Podcast appearances and mentions of Allan Katz

Kitsch versus camp and the politics of quiche. The Man Who Ate Too Much  Related:  Mai tais with Allan Katz  Coconut shrimp with Julia Loken  Listen to Smart Mouth: iTunes • Google Podcasts • Pandora • Spotify • RadioPublic • TuneIn • Libsyn • Amazon Music Check out all our episodes so far here. If you like, pledge a buck or two on Patreon. If you'd rather make a one-time gift, I'm on Venmo and PayPal. Katherine TikTok Smart Mouth newsletter Smart Mouth IG Music: Quiche Lorraine - The B-52s  Sources:  John Birdsall 1,2  Gastronomica  Slate  Eater  Atlas Obscura 

In this episode Kristin interviews Allan Katz & Michele Saffier, Certified Sex Addiction Therapists with a combined 35 years of experience. In order to experience lasting change and healing, sexual addicts must address their complex trauma; one of several root issues that drive their compulsive behaviors. Learn what is needed to heal from complex trauma. Understand the deeper meaning behind the common & copious "WHY" questions we ask in early recovery. And experience a moment of mindfulness, an essential practice we need to recover from trauma. The Living Truth Podcast contains conversations that shed light on the deeper issues beneath porn addiction, sex addiction, & help for those enduring the devastation of sexual betrayal this causes.

In the episode, we discuss when there is betrayal trauma in sex addiction relationships and feature guests Allan Katz & Michelle Saffier, who wrote the book "Ambushed by Betrayal." 

At the Square is American Public Square at Jewell's podcast channel. You'll find Both Sides episodes, playbacks of Signature Programs, and our latest podcast offering, a reactionary series aimed at exploring the questions and subtopics that arise from APS Signature Programs. In this Both Sides episode, Allan and Mike discuss the complicated topic of Reparations in connection to American Public Square at Jewell's upcoming Signature Program ‘Reparations in KC' presented in partnership with Kansas City PBS. Allan and Mike talk through some of the same questions that panelists will explore at the program, including but not limited to: Do you think society owes the descendants of enslaved people anything? How can we measure the harms caused by slavery? Is it fair to characterize social programs as reparations? ‘Reparations in KC' is on Wednesday June 7th, 2023 at University Academy in Kansas City, Missouri. Virtual and in person registration is available at https://americanpublicsquare.org/event/reparations/ . ‘Reparations in KC' will air on Kansas City PBS on June 16th, 2023.

This week, we finish our three part episode on the 1980s distribution company Vestron Pictures. ----more---- The movies discussed on this week's episode are: The Adventures of a Gnome Named Gnorm (1990, Stan Winston) Big Man on Campus (1989, Jeremy Paul Kagan) Dream a Little Dream (1989, Marc Rocco) Earth Girls Are Easy (1989, Julien Temple) Far From Home (1989, Meiert Avis) Paperhouse (1989, Bernard Rose) Parents (1989, Bob Balaban) The Rainbow (1989, Ken Russell) Wonderland (1989, Philip Saville)   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.   At the end of the previous episode, Vestron Pictures was starting to experience the turbulence a number of independent distributors faced when they had a successful film too soon out of the gate, and the direction of the company seemingly changes to go chasing more waterfalls instead of sticking to the rivers and the lakes they were used to.   Welcome to Part Three of our miniseries.   As we enter 1989, Vestron is seriously in trouble. More money has gone out then has come back in. It seems that they needed one more hit to keep going for a while longer. But if you were to look at their release schedule for the year, which included a pickup from the recently bankrupt DeLaurentiis Entertainment Group, there wasn't really anything that felt like it could be a Dirty Dancing-like break out, except for maybe the pickup from the recently bankrupt DeLaurentiis Entertainment Group.    But we'll get there in a moment.   Their first film from 1989 is a certifiable cult film if there ever was one, but the problem with this label is that the film tagged as so was not a success upon its initial theatrical release. Bob Balaban, the beloved character actor who had been regularly seen on screen since his memorable debut in Midnight Cowboy twenty years earlier, would make his directorial debut with the black comedy horror film Parents.   Bryan Madorsky stars as Michael Laemle, a ten year old boy living in the California suburbs in the 1950s, who starts to suspect mom and dad, played by Mary Beth Hurt and Randy Quaid, might be cannibals. It's a strange but fun little movie, and even Ken Russell would compare it favorably over David Lynch's Blue Velvet during one contemporary interview, but sadly, it would take far more time for the film to find its audience than Vestron could afford.   Opening in 94 theatres on January 27th, the $3m Parents could not overcome a series of negative reviews from critics, and it would only gross $278k in its first three days. Vestron would not strike any additional prints of the film, and would cycle the ones they did have around the country for several months, but after four months, the film could only attract $870k in box office receipts. But it would become something of a cult hit on video later in the year.   In 1992, British filmmaker Bernard Rose would make his American directing debut with an all-time banger, Candyman. But he wouldn't gotten Candyman if it wasn't for his 1989 film Paperhouse, an inventive story about a young girl whose drawings seem to manifest into reality. British actor Ben Cross from Chariots of Fire and American actress Glenne Headly from Dirty Rotten Scoundrels plays the young girl's parents.   Outside of Gene Siskel, who would give the film a thumbs down on his movie review show with Roger Ebert despite acknowledging Rose's talent as a filmmaker and being fascinated by the first two-thirds of the movie, the critical consensus was extraordinary. But it appears Siskel may have never actually written a review of the film for the Chicago Tribune, as the film still has a 100% Fresh rating on Rotten Tomatoes. But the film would only earn $6,700 from its single screen playdate at the Carnegie Hall Cinemas when it opened on February 17th, and the film would get little support from Vestron after that. More single playdates in major cities that added up to a $241k box office tally after fourteen weeks in release.   Marc Rocco's Dream a Little Dream would be the third film in The Two Coreys Cinematic Universe. Corey Feldman plays a high school student who, through one of the strangest plot twists in the whole body switching genre, finds himself switching places with two time Academy Award-winner Jason Robards, playing a professor who is looking for immortality through entering a meditative alpha state. Meredith Salinger and Piper Laurie also find themselves switching bodies as well, while Corey Haim plays the goofball best friend with not a whole lot to do. The supporting cast also includes veteran character actors Harry Dean Stanton and Alex Rocco, the latter who agreed to do the film because it was directed by his son.   When the film opened on March 3rd, it would be Vestron's second widest release, opening on more than 1,000 theatres. But just like the previous year's License to Drive, the pairing of Corey Haim and Corey Feldman did not set the box office on fire, opening in fifth place with $2.57m in ticket sales, compared to the #1 film of the week, the Morgan Freeman drama Lean on Me, which would gross twice as much as Dream a Little Dream while playing in 125 fewer theatres. In its second week, the film would lose 56 theatres and 52% of its opening weekend audience, falling all the way to 13th place with a gross of only $1.25m. By week three, the movie would move to dollar houses, and trudge along for several more months, until it closed in the middle of summer with only $5.55m in the till.   In the late 1970s and early 1980s, writer/director Jeremy Paul Kagan had directed and occasionally written several big ticket movies, including the 1977 Henry Winkler drama Heroes, which also starred Sally Field and, in his first post-Star Wars movie, Harrison Ford, and the 1985 Meredith Salinger/John Cusack adventure film The Journey of Natty Gann. Which makes his Natty Gann follow up, Big Man on Campus, such a head scratcher.   A modern adaptation of The Hunchback of Notre Dame, Big Man on Campus was written by Allan Katz, who had been working in television for nearly twenty years writing for and producing shows like All in the Family, Sanford and Son, The Mary Tyler Moore Show and MASH. Katz would also star in the movie as the titular hunchback, even though he had never once acted on any of his shows. But at least he had a good cast supporting him, including Gerrit Graham, Melora Hardin, Jessica Harper, Tom Skerritt, and Cindy Williams.   I can only find one playdate for the film ever, in Los Angeles at the American Cinematheque in March 1989, so while this mostly qualifies as a direct to video release, I feel compelled to at least give it a token mention here.   Have you ever heard of a movie called The Fruit Machine? Of course you haven't, because that's a horrible name for a movie, no matter what it's about. When Vestron acquired this British drama about young gay men who go on the run after they witness a murder, the first thing they did was change the title to Wonderland. Not that Wonderland gives you any more of an idea of what the movie is about than The Fruit Machine. But, whatever.   Today, the movie has two things going for it. One, an early role for Robbie Coltrane, playing a transvestite who operates a nightclub for gay men and transvestites called, you guessed it, The Fruit Machine. Second, the musical score was written by Hans Zimmer, in one of his earliest film jobs. Ironically, Wonderland would be the the third movie scored by Hans Zimmer to be released by Vestron in a four month period, after Burning Secret and Paperhouse.   Wonderland would open at the Quad Cinemas in New York City on April 28th, to poor reviews but a decent $11,500 opening weekend. But the film would not be able to maintain much of an audience, and after five weeks, Wonderland was out of the Quad Cinemas, never to play another theatre in America, with just $50k in the till.   Ken Russell's third and final film in his contract with Vestron was The Rainbow, an adaptation of a 1915 novel by D.H. Lawrence, whose 1920 novel Women in Love had been adapted by Russell in 1969. Glenda Jackson, who had won the Academy Award for her role in Women in Love, here plays the mother of the character she played in the other film. Here, she co-stars with Sammi Davis as Ursala, the younger sister of Jackson's Women in Love character, who finds herself attracted to Anton, a young man in town, as well as her gym teacher Winifred.   As one would expect from Ken Russell, the supporting cast is top notch, including future Eighth Doctor Paul McGann, regular Russell collaborator Christopher Gable, and Blowup star David Hemmings. The film would open at the Paris Theatre in New York City on May 5th, where it would gross a very good $22k, spurred on by great reviews from most of the city's major critics, several of which noted the film to be Russell's best in a number of years. So it would be sad that the film would end up being the lowest grossing of the three films he'd make with Vestron, only earning a total of $444k after three months in mostly single playdates in major markets.   In 1985, Geena Davis and Jeff Goldblum would work together on a forgettable horror comedy film called Transylvania 6-5000, whose name was a pun on a popular 1940 song recorded by Glenn Miller. In 1986, the pair would work together again in David Cronenberg's amazing remake of the cheesy 1950s horror film The Fly. In late 1987, shortly after the pair married, they would work together for a third time, on another comedy, and on a movie that was this time based on an actual song.    Earth Girls Are Easy was the name of a song that appeared on comedian Julie Brown's 1984 EP Goddess in Progress, and was originally developed as a movie at Warner Brothers Studio. The studio would get cold feet when Absolute Beginners, the big British musical directed by music video director Julien Temple, failed big time everywhere in the world except for the UK. Temple was slated to direct Earth Girls Are Easy, and Brown, as the co-writer and co-star of the film, was committed to the filmmaker, even if it meant Warners putting the film into turnaround.   Which they did, in 1986.   It would take nearly a year to get the project back on track, after being rejected by every other major studio and production company in Hollywood, until the French banking giant Credit Lyonnais agree to finance the film, provided they could cut the budget from $14m to $10m, and if the filmmakers could make a distribution deal with the bank's preferred distributor, the then newly-formed DeLaurentiis Entertainment Group.   The film, about a manicurist in Los Angeles who helps three aliens blend into human culture after they accidentally crash land their spaceship into her pool, would begin production in Los Angeles in October 1987. Davis played the manicurist, and Goldblum one of the aliens, alongside Damon Wayans and Jim Carrey, while the remaining cast would include a number of great comedic actors like MASH's Larry Linville, Michael McKean, Rick Overton, and Charles Rocket, as well as Los Angeles media personality Angelyne as basically herself.   While the film was nearing completion in early 1988, the DeLaurentiis Entertainment Group would go out of business, leaving Credit Lyonnais in need of a new distributor for their investment. But after Temple turned in his first cut of the film, Credit Lyonnais would send Temple back into his editing bay, where he and his team would spend nearly another five months  winnowing out various scenes and completely excising a big and expensive musical number based on one of the other songs on Brown's 1984 EP, I Like ‘Em Big and Stupid, because it just didn't work for the film. Additional scenes would be shot, and the budget would end up being $11m.    The film would have its premiere at the Toronto Film Festival in September 1988, and attract attention from a number of distributors including MGM/UA, New World Pictures and Twentieth Century-Fox, but Vestron would end up putting in the winning bid.   The film would originally be set for a February 1989 release, but would get delayed until May 12th. When it finally opened on 317 screens in Boston, Chicago, Los Angeles, New York, Philly, San Francisco, Toronto and Washington DC, the film would gross $893k, putting in twelfth place for the weekend, but its per screen average would be the fourth best amongst the films in the top twenty. The film would fall one place in its second week,  losing 35% of its opening weekend audience, grossing $577k. The film would slowly hemorrhage theatres and box office until the plug was pulled in mid-July with only $3.9m in tickets sold.   The sole lasting legacy of the film is that Damon Wayans enjoyed working so much with Jim Carrey that when Damon's brother Kenan Ivory Wayans was putting together a new comedy television show together thanks to the success of his movie I'm Gonna Get You Sucka, Damon would get his brother to give Carrey a chance. In Living Color would make Carrey and the Wayans Brothers stars, and would change the course of comedy. So there's that…   In late June, the Lightning Pictures imprint would release their first movie in nearly two years, Far From Home. The film starred the then-fourteen year old Drew Barrymore as a young girl traveling cross country with her father, who get stuck in a small desert town in Nevada on their way to back to Los Angeles, who must deal with some very strange characters in the trailer park they're staying in, as they slowly discover nothing is as it's supposed to be. Matt Frewer, Max Headroom himself, plays the dad, who must protect his daughter while he figures out how to get the hell out of town alive.   Truth be told, the movie sucks, and it's really creepy in how it sexualizes Barrymore, but there's one hell of a great supporting cast doing their best to keep the joint from totally stinking the place up. Richard Masur, Academy Award nominee Susan Tyrell, Anthony Rapp from Adventures in Babysitting, Jennifer Tilly, and beloved character actor Dick Miller. When Vestron opened the film in four theatres in third-tier regions on June 30th, it was little surprise the film got some very bad notices, although one unnamed reviewer for Variety felt the need to note that Barrymore, who again was only fourteen at the time, had “a baby face, dreamy eyes and a playboy model's body.” The film would gross just $3,763 in its first and only weekend in theatres.   But that wasn't even the worst news of the week for Vestron.   On the same day as they opened Far From Home, Vestron had been informed by Security Pacific Bank in Los Angeles that the $100 million line of credit the company had with them was being terminated. 140 of the approximately 300 Vestron staff members, mostly from the Los Angeles office, were let go, including the President of Production, the Senior Vice President of Marketing and Distribution, and the Vice President of Publicity and Promotion. While Vestron Video would continue for a while, in large part thanks to a $15.7m payoff during a dispute over home video ownership rights to the 1986 Best Picture winner Platoon, the theatrical distribution unit was effectively dead. Some movies, including the Fred Savage/Howie Mandel comedy Little Monsters, the Harry Dean Stanton-led comedy Twister, and the Kathryn Bigelow-directed action thriller Blue Steel with Jamie Lee Curtis, would be sold off to other companies, but the titles left behind would see their planned theatrical releases cancelled and eventually be released direct to video.   Thanks to some of the legacy titles in their video catalog, including Dirty Dancing, Vestron would be able to stave off the inevitable, but in January 1991, the company would file for bankruptcy, their final film being the Stan Winston-directed fantasy buddy comedy The Adventures of a Gnome named Gnorm. Filmed in 1988 as Upward, the film featured Anthony Michael Hall as an Los Angeles Police Detective who has to team up with a gnome, a puppet created by Winston, the effects wizard who also directed the film, to solve a murder. For Winston, it was deja vu all over again, as his previous directorial effort, Pumpkinhead, found itself in limbo for a while when its distributor, the DeLaurentiis Entertainment Group, filed for bankruptcy in 1987 before they could release that film.   In bankruptcy court, Live Entertainment, partially owned by 1990s mega movie production company Carolco Pictures, would purchase all of Vestron's assets for $24m. Live used the assets as collateral to secure a line of credit from industry friendly banks, so they could start their own production and distribution company, of which their only moment of note was helping to finance Reservoir Dogs when no one else would.   Eventually, Live Entertainment would be sold off to Bain Capital, a private investment firm co-founded by Mitt Romney, in 1997, and they would rebrand Live as Artisan Entertainment. Artisan today is best known as the little independent distributor of The Blair Witch Project, but they also would enter into an agreement with Marvel Comics to make movies for 15 of their characters, including Ant-Man, Black Panther, Deadpool, Iron Fist, Longshot, Morbius, Mort the Dead Teenager, and the Power Pack.   Artisan would produce two movies based on Marvel characters, Man-Thing and The Punisher, although neither of those films would be released by Artisan. Artisan would declare bankruptcy in 2003, and Marvel would be one of the companies to place a bid for them. Lionsgate would end up becoming the winning bidder for Artisan's assets, which is how the vast majority of Vestron titles are now owned by a company that didn't even exist when Vestron closed shop.   Today, Lionsgate is the owner of the assets of a number of the companies we've spoken about on this podcast in the past, and will be talking about in the future, including Crown International, the DeLaurentiis Entertainment Group, Embassy Pictures, and New World Pictures. And it's also a major reason why so many of the movies we discuss in these episodes looking back at past companies are completely unknown today. As big as Lionsgate is, with nearly $3.6 billion in revenue in 2022, they aren't going to be able to keep up with the chain of ownership for every movies from every company they've purchased, and they're not going to put the money in to the movies that are barely remembered today. The Film Foundation, the non-profit organization co-founded by Woody Allen, Francis Ford Coppola, Martin Scorsese and Steven Spielberg, which is dedicated to film preservation, estimates the average cost to do a photochemical restoration of a color feature with sound to between $80,000 to $450,000 dollars, not including the cost of a 2k or 4k digital scan. I'm going to have a link in the show notes on our website at The80sMoviePodcast.com to a November 2018 article from the Science History Institute about the process of restoring films. It's not a long read, but it's a fascinating read. I hope you'll check it out.   So there you have it, the end of the line for Vestron Pictures, and many of the movies they helped to make and distribute, most of which you cannot find today in any form.   Thank you for listening.   We'll talk again next week when Episode 105, on the 1985 teen comedy O.C. and Stiggs, directed by Robert Altman, will be discussed.   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, we finish our three part episode on the 1980s distribution company Vestron Pictures. ----more---- The movies discussed on this week's episode are: The Adventures of a Gnome Named Gnorm (1990, Stan Winston) Big Man on Campus (1989, Jeremy Paul Kagan) Dream a Little Dream (1989, Marc Rocco) Earth Girls Are Easy (1989, Julien Temple) Far From Home (1989, Meiert Avis) Paperhouse (1989, Bernard Rose) Parents (1989, Bob Balaban) The Rainbow (1989, Ken Russell) Wonderland (1989, Philip Saville)   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.   At the end of the previous episode, Vestron Pictures was starting to experience the turbulence a number of independent distributors faced when they had a successful film too soon out of the gate, and the direction of the company seemingly changes to go chasing more waterfalls instead of sticking to the rivers and the lakes they were used to.   Welcome to Part Three of our miniseries.   As we enter 1989, Vestron is seriously in trouble. More money has gone out then has come back in. It seems that they needed one more hit to keep going for a while longer. But if you were to look at their release schedule for the year, which included a pickup from the recently bankrupt DeLaurentiis Entertainment Group, there wasn't really anything that felt like it could be a Dirty Dancing-like break out, except for maybe the pickup from the recently bankrupt DeLaurentiis Entertainment Group.    But we'll get there in a moment.   Their first film from 1989 is a certifiable cult film if there ever was one, but the problem with this label is that the film tagged as so was not a success upon its initial theatrical release. Bob Balaban, the beloved character actor who had been regularly seen on screen since his memorable debut in Midnight Cowboy twenty years earlier, would make his directorial debut with the black comedy horror film Parents.   Bryan Madorsky stars as Michael Laemle, a ten year old boy living in the California suburbs in the 1950s, who starts to suspect mom and dad, played by Mary Beth Hurt and Randy Quaid, might be cannibals. It's a strange but fun little movie, and even Ken Russell would compare it favorably over David Lynch's Blue Velvet during one contemporary interview, but sadly, it would take far more time for the film to find its audience than Vestron could afford.   Opening in 94 theatres on January 27th, the $3m Parents could not overcome a series of negative reviews from critics, and it would only gross $278k in its first three days. Vestron would not strike any additional prints of the film, and would cycle the ones they did have around the country for several months, but after four months, the film could only attract $870k in box office receipts. But it would become something of a cult hit on video later in the year.   In 1992, British filmmaker Bernard Rose would make his American directing debut with an all-time banger, Candyman. But he wouldn't gotten Candyman if it wasn't for his 1989 film Paperhouse, an inventive story about a young girl whose drawings seem to manifest into reality. British actor Ben Cross from Chariots of Fire and American actress Glenne Headly from Dirty Rotten Scoundrels plays the young girl's parents.   Outside of Gene Siskel, who would give the film a thumbs down on his movie review show with Roger Ebert despite acknowledging Rose's talent as a filmmaker and being fascinated by the first two-thirds of the movie, the critical consensus was extraordinary. But it appears Siskel may have never actually written a review of the film for the Chicago Tribune, as the film still has a 100% Fresh rating on Rotten Tomatoes. But the film would only earn $6,700 from its single screen playdate at the Carnegie Hall Cinemas when it opened on February 17th, and the film would get little support from Vestron after that. More single playdates in major cities that added up to a $241k box office tally after fourteen weeks in release.   Marc Rocco's Dream a Little Dream would be the third film in The Two Coreys Cinematic Universe. Corey Feldman plays a high school student who, through one of the strangest plot twists in the whole body switching genre, finds himself switching places with two time Academy Award-winner Jason Robards, playing a professor who is looking for immortality through entering a meditative alpha state. Meredith Salinger and Piper Laurie also find themselves switching bodies as well, while Corey Haim plays the goofball best friend with not a whole lot to do. The supporting cast also includes veteran character actors Harry Dean Stanton and Alex Rocco, the latter who agreed to do the film because it was directed by his son.   When the film opened on March 3rd, it would be Vestron's second widest release, opening on more than 1,000 theatres. But just like the previous year's License to Drive, the pairing of Corey Haim and Corey Feldman did not set the box office on fire, opening in fifth place with $2.57m in ticket sales, compared to the #1 film of the week, the Morgan Freeman drama Lean on Me, which would gross twice as much as Dream a Little Dream while playing in 125 fewer theatres. In its second week, the film would lose 56 theatres and 52% of its opening weekend audience, falling all the way to 13th place with a gross of only $1.25m. By week three, the movie would move to dollar houses, and trudge along for several more months, until it closed in the middle of summer with only $5.55m in the till.   In the late 1970s and early 1980s, writer/director Jeremy Paul Kagan had directed and occasionally written several big ticket movies, including the 1977 Henry Winkler drama Heroes, which also starred Sally Field and, in his first post-Star Wars movie, Harrison Ford, and the 1985 Meredith Salinger/John Cusack adventure film The Journey of Natty Gann. Which makes his Natty Gann follow up, Big Man on Campus, such a head scratcher.   A modern adaptation of The Hunchback of Notre Dame, Big Man on Campus was written by Allan Katz, who had been working in television for nearly twenty years writing for and producing shows like All in the Family, Sanford and Son, The Mary Tyler Moore Show and MASH. Katz would also star in the movie as the titular hunchback, even though he had never once acted on any of his shows. But at least he had a good cast supporting him, including Gerrit Graham, Melora Hardin, Jessica Harper, Tom Skerritt, and Cindy Williams.   I can only find one playdate for the film ever, in Los Angeles at the American Cinematheque in March 1989, so while this mostly qualifies as a direct to video release, I feel compelled to at least give it a token mention here.   Have you ever heard of a movie called The Fruit Machine? Of course you haven't, because that's a horrible name for a movie, no matter what it's about. When Vestron acquired this British drama about young gay men who go on the run after they witness a murder, the first thing they did was change the title to Wonderland. Not that Wonderland gives you any more of an idea of what the movie is about than The Fruit Machine. But, whatever.   Today, the movie has two things going for it. One, an early role for Robbie Coltrane, playing a transvestite who operates a nightclub for gay men and transvestites called, you guessed it, The Fruit Machine. Second, the musical score was written by Hans Zimmer, in one of his earliest film jobs. Ironically, Wonderland would be the the third movie scored by Hans Zimmer to be released by Vestron in a four month period, after Burning Secret and Paperhouse.   Wonderland would open at the Quad Cinemas in New York City on April 28th, to poor reviews but a decent $11,500 opening weekend. But the film would not be able to maintain much of an audience, and after five weeks, Wonderland was out of the Quad Cinemas, never to play another theatre in America, with just $50k in the till.   Ken Russell's third and final film in his contract with Vestron was The Rainbow, an adaptation of a 1915 novel by D.H. Lawrence, whose 1920 novel Women in Love had been adapted by Russell in 1969. Glenda Jackson, who had won the Academy Award for her role in Women in Love, here plays the mother of the character she played in the other film. Here, she co-stars with Sammi Davis as Ursala, the younger sister of Jackson's Women in Love character, who finds herself attracted to Anton, a young man in town, as well as her gym teacher Winifred.   As one would expect from Ken Russell, the supporting cast is top notch, including future Eighth Doctor Paul McGann, regular Russell collaborator Christopher Gable, and Blowup star David Hemmings. The film would open at the Paris Theatre in New York City on May 5th, where it would gross a very good $22k, spurred on by great reviews from most of the city's major critics, several of which noted the film to be Russell's best in a number of years. So it would be sad that the film would end up being the lowest grossing of the three films he'd make with Vestron, only earning a total of $444k after three months in mostly single playdates in major markets.   In 1985, Geena Davis and Jeff Goldblum would work together on a forgettable horror comedy film called Transylvania 6-5000, whose name was a pun on a popular 1940 song recorded by Glenn Miller. In 1986, the pair would work together again in David Cronenberg's amazing remake of the cheesy 1950s horror film The Fly. In late 1987, shortly after the pair married, they would work together for a third time, on another comedy, and on a movie that was this time based on an actual song.    Earth Girls Are Easy was the name of a song that appeared on comedian Julie Brown's 1984 EP Goddess in Progress, and was originally developed as a movie at Warner Brothers Studio. The studio would get cold feet when Absolute Beginners, the big British musical directed by music video director Julien Temple, failed big time everywhere in the world except for the UK. Temple was slated to direct Earth Girls Are Easy, and Brown, as the co-writer and co-star of the film, was committed to the filmmaker, even if it meant Warners putting the film into turnaround.   Which they did, in 1986.   It would take nearly a year to get the project back on track, after being rejected by every other major studio and production company in Hollywood, until the French banking giant Credit Lyonnais agree to finance the film, provided they could cut the budget from $14m to $10m, and if the filmmakers could make a distribution deal with the bank's preferred distributor, the then newly-formed DeLaurentiis Entertainment Group.   The film, about a manicurist in Los Angeles who helps three aliens blend into human culture after they accidentally crash land their spaceship into her pool, would begin production in Los Angeles in October 1987. Davis played the manicurist, and Goldblum one of the aliens, alongside Damon Wayans and Jim Carrey, while the remaining cast would include a number of great comedic actors like MASH's Larry Linville, Michael McKean, Rick Overton, and Charles Rocket, as well as Los Angeles media personality Angelyne as basically herself.   While the film was nearing completion in early 1988, the DeLaurentiis Entertainment Group would go out of business, leaving Credit Lyonnais in need of a new distributor for their investment. But after Temple turned in his first cut of the film, Credit Lyonnais would send Temple back into his editing bay, where he and his team would spend nearly another five months  winnowing out various scenes and completely excising a big and expensive musical number based on one of the other songs on Brown's 1984 EP, I Like ‘Em Big and Stupid, because it just didn't work for the film. Additional scenes would be shot, and the budget would end up being $11m.    The film would have its premiere at the Toronto Film Festival in September 1988, and attract attention from a number of distributors including MGM/UA, New World Pictures and Twentieth Century-Fox, but Vestron would end up putting in the winning bid.   The film would originally be set for a February 1989 release, but would get delayed until May 12th. When it finally opened on 317 screens in Boston, Chicago, Los Angeles, New York, Philly, San Francisco, Toronto and Washington DC, the film would gross $893k, putting in twelfth place for the weekend, but its per screen average would be the fourth best amongst the films in the top twenty. The film would fall one place in its second week,  losing 35% of its opening weekend audience, grossing $577k. The film would slowly hemorrhage theatres and box office until the plug was pulled in mid-July with only $3.9m in tickets sold.   The sole lasting legacy of the film is that Damon Wayans enjoyed working so much with Jim Carrey that when Damon's brother Kenan Ivory Wayans was putting together a new comedy television show together thanks to the success of his movie I'm Gonna Get You Sucka, Damon would get his brother to give Carrey a chance. In Living Color would make Carrey and the Wayans Brothers stars, and would change the course of comedy. So there's that…   In late June, the Lightning Pictures imprint would release their first movie in nearly two years, Far From Home. The film starred the then-fourteen year old Drew Barrymore as a young girl traveling cross country with her father, who get stuck in a small desert town in Nevada on their way to back to Los Angeles, who must deal with some very strange characters in the trailer park they're staying in, as they slowly discover nothing is as it's supposed to be. Matt Frewer, Max Headroom himself, plays the dad, who must protect his daughter while he figures out how to get the hell out of town alive.   Truth be told, the movie sucks, and it's really creepy in how it sexualizes Barrymore, but there's one hell of a great supporting cast doing their best to keep the joint from totally stinking the place up. Richard Masur, Academy Award nominee Susan Tyrell, Anthony Rapp from Adventures in Babysitting, Jennifer Tilly, and beloved character actor Dick Miller. When Vestron opened the film in four theatres in third-tier regions on June 30th, it was little surprise the film got some very bad notices, although one unnamed reviewer for Variety felt the need to note that Barrymore, who again was only fourteen at the time, had “a baby face, dreamy eyes and a playboy model's body.” The film would gross just $3,763 in its first and only weekend in theatres.   But that wasn't even the worst news of the week for Vestron.   On the same day as they opened Far From Home, Vestron had been informed by Security Pacific Bank in Los Angeles that the $100 million line of credit the company had with them was being terminated. 140 of the approximately 300 Vestron staff members, mostly from the Los Angeles office, were let go, including the President of Production, the Senior Vice President of Marketing and Distribution, and the Vice President of Publicity and Promotion. While Vestron Video would continue for a while, in large part thanks to a $15.7m payoff during a dispute over home video ownership rights to the 1986 Best Picture winner Platoon, the theatrical distribution unit was effectively dead. Some movies, including the Fred Savage/Howie Mandel comedy Little Monsters, the Harry Dean Stanton-led comedy Twister, and the Kathryn Bigelow-directed action thriller Blue Steel with Jamie Lee Curtis, would be sold off to other companies, but the titles left behind would see their planned theatrical releases cancelled and eventually be released direct to video.   Thanks to some of the legacy titles in their video catalog, including Dirty Dancing, Vestron would be able to stave off the inevitable, but in January 1991, the company would file for bankruptcy, their final film being the Stan Winston-directed fantasy buddy comedy The Adventures of a Gnome named Gnorm. Filmed in 1988 as Upward, the film featured Anthony Michael Hall as an Los Angeles Police Detective who has to team up with a gnome, a puppet created by Winston, the effects wizard who also directed the film, to solve a murder. For Winston, it was deja vu all over again, as his previous directorial effort, Pumpkinhead, found itself in limbo for a while when its distributor, the DeLaurentiis Entertainment Group, filed for bankruptcy in 1987 before they could release that film.   In bankruptcy court, Live Entertainment, partially owned by 1990s mega movie production company Carolco Pictures, would purchase all of Vestron's assets for $24m. Live used the assets as collateral to secure a line of credit from industry friendly banks, so they could start their own production and distribution company, of which their only moment of note was helping to finance Reservoir Dogs when no one else would.   Eventually, Live Entertainment would be sold off to Bain Capital, a private investment firm co-founded by Mitt Romney, in 1997, and they would rebrand Live as Artisan Entertainment. Artisan today is best known as the little independent distributor of The Blair Witch Project, but they also would enter into an agreement with Marvel Comics to make movies for 15 of their characters, including Ant-Man, Black Panther, Deadpool, Iron Fist, Longshot, Morbius, Mort the Dead Teenager, and the Power Pack.   Artisan would produce two movies based on Marvel characters, Man-Thing and The Punisher, although neither of those films would be released by Artisan. Artisan would declare bankruptcy in 2003, and Marvel would be one of the companies to place a bid for them. Lionsgate would end up becoming the winning bidder for Artisan's assets, which is how the vast majority of Vestron titles are now owned by a company that didn't even exist when Vestron closed shop.   Today, Lionsgate is the owner of the assets of a number of the companies we've spoken about on this podcast in the past, and will be talking about in the future, including Crown International, the DeLaurentiis Entertainment Group, Embassy Pictures, and New World Pictures. And it's also a major reason why so many of the movies we discuss in these episodes looking back at past companies are completely unknown today. As big as Lionsgate is, with nearly $3.6 billion in revenue in 2022, they aren't going to be able to keep up with the chain of ownership for every movies from every company they've purchased, and they're not going to put the money in to the movies that are barely remembered today. The Film Foundation, the non-profit organization co-founded by Woody Allen, Francis Ford Coppola, Martin Scorsese and Steven Spielberg, which is dedicated to film preservation, estimates the average cost to do a photochemical restoration of a color feature with sound to between $80,000 to $450,000 dollars, not including the cost of a 2k or 4k digital scan. I'm going to have a link in the show notes on our website at The80sMoviePodcast.com to a November 2018 article from the Science History Institute about the process of restoring films. It's not a long read, but it's a fascinating read. I hope you'll check it out.   So there you have it, the end of the line for Vestron Pictures, and many of the movies they helped to make and distribute, most of which you cannot find today in any form.   Thank you for listening.   We'll talk again next week when Episode 105, on the 1985 teen comedy O.C. and Stiggs, directed by Robert Altman, will be discussed.   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.

Happy Woo Wednesdays!The ceremony doesn't have to be the most boring part of your wedding.I have Alan Katz in the Get a Heck Yes House. He is my favorite officiant and we've been working together for over a decade. We are in WPPI together and he always has the most amazing colorful outfits. He's crazy as HELL.When Alan shows up to a wedding, I'm put at ease, and the whole crowd is cracking up.Allan Katz is the owner of Great Officiants. It is the largest wedding officiant company on the West Coast doing around 2000 a year. and he has over 3000 online reviews and he is known as the king of reviews.Alana talks about how to get ReviewsWhere to get reviewsHow to ask for themWhat to do with a bad reviewAnd what do you do when you get a good reviewYou will learn the mechanics of reviews and be ready to start getting themAlan has taken the concept of doing Fun and Romantic Wedding Ceremonies highest possible denominator. He's grown the company to the biggest in the industry and he is respected.Favorite sales technique: How do you get a HECK YES from your dream clients?You ask for it. Don't expect it just to happen you have to make it happen.Connect with AlanWww.greatofficiants.comhttps://www.instagram.com/greatofficiants/Connect with Carissahttps://instagram.com/carissawooSign up for the masterclass here https://carissawoo.clickfunnels.com/homehttps://heckyesmedia.co/

Allan Katz, CEO and founder of American Public Square (APS) at William Jewell College in Liberty, Missouri, and Mike McShane, director of national research, EdChoice, interviewed Mayor Quinton Lucas on “Guns in public places”.  This is an shortened version of APS Podcast 73. The post Guns in public places per Mayor Lucas for American Public Square appeared first on KKFI.

Episode 9 of "How NOT To Make a Movie: Joel Directs" is out now! In this bonus episode, Allan Katz, Gil Adler, and Ed Tappia talk about when Joel Silver directed an episode and other stories involving Joe Pesci, George Burns, Quentin Tarantino, Joe Pantoliano & Jack Lemon.

Tales From The Crypt writers/producers Gil Adler and Allan Katz discuss the season 3 finale "Yellow"

In today's episode, Dr. Rob talks with Michele Saffier and Allan Katz about their book, Ambushed by Betrayal: The Survival Guide for Betrayed Partners on Their Heroes' Journey to Healthy Intimacy, which was written after the two met in a psycho trauma workshop. Michele has been a licensed Marriage and Family Therapist since 1993. She was trained with Dr. Rob in the field of Sexual Addiction and went on to private practice and began using the trauma model after three years. Allan is a licensed Professional Counselor (LPC/MHSP) in the states of Tennessee and Mississippi and a Certified Sex Addiction Therapist. With over 30 years of experience as an entrepreneur and marketing consultant, he, later on, shifted to become a professional therapist to help others in the field of sex addiction. They share how their book can help betrayed partners heal from their trauma and learn healthy intimacy.   TAKEAWAYS: [1:55] A little introduction of Michelle and how Dr. Rob knows her. [3:15] Michelle didn't work in the field of addiction before and recalls the young couple she worked with that inspired her journey. [4:25] A little bit about Allan as well and how he became a therapist. [6:50] Michelle sees herself as a trauma therapist. She explains why. [8:40] How does Allan work with the spouses to empathize with their addict partners who don't see it from a trauma perspective? [11:00] Allan shares how he transitioned from helping people non-professionally and the difference with being a professional therapist. [13:00] Michelle recommends partners to watch comedy shows and shares how this helps their recovery. [14:20] Betrayed partners take on the personal responsibility of causing their addict partner to act out. Allan shares his thoughts on this. [16:50] Michelle sees from the betrayed partner an attachment trauma and explains why.  [18:30] How does Michelle help a spouse learn that empathy may not be forthcoming? [21:25] Dr. Rob asks Michelle and Allan about the book they wrote called, Ambush By Betrayal. How did they come up with the title? [23:35] Dr. Rob shares the subtitle of their book and asks how their hero's journey evolved. [24:45] Michelle realized that in the same spirit of prodependency, they want their readers to be empowered. She shares how there can be beauty in this broken life. [25:50] Michelle and Allan met in a psycho trauma workshop. Allan shares what psycho trauma is and how that relates to their book. [30:00] What they want to achieve with their book is to provide a release from all the hurt, pain, and unworthiness and physically do something with it. Michelle talks through this process further. [33:20] For the betrayed person, anger is the only way they can protect their heart from their perpetrator. Michelle shares how they can help them see the wounded person underneath.   RESOURCES: Sex and Relationship Healing @RobWeissMSW Sex Addiction 101  Seeking Integrity Cruise Control: Understanding Sex Addiction in Gay Men  Prodependence: Moving Beyond Codependency Ambush By Betrayal by Michele Saffier and Allan Katz Allanjkatz.com Traumahealingpa.com   QUOTES: “The behavior is the behavior but really, they're these little wounded boys and girls trying to survive.” “If you've been in a good relationship, then there's obviously another reason why somebody would do these things and go off and be with somebody else or look at pornography or whatever. I'm not condoning it or saying it's right; it was a choice but there is such a thing as addiction and that's what we have to look at.” “You've got to be empathic rather than defensive because the main thing your spouse or partner wants to know is that you really do understand what you've put her through.” “The primary attachment is the person that has my back, my beloved and the one that wherever I am in the world, is my home.”

We're joined by former Ambassador to Portugal Allan Katz to discuss civil discourse, polarization, and how this all applies to the situation in Ukraine right now. -Important References- https://americanpublicsquare.org/ (American Public Square's website) https://www.spectacles.news/author-thomas-j-main-focus-interviews/ (Our interview with author Thomas Main) -Usual Links- https://www.spectacles.news/ambassador-allan-katz-focus-interviews/ (Leave a comment!) https://www.spectacles.news/insight-normalcy-an-inadequate-solution-in-a-changing-world/#/portal/ (Subscribe to our newsletter!) https://spectacles-insight.captivate.fm/listen (Listen to Spectacles Out Loud!) https://twitter.com/SpectaclesMedia (Follow our Twitter!) // https://www.tiktok.com/@spectacles.news (Follow our TikTok!)

How did a box of popcorn lead to a job writing for the greatest TV shows of all time? Allan Katz sits down with Jeff & Ryan to discuss the rather unorthodox start of his entertainment career. Allan also talks about writing (and rewriting) with Gene Reynolds, working with the gentleman known as Alan Alda, his wife's "marriage" to Mike Farrell, and how to produce and star in your first ever major motion picture! We hope you enjoy our fun & funny conversation with the man known as Bob Maloogaloogaloogaloogalooga. For show notes, episodes, recipes, bios, and more visit our website.  

In Episode 54 of Both Sides, Allan and Mike are joined by Brad Austin, director of "All These Delicate Sorrows".  All These Delicate Sorrows is a Kansas City PBS documentary that follows the journey of Holocaust survivors from liberation in 1945 to the Midwest. We hear about Brad's creative process and the lessons we can learn from shared personal stories. The second half of our podcast features our own Allan Katz remembering how the Holocaust impacted his own family. 

TVC 545.2: Emmy nominated comedy writer Jim Abell (Rowan & Martin's Laugh-In, Love, American Style) talks to Ed, Tony, and Donna about writing a sketch for Carol Burnett for The Lohman and Barkley, as well as how Laugh-In executive producer George Schlatter recruited Allan Katz and Jack Douglas to write for the show. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of 'Beat Your Addictions' podcast we discuss sex addiction with expert guest Allan Katz. Allan J. Katz is a Licensed Professional Counselor as well as a Certified Sex Addiction Therapist. He has a Master's Degree in Rehabilitation Counseling from the University of Memphis and is a Certified Rehabilitation Counselor. He has completed the Externship in EFT (Emotionally Focused Couple Therapy and sees individuals and couples struggling with sex, drug and alcohol addiction, porn addiction, internet addiction and gambling addiction. He also sees clients for depression, anxiety and trauma. Allan is the author of four books, Addictive Entrepreneurship dealing with the 13 secrets to a successful life as an entrepreneur and Experiential Group Therapy Interventions with DBT: A 30-day program for treating addictions and trauma. He has co-authored Help Her Heal, with Carol Sheets for helping betrayed partners heal. His latest book is Hey! What About Me: How to make yourself and others a priority in a world of indifference, impulsivity and distraction. Both books are available on this website's book section. To make an appointment, call 901-248-6001. All calls are held in the strictest, professional confidence. http://allanjkatz.com/ https://www.facebook.com/BeatYourAddictionsPodcast For more info please visit us at JohnJGiordano.com John's books on sale at Amazon 'How to Beat Your Addictions and Live a Quality Life' https://tinyurl.com/y38qgz2f 'The Kid From The South Bronx Who Never Gave Up' https://tinyurl.com/yxp2ngz4

All over the country, movements have sprung up to remove city officials for their views on policing or COVID-19 policies. Oklahoma City Councilor JoBeth Hammon found herself on the receiving end of intimidation and harassment after sharing a Black Lives Matter meme about police. We'll talk to two experts on community bridge-building, Allan Katz of American Public Square and Malka Kopell of Civity, about how to mend these communities back together.Guests: Dr. George Henderson, JoBeth Hammon, Allan Katz, Malka Kopell.

Aww..your wedding day, it's a day you will always remember and you want it be special and personal. But will it be legal? Well, that all depends on who you have officiant your wedding.More and more I am hearing stories from couples who had a friend or family member get ordained in order for them to officiate their wedding, but, more often than not, they run into problems when it comes to nerves, showing up late, not knowing how to fill out the marriage license or having the couple file the license themselves.On today's episode my guest, Allan Katz from Great Officiants and owner of The Cute Little Wedding Chapel in Long Beach discusses the importance of using a professional and licensed officiant to oversee the most important part of your wedding day...your ceremony and vows.Too many things can go wrong when you do not use a licensed officiant and Allan and I discuss all this on this episode. So, take a listen and share it with all your engaged family and friends.Allan Katz can be reached at the following:www.GreatOfficiants.comwww.SoCalBeachWedding.comwww.CuteLittleWeddingChapel.comInfo@GreatOfficiants.comPhone: (562) 435-4000 (800) Wed-Vows

Episode #24 of Both Sides features a recording of American Public Square at Jewell's (APS) LIVE virtual series 'Cocktails and Politics'. In a discussion moderated by Both Side's cohosts Allan Katz and Mike McShane, political consultant Terry Nelson shares insight about the Senate race and other topics regarding the 2020 election. APS's Program Director served as the Roving Reporter for this live event, recorded on September 15th, 2020.  Terry Nelson is a founding and managing partner at FP1 Strategies. Nelson helps lead FP1’s various practice areas, ensuring that our internal team and the candidates we work for stay focused on the big picture things they need to do to win on Election Day. Nelson has led successful media campaigns for Governors, Members of Congress and ballot measures. With more than two decades of experience in high-stakes races, Nelson has earned the reputation of being one of the most influential and respected voices in the Republican Party. He has expertise in media strategy, campaign management, field operations and advertising.  Help us engage with our audience by way of answering YOUR questions as a part of our episodes! How do you get those questions to us? Go to www.americanpublicsquare.org/contact and under the section ‘Write us’ fill out your info and leave us a question. You can ask a question specific to a topic of your choice and we'll answer it the following week. 

What's more tropical than rum & reggae? Allan Katz started off in his hometown of NYC bartending with some of the best during the cocktail revival of the 00s, bounced through LA, & finally opened his dream bar, Jammyland, in Las Vegas. It's delicious, and so is his playlist: https://open.spotify.com/user/shebmo

In Episode #15 of Both Sides, Mike and Allan talk with Monsignor Stuart Swetland, President of Donnelly College in Kansas City, KS. Monsignor Swetland shares perspective from the most diverse college in the midwest, in their pursuits to address and understand COVID 19 in Wyandotte County and actively discuss systemic racism in higher education.  Both Sides features Producer, Allison Koelzer and Co-hosts Allan Katz and Mike McShane, in a reoccurring civil dialogue about topics related to current events through distinct political perspective. Mike and Allan come from different generations, political parties, and overall ideology on a number of political issues.

Episode #12 is a SPECIAL EDITION of Both Sides. Both Sides' Allan Katz and Mike McShane are joined by American Public Square at Jewell’s (APS) Program Manager, Denesha Snell. The episode features a conversation about the rhetoric of change, Denesha's personal role and beliefs on the matter, and how APS is positioned to share their platform to convene the community on these important conversations. Both Sides features Host and APS Student Initiative Coordinator Allison Koelzer, APS founder Ambassador Allan Katz, and Co-Chair to APS's Advisory Board Mike McShane, is a reoccurring civil dialogue about topics related to current events through distinct political perspective. Mike and Allan come from different generations, political parties, and overall ideology on a number of political issues.

Hold onto your butts we’re heading back across the pond for The State of the States Part Two: The Rise of Rye! Yep, you guessed it, in this episode Sam and Dave explore the story of American rye whisky, from its near extinction to its more recent explosion. Along the way we’ll hear from a number of rye whisky industry experts, including Allan Katz, Nicole Austin, Heather Green and Jonathan Wingo as they consider rye’s past and their own plans for rye’s future. The guys are also joined by special live guest and personal friend, Monique “Mo-Mo” Huston, director of Spirits for the Winebow Group. There’s a new edition of anadrams, plenty of whisky to try, oh and to tie it all up, a wee dash of ‘rye’ humoUr…

Dale DeGroff is King Cocktail. He’s a bartender, author and “one of the world’s foremost cocktail experts,” according to in the New York Times. He’s worked some of the US’ best bars, written some timeless books, helped found award-winning training platform Beverage Alcohol Resource, and even opened a Museum of the American Cocktail in New Orleans. As one of the most qualified to opine on the current state-of-play of the cocktail world, where does he think we have got to and where does he see us going? What does he credit with driving the resurgence of classic cocktails and their twisted varietals? Which drink does he regard as the true test of a bartender? How did he wind up inventing cocktails for Rupert Murdoch on one of his first days on the job? And what would he tell a young bartender starting out today? Stick around after Dale’s interview as we head to LA for our Free Pour Five chat with D. ‘Max’ Maxey, The Chestnut Club’s renowned bar manager. He’s a crack-up! Resources mentioned Dale's books – essential reading for any bartender: The Craft of the Cocktail, The Essential Cocktail Beverage Alcohol Resource, Dale and his partners’ online training program, where you can learn more about classic cocktails De Kuyper liqueurs & spirits United States Bartender's Guild See more about Dale at http://www.kingcocktail.com/ Key points 05:30 How does Australia’s cocktail culture stack up to the rest of the industry internationally? 08:00 Have we reached the true cocktail revolution that Dale forecasted previously? 12:30 What is Dale currently drinking? 14:00 Where to next for the bartending industry? 16:15 The advice Dale would give to young bartenders starting out today. 22:20 The drink Dale believes is the true test of a bartender. 23:45 Dale's Rupert Murdoch story 31:30 The Free Pour ‘Five’ with D ‘Max’ Maxey Next week: New York master distiller Allan Katz and the Free Pour Five with Aussie young buck Ollie Margan. Out Monday.

Extreme rum nerdery from Scoopfest 2018! Mai tais and tiki were the topics with Allan Katz of Jammyland in Las Vegas. Dram shop laws, Howard Hughes’ germophobia, and rum as rite of passage. Tiki spots mentioned in the show: Here’s Looking At You, Frankie’s, Tiki Ti, and Jammyland. Huge thanks to our drink sponsors: Gruppo Campari for Appleton and Grand Marnier, and Rhum Clément. Smart Mouth is on Patreon: www.patreon.com/smartmouthpodcast www.instagram.com/smartmouthpodcast/ www.facebook.com/groups/268127480…=469002749936864 Please subscribe to (and rate & review) this podcast in iTunes or the Podcasts app so you never miss an episode! https://itunes.apple.com/us/podcast/smart-mouth/id1171755407?mt

Tim and Tom talk about some October staples; the World Series and Halloween! They also talk to Dr. Allan Katz about American Public Square, an organization dedicated to changing the tone and quality of public discourse through fact-based, cordial communication

Tim and Tom talk about some October staples; the World Series and Halloween! They also talk to Dr. Allan Katz about American Public Square, an organization dedicated to changing the tone and quality of public discourse through fact-based, cordial communication

It’s rare when a character in a movie steals your heart, especially when you want to hate that movie, but we just couldn’t help but fall in love with the main character of Big Man On Campus from 1989. Bob Maloogaloogaloogaloogalooga, that’s 1 Malooga with 4 looga’s, was an unexpectedly funny and lovable hunchback that saved this movie. And mind you, this is a movie with little to no plot whatsoever. It’s your typical late 80s/early 90s college comedy, but seasoned comedy writer Allan Katz clearly had been developing the character of Bob for years in order to one day bring him to life. I guess we should also mention that Nick was absent this week, so Corey was joined by former guest Kenneth from Episode 115. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/bmoviebreakdown/support

The individuals in my membership community, Trauma Therapist | 2.0, represent trauma workers of a variety of disciplines, and who are from all over the globe. Today, I’m talking with one of them, Allan Katz. Allan is a licensed professional counselor and a certified sex addiction therapist. Allan currently works in an alcohol and drug residential treatment center where he sees clients and facilitates the trauma group program for men, using experiential methods as well as teaching Dialectical Behavior Therapy skills. Allan also treats clients and couples in his private practice where he deals with the trauma of infidelity, sex and love addiction and other relational traumas.   Allan is the author of Addictive Entrepreneurship which deals with the addictive nature of workaholism vs. the need for drive, ambition and hard work to succeed.     In this interview Allan shares a bit about what drew him into the field, and specifically how he became drawn to studying trauma.Support this podcast at — https://redcircle.com/the-trauma-therapist-podcast-with-guy-macpherson-phd-inspiring-interviews-with-thought-leaders-in-the-field-of-trauma/donationsWant to advertise on this podcast? Go to https://redcircle.com/brands and sign up.