio contract. So they weren't like today, where they were freelance. So when, like, let's say, Jimmy Stewart was being paid, I'll just make up a number $5,000 a week to be under contract to make movies when he wasn't making a movie, they wanted to make money on this actor, so they would loan him out to radio. And these actors were on suspense, like on a routine basis, you had movie stars every week appearing on suspense, the biggest movie stars on the planet. So and you would think, well, how could they afford these movie stars? Well, because the studios wanted to make money when their actors weren't working, right?   Michael Hingson ** 12:23 And and did, and people really appreciate it. I mean, Jess Stewart, yeah, even some of the actors from radio, like fiber began, Molly, yeah, on a suspense. And they were, that was a great that was a great show. But, oh yeah,   Carl Amari ** 12:38 back, I think it was back, right? Yeah, yeah, which   Michael Hingson ** 12:41 was really cool. Well, you license a lot of shows from, from people tell me more about that. That must be interesting and fascinating to try to negotiate and actually work out. Well,   Carl Amari ** 12:52 early on, when I was in college, you know, as a communications major, and I learned very early on that these show, a lot of these shows are, copyrighted so and because I was actually sent a cease and desist letter on a college station just playing a show. And so that was, and it was from Mel blanks company, man of 1000 voices. And he his son, Noel, helped me learn, you know, taught me that, hey, you know, these shows are were created by, you know, the the estates, you know, the that were still around Jack Benny and, you know, CBS owns a ton of stuff and different, you know, entities that own these shows and and he helped, and he introduced me to a lot of people, including Jerry Lewis and Milton Burrell and and so I spent My early career in my 20s, flying back and forth to LA and New York and licensing these shows from like Irving Brecher, who created the life of Riley and the Jack Benny estate. And, you know, golden books at the time, owned the Lone Ranger and so licensing that and Warner Brothers, you know, DC for Batman and so, and Superman, I mean, which had Batman on it, but Superman, I licensed those. And, you know, MCA universal for dragnet and the six shooter and so on and on and on and and I spent, as I say, my early career licensing. I now have over 100,000 shows under license, and mostly from Master transcriptions, because I only like to collect from the master source, because we put them out through a club, the classic Radio Club, and I air them on my I have a national radio show called Hollywood 360 we air them every week, five shows every week on the network. There's over 100 stations, including Armed Forces Radio and and so I want the quality to be impeccable. I don't want dubs of dubs or, you know, cracks and pops. And I really want to give people what it sounded like back then when they aired   Michael Hingson ** 14:54 and well. And you you can sort of do that, but the sound is probably even better today. With the audio equipment that people have access to, yeah, the sound is even better than it was. But I hear what you're saying, and it's cool to listen to those, and they're not stereo. Oh, that would be interesting to to try to reprocess and make that happen, but the audio is incredible. Yeah,   Carl Amari ** 15:16 yeah, that's kind of what our, you know, our trademark is, Michael is, you know, if you're listening to Hollywood 360 which, as I say, is on a lot of stations across the country, when you listen to that show, and in every hour, we play a we play a show, you know you're going to get something that sounds just, is like we're talking right now. You know that's that's important to me. Yeah,   Michael Hingson ** 15:37 well, and I can appreciate that, and it makes perfect sense that it is because we should really preserve the the programs, and we should do what we can to make them sound as good as we can, and we should really get that high quality. And the high quality is there, yes, just not always what people find, and people are willing to, well, accept less than what they should, yeah,   Carl Amari ** 16:01 well, I, you know, I grew up collecting from where I wherever I could. But then, when I started licensing them, I would get the masters from the, you know, whoever owned them. And then I also have about a half a dozen collectors that only collect on 16 inch disc, which is kind of great. And so if I have, let's say, you know, suspense and and I'll, you know, let's say, you know, because we license that from CBS. But if CBS doesn't have a certain show, but a collector on disc has it, I'll get that from the collector and still pay the royalty the CBS because they own it. But I'll get that, that disc from a collector. And, you know, we, and it's a cost of doing business, but we'll get it transferred and and put it out to the public that way.   Michael Hingson ** 16:46 Typically, what are the discs made of? So   Carl Amari ** 16:49 they're, they're like, uh, they're like a shellac. I mean, they're, they're like, a glass. Some of them are actually glass,   Michael Hingson ** 16:55 yeah, you know, some of the Jack Benny shows were glass, yeah,   Carl Amari ** 16:59 and acetate and things like that. And so I there's one gentleman that's in in Redding, California, Doug Hopkinson, who is just an expert on this, and he does most of the transfers. We recently licensed 41 different series from Frederick zivs estate. And you know, we're talking the entire collection of Boston Blackie bold venture with Humphrey Bogart and Lauren Bacall, Philo Vance, with Jackson Beck, Mr. District Attorney, and I was a communist for the FBI. And Doug is actually doing they're all on they're all zivs Personal discs. Frederick Ziv, he had them. There's 10,000 more than 10,000 discs in a controlled warehouse in Cincinnati, and we are slowly but surely working our way through 10,000 shows. And Doug is doing all those transfers. So he's a busy guy. Does he go there to do it? No, we have him sent. So you do cardboard boxes. Yeah, yeah. To California. And then Doug has two, you know, it's special equipment that you have to use. I mean, it's very, very it's not just a turntable, and it's a special equipment. And then, you know, we get the raw file, you know, we get the, he uses the special needles based on that album, you know, or that disc he has, you know, a whole plethora of needles, and then he tests it, whichever gets the best sound out of there. So, yeah, he's really, he's tops at this. And so we're doing those Troy, we just transferred all the, I was a communist for the FBI with Dana Andrews, yeah, and all the Boston blackies, which is one of my favorites   Michael Hingson ** 18:40 and bold venture. And, yeah, I have those, good man, so I know that it's interesting. You mentioned the needles. So for people who don't know, in order to get a program on one disc, the transcriptions were literally 16 inches. I mean, we're all used to LPS or 12 inch disc, but the radio transcriptions were 16 inch discs, right?   Carl Amari ** 19:05 And that held 15 minutes. And now you needed two discs, yeah? So generally, you needed two discs to give you one show, unless it was one on one side and one on the other side. But a lot of times it was, it was, it was two discs for one show, yeah, and then, and then, on the opposite side, you'd have another show. One   Michael Hingson ** 19:24 of the things that I got the opportunity to do was to collect my dad knew somebody when he worked at Edwards Air Force Base that had a number of 16 inch transcriptions, and I had a turntable. Wasn't great, but it served the purpose for a college kid. And one of the things I discovered was that there were a few recordings that, rather than putting the needle on the outside and the record spins and plays in, you actually start from the inside and go out.   Carl Amari ** 19:56 Yes, I've seen that, yeah, and I'm told we're that way. Yeah,   Michael Hingson ** 20:00 I'm told that they did that because the the audio quality was actually better. Doing it that way, really? Yeah, I didn't know that. I didn't know, but that's what I was told, was that the audio quality was even better. Wow,   Carl Amari ** 20:11 yeah. I mean, it's a skill, you know, because with we really have one shot to get these 10, you know, these, these discs and and and we were getting them from, from literally, Frederick zivs Personal. They were, I told, like the first one off the duplication line. When he would, he would bicycle the discs all around the country. We're not using discs that were ever touched by radio stations. In fact, a lot of them, we have to drill out the holes in the middle because they've closed up a little bit. So these have never been played. They're unplayed. His master discs that are unplayed and and if you have the bold venture, you know what we were able to pull off those masters, it's like high fidelity. Mon Oro,   Michael Hingson ** 20:56 yeah. They're as good as it can get. And they do, they sound really great. Well, even the Boston blackies are good. Yeah,   Carl Amari ** 21:02 oh yeah, yeah. I'm excited about that, because that, that's one of my favorite shows Boston.   Michael Hingson ** 21:07 I like Boston Blackie and yeah, and I like, I was a communist for the FBI, and I haven't gotten those yet, but I'm waiting to get Dana Andrews that whole   Carl Amari ** 21:15 they just shipped. So there you should be getting them, Michael. So thank you for that. They'll   Michael Hingson ** 21:20 be they'll be coming, yes, which is pretty cool, but it is so fun to have the opportunity to listen to all these and I really urge people, the easy way is you can go to places like yesterday usa.net, online and listen to a lot of radio programs, but you can go to Carl's website, or when he can tell us how to do it, and you can actually purchase the opportunity to get copies of some of these shows, and they're absolutely fun and worth doing.   Carl Amari ** 21:54 Yeah, thank you, Michael. We are. We have, you know, our radio show has a website. You can learn about our radio show that's that's easy. It's Hollywood. And then 360 so Hollywood, 360 radio.com, that's like my and you can reach me, but there's ways to contact me through there. And then we, I think I mentioned we offer these through a club, which is pretty cool, because what I do every month is I'll comb the library of we have over 100,000 shows, and I'll take, I'll pick 10 shows every month and put them either on five CDs with a booklet, historical booklet, and it's in a nice case. And you get about every 30 days, CD members get a new 10 C 10 show five CD set in the mail, or you can get those same shows via digital download. So if you don't want the CDs, you just want a link sent to you there, they're done that way too. And that's classic radio club.com and all of the information is there at Classic radio club.com and as I say that that we put out only the best quality there, like, the best quality you could possibly get, which,   Michael Hingson ** 23:04 which is so cool, because I have heard some of those programs as you say that they're dubbed or people, for some reason, have the wrong speed. They're not great quality, right? So frustrating. Yeah, there's no need for any of that. And some people, of course, cut out the commercials, not being visionary enough to understand the value of leaving the commercials in, right? And again, they didn't do a very good job of cutting them out.   Carl Amari ** 23:31 No, we leave everything in. Even, you know, it's so interesting to hear cigarette commercials, or, you know, all you know, vitamin commercials, like, you know, you know, ironized yeast presents, lights out. You know, it's fun. It's fun to hear, you know, these commercials. And sometimes, like on the dragnets, when they're talking about Chesterfield, they're like, oh, doctor recommended, you know, and all this.   Michael Hingson ** 23:55 Well, even better than that, I was just thinking the Fatima cigarettes commercials on dragnet. Yeah, research shows, yeah, I wonder where they got that research,   Carl Amari ** 24:07 yeah. Oh my gosh. They were, they were, it was crazy how they would do that. I mean, they got away with it. They did. They did. They did. And, you know, we, even when we air radio shows, we don't cut the commercials unless it's cigarette commercials, because there's an FCC rule that you can't hear cigarette commercials. But like, you know, when we play Jack Benny and there's and there's, you know, Grape Nuts flakes commercials, we leave it in. We want people to hear the Fun, fun of those commercials and things well,   Michael Hingson ** 24:36 and sometimes, of course, like with great nuts flakes commercials, the commercial is part of the program. Yes, it's integrated. Break away. It's all integrated in which makes it so fun. I didn't know that there was an FCC rule that said you can't air any cigarette commercials even for educational purposes.   Carl Amari ** 24:55 Well, it might be for educational purposes. It may be non commercial, but I know on commercial stage. Stations, I can imagine that. Yeah, yeah. And Hollywood, 360 is commercial, you know, we have sponsors like, you know, we have Prevagen is one of our big sponsors, cats, pride, kitty litter, and, you know, they've been with me forever. And, you know, whatever, the Home Depot, Geico, you know, my pillow, these are some of our sponsors. And, and so we're on commercial stations across the country.   Michael Hingson ** 25:21 Yeah, so it makes sense that that you you do it that way, which, yeah, you know, is understandable. But, boy, some of those commercials are the Chesterfield commercials. Accu Ray on Gunsmoke. Yeah?   Carl Amari ** 25:37 A gimmick to get you to buy their cigarettes.   Michael Hingson ** 25:39 Yeah, I bet there was no accuray machine, but, oh, probably not, probably not. It is so funny. Well, you did the Twilight Zone radio programs. What got you started on doing that?   Carl Amari ** 25:53 Well, you know, growing up, I think I mentioned earlier, it was one of my favorite shows, yeah, always mine too, you know. And just watching that I was so blown away by twilight zone as a kid. So then when I got into the licensing of these classic radio shows, and I I was, I guess I was just always really envious of these producers that got to do these radio shows. And I always thought, man, I was. I was born in the wrong decades. You know, I was, I wish I was around back in the 40s and was able to produce suspense or escape or one of these shows. And I thought the show that would work the best, you know, that was on television, that that would work great in the theater of the mind realm, would be twilight zone, because growing up watching, you know, the makeup wasn't that great and the costumes weren't that great. You could see the zippers on the Martians sometimes. And I thought, you know, the writing was so amazing, right? And the stories were so vivid, and it worked for your theater of the mind that you didn't really need the visual with Twilight Zone, especially if you, you know, you have to write them in a way for radio. There's a special technique for writing for radio, obviously. So I, I reached out to to CBS and the rod Sterling estate, and they thought it was cool. And they said, you know, what do one, we'll let, we'll let, we'll take a listen to one, you know. And they sent me the television script for monsters are due on Maple Street. That was the one they sent me. And at the time, I was trying to get Robert Wagner to be the host. I always liked to take the thief and and, and he thought it was interesting, but he passed on it ultimately. And, and then at the same time, I was working with Stacy Keach, senior, Stacy keach's Dad, who had created Tales from the tales of the Texas range Rangers, right? And, and, and so I was at, actually at Jane Seymour's house, because Jane Seymour was married at that time to Stacy's brother, James Keach, and I got invited to a party there. And I got to meet Stacy Keach and and I heard his voice up close, you know, standing next to him, and I was like, this is the guy I gotta get to be the host. And so I started telling him about what I was doing, and he's like, I'd love to be the host of that. And so that was the beginning of a lifelong friendship with Stacy, and he was just incredible on it. And we did one, we did a pilot, monsters are doing Maple Street. And they loved it. And said, go ahead. And that was it. And it was like, in 2002   Michael Hingson ** 28:29 the first one I heard was, if I remember the title, right, a different kind of stopwatch, okay, the one with Blue Diamond Phillips, Blue Diamond Phillips, that was the first one. I think you. You offered that as a, as a sample. Yeah, yes, when I got that was pretty cool. But you   Carl Amari ** 28:43 wouldn't believe Michael, how many whenever I would reach out to an actor like Jason Alexander, I mean, Jay, I remember Jason, when I reached out to him and I said, Hey, I'd like to you to do these. And he was like, Oh, I'd love it. And then he did it, and then he'd call me and say, You got any more of those? Love doing it, you know, because they never get to do this. They, you know, these actors don't get to do radio. And so people like, you know, Lou Diamond Phillips and Luke Perry God rest his soul, and and Michael York and Malcolm McDowell and, you know, Don Johnson and Lou and Luke Luke Gossett Jr, so many of these people that I reached out to, Jane Seymour, another one, they were just they were they couldn't say yes fast enough. They just loved doing radio drama. It was so easy to book these stars. I've   Michael Hingson ** 29:38 been talking with Walden Hughes, who, you know, is the guy who now runs yesterday USA, we've been talking about and we've been doing recreations of a number of shows. The problem is that the people who are involved, oftentimes have never really gone back and listened to the shows they're recreating and their voice. And what they do are so different than the kinds of things that you actually would hear on the shows, they just don't do it very well. And we've actually thought about the idea of trying to get a grant to try to teach people how to be radio actors and really learn to do the kinds of things that would make the shows a lot more meaningful. We'll see what happens. We're really working on it. We're going to be doing some recreations in Washington for enthusiasm. Puget Sound, yes, and one of my favorite radio shows has always been Richard diamond private detective. I thought such a wise guy, and so I am actually going to be Richard diamond in Nice,   Carl Amari ** 30:46 oh my gosh, yeah, wow. Well, you know, there's a real, there's a real special magic to doing these radio shows, as I know, you know, you understand, you know, there's, there's, and that was that really boils down to having great actors and also great writing like so CBS would send us. He would, they would send me the our the Rod Serling scripts, you know, we really, we'd get them, but they, of course, would not work on radio because it was written for a visual medium. So I had, I had a two time sci fi fantasy winning writer Dennis echeson, who is no longer with us, unfortunately, but he, he, he was an expert on Twilight Zone and also how to write for radio. And it's all about that it's taking that he would take the TV scripts and and redo them so that they would work without the visual, and that you start with that. And then you can, you know, then you can create, when you have a grin, you have a great group of actors. And I hired only the best Chicago supporting cast here, you know, the the Goodman theater and, and, you know actors and, and, you know people like that. And then, of course, the star, we'd fly the star in, yeah, and they, they knock out two shows. I bring in lunch in the middle of the day, we'd knock out two shows. And it was a wonderful experience doing like, I don't know, I think I did, oh gosh, close to 200 episodes.   Michael Hingson ** 32:13 Now, were some of the episodes, shows that never were on the the TV series, or they, yeah, when   Carl Amari ** 32:19 we got through the original 156 shows, because that's how many were in the original Rod Serling run. So we did them all. We actually one of them I never released because I wasn't happy with it. I think it was called come wander with me. So that one I never released, we did it. I wasn't happy with it, because it was a musical one, you know, I think it had Bob Crosby on it, or somebody like that, and on the TV show, and so it was a lot of singing, and I just wasn't happy with it. But after that, there was no no more. I could have gone into the later series, but I just, I said to them, can I hire writers to write new ones, you know? And they said, Sure, but we have to approve it and all that. And so a lot of them got approved, and a lot of them didn't. And then we, we, I think we produced maybe close to 4030, or 40 originals,   Michael Hingson ** 33:13 right? Yeah, did you ever meet Rod Serling? No, never   Carl Amari ** 33:18 did. He was gone before I got into this. Yeah,   Michael Hingson ** 33:22 he came to UC Irvine to lecture once when I was still on campus. I was actually Program Director of the radio station, and so several of us from kuci got to interview him. And one of our, the people who was involved with that, actually had one of the ape costumes from Planet of the Apes. So he came dressed up as one of the Apes. Was Wow, but great. But the thing about rod Sterling his voice is it's hot. How do I describe this? No matter what his voice sounded like on television, it wasn't nearly as deep as his natural voice, and microphones couldn't get the same level with his real voice, and so we interviewed him. His voice was very deep, and then we did then we went out and listened to the lecture at the gym, and he sounded like Rod Serling, but he didn't sound like Rod Serling when we were talking with him, yeah, and when we could hear him with our ears, when it came out on on the show that we did the interview, it again, sounded like Rod Serling, but just the microphone. Couldn't really get the full breath of his voice, which was sure,   Carl Amari ** 34:35 yeah. I mean, what a talent, right? I mean, and then he had that show, Zero Hour, zero hour, right? Yeah, radio. And that was an interesting series, too. He tried to bring back the and he didn't. It was a, I think it was a fine job. You know, good job. Yeah. There were others, you know, CBS Radio, mystery theater, of course, diamond Brown. And there were some other ones. But I. I'm real proud, really, really proud of The Twilight Zone. I think they're, they're, they're, I mean, they're not nothing is as good as the way they did these the shows in the golden age. I mean, I don't think anyone can get to that point, but they're, I think they're pretty close, and I'm very proud of them.   Michael Hingson ** 35:15 Oh, yeah. And, but it still is with the Twilight Zone. It's really hard to compete with that, my favorite Twilight Zone, and for me, it was tough because I never knew the titles of the shows, because they would show you the title, but I could never, never really hear them. But when I started collecting and got access to, like your your radio Twilight zones and so on. I started to learn titles, and so my favorite has always been valley of the shadow. Oh, great one. Yeah. I just always thought that was the best of the it was an hour long instead of a half hour. But I Yeah, on TV. But I always thought that was just so innovative. I   Carl Amari ** 35:57 think Ernie Hudson did that one for me. I'm trying to think, but yeah, there was, we had, we had so many incredible actors on it. I mean, it was, it was a real fun, you know, four or five years that I was doing those, lot of fun doing them. Yeah,   Michael Hingson ** 36:12 you had several with Stan Freeberg. And, of course, yes, who don't know Stan Freeberg was definitely very much involved in radio, especially in the 50s, late 40s, with, that's rich, but mostly in the 50s, a satirist and incredible humorist and entertainer. But he did several Twilight zones.   Carl Amari ** 36:31 He did, you know, yeah, I was working with him on, you know, I created the show when radio was, which is still out there today, and and when radio was I ever initially had art Fleming as the host, you know, the original host of original Jeopardy guy, yeah. And then when art passed away, I hired Stan Freeberg, and Stan was the host of that show for many years. And then, then, when I started doing Twilight Zone, I said, Hey, would you like to do some of these? And he's like, Yeah, I'd like to do them all, yeah. Let me have all the scripts. But the one that he did that I think, is just off the charts amazing, is called Four o'clock ever, yeah, one, yeah, yeah. That is just the most interesting show, The Twilight Zone episode that we did where he plays this kind of a loony, a loony guy, who is that? What you describe him as, narking on everybody doesn't like anything, like anybody or anything, no, and it's so and he calls people and harasses them and oh my gosh, and he says, I'm gonna shrink everybody to four inches tall at four o'clock. Four o'clock, right? Yeah, and it's just, oh my gosh, what a what a great episode. It's one of my favorites.   Michael Hingson ** 37:48 And of course, if you think about it, listening people out there who got shrunk at four o'clock,   Carl Amari ** 37:56 well, let's not give it away, but yes, I think you can figure it out.   Michael Hingson ** 37:59 I think it's pretty,   Carl Amari ** 37:59 easy to figure out, but, and I actually played, I actually played a role in that episode. I played the bird. I did all the bird sounds on that episode. And so I feel like I had a co starring role, because, yeah, he had a parrot. You know, that was every time you would say something. And I played that, that part on there. But   Michael Hingson ** 38:22 yeah, all the Twilight zones were, were so clever, yeah, and, and I love listening to them. I I have a an mp three player that I carry on airplanes, and I have audio copies of all the Twilight zones. So every so often as I'm flying somewhere or two on and listen there, Michael,   Carl Amari ** 38:43 I'm so glad to hear that. Oh, man, you make me so happy to hear that. So   Michael Hingson ** 38:47 fun. And you know, another one of my favorites was, will the real Martian please stand up now? Yeah, that was cute, and I won't give it. Oh,   Carl Amari ** 38:57 great. So great. Yeah, I sent trying to think who the actor was in that one, but it's been a while, but that's a great one, yeah. And I remember, you know, watching it on TV and and thinking, Oh, this would work on radio. So great, you know, so love doing them. Yeah, I'd love to do more. I might consider coming back and doing more. I mean, originals, you know, might be a lot of fun to do those again, I was   Michael Hingson ** 39:21 going to ask you if you've got any plans for doing anything future. You know, in the future might be interesting, and there's a lot of leeway, of course, to take it in different directions. Do x minus one, but you don't have to do the same stories, even, although, yeah, a lot of good stories in in the original x minus ones on for those who don't know x minus one is a science fiction series. It was on from what 1955 through 1957 I   Carl Amari ** 39:49 believe, yeah, it was a great series. Sci Fi really lends itself really, very well to radio drama. You know, in theater of the mind, it's great because you can, you can go in. Anywhere you land on any planet. And you know, it's very easy to do on radio, where it's tough to do on TV. You know, you have to spend a lot of money to do that. So, I mean, Stan Freeburg proved that with his with his giant ice cream Sunday.   Michael Hingson ** 40:15 All right, go with the marasino Cherry. For those who don't know, is that he said, we're going to empty Lake Michigan now. We're going to fill it up with whipped cream. We're going to drop a maraschino cherry into it and other things. He said, You can't do that on TV.   Carl Amari ** 40:31 Try doing that on television. Yeah, he was something. He was so much fun to wear. Of all the people that I've met over the years, you know so many of these radio stars, and I've interviewed so many hundreds of them, really, over the years, I'd have to say I have a special place in my heart for Stan the most, because I got to work with him for so many years, and we used to just go to lunch together all the time, and and he had a, he had a, he had a, what was it again? Now? Oh, oh, I'm trying to think of the car that he drove, a jaguar. It was a jaguar, and it was a and we used to drive around in his, his big Jaguar all around LA, and just have so much fun together. And I just loved working with Stan. He was such a great man. I   Michael Hingson ** 41:17 never got to meet what would have loved to Yeah, Jack Benny and Jimmy Durante, oh my gosh, yeah. And, of course, Stan Freeberg, but yeah, you know, I wasn't in that circle, so I didn't write that. But what, what wonderful people they were. And, yeah,   Carl Amari ** 41:32 George Burns, George Burns used to, yeah, George used to take me to the Hillcrest Country Club, and we would just have the best time. He just thought it was the most interesting thing that a young guy in his 20s was so passionate about, you know, those days. And he we would just talk for hours. And I used to go to his office in Hollywood and in his and we would just sit and talk. And I have pictures of of those, those times I have them in my office, you know, he and I together. He was like a mentor to me. He and Stan were both mentors.   Michael Hingson ** 42:05 Did you get recordings of many of those conversations? Yes, I do.   Carl Amari ** 42:08 I do have quite a few with with George and Stan. Yeah,   Michael Hingson ** 42:12 it was great, you know, yes, nothing like talking to God, that's   Carl Amari ** 42:16 right. And he had a coffee cup in his office. It's it was a white coffee cup, and it had God on it, and black to drink out of that coffee cup. And he had, I was to say, when I first, my first time, I went to his office in Hollywood, you know, he was a real long office, narrow with is all paneling, and there was all these beautiful pictures, like photos of all the people he and Gracie had worked with. And then there was this beautiful painting of Gracie above him, you know, where he was sitting at his desk. And I remember walking in. I said, Hi, George, because I had talked to him on the phone a lot of times. And he said, Ah, come on in, you know. And I said, Oh, man, George, these photos are amazing on the walls, looking as I was walking towards his desk. And he says, You like those pictures? I said, Yeah. He goes, everyone in those pictures is dead except for me. I knew him the last about four years of his life. From that, from he was 96 to 100 I knew George, and we'd, we'd go   Michael Hingson ** 43:16 to the Hillcrest together. It was fun. Did you meet or get to know Bob Hope, never   Carl Amari ** 43:21 met Bob Hope No, because he lived, what, two, yeah. He lived 100 Yeah. Never met Bob Hope No.   Michael Hingson ** 43:27 And Irving Berlin got to 100 Yeah, yeah. But so   Carl Amari ** 43:30 many, I mean, Jerry Lewis, and so many others that that, I mean, Jerry was so great. I mean, you know, probably one of the most talented people to ever live, you know, and he could even sing, and he could, he could do it all. I mean, he was something. I mean, I was in such awe of that man. And we, he was very kind to me, licensed me to Martin Lewis and all that. So, yeah,   Michael Hingson ** 43:52 we saw one of my favorite musicals. I originally saw it as a movie out here on K Shea was the million dollar movie. It was Damn Yankees,   Carl Amari ** 44:03 damn Yeah, he was on Broadway. Did that on Broadway, and he did it on Broadway,   Michael Hingson ** 44:07 and we read about it. And his father, he had how his father said, You'll really know you've arrived when you get to do something on Broadway. And that was the only thing he ever got to do on Broadway. And we did get to go see it. We saw, Oh, wow, yeah,   Carl Amari ** 44:20 Broadway, amazing, yeah, amazing, yeah, yeah.   Michael Hingson ** 44:24 I'm so sad that there was so much acrimony for so many years between him and Dean Martin, yeah, which was really probably brought on more by all the people they worked with that, yes, that cost a whole lot more than them. But yeah, near the end they, they did deal with it a little Yeah?   Carl Amari ** 44:42 They, they got back together a little bit. Yeah, yeah. He was an interesting guy, Boy, I'll tell you. You know, just talking to him, I learned so much, learned so much over the years.   Michael Hingson ** 44:53 Yeah, yeah. It's so much fun to to be able to do that. Well, I really do hope you do get. To do another show, to do something else. And you're right, there's nothing like science fiction in terms of what you can do, and maybe even doing a series, yeah, yeah, as opposed to individual shows. One of my favorite science fiction books by Robert Heinlein is called the Moon is a Harsh Mistress, and I would love to see somebody dramatize that. I think it would take, probably, to do it right? It's going to take about 15 hours to do but, oh, wow. What a great what a great thing. If you've never read it, read the book, it's really, oh, I   Carl Amari ** 45:30 haven't, so I'm not familiar with it, so I'll give it a read. The Moon is a Harsh, missus,   Michael Hingson ** 45:34 yeah, yeah. Pretty clever. A computer helps organize a revolution on the moon, which was being colonized and run from the lunar authority on earth. Here's what gives it away in 2075 subtract 300 years. Yeah, it's all about the same thing, like the revolution here, but a computer, Mycroft wakes up and helps organize the revolution. It's really pretty clever. Oh, wow,   Carl Amari ** 46:04 that would be fun to do in a series. Yeah, it   Michael Hingson ** 46:08 would be worth doing. But, but, yeah, I've always enjoyed the book. Robert Donnelly read it as a talking book for blind people. Oh, okay, okay, yeah. So I actually have it. I'll have it, I'll have to find it. I could actually send you the recording. You could listen to it. Oh, please do. I'd love that. We won't tell the Library of Congress, so we will know much trouble.   Carl Amari ** 46:33 But you know, then I kind of, you know, my other passion is the Bible. Yeah, I was gonna get to that. Tell me, yeah. I was just gonna, you know, and so a lot of these same actors that did, you know, Twilight zones and things for for me, I just, I met, like Jason Alexander and so many of these people, Lou Gossett Jr, when I decided to do the to dramatize the entire Bible on audio. A lot of these same actors and many, many, many more, were really, were really great to be in that too. It was a lot of fun.   Michael Hingson ** 47:06 Yeah, well, very recognizable voices, to a large degree, like Michael York,   Carl Amari ** 47:12 yes, yes, he was the narrator. So he did the most. He worked the longest. What a great man. Just an amazing actor. He was the narrator. And then you know Jim Caviezel, who played Jesus in the Passion of the Christ, played Jesus in it, right? And then you know Richard Dreyfus was Moses John Voigt was Abraham. Max von Saito played Noah John Rees Davies was in it. I mean, we had, we had, I mean, Marissa Tomei was Mary Magdalene. I had many, many Academy Award winners in it, and so many people, you know, was in it. That was a four year deal that took me four years to do the full Bible. Yeah, 98 hours on audio, fully scored the whole thing.   Michael Hingson ** 48:01 Well, you had a great publisher put it out. Thomas Nelson, Yes, yep. They also did my first book, Thunder dog. So can't complain about that too much. No,   Carl Amari ** 48:10 they know how to market. It Was it, was it, I think, I think today it's still the number one selling dramatized Audio Bible in the world. I believe, you know, so it's, it's been a big success for Thomas Nelson, yeah, that was, that was, that was quite, I mean, you should have seen what my passport looked like when I did that. I mean, it was stamped for every country all over that I was going and, you know, and having to produce, because a lot of the actors, like, you know, John Reese Davies. He lives in, he lives in the Isle of Man, and, you know, and then, you know, Max von Saito was nice France, and we scored it in Bulgaria. And, I mean, you know, it was just crazy and traveling all over the world to make that audio. But you've done some other Bibles in addition to that. I have, yeah, yeah, I have. I've done, think I did. Now it's like five different ones, because I like doing different translations, you know, because it's different. I mean, even though it's the same story, the translations people people have translations that they love, you know, whether it's the RSV or it's the New Living Translation or the Nkj or, you know, and so I, I've enjoyed doing them in different translations. That's   Michael Hingson ** 49:25 pretty cool. Do you have any, any additional, additional ones coming out?   Carl Amari ** 49:29 No, no, I've done, I've done done, like, five and, and so I'm more doing, you know, more concentrating now on my radio show, Hollywood, 360, and, and some movie production stuff that I've been working on. And then I'm one of the owners of a podcast company. So we're, we're always putting out, you know, different podcasts and things. And so my plate is very full, although I would love, I think I would love to do some. Thing, like, what you're saying, like, either more Twilight zones, or maybe something like that. It might be, you know, I'd love to do something in the theater or the mind, you know, arena again, too, because I love doing that. Yeah,   Michael Hingson ** 50:11 I think it'd be a lot of fun to do. Tell me about the podcast,   Carl Amari ** 50:15 yeah. So, um, so we have a podcast company called Gulfstream studios, and we have our main, our main podcast is a is, is. So we're, we, we do a show called, well, there's, there's several podcasts that we're doing, but, but it's the spout is the is the one that's a music oriented we have all the biggest music artists on there. It's really great. So spout is the name of that podcast. And then we're working on, we're working on a Bible podcast. We're going to come out with some a Bible podcast pretty soon. I'm real excited about that more soon. Hopefully you'll have me back when we launch that. Well, yeah, and then, you know, we have, we're always looking for any so I'm ready to, I'm ready to take your podcast onto our platform. Whatever you say. Michael, oh, we'll have to,   Michael Hingson ** 51:10 we'll have to look at that and work it out. But in the meanwhile, I said earlier, I'd love to come on any of the podcasts that you want. And if, yeah, have you read thunder dog,   Carl Amari ** 51:19 no, I didn't know. I didn't have not read it. No. So thunderdog   Michael Hingson ** 51:23 was my story of being in the World Trade Center and getting out and so on. But you should read it, because there are also some, some really poignant parts, like, just to briefly tell that part of the story, I'll send you a video where of a speech I've given, but one of the parts of it is that, as I was running away from tower two, as it was collapsing, because we were at Vesey Street and Broadway, so we were like 100 yards away from tower two when it came down, I turned and ran back the way I came. And as I started to run, I started, I said to myself, and I stayed focused pretty much. But I said to myself at that point, God, I can't believe that you got us out of a building just to have it fall on us. Right? I heard a voice as clearly as we are hearing each other now in my head that said, don't worry about what you can't control. Focus on running with Roselle and the rest will take care of itself. Wow. And I had this absolute sense of certainty that if we just continue to work together, we would be fine. We did, and we were but I am very much a a person who believes in the whole concept of God. And for those who who may disagree with me, you're welcome to do that. You'll you'll just have to take that up with God or whatever at some point. But I would love to really explore anytime you you need a guest to come on and be a part of it, and who knows, maybe I'll be good enough to act in a radio show you do.   Carl Amari ** 52:49 I'm sure you would be, sure you would be Michael, but it would be, yeah, but it would   Michael Hingson ** 52:54 be fun to do. But I really enjoy doing all this stuff, and radio, of course, has become such a part of my life for so long, it has helped me become a better speaker. Was I travel and speak all over the world?   Carl Amari ** 53:10 Yeah, wow. Well, I'm a big fan of yours, and, and, but I'd love to read the book, so I'll order it. Can I get it off of Amazon or something like that? You can get   Michael Hingson ** 53:19 it off of Amazon. You can get it from Audible, okay, or wherever. And then I wrote, then we wrote two others. One's called running with Roselle, which was really intended more for kids talking about me growing up, and Roselle my guide dog at the World Trade Center growing up. But more adults buy it than kids. And then last year, we published live like a guide dog. True Stories from a blind man and his dogs about being brave, overcoming adversity and moving forward in faith, and that one is really about people need to and can learn how to control fear and not let fear overwhelm or, as I put it, blind them. And you can actually learn to use fear as a very powerful tool to help you function, especially in emergencies and unexpected situations. And so live like a guide dog uses lessons I've learned from all of my guide dogs and my wife's service dogs, Fantasia that have taught me so much about learning to control fear. And I realized at the beginning of the pandemic, I've talked about being calm and focused getting out, but I've never taught anyone else how to do it, so live like a guide dog is my solution for that, which is kind of that, that,   Carl Amari ** 54:26 that I'm sure helps a lot of people, you know, that's because fear is, is, it's, it's debilitating, you know? So, yeah, well, that's, but it doesn't need doesn't need to be, that's right, that doesn't need to be, yeah, it's one of the reasons why I wanted to do the Bible stuff, because I learned at a very early age that these theater, these radio shows you under, you listen and you actually interpret them and understand them deeper with the theater of the mind than watching them on television or reading them like, like. I think even reading a book as great as that is, if you heard it dramatized on radio, it's even more powerful. I and so I knew that if I took the Bible, which is the greatest book of all time, and it was dramatized in a way, in a kind of a movie quality way, with sound effects and music and wonderful actors that I thought people would get a deeper meaning of the word. And I think we it. We were successful with that, because so many people have written about it on Amazon and things and saying like I, you know, when I heard the Word of Promise, and when I heard this audio, I had to go and get my Bible and see, does it really say that? You know? So here's people that had read the Bible many, many times, and then they heard the dramatization of it, and were like, wow, I didn't even realize that, you know, that was that happened in the Bible. So it's, it's, it's pretty cool, you know, to read those you know how it's helped people, and it's helped save souls, and it's just been a great you know, it's been a very rewarding experience. Have you   Michael Hingson ** 56:09 ever taken it and divided it up and put it on the radio? Well, that's   Carl Amari ** 56:12 one of the not in the radio, but we're going to do some podcast with, we're going to, we're going to be doing something really, really unique with, with one of my later ones that I did not the Word of Promise, but a different one. And, and it's going to, it's going to be really, really special. I can't wait to talk about it on your show. Looking   Michael Hingson ** 56:30 forward to it, yeah, well, we have had a lot of fun doing this, and I'm going to have to sneak away. So I guess we'll have to stop, darn but we do have to continue this. And, and I'd love to find ways to work together on projects and be a part of your world and love you to be more a part of mine. I'm really glad that we finally had a chance to get together and do all this. It's been a lot of fun. Me   Carl Amari ** 56:53 too, Michael, me too. It's really, I said it was an honor, and it really was an honor. And thank you so much. Well,   Michael Hingson ** 56:59 for all of you listening, we hope you've enjoyed this episode of unstoppable mindset. Love to hear your thoughts. Feel free to email me at Michael H I M, I C, H, A, E, L, H i at accessibe, A, C, C, E, S, S, I B, e.com, or go to our web page where we host the where we have the podcast, w, w, w, dot Michael hingson.com/podcast, Michael hingson is m, I, C, H, A, E, L, H, I, N, G, s, O, n.com/podcast, love to get your thoughts wherever you're listening. Please give us a five star rating. We value that very highly. We really appreciate you giving u

Don Crutchfield has been a private investigator for three decades. His list clients and subjects reads like a Who's Who of Hollywood. Present and former clients include Marlon Brando, the Beatles, Judy Garland, Frank Sinatra, Charles Bronson, Jerry Lewis, and Carroll O'Connor. Subjects of his investigations include Michael Jackson, Lisa Marie Presley, Tim Allen, Donald and Marla Trump, Roseanne Barr, Tom Arnold, and O.J. Simpson.Crutchfield has an international reputation, but his primary base of operations has always been the Los Angeles area. He is regularly contacted as a prime source of information by such media outlets as The Los Angeles Times, Primetime Live and Hard Copy.Don Crutchfield's insights and opinions are often sought by print and electronic media journalists. He has been interviewed on Entertainment Tonight, Hard Copy, A Current Affair, CNN Newsnight and Inside Edition. P.I. Crutchfield has also been the subject of feature articles in The New York Post and The Los Angeles Times.Crutchfield is also a member of International Association of Chiefs of Police, American Society for Industrial Security (A.S.I.S.), California Association of Licensed Investigators (C.A.L.I.), Board of Directors for World Boxing Hall of Fame, member of Screen Actors Guild and AFTRA.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

If you're enjoying the content, please like, subscribe, and comment! Please consider supporting the show! https://creators.spotify.com/pod/show/worldxppodcast/support A Line In The Sand: https://www.amazon.com/Line-Sand-Novel-Miles-Spencer/dp/1917185820/ref=tmm_pap_swatch_0?_encoding=UTF8&qid=&sr= Wells Jones is an "American Born Abroad" at the US Army Hospital, Bad Connstatt, Germany. Following High School in Bethel, Vermont Wells spent three seasons in Antarctica as a member of the Navy's VXE-6 Antarctic Para-Rescue Team. VXE-6 was contracted by the National Science Foundation as the air wing in support of international Antarctic research "Operation Deepfreeze." During this time he became an Antarctic Survival Instructor and the 7th person to skydive the South Pole - January 19, 1977. After his Antarctic tour he studied acting at Santa Barbara City College and performed in college and Santa Barbara community productions. In 1980 he left Santa Barbara for New York to attend The American Academy of Dramatic Arts. Wells' SAG and AFTRA cards soon followed with principal roles in network television commercials and daytime television. In the early 90's Wells co-founded a production company, Aunahil, LLC and produced, wrote and directed over 100 live theatrical and educational events for non-profit organization presented in venues across the country including Constitution Hall for The White House, The Kennedy Center Opera House, Lincoln Center's Avery Fisher Hall, Orchestra Hall Chicago, and The Philadelphia Museum of Art. In 2006 Wells completed an 1,100 mile backpack trek with Miles Spencer from Jeddah, Saudi Arabia to Damascus, Syria retracing T.E. Lawrence (of Arabia) path along the Hejaz as outlined in "Seven Pillars of Wisdom." He has been a board member of "Kayak for a Cause" and kayaked across Long Island Sound annually for five years with several hundred kayakers to raise funds for local charities. Wells has climbed a half dozen Colorado 14er's, skied Colorado back-country bowls and has completed over 40 solo 3 am 7 mile hikes up 12,622' Santa Fe Baldy, NM in all seasons to watch spectacular sunrises. Since his trip to the Middle East, Wells and Miles have been working on a play and book, titled "A Line In The Sand." detailing their travels. ______________________ Follow us! @worldxppodcast Instagram - https://bit.ly/3eoBwyr @worldxppodcast Twitter - https://bit.ly/2Oa7Bzm Spotify - http://spoti.fi/3sZAUTG YouTube - http://bit.ly/3rxDvUL #media #writer #israel #lawrenceofarabia #arabic #saudiarabia #jeddah #parachute #navy #antarctica #skydiving #explore #explorepage #podcastshow #longformpodcast #longformpodcast #podcasts #podcaster #newpodcast #podcastshow #podcasting #newshow #worldxppodcast

 Episode NotesHave you ever wondered any of these: What the science is behind creativity? What causes creativity in the brain? What part of the brain is used in creativity? Or maybe even how to activate creativity in the brain? In this episode Kate speaks with Dr. Cheryl Arutt a clinical and forensic psychologist based in Los Angeles, California working with actors, writers, directors and showrunners supporting their psychological well-being. A specialist in trauma recovery, creativity and post-traumatic growth, Dr. Cheryl is currently Access Hollywood's go-to psychologist for trauma issues, a frequent psychological expert on many networks including CNN, HLN and DiscoveryID, and has been interviewed by the BBC and 20/20 Australia.  For more information about Dr. Cheryl please visit askdrcheryl.com, and for info about her online courses for creative artists please visit www.thecreativeresilience.comDr. Cheryl explains how creativity works and what it even is from a Brain Science Perspective. We talk about the link between education and creativity. I ask her if we are doing enough to foster creativity & creating thinking in the school system? And she gives us some actionable things we can do at home for ourselves and our children to rev our own creative engines. One of my favourite moments though, comes towards the end  when I ask her about the possibility of the opposite of inheriting generational trauma existing. We know we can inherit trauma but can we inherit magical wonderful things too? We shared a really tender moment - one where I felt like she was talking to ALL of us. It's beautiful, uplifting and inspiring.  I think you'll be really moved by it. What Dr. Cheryl Arutt & I talk about-What creativity IS from a brain science perspective. -What is really going on inside our psychology when people say “I'm not creative”-Why processing trauma including intergenerational trauma, and converting it to post traumatic growth is so important (and is absolutely possible)-The link between education and creativity. Are we fostering creativity and creating thinking enough in the school system? And if we are seeing that our children are not getting as much focus on creativity in school what can we do at home? -What is the one question you can ask yourself (or your kids) to kick start your creativity (what is another way to do that/look at that/solve that)-How the “we only use 10% of our brains” thing is a myth-How to use creativity to safely access our traumas -What is EMDR (eye movement and desensitization and reprocessing therapy how it was discovered and how creative people can use it to heal trauma and access even more of their innate creativity-Post traumatic growth - learning to integrate and recognize all the ways you grew as a person as a result of living through your trauma-What she thinks creativity is trying to do - from a brain science perspectiveAbout Dr. Cheryl AruttDr. Cheryl Arutt is an accomplished clinical and forensic psychologist based in Beverly Hills, CA whose amalgamation of rigorous training and experience allows her to engage with people from a place of deep insight and empathy. Through compassion, skill and sometimes even humor, she helps her patients uncover what is in the way of living a full-access life, empowering them to move forward.Following over 20 years as a working actor, Dr. Cheryl's interest in human behavior shifted to psychology after volunteering on a crisis line. With scholarships from both SAG and AFTRA to study at University of California, Los Angeles, Dr. Cheryl graduated summa cum laude and was elected to Phi Beta Kappa. She earned her Doctor of Psychology degree from California School of Professional Psychology in Los Angeles, where she received the Outstanding Doctoral Project Award for her Clinical Dissertation: Healing Together: A program for couples coping with the aftermath of rape.Her postdoctoral fellowship at WILA culminated in a certificate of psychoanalytic psychotherapy, and she received further advanced training in Interpersonal Neurobiology with Dr. Daniel Siegel, with whom she gave a TEDx talk. A lifelong student of power dynamics and an ally for social justice, Dr. Cheryl taught courses to PhD and PsyD students at Allliant International University/CSPP, including: Intercultural Processes and Human Diversity, Sex Roles and Gender, Ethics and Clinical Interviewing.Dr. Cheryl Arutt - Clinical PsychologistAs a trauma specialist, Dr. Cheryl helps her patients understand how adaptations to the source of distress often outlive their usefulness and provides guidance and inspiration to navigate life from a place of wholeness. In continual pursuit of deepening her knowledge of trauma recovery and post-traumatic growth, Dr. Cheryl is devoted to continuing education in effective and evidence-based therapies, including EMDR therapy. A certified Rape and Domestic Violence counselor for decades, Dr. Cheryl also serves on the Board of the national victim's organization, PAVE, dedicated to shattering the silence of sexual violence.  Dr. Cheryl understands and supports the unique needs and challenges of creative artists and performers. In collaboration with Dr. Cheryl, actors, writers, showrunners, musicians and other creative professionals learn to thrive and clear obstacles to their success and happiness, both personally and professionally. She is a firm believer that the best way to protect the art is to protect the artist.In addition to working with people in private practice, Dr. Cheryl enjoys speaking to professional organizations, institutions of higher learning, at events and on television about creative resilience, post-traumatic growth, recovery from trauma and why people do what they do.  Dr. Cheryl Arutt: website | facebook | instagram | twitterKate Shepherd: art | website | instagram | twitterMorning Moon Nature Jewelry | website |  instagramCreative Genius Podcast | website | instagram Resources discussed in this episode:-Dan Siegel, MD-Dan Siegel's “Window of Tolerance”-EMDR Institute-Access Hollywood video about EMDR-Bessel van der Kolk, MD book: The Body Keeps the Score 

Nintendo bows to Blockbuster, Commodore enters liquidation & Acclaim-Midway divorce gets messy!   These stories and many more on this episode of the VGNRTM!   This episode we will look back at the biggest stories in and around the video game industry in April 1994. As always, we'll mostly be using magazine cover dates, and those are of course always a bit behind the actual events.   Alex Smith of They Create Worlds is our cohost.  Check out his podcast here: https://www.theycreateworlds.com/ and order his book here: https://www.theycreateworlds.com/book   Get us on your mobile device: Android:  https://www.google.com/podcasts?feed=aHR0cHM6Ly92aWRlb2dhbWVuZXdzcm9vbXRpbWVtYWNoaW5lLmxpYnN5bi5jb20vcnNz iOS:  https://podcasts.apple.com/de/podcast/video-game-newsroom-time-machine   And if you like what we are doing here at the podcast, don't forget to like us on your podcasting app of choice, YouTube, and/or support us on patreon! https://www.patreon.com/VGNRTM   Send comments on Mastodon @videogamenewsroomtimemachine@oldbytes.space Or twitter @videogamenewsr2 Or Instagram https://www.instagram.com/vgnrtm Or videogamenewsroomtimemachine@gmail.com   Links: If you don't see all the links, find them here: https://www.patreon.com/posts/107563816   7 Minutes in Heaven: Rocko's Modern Life Video Version:  https://www.patreon.com/posts/7-minutes-in-107343911     https://www.mobygames.com/game/37843/rockos-modern-life-spunkys-dangerous-day/   Corrections: March 1994 Ep - https://www.patreon.com/posts/march-1994-105189897 Ethan's fine site The History of How We Play: https://thehistoryofhowweplay.wordpress.com/     https://x.com/chrisgr93091552        1994: Ataris settle with Nintendo     https://www.nytimes.com/1994/03/26/business/company-news-time-warner-increases-its-stake-in-atari.html     Nintendo and Atari Games reach settlement in long-running court case; litigation settlement ends five-year court battle and restores Atari's status as Nintendo licensee, Business Wire, March 24, 1994, Thursday     ATARI CORP. AND NINTENDO REACH SETTLEMENT IN PATENT INFRINGEMENT CASE, PR Newswire, March 24, 1994, Thursday - 19:44 Eastern Time     Atari Corp. falsely characterizes Nintendo/Atari settlement, Business Wire, March 25, 1994, Friday     https://archive.org/details/AtariCorporationAnnualReport1992/page/n12/mode/1up     https://archive.org/details/AtariCorporationAnnualReport1993/page/n33/mode/1up     https://patents.google.com/patent/US4445114A/en   Nintendo gives in to rentals     Nintendo Reverses Stand, Will Play The Rental Game, Billboard, April 30, 1994, Section: Pg. 6   Nintendo finally pays Galoob     GALOOB TO RECEIVE $16.1 MILLION PAYMENT FROM NINTENDO TODAY, PR Newswire, April 11, 1994, Monday - 09:11 Eastern Time   EA and Broderbund to merge     https://archive.org/details/Electronic-Games-1994-04/page/n9/mode/1up?view=theater   Pearson buys Software Toolworks     https://www.nytimes.com/1994/04/01/business/pearson-enters-multimedia-software-arena.html     https://www.nytimes.com/1994/04/12/business/market-place-the-choices-are-few-for-investing-in-software-aimed-at-children.html?searchResultPosition=17   Paramount teams up with Davidson & Associates     https://www.nytimes.com/1994/04/13/business/the-media-business-software-plan-for-paramount.html?searchResultPosition=18     https://www.avid.wiki/Davidson/Simon_%26_Schuster   Warner consolidates     https://archive.org/details/cashbox57unse_29/page/30/mode/1up?view=theater   TSR and SSI call it quits     https://archive.org/details/Computer_Gaming_World_Issue_117/page/n11/mode/2up   WMS to buy Tradewest     BUSINESS BRIEFS: WMS INDUSTRIES INC TO ACQUIRE TRADEWEST IN HOME-VIDEO PUSH, WALL STREET JOURNAL, April 6, 1994, Wednesday, Section: Section B; Page 4, Column 5         WMS Industries to acquire Tradewest Inc., Business Wire, April 5, 1994, Tuesday   Acclaim signs deal for Batman Sequel     WARNER BROS. AND ACCLAIM ANNOUNCE 'BATMAN FOREVER' PACT; Blockbuster Motion Picture to be Released in 1995, Business Wire, April 26, 1994, Tuesday       SEGA SELECTS ACCLAIM AS FIRST U.S. PUBLISHER TO USE PROPRIETARY TITAN TECHNOLOGY FOR COIN-OP GAMES AND HIGH-END SEGA HOME HARDWARE PLATFORMS, Business Wire, April 7, 1994, Thursday     Big Movers in the Stock Market, The Associated Press, April 7, 1994, Thursday, AM cycle   MGM signs up with Sega     MGM, SEGA TO DEVELOP INTERACTIVE VIDEO GAMES, Extel Examiner, April 29, 1994, Friday - 03:15 Eastern Time   Could Disney buy a major games publisher?     Will Disney Chart More Adventurous Course in Wells' Absence?, The Associated Press, April 11, 1994, Monday, PM cycle, Section: Business News, Byline: By E. SCOTT RECKARD, Associated Press Writers   Living Books buys Dr. Seuss rights     https://www.nytimes.com/1994/04/22/business/the-media-business-dr-seuss-rights-are-sold.html?searchResultPosition=34   US announces Special 301 trade action against China     NINTENDO OF AMERICA STATEMENT ON SPECIAL 301 ACTION BY USTR, PR Newswire, April 30, 1994, Saturday - 19:04 Eastern Time   Japan misses chip import target     Newsbyte, US Japan Chip Wars Heat Up - Again! 01/03/94, WASHINGTON, DC, U.S.A., 1994 JAN 3 (NB)   Japanese toy wholesale system under pressure     Big stores rile small retailers with bargain toy price strategy, Industry's retail pricing structure said to have been undermined, The Nikkei Weekly (Japan), April 18, 1994, Section: INDUSTRY; Pg. 9      AFTRA signs deal with EA     https://archive.org/details/Electronic-Games-1994-04/page/n11/mode/1up?view=theater   Sega disses Summer CES     https://archive.org/details/Electronic-Games-1994-04/page/n11/mode/1up?view=theater      Dedicated cabs rule UK ATEI show     https://archive.org/details/edge-007-april-1994/page/8/mode/1up?view=theater      American Laser goes CDRom     Play Meter, April 1994, pg. 14 & Acme 13   Midway takes page from Capcom's playbook     https://archive.org/details/cashbox57unse_28/page/30/mode/1up?view=theater   AMOA teams up with Ross Perot's EDS     Play Meter, April 1994, pg. 1, 66A        https://en.wikipedia.org/wiki/Claw_(video_game)#Development       EDS' EARNINGS RISE 13 PERCENT IN FIRST QUARTER, PR Newswire, April 27, 1994, Wednesday - 16:29 Eastern Time      Saturn to launch with Jupiter     https://archive.org/details/edge-007-april-1994/page/6/mode/1up?view=theater   Jaguar UK launch botched     https://archive.org/details/edge-007-april-1994/page/13/     https://archive.org/details/edge-007-april-1994/page/17/   3DO prospects in Japan look good     So far, 3DO multiplayer living up to hype, Matsushita Claims It Sold 40,000 Of Long-Awaited Machines In First 3 Days, The Nikkei Weekly (Japan), April 4, 1994,Section: INDUSTRY DIGEST; Pg. 9, Byline: BY MASATO ISHIZAWA Staff writer     https://vgsales.fandom.com/wiki/Fifth_generation_of_video_games   3DO licenses tech to Toshiba for GPS     3DO. TOSHIBA TIE UP ON NAVIGATION SYSTEM, Jiji Press Ticker Service, APRIL 12, 1994, TUESDAY   3DO kicks off US ad campaign     3DO Kicks Off National Advertising Campaign, Business Wire, April 25, 1994, Monday       https://www.youtube.com/watch?v=-W67sqPQ9u0   MSU gives Konix Multisystem a second go     https://archive.org/details/edge-007-april-1994/page/14/mode/1up?view=theater        https://www.konixmultisystem.co.uk/index.php?id=archive        https://www.konixmultisystem.co.uk/index.php?id=msu   Japanese devs not waiting for Nintendo     https://archive.org/details/edge-007-april-1994/page/13/mode/1up?view=theater      Capcom to support 3DO and PSX     https://archive.org/details/GamePro_Issue_057_April_1994/page/n159/mode/1up?view=theater   Virgin to support CDi     https://archive.org/details/GamePro_Issue_057_April_1994/page/n159/mode/1up?view=theater   Tower Records ditches CDi and Gameboy     Tower Video Dumps CD-I; VSDA Adds Game Seminars, Billboard, April 30, 1994, Section: HOME VIDEO; Shelf Talk; Pg. 72   Lethal Enforcers comes to the SNES     https://archive.org/details/GamePro_Issue_057_April_1994/page/n171/mode/1up?view=theater   Nintendo censorship strikes again     https://archive.org/details/Electronic-Games-1994-04/page/n11/mode/1up?view=theater      Sega announces MegaJet is coming home!     https://archive.org/details/ElectronicGamingMonthly_201902/Electronic%20Gaming%20Monthly%20Issue%20057%20%28April%201994%29/page/n63/mode/2up     https://consolemods.org/wiki/Master_System:Master_System_Model_Differences#Master_System_Super_Compact/Master_System_Girl_(1994)      Commodore pulls out of World of Commodore-Amiga show     https://archive.org/details/amiga-computing-magazine-072/page/n13/mode/1up      Commodore announces liquidation     Commodore Scuttles Ship, The Associated Press, April 29, 1994, Friday, AM cycle      IBM agrees to make Cyrix chips     https://www.nytimes.com/1994/04/15/business/ibm-agrees-to-make-chips-designed-by-cyrix.html?searchResultPosition=19   EA sees big upswing in CDRom sales     Company Results Roundup, Newsbytes, April 29, 1994, Friday   Could CDRom usurp video games?     PC GAMES COULD CAPTURE SEGA, NINTENDO CUSTOMERS, WALL STREET JOURNAL,April 27, 1994, Wednesday, Section B; Page 1, Column 5, Byline: BY JOSEPH PEREIRA Argonaut, Cirrus and Diamond team up for PC 3D API standard         3-D GRAPHICS ALLIANCE FOR PC GAMES ANNOUNCED BY DIAMOND COMPUTER SYSTEMS, CIRRUS LOGIC AND ARGONAUT SOFTWARE, PR Newswire, April 25, 1994, Monday - 09:02 Eastern Time         https://blazingrender.net/   3Dlabs and Creative team up for PC 3D API standard     3Dlabs announces alliance with Creative Technology; Customized GLiNT processor to bring interactive 3D graphics to multimedia desktops, Business Wire, April 18, 1994, Monday   Spectrum Holobyte bets on fractals     Fractals to put the squeeze on the game industry, Business Wire, April 13, 1994, Wednesday         https://en.wikipedia.org/wiki/Fractal_compression#Implementations   Microprose dumps Adventure engine     https://archive.org/details/Computer_Gaming_World_Issue_117/page/n11/mode/2up   Maxis wants to turn SimCity into a sandbox     https://archive.org/details/game-developer-april-1994/page/n5/mode/1up?view=theater   Doom leaves Edge unimpressed     https://archive.org/details/edge-007-april-1994/page/60/mode/1up?view=theater      Newscorp buys Kesmai     Murdoch's News Corp. to acquire Kesmai Corp; Global media company positions Delphi to deliver the next wave of online interactive multimedia, Business Wire, April 25, 1994, Monday   AOL swamped by new signups     https://archive.org/details/Electronic-Games-1994-04/page/n9/mode/1up?view=theater     https://archive.org/details/Electronic-Games-1994-04/page/n15/mode/1up?view=theater        https://archive.org/details/edge-007-april-1994/page/92/mode/1up?view=theater   Game Developer magazines debuts     https://archive.org/details/game-developer-april-1994/page/n3/mode/1up      Second round of video game violence hearings lack fireworks     Play Meter, April 1994, pg. 12   Data East beats Capcom in court     Play Meter, April 1994, pg. 1   Ads in software patented     https://www.nytimes.com/1994/04/08/business/company-news-patent-dispute-brewing-on-software-use-of-ads.html         https://medium.com/swlh/how-i-screwed-a-patent-troll-out-of-a-billion-dollars-2849cb3e248a       https://patentimages.storage.googleapis.com/ed/d8/f2/387782f38818da/US5105184.pdf     https://www.nytimes.com/1994/12/08/business/us-revokes-cotton-patents-after-outcry-from-industry.html      Study finds no link between video violence and juvenile delinquency     Offenders do not watch more violence, The Times, April 11, 1994, Monday, Section: Home news, Byline: Alexandra Frean, Media Correspondent Middlesex University offers Gaming degrees         https://archive.org/details/PC-Player-German-Magazine-1994-04/page/n13/mode/2up        https://retrocdn.net/images/7/7f/CVG_UK_149.pdf pg. 14   RIP 3' disks     https://archive.org/details/amstrad-action-103/page/n7/mode/2up   Recommended Links:   The History of How We Play: https://thehistoryofhowweplay.wordpress.com/ Gaming Alexandria: https://www.gamingalexandria.com/wp/ They Create Worlds: https://tcwpodcast.podbean.com/ Digital Antiquarian: https://www.filfre.net/ The Arcade Blogger: https://arcadeblogger.com/ Retro Asylum: http://retroasylum.com/category/all-posts/ Retro Game Squad: http://retrogamesquad.libsyn.com/ Playthrough Podcast: https://playthroughpod.com/ Retromags.com: https://www.retromags.com/ Games That Weren't - https://www.gamesthatwerent.com/ Sound Effects by Ethan Johnson of History of How We Play. Copyright Karl Kuras

  Encore! Encore! Yes, today we present another encore episode of the Rarified Heir Podcast, and this one was a doozy! Our guest today is Matt Asner, son of actor and activist of the beloved Ed Asner. Matt spoke with us on the podcast about a myriad of things such as his youth spent on the MTM backlot while his dad was playing Lou Grant on The Mary Tyler Moore Show, the story behind his dad's controversial stint as head of the Screen Actors Guild,  films like Fort Apache The Bronx, Pixar's Up, Elf and much more. We also hear from Matt about his years as a musical youth in punk bands like Insect Idol & Grand Manner, time spent with his dad's co-stars Ted Knight and Gavin McLeod as well as where his father liked to eat in Los Angeles. Most importantly we discuss Matt's work at The Ed Asner Family Center, which provides virtual and in-person camps, adult day programs, relationship courses, arts, and vocational, enrichments for special needs individuals and their families as well as in-person and Telehealth counseling and support groups. This is the Rarified Heir Podcast. Everyone has a story.  

Today on another encore edition of the Rarified Heir Podcast we are talking to Richard Duggan, son of actor Andrew Duggan. Andrew was kind enough to talk to us about his father who had so many credits and tangential pop culture references, we'll have you saying, “Ah, yeah right!” Before you know it. A star of stage, screen, television, commercials and more, Richard Duggan most recently would be known for his TV show Lancer which plays a pretty major role in the Quentin Tarantino movie Once Upon a Time In Hollywood. Believe me, we dig right in on that one. We also hear about his father's roles opposite everyone from James Coburn, Meryl Streep, Don Knotts, Dan Aykroyd and Larry Storch. I ask you, where can you find a resume like that? From In Like Flint to Doctor Detroit, we hear all about his dad's career in front of the camera. There's even a few curve balls, as Andrew was the voice of a series of popular commercials for Bud Light & even won a Clio for “Friend of the Family (Rust in Peace)”. Richard also tells us about his career in comedy & film as he passes along some great first-hand accounts of Robin Williams (who went to the same college), Andy Dick and the cult film The Toxic Avenger. I mean, how could you go wrong hearing about Kirk Douglas and Toxie? The fact is you can't. So set your internal clocks back a tiny bit and take a listen to this episode of the Rarified Heir Podcast. Everyone has a story. 

Don Crutchfield: Confessions of a Hollywood PIOct 9, 2021Don Crutchfield has been a private investigator for three decades. His list clients and subjects reads like a Who's Who of Hollywood. Present and former clients include Marlon Brando, the Beatles, Judy Garland, Frank Sinatra, Charles Bronson, Jerry Lewis, and Carroll O'Connor. Subjects of his investigations include Michael Jackson, Lisa Marie Presley, Tim Allen, Donald and Marla Trump, Roseanne Barr, Tom Arnold, and O.J. Simpson. Crutchfield has an international reputation, but his primary base of operations has always been the Los Angeles area. He is regularly contacted as a prime source of information by such media outlets as The Los Angeles Times, Primetime Live and Hard Copy. Don Crutchfield's insights and opinions are often sought by print and electronic media journalists. He has been interviewed on Entertainment Tonight, Hard Copy, A Current Affair, CNN Newsnight and Inside Edition. P.I. Crutchfield has also been the subject of feature articles in The New York Post and The Los Angeles Times. Crutchfield is also a member of International Association of Chiefs of Police, American Society for Industrial Security (A.S.I.S.), California Association of Licensed Investigators (C.A.L.I.), Board of Directors for World Boxing Hall of Fame, member of Screen Actors Guild and AFTRA.Add To CartBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-opperman-report--1198501/support.

Couch Potato Theater: Road House (1989) w/ Special Guest & Co-star Anthony De Longis! Watch the video version of this Couch Potato Theater episode on the Fandom Podcast Network YouTube Channel: https://www.youtube.com/@FandomPodcastNetwork Welcome to Couch Potato Theater here on the Fandom Podcast Network! On Couch Potato Theater we celebrate our favorite movies! On this episode we celebrate the 35th anniversary of Road House (1989), starring Patrick Swayze, Kelly Lynch, Sam Elliott & Ben Gazzara. We welcome Special Guest & Co-star Anthony De Longis! Anthony is an accomplished Actor, Whip Master, Sword Master, Weapons Expert, Teacher-Trainer, Voice Artist & Horseman. More information on Anthony and how to contact him are below.   Road House is a 1989 American action film directed by Rowdy Herrington. Its plot follows a cooler at a newly refurbished roadside bar who protects a small town in Missouri from a corrupt businessman. The film has gone on to be a cult classic, being voted the most watched film on cable in 2020. A sequel, Road House 2, was released in 2006. We also review the new Road House (2024), the remake was released in March of 2024 on Amazon Prime, starring Jake Gyllenhaal & Conor McGregor, directed by Doug Liman.   Fandom Podcast Network Contact Information - The FANDOM PODCAST NETWORK YouTube Channel:  https://www.youtube.com/c/FandomPodcastNetwork - Master feed for all FPNet Audio Podcasts: http://fpnet.podbean.com/ - Couch Potato Theater Audio Podcast Master Feed:  https://fpnet.podbean.com/category/couch-potato-theater - Facebook: https://www.facebook.com/Fandompodcastnetwork - Email: fandompodcastnetwork@gmail.com - Instagram: https://www.instagram.com/fandompodcastnetwork/ - Twitter: @fanpodnetwork / https://twitter.com/fanpodnetwork   - Tee Public Fandom Podcast Network Store:  https://www.teepublic.com/stores/fandom-podcast-network Special Guest: Anthony De Longis Bio & Contact information: ANTHONY DE LONGIS - Whip Master / Sword Master / Weapons Expert / Teacher-Trainer / Actor / Voice Artist / Horseman My decades of structure and technique with whip and blades now online De Longis Professional Bullwhip & Bladed Weapons Instruction on Buy Me A Coffee! https://www.buymeacoffee.com/anthonydelongis https://www.buymeacoffee.com/anthonydelongis/extras    Check out the new website materials at www.delongis.com and please share when appropriate. Anthony De Longis    - Actor, Weapons Expert, Whip Master, Sword Master, Horseman, Voice Artist, Director E mail - industry@delongis.com  www.delongis.com   http://www.imdb.com/name/nm0209815/ https://www.facebook.com/anthony.delongis https://www.stuntphone.com/viewprofile/701/ https://www.stuntplayers.com/player/anthony-de-longis/ Instagram : theanthonydelongis President, Palpable Hit Productions, SAG, AFTRA, AEA, ACTRA, AMPAS, ATAS  Black Belt Hall of Fame, USA Martial Arts Hall of Fame, International Knife Throwers Hall of Fame, Ultimate Warriors Hall of Fame, Kenpo Karate Hall of Fame   DPACA (De Longis Performance & Combat Arts), Rancho Indalo Riders   Acting reel:    Sword Reel at: Whip Master Ree:  https://www.imdb.com/video/vi945273113 ADL Horse Skills Reel:   NOW ONLINE:  De Longis Bullwhip and Bladed Weapons Instruction on Buy Me A Coffee! https://www.buymeacoffee.com/AnthonyDeLongis https://www.buymeacoffee.com/anthonydelongis/extras    DPACA (De Longis Performance & Combat Arts) ANTHONY DE LONGIS - Whip Master / Sword Master / Weapons Expert / Teacher-Trainer / Actor / Voice Artist /Horseman Intensive Bullwhip Instruction and Training for Film, Television, Stage Performance, Whips from Horseback and Combative Martial Applications.  Step-by-step progressive lessons to develop skills for confident professional level excellence.  “You can only ‘wing it' if you have the skills to fly.”   MASTERING THE BULLWHP Vol 1 : Anatomy of the Bullwhip MASTERING THE BULLWHP Vol 2 : Faster Than A Speeding Bullet MASTERING THE BULLWHP Vol 3 : The Supersonic Flexible   Blade - Building Efficient, Effective Accuracy and Skills  MASTERING THE BULLWHP Vol 4 : Targeting with a Partner, Body Envelopments, Prepping the Horse and More RAPIER FOR THE STAGE & SCREEN VOL 1 & 2 : Foundational Beginner-to-Intermediate structures for single handed weaponry including saber, rapier, cutlass and smallsword. BROADSWORD FOR THE STAGE & SCREEN  Vol 1 & 2 : Geared to swordpersons with Intermediate-to-Advanced Skills including Broadsword, Bastard Sword, Katana and virtually any two-handed weapons application. These lessons will add depth and dimension to both technique and choreography and greatly expand performance choices.   ALL NEW : BULLWHIP COMBATIVES AT MULTIPLE RANGES clip_image001png BULLWHIP COMBATIVES AT MULTIPLE RANGES with Sensei Anthony De Longis and Grand Master Ron Lew  The culmination of over 100 years of collective martial arts training and experience. Offering great options for both martial and performance choreography applications. Sensei De Longis created and refined his “De Longis Rolling Loop” methodology based on five decades of European sword training with Maestro Ralph Faulkner, Filipino bladed weapons with Guro Dan Inosanto and Japanese katana with Kaiso Toshishiro Obata and Sensei Mathew Lynch. He often refers to the whip as a 'super-sonic flexible blade'. His unique methods utilize structure and alignment to produce explosive accurate energy with maximum efficiency and minimum effort and offers a variety of precision strikes and body envelopments at Long Range. The De Longis method also employs effective Medium and Close Range combative applications utilizing the companion hand as well as the Baton, Punyo / Pommel and ‘Big Loop' Thong for striking, redirecting, trapping and submission techniques. Sensei De Longis invited Senior Grand Master Ron Lew to join the exploration. SGM Lew developed his own unique close range bullwhip martial arts form called the Tibetan Wave, based on his work in Tai Chi, Tibetan energy work, and Cacoy Canete Doces Pares Eskrima and Eskrido.  The result is BULLWHIP COMBATIVES AT MULTIPLE RANGES   A Practical and Combative Approach to SPANISH RAPIER, ITALIAN RAPIER and the school of FRENCH SMALLSWORD    In association with Anthony De Longis' Palpable Hit Productions, Maestro Jeanette Acosta-Martinez has created three instructional DVDs for the French school of Smallsword – L'ECOLE FRANÇAISE. Taught by Maestro Jeanette Acosta-Martinez, the techniques of this complex and lethal form of swordsmanship are presented in concise sequential lessons. https://www.martinez-destreza.com/ LA VERDADERA DESTREZA - Spanish Rapier LA SCHERMA ITALIAN  - Italian Rapier L'ECOLE FRANÇAISE  - French Small Sword  KNIFE THROWING 101 - JACK DAGGER Method   #FandomPodcastNetwork #FPNet #FPN #CouchPotatoTheater #RoadHouse #RoadHouse1989 #RoadHouseMovie #RoadHouse2024 #RowdyHerrington #PatrickSwayze  #KellyLynch  #SamElliott  #BenGazzara  #KevinTighe  #RedWest  #JeffHealey  #SunshineParker  #MarshallTeague  #JohnDoe  #KathleenWilhoite  #TerryFunk  #AnthonyDeLongis  #JakeGyllenhaal  #DougLiman. #DanielaMelchior  #ConorMcGregor  #AmazonPrime

Quinn Lemley is the star of the hit shows, Burlesque to Broadway & Rita Hayworth The Heat Is On! which headline performing arts centers and casinos across North America. She received The Bistro Award and Two MAC awards nominations.Her jazz quintet performs internationally and is The Iconic Face of the Half Note in Athens, Greece.  The New York Times defines her performances as "Dazzling...with one show stopping number after another!" The NY Post says “you don't even have to squint your eyes to see Rita's in the room.” Quinn has directed and co-produced Rebel Rebel, The Many Lives of David Bowie, Pink Floyd's Dark Side of the Wall and The Ultimate Queen Celebration. Seen on Good Morning America, Oprah and a finalist on Shark Tank.  She has 5 CD's available. You can stream her music on Spotify and Apple Music. Quinn is the host of the TV show, Secrets of the Stage on MNN.org and a monthly virtual concert on Zoom, Up Close & Personal. She is also a Keynote Speaker and Presenter bringing her message to companies around the world. A graduate of NYU Tisch School of the Arts and a Distinguished Toastmaster at Toastmaster's International and proud member of National Speakers Association  Quinn is a proud member of SAG, AFTRA, AEA, DTM, NSA NY, APAP, and IEBA. Listen in as Quinn shares with Lou a bit of her journey and how she uses this experience to help Entrepreneurs, Executives and Artists STEP ONSTAGE into their personal power and capture their dreams   ***CONNECT WITH LOU DIAMOND & THRIVE LOUD***

Oscar snub and Margo Robbie finally spoke out at a SAG-AFTRA event. Adele is wrapping up in Vegas and will be playing 4 shows in Germany and they built an outdoor stadium. Taylor Swift and Jake Gyllenhaal, and how he got out of work due to his behavior.Make sure to also keep up to date with ALL our podcasts we do below that have new episodes every week:The Thought ShowerLet's Get WeirdCrisis on Infinite Podcasts

One of the radio veterans featured in this episode was Byron Kane. Another was Paula Winslowe. By October 1973, it was obvious that Jay Kholos couldn't afford to keep funding new episodes of The Zero Hour thanks to AFTRA's changing terms. He looked to make a deal with a network. The Mutual Broadcasting System and C. Edward Little were interested. A deal came together quickly. A press conference announcing the move was set for November 1st. We heard that presser at the beginning of this episode. The Zero Hour would be moving to Mutual on December 17th, 1973. Before new episodes could be broadcast, Mutual would air the thirteen five-part episodes already directed by Elliott Lewis.

Janet Waldo, famous for her portrayal of Corliss Archer as well as Judy Jetson, Penelope Pitstop, and Emmy Lou on The Adventures of Ozzie and Harriet, was featured in this episode of The Zero Hour. With AFTRA's moving goal posts meaning that producing more episodes of The Zero Hour would cost significantly more money, in the fall of 1973, Jay Kholos had to look for either a potential production partner or a buyer. In the meantime, The Zero Hour continued to air in syndication over stations like WRVR in New York.

In our final episode of 2023, we are sharing a recording of an event hosted by the UCLA History Department as part of the Why History Matters series. Labor movements have surged to the attention of the public over the past year, with the historic Writers Guild and SAG-AFTRA strikes at the beginning of the year as well as the United Auto Workers strike later in the year. Moderated by UCLA Professor of History and Labor Studies Toby Higbie, this event featured a panel discussion with Kent Wong (Director of the UCLA Labor Center), Susan Minato (Co-President of UNITE HERE Local 11), and Billy Ray (Screenwriter and Director, and former co-chair of the WGA Negotiating Committee) about the history of labor movements, the power of unions and strikes in America today, and what lies ahead.

Directing Comedy with Emmy-Award-Winning Comedy Director Mary Lou Belli. Some things we cover: -How do you tackle blocking a multicam show? -Who's close up do you do first? -How important are reaction shots? -How can you find the comedy beats in a script? -How can you help actors find & perform  the comedy beats? -How can an editor save your comedy? -How much blocking prep should you do? -How can you work with an actor who wants to do different blocking than you need? -What's one of the first things you should do on a new set?   (Episode 54) Hosted by Director/Producer⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jenn Page.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ If you want to be notified when we open our doors to our green screen virtual production studio dedicated to indie filmmakers (and indie film budgets) fill out the form on our website at ⁠⁠⁠⁠⁠TheWorkingDirector.Pro.⁠⁠⁠⁠⁠ You can also go there to join our private FB group for directors so you can attend these live conversations and get your questions answered; as well as, to learn about The Working Director course that helps emerging filmmakers become working directors faster. More on Mary Lou: https://www.maryloubelli.com/ Two time Emmy award-winning MARY LOU BELLI has been directing television for over 30 years including NCIS New Orleans, True Lies, Black Lightning, Bull, Legacies, Station 19, Sweet Magnolias, Pitch, Monk, Famous In Love, Devious Maids, The Quad, American Woman, and Hart of Dixie as well as Disney's The Secret of Sulphur Springs, Ms. Pat, Wizards of Waverly Place, Sister, Sister, Girlfriends, and The Game. Her short film, Straight Eye for the Gay Guy won “Best Mini-short” at the California Independent Film Fest where she also premiered I Heard Something, a thriller that went on to play fests internationally. She has done ground-breaking work on web-series. Her award-winning short, America, played its 14th fest on its 4th continent at The Hague and won best micro short. She was recently nominated for a Primetime Emmy for Comedy Directing as well an another Emmy in the Children's Programming category. Mary Lou served two terms as the Co-chair of the Women's Steering Committee at the DGA where she also has served on the Western Director's Council, presently she is on Leadership Council PAC and as an alternate to the National Board. She is an Honorary Board member of the Alliance of Women Directors and Advisory Board member of Women in Media. Mary Lou also serves on the Advisory Circle of Film Fatales is and a long time member of Women In Film as well as the Peer Group Executive Committee of the Academy of Television Arts & Sciences where she presently serves as one of the Governors. She has served as judge and/or guest speaker for the CSU Media Arts Fest, a judge for the Miss America Outstanding Teen Pageant, a jury member at the Sapporo Short Festival, Newport Beach Film Fest, Regina International Film Festival, and The Voice awards, a lecturer at the Chautauqua Institute, and a panelist for Women In Film, the DGA, SAG, and AFTRA and the LA Times Festival of Books. She has been a guest artist at the International Thespian Festival for secondary school theatre where she gave workshops to thousands of teens and high school theatre teachers. Through her teaching, she supports many of the vibrant diversity programs including ABC/Disney, CBS, Sony, HBO Access, AFI's Directing Workshop for Women, and Warner Bros. Directing Workshop mentoring the next generation of directors. She is the co-author of four books: “The NEW Sitcom Career Book,” “Acting for Young Actors,” and “Directors Tell the Story” which she co-wrote with fellow DGA member Bethany Rooney. Her 4th book, “Acting for the Screen” was published by Focal Press summer 2019. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theworkingdirector/message

The sag-AFTRA strike finally comes to an end after 118 days! Actress Keke Palmer files for a restraining order against her Child's Father over abuse claims, Lori and Damson call it quits after 1 year, we already knew this was going to happen right?Mariah Carey gets sued for copyright infringement over her famous Christmas Song, Magic Johnson gets declared a Billionaire by Forbes, congratulations go out to Rap Icon Missy Elliot for being the first female Rapper inducted into the Rock and Roll Hall of Fame and More...

The Actor's Strike is going to END as a tentative agreement was made last night. Shawn Mendes has a new romance because he was spotted with a new lady. The Weekend has cancel his Australian tour.Make sure to also keep up to date with ALL of our podcasts we do below that have new episodes every week:The Thought ShowerLet's Get WeirdCrisis on Infinite Podcasts

Simon and Andy are back with a new episode to discuss the role of AI in the media industry, recent writers' and actors' strikes, and the importance of enhancing content creation with technology. They emphasize adaptability and predict AI's transformative impact on the industry.   Click here for transcript of this episode. Simon Crownshaw | LinkedIn Andy Beach | LinkedIn Visit Microsoft's Media and Entertainment Industry Solutions site to learn more:  https://www.microsoft.com/en-us/industry/media-entertainment Discover and follow other Microsoft podcasts at news.microsoft.com/podcasts.

Brandon and Josh return this week with some talk about the ended writer's strike!

The Actors strike may end soon with some actor suggestions. Adam Sandler is a hero because he stopped his show because a fan needed help. Vanity Fair is about to blow the lid on BRAVO TV and it's reality Stars.Make sure to also keep up to date with ALL of our podcasts we do below that have new episodes every week:The Thought ShowerLet's Get WeirdCrisis on Infinite Podcasts

Taylor Swift is helping the NFL and its popularity, 25million people watched the game on Sunday. Biggest non super bowl audience. Adults are buying Barbie dolls for emotional support and for loved ones or others with children. Writers Strikes is official over!! Make sure to also keep up to date with ALL of our podcasts we do below that have new episodes every week:The Thought ShowerLet's Get WeirdCrisis on Infinite Podcasts

Drake took time in Houston to call out a FAN for a good reason and show support and reward this one fan. Hollywood Producer and Writers will come back to talk about ending the strikes. Lana Del Ray has finally commented on her working at the waffle house in Atlanta.Make sure to also keep up to date with ALL of our podcasts we do below that have new episodes every week:The Thought ShowerLet's Get WeirdCrisis on Infinite Podcasts

Robert, Paul and Mike have a Bone to Pick with movies who have big food spreads but the actors never eat, people who try to convince you that gross food is good, plus a hilarious video bone and more fan bones! Keep them coming to bonetopickcast@gmail.com Bone to Pick Podcast starring Robert Kelly & Paul Virzi Join our new Patreon for bonus weekly Fan Bone Episodes & early release of the podcast: www.patreon.com/bonetopickcast Follow the show! https://linktr.ee/bonetopickcast EMAIL US YOUR BONES: bonetopickcast@gmail.com  

Hedy Popson is the President of Productions Plus, a full-service agency that provides talent in the automotive, live event, trade show, product demonstration and retail merchandising arenas. The agency is also SAG franchised and represents actors and models for TV/ film/ commercial and voice over work. With more than 35 years in the business, Productions Plus has been a trusted partner to its clients through decades of dynamic change, growth and challenge, a testament to the company's ability to deliver meaningful results in all types of environments. Today Productions Plus is proud to partner with many Fortune 1000 companies to provide talent and marketing support, helping these iconic brands continually achieve significant results and growth. Productions Plus has a robust nationwide database of over 40,000 talent. Hedy Popson has been involved in the entertainment industry for 25 years making her uniquely qualified to lead Productions Plus. Hedy began her career with the company as an automotive product specialist, formally joining the staff in 2004 as an account manager and rising through the ranks as a facilitator, Director of Training, and Executive Vice President/Chief Marketing Officer before assuming her current role. A certified public speaker/facilitator and former member of the National Speakers Association, Hedy has performed across the globe for audiences of over 5,000 people and has coached executives and key presenters from Fortune 100 companies such as Federal Express, Microsoft, Intel, and Panasonic and Nissan. She was a member of both SAG and AFTRA for 30 years. Origins: Born in Pittsburgh, Pennsylvania / raised in Sterling Heights, Michigan / spent 25 years in LA Current home: Frisco, TX Education: Michigan State University, Bachelor of Arts in Theatre Memberships and Honors: • Member, National Speakers Association • 30-Year Member, SAG/AFTRA • Judge, Miss California USA 2015 • Miss Teen North America Connect with Jon Dwoskin: Twitter: @jdwoskin Facebook: https://www.facebook.com/jonathan.dwoskin Instagram: https://www.instagram.com/thejondwoskinexperience/ Website: https://jondwoskin.com/LinkedIn: https://www.linkedin.com/in/jondwoskin/ Email: jon@jondwoskin.com Get Jon's Book: The Think Big Movement: Grow your business big. Very Big!   Connect with Hedy Popson: Website: https://www.productions-plus.com/ Twitter: https://twitter.com/Productionsplus Facebook: https://www.facebook.com/ProductionsPlusTheTalentShop Instagram: https://www.instagram.com/productionsplus/ LinkedIn: https://www.linkedin.com/company/productions_plus_the_talent_shop/ YouTube: https://www.youtube.com/channel/UC7ASVZtbRi45iP0bijLdGDA

The ongoing strikes have rocked the media community throughout the summer of 2023. Host Candice Bloch had a discussion on August 18th with three Mid-Atlantic SAG-AFTRA members and strike captains - Towanda Underdue, Gabriel Kornbluh, and Keith Flippen (bios below) - to learn more about their experiences being on strike. They discuss the current SAG-AFTRA strike which began on July 14, 2023, its impact and importance, as well as the value of solidarity with other unions. For more information about the strike and how you can show support, head to sagaftrastrike.org. To donate to the Entertainment Community Fund: https://entertainmentcommunity.org/To donate to the SAG-AFTRA Foundation: https://sagaftra.foundation/Towanda Underdue is a SAG-AFTRA award winning actress, writer, producer, voiceover artist, educator, social activist, and host. She serves on the SAG-AFTRA National Board (Actor/Performer) for the Washington Mid-Atlantic, the President's National Executive Committee, and the TV/Theatrical Negotiating Committee.Gabriel Kornbluh, a native Washingtonian, started in the production world nearly two decades ago and joined AFTRA in 2009, first with Voiceover and background/stand-in work. He continues to work on political ads, commercial VO, TV and Film background, and corporate-educational content on and off screen. He comes from a legacy union family and is finishing his first term as a board member for the SAG-AFTRA Washington Mid-Atlantic Local. His passion is spreading the gospel of the "Union Difference" as this country witnesses a desperately needed resurgence in the labor-movement and the fight for worker's rights. Keith Flippen is a 30 year veteran film/tv/voiceover actor who has spent the majority of that time in Virginia working in the Mid-Atlantic and Southeastern states with over 70 recognizable screen credits. He is also owner and chief instructor of The Actors Place, Inc. where he has educated hundreds of students over 20 years in the technique and business of camera acting. Currently the Secretary of the Mid-Atlantic SAG-AFTRA local, Keith is also Vice-Chair of the National Professional Representatives Committee and National LGBTQ Committee. 

Don Crutchfield: Confessions of a Hollywood PIDon Crutchfield has been a private investigator for three decades. His list clients and subjects reads like a Who's Who of Hollywood. Present and former clients include Marlon Brando, the Beatles, Judy Garland, Frank Sinatra, Charles Bronson, Jerry Lewis, and Carroll O'Connor. Subjects of his investigations include Michael Jackson, Lisa Marie Presley, Tim Allen, Donald and Marla Trump, Roseanne Barr, Tom Arnold, and O.J. Simpson. Crutchfield has an international reputation, but his primary base of operations has always been the Los Angeles area. He is regularly contacted as a prime source of information by such media outlets as The Los Angeles Times, Primetime Live and Hard Copy. Don Crutchfield's insights and opinions are often sought by print and electronic media journalists. He has been interviewed on Entertainment Tonight, Hard Copy, A Current Affair, CNN Newsnight and Inside Edition. P.I. Crutchfield has also been the subject of feature articles in The New York Post and The Los Angeles Times. Crutchfield is also a member of International Association of Chiefs of Police, American Society for Industrial Security (A.S.I.S.), California Association of Licensed Investigators (C.A.L.I.), Board of Directors for World Boxing Hall of Fame, member of Screen Actors Guild and AFTRA.Add To CartThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/1198501/advertisement

In episode 1531, Jack and Miles are joined by producer, TV Writer, and co-host of Yo, Is This Racist?, Andrew Ti, to discuss… The Strike So Far, What's It Actually Like for the Average Writer? History of F**kery--Reagan Also to Blame For the Current Situation in Hollywood? The Current Situation is F**ked and more! Here are three of the biggest demands striking actors are asking for Shawn Ryan Opens Up About WGA Negotiations, Netflix's ‘Night Agent' and How ‘Terriers' Was Ahead of Its Time Corporate greed, low unemployment, housing crisis: That's the recipe for hot labor summer Hollywood has been in a double strike for a month. Where do things stand now? LISTEN: Spiky Boi by Surprise ChefSee omnystudio.com/listener for privacy information.

How the SAG and AFTRA strike is affecting podcasts and podcasters, how do feedswaps impact your listeners and do they really work for podcast growth? 2 USB mics one computer and Libsyn's Connect, will it work? X vs Threads, how best to technically rebrand your podcasts, Libsyn's Advertisecast signs exclusive deal with Multitude and Upfire Digital, and the latest mean and median numbers and podcast advertising rates Audience feedback drives the show. We'd love for you to contact us and keep the conversation going! Email thefeed@libsyn.com, call 412-573-1934 or leave us a message on Speakpipe! We'd love to hear from you! SIGN UP FOR OUR NEWSLETTER HERE! Quick Episode Summary (2:52) PROMO 1: Video Fuzzy (3:17) Rob and Elsie conversation (5:52) Exclusive advertising deal between AdvertiseCast, and podcast network partners: Multitude and Upfire Digital. (9:59) Yes, we are taking podcast cards over to Podcast Movement! (11:49) Thoughts on how the SAG/AFTRA strike is affecting podcasters (29:47) Can you use 2 USB mics, one computer and Libsyn's Connect? (32:16) Opinions about podcast feedswaps (39:13) PROMO 2: 50 Date Night Screams (39:49) AI transcriptions into other languages for podcasts (42:39) The difference between Libsyn 4 and Libsyn 5 (45:50) X vs Threads (50:08) Libsyn's Connect comes thru! (51:39) The best and worst way to rebrand your podcast (54:08) PROMO 3: The Irish and Celtic Music Podcast (55:20) Stats mean and median podcasts (57:22) The monthly advertising CPM rates (59:49) Where have we been and where are we going? Featured Podcast Promo + Audio PROMO 1: Video Fuzzy PROMO 2: 50 Date Night Screams PROMO 3: The Irish and Celtic Music Podcast Where have we been and where are we going Podcast Movement Thank you to Nick from MicMe for our awesome intro! Podcasting Articles and Links mentioned by Rob and Elsie Leave us voice feedback! Home | REMelations Don't expect any new TV rewatch podcasts during the Hollywood strike - The Verge Iniciar sesión | TikTok Heidi and Spencer Pratt Podcast 'Speidi's 16th Minute' Premiere Date - Variety Podcast Advertising Rates 2023 Nichecast vs. Broadcast — Who Wins? - YouTube Podcast Distribution Demystified — Unlock Brand Growth & Reach! - YouTube HELP US SPREAD THE WORD! We'd love it if you could please share The Feed with your Twitter followers. Click here to post a tweet! If you dug this episode, head over to Podchaser and kindly leave us a review and follow the show! Follow The Feed wherever you listen to audio! → Follow via Apple Podcasts → Follow via Google Podcasts → Follow via Spotify → Here's our RSS feed! FEEDBACK AND PROMOTION ON THE SHOW You can ask your questions, make comments and create a segment about podcasting for podcasters! Let your voice be heard. Download The Feed App for iOS and Android Call 412-573-1934 Email thefeed@libsyn.com Use our Speakpipe Page

Case and Sam stand with Writer's Guild and Screen Actor's Guild! In this episode, they share their thoughts on the matter before taking a pause in solidarity with the striking Unions!

This week Invasion of the Remake breaks down the ongoing WGA & SAG-AFTRA strikes. We examine why they are on strike, what the unions are asking for, and what it might mean for the future of film and television.  Audio clips from Youtube feature Adam Conover, Vin Diesel, Bob Iger, Sean Gunn, and Ron Pearlman. Note: There is a glitch that affects the audio at the 8:00 minute mark that last roughly 3:30 minutes to the 11:30 mark before returning to normal. Everything is audible but the quality for those three and half minutes is poor (by our standards). We apologize for the inconvenience. Thank you for understanding. The opinions of this episode are those expressed by our hosts and are meant purely for analysis and not meant to be disparaging to any person or corporate entity. We want everyone to get a fair deal in these negotiations.   Support independent podcasts like ours by telling your friends and family how to find us at places like Apple Podcasts, iTunes, Spotify, Google Podcasts, Stitcher, PlayerFM, Tune In Radio, PodChaser, Amazon Music, Audible, Libsyn, iHeartRadio and all the best podcast providers. Spread the love! Like, share and subscribe! You can also help out the show with a positive review and a 5-star rating over on iTunes / Apple Podcasts. We want to hear from you and your opinions will help shape the future of the show. Your ratings and reviews also help others find the show. Their "earballs" will thank you. https://invasionoftheremake.wixsite.com/podcast Follow us on Twitter: @InvasionRemake Like and share us on Facebook, Instagram & Tik-Tok: Invasion of the Remake Email us your questions, suggestions, corrections, challenges and comments: invasionoftheremake@gmail.com Buy a cool t-shirt, PPE masks and other Invasion of the Remake swag at our TeePublic Store!

The entertainment industry is shut down. Your favorite shows will be delayed. Movie production has come to a halt. Find out why this week on Time SensitiveCheck us out on...Twitter @TSMoviePodFacebook: Time SensitiveInstagram: @timesensitivepodcastGrab some Merch at TeePublicBig Heads Media 

On today show I opened up about some of the struggles I've been having over the last six weeks or so and how it has all come to a head and then I had a great conversation with Barry Ritholtz The GREAT Barry Ritholtz who has spent his career helping people spot their own investment errors and to learn how to better manage their own financial behaviors. He is the creator of The Big Picture, often ranked as the number one financial blog to follow by The Wall Street Journal, New York Times, and others. Barry Ritholtz is the creator and host of Bloomberg's “Masters in Business” radio podcast, and a featured columnist at the Washington Post. He is the author of the Bailout Nation: How Greed and Easy Money Corrupted Wall Street and Shook the World Economy (Wiley, 2009). In addition to serving as Chairman and Chief Investment Officer of Ritholtz Wealth Management, he is also on the advisory boards of Riskalyze, and Peer Street, two leading financial technology startups bringing transparency and analytics to the investment business.   Barry has named one of the “15 Most Important Economic Journalists” in the United States, and has been called one of The 25 Most Dangerous People in Financial Media. When not working, he can be found with his wife and their two dogs on the north shore of Long Island. Check out all things Jon Carroll Follow and Support Pete Coe Pete on YouTube Pete on Twitter Pete On Instagram Pete Personal FB page

KB, Dylan, & Christian are BACK and kick things off with a breakdown of the penultimate episode of Secret Invasion! The guys discuss the happenings of the episode, predict who Nick Fury was talking to on the other side of the phone, and what the hell is The Harvest?! Then they talk about all the latest from the WGA + SAG-AFTRA strikes and then dive into the Streaming Platform Multiverse News & Notes! Follow Us! Twitter:@StreamerSZNKyle: @KBizzl311Dylan: @dylanmazzolaChristian: @TheWiz_PHI Instagram:@StreamerSZN SUBSCRIBE to our YouTube channel: youtube.com/@UndergroundSportsPhiladelphia MERCH: PHIApparel.co/shop + use code "UNDERGROUND" for 10% off! Letterboxd: StreamerSZN Website: undergroundsportsphiladelphia.comTwitch: twitch.tv/undergroundsportsPHI tomahawkshades.com | Promo Code: "USP" for 25% off at checkout!Manscaped.com | Promo Code: "USP" for 20% off and free shipping! Intro Music: "stay volk" by MobleyOutro Music: "stay volk" by Mobley

Today is the return of one of my faves Sam Kwasman, the voice of Donald Duck, Lil Quacker and others as well as a great comedian and actor! Sam comes to us at the beginning of the SAG/AFTRA strike and has some points to discuss but more importantly hwe has his projects and just general fun to be had!! He's even going to help us with our RANDOM 9 List!As always, we indulge in randominity so sit back and listen in and don't forget to like, follow, subscribe, review and tell a friend!!And we couldn't do this as well with out MRS A'S FAMOUS SALSA BUENA, the GOOD WIVES NETWORK & Spreaker Prime & iHeart Radio!!!!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5624504/advertisement

The Writers Guild (WGA), Screen Actors Guild (SAG) and American Federation of Television and Radio Artists (AFTRA) all have gone on strike! What does that mean and what are they fighting for? We take a close look at the issues and actor, Brandon Morris, comes on the show to lend his thoughts on the situation. Adam22 isn't so happy about Jason Luv's cream pie and big mouth. Also, Abortion is a hot topic in the military, with GOP senators forcing their views on the Pentagon. We have Triple Beef! Penis injections, and New York's inner city tolls…   PLEASE, SHARE, FOLLOW, and SUBSCRIBE!! It really helps… Available Everywhere!   ALL LINKS @ www.RKaneMediaLLC.com

In episode 1516, Jack and Miles are joined by comedian, writer, executive producer, and TV host, Adam Conover, to discuss… Union/WGA Strike, Why This Could Be a Huge Moment for Labor, How Unions Help Consumers, The AI Question and more! Check Out Adam Conover's Tour Dates Here: www.AdamConover.net/tourdates/ Support the Entertainment Community Fund Here!See omnystudio.com/listener for privacy information.

Stand Up is a daily podcast. I book,host,edit, post and promote new episodes with brilliant guests every day. Please subscribe now for as little as 5$ and gain access to a community of over 740 awesome, curious, kind, funny, brilliant, generous souls Ron Insana covers the most pressing economic and market issues of the day. He also delivers The Market Scoreboard Report to radio stations around the country. For over three decades, Insana has been a highly respected business journalist and money manager, who began his career at the Financial News Network in 1984 and joined CNBC when FNN and CNBC merged in 1991. Insana is well-known for his high-profile interviews, which included Presidents Clinton and Bush; billionaire investors Warren Buffett, George Soros and Julian Robertson, among others: captains of industry from Bill Gates to the late Jack Welch and Steve Jobs, top economists, analysts and global heads of state, from former Soviet leader Mikhail Gorbachev to Jordanian Queen Rania. Insana was named one of the “Top 100 Business News Journalists of the 20th Century” and was nominated for a news and documentary Emmy for his role in NBC's coverage of 9/11. He has authored four books on Wall Street and is a highly regarded lecturer on domestic and global economics, financial markets and economic policy issues. Insana graduated with honors from California State University at Northridge. Follow Ron Insana on Twitter @rinsana. Pete on YouTube Check out all things Jon Carroll Follow and Support Pete Coe Pete on Twitter Pete On Instagram Pete Personal FB page Stand Up with Pete FB page

This is PrayNews, your beacon of hope in the stormy seas of current events. Sign up to receive PrayNews in your inbox every weekday: https://www.praynews.com/  Today's News at a Glance: Partisan news outlets take some jabs at “Sound of Freedom”  Hollywood is eating itself alive.  The Ukrainians are getting more bullish with their attacks. Download the Pray.com app and make prayer a priority in your life. Watch and listen to inspiring sermons, dramatized Bible stories, and relaxing Bedtime Bible Stories at Pray.com, the digital destination for faith.See omnystudio.com/listener for privacy information.

The “first time in 63 years” strike, where SAG-AFTRA has joined the WGA in a labor stoppage due to stalled negotiations with the Alliance of Motion Picture and Television Producers or AMPTP. And so today we wanted to come on and address this strike and state that we here at IFG stand firmly with our fellow actors and writers in this strike. We hope that at the end of this we will see them protected for their talents and compensated duly for their work. While attempting to understand just what the AMPTP is and it's impact on negotiations with the union, an old and usually overlooked question emerged: just what is a studio film and what is an independent film? And why does it matter to all of us?  Again, IFG is in firm support of this strike. This feels like an inflection point for the industry on every level. The stakes are high. And we hope that a modern contract is agreed to, and that independent filmmaking remains a thriving and supportive part of our awesome industry, helping all of us tell the stories each of us want to share.More information about all this, and how to support - be it with donations or showing up on the picket lines, and all updates, go to SAGAFTRASTRIKE.ORG IFG | How Movies Get Made

Ariana Grande spotted without wedding ring at Wimbledon, sparks marriage concerns from fans (Page Six) (16:57)Kylie Jenner and Jordyn Woods reunited! Billionaire enjoys dinner with her ex BFF four years after Tristan Thompson cheating scandal ruined friendship and left the Kardashians fuming (Daily Mail) (29:00)‘Pitch Perfect' star Ben Platt cuts interview short over ‘nepo baby' question (Page Six) (36:26)Sex And The City recycles ANOTHER actor as eagle-eyed fans spot Carrie's latest And Just Like That... (Page Six) (50:50)Man behind viral blue-black dress illusion charged with trying to kill wife (NY Post) (58:05)The Summer I Turned Pretty Recap (1:02:03)The Toast with Jackie (@JackieOshry) and Claudia Oshry (@girlwithnojob) The Camper and The Counselor by Jackie OshryMerchThe Toast PatreonGirl With No Job by Claudia Oshry

Pete, Chris and Nick respond to Dave Filoni's comment about "the greatest Jedi of all time," as well as talk about the SAG / AFTRA and WGA strikes with Greg IwinskiThe SSW Network brings content to #StarWars Fans of all ages and generations. With Around the Galaxy, we bring you that magic moment when Star Wars fans meet for the first time. On Podcast of the Whills, we take a deep dive into the canon or a particular aspect of the saga. And our LIVE Friday night call-in talk show, Force Connect, looks at the latest in news and conversation in the Star Wars universe. From #disneyplus content, to comics to news and rumors, Chris, Pete and Nick have you covered!TheSSWNetwork.comTikTok: @TheSSWNetworkInstagram: @TheSSWNetworkFacebook.com/TheSSWNetworkTwitter: @TheSSWNetwork @ATGcastPatreon.com/TheSSWNetwork(c) 2023 Pete in the Seat StudiosThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4892554/advertisement

We also take a look at how upcoming Star Trek projects will be impacted by the strike. Why the strike is so important and how it might impact other industries. Picard gets some Emmy nominations. And could Anson Mount return to the MCU? He tells us what Marvel has to say about it. Spock goes full human! We'll review Strange New Worlds 205 Charades. Latest on Strike and STLV:https://trekmovie.com/2023/07/15/actors-strike-set-to-impact-star-trek-production-and-promotion-including-summer-conventions/Picard Emmy Nominations:https://trekmovie.com/2023/07/12/star-trek-picard-nominated-for-2-emmys/Is Anson Mount back in the MCU?https://www.digitalspy.com/movies/a44534841/star-trek-discovery-anson-mount-mcu-return/Leave us a voicemail 1-816-287-0448Follow us on Twitter & Instagram - @TrekCastTNGtrekcasttng@gmail.comchadiswrong@gmail.comCheck out our merch store at Trekcast.com Help support the show - ko-fi.com/trekcast

In episode 1515, Jack and Miles are joined by comedian, Teresa Lee, to discuss… Secret Service Fails To Sniff Out Cocaine Source, SAG Is About To Go On Strike and more! Secret Service Fails To Sniff Out Cocaine Source No fingerprints, DNA sample or leads from cocaine found at the White House, the Secret Service says Trump Is Desperate to Turn the White House Cocaine Into a Huge Biden Scandal SAG Is About To Go On Strike SAG-AFTRA President Fran Drescher Criticized for Italy Outing Amid Strike Negotiations: ‘Out of Touch' Hollywood studios could face two strikes for the first time in 63 years. How did we get here? Disney chief Bob Iger says strike by writers and actors ‘very disturbing' Disney CEO Bob Iger's Rich Compensation Package Revealed, Company Says Bob Chapek Fired ‘Without Cause' LISTEN: Noises and Conversations by The HeliocentricsSee omnystudio.com/listener for privacy information.

Amy King and Wayne Resnick join Bill for Handel on the News. SAG-AFTRA and studios said they would turn to a federal mediator. Hostage was freed after hours-long standoff at Las Vegas Strip resort room, police say. Cedars-Sinai faces federal civil rights investigation over treatment of Black mothers.

If the actors go on strike, it will be the first time in 63 years that both actors and the writers are out at the same time. California has spent billions on homelessness. It continues to grow. Federal data shows half of all Americans living on the street live in California. Who employs a doctor? Increasingly a private equity firm.

Tim Powell (SAG, AFTRA, AEA) is an accomplished actor with decades of experience and wisdom to share! He has achieved success and assisted in the career of countless colleagues on both coasts. In this episode, Tim explains how he got his start, how he's remained relevant and everything (almost) in between.  Guest - Tim Powell Insta TimPowell.com AuditionsUp.com Tim Powell IMDb Jordan Instagram Website Jordan Woods-Robinson IMDb Adam Facebook Instagram Twitter Adam Vernier Official Website Adam Vernier IMDb We truly thank you for listening to our podcast.  Please feel free to share this with other industry folks or with people you think would enjoy it! If you have a suggestion of a guest please email our producer Adam Vernier at: adam@bookfromtape.com

Episode one hundred and fifty-five of A History of Rock Music in Five Hundred Songs looks at “Waterloo Sunset” by the Kinks, and the self-inflicted damage the group did to their career between 1965 and 1967. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a nineteen-minute bonus episode available, on "Excerpt From a Teenage Opera" by Keith West. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as there are too many Kinks songs. I've used several resources for this and future episodes on the Kinks, most notably Ray Davies: A Complicated Life by Johnny Rogan and You Really Got Me by Nick Hasted. X-Ray by Ray Davies is a remarkable autobiography with a framing story set in a dystopian science-fiction future, while Kink by Dave Davies is more revealing but less well-written. The Anthology 1964-1971 is a great box set that covers the Kinks' Pye years, which overlap almost exactly with their period of greatest creativity. For those who don't want a full box set, this two-CD set covers all the big hits. And this is the interview with Rasa I discuss in the episode. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, this episode has some mentions of racism and homophobia, several discussions of physical violence, one mention of domestic violence, and some discussion of mental illness. I've tried to discuss these things with a reasonable amount of sensitivity, but there's a tabloid element to some of my sources which inevitably percolates through, so be warned if you find those things upsetting. One of the promises I made right at the start of this project was that I would not be doing the thing that almost all podcasts do of making huge chunks of the episodes be about myself -- if I've had to update people about something in my life that affects the podcast, I've done it in separate admin episodes, so the episodes themselves will not be taken up with stuff about me. The podcast is not about me. I am making a very slight exception in this episode, for reasons that will become clear -- there's no way for me to tell this particular story the way I need to without bringing myself into it at least a little. So I wanted to state upfront that this is a one-off thing. The podcast is not suddenly going to change. But one question that I get asked a lot -- far more than I'd expect -- is "do the people you talk about in the podcast ever get in touch with you about what you've said?" Now that has actually happened twice, both times involving people leaving comments on relatively early episodes. The first time is probably the single thing I'm proudest of achieving with this series, and it was a comment left on the episode on "Goodnight My Love" a couple of years back: [Excerpt: Jesse Belvin, "Goodnight My Love"] That comment was from Debra Frazier and read “Jesse Belvin is my Beloved Uncle, my mother's brother. I've been waiting all my life for him to be recognized in this manner. I must say the content in this podcast is 100% correct!Joann and Jesse practically raised me. Can't express how grateful I am. Just so glad someone got it right. I still miss them dearly to this day. My world was forever changed Feb. 6th 1960. I can remember him writing most of those songs right there in my grandmother's living room. I think I'm his last living closest relative, that knows everything in this podcast is true." That comment by itself would have justified me doing this whole podcast. The other such comment actually came a couple of weeks ago, and was on the episode on "Only You": [Excerpt: The Platters, "Only You"] That was a longer comment, from Gayle Schrieber, an associate of Buck Ram, and started "Well, you got some of it right. Your smart-assed sarcasm and know-it-all attitude is irritating since I Do know it all from the business side but what the heck. You did better than most people – with the exception of Marv Goldberg." Given that Marv Goldberg is the single biggest expert on 1950s vocal groups in the world, I'll take that as at least a backhanded compliment. So those are the only two people who I've talked about in the podcast who've commented, but before the podcast I had a blog, and at various times people whose work I wrote about would comment -- John Cowsill of the Cowsills still remembers a blog post where I said nice things about him fourteen years ago, for example. And there was one comment on a blog post I made four or five years ago which confirmed something I'd suspected for a while… When we left the Kinks, at the end of 1964, they had just recorded their first album. That album was not very good, but did go to number three in the UK album charts, which is a much better result than it sounds. Freddie "Boom Boom" Cannon got to number one in 1960, but otherwise the only rock acts to make number one on the album charts from the start of the sixties through the end of 1967 were Elvis, Cliff Richard, the Shadows, the Beatles, the Rolling Stones, Bob Dylan and the Monkees. In the first few years of the sixties they were interspersed with the 101 Strings, trad jazz, the soundtrack to West Side Story, and a blackface minstrel group, The George Mitchell Singers. From mid-1963 through to the end of 1967, though, literally the only things to get to number one on the album charts were the Beatles, the Rolling Stones, Bob Dylan, the Monkees, and the soundtrack to The Sound of Music. That tiny cabal was eventually broken at the end of 1967 by Val Doonican Rocks… But Gently, and from 1968 on the top of the album charts becomes something like what we would expect today, with a whole variety of different acts, I make this point to point out two things The first is that number three on the album charts is an extremely good position for the Kinks to be in -- when they reached that point the Rolling Stones' second album had just entered at number one, and Beatles For Sale had dropped to number two after eight weeks at the top -- and the second is that for most rock artists and record labels, the album market was simply not big enough or competitive enough until 1968 for it to really matter. What did matter was the singles chart. And "You Really Got Me" had been a genuinely revolutionary hit record. According to Ray Davies it had caused particular consternation to both the Rolling Stones and the Yardbirds, both of whom had thought they would be the first to get to number one with a dirty, distorted, R&B-influenced guitar-riff song. And so three weeks after the release of the album came the group's second single. Originally, the plan had been to release a track Ray had been working on called "Tired of Waiting", but that was a slower track, and it was decided that the best thing to do would be to try to replicate the sound of their first hit. So instead, they released "All Day And All Of The Night": [Excerpt: The Kinks, "All Day And All Of The Night"] That track was recorded by the same team as had recorded "You Really Got Me", except with Perry Ford replacing Arthur Greenslade on piano. Once again, Bobby Graham was on drums rather than Mick Avory, and when Ray Davies suggested that he might want to play a different drum pattern, Graham just asked him witheringly "Who do you think you are?" "All Day and All of the Night" went to number two -- a very impressive result for a soundalike follow-up -- and was kept off the number one spot first by "Baby Love" by the Supremes and then by "Little Red Rooster" by the Rolling Stones. The group quickly followed it up with an EP, Kinksize Session, consisting of three mediocre originals plus the group's version of "Louie Louie". By February 1965 that had hit number one on the EP charts, knocking the Rolling Stones off. Things were going as well as possible for the group. Ray and his girlfriend Rasa got married towards the end of 1964 -- they had to, as Rasa was pregnant and from a very religious Catholic family. By contrast, Dave was leading the kind of life that can only really be led by a seventeen-year-old pop star -- he moved out of the family home and in with Mick Avory after his mother caught him in bed with five women, and once out of her watchful gaze he also started having affairs with men, which was still illegal in 1964. (And which indeed would still be illegal for seventeen-year-olds until 2001). In January, they released their third hit single, "Tired of Waiting for You". The track was a ballad rather than a rocker, but still essentially another variant on the theme of "You Really Got Me" -- a song based around a few repeated phrases of lyric, and with a chorus with two major chords a tone apart. "You Really Got Me"'s chorus has the change going up: [Plays "You Really Got Me" chorus chords] While "Tired Of Waiting For You"'s chorus has the change going down: [Plays "Tired of Waiting For You" chorus chords] But it's trivially easy to switch between the two if you play them in the same key: [Demonstrates] Ray has talked about how "Tired of Waiting for You" was partly inspired by how he felt tired of waiting for the fame that the Kinks deserved, and the music was written even before "You Really Got Me". But when they went into the studio to record it, the only lyrics he had were the chorus. Once they'd recorded the backing track, he worked on the lyrics at home, before coming back into the studio to record his vocals, with Rasa adding backing vocals on the softer middle eight: [Excerpt: The Kinks, "Tired of Waiting For You"] After that track was recorded, the group went on a tour of Australia, New Zealand, and Hong Kong. The flight out to Australia was thirty-four hours, and also required a number of stops. One stop to refuel in Moscow saw the group forced back onto the plane at gunpoint after Pete Quaife unwisely made a joke about the recently-deposed Russian Premier Nikita Khruschev. They also had a stop of a couple of days in Mumbai, where Ray was woken up by the sounds of fishermen chanting at the riverside, and enchanted by both the sound and the image. In Adelaide, Ray and Dave met up for the first time in years with their sister Rose and her husband Arthur. Ray was impressed by their comparative wealth, but disliked the slick modernity of their new suburban home. Dave became so emotional about seeing his big sister again that he talked about not leaving her house, not going to the show that night, and just staying in Australia so they could all be a family again. Rose sadly told him that he knew he couldn't do that, and he eventually agreed. But the tour wasn't all touching family reunions. They also got into a friendly rivalry with Manfred Mann, who were also on the tour and were competing with the Kinks to be the third-biggest group in the UK behind the Beatles and the Stones, and at one point both bands ended up on the same floor of the same hotel as the Stones, who were on their own Australian tour. The hotel manager came up in the night after a complaint about the noise, saw the damage that the combined partying of the three groups had caused, and barricaded them into that floor, locking the doors and the lift shafts, so that the damage could be contained to one floor. "Tired of Waiting" hit number one in the UK while the group were on tour, and it also became their biggest hit in the US, reaching number six, so on the way home they stopped off in the US for a quick promotional appearance on Hullabaloo. According to Ray's accounts, they were asked to do a dance like Freddie and the Dreamers, he and Mick decided to waltz together instead, and the cameras cut away horrified at the implied homosexuality. In fact, examining the footage shows the cameras staying on the group as Mick approaches Ray, arms extended, apparently offering to waltz, while Ray backs off nervous and confused, unsure what's going on. Meanwhile Dave and Pete on the other side of the stage are being gloriously camp with their arms around each other's shoulders. When they finally got back to the UK, they were shocked to hear this on the radio: [Excerpt: The Who, "I Can't Explain"] Ray was horrified that someone had apparently stolen the group's sound, especially when he found out it was the Who, who as the High Numbers had had a bit of a rivalry with the group. He said later "Dave thought it was us! It was produced by Shel Talmy, like we were. They used the same session singers as us, and Perry Ford played piano, like he did on ‘All Day And All Of The Night'. I felt a bit appalled by that. I think that was worse than stealing a song – they were actually stealing our whole style!” Pete Townshend later admitted as much, saying that he had deliberately demoed "I Can't Explain" to sound as much like the Kinks as possible so that Talmy would see its potential. But the Kinks were still, for the moment, doing far better than the Who. In March, shortly after returning from their foreign tour, they released their second album, Kinda Kinks. Like their first album, it was a very patchy effort, but it made number two on the charts, behind the Rolling Stones. But Ray Davies was starting to get unhappy. He was dissatisfied with everything about his life. He would talk later about looking at his wife lying in bed sleeping and thinking "What's she doing here?", and he was increasingly wondering if the celebrity pop star life was right for him, simultaneously resenting and craving the limelight, and doing things like phoning the music papers to deny rumours that he was leaving the Kinks -- rumours which didn't exist until he made those phone calls. As he thought the Who had stolen the Kinks' style, Ray decided to go in a different direction for the next Kinks single, and recorded "Everybody's Gonna Be Happy", which was apparently intended to sound like Motown, though to my ears it bears no resemblance: [Excerpt: The Kinks, "Everybody's Gonna Be Happy"] That only went to number nineteen -- still a hit, but a worry for a band who had had three massive hits in a row. Several of the band started to worry seriously that they were going to end up with no career at all. It didn't help that on the tour after recording that, Ray came down with pneumonia. Then Dave came down with bronchitis. Then Pete Quaife hit his head and had to be hospitalised with severe bleeding and concussion. According to Quaife, he fainted in a public toilet and hit his head on the bowl on the way down, but other band members have suggested that Quaife -- who had a reputation for telling tall stories, even in a band whose members are all known for rewriting history -- was ashamed after getting into a fight. In April they played the NME Poll-Winners' Party, on the same bill as the Beatles, the Rolling Stones, the Animals, the Moody Blues, the Searchers, Freddie And The Dreamers, Herman's Hermits, Wayne Fontana & The Mindbenders, the Rockin' Berries, the Seekers, the Ivy League, Them, the Bachelors, Georgie Fame & The Blue Flames, Cilla Black, Dusty Springfield, Twinkle, Tom Jones, Donovan, and Sounds Incorporated. Because they got there late they ended up headlining, going on after the Beatles, even though they hadn't won an award, only come second in best new group, coming far behind the Stones but just ahead of Manfred Mann and the Animals. The next single, "Set Me Free", was a conscious attempt to correct course after "Everybody's Gonna Be Happy" had been less successful: [Excerpt: The Kinks, "Set Me Free"] The song is once again repetitive, and once again based on a riff, structured similarly to "Tired of Waiting" but faster and more upbeat, and with a Beatles-style falsetto in the chorus. It worked -- it returned the group to the top ten -- but Ray wasn't happy at writing to order. He said in August of that year “I'm ashamed of that song. I can stand to hear and even sing most of the songs I've written, but not that one. It's built around pure idiot harmonies that have been used in a thousand songs.” More recently he's talked about how the lyric was an expression of him wanting to be set free from the constraint of having to write a hit song in the style he felt he was outgrowing. By the time the single was released, though, it looked like the group might not even be together any longer. There had always been tensions in the band. Ray and Dave had a relationship that made the Everly Brothers look like the model of family amity, and while Pete Quaife stayed out of the arguments for the most part, Mick Avory couldn't. The core of the group had always been the Davies brothers, and Quaife had known them for years, but Avory was a relative newcomer and hadn't grown up with them, and they also regarded him as a bit less intelligent than the rest of the group. He became the butt of jokes on a fairly constant basis. That would have been OK, except that Avory was also an essentially passive person, who didn't want to take sides in conflicts, while Dave Davies thought that as he and Avory were flatmates they should be on the same side, and resented when Avory didn't take his side in arguments with Ray. As Dave remembered it, the trigger came when he wanted to change the setlist and Mick didn't support him against Ray. In others' recollection, it came when the rest of the band tried to get Dave away from a party and he got violent with them. Both may be true. Either way, Dave got drunk and threw a suitcase at the back of a departing Mick, who was normally a fairly placid person but had had enough, and so he turned round, furious, grabbed Dave, got him in a headlock and just started punching, blackening both his eyes. According to some reports, Avory was so infuriated with Dave that he knocked him out, and Dave was so drunk and angry that when he came to he went for Avory again, and got knocked out again. The next day, the group were driven to their show in separate cars -- the Davies brothers in one, the rhythm section in the other -- they had separate dressing rooms, and made their entrance from separate directions. They got through the first song OK, and then Dave Davies insulted Avory's drumming, spat at him, and kicked his drums so they scattered all over the stage. At this point, a lot of the audience were still thinking this was part of the act, but Avory saw red again and picked up his hi-hat cymbal and smashed it down edge-first onto Dave's head. Everyone involved says that if his aim had been very slightly different he would have actually killed Dave. As it is, Dave collapsed, unconscious, bleeding everywhere. Ray screamed "My brother! He's killed my little brother!" and Mick, convinced he was a murderer, ran out of the theatre, still wearing his stage outfit of a hunting jacket and frilly shirt. He was running away for his life -- and that was literal, as Britain still technically had the death penalty at this point; while the last executions in Britain took place in 1964, capital punishment for murder wasn't abolished until late 1965 -- but at the same time a gang of screaming girls outside who didn't know what was going on were chasing him because he was a pop star. He managed to get back to London, where he found that the police had been looking for him but that Dave was alive and didn't want to press charges. However, he obviously couldn't go back to their shared home, and they had to cancel gigs because Dave had been hospitalised. It looked like the group were finished for good. Four days after that, Ray and Rasa's daughter Louisa was born, and shortly after that Ray was in the studio again, recording demos: [Excerpt: Ray Davies, "I Go to Sleep (demo)"] That song was part of a project that Larry Page, the group's co-manager, and Eddie Kassner, their publisher, had of making Ray's songwriting a bigger income source, and getting his songs recorded by other artists. Ray had been asked to write it for Peggy Lee, who soon recorded her own version: [Excerpt: Peggy Lee, "I Go to Sleep"] Several of the other tracks on that demo session featured Mitch Mitchell on drums. At the time, Mitchell was playing with another band that Page managed, and there seems to have been some thought of him possibly replacing Avory in the group. But instead, Larry Page cut the Gordian knot. He invited each band member to a meeting, just the two of them -- and didn't tell them that he'd scheduled all these meetings at the same time. When they got there, they found that they'd been tricked into having a full band meeting, at which point Page just talked to them about arrangements for their forthcoming American tour, and didn't let them get a word in until he'd finished. At the end he asked if they had any questions, and Mick Avory said he'd need some new cymbals because he'd broken his old ones on Dave's head. Before going on tour, the group recorded a song that Ray had written inspired by that droning chanting he'd heard in Mumbai. The song was variously titled "See My Friend" and "See My Friends" -- it has been released under both titles, and Ray seems to sing both words at different times -- and Ray told Maureen Cleave "The song is about homosexuality… It's like a football team and the way they're always kissing each other.” (We will be talking about Ray Davies' attitudes towards sexuality and gender in a future episode, but suffice to say that like much of Davies' worldview, he has a weird mixture of very progressive and very reactionary views, and he is also prone to observe behaviours in other people's private lives and make them part of his own public persona). The guitar part was recorded on a bad twelve-string guitar that fed back in the studio, creating a drone sound, which Shel Talmy picked up on and heavily compressed, creating a sound that bore more than a little resemblance to a sitar: [Excerpt: The Kinks, "See My Friend"] If that had been released at the time, it would have made the Kinks into trend-setters. Instead it was left in the can for nearly three months, and in the meantime the Yardbirds released the similar-sounding "Heart Full of Soul", making the Kinks look like bandwagon-jumpers when their own record came out, and reinforcing a paranoid belief that Ray had started to develop that his competitors were stealing his ideas. The track taking so long to come out was down to repercussions from the group's American tour, which changed the course of their whole career in ways they could not possibly have predicted. This was still the era when the musicians' unions of the US and UK had a restrictive one-in, one-out policy for musicians, and you couldn't get a visa to play in the US without the musicians' union's agreement -- and the AFM were not very keen on the British invasion, which they saw as taking jobs away from their members. There are countless stories from this period of bands like the Moody Blues getting to the US only to find that the arrangements have fallen through and they can't perform. Around this time, Wayne Fontana and the Mindbenders were told they weren't notable enough to get permission to play more than one gig, even though they were at number one on the charts in the US at the time. So it took a great deal of effort to get the Kinks' first US tour arranged, and they had to make a good impression. Unfortunately, while the Beatles and Stones knew how to play the game and give irreverent, cheeky answers that still left the interviewers amused and satisfied, the Kinks were just flat-out confusing and rude: [Excerpt: The Kinks Interview with Clay Cole] The whole tour went badly. They were booked into unsuitable venues, and there were a series of events like the group being booked on the same bill as the Dave Clark Five, and both groups having in their contract that they would be the headliner. Promoters started to complain about them to their management and the unions, and Ray was behaving worse and worse. By the time the tour hit LA, Ray was being truly obnoxious. According to Larry Page he refused to play one TV show because there was a Black drummer on the same show. Page said that it was not about personal prejudice -- though it's hard to see how it could not be, at least in part -- but just picking something arbitrary to complain about to show he had the power to mess things up. While shooting a spot for the show Where The Action Is, Ray got into a physical fight with one of the other cast members over nothing. What Ray didn't realise was that the person in question was a representative for AFTRA, the screen performers' union, and was already unhappy because Dave had earlier refused to join the union. Their behaviour got reported up the chain. The day after the fight was supposed to be the highlight of the tour, but Ray was missing his wife. In the mid-sixties, the Beach Boys would put on a big Summer Spectacular at the Hollywood Bowl every year, and the Kinks were due to play it, on a bill which as well as the Beach Boys also featured the Byrds, the Righteous Brothers, Dino, Desi & Billy, and Sonny and Cher. But Ray said he wasn't going on unless Rasa was there. And he didn't tell Larry Page, who was there, that. Instead, he told a journalist at the Daily Mirror in London, and the first Page heard about it was when the journalist phoned him to confirm that Ray wouldn't be playing. Now, they had already been working to try to get Rasa there for the show, because Ray had been complaining for a while. But Rasa didn't have a passport. Not only that, but she was an immigrant and her family were from Lithuania, and the US State Department weren't exactly keen on people from the Eastern Bloc flying to the US. And it was a long flight. I don't know exactly how long a flight from London to LA took then, but it takes eleven and a half hours now, and it will have been around that length. Somehow, working a miracle, Larry Page co-ordinated with his co-managers Robert Wace and Grenville Collins back in London -- difficult in itself as Wace and Collins and Page and his business partner Eddie Kassner were by now in two different factions, because Ray had been manipulating them and playing them off against each other for months. But the three of them worked together and somehow got Rasa to LA in time for Ray to go on stage. Page waited around long enough to see that Ray had got on stage at the Hollywood Bowl, then flew back to London. He had had enough of Ray's nonsense, and didn't really see any need to be there anyway, because they had a road manager, their publisher, their agent, and plenty of support staff. He felt that he was only there to be someone for Ray Davies to annoy and take his frustrations out on. And indeed, once Page flew back to the UK, Ray calmed down, though how much of that was the presence of Rasa it's hard to say. Their road manager at the time though said "If Larry wasn't there, Ray couldn't make problems because there was nobody there to make them to. He couldn't make problems for me because I just ignored them. For example, in Hawaii, the shirts got stolen. Ray said, ‘No way am I going onstage without my shirt.' So I turned around and said to him, ‘Great, don't go on!' Of course, they went on.” They did miss the gig the next night in San Francisco, with more or less the same lineup as the Hollywood Bowl show -- they'd had problems with the promoter of that show at an earlier gig in Reno, and so Ray said they weren't going to play unless they got paid in cash upfront. When the promoter refused, the group just walked on stage, waved, and walked off. But other than that, the rest of the tour went OK. What they didn't realise until later was that they had made so many enemies on that tour that it would be impossible for them to return to the US for another four years. They weren't blacklisted, as such, they just didn't get the special treatment that was necessary to make it possible for them to visit there. From that point on they would still have a few hits in the US, but nothing like the sustained massive success they had in the UK in the same period. Ray felt abandoned by Page, and started to side more and more with Wace and Collins. Page though was still trying to promote Ray's songwriting. Some of this, like the album "Kinky Music" by the Larry Page Orchestra, released during the tour, was possibly not the kind of promotion that anyone wanted, though some of it has a certain kitsch charm: [Excerpt: The Larry Page Orchestra, "All Day And All Of The Night"] Incidentally, the guitarist on that album was Jimmy Page, who had previously played rhythm guitar on a few Kinks album tracks. But other stuff that Larry Page was doing would be genuinely helpful. For example, on the tour he had become friendly with Stone and Greene, the managers who we heard about in the Buffalo Springfield episode. At this point they were managing Sonny and Cher, and when they came over to the UK, Page took the opportunity to get Cher into the studio to cut a version of Ray's "I Go to Sleep": [Excerpt: Cher, "I Go to Sleep"] Most songwriters, when told that the biggest new star of the year was cutting a cover version of one of their tracks for her next album, would be delighted. Ray Davies, on the other hand, went to the session and confronted Page, screaming about how Page was stealing his ideas. And it was Page being marginalised that caused "See My Friend" to be delayed, because while they were in the US, Page had produced the group in Gold Star Studios, recording a version of Ray's song "Ring the Bells", and Page wanted that as the next single, but the group had a contract with Shel Talmy which said he would be their producer. They couldn't release anything Talmy hadn't produced, but Page, who had control over the group's publishing with his business partner Kassner, wouldn't let them release "See My Friend". Eventually, Talmy won out, and "See My Friend" became the group's next single. It made the top ten on the Record Retailer chart, the one that's now the official UK chart cited in most sources, but only number fifteen on the NME chart which more people paid attention to at the time, and only spent a few weeks on the charts. Ray spent the summer complaining in the music papers about how the track -- "the only one I've really liked", as he said at the time -- wasn't selling as much as it deserved, and also insulting Larry Page and boasting about his own abilities, saying he was a better singer than Andy Williams and Tony Bennett. The group sacked Larry Page as their co-manager, and legal battles between Page and Kassner on one side and Collins and Wace on the other would continue for years, tying up much of the group's money. Page went on to produce a new band he was managing, making records that sounded very like the Kinks' early hits: [Excerpt: The Troggs, "Wild Thing"] The Kinks, meanwhile, decided to go in a different direction for their new EP, Kwyet Kinks, an EP of mostly softer, folk- and country-inspired songs. The most interesting thing on Kwyet Kinks was "Well-Respected Man", which saw Ray's songwriting go in a completely different direction as he started to write gentle social satires with more complex lyrics, rather than the repetitive riff-based songs he'd been doing before. That track was released as a single in the US, which didn't have much of an EP market, and made the top twenty there, despite its use of a word that in England at the time had a double meaning -- either a cigarette or a younger boy at a public school who has to be the servant of an older boy -- but in America was only used as a slur for gay people: [Excerpt: The Kinks, "Well Respected Man"] The group's next album, The Kink Kontroversy, was mostly written in a single week, and is another quickie knockoff album. It had the hit single "Til the End of the Day", another attempt at getting back to their old style of riffy rockers, and one which made the top ten. It also had a rerecorded version of "Ring the Bells", the song Larry Page had wanted to release as a single: [Excerpt: The Kinks, "Ring the Bells"] I'm sure that when Ray Davies heard "Ruby Tuesday" a little over a year later he didn't feel any better about the possibility that people were stealing his ideas. The Kink Kontroversy was a transitional album for the group in many ways. It was the first album to prominently feature Nicky Hopkins, who would be an integral part of the band's sound for the next three years, and the last one to feature a session drummer (Clem Cattini, rather than Avory, played on most of the tracks). From this point on there would essentially be a six-person group of studio Kinks who would make the records -- the four Kinks themselves, Rasa Davies on backing vocals, and Nicky Hopkins on piano. At the end of 1965 the group were flailing, mired in lawsuits, and had gone from being the third biggest group in the country at the start of the year to maybe the tenth or twentieth by the end of it. Something had to change. And it did with the group's next single, which in both its sound and its satirical subject matter was very much a return to the style of "Well Respected Man". "Dedicated Follower of Fashion" was inspired by anger. Ray was never a particularly sociable person, and he was not the kind to do the rounds of all the fashionable clubs like the other pop stars, including his brother, would. But he did feel a need to make some kind of effort and would occasionally host parties at his home for members of the fashionable set. But Davies didn't keep up with fashion the way they did, and some of them would mock him for the way he dressed. At one such party he got into a fistfight with someone who was making fun of his slightly flared trousers, kicked all the guests out, and then went to a typewriter and banged out a lyric mocking the guest and everyone like him: [Excerpt: The Kinks, "Dedicated Follower of Fashion"] The song wasn't popular with Ray's bandmates -- Dave thought it was too soft and wimpy, while Quaife got annoyed at the time Ray spent in the studio trying to make the opening guitar part sound a bit like a ukulele. But they couldn't argue with the results -- it went to number five on the charts, their biggest success since "Tired of Waiting for You" more than a year earlier, and more importantly in some ways it became part of the culture in a way their more recent singles hadn't. "Til The End of the Day" had made the top ten, but it wasn't a record that stuck in people's minds. But "Dedicated Follower of Fashion" was so popular that Ray soon got sick of people coming up to him in the street and singing "Oh yes he is!" at him. But then, Ray was getting sick of everything. In early 1966 he had a full-scale breakdown, brought on by the flu but really just down to pure exhaustion. Friends from this time say that Ray was an introverted control freak, always neurotic and trying to get control and success, but sabotaging it as soon as he attained it so that he didn't have to deal with the public. Just before a tour of Belgium, Rasa gave him an ultimatum -- either he sought medical help or she would leave him. He picked up their phone and slammed it into her face, blacking her eye -- the only time he was ever physically violent to her, she would later emphasise -- at which point it became imperative to get medical help for his mental condition. Ray stayed at home while the rest of the band went to Belgium -- they got in a substitute rhythm player, and Dave took the lead vocals -- though the tour didn't make them any new friends. Their co-manager Grenville Collins went along and with the tact and diplomacy for which the British upper classes are renowned the world over, would say things like “I understand every bloody word you're saying but I won't speak your filthy language. De Gaulle won't speak English, why should I speak French?” At home, Ray was doing worse and worse. When some pre-recorded footage of the Kinks singing "Dedicated Follower of Fashion" came on the TV, he unplugged it and stuck it in the oven. He said later "I was completely out of my mind. I went to sleep and I woke up a week later with a beard. I don't know what happened to me. I'd run into the West End with my money stuffed in my socks, I'd tried to punch my press agent, I was chased down Denmark Street by the police, hustled into a taxi by a psychiatrist and driven off somewhere. And I didn't know. I woke up and I said, ‘What's happening? When do we leave for Belgium?' And they said, ‘Ray it's all right. You had a collapse. Don't worry. You'll get better.'” He did get better, though for a long time he found himself unable to listen to any contemporary rock music other than Bob Dylan -- electric guitars made him think of the pop world that had made him ill -- and so he spent his time listening to classical and jazz records. He didn't want to be a pop star any more, and convinced himself he could quit the band if he went out on top by writing a number one single. And so he did: [Excerpt: The Kinks, "Sunny Afternoon"] Or at least, I say it's a single he wrote, but it's here that I finally get to a point I've been dancing round since the beginning of the episode. The chorus line, "In the summertime", was Rasa's suggestion, and in one of the only two interviews I've ever come across with her, for Johnny Rogan's biography of Ray, she calls the song "the only one where I wrote some words". But there's evidence, including another interview with her I'll talk about in a bit, that suggests that's not quite the case. For years, I thought it was an interesting coincidence that Ray Davies' songwriting ability follows a curve that almost precisely matches that of his relationship with Rasa. At the start, he's clearly talented -- "You Really Got Me" is a great track -- but he's an unformed writer and most of his work is pretty poor stuff. Then he marries Rasa, and his writing starts to become more interesting. Rasa starts to regularly contribute in the studio, and he becomes one of the great songwriters of his generation. For a five-year period in the mid-to-late-sixties, the period when their marriage is at its strongest, Ray writes a string of classic songs that are the equal of any catalogue in popular music. Then around 1970 Rasa stops coming to the studio, and their marriage is under strain. The records become patchier -- still plenty of classic tracks, but a lot more misses. And then in 1973, she left him, and his songwriting fell off a cliff. If you look at a typical Ray Davies concert setlist from 2017, the last time he toured, he did twenty songs, of which two were from his new album, one was the Kinks' one-off hit "Come Dancing" from 1983, and every other song was from the period when he and Rasa were married. Now, for a long time I just thought that was interesting, but likely a coincidence. After all, most rock songwriters do their most important work in their twenties, divorces have a way of messing people's mental health up, musical fashions change… there are a myriad reasons why these things could be like that. But… the circumstantial evidence just kept piling up. Ray's paranoia about people stealing his ideas meant that he became a lot more paranoid and secretive in his songwriting process, and would often not tell his bandmates the titles of the songs, the lyrics, or the vocal melody, until after they'd recorded the backing tracks -- they would record the tracks knowing the chord changes and tempo, but not what the actual song was. Increasingly he would be dictating parts to Quaife and Nicky Hopkins in the studio from the piano, telling them exactly what to play. But while Pete Quaife thought that Ray was being dictatorial in the studio and resented it, he resented something else more. As late as 1999 he was complaining about, in his words, "the silly little bint from Bradford virtually running the damn studio", telling him what to do, and feeling unable to argue back even though he regarded her as "a jumped-up groupie". Dave, on the other hand, valued Rasa's musical intuition and felt that Ray was the same. And she was apparently actually more up-to-date with the music in the charts than any of the band -- while they were out on the road, she would stay at home and listen to the radio and make note of what was charting and why. All this started to seem like a lot of circumstantial evidence that Rasa was possibly far more involved in the creation of the music than she gets credit for -- and given that she was never credited for her vocal parts on any Kinks records, was it too unbelievable that she might have contributed to the songwriting without credit? But then I found the other interview with Rasa I'm aware of, a short sidebar piece I'll link in the liner notes, and I'm going to quote that here: "Rasa, however, would sometimes take a very active role during the writing of the songs, many of which were written in the family home, even on occasion adding to the lyrics. She suggested the words “In the summertime” to ‘Sunny Afternoon', it is claimed. She now says, “I would make suggestions for a backing melody, sing along while Ray was playing the song(s) on the piano; at times I would add a lyric line or word(s). It was rewarding for me and was a major part of our life.” That was enough for me to become convinced that Rasa was a proper collaborator with Ray. I laid all this out in a blog post, being very careful how I phrased what I thought -- that while Ray Davies was probably the principal author of the songs credited to him (and to be clear, that is definitely what I think -- there's a stylistic continuity throughout his work that makes it very clear that the same man did the bulk of the work on all of it), the songs were the work of a writing partnership. As I said in that post "But even if Rasa only contributed ten percent, that seems likely to me to have been the ten percent that pulled those songs up to greatness. Even if all she did was pull Ray back from his more excessive instincts, perhaps cause him to show a little more compassion in his more satirical works (and the thing that's most notable about his post-Rasa songwriting is how much less compassionate it is), suggest a melodic line should go up instead of down at the end of a verse, that kind of thing… the cumulative effect of those sorts of suggestions can be enormous." I was just laying out my opinion, not stating anything as a certainty, though I was morally sure that Rasa deserved at least that much credit. And then Rasa commented on the post, saying "Dear Andrew. Your article was so informative and certainly not mischaracterised. Thank you for the 'history' of my input working with Ray. As I said previously, that time was magical and joyous." I think that's as close a statement as we're likely to get that the Kinks' biggest hits were actually the result of the songwriting team of Davies and Davies, and not of Ray alone, since nobody seems interested at all in a woman who sang on -- and likely co-wrote -- some of the biggest hit records of the sixties. Rasa gets mentioned in two sentences in the band's Wikipedia page, and as far as I can tell has only been interviewed twice -- an extensive interview by Johnny Rogan for his biography of Ray, in which he sadly doesn't seem to have pressed her on her songwriting contributions, and the sidebar above. I will probably continue to refer to Ray writing songs in this and the next episode on the Kinks, because I don't know for sure who wrote what, and he is the one who is legally credited as the sole writer. But… just bear that in mind. And bear it in mind whenever I or anyone else talk about the wives and girlfriends of other rock stars, because I'm sure she's not the only one. "Sunny Afternoon" knocked "Paperback Writer" off the number one spot, but by the time it did, Pete Quaife was out of the band. He'd fallen out with the Davies brothers so badly that he'd insisted on travelling separately from them, and he'd been in a car crash that had hospitalised him for six weeks. They'd quickly hired a temporary replacement, John Dalton, who had previously played with The Mark Four, the group that had evolved into The Creation. They needed him to mime for a TV appearance pretty much straight away, so they asked him "can you play a descending D minor scale?" and when he said yes he was hired -- because the opening of "Sunny Afternoon" used a trick Ray was very fond of, of holding a chord in the guitars while the bass descends in a scale, only changing chord when the notes would clash too badly, and then changing to the closest possible chord: [Excerpt: The Kinks, "Sunny Afternoon"] Around this time, the group also successfully renegotiated their contract with Pye Records, with the help of a new lawyer they had been advised to get in touch with -- Allen Klein. As well as helping renegotiate their contracts, Klein also passed on a demo of one of Ray's new songs to Herman's Hermits. “Dandy” was going to be on the Kinks' next album, but the Hermits released it as a single in the US and took it into the top ten: [Excerpt: Herman's Hermits, “Dandy”] In September, Pete Quaife formally quit the band -- he hadn't played with them in months after his accident -- and the next month the album Face To Face, recorded while Quaife was still in the group, was released. Face to Face was the group's first really solid album, and much of the album was in the same vein as "Sunny Afternoon" -- satirical songs that turned on the songwriter as much as on the people they were ostensibly about. It didn't do as well as the previous albums, but did still make the top twenty on the album chart. The group continued work, recording a new single, "Dead End Street", a song which is musically very similar to "Sunny Afternoon", but is lyrically astonishingly bleak, dealing with poverty and depression rather than more normal topics for a pop song. The group produced a promotional film for it, but the film was banned by the BBC as being in bad taste, as it showed the group as undertakers. But the single happened to be released two days after the broadcast of "Cathy Come Home", the seminal drama about homelessness, which suddenly brought homelessness onto the political agenda. While "Dead End Street" wasn't technically about homelessness, it was close enough that when the TV programme Panorama did a piece on the subject, they used "Dead End Street" to soundtrack it. The song made the top five, an astonishing achievement for something so dark: [Excerpt: The Kinks, "Dead End Street"] But the track also showed the next possible breach in the Kinks' hitmaking team -- when it was originally recorded, Shel Talmy had produced it, and had a French horn playing, but after he left the session, the band brought in a trombone player to replace the French horn, and rerecorded it without him. They would continue working with him for a little while, recording some of the tracks for their next album, but by the time the next single came out, Talmy would be out of the picture for good. But Pete Quaife, on the other hand, was nowhere near as out of the group as he had seemed. While he'd quit the band in September, Ray persuaded him to rejoin the band four days before "Dead End Street" came out, and John Dalton was back to working in his day job as a builder, though we'll be hearing more from him. The group put out a single in Europe, "Mr. Pleasant", a return to the style of "Well Respected Man" and "Dedicated Follower of Fashion": [Excerpt: The Kinks, “Mr. Pleasant”] That was a big hit in the Netherlands, but it wasn't released in the UK. They were working on something rather different. Ray had had the idea of writing a song called "Liverpool Sunset", about Liverpool, and about the decline of the Merseybeat bands who had been at the top of the profession when the Kinks had been starting out. But then the Beatles had released "Strawberry Fields Forever" and "Penny Lane", and Ray hadn't wanted to release anything about Liverpool's geography and look like he had stolen from them, given his attitudes to plagiarism. He said later "I sensed that the Beatles weren't going to be around long. When they moved to London, and ended up in Knightsbridge or wherever, I was still in Muswell Hill. I was loyal to my origins. Maybe I felt when they left it was all over for Merseybeat.” So instead, he -- or he and Rasa -- came up with a song about London, and about loneliness, and about a couple, Terry and Julie -- Terry was named after his nephew Terry who lived in Australia, while Julie's name came from Julie Christie, as she was then starring in a film with a Terry, Terrence Stamp: [Excerpt: The Kinks, "Waterloo Sunset"] It's interesting to look at the musical inspirations for the song. Many people at the time pointed out the song's similarity to "Winchester Cathedral" by the New Vaudeville Band, which had come out six months earlier with a similar melody and was also named after a place: [Excerpt: The New Vaudeville Band, "Winchester Cathedral"] And indeed Spike Milligan had parodied that song and replaced the lyrics with something more London-centric: [Excerpt: Spike Milligan, "Tower Bridge"] But it seems likely that Ray had taken inspiration from an older piece of music. We've talked before about Ferd Grofe in several episodes -- he was the one who orchestrated the original version of "Rhapsody in Blue", who wrote the piece of music that inspired Don Everly to write "Cathy's Clown", and who wrote the first music for the Novachord, the prototype synthesiser from the 1930s. As we saw earlier, Ray was listening to a lot of classical and jazz music rather than rock at this point, and one has to wonder if, at some point during his illness the previous year, he had come across Metropolis: A Blue Fantasy, which Grofe had written for Paul Whiteman's band in 1928, very much in the style of "Rhapsody in Blue", and this section, eight and a half minutes in, in particular: [Excerpt: Paul Whiteman, "Metropolis: A Blue Fantasy" ] "Waterloo Sunset" took three weeks to record. They started out, as usual, with a backing track recorded without the rest of the group knowing anything about the song they were recording -- though the group members did contribute some ideas to the arrangement, which was unusual by this point. Pete Quaife contributed to the bass part, while Dave Davies suggested the slapback echo on the guitar: [Excerpt: The Kinks, "Waterloo Sunset, Instrumental Take 2"] Only weeks later did they add the vocals. Ray had an ear infection, so rather than use headphones he sang to a playback through a speaker, which meant he had to sing more gently, giving the vocal a different tone from his normal singing style: [Excerpt: The Kinks, "Waterloo Sunset"] And in one of the few contributions Rasa made that has been generally acknowledged, she came up with the "Sha la la" vocals in the middle eight: [Excerpt: The Kinks, "Waterloo Sunset"] And the idea of having the track fade out on cascading, round-like vocals: [Excerpt: The Kinks, "Waterloo Sunset"] Once again the Kinks were at a turning point. A few weeks after "Waterloo Sunset" came out, the Monterey Pop Festival finally broke the Who in America -- a festival the Kinks were invited to play, but had to turn down because of their visa problems. It felt like the group were being passed by -- Ray has talked about how "Waterloo Sunset" would have been another good point for him to quit the group as he kept threatening to, or at least to stay home and just make the records, like Brian Wilson, while letting the band tour with Dave on lead vocals. He decided against it, though, as he would for decades to come. That attitude, of simultaneously wanting to be part of something and be a distanced, dispassionate observer of it, is what made "Waterloo Sunset" so special. As Ray has said, in words that seem almost to invoke the story of Moses: "it's a culmination of all my desires and hopes – it's a song about people going to a better world, but somehow I stayed where I was and became the observer in the song rather than the person who is proactive . . . I did not cross the river. They did and had a good life apparently." Ray stayed with the group, and we'll be picking up on what he and they did next in about a year's time. "Waterloo Sunset" went to number two on the charts, and has since become the most beloved song in the Kinks' whole catalogue. It's been called "the most beautiful song in the English language", and "the most beautiful song of the rock 'n' roll era", though Ray Davies, ever self-critical when he's not being self-aggrandising, thinks it could be improved upon. But most of the rest of us disagree. As the song itself says, "Waterloo Sunset's fine".