Podcast appearances and mentions of Alfred E Neuman

Flopcast episode 649! As our Halloween festivities continue, we take a quick look at the horror movies parodied in Mad Magazine in the 1980s. Including: The Shining, Poltergeist, Psycho II, a couple of Alien movies, and Gremlins (with Alfred E. Neuman as Gizmo on the cover). Speaking of Mad and Alfred, we just visited the Norman Rockwell Museum for an amazing exhibit […] The post Flopcast 649: Mad in the Fall appeared first on The ESO Network.

As our Halloween festivities continue, we take a quick look at the horror movies parodied in Mad Magazine in the 1980s. Including: The Shining, Poltergeist, Psycho II, a couple of Alien movies, and Gremlins (with Alfred E. Neuman as Gizmo on the cover). Speaking of Mad and Alfred, we just visited the Norman Rockwell Museum for an amazing exhibit called "What, Me Worry? The Art & Humor of Mad Magazine." And it closes in two weeks, so GO RIGHT NOW. Also: It's World Singing Day. And we are not the world. The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Mastadon! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promo: Earth Station Who!

Fecha de Grabación: Jueves 1 de agosto de 2024. Algunas noticias y temas comentados: Red Hulk y Red She-Hulk: ¿buenos conceptos?, ¿buenas historias? Harley Quinn y sus cambios de traje. ¿Qué es un Publisher y para qué sirve? No. Marvel no eliminó la última página de sus cómics. ¿Quién es Alfred E. Neuman? La evolución de Image Comics. Robert Downey Jr. vuelve al MCU. ¡...y mucho más! Comentario de películas The Ministry of Ungentlemanly Warfare, película dirigida, co-escrita y co-producida por Guy Ritchie y protagonizada por Henry Cavill, Eiza González, Alan Ritchson, Henry Golding y Alex Pettyfer, entre otros. (Lionsgate) Cobra Kai, serie de TV secuela de Karate Kid, creada por Josh Heald, Jon Hurwitz y Hayden Schlossberg, y protagonizada por Ralph Macchio, William Zabka, Courtney Henggeler, Xolo Maridueña, Tanner Buchanan, Mary Mouser, Jacob Bertrand, Gianni DeCenzo, Peyton List, Vanessa Rubio, Dallas Dupree Young, Martin Kove, Yuji Okumoto, Thomas Ian Griffith y Sean Kanan. (Sony Pictures Television/Netflix) Pueden escuchar el podcast en este reproductor: Descarga Directa MP3 (Botón derecho del mouse y "guardar enlace como"). Peso: 102.7 MB; Calidad: 128 Kbps. El episodio tiene una duración de 1:52:08 y la canción de cierre es "Zero" de Yeah Yeah Yeahs. Además de en nuestras redes sociales (Twitter, Bluesky, Facebook, Instagram), también puedes interactuar con nosotros en nuestro servidor en Discord, donde una pequeña comunidad comparte recomendaciones, arte, ofertas, memes y más, y la conversación gira alrededor de muchos temas además de cómics. ¡Únete a nuestro servidor en Discord! También tenemos un Patreon. Ahí cada episodio se publica al menos 24 horas antes que en otros canales, y hay un especial mensual exclusivo para suscriptores de esa plataforma. Puedes convertirte en uno de nuestros patreoncinadores™ con aportes desde 1 dólar, que puede ser cada mes o por el tiempo que tú lo decidas, incluyendo aportaciones de una sola vez. También puedes encontrar nuestro podcast en los siguientes agregadores y servicios especializados: Comicverso en Spotify Comicverso en iVoox Comicverso en Apple Podcasts Comicverso en Google Podcasts Comicverso en Amazon Music Comicverso en Archive.org Comicverso en I Heart Radio Comicverso en Overcast.fm Comicverso en Pocket Casts Comicverso en RadioPublic Comicverso en CastBox.fm ¿Usas alguna app o servicio que no tiene disponible el podcast de Comicverso? En la parte alta de la barra lateral está el feed del podcast, el cual puedes agregar al servicio de tu preferencia si éste ofrece la opción. Nos interesa conocer tus críticas y opiniones para seguir mejorando. Si te gusta nuestro trabajo, por favor comparte el enlace a esta entrada o a nuestro perfil en el servicio de tu preferencia, cuéntale a tus amigos sobre el podcast, y recomiéndalo a quien creas que le pueda interesar. Deja tus comentarios o escríbenos directamente a comicverso@gmail.com

Retire Hour goes mad magazine in this episode where we discuss Alfred E Neuman's thoughts on the retirement landscape, a listener question about restarting IRAs, plus tips on medicare, medicaid, and tax miracles. #money #financialhelp #daveramsey #retirement #recession #taxes #financialeducation #kansas #kansascity #missouri Intro: 0:00 Financial Advisors: "What, Me Worry?" - 0:21 Financial Advisors: Company Stock Awards - 9:52 Client Question: Old IRAs - 17:13 Medicare Advisor: Special Enrollment and Declared Disaster Periods - 24:48 Eidelman Law Advisor: Dementia And Medicaid - 33:25 CPA: Don't Expect A Miracle - 41:08 Credits: 47:31 Learn more at: https://retirehour.com Retire Hour is a weekly radio show and podcast. This financial education resource is for those approaching retirement, or seeking knowledge investing, income planning, taxes, medicare and estate planning.

In Part 2 of Dennis's interview with Dick DeBartolo, the writer talks about what it was like to juggle two dream jobs; writing for Mad Magazine and The Match Game TV show...at the same time! He also shares story after story of the good will he receives when a stranger finds out he's "Mad's maddest writer." He's gotten everything from airplane upgrades to house seats at a sold-out show. Dick also talks about his current work as a gadget expert on various TV shows as well as his own podcast The Giz Wiz. And on the subject of The Match Game, Dick shares stories about all the regulars; Charles Nelson Reilly, Brett Somers, Gene Reyburn and Richard Dawson. Other topics include: his secret to staying productive and creative, producer Mark Goodson's jaw-dropping art collection, Alfred E. Neuman's origin story, that really nice thing Betty White did for him, that time a Match Game producer informed him, "Standards and Practices are very unhappy" and why he thinks the fans who talk to him about Mad love it so so much. www.gizwiz.biz

Dennis is joined via Zoom by one of his heroes, comedy writer Dick DeBartolo who worked for both Mad Magazine and The Match Game TV show...at the same time! Dick talks about how he landed both jobs, how they actually complimented each other and what it was like to go back and forth between the two offices in Manhattan. Recalling Match Game, Dick describes how dry the questions were when he started and how it was his idea to make the questions silly, which basically saved the show. Dennis also has lots of questions for Dick about his beloved Mad magazine, like who exactly was it for? And how did they create parodies of movies that were still in theaters without VHS tapes to refer to? And what does one of Dick's Mad magazine features look like typed on a page? Dick also talks about his personal life and recalls how he met his now-husband Dennis at the gym back in 1980...because of Mad. Other topics include: Dick's hilariously tender relationship with Mad founder Bill Gaines, Dick and Bill's secret Statue of Liberty spy adventure, Gay Sundays at Studio 54, what game show producing legends Mark Goodson and Bill Todman were like behind the scenes, why celebrities like Michael J. Fox, June Lockhart and Viggo Mortenson loved being parodied in Mad and that time Dick pretended to be Alfred E. Neuman's campaign manager when Alfred was running for president. More next week in Part 2.   https://gizwiz.me/

Hang onto your milk money, because we're celebrating National School Lunch Week with a Kornflake Cafeteria Quiz. (Would she eat a Tater Tot? We're still not sure...) Then it's time to dive into another issue of Dynamite, the magazine for weird kids of the 70s and 80s. And we're looking at a Dynamite from 1978 that was provided by our pal Chris from Sci-Fi Explosion! Alfred E. Neuman is on the cover, because the lead story is about the 25th anniversary of MAD magazine. (And yes, someone baked a nightmare-inducing Alfred E. Neuman birthday cake.) Also in this issue: The Dynamite Duo (you know, legendary superheroes Dawnstar and Nightglider), bizarre ways to ruin your bicycle, International Pickle Week, the zombie kites of Nantucket, Count Morbida's puzzle pages, Magic Wanda's awful magic tricks, advice for witches, Dynamite Bummers, and a horse. Enjoy. Watch Sci-Fi Explosion on Twitch! And our regular links... The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Mastadon! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promo: Monkeeing Around!

It's 1982 (in our hearts, at least), so we're looking at the Mad magazines of 1982. (Historians agree that for a truly accurate account of the past, you should just read Mad. Plus you get to do the Fold-In.) That year Mad's TV and movie parodies included Raiders of the Lost Ark, Archie Bunker's Place, Family Feud, For Your Eyes Only, The Greatest American Hero, The Fall Guy, M*A*S*H, The Facts of Life, and Rocky III! (Want to see Alfred E. Neuman as Mr. T? Done!) Mad also covered video games (their Man of the Year may have been a Pac-Man) and did some silly stuff with lobsters too, just for Kornflake. And speaking of Kornflake, her pick for 1982 is a Corn Flakes commercial! Also: It's Freezepop Day. So listen to some synthpop and chomp on a weird frozen thing. Mickey Rooney loves Corn Flakes! Australian twins love Corn Flakes! And our regular links... The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Mastadon! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promo: Earth Station DCU!  

This week's episode takes a look back at the career of trailblazing independent filmmaker Robert Downey, father of Robert Downey, Jr., and his single foray into the world of Hollywood filmmaking, Mad Magazine Presents Up the Academy. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we follow up on a movie based on a series of articles from a humor magazine that was trying to build their brand name by slapping their name on movies with a movie that was sponsored by a humor magazine trying to build their brand name by slapping their name on movies not unlike the other humor magazine had been doing but ended up removing their name from the movie, and boy is brain already fried and we're not even a minute into the episode.   We're talking about Robert Downey's 1980 comedy Up the Academy.   But, as always, before we get to Up the Academy, let's hit the backstory.   If you know the name Robert Downey, it's likely because you know his son. Robert Downey, Jr. You know, Iron Man. Yes, Robert Downey, Jr. is a repo baby. Maybe you've seen the documentary he made about his dad, Sr., that was released by Netflix last year. But it's more than likely you've never heard of Robert Downey, Sr., who, ironically, was a junior himself like his son.   Robert Downey was born Robert John Elias, Jr. in New York City in 1936, the son of a model and a manager of hotels and restaurants. His parents would divorce when he was young, and his mom would remarry while Robert was still in school.   Robert Elias, Jr. would take the last name of his stepfather when he enlisted in the Army, in part because was wanted to get away from home but he was technically too young to actually join the Army. He would invent a whole new persona for himself, and he would, by his own estimate, spend the vast majority of his military career in the stockade, where he wrote his first novel, which still has never been published.   After leaving the Army, Downey would spend some time playing semi-pro baseball, not quite good enough to go pro, spending his time away from the game writing plays he hoped to take, if not to Broadway, at least off-Broadway. But he would not make his mark in the arts until 1961, when Downey started to write and direct low-budget counterculture short films, starting with Ball's Bluff, about a Civil War soldier who wakes up in New York City's Central Park a century later.   In 1969, he would write and direct a satirical film about the only black executive at a Madison Avenue advertising firm who is, through a strange circumstance, becomes the head of the firm when its chairman unexpectedly passes away. Featuring a cameo by Mel Brooks Putney Swope was the perfect anti-establishment film for the end of that decade, and the $120k film would gross more than $2.75m during its successful year and a half run in theatres.   1970's Pound, based on one of Downey's early plays, would be his first movie to be distributed by a major distributor, although it was independently produced outside the Hollywood system. Several dogs, played by humans, are at a pound, waiting to be euthanized. Oh, did I forget to mention it was a comedy? The film would be somewhat of a success at the time, but today, it's best known as being the acting debut of the director's five year old son, Robert Downey, Jr., although the young boy would be credited as Bob Downey.   1972's Greaser Palace was part of an early 1970s trend of trippy “acid Westerns,” like Alejandro Jodorowsky's El Topo and Dennis Hopper's The Last Movie. Character actor Allan Arbus plays Jesse, a man with amnesia who heals the sick, resurrects the dead and tap dances on water on the American frontier. It would be the first movie Downey would make with a million dollar budget. The critical consensus of the film at the time was not positive, although Jay Cocks, a critic for Time Magazine who would go on to be a regular screenwriter for Martin Scorsese in the 1980s, would proclaim the film to be “the most adventurous movie of the year.” The film was not a hit, and it would be decades before it would be discovered and appreciated by the next generation of cineastes.   After another disappointing film, 1975's Moment to Moment, which would later be retitled Two Tons of Turquoise to Taos Tonight in order to not be confused with the 1978 movie of the same name starring John Travolta and Lily Tomlin that really, truly stunk, Downey would take some time off from filmmaking to deal with his divorce from his first wife and to spend more time with his son Robert and daughter Allyson.   By 1978, Robert Downey was ready to get back to work. He would get a job quickly helping Chuck Barris write a movie version of Barris' cult television show, The Gong Show, but that wasn't going to pay the bills with two teenagers at home. What would, though, is the one thing he hadn't done yet in movies…   Direct a Hollywood film.   Enter Mad Magazine.   In 1978, Mad Magazine was one of the biggest humor magazines in America. I had personally discovered Mad in late 1977, when my dad, stepmom and I were on a cross country trip, staying with friends outside Detroit, the day before my tenth birthday, when I saw an issue of Mad at a local grocery store, with something Star Wars-y on its cover. I begged my dad to give me the sixty cents to buy it, and I don't think I missed another issue for the next decade.   Mad's biggest competition in the humor magazine game was National Lampoon, which appealed to a more adult funny bone than Mad. In 1978, National Lampoon saw a huge boost in sales when the John Landis-directed comedy Animal House, which had the name of the magazine in the title, became an unexpected smash hit at the box office. Warner Brothers, the media conglomerate who happened to own Mad Magazine, was eager to do something similar, and worked with Mad's publisher, Bill Gaines, to find the right script that could be molded into a Mad Magazine movie, even if, like Animal House, it wouldn't have any real connection to the magazine itself.   They would find that script in The Brave Young Men of Weinberg, a comedy script by Tom Patchett and Jay Tarses, a pair of television comedy writers on shows like The Carol Burnett Show, The Sandy Duncan Show, The Bob Newhart Show and The Tony Randall Show, who had never sold a movie script before. The story would follow the misadventures of four teenage boys who, for different reasons, depend on each other for their very survival when they end up at the same military academy.   Now, of all the research I've done for this episode, the one very important aspect of the production I was never able to find out was exactly how Robert Downey became involved in the film. Again, he had never made a Hollywood movie before. He had only made one movie with a budget of a million dollars. His movies were satirical and critical of society in general. This was not a match made in heaven. But somehow, someone at Warner Brothers thought he'd be the right director for the film, and somehow, Downey didn't disagree.   Unlike Animal House, Downey and Warners didn't try to land a known commodity like John Belushi to play one of the four leads. In fact, all four of the leads, Wendell Brown, Tommy Citera, Joseph Hutchinson, and Ralph Macchio, would all be making their feature debuts.    But there would be some familiar faces in the film.   Ron Liebman, who was a familiar face from such films has Slaughterhouse-Five, Won Ton Ton: The Dog Who Saved Hollywood and Norma Rae, would play the head of the Academy. Tom Poston, who played Mindy's downstairs neighbor on Mork and Mindy, plays what would now be considered to be a rather offensive gay caricature as the guy who handles the uniforms of the cadets, Antonio Fargas, best known as Huggy Bear on Starsky and Hutch but who had previously worked with Downey on Putney Swope and Pound, as the Coach, and Barbara Bach, who had starred as Anya Amasova in the 1977 Bond film The Spy Who Loved Me.   The $5m film would begin production in Salina, Kansas, on September 17th, 1979, still using the title The Brave Young Men of Weinberg. The primary shooting location would be the St. John's Military School, which was still functioning while the film was in production, and would use most of the 144 students as extras during the shoot. The film would shoot for nine weeks without much incident, and the cast and crew would be home in time to enjoy Thanksgiving with their friends and family.   Unlike Animal House, the makers of The Brave Young Men of Weinberg did attempt to tie the movie into the magazine that would be presenting the film. At the very end of the movie, the magazine's mascot, Alfred E. Neuman, shows up on the side of the road, to wave goodbye to people and deliver his signature line, “What, Me Worry?” in a thought bubble that leads into the end credits. The person wearing the not quite realistic looking Neuman head gear, fourteen year old Scott Shapiro, was the son of the executive vice president of worldwide production at Warner Brothers.   After the first of the year, as Downey worked on his edit of the film, the studio decided to change the title from The Brave Young Men of Weinberg to Mad Magazine Presents Up the Academy. Bill Gaines, the publisher of Mad Magazine, suggested a slightly different title, Mad Magazine Completely Disassociates Itself from Up the Academy, but the studio decided that was too long for theater marquees. But we'll come back to that in a moment.   Warner Brothers set a June 6, 1980 release for the film, and Downey would finish his cut of the film by the end of March. A screening on the Warners lot in early April did not go well. Ron Liebman hated the film so much, he demanded that Warners completely remove his name from everything associated with the film. His name would not appear on the poster, the newspaper ads, the television commercials, the lobby cards, the press kit, or even in the movie itself. Bill Gaines would hate it to, such much in fact that he really did try to disassociate the magazine from the film. In a 1983 interview with The Comics Journal, Gaines would explain without much detail that there were a number of things he had objected to in the script that he was told would not be shot and not end up in the final film that were shot and did end up in the final film. But he wouldn't be able to get the magazine's name off the movie before it opened in theatres.   Now, one of the problems with trying to research how well films did in 1980 is that you really have only two sources for grosses, Variety and The Hollywood Reporter, and they didn't always report national grosses every week, depending on outside factors. It just hadn't the national sport it's been since, say, 1983.   So when Up the Academy opened in theatres on June 6th, we don't have a full idea of how many theatres it played in nationwide, or how much it grossed. The closest thing we do have for this Variety's listing of the top movies of the week based on a limited selection of showcase theatres in the top 20 markets. So we know that the film played at 7 showcase screens in New York City that weekend, grossing $175k, and in Los Angeles on 15 showcase screens, grossing $149k. But we also know, thanks to newspaper ads in the New York Times and the Los Angeles Times that the film was playing in 11 theatres in the New York Metro area, and in 30 theatres in the Los Angeles Metro area, so those listed grosses are merely a snapshot and not the whole picture.   According to Variety's limited tracking of major market showcase theatres for the week, Up the Academy was the second highest grossing film of the week, bringing in $729k from 82 theatres. And according to their chart's side notes, this usually accounts for about 25% of a movie's national gross, if a film is playing in wide release around the entire country.   In its second week, Up the Academy would place ninth on that showcase theatre listing, with $377k from 87 theatres.    But by the time Variety did bring back proper national grosses in the film's third week of release, there would be no mention of Up the Academy in those listings, as Warners by this time had bigger fish to handle, namely Stanley Kubrick's adaptation of the Stephen King novel The Shining, and Bronco Billy, their Clint Eastwood movie for the year. In that showcase theatre listing, though, Up the Academy had fallen to 16th place, with $103k from 34 theatres.   In fact, there is no publicly available record of how many theatres Up the Academy played in during its theatrical run, and it wouldn't be until the 1981 Warner Brothers 10-K annual filing with the Securities and Exchange Commission that Up the Academy had earned $10m from American movie theatres. If studios get about 55% of the box office grosses in rental fees, that would put the $5m film in a very good position to be profitable, depending on how much was spent on P&A, prints and advertising. The film wasn't an Animal House-level hit, but it wasn't exactly the bomb many have painted it to be.    After Up the Academy, two of the actors, Wendell Brown and Joseph Hutchinson, would never act in another movie, although, billed as Hutch Parker, the latter would produce six X-Men related movies between 2013 and 2019, including Logan. Tommy Citera would make two more movies until he left acting in 1988. And Ralph Macchio would, of course, go on to play Daniel LaRusso, the Karate Kid, in a career-defining role that he's still playing nearly forty years later.   Robert Downey would make another wacky comedy, called Moonbeam, in 1982. Co-written with Richard Belzer, Moonbeam would feature a fairly interesting cast including Zack Norman, Tammy Grimes, Michael J. Pollard, Liz Torres and Mr. Belzer, and tells the story of a New York cable television station that becomes world famous when they accidentally bounce their signal off the moon. But the film would not get released until October 1986, in one theatre in New York City for one week. It couldn't even benefit from being able to promote Robert Downey, Jr., who in the ensuing years had started to build an acting career by being featured in John Sayles' Baby It's You, Fritz Kiersch's Tuff Turf, John Hughes' Weird Science, and the Rodney Dangerfield movie Back to School, as well as being a member of the cast of Saturday Night Live for a year.   There's be sporadic work in television, working on shows like Matlock and The Twilight Zone, but what few movies he could get made would be pale shadows of her earlier, edgier work. Even with his son regularly taking supporting roles in his dad's movies to help the old man out, movies like Rented Lips and Too Much Sun would be critically panned and ignored by audiences. His final movie as a writer and director, Hugo Pool, would gross just $13k when it was released in December 1997, despite having a cast that included Patrick Dempsey, Richard Lewis, Malcolm McDowell, Alyssa Milano, Cathy Moriarty and Sean Penn, along with Junior.   Downey would also continue to act in other director's movies, including two written and directed by one of his biggest fans, Paul Thomas Anderson. Downey would play Burt, the studio manager, in Boogie Nights, and the WDKK Show director in Magnolia. Anderson adored Downey so much, the Oscar-nominated filmmaker would sit down with Downey for a four-part conversation filmed for the Criterion Company in 2013.   Robert Downey would pass away in July 2021, a curious footnote in the history of cinema, mostly because of the superstar he sired. Most of his movies are hard to find on video, and nearly impossible to find on streaming services, outside of a wonderful two disc DVD set issued by Criterion's Eclipse specialty label and several titles streaming on The Criterion Channel. Outside of Up the Academy, which is available to rent or purchase from Amazon, Apple TV and several other streaming services, you can find Putney Swope, Greaser's Palace and Too Much Sun on several of the more popular streaming services, but the majority of them are completely missing in action. You can also learn more about Robert Downey in Sr., a documentary streaming on Netflix produced by Robert Downey, Jr. where the son recounts the life and career of his recently passed father, alongside Paul Thomas Anderson, Alan Arkin, and mega-producer Norman Lear.   Thank you for joining us. We'll talk again soon, when Episode 107, on John Landis's underrated 1985 comedy Into the Night, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This week's episode takes a look back at the career of trailblazing independent filmmaker Robert Downey, father of Robert Downey, Jr., and his single foray into the world of Hollywood filmmaking, Mad Magazine Presents Up the Academy. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we follow up on a movie based on a series of articles from a humor magazine that was trying to build their brand name by slapping their name on movies with a movie that was sponsored by a humor magazine trying to build their brand name by slapping their name on movies not unlike the other humor magazine had been doing but ended up removing their name from the movie, and boy is brain already fried and we're not even a minute into the episode.   We're talking about Robert Downey's 1980 comedy Up the Academy.   But, as always, before we get to Up the Academy, let's hit the backstory.   If you know the name Robert Downey, it's likely because you know his son. Robert Downey, Jr. You know, Iron Man. Yes, Robert Downey, Jr. is a repo baby. Maybe you've seen the documentary he made about his dad, Sr., that was released by Netflix last year. But it's more than likely you've never heard of Robert Downey, Sr., who, ironically, was a junior himself like his son.   Robert Downey was born Robert John Elias, Jr. in New York City in 1936, the son of a model and a manager of hotels and restaurants. His parents would divorce when he was young, and his mom would remarry while Robert was still in school.   Robert Elias, Jr. would take the last name of his stepfather when he enlisted in the Army, in part because was wanted to get away from home but he was technically too young to actually join the Army. He would invent a whole new persona for himself, and he would, by his own estimate, spend the vast majority of his military career in the stockade, where he wrote his first novel, which still has never been published.   After leaving the Army, Downey would spend some time playing semi-pro baseball, not quite good enough to go pro, spending his time away from the game writing plays he hoped to take, if not to Broadway, at least off-Broadway. But he would not make his mark in the arts until 1961, when Downey started to write and direct low-budget counterculture short films, starting with Ball's Bluff, about a Civil War soldier who wakes up in New York City's Central Park a century later.   In 1969, he would write and direct a satirical film about the only black executive at a Madison Avenue advertising firm who is, through a strange circumstance, becomes the head of the firm when its chairman unexpectedly passes away. Featuring a cameo by Mel Brooks Putney Swope was the perfect anti-establishment film for the end of that decade, and the $120k film would gross more than $2.75m during its successful year and a half run in theatres.   1970's Pound, based on one of Downey's early plays, would be his first movie to be distributed by a major distributor, although it was independently produced outside the Hollywood system. Several dogs, played by humans, are at a pound, waiting to be euthanized. Oh, did I forget to mention it was a comedy? The film would be somewhat of a success at the time, but today, it's best known as being the acting debut of the director's five year old son, Robert Downey, Jr., although the young boy would be credited as Bob Downey.   1972's Greaser Palace was part of an early 1970s trend of trippy “acid Westerns,” like Alejandro Jodorowsky's El Topo and Dennis Hopper's The Last Movie. Character actor Allan Arbus plays Jesse, a man with amnesia who heals the sick, resurrects the dead and tap dances on water on the American frontier. It would be the first movie Downey would make with a million dollar budget. The critical consensus of the film at the time was not positive, although Jay Cocks, a critic for Time Magazine who would go on to be a regular screenwriter for Martin Scorsese in the 1980s, would proclaim the film to be “the most adventurous movie of the year.” The film was not a hit, and it would be decades before it would be discovered and appreciated by the next generation of cineastes.   After another disappointing film, 1975's Moment to Moment, which would later be retitled Two Tons of Turquoise to Taos Tonight in order to not be confused with the 1978 movie of the same name starring John Travolta and Lily Tomlin that really, truly stunk, Downey would take some time off from filmmaking to deal with his divorce from his first wife and to spend more time with his son Robert and daughter Allyson.   By 1978, Robert Downey was ready to get back to work. He would get a job quickly helping Chuck Barris write a movie version of Barris' cult television show, The Gong Show, but that wasn't going to pay the bills with two teenagers at home. What would, though, is the one thing he hadn't done yet in movies…   Direct a Hollywood film.   Enter Mad Magazine.   In 1978, Mad Magazine was one of the biggest humor magazines in America. I had personally discovered Mad in late 1977, when my dad, stepmom and I were on a cross country trip, staying with friends outside Detroit, the day before my tenth birthday, when I saw an issue of Mad at a local grocery store, with something Star Wars-y on its cover. I begged my dad to give me the sixty cents to buy it, and I don't think I missed another issue for the next decade.   Mad's biggest competition in the humor magazine game was National Lampoon, which appealed to a more adult funny bone than Mad. In 1978, National Lampoon saw a huge boost in sales when the John Landis-directed comedy Animal House, which had the name of the magazine in the title, became an unexpected smash hit at the box office. Warner Brothers, the media conglomerate who happened to own Mad Magazine, was eager to do something similar, and worked with Mad's publisher, Bill Gaines, to find the right script that could be molded into a Mad Magazine movie, even if, like Animal House, it wouldn't have any real connection to the magazine itself.   They would find that script in The Brave Young Men of Weinberg, a comedy script by Tom Patchett and Jay Tarses, a pair of television comedy writers on shows like The Carol Burnett Show, The Sandy Duncan Show, The Bob Newhart Show and The Tony Randall Show, who had never sold a movie script before. The story would follow the misadventures of four teenage boys who, for different reasons, depend on each other for their very survival when they end up at the same military academy.   Now, of all the research I've done for this episode, the one very important aspect of the production I was never able to find out was exactly how Robert Downey became involved in the film. Again, he had never made a Hollywood movie before. He had only made one movie with a budget of a million dollars. His movies were satirical and critical of society in general. This was not a match made in heaven. But somehow, someone at Warner Brothers thought he'd be the right director for the film, and somehow, Downey didn't disagree.   Unlike Animal House, Downey and Warners didn't try to land a known commodity like John Belushi to play one of the four leads. In fact, all four of the leads, Wendell Brown, Tommy Citera, Joseph Hutchinson, and Ralph Macchio, would all be making their feature debuts.    But there would be some familiar faces in the film.   Ron Liebman, who was a familiar face from such films has Slaughterhouse-Five, Won Ton Ton: The Dog Who Saved Hollywood and Norma Rae, would play the head of the Academy. Tom Poston, who played Mindy's downstairs neighbor on Mork and Mindy, plays what would now be considered to be a rather offensive gay caricature as the guy who handles the uniforms of the cadets, Antonio Fargas, best known as Huggy Bear on Starsky and Hutch but who had previously worked with Downey on Putney Swope and Pound, as the Coach, and Barbara Bach, who had starred as Anya Amasova in the 1977 Bond film The Spy Who Loved Me.   The $5m film would begin production in Salina, Kansas, on September 17th, 1979, still using the title The Brave Young Men of Weinberg. The primary shooting location would be the St. John's Military School, which was still functioning while the film was in production, and would use most of the 144 students as extras during the shoot. The film would shoot for nine weeks without much incident, and the cast and crew would be home in time to enjoy Thanksgiving with their friends and family.   Unlike Animal House, the makers of The Brave Young Men of Weinberg did attempt to tie the movie into the magazine that would be presenting the film. At the very end of the movie, the magazine's mascot, Alfred E. Neuman, shows up on the side of the road, to wave goodbye to people and deliver his signature line, “What, Me Worry?” in a thought bubble that leads into the end credits. The person wearing the not quite realistic looking Neuman head gear, fourteen year old Scott Shapiro, was the son of the executive vice president of worldwide production at Warner Brothers.   After the first of the year, as Downey worked on his edit of the film, the studio decided to change the title from The Brave Young Men of Weinberg to Mad Magazine Presents Up the Academy. Bill Gaines, the publisher of Mad Magazine, suggested a slightly different title, Mad Magazine Completely Disassociates Itself from Up the Academy, but the studio decided that was too long for theater marquees. But we'll come back to that in a moment.   Warner Brothers set a June 6, 1980 release for the film, and Downey would finish his cut of the film by the end of March. A screening on the Warners lot in early April did not go well. Ron Liebman hated the film so much, he demanded that Warners completely remove his name from everything associated with the film. His name would not appear on the poster, the newspaper ads, the television commercials, the lobby cards, the press kit, or even in the movie itself. Bill Gaines would hate it to, such much in fact that he really did try to disassociate the magazine from the film. In a 1983 interview with The Comics Journal, Gaines would explain without much detail that there were a number of things he had objected to in the script that he was told would not be shot and not end up in the final film that were shot and did end up in the final film. But he wouldn't be able to get the magazine's name off the movie before it opened in theatres.   Now, one of the problems with trying to research how well films did in 1980 is that you really have only two sources for grosses, Variety and The Hollywood Reporter, and they didn't always report national grosses every week, depending on outside factors. It just hadn't the national sport it's been since, say, 1983.   So when Up the Academy opened in theatres on June 6th, we don't have a full idea of how many theatres it played in nationwide, or how much it grossed. The closest thing we do have for this Variety's listing of the top movies of the week based on a limited selection of showcase theatres in the top 20 markets. So we know that the film played at 7 showcase screens in New York City that weekend, grossing $175k, and in Los Angeles on 15 showcase screens, grossing $149k. But we also know, thanks to newspaper ads in the New York Times and the Los Angeles Times that the film was playing in 11 theatres in the New York Metro area, and in 30 theatres in the Los Angeles Metro area, so those listed grosses are merely a snapshot and not the whole picture.   According to Variety's limited tracking of major market showcase theatres for the week, Up the Academy was the second highest grossing film of the week, bringing in $729k from 82 theatres. And according to their chart's side notes, this usually accounts for about 25% of a movie's national gross, if a film is playing in wide release around the entire country.   In its second week, Up the Academy would place ninth on that showcase theatre listing, with $377k from 87 theatres.    But by the time Variety did bring back proper national grosses in the film's third week of release, there would be no mention of Up the Academy in those listings, as Warners by this time had bigger fish to handle, namely Stanley Kubrick's adaptation of the Stephen King novel The Shining, and Bronco Billy, their Clint Eastwood movie for the year. In that showcase theatre listing, though, Up the Academy had fallen to 16th place, with $103k from 34 theatres.   In fact, there is no publicly available record of how many theatres Up the Academy played in during its theatrical run, and it wouldn't be until the 1981 Warner Brothers 10-K annual filing with the Securities and Exchange Commission that Up the Academy had earned $10m from American movie theatres. If studios get about 55% of the box office grosses in rental fees, that would put the $5m film in a very good position to be profitable, depending on how much was spent on P&A, prints and advertising. The film wasn't an Animal House-level hit, but it wasn't exactly the bomb many have painted it to be.    After Up the Academy, two of the actors, Wendell Brown and Joseph Hutchinson, would never act in another movie, although, billed as Hutch Parker, the latter would produce six X-Men related movies between 2013 and 2019, including Logan. Tommy Citera would make two more movies until he left acting in 1988. And Ralph Macchio would, of course, go on to play Daniel LaRusso, the Karate Kid, in a career-defining role that he's still playing nearly forty years later.   Robert Downey would make another wacky comedy, called Moonbeam, in 1982. Co-written with Richard Belzer, Moonbeam would feature a fairly interesting cast including Zack Norman, Tammy Grimes, Michael J. Pollard, Liz Torres and Mr. Belzer, and tells the story of a New York cable television station that becomes world famous when they accidentally bounce their signal off the moon. But the film would not get released until October 1986, in one theatre in New York City for one week. It couldn't even benefit from being able to promote Robert Downey, Jr., who in the ensuing years had started to build an acting career by being featured in John Sayles' Baby It's You, Fritz Kiersch's Tuff Turf, John Hughes' Weird Science, and the Rodney Dangerfield movie Back to School, as well as being a member of the cast of Saturday Night Live for a year.   There's be sporadic work in television, working on shows like Matlock and The Twilight Zone, but what few movies he could get made would be pale shadows of her earlier, edgier work. Even with his son regularly taking supporting roles in his dad's movies to help the old man out, movies like Rented Lips and Too Much Sun would be critically panned and ignored by audiences. His final movie as a writer and director, Hugo Pool, would gross just $13k when it was released in December 1997, despite having a cast that included Patrick Dempsey, Richard Lewis, Malcolm McDowell, Alyssa Milano, Cathy Moriarty and Sean Penn, along with Junior.   Downey would also continue to act in other director's movies, including two written and directed by one of his biggest fans, Paul Thomas Anderson. Downey would play Burt, the studio manager, in Boogie Nights, and the WDKK Show director in Magnolia. Anderson adored Downey so much, the Oscar-nominated filmmaker would sit down with Downey for a four-part conversation filmed for the Criterion Company in 2013.   Robert Downey would pass away in July 2021, a curious footnote in the history of cinema, mostly because of the superstar he sired. Most of his movies are hard to find on video, and nearly impossible to find on streaming services, outside of a wonderful two disc DVD set issued by Criterion's Eclipse specialty label and several titles streaming on The Criterion Channel. Outside of Up the Academy, which is available to rent or purchase from Amazon, Apple TV and several other streaming services, you can find Putney Swope, Greaser's Palace and Too Much Sun on several of the more popular streaming services, but the majority of them are completely missing in action. You can also learn more about Robert Downey in Sr., a documentary streaming on Netflix produced by Robert Downey, Jr. where the son recounts the life and career of his recently passed father, alongside Paul Thomas Anderson, Alan Arkin, and mega-producer Norman Lear.   Thank you for joining us. We'll talk again soon, when Episode 107, on John Landis's underrated 1985 comedy Into the Night, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Konstvetaren Linda Fagerström resonerar om varför vissa verk är så himla kända. Är det för att de är så himla bra eller för att de är så himla speciella? Vi lär oss skilja på tavla och målning, tar oss till Paris och Vinci, tittar upp på Jackson Pollocks fötter och gurglar holländska. Namn som nämns: Ingela Pling Forsman, Göran Palm, Sofia Wistam och Alfred E. Neuman.

Shaun wants to know who Pete Buttigieg looks more like - Cindy Lou Who or Alfred E. Neuman? PLUS, EJ Antoni from The Heritage Foundation gives us our weekly economy lesson and warns of looming cost increases to come.See omnystudio.com/listener for privacy information.

Pat takes your calls, talks about YouTube channels with Producer Kendall, Happy Birthday to Alfred E. Neuman and pays tribute to Mark Lanegan, singer of Screaming Trees and Queens of the Stone Age who has passed away at 57...

Tai & Adrienne have a discussion with Mopes, formerly known as Prolyphic from the Strange Famous Records fam on this episode of DOD45 . While Tai draws a stag with owls in its antlers, they have a well-rounded chat, which at times is a lot of fun, like Mopes' heartache being a New York Jets fan & Tai's heartache being a Utah Jazz fan. Of course they discuss Mopes' recent EP & his upcoming album release, but the conversation also dips into some discussion about racism, the 80s tv series Alf, Mopes' creative approach when it comes to making music, Madonna's book Sex, Mike Tyson's struggles & growth, working with Chicago emcee Robust, safety precautions on movie sets and they share some of their favorite lyrics. There are many other topics they cover so rather than read it here, just watch the whole episode. Sophie's Choice questions from this episode include: Lady Gaga or Madonna? Bon Jovi or Jon Bovi? Brother Ali or Muhammad Ali? Rocky Balboa or Mike Tyson? Alfred E. Neuman or Paul Newman? Jets or Giants? Christian Bale or Crispin Glover? Rodney Mullen or Rodney Dangerfield? Caddyshack or Back to School? Prints of the Mopes "Stag & Owls" are available here Tai's shirt in this episode: Cas One Vs Figure Pertinent links from the episode: Mopes bandcamp Strange Famous Records Mopes Party McFly music video Mopes Milk & Cookies Mopes on Insta Mopes on Twitter Kurtis Conner's comical breakdown of the Xmas movies Too Cool For Christmas & Very Cool Christmas Become an ArtByTai collector Theme music by Nalei from her debut album "13" --- Send in a voice message: https://podcasters.spotify.com/pod/show/artbytai/message Support this podcast: https://podcasters.spotify.com/pod/show/artbytai/support

Listen Now to Future News and Judith Orloff, M.D. As the Omicron varient arrives on our shores, what comes to mind is  Alfred E. Neuman’s famous quote, “What, me worry?” Meanwhile, the U.K. grants squid and octopi the status of fellow sentient beings on this planet.  And its about time we start acknowledging these other entitites with which we share our planetary ecosystem. We have the pleasure of interviewing Judith Orloff, M.D. on today’s show, about her lifelong interest in Judith Orloff, M.D.helping the highly empathic people amongst us.  She is a world bridger, sythesizing the jewels of western medicine with her deep explorations of intuition, life energy, and spirituality.  Her book, The Empath’s Survival Guide: Life Strategies for Sensitive People, Thriving as an Empath, and Emotional Freedom, is a NY Times best seller.  She has many other offerings as well, including online courses, a Empath’s Empowerment Card Deck, and worshops, found at her website.  We cover some of the basic concepts of empath awareness with her and delve a bit into dream empaths, dealing with narcissistic people, mirror touch synesthesia, trusting your gut, and from a dream caller, “Aether, the final frontier!” Enjoy.

Frank Sinatra scored a massive hit in 1969 when he recorded Paul Anka's adaptation of a French song that Anka entitled “My Way.” Despite reports that Sinatra personally disliked the song's “self-indulgent” lyrics, penned by Anka, and until Sid Vicious released the definitive rendition of the song nine years later, no song has ever been more identified with Sinatra the man and the singer. Whatever one feels about the song or about Sinatra — and I must say I have always found both cloying and bumptious — it is hard to ignore the power of his performance and the defiant stance of the lyrics. The most combative words of the song arrive at the opening of the second verse.Regrets, I've had a fewBut then again too few to mentionI did what I had to doI saw it through without exemptionThink of the arrogance of this passage. The song could be titled “My Way (or the Highway).” It's a song that is befitting the patriarch of the oligarchic Roy family in the television satire Succession, or, for the more literary-minded, the general in Gabriel Garcia Marquez' exquisite and excruciating satirical novel Autumn of the Patriarch. (I recommend both.)Nonetheless, Anka's lines do raise an interesting question. What is the point of regret? To make heads or tails of regret, we will have to differentiate regret from guilt. Guilt has to do with past action or inaction we had some choice or informed agency over whereas regret refers to past action or inaction that we could neither predict nor control. In fact, the song misuses the word regret. Anka seems to be referring to actions that were taken with full knowledge of their repercussions as the third and fourth lines of the second verse indicate.I did what I had to doI saw it through without exemptionClearly Anka's singer has not experienced regret but episodes of guilt — just a few, but then again too few to mention — which Sid Vicious' video of the song (linked at the bottom of the essay) makes clear.So, properly understood, regret has to do with consequences from past action or inaction that we had no control over and cannot correct. In this way it has much in common with its counterpart, worry.In the U.S., we have witnessed the proliferation of a vast anti-worry industry staffed by an army of gurus, our greatest being not the inescapable Dr. Phil or even the ubiquitous Xanax but Alfred E. Neuman, the mascot of MAD magazine and the ur anti-worrier. Neuman's sage motto — “What, me worry?” — inspired generations of youth to release their niggling cares, relax, and read humor comics. We can learn much from him.As Mr. Neuman's astute bon mot suggests, worry can do absolutely nothing to improve tomorrow and only can ruin today. Like regret, worry addresses events we cannot control. My intense worry that my doctor's appointment next week will bring bad news can have no influence over the outcome. If the doctor's report is good, I may be flooded with relief, but I will also have wasted a week fretting for no reason. If the doctor delivers bad news, I will likely be overcome with dread — worry's more onerous sibling — and thus my self-imposed misery increases and continues. We may be tempted to accept regret and worry as “only natural,” which they are, but they are so as vestiges of a past that has not existed for thousands of years. Whatever evolutionary advantage they may have once provided to our distant ancestors, it is difficult to see what good they do us now. And yet, here they are, lurking in our daily lives and in our guts. Yes, they are part of our nature, but we can, with practice, consciously dispel them.Note that worry has no agency over the future, so what, me worry? And for that matter, regret will not change the past, so why regret? Indeed, both regret and worry can overwhelm our capacity to correct negative experiences, as in the case of regret, or avoid them, as in the case of worry.In the end, and with all due respect to the talented Mr. Anka, Mr. Neuman's sentiment is the more sagacious. Anka's lyrics coldly dispense with past error as a meaningless inconvenience while Neuman's motto is more nuanced — a simple rhetorical question cum statement of resolve. Under Neuman's schema, each of us can still look on the future, near and distant, while leaving room to address but not anguish over it. In contrast, Anka's expression of non-regret cum guiltlessness does not allow for concern or correction at all. It is brutal in its irresponsibility and its disregard for the damaged world that the narrator is leaving behind.Living a life without regret or worry is a worthy pursuit, but a life with no concern for consequences — past or future — is an empty one marked by emotional self-isolation and hard-hearted self-regard, all set to the accompaniment of a treacly melody. The choice really is simple: reject the vapid Paul Anka/Frank Sinatra/Sid Vicious bravado and its saccharine melody and embrace your inner Alfred E. Neuman. What, Me Worry?Share your thoughts on this topic or participate in a discussion by leaving a comment below or by contacting me directly by email: You must register with Substack to leave a comment, which stinks but is painless and free.I look forward to hearing from you.Get a free consultation to learn how I can help enhance your leadership and communication skills.Post this essay on social media or send it by email to someone you want to inspire or annoy.Subscribe to receive my weekly newsletter and special editions directly to your mailbox.Learn how you can improve your ability to achieve your organization's mission. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit jimsalvucci.substack.com

cartoonin' interviews - Gord Pullar, Madeleine Kay, Roy Carless*, Joe Ollman*, Jack Lefcourt* (* from "Tooning In: Political Cartooning in Hamilton and Beyond"), Evelyna Kay on Calvin and Hobbes. "The Crazy Show" - by Madeleine and Bronwyn music - "Bubblegum," Sonic Youth, EVOL trip - mountsberg wildlife centre - http://www.conservationhalton.on.ca/ recounted by Madeleine and Bronwyn editing - Beatrice Ekoko, Madeleine and Randy Kay "what, me worry?" Alfred E. Neuman

Episode 157:  American Timelines 1952, Part 8:  Frozen Peas & The Short Sad Life of Derek Bentley.  Amy tells us about a sad questionable incident in England while Joe's highlights include:  Alfred E. Neuman, Charlotte's Web, the first frozen peas and Denver's channel 9. Season 5, Episode 32, of American Timelines! Part of the Queen City Podcast Network: www.queencitypodcastnetwork.com. Credits Include:  Murderpedia, Geoffrey Watson, Popculture.us, Wikipedia, TVtango, IMDB & Youtube.  Information may not be accurate, as it is produced by jerks. Music by MATT TRUMAN EGO TRIP, the greatest American Band. Click Here to buy their albums!

I skolen lignede han Alfred E. Neuman fra MAD Magazine. Som voksen kender de fleste ham som manden i jakkesæt, der var med til at gøre Radio24syv til en succes. Nu er han en fri agent og er aktuel med den opsigtsvækkende dokumentar ”Muldvarpen – Undercover i Nordkorea”. Hvis Mads Brügger skulle dø i dag, ville hans eftermæle portrættere ham som en af Danmarks mest kompromisløse mediepersonligheder. Nu får han sit sidste måltid og gør status, hvordan tilværelsen egentlig er efter 8 år som programchef. Nekrologen i dette program er baseret på artikler fra Weekendavisen og Euroman.

Matt goes off live on http://www.twitch.tv/chapotraphouse Buy our book: http://www.chapotraphouse.com/book http://www.soundcloud.com/chapo-trap-house http://patreon.com/chapotraphouse #ChapoTrapHouse #Chapo CushVlogs Reddit @ r/AcidMarxism

Matt goes off live on http://www.twitch.tv/chapotraphouse

Yesterday the New York Times reported that Vice President Mike Pence told governors in a phone call that really, the coronavirus is under control, and that increased numbers of cases is just because more testing is being done.And then, he said the economy is booming back and everything is fine. He fed them the party line because Trump is desperate to at least make people think that it's all good, even though it's not.What came to mind was Mad Magazine's Alfred E. Neuman and his old line, “What Me Worry?”That would be funny if it wasn't so serious…in fact, deadly serious. That's the topic of today's podcast, so take a listen to “The Two Big Lies” from Not Fake News.biz.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-lean-to-the-left-podcast--4719048/support.

Yesterday the New York Times reported that Vice President Mike Pence told governors in a phone call that really, the coronavirus is under control, and that increased numbers of cases is just because more testing is being done.And then, he said the economy is booming back and everything is fine. He fed them the party line because Trump is desperate to at least make people think that it's all good, even though it's not.What came to mind was Mad Magazine's Alfred E. Neuman and his old line, “What Me Worry?”That would be funny if it wasn't so serious…in fact, deadly serious. That's the topic of today's podcast, so take a listen to “The Two Big Lies” from Not Fake News.biz.

Alan Bernstein, documentarian of “When We Went MAD”, speaks about what it was like to meet his favourite writers and artists of MAD Magazine, the tribulations of whittling down hours of footage to fit into a perfect flow, the history of Alfred E. Neuman and lots more! Plus, Rob Broski of Twin Peaks, Micky Dolenz of The Monkees and Henry D. Horse also make special appearances! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

After a weak showing in Nevada and a total flop in South Carolina, smarmy radical and alleged rat Pete Buttigieg is dropping out of the presidential race, vindicating President Trump's prophesy that Alfred E. Neuman cannot be president of the United States. We will examine who bought off Mayor Pete. Then, Bloomberg finally makes it to a ballot as we look forward to Super Tuesday, a drag queen twerks for a toddler, and President Trump kills it at CPAC!Check out The Cold War: What We Saw, a new podcast written and presented by Bill Whittle at https://www.dailywire.com/coldwar. In Part 1 we peel back the layers of mystery cloaking the Terror state run by the Kremlin, and watch as America takes its first small steps onto the stage of world leadership.If you like The Michael Knowles Show, become a member TODAY with promo code: KNOWLES and enjoy the exclusive benefits for 10% off at https://www.dailywire.com/Knowles Learn more about your ad choices. Visit podcastchoices.com/adchoices

After a weak showing in Nevada and a total flop in South Carolina, smarmy radical and alleged rat Pete Buttigieg is dropping out of the presidential race, vindicating President Trump’s prophesy that Alfred E. Neuman cannot be president of the United States. We will examine who bought off Mayor Pete. Then, Bloomberg finally makes it to a ballot as we look forward to Super Tuesday, a drag queen twerks for a toddler, and President Trump kills it at CPAC! Check out The Cold War: What We Saw, a new podcast written and presented by Bill Whittle at https://www.dailywire.com/coldwar. In Part 1 we peel back the layers of mystery cloaking the Terror state run by the Kremlin, and watch as America takes its first small steps onto the stage of world leadership. If you like The Michael Knowles Show, become a member TODAY with promo code: KNOWLES and enjoy the exclusive benefits for 10% off at https://www.dailywire.com/Knowles

Gäster: Clara Kristiansen, Thomas Eriksson, Marcus Thapper, Erik Sporrong, Simon Gärdenfors, Johannes Torstensson … Vi pratar om: …de korta https://sv.wikipedia.org/wiki/Kortvuxenhet#Diagnos …Mina Problem ep 5 https://www.youtube.com/watch?v=6yLEejFEDeE …Bosse Hansson https://nyheteridag.se/utvisas-pa-livstid-svt-profilen-bo-hansson-domd-for-sexualbrott-i-usa/ …Coronafartygen https://www.bbc.com/news/world-asia-china-51433079 https://www.expressen.se/nyheter/skracken-pa-isolerade-fartygen-blir-varre/ …Corona Q&A https://www.folkhalsomyndigheten.se/smittskydd-beredskap/smittsamma-sjukdomar/coronavirus/fragor-och... …Trumps blendingproblem https://www.theguardian.com/us-news/2020/feb/08/trump-tan-line-picture-forehead-hair https://twitter.com/realDonaldTrump/status/1226222654019035142?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweete... …skandalinfluencern https://www.svt.se/kultur/svensk-influencer-anklagas-for-blackfishing …Menicure https://www.esquire.com/style/grooming/a30612393/manicure-for-men-trend/ …Flincks pik https://www.expressen.se/tv/noje/melodifestivalen/thorsten-flinck-jag-fick-diskbrack-efter-samtalet/ …Gubbligan https://omni.se/gubbligans-ranmiljoner-inte-hittade-troligen-nergravda/a/50lm7b https://sv.wikipedia.org/wiki/Nisse_Pistol …Johannes Torstenssons bok ”Bord för en” https://www.bokus.com/bok/9789175153247/bord-for-en/ …Samurai Gourmet https://www.imdb.com/title/tt6304676/ …Jojo Rabbit https://www.imdb.com/title/tt2584384/ …Oscarsgalan https://en.wikipedia.org/wiki/92nd_Academy_Awards#Winners_and_nominees …Ang Lees Hulk https://www.imdb.com/title/tt0286716/ …Cages stålman https://vignette.wikia.nocookie.net/superman/images/6/6e/Cage_Lives.jpg/revision/latest/scale-to-wid... …The Batman https://www.imdb.com/title/tt1877830/ …Alfred E. Neuman https://www.gannett-cdn.com/presto/2019/07/04/USAT/02a9446d-4735-448b-bc5f-18e19b474733-XXX_D01_MAD_... …One upon a time in Hollywood https://www.imdb.com/title/tt7131622/ …Lourne Michaels och fluffiga moln https://twitter.com/AisleSeat/status/1226304195545964544 …Night at the Roxbury https://images-na.ssl-images-amazon.com/images/I/81NS27VkABL._SL1133_.jpg …Grease 2 https://www.imdb.com/title/tt0084021/ …Hoyte Van Hoytema https://www.imdb.com/name/nm0887227/ …Charlize som Kelley https://s.yimg.com/lo/api/res/1.2/_zfTvoTmIS2WJebWRcsnTA--/YXBwaWQ9YXBlY21lZGlhO3NtPTE7dz02NjU7aD0zN... https://hips.hearstapps.com/hmg-prod.s3.amazonaws.com/images/embed1-1566496106.png?resize=480:* …Bokus topplista https://www.bokus.com/topplistor/tecknade-serier Låtarna som spelades var: Urgent – Foreigner My Happy Ending – Avril Lavigne Who's Lovin' You – The Jackson 5 That's Life – Frank Sinatra Alla låtar finns i AMK Morgons spellista här: https://open.spotify.com/user/amk.morgon/playlist/6V9bgWnHJMh9c4iVHncF9j?si=so0WKn7sSpyufjg3olHYmg … Tack till Smiling Faces för det utmärkta kaffet! https://www.smilingfaces.se/ … Bli patron på www.patreon.com/amkmorgon! Extramaterial, extrapoddar, extra allt. Förtur och rabatt på biljettsläpp och merchandise. Och du stöttar AMK Morgon så vi kan ge er två timmar underhållning varje dag för alltid. Tack för att ni stöttar!

Today I have the story of William Gaines, Harvey Kurtzman, Al Feldstein, and Alfred E. Neuman. It’s the tale of Mad Magazine. It began with the tragic death of Max Gaines and ends more than 60 years later.

Esse programa foi tão chique que Almir Mirabeau e Ricardo Cunha Lima tiveram que comprar roupa nova para receber a internacional dobradinha Marcelo Martinez e Bruno Porto. Os ilustríssimos designers foram convidados para falar de uma das publicações mais importantes da história, a revista MAD. Foi uma loucura... Não se esqueça de compartilhar e dar um like ou rating nas plataformas onde divulgamos o Visual+mente, assim você nos ajuda a alcançar um público maior! LINKs Neumam Original - https://madtrash.com/the-origin-of-neuman-dept/ Harvey Kurtzman - https://is.gd/kuZRst Al Jaffe - As dobradinhas (fold-ins)- https://is.gd/m961zE Mort Drucker - https://is.gd/c3izSw Sam Viviano - https://is.gd/VsuuSu Ota - http://www.ota.com.br/otapedia/mad.html https://apoia.se/otacomix Carlos Chagas - https://is.gd/URuqiY Capa da Carla Perez - https://is.gd/FkfRej Capa do Menudo - https://is.gd/v16wGy Capa do Bad - https://is.gd/q8RGsj Elias Silveira - https://is.gd/RzPw5d A história do Alfred E. Neuman - https://is.gd/1mCqeA Cartoon Network | Mad - https://www.youtube.com/watch?v=SiIlLg1ZdNk Um Gesto Fútil e Estúpido(A Futile and Stupid Gesture) - https://www.netflix.com/br/title/80107084 - https://www.cracked.com/ Podcast Zorra - https://is.gd/syJOST São Paulo Meu Amor - documentário - https://is.gd/0pmVGe Stay MAD - https://www.facebook.com/doug.gilford/posts/10157264037918548

In today's podcast we celebrate MAD Magazine's legendary 67 year run and discuss its unfortunate demise. Was political correctness the assassin? or was it just because the skeptical generation no longer cares? Let's find out.Would you like me to review or advertise your product? For any business inquire, please contact me at:jpsarrireviews@gmail.com———————————————————This episode is brought to you by the faithful support of my Patrons on Patreon https://www.patreon.com/JPSarriYou can also donate via PayPal https://www.paypal.me/jpsarriOr through my GoFundMe Campaign https://www.gofundme.com/6z2rbvk See acast.com/privacy for privacy and opt-out information.

MAD Magazine is a humor magazine founded in 1952 by editor Harvey Kurtzman and publisher William Gaines. It was extremely popular and influential in the mid-20th century, especially under editor Al Feldstein (1956-84), peaking in circulation at 2 million in 1974. It has published 550 regular issues, as well as hundreds of special editions. On July 2, 2019, MAD announced that it would stop publishing new issues by the end of the year.A 1963 issue of MAD included this flexi-disc, purporting to be MAD's mascot Alfred E. Neuman performing the song "It's a Gas," written by N. Blagman and S. Bobrick on the MAD label. The song was written by Norman Blagman and Sam Bobrick, and performed by Mike Russo, Jeanne Hayes, and the Dellwoods. The song apparently features Al Feldstein saying "It's a Gas!" and King Curtis on saxophone. It also features belches provided by the musicians, which were cut into the recording during post-production."It's a Gas" was originally recorded for RCA under the name the "Sweet Sick-teens." RCA released two songs from the session, but refused to release "It's a Gas" because it was in poor taste. MAD loved the track, and was delighted to include it with an issue of the magazine. See acast.com/privacy for privacy and opt-out information.

My guest today is Eric Joyner @eric_s_j on Instagram and he is a contemporary American artist who is best known for his artwork which focuses on robots and donuts with beautiful background imagery. He has created over 350 paintings of them, some of which were purchased by praised by renowned film directors J.J. Abrams as well as George Lucas. Some of his artwork has been featured in the hit TV show The Big Bang Theory and has made international headway like when Duncan Donuts from Korea pitched him do contribute to their promotional products. Please enjoy my all-inclusive conversation with Eric Joyner.   SHOW NOTES:   [2:30] Interview beings [7:45]  Eric's Kickstarter Campaign Eric’s endeavor for Donut and Robotic video game; And donuts on OG The Simpsons Nintendo game -Donut Section (8:45) [15:15] Staying creative and Eric's rules for financial transactions Eric's Books Robots and Donuts book  and Robotic Existentialism Book [18:00] Eric’s first professional experience as an artist The Final Blow - Early 2003 Painting [29:15] Angry robots and stomping donuts - Man Vs Machine [31:30] Eric’s advice for starting out painting; 2 inch by 1 inch bass wood,  Miter Saw, Plywood lane board or birch wood. Basic Gesso for ground [36:30] Rules for Eric’s art  [39:00] “You gotta do something” Rebel Without a Cause [39:30] Dunkin Donuts in Korea [42:45] Influencing the Android Operating company [45:20] Recharging after too many donuts and robots [47:00] Researching art for your inspiration [49:00] Massive professional printer Eric uses Epson Stylus Pro 9900   [50:30] Mentors and resources [52:30]  Eric’s creative ambiance inside his studio [54:30]  MAD MAGAZINE -Alfred E. Neuman and  Submission area for MAD Magazine  [101:30] Inspiring art to see art in the USA  [104:00] www.ericjoyner.com @eric_s_j Instagram  @robotsanddonuts on Facebook and twitter Twitter [105:00] Discipline and final thoughts  DuoLing App for learning languages https://www.duolingo.com/

Alfred E. Neuman once said, "Better late than never. Unless you're going to the dentist!" Oh, how we laughed. This episode is about the extremely elusive Atari Age magazine mailaway game, Quadrun. It is the first home video game to feature speech without having to use an add on unit, like those OTHER systems. It also makes its own gravy! Coming up in January is Popeye by Parker Brothers. If you have any feedback for this game or any I've already covered, please send it to 2600gamebygame@gmail.com and I will read or play it on the show. Also, if you have any Christmas memories you'd like to share for the Christmas episode, please send it in by December 15th. I would love to hear from you! Thank you so much for listening. Steve Woita's web site Steve Woita interview by Ken Horowitz Steve Woita interview on Planet Virtual Boy Steve Woita interview by Michael Thomasson Steve Woita interview by Scott Stilphen Steve Woita interview by 8 Bit Rocket Tiny Games web site Quadrun Easter Egg page on Atari Compendium Quadrun on Random Terrain Atari Age magazine Quadrun announcement Nov 83 - Feb 84 issue Atari Age magazine Quadrun Contest extended Mar-Apr 84 issue (last issue) Quadrun Video Game Masters patch on Atarimania Mighty Squirrel plays Quadrun  No Swear Gamer 279 - Quadrun Turbotastic Podcast on Facebook Virtually Human Podcast - Waterworld Check out Jose's awesome spreadsheet for the list of games I've already done, with links to the episodes! Thank you Jose! Proud member of the Throwback Network! Proud member of the Retro Junkies Network! Facebook page Twitter page Google + page My YouTube channel, for whatever reason Blog page WHAT A FORUM TOO Listen to the show on Stitcher! Subscribe to the show on iTunes, and leave a review! Reviews are nice! Listen to the show on Tune In! Please check out my other shows: Intarivisions Podcast Please Stand By! The League of Extraordinary Podcasters

Join Scott for a look back at a failed pilot made by one of comedy's most enduring properties: MAD Magazine! Listen as he details the interesting history of MAD Magazine, starting out as a comic book in the 1950's, then making the switch to the magazine format to avoid conforming to the Comics Code after publisher William Gaines' testimony before congress. He'll talk about ABC's commissioning this pilot in 1974 and why it ultimately never aired. He'll also breakdown the many segments in this special, from shorts by Don Martin and Antonio Prohias' Spy vs. Spy, to longer features like Mort Drucker's Godfather parody "The Odd Father" and others from "the usual gang of idiots". And if that wasn't enough, you'll also get the history of MAD's other forays into television, and the mysterious origins of MAD Magazine icon Alfred E. Neuman. So get ready to say "What, me worry?", as you listen to this page turning episode of the podcast. (And don't forget the fold-in at the end!)  Please email us at hittingplayshow@gmail.com  Hitting Play on Twitter: http://www.twitter.com/HittingPlay  Scott's Twitter: http://www.twitter.com/MCandFriends  Scott's Vine: http://www.vine.co/MCandFriends 

Vintage collector, vendor and CEO of Collecting Obsessions, Shawn Taylor invites Zen Noodle Pie to our first on location interview (so fun!) and shares some favorite keepers and how Alfred E. Neuman is a frequent companion in the quest for calm.

Hayes and Sean have a discussion with Engineer Cody about refreshments before addressing an interesting new cultural phenomenon they're getting into. Then the guys issue a challenge to their listeners to help them become the second-least popular podcast on Earwolf. Finally, MIKE HANFORD and DAVE FERGUSON show up to discuss Alfred E. Neuman books, the history of the lo mein sketch, and answer questions about names from the Chip Gallery.​

Commentators say that people today have a shorter attention span than in the past, but Jerry Seinfeld and I don't believe this is true. “There is no such thing as an attention span. There is only the quality of what you are viewing. This whole idea of an attention span is, I think, a misnomer. People have an infinite attention span if you are entertaining them.” – Jerry Seinfeld “If you are entertaining them.” I believe it's presumptive to say that today's generation is more easily distracted than previous generations. It is accurate, perhaps, to say they are more often distracted, but might not their forefathers have been just as often distracted had they carried electronic worlds in their pockets? The truth is that people today have a low tolerance for boredom. Combine this with the constant availability of entertaining attractions and it's easy to see why this question of attention span keeps popping up like a prairie dog. Of course people today can pay attention. But why should they? “We frequently forgive those who bore us, but cannot forgive those who we bore.” – Francois, Duc de La Rochefoucauld We are insulted when people turn their attention away from us, especially when we believe what we're saying is important. You can blame today's generation for bad manners and a short attention span. You can blame video games and smart phones. You can blame poor parenting and too much television. You can blame Alfred E. Neuman. You can blame God. Or you can realize that attention will always turn toward whatever stimulus is most interesting. You can see the competition for attention is fiercer today than it has ever been. You can see that we need to up our game. Our ability to gain and hold attention depends entirely upon our ability to stimulate the curiosity of others. Can you stimulate curiosity? If you can't, you will not hold attention. Not in your ads, not on the telephone, not face-to-face. I tell my business partners, the Wizards of Ads, not to be offended when someone in the audience begins texting or playing a video game, but to take it as a signal to add some sparkle to their talk; do something more interesting than the distraction; win back the wandering mind. They are now among the most riveting speakers in America. So what will it be? Will you blame the audience or blame yourself? If you blame the audience, you eliminate all hope of improvement because there is nothing you can do to fix the audience. You must then conclude that society is circling the drain. “America is in decline, blah, blah, blah”. But if you blame only yourself for not rising to the challenge of increased competition, that problem is easily solved: All you have to do is become more interesting. Begin by entering your subject from an unusual angle. “Jerry Seinfeld and I don't believe this to be true.” Use examples that are relevant to the audience. “…electronic worlds in their pockets.” Specificity is more interesting than generalities. “…this question of attention span keeps popping up like a prairie dog.” Don't over-explain. Let your listeners figure it out for themselves. “You can blame Alfred E. Neuman.” Unusual intonations and inflections captivate the ear and make it difficult to quit listening. Talk faster than usual. Our speed of hearing greatly exceeds the speed of speech. Nothing bores people faster than taking too long to say too little. Deliver big ideas quickly like boulders in an avalanche. Rapid distraction is a machine gun that requires you to collect bullets in advance. You can no longer just make it up as you go along. The future is a magical world that will belong to those who can gain and hold attention. How much of that magic would you like to own? And that's why it's called – you have wondered, haven't you?...

THOOM is joined by T-Mafia of Podcast X as they review a TV parody  from Crazy Magazine #8 (Marvel, 1974): Kaspar the Dead Baby by Marv Wolfman and Marie Severin.Play/Downloadhttp://feeds.feedburner.com/ThoomComicsRevue

Alfred E. Neuman as an example of Christian living?  Yes, at least insofar as freedom from worry is concerned.  "Seeking first the Kingdom of God" does, however, require some explicit concentration.

NEW FOR JUNE 1, 2010 Fixing a hole where the oil gets in, and stops my mind from wandering . . . * *No animals or wildlife were harmed or killed during the making of this podcast . . . . Fixing A Hole - The Best Radio You Have Never Heard Vol. 135 1. Cat People (Putting Out Fires) - David Bowie Buy From iTunes 2. Backwater - Brian Eno Buy From iTunes 3. Oil and Water - Incubus Buy From iTunes 4. Gasoline Alley - Rod Stewart Buy From iTunes 5. Snake Oil - Steve Earle Buy From iTunes 6. Hemorrhage (In My Hands) - Fuel Buy From iTunes 7. Cover You in Oil - AC/DC 8. It's A Gas - Alfred E. Neuman 9. Mask Of The Great Deceiver - Kerry Livgren w/ Ronnie James Dio Buy From iTunes 10. Hickory Dichotomy - Stone Temple Pilots Buy From iTunes 11. You Wanted A Hit - LCD Soundsystem Buy From iTunes 12. Starship (Golden Eye) - Peter Ulrich / David Steele Buy From iTunes 13. Ever Fallen In Love - Buzzcocks Buy From iTunes 14. Soul Survivor (alt take) - The Rolling Stones Buy From iTunes 15. Good Time Woman - The Rolling Stones 16. Hey Baby (New Rising Sun) (live) - Jimi Hendrix Buy From iTunes 17. The Great Marsh Pt. 2 (reprise) - Camel Buy From iTunes The Best Radio You Have Never Heard. Always wallowing in crude, but never greezy . . . Accept No Substitute.

Ever Wonder what happened to "What, me worry?" Alfred E. Neuman?Patrick will be a guest on next weeks Show.Mail bag:Earl with a plan for the future of our country.The rest of the show:1) The Bush Administration, Iran and Russia.2) White house scolded FEMA. ( Mistakes were made, but they're sorry)3) Illegal Immigration story of the week.4) Wilson released after 2 years behind bars for teen sex conviction.