Podcasts about Bergstein

"I am my mother's only daughter," explains Bergstein. Both of Rachelle's parents eventually remarried. Her father has two daughters from a subsequent marriage. And Rachelle's mom, has remarried twice. Rachelle's parents were very much in love and married right out of college. At around the  age of five years old, her parent's split up and Rachelle lived with her mother though there was joint custody between her parents.  Rachelle admits that they did a pretty  good job of not pushing and pulling her into their disagreements up until just prior to her wedding!Pauline eventually went to graduate school and became a psychologist and Rachelle says "she'll work into her eighties, she loves it so much." "She had a lot of drive and intelligence that was sort of sitting somewhere and not used. Eventually she learned how to use it." says my guest. There were humble beginning after the divorce, but Pauline eventually found her calling and nothing can stop her now.Getting support from her mom regarding her writing and being able to have honest open conversations was always helpful, yet Pauline didn't like it "when I dressed sexy. I could pierce my ears, dye my hair, no tattoos till 18. My mother also has a really loud laugh" recalls Rachelle. So loud that Rachelle will sometimes ask her mother to not laugh so loud if they're out in a restaurant.Some of Rachelle's favorite Judy Blume books include, "Are You There God, It's Me Margaret," "Blubber," "Tales of a Fourth Grade Nothing" and so many more. But it was Ms. Blume's natural writing style that enthralled not only Rachelle but teens and young adults around the world, even today. There was a period in the 1980's that Judy Blume was one of the most banned author in America. She wrote about somewhat sensitive topics that her audience was looking to learn more about, but not from their parents. Topics such as menstruation, puberty, parental divorce, sexuality, women's lib/feminism and so much more.One of many things that Rachelle is grateful for is that her mother was very open about speaking with her about a woman's body and sexuality. Again, it was reflective for Rachelle to write this latest book "The Genius of Judy Blume-How Judy Blume Rewrote Childhood for All of Us." She clearly saw many similarities in both her mother and Ms. Blume's life. Though the transition of being a young divorcee with children was challenging, once these women hit their stride, they found themselves unstoppable.Send all Social Media Links:FACEBOOK: https://www.facebook.com/rachellebergstein/INSTAGRAM: https://www.instagram.com/rachellewb/LINKEDIN: https://www.linkedin.com/in/rachelle-bergstein/OTHER: https://banneryear.substack.com/WEBSITE:www.rachellebergstein.com  "Should Have Listened To My Mother" is an ongoing conversation about mothers/female role models and the roles they play in our lives. Jackie's guests are open and honest and answer the question, are you who you are today because of, or in spite of, your mother and so much more. You'll be amazed at what the responses are.Gina Kunadian wrote this 5 Star review on Apple Podcast:SHLTMM TESTIMONIAL GINA KUNADIAN JUNE 18, 2024“A Heartfelt and Insightful Exploration of Maternal Love”Jackie Tantillo's “Should Have Listened To My Mother” Podcast is a treasure and it's clear why it's a 2023 People's Choice Podcast Award Nominee. This show delves into the profound impact mother and maternal role models have on our lives through personal stories and reflections.Each episode offers a chance to learn how different individuals have been shaped by their mothers' actions and words. Jackie skillfully guides these conversations, revealing why guests with similar backgrounds have forged different paths.This podcast is a collection of timeless stories that highlight the powerful role of maternal figures in our society. Whether your mother influenced you positively or you thrived despite challenges, this show resonates deeply.I highly recommend “Should Have Listened To My Mother” Podcast for its insightful, heartfelt and enriching content.Gina Kunadian"Should Have Listened To My Mother" would not be possible without the generosity, sincerity and insight from my guests. In 2018/2019, in getting ready to launch my podcast, so many were willing to give their time and share their personal stories of their relationship with their mother, for better or worse and what they learned from that maternal relationship. Some of my guests include Nationally and Internationally recognized authors, Journalists, Columbia University Professors, Health Practitioners, Scientists, Artists, Attorneys, Baritone Singer, Pulitzer Prize Winning Journalist, Activists, Freighter Sea Captain, Film Production Manager, Professor of Writing Montclair State University, Attorney and family advocate @CUNY Law; NYC First Responder/NYC Firefighter, Child and Adult Special Needs Activist, Property Manager, Chefs, Self Help Advocates, therapists and so many more talented and insightful women and men.Jackie has worked in the broadcasting industry for over four decades. She has interviewed many fascinating people including musicians, celebrities, authors, activists, entrepreneurs, politicians and more.A big thank you goes to Ricky Soto, NYC based Graphic Designer, who created the logo for "Should Have Listened To My Mother".Check out our website for more background information: https://www.jackietantillo.com/Or more demos of what's to come at https://soundcloud.com/jackie-tantilloLink to website and show notes: https://shltmm.simplecast.com/Or Find SHLTMM Website here: https://shltmm.simplecast.com/Listen wherever you find podcasts: https://www.facebook.com/ShouldHaveListenedToMyMotherhttps://www.facebook.com/jackietantilloInstagram:https://www.instagram.com/shouldhavelistenedtomymother/https://www.instagram.com/jackietantillo7/LinkedIn:https://www.linkedin.com/in/jackie-tantillo/YOUTUBE: https://www.youtube.com/@ShouldHaveListenedToMyMother

This episode we talk about the high-heeled rise, fall, and fierce reinvention of designer Tamara Mellon, co-founder of Jimmy Choo, whose resilience redefined what it means to be a woman in luxury fashion—with cultural insight from author Rachelle Bergstein._______Support this podcast with a small donation: Buy Me A CoffeeThis show is powered by branding and design studio  Nice PeopleJoin this podcast and the Patreon community: patreon.com/womendesignersyoushouldknowHave a 1:1 mentor call with Amber Asay: intro.co/amberasay_______Sources / Links:In My Shoes: A Memoir by Tamara MellonTamara Mellon on the Shopify Plus BlogWomen from the Ankle Down: The Story of Shoes and How They Define Us by Rachelle BergsteinTamara Mellon Interview on Inc.Tamara Mellon is a British-American fashion designer and entrepreneur best known as the co-founder of luxury shoe brand Jimmy Choo. A former accessories editor at British Vogue, Mellon played a pivotal role in shaping the brand's aesthetic and global success. She later launched her own label, Tamara Mellon Inc., where she continues to design with a focus on empowering women and disrupting the fashion business model.Rachelle Bergstein is a writer and cultural commentator, best known as the author of Women from the Ankle Down: The Story of Shoes and How They Define Us. Her work explores the intersection of fashion, identity, and culture. With a background in literature and a sharp eye for symbolism in style, Bergstein brings a unique voice to fashion history and its impact on women's lives.Follow Rachelle:Instagram: @rachellewbWebsite: rachellebergstein.com ____View all the visually rich 1-min reels of each woman on IG below:Instagram: Amber AsayInstagram: Women Designers Pod

What do teen boys and girls need from us right now?I had the privilege of hosting Rachelle Bergstein, lifestyle writer, author, and editor in a conversation about the complexities of adolescence today for teen boys and girls. Being able to reach teenagers to inspire them to see the good in each other, boy and girl, is a dream of mine. Rachelle's work has appeared in the New York Post, The New York Times, NPR, and more. She is the author of three books: Women from the Ankle Down, Brilliance and Fire, and The Genius of Judy. She lives with her husband and son in Brooklyn.We focus much of the conversation on her most recent book, The Genius of Judy and diving into questions that include: what's happening with teen girls? Is opposite sex friendship a good idea for teens? How do we deal with the tension point around sexuality overload juxtaposed with big feelings of shame and low self esteem? Who is nonmonagamy actually serving? what struggles are boys facing? How do we teach kids about sex in a way that fosters sacredness while avoiding shame?Find out more at RachelleBergstein.com Timestamps:00:37 - 01:01 Introduction and Guest Welcome01:01 - 02:02 Rachelle Bergstein's Background02:02 - 02:58 Judy Blume and Sex Education02:58 - 04:55 Is it okay for kids to learn about sex?04:55 - 07:35 Talking to Kids About Sex07:35 - 09:25 What really is proper Sex-ed?09:25 - 10:22 The most sexless generation ever10:22 - 11:46 Rachelle's sex-ed utopia11:46 - 14:41 Dealing with the 'Sex like a man' trend14:41 - 17:09 Is it wrong to be non-monogamous?17:09 - 18:12 Who was Judy Blume?18:12 - 19:42 Masturbation and teenagers19:42 - 21:13 Judy Blume's most controversial book21:13 - 22:56 Ancient Rituals in Modern Parenting22:56 - 24:19 Finding a rite of passage for girls24:19 - 27:34 What compelled Lily phillips' actions?27:34 - 28:48 Does porn make girls fear sex?28:48 - 29:33 The Impact of Extreme Pornography on Teens29:33 - 32:29 What are boys struggling with?32:29 - 34:16 The Crisis of Young Masculinity34:16 - 35:07 Friendships Between Boys and Girls35:07 - 38:22 Can boys and girls really be 'just friends'?38:22 - 38:49 Empathy and Understanding Between Genders38:49 - 41:15 What fascinates boys about teenage girls?41:15 - 43:23 What do teenage girls admire about teenage boys?43:23 - 44:57 The beauty of teenage years44:57 - 46:05 Does pornography have a role in society today?46:05 - 47:33 I no longer trust compliments from this age group47:33 - 49:05 Differences in what the sexes find attractive49:05 - 49:53 About Alison Armstrong49:53 - 52:10 Final Thoughts and Takeaways____________________________________________If you found some value today then help me spread the word! Share this episode with a friend or leave a review. This helps the podcast grow.You can also watch the episodes on youtube hereFollow me on Instagram @anyashakh

Everyone knows Judy Blume. Her books have garnered her fans of all ages for decades and sold tens of millions of copies. But why were people so drawn to them? And why are we still talking about them now in the 21st century? In The Genius of Judy: How Judy Blume Rewrote Childhood for All of Us (Atria, 2024), her remarkable story is revealed as never before, beginning with her as a mother of two searching for purpose outside of her home in 1960s suburban New Jersey. The books she wrote starred regular children with genuine thoughts and problems. But behind those deceptively simple tales, Blume explored the pillars of the growing women's rights movement, in which girls and women were entitled to careers, bodily autonomy, fulfilling relationships, and even sexual pleasure. Blume wasn't trying to be a revolutionary—she just wanted to tell honest stories—but in doing so, she created a cohesive, culture-altering vision of modern adolescence. Blume's bravery provoked backlash, making her the country's most-banned author in the mid-1980s. Thankfully, her works withstood those culture wars and it's no coincidence that Blume has resurfaced as a cultural touchstone now. Young girls are still cat-called, sex education curricula are getting dismissed as pornography, and entire shelves of libraries are being banned. As we face these challenges, it's only natural we look to Blume, the grand dame of so-called dirty books. This is the story of how a housewife became a groundbreaking artist, and how generations of empowered fans are her legacy, today more than ever. Roberto Mazza is currently a visiting scholar at the Buffett Institute for Global Affairs at Northwestern University. He is the host of the Jerusalem Unplugged Podcast and to discuss and propose a book for interview can be reached at robbymazza@gmail.com. Blusky and IG: @robbyref Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Everyone knows Judy Blume. Her books have garnered her fans of all ages for decades and sold tens of millions of copies. But why were people so drawn to them? And why are we still talking about them now in the 21st century? In The Genius of Judy: How Judy Blume Rewrote Childhood for All of Us (Atria, 2024), her remarkable story is revealed as never before, beginning with her as a mother of two searching for purpose outside of her home in 1960s suburban New Jersey. The books she wrote starred regular children with genuine thoughts and problems. But behind those deceptively simple tales, Blume explored the pillars of the growing women's rights movement, in which girls and women were entitled to careers, bodily autonomy, fulfilling relationships, and even sexual pleasure. Blume wasn't trying to be a revolutionary—she just wanted to tell honest stories—but in doing so, she created a cohesive, culture-altering vision of modern adolescence. Blume's bravery provoked backlash, making her the country's most-banned author in the mid-1980s. Thankfully, her works withstood those culture wars and it's no coincidence that Blume has resurfaced as a cultural touchstone now. Young girls are still cat-called, sex education curricula are getting dismissed as pornography, and entire shelves of libraries are being banned. As we face these challenges, it's only natural we look to Blume, the grand dame of so-called dirty books. This is the story of how a housewife became a groundbreaking artist, and how generations of empowered fans are her legacy, today more than ever. Roberto Mazza is currently a visiting scholar at the Buffett Institute for Global Affairs at Northwestern University. He is the host of the Jerusalem Unplugged Podcast and to discuss and propose a book for interview can be reached at robbymazza@gmail.com. Blusky and IG: @robbyref Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

Everyone knows Judy Blume. Her books have garnered her fans of all ages for decades and sold tens of millions of copies. But why were people so drawn to them? And why are we still talking about them now in the 21st century? In The Genius of Judy: How Judy Blume Rewrote Childhood for All of Us (Atria, 2024), her remarkable story is revealed as never before, beginning with her as a mother of two searching for purpose outside of her home in 1960s suburban New Jersey. The books she wrote starred regular children with genuine thoughts and problems. But behind those deceptively simple tales, Blume explored the pillars of the growing women's rights movement, in which girls and women were entitled to careers, bodily autonomy, fulfilling relationships, and even sexual pleasure. Blume wasn't trying to be a revolutionary—she just wanted to tell honest stories—but in doing so, she created a cohesive, culture-altering vision of modern adolescence. Blume's bravery provoked backlash, making her the country's most-banned author in the mid-1980s. Thankfully, her works withstood those culture wars and it's no coincidence that Blume has resurfaced as a cultural touchstone now. Young girls are still cat-called, sex education curricula are getting dismissed as pornography, and entire shelves of libraries are being banned. As we face these challenges, it's only natural we look to Blume, the grand dame of so-called dirty books. This is the story of how a housewife became a groundbreaking artist, and how generations of empowered fans are her legacy, today more than ever. Roberto Mazza is currently a visiting scholar at the Buffett Institute for Global Affairs at Northwestern University. He is the host of the Jerusalem Unplugged Podcast and to discuss and propose a book for interview can be reached at robbymazza@gmail.com. Blusky and IG: @robbyref Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Everyone knows Judy Blume. Her books have garnered her fans of all ages for decades and sold tens of millions of copies. But why were people so drawn to them? And why are we still talking about them now in the 21st century? In The Genius of Judy: How Judy Blume Rewrote Childhood for All of Us (Atria, 2024), her remarkable story is revealed as never before, beginning with her as a mother of two searching for purpose outside of her home in 1960s suburban New Jersey. The books she wrote starred regular children with genuine thoughts and problems. But behind those deceptively simple tales, Blume explored the pillars of the growing women's rights movement, in which girls and women were entitled to careers, bodily autonomy, fulfilling relationships, and even sexual pleasure. Blume wasn't trying to be a revolutionary—she just wanted to tell honest stories—but in doing so, she created a cohesive, culture-altering vision of modern adolescence. Blume's bravery provoked backlash, making her the country's most-banned author in the mid-1980s. Thankfully, her works withstood those culture wars and it's no coincidence that Blume has resurfaced as a cultural touchstone now. Young girls are still cat-called, sex education curricula are getting dismissed as pornography, and entire shelves of libraries are being banned. As we face these challenges, it's only natural we look to Blume, the grand dame of so-called dirty books. This is the story of how a housewife became a groundbreaking artist, and how generations of empowered fans are her legacy, today more than ever. Roberto Mazza is currently a visiting scholar at the Buffett Institute for Global Affairs at Northwestern University. He is the host of the Jerusalem Unplugged Podcast and to discuss and propose a book for interview can be reached at robbymazza@gmail.com. Blusky and IG: @robbyref Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Everyone knows Judy Blume. Her books have garnered her fans of all ages for decades and sold tens of millions of copies. But why were people so drawn to them? And why are we still talking about them now in the 21st century? In The Genius of Judy: How Judy Blume Rewrote Childhood for All of Us (Atria, 2024), her remarkable story is revealed as never before, beginning with her as a mother of two searching for purpose outside of her home in 1960s suburban New Jersey. The books she wrote starred regular children with genuine thoughts and problems. But behind those deceptively simple tales, Blume explored the pillars of the growing women's rights movement, in which girls and women were entitled to careers, bodily autonomy, fulfilling relationships, and even sexual pleasure. Blume wasn't trying to be a revolutionary—she just wanted to tell honest stories—but in doing so, she created a cohesive, culture-altering vision of modern adolescence. Blume's bravery provoked backlash, making her the country's most-banned author in the mid-1980s. Thankfully, her works withstood those culture wars and it's no coincidence that Blume has resurfaced as a cultural touchstone now. Young girls are still cat-called, sex education curricula are getting dismissed as pornography, and entire shelves of libraries are being banned. As we face these challenges, it's only natural we look to Blume, the grand dame of so-called dirty books. This is the story of how a housewife became a groundbreaking artist, and how generations of empowered fans are her legacy, today more than ever. Roberto Mazza is currently a visiting scholar at the Buffett Institute for Global Affairs at Northwestern University. He is the host of the Jerusalem Unplugged Podcast and to discuss and propose a book for interview can be reached at robbymazza@gmail.com. Blusky and IG: @robbyref Learn more about your ad choices. Visit megaphone.fm/adchoices

Everyone knows Judy Blume. Her books have garnered her fans of all ages for decades and sold tens of millions of copies. But why were people so drawn to them? And why are we still talking about them now in the 21st century? In The Genius of Judy: How Judy Blume Rewrote Childhood for All of Us (Atria, 2024), her remarkable story is revealed as never before, beginning with her as a mother of two searching for purpose outside of her home in 1960s suburban New Jersey. The books she wrote starred regular children with genuine thoughts and problems. But behind those deceptively simple tales, Blume explored the pillars of the growing women's rights movement, in which girls and women were entitled to careers, bodily autonomy, fulfilling relationships, and even sexual pleasure. Blume wasn't trying to be a revolutionary—she just wanted to tell honest stories—but in doing so, she created a cohesive, culture-altering vision of modern adolescence. Blume's bravery provoked backlash, making her the country's most-banned author in the mid-1980s. Thankfully, her works withstood those culture wars and it's no coincidence that Blume has resurfaced as a cultural touchstone now. Young girls are still cat-called, sex education curricula are getting dismissed as pornography, and entire shelves of libraries are being banned. As we face these challenges, it's only natural we look to Blume, the grand dame of so-called dirty books. This is the story of how a housewife became a groundbreaking artist, and how generations of empowered fans are her legacy, today more than ever. Roberto Mazza is currently a visiting scholar at the Buffett Institute for Global Affairs at Northwestern University. He is the host of the Jerusalem Unplugged Podcast and to discuss and propose a book for interview can be reached at robbymazza@gmail.com. Blusky and IG: @robbyref Learn more about your ad choices. Visit megaphone.fm/adchoices

Hernán Bergstein es profesor de Economía Política en la UNLA (Universidad Nacional de Lanús) y en la UNQui (Quilmes). Y ahora también podría decir del Tren Roca: porque en medio de reclamos salariales y de fondos para las facultades, llevó su clase al transporte público. Lo cuenta Marcelo Figueroa. 

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In Rachelle Bergstein's new book, “The Genius of Judy: How Judy Blume Rewrote Childhood for All of Us,” Blume's remarkable story is revealed, beginning with her life as a young mother of two searching for purpose outside of her home in 1960s suburban New Jersey.

Rachelle Bergstein is a lifestyle writer, author and editor. Her latest book is The Genius of Judy: How Judy Blume Rewrote Childhood For All of Us. On today's show, Annmarie and Rachelle discuss taboo topics from childhood – periods! bras! masturbation! – and how Judy Blume books demystified all of them.  Episode Sponsors: McNally Jackson – Independent booksellers with locations in Nolita, Williamsburg, Seaport, Rockefeller, and Downtown Brooklyn. To find your next great read, drop by or shop online at www.mcnallyjackson.com Women & Children First – A bookstore that understands the transformative power of literature. As intersectional trans-inclusive feminists, we believe books are tools for liberation. Since 1979, we've celebrated and amplified   under-represented voices. We offer a welcoming space for learning, dialogue, and reflection, and strive toward a feminist, equitable workplace. Come visit our Chicago location or shop online at womenandchildrenfirst.com. Judy Blume Titles Mentioned in this Episode: Deenie Are You There God? It's Me, Margaret. Forever… Then Again, Maybe I Won't Blubber Otherwise Known as Sheila the Great It's Not the End of the World Other Titles Mentioned: The Genius of Judy: How Judy Blume Rewrote Childhood For All of Us, by Rachelle Bergstein Monsters: A Fan's Dilemma, by Claire Dederer Biography of X, by Catherine Lacey The Recovering: Intoxication and Its Aftermath, by Leslie Jamison Here's some 90s music to leave you with: Under the Bridge, by Red Hot Chili Peppers. Follow Rachelle Bergstein: Twitter: @RaBergstein Instagram: @rachellewb rachellebergstein.com Learn more about your ad choices. Visit megaphone.fm/adchoices

"Bonjour, Stupid! Let the kids read!" Join us on this episode of ISBN Readin' as we welcome Rachelle Bergstein, the brilliant author of The Genius of Judy: How Judy Blume Rewrote Childhood for All of Us. We delve into Judy Blume's profound legacy, exploring how her groundbreaking books have shaped generations of readers. Rachelle shares insights into Blume's impact on childhood and literature, the ongoing battle against banned books, and so much more. This lively conversation covers the transformative power of Blume's work and offers a nostalgic look at the stories that changed our lives. Tune in for a heartfelt discussion celebrating one of the most influential authors of our time!

We break ALL THE RULES (okay, there was only ever one rule, but still) with our season finale and the magnificent Andrea Warner's appearance on the podcast this week. It's one of my favourite writers talking about my favourite movie, and how it was foundational to Andrea's own experience and inspired her compelling new homage/memoir/cultural-criticism hybrid, THE TIME OF MY LIFE: DIRTY DANCING, a book I adored.Andrea talks about why Dirty Dancing is a project worth breaking the rules for, how Eleanor Bergstein was prescient in understanding the precarity of reproductive rights in America during the 1980s, her subversion in making an illegal abortion the centre of her screenplay, the film's best lines (I carried a watermelon?), how it models community care in action, how fantastic is its demonstration of enthusiastic consent, why it's important to be honest in critiquing the pop culture we love, and Andrea also has a VERY controversial take on the iconic pop song that gave her book its title, and SO MUCH MORE! Pickle Me This is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.An engaging exploration into the enduring popularity of Dirty Dancing and its lasting themes of feminism, activism, and reproductive rightsWhen Dirty Dancing was released in 1987, it had already been rejected by producers and distributors several times over, and expectations for the summer romance were low. But then the film, written by former dancer Eleanor Bergstein and starring Jennifer Grey and Patrick Swayze as a couple from two different worlds, exploded. Since then, Dirty Dancing's popularity has never waned. The truth has always been that Dirty Dancing was never just a teen romance or a dance movie — it also explored abortion rights, class, and political activism, with a smattering of light crime-solving.In The Time of My Life, celebrated music journalist Andrea Warner excavates the layers of Dirty Dancing, from its anachronistic, chart-topping soundtrack, to Baby and Johnny's chemistry, to Bergstein's political intentions, to the abortion subplot that is more relevant today than ever. The film's remarkable longevity would never have been possible if it was just a throwaway summer fling story. It is precisely because of its themes — deeply feminist, sensitively written — that we, over 30 years later, are still holding our breath during that last, exhilarating lift.ANDREA WARNER lives in Vancouver on the territories of the Musqueam, Squamish, and Tsleil-Waututh First Nations. Her books include Rise Up and Sing!: Power, Protest, and Activism in Music and Buffy Sainte-Marie: The Authorized Biography. Plus an expanded, updated, and retitled release of her first book is coming this fall 2024, now called We Oughta Know: How Celine, Shania, Alanis, and Sarah Ruled the '90s and Changed Music. Get full access to Pickle Me This at kerryreads.substack.com/subscribe

The CPA profession faces an identity crisis, with challenges in the candidate pipeline, non-attest services' role, and CPE's effectiveness. This webinar explores the impact of the fifth-year requirement, the value of consulting services, the need for engaging CPE, and the use of the CPA designation in non-traditional roles. Join our expert panel as we discuss solutions to navigate the profession's challenges and opportunities and redefine the CPA identity in an ever-changing landscape.(This episode originally aired on April 9, 2024 on Earmark Webinars+)SponsorShareFile - https://earmarkcpe.promo/sharefileChapters(01:11) - Exploring the CPA Identity Crisis (03:10) - Challenges in the CPA Profession: Enrollment Decline and Talent Shortage (05:19) - Rethinking Education and Work Experience in Accounting (08:16) - The Future of Accounting: Automation, Advisory Services, and the CPA Role (10:01) - The Split Between Audit and Advisory Services in Accounting Firms (12:22) - Addressing the Pipeline Problem and Work Culture in Accounting Firms (29:51) - Reimagining the CPA Profession and Certification (32:35) - Exploring the Work-Life Balance in Accounting (33:19) - Engaging with Live Stream Viewers and Discussing Regulatory Solutions (33:40) - The Debate on Auditor Work Hours and Firm Practices (34:38) - CBIZ's Unique Position in the Professional Services Industry (35:46) - The Role of Regulators and Proposals for Reform (36:53) - The Case for Government-Run Audits (37:30) - Rethinking Overtime and Compensation in Accounting (51:40) - Addressing the CPA Identity Crisis and Recommendations (57:47) - Concluding Remarks and Future Directions Sign up to get free CPE for listening to this podcasthttps://earmarkcpe.comDownload the Earmark CPE App Apple: https://apps.apple.com/us/app/earmark-cpe/id1562599728Android: https://play.google.com/store/apps/details?id=com.earmarkcpe.appConnect with Our GuestsDavid  Bergstein, CPA, CITP, CGMALinkedIn: https://www.linkedin.com/in/davidbergstein/Steven Sacks, CPA, CGMA, ABCLinkedIn: https://www.linkedin.com/in/stevenesacks/Connect with Blake Oliver, CPALinkedIn: https://www.linkedin.com/in/blaketoliverTwitter: https://twitter.com/blaketoliver/

Episode 202 FACULTY: David Bergstein, CPA CLASS: #TheGuide In this episode, Scott interviews David Bergstein, a CPA, covering various aspects of David's journey in accounting and his insights into the profession from his decades of experience. They discuss topics such as the relevance of becoming a CPA for young people, marketing strategies for accounting firms, the future of the accounting profession including automation and remote firms, strategies for firm growth, and the bright future ahead. Shout Outs: Ed Mendlowitz, Roman Kevchak, Randy Johnson, Randy Crabtree, BotKeeper Conference, Prime Global Conference, BKR Conference, QBO, Xero, Sage, Zoho Chapters: 02:53 How Dave got into Accounting 06:40 What Dave Does Now 08:38 Pickleball 09:01 Introducing Accounting in the Classroom 11:38 Should Young People Become CPAs? 15:53 Marketing and Positioning 18:34 The Future of Accounting 20:37 Do You Need to Hire A CPA or Not? 22:26 Automation 23:44 Remote Firms 28:58 Firm Growth 31:57 The Future is Bright 36:41 Dave's Future Plans 39:19 Choosing Software 42:20 Conclusion Connect With Us On Linkedin! David Bergstein https://www.linkedin.com/in/davidbergstein/ Scotty OKR Scarano https://www.linkedin.com/in/scottscarano/ Accounting High https://www.linkedin.com/company/accounting-high/ https://www.accountinghigh.com/ Tags: fiscal doctor, accounting advisor, marketing positioning, millennial mindset, hiring CPAs, remote firms, accounting automation, firm growth, pickleball enthusiast, continuing education, FBI aspirations, IRS agent, choosing software, accounting future, accounting publications, professional services, accounting deadlines, accounting professor, career advice, accounting excitement --- Send in a voice message: https://podcasters.spotify.com/pod/show/accountinghigh/message

On retourne aux sources de Canal avec du Polar+, ces trois séries venues de plusieurs continents et pleines de suspens vont vous tenir en haleine. Reyka La série sud-africaine a sorti sa saison 2. Dans la première saison de Reyka, on voyage en Afrique du Sud. En 1994, la jeune enfant d'un couple mixte est kidnappée. Elle parvient à s'échapper. Devenue adulte, elle est, à présent, détective et mère de famille. Reyka Gama (Kim Suzanne Engelbrecht) tente de concilier sa vie personnelle et professionnelle tout en faisant face à ses traumatismes d'enfant. Speelman (Iain Glen), celui qui l'a emprisonnée pendant quatre ans est en prison mais a toujours une emprise sur elle. Alors quand elle doit enquêter sur un tueur en série, son passé ressurgit… La saison 2 continue autour de leur relation malsaine tout en appuyant sur l'aspect social. On y découvre une Afrique du Sud en proie en la pauvreté et au racisme sous-latent. La tension psychologique est omni-présente et on suit sans respirer toute cette histoire. https://youtu.be/qjTj7NnNCA4?si=EQ5dWF2kVyPNwaX- [bs_show url="reyka"] Le tueur de l'ombre Le tueur de l'ombre suit une unité spéciale d'enquêteurs danois qui traquent des criminels violents et dangereux. L'équipe est dirigée par le détective Jan Michelsen (Kenneth M. Christensen), un enquêteur expérimenté et déterminé. Il est secondé par une profiteuse hors pair, Louise Bergstein (Natalie Madueño) avec qui une relation de confiance s'installe. Lorsqu'une série de meurtres brutaux secoue Copenhague, l'unité se lance dans une course contre la montre pour capturer le tueur en série responsable de ces crimes atroces. Au fur et à mesure de leur enquête, ils découvrent que les meurtres sont liés à des événements du passé, révélant ainsi des secrets sombres et des conflits enfouis depuis longtemps. Comme de nombreux scandinoirs, on rentre vraiment dans la psychologie des personnages et du mal, pour comprendre ce qui pousse certains individus à commettre des actes de violence. La saison 2 est également disponible, et Michelsen est parti pour laisser la place entièrement à Bergstein. https://youtu.be/d271uLGxjhc?si=qUvTWqcNYF8f1RBx [bs_show url="darkness-those-who-kill"] Hidden Hidden suit l'inspecteur Cadi John, jouée par Sian Reese-Williams, qui enquête sur une série de meurtres mystérieux. La série se déroule dans une région isolée du Pays de Galles, où les habitants sont étroitement liés par des liens familiaux et communautaires. Lorsque le corps d'une jeune femme est découvert dans une carrière abandonnée, l'affaire semble être liée à une série de crimes non résolus survenus des années auparavant. Alors que l'enquête progresse, Cadi découvre des secrets sombres et des liens troublants entre les habitants de la petite communauté locale. Comme dans d'autres polars britanniques, Hidden sen penche sur les secrets et les mensonges qui se cachent sous la surface d'une petite communauté apparemment tranquille. Alors que Cadi et son équipe recherchent le coupable des crimes, la série aborde également des questions de justice et de rédemption. Les personnages sont confrontés à leurs propres choix moraux et à la possibilité de se racheter de leurs erreurs passées. Les trois saisons sont disponibles sur Canal+. https://youtu.be/cxit7lDm0hM?si=1MESRrjw9aZfLzJv [bs_show url="hidden-2018"]

On retourne aux sources de Canal avec du Polar+, ces trois séries venues de plusieurs continents et pleines de suspens vont vous tenir en haleine. Reyka La série sud-africaine a sorti sa saison 2. Dans la première saison de Reyka, on voyage en Afrique du Sud. En 1994, la jeune enfant d'un couple mixte est kidnappée. Elle parvient à s'échapper. Devenue adulte, elle est, à présent, détective et mère de famille. Reyka Gama (Kim Suzanne Engelbrecht) tente de concilier sa vie personnelle et professionnelle tout en faisant face à ses traumatismes d'enfant. Speelman (Iain Glen), celui qui l'a emprisonnée pendant quatre ans est en prison mais a toujours une emprise sur elle. Alors quand elle doit enquêter sur un tueur en série, son passé ressurgit… La saison 2 continue autour de leur relation malsaine tout en appuyant sur l'aspect social. On y découvre une Afrique du Sud en proie en la pauvreté et au racisme sous-latent. La tension psychologique est omni-présente et on suit sans respirer toute cette histoire. https://youtu.be/qjTj7NnNCA4?si=EQ5dWF2kVyPNwaX- [bs_show url="reyka"] Le tueur de l'ombre Le tueur de l'ombre suit une unité spéciale d'enquêteurs danois qui traquent des criminels violents et dangereux. L'équipe est dirigée par le détective Jan Michelsen (Kenneth M. Christensen), un enquêteur expérimenté et déterminé. Il est secondé par une profiteuse hors pair, Louise Bergstein (Natalie Madueño) avec qui une relation de confiance s'installe. Lorsqu'une série de meurtres brutaux secoue Copenhague, l'unité se lance dans une course contre la montre pour capturer le tueur en série responsable de ces crimes atroces. Au fur et à mesure de leur enquête, ils découvrent que les meurtres sont liés à des événements du passé, révélant ainsi des secrets sombres et des conflits enfouis depuis longtemps. Comme de nombreux scandinoirs, on rentre vraiment dans la psychologie des personnages et du mal, pour comprendre ce qui pousse certains individus à commettre des actes de violence. La saison 2 est également disponible, et Michelsen est parti pour laisser la place entièrement à Bergstein. https://youtu.be/d271uLGxjhc?si=qUvTWqcNYF8f1RBx [bs_show url="darkness-those-who-kill"] Hidden Hidden suit l'inspecteur Cadi John, jouée par Sian Reese-Williams, qui enquête sur une série de meurtres mystérieux. La série se déroule dans une région isolée du Pays de Galles, où les habitants sont étroitement liés par des liens familiaux et communautaires. Lorsque le corps d'une jeune femme est découvert dans une carrière abandonnée, l'affaire semble être liée à une série de crimes non résolus survenus des années auparavant. Alors que l'enquête progresse, Cadi découvre des secrets sombres et des liens troublants entre les habitants de la petite communauté locale. Comme dans d'autres polars britanniques, Hidden sen penche sur les secrets et les mensonges qui se cachent sous la surface d'une petite communauté apparemment tranquille. Alors que Cadi et son équipe recherchent le coupable des crimes, la série aborde également des questions de justice et de rédemption. Les personnages sont confrontés à leurs propres choix moraux et à la possibilité de se racheter de leurs erreurs passées. Les trois saisons sont disponibles sur Canal+. https://youtu.be/cxit7lDm0hM?si=1MESRrjw9aZfLzJv [bs_show url="hidden-2018"]

This "Paltrocast" features interviews with Yellowcard frontman Ryan Key and actress/singer Nina Bergman. Theme song by Steve Schiltz.

FuturePrint – ‘Digital Print in Manufacturing' workshop at IME West Anaheim Convention Centre, CA 6th February 2024 In a Podcast preview to the IME West Pack Theater programme , Frazer Chesterman talks to four digital print experts from the US and Europe about their planned  conference content and discusses their knowledge and experience that they will be sharing at the IME West event in a series of sessions. The sessions are scheduled for February 6, 2024, at the 'Pack Place' Theatre (IME West) from 14:30 to 16:30pm. The podcast will explore key trends in print and packaging, along with the applications and possibilities that digital print technology presents. Podcast contributors are : Colin McMahon, Senior Research Analyst at PTC–who will be talking about Market Trends in Manufacturing and Packaging Thomas Schweizer, Global Sales Director at Gallus Group -Market Trends, Industry Transformation and the Future of Our Industry Guy Newcombe, CEO of Archipelago - Paper Not Plastic: How Powerdrop™ Opens Up the Choice of Coatings for Sustainable Packaging Peter Bergstein, CEO and Owner at Bergstein Group- Single Pass Digital Print technology for Direct to Shape Packaging Attendees at the IME West event  will gain an understanding of the latest trends, innovations, and advancements in digital and inkjet technology. These insights span various sectors including industrial print.  To find out more please click here IME West | February 6-8, 2024 (imengineeringwest.com) or get in touch with Frazer Chesterman.   Listen on:Apple PodcastGoogle PodcastSpotifyWhat is FuturePrint? FuturePrint is a digital and in person platform and community dedicated to future print technology. Over 15,000 people per month read our articles, listen to our podcasts, view our TV features, click on our e-newsletters and attend our in-person and virtual events. In 2024, we hope to see you at one of our events: FuturePrint TECH at IME West, 6-8 February, Anaheim, California, USA FuturePrint TECH Packaging & Labels, 28-29 February, Valencia, Spain FuturePrint TECH AI for Print, 16 April, Cambridge, UK FuturePrint TECH Digital Print for Manufacturing, 6-7 November, Cambridge, UK

El escritor uruguayo Mauricio Bergstein fue entrevistado en el programa "Letras y corcheas", conducido por Mario y Hernán Dobry, el jueves 28 de diciembre de 2023, para conversar sobre trayectoria en el mundo de la literatura y sobre su última novela "Fusiles en el paragüero".

The 150-hour rule is facing harsh criticism in the accounting staffing crisis.With Steven SacksThe NEW Fundamentals: Thriving in DisruptionThere is a movement afoot by the state CPA societies to reconsider whether the fifth year of an accounting program that offers the student a Master's in Accounting is worth the cost, not to mention the increased complexity of business requiring as much exposure and experience as necessary to groom the younger professionals.FULL SHOW NOTES: hereMORE STEVE SACKS: Sell Service, Not Hours | Fine-Tuning the Subscription Fee Model | When Cyber-Crime Hits Close to Home | How to Build a Winning Proposal | Six Ways to Fix Your Firm Agreement | The Great Resignation or a Reshuffling? | Listen to Learn | Build the Framework to a Solution with Five Answers | Try for Success, Not a WinHowever, there is a shortage of 300,000 CPA candidates entering the profession's pipeline. That's why several states are seeking to eliminate, modify or enhance the educational/experiential model.Sacks discusses the dilemma of education versus experience with accounting expert David Bergstein, CPA, the chief innovation officer for Bergstein CPA and teaching adjunct for Valencia College.

This week, Kelley and Malin have a conversation with casting director Robbie Latimer (Henry Russell Bergstein) about the Season 3 finale, how one performance in this episode saved the show, and why their careers might have slowed down a bit.  Apologies for Malin's poor audio quality in these last couple of episodes. Carly has been out of town.  Follow us on Twitter and Instagram! Email us at ridingaroundpod@gmail.com.  Theme music by John Purcell Logo by Kelsey Bailey

In our second IME East Preview installment, Frazer chats to 4 of the speakers who will be with us in New York on 13th June at the Javits Centre.This Inkjet Showcase which takes place at 1.00pm on June 13th consists of a series of inspiring and informative sessions followed by a Q&A panel. Frazer Chesterman - Director of FuturePrint - will be bringing a fantastic group of European and US Digital Print specialists to the Pack Place Theater to give an insight into some amazing applications and opportunities that digital print technology offers for the Packaging world. Take a listen to what our guest speakers will present, including foodproof, waterproof paper coating technology from Archipelago, market trends in single-pass UV digital printing from Siegwerk, how Agfa works to create personalised solutions for printers, and direct-to-shape printing solutions from Bergstein.Subscribe to the FuturePrint podcast nowVisit the FuturePrint websiteVisit the Archipelago Technology websiteConnect with Guy Newcombe on LinkedInVisit the Siegwerk websiteConnect with Tom Shea on LinkedInVisit the Agfa websiteConnect with Matt Brooks on LinkedInVisit the Bergstein websiteConnect with Peter Bergstein on LinkedInConnect with Frazer Chesterman on LinkedIn

Did you know about the correlation between declining smoking rates and increasing hummus consumption? It's true—a decade ago, as American smoking rates were falling, hummus consumption began ascending, leading numerous tobacco growers to convert their fields to chickpea production instead.  Hummus is also a favorite of those seeking to eat plant-based while still getting a satiating snack or meal. In fact, in the Middle East, the birthplace of hummus, it's not eaten as a dip like it is here in America, but rather hummus itself is the bulk of the meal, enjoyed literally by the bowlful as I've personally witnessed—and enjoyed—while in Israel.  Some people even think that hummus may be among the key ways to unite the Middle East, where various cultures have been enjoying hummus for thousands of years. But one place where hummus hasn't been enjoyed for millenia: North America. But one Israeli company set out to change that, Sabra, which has caused an explosion of interest in hummus since it entered the market, especially since the company sold half of its shares to Pepsi. Since then, Sabra has rapidly accelerated hummus' popularity here in America.  Today, Sabra sells hundreds of millions of dollars of tubs of hummus and is by far the largest player in the sector. In this interview, we chat with Sabra CEO Joey Bergstein about all things hummus, including why he thinks hummus is such a force for good in the world—including why chickpeas are the OG of regenerative crops—and how Sabra can do even better.  Discussed in this episode The switch from tobacco growing to chickpea growing. NuCicer, a cool startup breeding a higher protein chickpea. Joey recommends listening to Revisionist History podcast. Long before Joey was CEO, in 2014 Sabra petitioned FDA for a standard of identity for hummus, something about which Joey says in this interview the company is no longer concerned. TODAY Show ranking of 10 hummus brands, with Sabra ranking #1. Some past episodes of ours on plastic include Footprint, Radical Plastic, AMP Robotics, Plastic Bank, Notpla, and Outlander Materials. The myth of plastic recycling, via NPR. More about Joey Bergstein Joey Bergstein joined Sabra in August 2021 as President and Chief Executive Officer. He and the Sabra team are on a quest to unit and delight the world around planet positive food. Prior to joining Sabra, Bergstein led Seventh Generation as Chief Executive Officer since 2017 following successive leadership roles since he joined in 2011. Together with his team, he transformed the business through sustainability-driven product innovation, advocacy-led marketing, and deep partnership with retailers. This combination more than tripled revenue during his tenure, all while building a purpose-driven culture and pursuing the company's quest to transform the world into a healthier, more sustainable, and more equitable place for the next seven generations.    A graduate of University of Western Ontario's Richard Ivey School of Business, Bergstein began his career at Procter & Gamble where he held marketing leadership roles over ten years across North America and in Europe.  He then took on leadership roles in the beverages industry, serving as VP beverages industry, serving as VP Global Business Development and then VP Marketing at Molson and then as Senior Vice President of Global Rum at Diageo where, Joey led a global team that doubled the rum business to over $1 billion, transforming Captain Morgan into the fastest growing premium spirit brand in the world.     Joey has been recognized by CERES for his leadership addressing Climate Change receiving the 2020 CERES BICEP CEO Award and by his fellow Ivey Alumni receiving the 2020 Ivey Alumni Achievement Award.  Joey and his wife, Andrea, founder of Scribblitt.com, now live in New York City. 

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

David Bergstein, the Chief Innovation Officer of Bergstein CPA, talks about his hobbies of racquet sports, mainly pickleball, how it has helped him establish relationships both personally and professionally, why it's so important to be yourself in the workplace, and much more!

This is Garrison Hardie with your CrossPolitic Daily News Brief for Wednesday, October 12th, 2022. I just got back from our Fight Laugh Feast Conference in Knoxville TN, and we announced while we were out there, where our next conference will be at the Ark Encounter next year! So stay tuned for when registration will open up, and we hope to see you and your family out in Kentucky, October of next year. Also, FLF Magazine: We are on a mission to make magazines great again. So, subscribe to our Fight Laugh Feast magazine. This is a quarterly mini-book like experience, packed full of a variety of authors that includes theologically-driven cultural commentary, a Psalm of the quarter, recipes for feasting, laughter sprinkled throughout the glossy pages, and more. Sign your church up, sign your grumpy uncle up, and while you are at it…sign up the Pope, Elon Musks, and Russel Moore. Disclaimer: This magazine will guarantee various responses and CrossPolitic is not held liable for any of them. Reading the whole magazine may cause theological maturation, possibly encourage your kids to take the Lord’s Supper with you, and will likely cause you to randomly chuckle in joy at God’s wondrous world. Sign up today! Four issues and $60 per year, that is it. Go to fightlaughfeast.com right now to sign up!. Now, here’s what you may have missed over the weekend. https://www.dailywire.com/news/colorado-officials-incorrectly-sent-out-30000-voter-registration-postcards-to-noncitizens Colorado Officials ‘Incorrectly’ Sent Out 30,000 Voter Registration Postcards To Noncitizens Colorado officials claim they accidentally sent approximately 30,000 postcards last month to noncitizens instructing them how they could register to vote. First reported by Colorado Public Radio News, Democratic Secretary of State Jena Griswold’s office said department employees had sent the postcards on Sept. 27 after comparing a list of 102,000 names provided by the Electronic Registration Information Center, a nonprofit organization aiming to improve U.S. voter rolls and advocating residents to vote. “The Department has become aware that approximately 30,000 EBU [Eligible But Unregistered] postcard mailers were incorrectly sent to ineligible Coloradans,” a spokesperson for the Colorado Secretary of State’s Office told local media. “The office is undertaking an internal review of the incident and will take any corrective action that is warranted.” Griswold insisted noncitizens would not be allowed to register to vote. The postcards, which the office printed in English and Spanish, read, “A message from Colorado Secretary of State Jena Griswold . . . Our records indicate that you or your household may be eligible to vote, but do not appear to be registered at your current address.” The mailers did include that to vote that residents must be 18 years old by Election Day, a United States citizen, and a Colorado resident for at least 22 days before the upcoming election, according to Colorado Public Radio News. Griswold’s office said they plan on sending out correction mailers to the noncitizens, “reminding them that only those that meet the above requirements are eligible to register.” According to local media, while the office had compared the list of potential unregistered voters to local DMV records, the data had included noncitizen drivers with Colorado driver’s licenses which the state issues for noncitizens to drive legally. The National Council on State Legislatures website shows Colorado as one of at least 17 states, along with the District of Columbia, that issue driver’s licenses to non-U.S. citizens. However, the system did not distinguish their eligibility to vote. Sean Morales-Doyle, director of the Voting Rights Program at the Brennan Center for Justice, told The Journal that the system making a mistake indicates it works. Griswold is up for reelection in the November midterms, where she will face Republican Pam Anderson, the head of the state’s county clerks association. https://www.theepochtimes.com/exclusive-cdc-wont-release-review-of-post-vaccination-heart-inflammation_4786038.html?utm_source=partner&utm_campaign=BonginoReport&src_src=partner&src_cmp=BonginoReport CDC Won’t Release Review of Post-Vaccination Heart Inflammation The U.S. Centers for Disease Control and Prevention (CDC) will not release its review of post-COVID-19-vaccination heart inflammation. The CDC has been performing abstractions on reports of post-vaccination myocarditis, a form of heart inflammation, submitted to the Vaccine Adverse Event Reporting System. But the agency is saying that federal law prevents it from releasing the results. The abstractions “are considered medical records which are withheld in full from disclosure,” the CDC told The Epoch Times in a recent letter, responding to a Freedom of Information Act request. One of the exemptions in the act says that agencies can withhold materials that are “specifically exempted from disclosure by statute, if that statute (i) requires that the matters be withheld from the public in such a manner as to leave no discretion on the issue; or (ii) establishes particular criteria for withholding or refers to particular types of matters to be withheld; and (B) if enacted after the date of enactment of the OPEN FOIA Act of 2009, specifically cites to this paragraph.” The CDC pointed to the Public Health Service Act, which was enacted in 1944, and says that vaccine injury reports and other information that may identify a person shall not be made available to any person except the person who received the vaccine or a legal representative for that person. The information sought is available through the CDC website without details that would identify patients, the agency also said. The CDC said that it does not have a formal definition of “abstraction” but that it means the process of reviewing medical records, including autopsy reports and death certificates, and recording data in a database. “Please note that this definition means that any abstracted data, because they originate from medical records, is also considered medical records,” a CDC records officer told The Epoch Times in an email. Refusing to release the data raises concerns about transparency, according to Barbara Loe Fisher, co-founder and president of the National Vaccine Information Center. “The stubborn refusal of officials heading up federal health agencies responsible for protecting the public health to come clean with Americans about what they know about COVID vaccine risks is stunning,” Fisher told The Epoch Times in an email. Fisher noted that the CDC has funded electronic medical record systems that collect personal health information and that the agency shares the data with a number of third parties, such as contractors and researchers. Fisher called for a congressional probe into what she described as “the disturbing lack of transparency on the part of federal agency officials, who granted COVID vaccine manufacturers an Emergency Use Authorization (EUA) to widely distribute the vaccines in December 2020 and have recommended and aggressively promoted the vaccines for mandated use ever since.” In response to a separate Freedom of Information Act request, the CDC initially said that it did not perform any abstractions or produce any reports on post-vaccination myocarditis. That request was for reports between April 2, 2021, and Oct. 2, 2021. The agency also falsely said that a link between myocarditis and the messenger RNA COVID-19 vaccines was not known during that time. A possible link between those vaccines, made by Pfizer and Moderna, became known in early 2021. Many experts now acknowledge the link is likely or definitely causal. Dr. Rochelle Walensky, the CDC’s director, said in a press conference in April 2021 that the agency had not detected a link between the vaccines and myocarditis. The basis for that statement remains unclear. The CDC still hasn’t released the results of the data mining, to The Epoch Times, Sen. Ron Johnson (R-Wis.), or a nonprofit called Children’s Health Defense. The agency also declined to provide results from a different monitoring system, V-safe, to a nonprofit called Informed Consent Action Network, which then sued the agency and just recently received the first tranche of data. The FDA, meanwhile, has refused to release the results of a different type of analysis on the VAERS data, claiming it cannot separate the results from protected internal communications. The agency is also withholding autopsies conducted on people who died after getting COVID-19 vaccines, pointing to exceptions laid out in the Freedom of Information Act. Along with Johnson, several other lawmakers are pressing at least one of the agencies to release the data, asserting that not doing so is illegal. https://www.breitbart.com/politics/2022/10/10/nike-co-founder-phil-knight-donates-1-million-to-republican-oregon-gov-candidate-christine-drazan/ Nike Co-Founder Phil Knight Donates $1 Million to Republican Oregon Gov. Candidate Christine Drazan Knight’s donation to Drazan’s campaign comes after he donated $3.75 million to Independent candidate Betsy Johnson, signaling his strong dislike for Tina Kotek. Republican strategist Rebecca Tweed told KGW Knight’s donation said the two donations are not meant as an endorsement of either candidate but rather an attack against the Democrat candidate. The donation comes as Christine Drazan stands within striking distance of unseating Kotek in a deep blue state that has not elected a Republican governor since Vic Atiyeh in 1982. As Breitbart News reported last week, a recent Emerson College poll showed the Oregon House Republican leader actually leading Koteck by two points – 36 percent to 34 percent. A new Emerson College Polling survey shows former Oregon House Republican leader Drazan ahead of former state House Speaker Tina Kotek (D)–36 percent to 34 percent. Nineteen percent of those polled plan to vote for former Democrat state senator-turned independent Betsy Johnson. The poll was conducted between Sept. 30 – Oct. 1 with 796 very likely Oregon voters. The survey’s Credibility Interval (CI), similar to a margin of error, is ±3.4 percentage points. KGW political analyst Len Bergstein concurred with Rebecca Tweed that Phil Knight’s donation should be seen as a knock against Kotek by potentially putting Drazan on the path to victory. “As soon as he sees some polls that say ‘wait a minute, there’s a chance that Drazan could win,’ he’s saying well maybe my money could make the difference to push her over the top,” said Bergstein. “This is not a normal election. We’re having fun watching it because we have three original candidates for governor and a lot of interesting twists and turns in the race already,” Bergstein added. Armored Republic The Mission of Armored Republic is to Honor Christ by equipping Free Men with Tools of Liberty necessary to preserve God-given rights. In the Armored Republic there is no King but Christ. We are Free Craftsmen. Body Armor is a Tool of Liberty. We create Tools of Liberty. Free men must remain ever vigilant against tyranny wherever it appears. God has given us the tools of liberty needed to defend the rights He bestowed to us. Armored Republic is honored to offer you those Tools. Visit them, at ar500armor.com https://thepostmillennial.com/bidens-railway-deal-to-avert-strike-spiked-by-union?utm_campaign=64487 Biden's railway deal to avert strike spiked by union Nearly a month after President Biden announced that a deal had been reached between railroad companies and their unions, the deal has fallen apart, raising concerns for a possible strike. The Brotherhood of Maintenance of Way Employees Division of the Teamsters, one of the nation’s largest railroad unions, rejected the deal on Monday, expressing discontent with the number of paid sick days, according to the Washington Post. Officials said that members of the third-largest union rejected the proposed five-year contract in a 56 to 43 percent split. Both sides have agreed to continue with negotiations until at least November 19. Railroads are currently expected to continue operating normally. The deal included a 24 percent increase in pay by 2024, as well as $1,000 annual bonuses for employees over five years. The plan ensured that healthcare co-pays would not increase in price, but included only one paid sick day compared to the 15 days union leaders pushed for. The deal followed two years of negotiations between the rail carriers and unions, which prompted the White House to appoint an emergency board in July to mediate between the two groups. In September, Biden applauded the tentative deal reached, calling it "an important win for our economy and the American people." Now, it’s time for my favorite topic, sports! Let’s catch up with what’s happening in the world of football shall we? First in the college ranks: #3 Alabama 24 Texas A&M 20 #2 Ohio State 49 Michigan State 20 #1 Georgia 42 Auburn 10 #15 NC State 19 Florida State 17 Texas 49 OU 0 #13 TCU 38 #19 Kansas 31 #7 USC 30 WSU 14 NFL: Giants 27 Packers 22 Chargers 30 Browns 28 Jets 40 Dolphins 17 Bills 38 Steelers 3 Cowboys 22 Rams 10 Chiefs 30 Raiders 29 So that’s what you may have missed over the weekend: This has been your CrossPolitic Daily News Brief. If you liked the show, hit that share button for me down below. If you want to come to our conference next year, if you want to sign up for a club membership, or sign up for a magazine subscription, you can do all of that at fightlaughfeast.com. As always, if you’d like to email me a news story, ask about our conference, or become a corporate partner of CrossPolitic, email me, at garrison@fightlaughfeast.com. For CrossPolitic News, I’m Garrison Hardie. Have a great day, and Lord bless.

This is Garrison Hardie with your CrossPolitic Daily News Brief for Wednesday, October 12th, 2022. I just got back from our Fight Laugh Feast Conference in Knoxville TN, and we announced while we were out there, where our next conference will be at the Ark Encounter next year! So stay tuned for when registration will open up, and we hope to see you and your family out in Kentucky, October of next year. Also, FLF Magazine: We are on a mission to make magazines great again. So, subscribe to our Fight Laugh Feast magazine. This is a quarterly mini-book like experience, packed full of a variety of authors that includes theologically-driven cultural commentary, a Psalm of the quarter, recipes for feasting, laughter sprinkled throughout the glossy pages, and more. Sign your church up, sign your grumpy uncle up, and while you are at it…sign up the Pope, Elon Musks, and Russel Moore. Disclaimer: This magazine will guarantee various responses and CrossPolitic is not held liable for any of them. Reading the whole magazine may cause theological maturation, possibly encourage your kids to take the Lord’s Supper with you, and will likely cause you to randomly chuckle in joy at God’s wondrous world. Sign up today! Four issues and $60 per year, that is it. Go to fightlaughfeast.com right now to sign up!. Now, here’s what you may have missed over the weekend. https://www.dailywire.com/news/colorado-officials-incorrectly-sent-out-30000-voter-registration-postcards-to-noncitizens Colorado Officials ‘Incorrectly’ Sent Out 30,000 Voter Registration Postcards To Noncitizens Colorado officials claim they accidentally sent approximately 30,000 postcards last month to noncitizens instructing them how they could register to vote. First reported by Colorado Public Radio News, Democratic Secretary of State Jena Griswold’s office said department employees had sent the postcards on Sept. 27 after comparing a list of 102,000 names provided by the Electronic Registration Information Center, a nonprofit organization aiming to improve U.S. voter rolls and advocating residents to vote. “The Department has become aware that approximately 30,000 EBU [Eligible But Unregistered] postcard mailers were incorrectly sent to ineligible Coloradans,” a spokesperson for the Colorado Secretary of State’s Office told local media. “The office is undertaking an internal review of the incident and will take any corrective action that is warranted.” Griswold insisted noncitizens would not be allowed to register to vote. The postcards, which the office printed in English and Spanish, read, “A message from Colorado Secretary of State Jena Griswold . . . Our records indicate that you or your household may be eligible to vote, but do not appear to be registered at your current address.” The mailers did include that to vote that residents must be 18 years old by Election Day, a United States citizen, and a Colorado resident for at least 22 days before the upcoming election, according to Colorado Public Radio News. Griswold’s office said they plan on sending out correction mailers to the noncitizens, “reminding them that only those that meet the above requirements are eligible to register.” According to local media, while the office had compared the list of potential unregistered voters to local DMV records, the data had included noncitizen drivers with Colorado driver’s licenses which the state issues for noncitizens to drive legally. The National Council on State Legislatures website shows Colorado as one of at least 17 states, along with the District of Columbia, that issue driver’s licenses to non-U.S. citizens. However, the system did not distinguish their eligibility to vote. Sean Morales-Doyle, director of the Voting Rights Program at the Brennan Center for Justice, told The Journal that the system making a mistake indicates it works. Griswold is up for reelection in the November midterms, where she will face Republican Pam Anderson, the head of the state’s county clerks association. https://www.theepochtimes.com/exclusive-cdc-wont-release-review-of-post-vaccination-heart-inflammation_4786038.html?utm_source=partner&utm_campaign=BonginoReport&src_src=partner&src_cmp=BonginoReport CDC Won’t Release Review of Post-Vaccination Heart Inflammation The U.S. Centers for Disease Control and Prevention (CDC) will not release its review of post-COVID-19-vaccination heart inflammation. The CDC has been performing abstractions on reports of post-vaccination myocarditis, a form of heart inflammation, submitted to the Vaccine Adverse Event Reporting System. But the agency is saying that federal law prevents it from releasing the results. The abstractions “are considered medical records which are withheld in full from disclosure,” the CDC told The Epoch Times in a recent letter, responding to a Freedom of Information Act request. One of the exemptions in the act says that agencies can withhold materials that are “specifically exempted from disclosure by statute, if that statute (i) requires that the matters be withheld from the public in such a manner as to leave no discretion on the issue; or (ii) establishes particular criteria for withholding or refers to particular types of matters to be withheld; and (B) if enacted after the date of enactment of the OPEN FOIA Act of 2009, specifically cites to this paragraph.” The CDC pointed to the Public Health Service Act, which was enacted in 1944, and says that vaccine injury reports and other information that may identify a person shall not be made available to any person except the person who received the vaccine or a legal representative for that person. The information sought is available through the CDC website without details that would identify patients, the agency also said. The CDC said that it does not have a formal definition of “abstraction” but that it means the process of reviewing medical records, including autopsy reports and death certificates, and recording data in a database. “Please note that this definition means that any abstracted data, because they originate from medical records, is also considered medical records,” a CDC records officer told The Epoch Times in an email. Refusing to release the data raises concerns about transparency, according to Barbara Loe Fisher, co-founder and president of the National Vaccine Information Center. “The stubborn refusal of officials heading up federal health agencies responsible for protecting the public health to come clean with Americans about what they know about COVID vaccine risks is stunning,” Fisher told The Epoch Times in an email. Fisher noted that the CDC has funded electronic medical record systems that collect personal health information and that the agency shares the data with a number of third parties, such as contractors and researchers. Fisher called for a congressional probe into what she described as “the disturbing lack of transparency on the part of federal agency officials, who granted COVID vaccine manufacturers an Emergency Use Authorization (EUA) to widely distribute the vaccines in December 2020 and have recommended and aggressively promoted the vaccines for mandated use ever since.” In response to a separate Freedom of Information Act request, the CDC initially said that it did not perform any abstractions or produce any reports on post-vaccination myocarditis. That request was for reports between April 2, 2021, and Oct. 2, 2021. The agency also falsely said that a link between myocarditis and the messenger RNA COVID-19 vaccines was not known during that time. A possible link between those vaccines, made by Pfizer and Moderna, became known in early 2021. Many experts now acknowledge the link is likely or definitely causal. Dr. Rochelle Walensky, the CDC’s director, said in a press conference in April 2021 that the agency had not detected a link between the vaccines and myocarditis. The basis for that statement remains unclear. The CDC still hasn’t released the results of the data mining, to The Epoch Times, Sen. Ron Johnson (R-Wis.), or a nonprofit called Children’s Health Defense. The agency also declined to provide results from a different monitoring system, V-safe, to a nonprofit called Informed Consent Action Network, which then sued the agency and just recently received the first tranche of data. The FDA, meanwhile, has refused to release the results of a different type of analysis on the VAERS data, claiming it cannot separate the results from protected internal communications. The agency is also withholding autopsies conducted on people who died after getting COVID-19 vaccines, pointing to exceptions laid out in the Freedom of Information Act. Along with Johnson, several other lawmakers are pressing at least one of the agencies to release the data, asserting that not doing so is illegal. https://www.breitbart.com/politics/2022/10/10/nike-co-founder-phil-knight-donates-1-million-to-republican-oregon-gov-candidate-christine-drazan/ Nike Co-Founder Phil Knight Donates $1 Million to Republican Oregon Gov. Candidate Christine Drazan Knight’s donation to Drazan’s campaign comes after he donated $3.75 million to Independent candidate Betsy Johnson, signaling his strong dislike for Tina Kotek. Republican strategist Rebecca Tweed told KGW Knight’s donation said the two donations are not meant as an endorsement of either candidate but rather an attack against the Democrat candidate. The donation comes as Christine Drazan stands within striking distance of unseating Kotek in a deep blue state that has not elected a Republican governor since Vic Atiyeh in 1982. As Breitbart News reported last week, a recent Emerson College poll showed the Oregon House Republican leader actually leading Koteck by two points – 36 percent to 34 percent. A new Emerson College Polling survey shows former Oregon House Republican leader Drazan ahead of former state House Speaker Tina Kotek (D)–36 percent to 34 percent. Nineteen percent of those polled plan to vote for former Democrat state senator-turned independent Betsy Johnson. The poll was conducted between Sept. 30 – Oct. 1 with 796 very likely Oregon voters. The survey’s Credibility Interval (CI), similar to a margin of error, is ±3.4 percentage points. KGW political analyst Len Bergstein concurred with Rebecca Tweed that Phil Knight’s donation should be seen as a knock against Kotek by potentially putting Drazan on the path to victory. “As soon as he sees some polls that say ‘wait a minute, there’s a chance that Drazan could win,’ he’s saying well maybe my money could make the difference to push her over the top,” said Bergstein. “This is not a normal election. We’re having fun watching it because we have three original candidates for governor and a lot of interesting twists and turns in the race already,” Bergstein added. Armored Republic The Mission of Armored Republic is to Honor Christ by equipping Free Men with Tools of Liberty necessary to preserve God-given rights. In the Armored Republic there is no King but Christ. We are Free Craftsmen. Body Armor is a Tool of Liberty. We create Tools of Liberty. Free men must remain ever vigilant against tyranny wherever it appears. God has given us the tools of liberty needed to defend the rights He bestowed to us. Armored Republic is honored to offer you those Tools. Visit them, at ar500armor.com https://thepostmillennial.com/bidens-railway-deal-to-avert-strike-spiked-by-union?utm_campaign=64487 Biden's railway deal to avert strike spiked by union Nearly a month after President Biden announced that a deal had been reached between railroad companies and their unions, the deal has fallen apart, raising concerns for a possible strike. The Brotherhood of Maintenance of Way Employees Division of the Teamsters, one of the nation’s largest railroad unions, rejected the deal on Monday, expressing discontent with the number of paid sick days, according to the Washington Post. Officials said that members of the third-largest union rejected the proposed five-year contract in a 56 to 43 percent split. Both sides have agreed to continue with negotiations until at least November 19. Railroads are currently expected to continue operating normally. The deal included a 24 percent increase in pay by 2024, as well as $1,000 annual bonuses for employees over five years. The plan ensured that healthcare co-pays would not increase in price, but included only one paid sick day compared to the 15 days union leaders pushed for. The deal followed two years of negotiations between the rail carriers and unions, which prompted the White House to appoint an emergency board in July to mediate between the two groups. In September, Biden applauded the tentative deal reached, calling it "an important win for our economy and the American people." Now, it’s time for my favorite topic, sports! Let’s catch up with what’s happening in the world of football shall we? First in the college ranks: #3 Alabama 24 Texas A&M 20 #2 Ohio State 49 Michigan State 20 #1 Georgia 42 Auburn 10 #15 NC State 19 Florida State 17 Texas 49 OU 0 #13 TCU 38 #19 Kansas 31 #7 USC 30 WSU 14 NFL: Giants 27 Packers 22 Chargers 30 Browns 28 Jets 40 Dolphins 17 Bills 38 Steelers 3 Cowboys 22 Rams 10 Chiefs 30 Raiders 29 So that’s what you may have missed over the weekend: This has been your CrossPolitic Daily News Brief. If you liked the show, hit that share button for me down below. If you want to come to our conference next year, if you want to sign up for a club membership, or sign up for a magazine subscription, you can do all of that at fightlaughfeast.com. As always, if you’d like to email me a news story, ask about our conference, or become a corporate partner of CrossPolitic, email me, at garrison@fightlaughfeast.com. For CrossPolitic News, I’m Garrison Hardie. Have a great day, and Lord bless.

This is Garrison Hardie with your CrossPolitic Daily News Brief for Wednesday, October 12th, 2022. I just got back from our Fight Laugh Feast Conference in Knoxville TN, and we announced while we were out there, where our next conference will be at the Ark Encounter next year! So stay tuned for when registration will open up, and we hope to see you and your family out in Kentucky, October of next year. Also, FLF Magazine: We are on a mission to make magazines great again. So, subscribe to our Fight Laugh Feast magazine. This is a quarterly mini-book like experience, packed full of a variety of authors that includes theologically-driven cultural commentary, a Psalm of the quarter, recipes for feasting, laughter sprinkled throughout the glossy pages, and more. Sign your church up, sign your grumpy uncle up, and while you are at it…sign up the Pope, Elon Musks, and Russel Moore. Disclaimer: This magazine will guarantee various responses and CrossPolitic is not held liable for any of them. Reading the whole magazine may cause theological maturation, possibly encourage your kids to take the Lord’s Supper with you, and will likely cause you to randomly chuckle in joy at God’s wondrous world. Sign up today! Four issues and $60 per year, that is it. Go to fightlaughfeast.com right now to sign up!. Now, here’s what you may have missed over the weekend. https://www.dailywire.com/news/colorado-officials-incorrectly-sent-out-30000-voter-registration-postcards-to-noncitizens Colorado Officials ‘Incorrectly’ Sent Out 30,000 Voter Registration Postcards To Noncitizens Colorado officials claim they accidentally sent approximately 30,000 postcards last month to noncitizens instructing them how they could register to vote. First reported by Colorado Public Radio News, Democratic Secretary of State Jena Griswold’s office said department employees had sent the postcards on Sept. 27 after comparing a list of 102,000 names provided by the Electronic Registration Information Center, a nonprofit organization aiming to improve U.S. voter rolls and advocating residents to vote. “The Department has become aware that approximately 30,000 EBU [Eligible But Unregistered] postcard mailers were incorrectly sent to ineligible Coloradans,” a spokesperson for the Colorado Secretary of State’s Office told local media. “The office is undertaking an internal review of the incident and will take any corrective action that is warranted.” Griswold insisted noncitizens would not be allowed to register to vote. The postcards, which the office printed in English and Spanish, read, “A message from Colorado Secretary of State Jena Griswold . . . Our records indicate that you or your household may be eligible to vote, but do not appear to be registered at your current address.” The mailers did include that to vote that residents must be 18 years old by Election Day, a United States citizen, and a Colorado resident for at least 22 days before the upcoming election, according to Colorado Public Radio News. Griswold’s office said they plan on sending out correction mailers to the noncitizens, “reminding them that only those that meet the above requirements are eligible to register.” According to local media, while the office had compared the list of potential unregistered voters to local DMV records, the data had included noncitizen drivers with Colorado driver’s licenses which the state issues for noncitizens to drive legally. The National Council on State Legislatures website shows Colorado as one of at least 17 states, along with the District of Columbia, that issue driver’s licenses to non-U.S. citizens. However, the system did not distinguish their eligibility to vote. Sean Morales-Doyle, director of the Voting Rights Program at the Brennan Center for Justice, told The Journal that the system making a mistake indicates it works. Griswold is up for reelection in the November midterms, where she will face Republican Pam Anderson, the head of the state’s county clerks association. https://www.theepochtimes.com/exclusive-cdc-wont-release-review-of-post-vaccination-heart-inflammation_4786038.html?utm_source=partner&utm_campaign=BonginoReport&src_src=partner&src_cmp=BonginoReport CDC Won’t Release Review of Post-Vaccination Heart Inflammation The U.S. Centers for Disease Control and Prevention (CDC) will not release its review of post-COVID-19-vaccination heart inflammation. The CDC has been performing abstractions on reports of post-vaccination myocarditis, a form of heart inflammation, submitted to the Vaccine Adverse Event Reporting System. But the agency is saying that federal law prevents it from releasing the results. The abstractions “are considered medical records which are withheld in full from disclosure,” the CDC told The Epoch Times in a recent letter, responding to a Freedom of Information Act request. One of the exemptions in the act says that agencies can withhold materials that are “specifically exempted from disclosure by statute, if that statute (i) requires that the matters be withheld from the public in such a manner as to leave no discretion on the issue; or (ii) establishes particular criteria for withholding or refers to particular types of matters to be withheld; and (B) if enacted after the date of enactment of the OPEN FOIA Act of 2009, specifically cites to this paragraph.” The CDC pointed to the Public Health Service Act, which was enacted in 1944, and says that vaccine injury reports and other information that may identify a person shall not be made available to any person except the person who received the vaccine or a legal representative for that person. The information sought is available through the CDC website without details that would identify patients, the agency also said. The CDC said that it does not have a formal definition of “abstraction” but that it means the process of reviewing medical records, including autopsy reports and death certificates, and recording data in a database. “Please note that this definition means that any abstracted data, because they originate from medical records, is also considered medical records,” a CDC records officer told The Epoch Times in an email. Refusing to release the data raises concerns about transparency, according to Barbara Loe Fisher, co-founder and president of the National Vaccine Information Center. “The stubborn refusal of officials heading up federal health agencies responsible for protecting the public health to come clean with Americans about what they know about COVID vaccine risks is stunning,” Fisher told The Epoch Times in an email. Fisher noted that the CDC has funded electronic medical record systems that collect personal health information and that the agency shares the data with a number of third parties, such as contractors and researchers. Fisher called for a congressional probe into what she described as “the disturbing lack of transparency on the part of federal agency officials, who granted COVID vaccine manufacturers an Emergency Use Authorization (EUA) to widely distribute the vaccines in December 2020 and have recommended and aggressively promoted the vaccines for mandated use ever since.” In response to a separate Freedom of Information Act request, the CDC initially said that it did not perform any abstractions or produce any reports on post-vaccination myocarditis. That request was for reports between April 2, 2021, and Oct. 2, 2021. The agency also falsely said that a link between myocarditis and the messenger RNA COVID-19 vaccines was not known during that time. A possible link between those vaccines, made by Pfizer and Moderna, became known in early 2021. Many experts now acknowledge the link is likely or definitely causal. Dr. Rochelle Walensky, the CDC’s director, said in a press conference in April 2021 that the agency had not detected a link between the vaccines and myocarditis. The basis for that statement remains unclear. The CDC still hasn’t released the results of the data mining, to The Epoch Times, Sen. Ron Johnson (R-Wis.), or a nonprofit called Children’s Health Defense. The agency also declined to provide results from a different monitoring system, V-safe, to a nonprofit called Informed Consent Action Network, which then sued the agency and just recently received the first tranche of data. The FDA, meanwhile, has refused to release the results of a different type of analysis on the VAERS data, claiming it cannot separate the results from protected internal communications. The agency is also withholding autopsies conducted on people who died after getting COVID-19 vaccines, pointing to exceptions laid out in the Freedom of Information Act. Along with Johnson, several other lawmakers are pressing at least one of the agencies to release the data, asserting that not doing so is illegal. https://www.breitbart.com/politics/2022/10/10/nike-co-founder-phil-knight-donates-1-million-to-republican-oregon-gov-candidate-christine-drazan/ Nike Co-Founder Phil Knight Donates $1 Million to Republican Oregon Gov. Candidate Christine Drazan Knight’s donation to Drazan’s campaign comes after he donated $3.75 million to Independent candidate Betsy Johnson, signaling his strong dislike for Tina Kotek. Republican strategist Rebecca Tweed told KGW Knight’s donation said the two donations are not meant as an endorsement of either candidate but rather an attack against the Democrat candidate. The donation comes as Christine Drazan stands within striking distance of unseating Kotek in a deep blue state that has not elected a Republican governor since Vic Atiyeh in 1982. As Breitbart News reported last week, a recent Emerson College poll showed the Oregon House Republican leader actually leading Koteck by two points – 36 percent to 34 percent. A new Emerson College Polling survey shows former Oregon House Republican leader Drazan ahead of former state House Speaker Tina Kotek (D)–36 percent to 34 percent. Nineteen percent of those polled plan to vote for former Democrat state senator-turned independent Betsy Johnson. The poll was conducted between Sept. 30 – Oct. 1 with 796 very likely Oregon voters. The survey’s Credibility Interval (CI), similar to a margin of error, is ±3.4 percentage points. KGW political analyst Len Bergstein concurred with Rebecca Tweed that Phil Knight’s donation should be seen as a knock against Kotek by potentially putting Drazan on the path to victory. “As soon as he sees some polls that say ‘wait a minute, there’s a chance that Drazan could win,’ he’s saying well maybe my money could make the difference to push her over the top,” said Bergstein. “This is not a normal election. We’re having fun watching it because we have three original candidates for governor and a lot of interesting twists and turns in the race already,” Bergstein added. Armored Republic The Mission of Armored Republic is to Honor Christ by equipping Free Men with Tools of Liberty necessary to preserve God-given rights. In the Armored Republic there is no King but Christ. We are Free Craftsmen. Body Armor is a Tool of Liberty. We create Tools of Liberty. Free men must remain ever vigilant against tyranny wherever it appears. God has given us the tools of liberty needed to defend the rights He bestowed to us. Armored Republic is honored to offer you those Tools. Visit them, at ar500armor.com https://thepostmillennial.com/bidens-railway-deal-to-avert-strike-spiked-by-union?utm_campaign=64487 Biden's railway deal to avert strike spiked by union Nearly a month after President Biden announced that a deal had been reached between railroad companies and their unions, the deal has fallen apart, raising concerns for a possible strike. The Brotherhood of Maintenance of Way Employees Division of the Teamsters, one of the nation’s largest railroad unions, rejected the deal on Monday, expressing discontent with the number of paid sick days, according to the Washington Post. Officials said that members of the third-largest union rejected the proposed five-year contract in a 56 to 43 percent split. Both sides have agreed to continue with negotiations until at least November 19. Railroads are currently expected to continue operating normally. The deal included a 24 percent increase in pay by 2024, as well as $1,000 annual bonuses for employees over five years. The plan ensured that healthcare co-pays would not increase in price, but included only one paid sick day compared to the 15 days union leaders pushed for. The deal followed two years of negotiations between the rail carriers and unions, which prompted the White House to appoint an emergency board in July to mediate between the two groups. In September, Biden applauded the tentative deal reached, calling it "an important win for our economy and the American people." Now, it’s time for my favorite topic, sports! Let’s catch up with what’s happening in the world of football shall we? First in the college ranks: #3 Alabama 24 Texas A&M 20 #2 Ohio State 49 Michigan State 20 #1 Georgia 42 Auburn 10 #15 NC State 19 Florida State 17 Texas 49 OU 0 #13 TCU 38 #19 Kansas 31 #7 USC 30 WSU 14 NFL: Giants 27 Packers 22 Chargers 30 Browns 28 Jets 40 Dolphins 17 Bills 38 Steelers 3 Cowboys 22 Rams 10 Chiefs 30 Raiders 29 So that’s what you may have missed over the weekend: This has been your CrossPolitic Daily News Brief. If you liked the show, hit that share button for me down below. If you want to come to our conference next year, if you want to sign up for a club membership, or sign up for a magazine subscription, you can do all of that at fightlaughfeast.com. As always, if you’d like to email me a news story, ask about our conference, or become a corporate partner of CrossPolitic, email me, at garrison@fightlaughfeast.com. For CrossPolitic News, I’m Garrison Hardie. Have a great day, and Lord bless.

This week casting directress Henry Russell Bergstein ('The Other Two') celebrates Eric's birthday by gossiping about last weekend's Gay Prom party. Also, the first ever straight man makes an appearance on the podcast, Eric's TWIN BROTHER. Spoiler: he doesn't know who Rupaul is.In addition to teaching a straight man what "being vers" means, Henry and Eric discuss study abroad, cake culture, and a devastating run in with Seth MacFarlane. Chic!***Celebrate the end of Virgo Season with 15% OFF ALL MERCH ORDERS through Sunday night at gayasspodcast.com!*** no code needed!Follow Henry's alt at @peekaboobarbraFollow Eric on IG (@ericwillz), Tiktok (@ericwillzTT) and Gay Ass Podcast on Instagram (@gayasspodcast).GRATEFUL 4 U!Support this show http://supporter.acast.com/thats-a-gay-ass-podcast. Hosted on Acast. See acast.com/privacy for more information.

No episódio #30 do AceleraCast, Felipe Chaya, recebeu os sócios Tom Bergstein e Bruno Ramos, empreendedores do ramo farmacêutico. Em um bate-papo super interessante, Tom e Bruno, compartilham um pouco de como surgiu a Pill Farmácia Digital, sobre como é o modelo de negócio, os desafios de empreender na área de farmácia e quais as perspectivas para o futuro do negócio. Se você gostou do episódio, se inscreva, deixe um like e ative o sininho de notificações para não perder nenhum vídeo e não esqueça de compartilhar o nosso conteúdo para os amigos e familiares. Você pode nos acompanhar também através das plataformas Spotify e Amazon Music! ;) INTERAJA CONOSCO! SEGUEM ABAIXO AS INFORMAÇÕES DE REDES SOCIAIS PARA QUE POSSA FAZER O CONTATO! Conheça a Aceleração de Vendas: https://aceleracaodevendas.com.br/ Acompanhe nossos conteúdos: https://www.linkedin.com/company/aceleracao-de-vendas/ https://www.youtube.com/c/AceleracaodeVendas https://www.instagram.com/aceleracaodevendas/ https://www.facebook.com/AceleracaoDeVendasByInsideBD https://www.tiktok.com/@aceleracaodevendas HOST: FELIPE CHAYA https://www.instagram.com/felipechaya https://www.linkedin.com/in/felipe-chaya/ CONVIDADOS: TOM BERGSTEIN https://www.linkedin.com/in/tombergstein/ BRUNO RAMOS https://www.linkedin.com/in/brunoramospcq/ PILL FARMÁCIA DIGITAL https://www.linkedin.com/company/pillfarma/ https://www.instagram.com/pillfarma/

The FuturePrint Leaders Summit took place 29-30 June in Geneva and featured some inspiring and practical content designed to provide insight into how the world is changing and what it is we can do as leaders to navigate the future successfully. In this panel discussion, Marcus Timson is joined by Peter Bergstein of Bergstein, Serkan Ceyhan of Fujifilm Ink Solutions Group, Matthieu Carni of Siegwerk and Keith McMurtrie of Tharstern.The panel discuss some of the new ideas and initiatives they have deployed successfully during the COVID lockdown to motivate and inspire their people and what is required now for leaders as we seemingly enter even more uncertain times.Access all the FuturePrint Leaders Summit replaysWatch the Leading in Uncertain Times panel session in fullSubscribe to the FuturePrint podcast nowVisit the FuturePrint websiteRegister for our upcoming conference FuturePrint Tech: Digital Print for Manufacturing

“I know that if I'm willing to work for it, I can keep working.” -Petra Bergstein Caviar is a delicacy that's enjoyed all over the world. But it's not just about eating it on crackers or as an hors d'oeuvre—caviar can be used in many different ways: from baking to cocktails, to salads and desserts. Caviar is a very delicate and scarce commodity, which means that if we're not responsible enough to preserve and protect it, it will be gone forever. The only way to ensure that this precious resource will be available for future generations is to create a sustainable system for its production. This is why we need to take a moment to examine the current state of one of the world's most expensive food. The Caviar Co. was born when two sisters opened their own caviar business in San Francisco. Petra Bergstein-Higby and her older sister, Saskia wanted to share their passion for caviar with the world in an approachable and sustainable way. They also wanted to educate the people about this exquisite delicacy, not only to help them find the right caviar for their taste buds but also to hold caviar companies accountable to keep them from deceitfully mislabeling their products.    The caviars available at The Caviar Co. are not wild-caught but come from farms that have their own broodstock. They also make sure that the well-being of the fishes was well taken care of and have reached a mature age before they were harvested.    Listen in as Justine and Petra help us understand caviar and its different types more, how the caviar companies can follow a sustainable course in their farming methods, how to overcome self-doubt when starting a passion project, and Petra's advice for entrepreneurs who wish to grow their business.  Meet Petra: Petra Bergstein-Higby didn't think about caviar much growing up in Texas, but now it has become her passion. After graduating from Texas University, her first job was in a caviar company. She did everything she could to learn everything about the caviar trade— from spawning to processing and sales. In 2015, she and her sister Saskia founded The Caviar Co. and were able to expand their business with their newest shop at Tiburon.   When Saskia got married and moved back to Texas, Petra became the sole owner of the company. When she's out of the office, Petra enjoys spending time with her husband, Alex and their daughter, Adriana.      Website Facebook Instagram LinkedIn TikTok Pinterest   Connect with NextGen Purpose: Website Facebook Instagram  YouTube Linkedin Episode Highlights: 02:58 The Cool Side of the Hospitality Industry 06:43 How to be Sustainable 10:01 Get to Know Your Caviar 17:14 Keep Working for It!   21:13 What's Next for The Caviar Co.? 

Connecting with Petra Bergstein Higby (@thecaviarco), Founder & CEO at The Caviar Co.

Joey Bergstein, CEO of Sabra, is on a mission statement to delight the world with positive, healthy, plant-based food. With 10 years at Seventh Generation behind him, Joey draws from his experience articulating a strong purpose for their respective businesses. If you're a hummus lover, you might be surprised to hear that statistically speaking, consumers only purchase a tub two and a half times per year. On Kristi Bridges' podcast, The Irresistible Factor, Joey talks about the challenge of bringing the product to the front of the consumer's mind: “The biggest opportunity,” he says, “is to make hummus a permanent resident in people's fridge, to get people to really understand how wonderful it is as a healthy snack in the afternoon or the early evenings, or to include it as a meal.” Together, Kristi and Joey also discuss what Joey has learned from the company's co-founders, and his dream for the brand to make a positive impact on the world through mission, chaos and grit.

In this episode of the FuturePrint Podcast, Frazer Chesterman talks to Peter Bergstein, CEO, Bergstein, about his career trajectory from soccer player to pad and screen printing, and now specialising in single-pass digital printing.Peter also talks about the challenges and opportunities in direct-to-shape printing, the advantages of developing each aspect of their technology themselves, and his thoughts on the evolution of inkjet ahead of his presentation at the FuturePrint Leaders Summit.This episode was brought to you by Farnell, your global distributor of electronic components, products and solutionsSubscribe to the FuturePrint podcast nowVisit the FuturePrint websiteConnect with Frazer Chesterman on LinkedInConnect with Peter Bergstein on LinkedInVisit the FuturePrint Leaders Summit websiteVisit the Bergstein websiteFollow FuturePrint on LinkedInFollow FuturePrint on Twitter

Changing the way firms are structured, operated, and financially managedWith Steven SacksFor CPA TrendlinesThe CPA profession is entering another period of shifts in how firms will attain growth levels – the main force being the influx of private capital entering the accounting profession, according to David Bergstein, CPA, CITP, CGMA.See more hereNew, external investments will change the way firms are structured, operated, and financially managed, as well as granting them increased capabilities to make more strategic decisions, Bergstein tells Sacks for CPA Trendlines.Bergstein is a veteran technology executive at a number of tax and accounting software companies, including Intuit, Walters Kluwer, and Thomson, and is now an independent author, educator, and advisor.David Bergstein's Takeaways:Disruption is what smart business people see in a profession that is ripe for change because the traditional CPA series of audit and tax will move to the back burner. The real value of services will be in consulting services.CPA firms will split in two – separating the traditional services from consulting to ensure that there will be avoidance of client/service conflicts, and to make the investment more attractive.Baby Boomer partners who are a few years from retirement see the infusion of private equity as a way to reformulate partner agreement that were overdo for such a review.Technology will continue to be a driver of how firms will change the way they operate and the greater efficiencies accrued will go for additional services that can be outsourced.CPAs who break off and begin their own non-CPA-advertised consulting firms will be more apt to hire non-CPAs because of their broader educational experience.

Mode ist dazu da, uns glücklich zu machen, uns aufzuwerten. Doch die Realität entlang der Lieferkette sieht ganz anders aus. Sie zeugt von Zerstörung, Vergiftung und menschlichem Leid. Das Hamburger Familienunternehmen Tchibo hat sich entschlossen, es besser zu machen und setzt weltweit Maßstäbe bei Umweltschutz und Menschenrechten. Im Gespräch mit Planetary Business-Host Stefanie Hauer erklärt uns Nanda Bergstein, die Direktorin für Unternehmensverantwortung bei Tchibo, wie wir das System neu erfinden können. Infos zum Podcast, der Podcasterin und mehr finden Sie auf der Planetary Business Website: www.planetary-business.orgFolgen Sie Planetary BusinessLinkedIn: https://www.linkedin.com/company/planetarybusiness/ Instagram: https://www.instagram.com/planetarybusiness/Haben Sie Fragen, Anregungen oder Vorschläge für überzeugende Gesprächspartner? Schreiben Sie uns unter: mail@planetary-business.org

A new approach with The Caviar Company's President and Founder Petra Bergstein. This caviar aficionado shares her passion for making this decadent roe accessible to all.Learn more: https://thecaviarco.com

From the Air Force to Farm, Philly to Netflix, Sarah Bergstein is one of a kind - an Air Force Reservist, Storyteller, Coach, Real Food Crusader, Regeneration Believer, Sustainability Junkie, Cat Mom (Instagram Handle: @chonkymrb), Hobby Farmer (@littledreamfarm), and all-around superb speaker and friend of Utopihen Farms - she joins us today to share her grand journey! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/utopihen-talk/message Support this podcast: https://anchor.fm/utopihen-talk/support

David Bergstein has been in the accounting profession for 50 years. He has had experience in a variety of interesting roles, including IRS Chief. Seen as a visionary by many, David has won several awards in the industry, is an adjunct college professor. In this episode, we get a look at why he is highly active on social media, as well as how important it is to keep up with technology and especially as it pertains to business.  Get the full show notes and more resources at https://TheUniqueCPA.com

Governor Ned Lamont has said he is open to negotiating almost everything in his budget proposal. Well, it seems like lots of people are going to take him up on his offer. State legislators on opposite sides of the political spectrum are panning Lamont's plan to raise more than $500 million by expanding the goods and services subject to the state's sales tax. Union leaders feel slighted by his call for them to back changes to cost-of-living increases for future retired state workers. And Lamont's push for highway tolls faces local, state, and federal hurdles. Meanwhile, the governor's pick to lead the state's economic development efforts, David Lehman, sweated out tough questions Tuesday from Democratic lawmakers. Whether the former Goldman Sachs executive will win confirmation by the state Senate remains uncertain. This week, we tally up the opposition to the administration's agenda. We also delve into the concerns over state Sen. Alex Bergstein's paying for an extra legislative aide out of her own pocket. Should she be free to spend her own money in pursuit of better representing her constituents, or is it bad precedent that could give Bergstein an unfair advantage at the state Capitol?Support the show: http://wnpr.org/donateSee omnystudio.com/listener for privacy information.

Umsjón: Þórður Helgi Þórðarson. Gestur: Bergsteinn Sigurðsson Í 18 þætti af Gleymdum Perlum Níunnar fáum við menningarvitann Bergstein í heimsókn. Eðlilega má gera ráð fyrir menningarlegu gáfumannapoppi á hans lista. Bergsteinn hóf níuna á Patreksfirði og bjó hann þar fyrstu ár áratugarins, hann er alinn upp á hármetal sem var að hverfa þegar núan heilsar. Á unglingsárum dettur í hann körfuboltaáhugi enda 6. besti senter sunnanverðra vestfjarða og vaknaði í leiðinni áhugi hans á hip hop tónlist. Allt þetta breytist þegar pilturinn flytur suður til þess að fara í skóla, brittpopp og rúllukragapeysur taka við keflinu af röppurum með dassi af trip hoppi og gáfumannapoppi. Bergsteinn og hans gleymdu perlur níunnar

Commercial Director Scotty Bergstein started out as Ridley Scott's assistant on the movie “Thelma and Louise”. Talk about a film school like no other. Now he's a seasoned, sought-after spot helmer. We chat about his process from first getting a storyboard through delivering that edit.  We share the joy of allowing the process to reveal things on set that would not have happened if you didn't plan properly. Like finding the magic moments between the dialogue. Filmmakers, I know you'll find this episode inspiring. So check out spots of Scotty's by clicking his name, visting Cultivate.media or always at jordanbrady.com.  Happy Thanksgiving, Jordan The episode is over an hour and 13 minutes of fun.