Podcast appearances and mentions of Billy Jack

Sean Combs newest rape accusation, The Liver King, broke Justin Bieber, Chris Brown arrested, Tommy Lee is single, the legend of Billy Jack, Jim's Picks: Top 10 Motown songs, and we go in search of Maz. There's a new documentary on Netflix about The Liver King. If you want a new grifter to hate, give it a watch. Justin Bieber is basically the head of a fan cult. Dude is messed up and continues to screw over Scooter Braun. He's falling apart at the seams. Mexico is mourning the death of an influencer who was murdered live on Tik Tok. Some people are saying it was a stunt and she's still alive. Beavis & Butthead learn how to take advantage of their white privilege. Public Access prank calls are sorely missed. Andy Green from Dave & Chuck has left the building. Sheila Smith was a WRIF staple back in the day. She was the glue that kept the building together and she needs some help. She's going through some tough times. Let's show her how great this audience is. Chris Brown has been arrested in the UK for an assault that occurred two years ago. Something must not be right as he never does anything wrong. Diddy has nothing on Tootsie Rolls. He's been accused of another rape and the description of his penis is less than flattering. New Bonerline action. Did Jenny die of AIDS in Forrest Gump? YES Is Haley Joel Osment Forrest's kid in the movie? YES Billy Jack Goes to Washington...And fights...With no shoes... Jim's Picks: Top 10 Motown Songs. We FINALLY get a hold of Tom Mazawey. He "lost track of time" while getting the pool ready. We have fun with the Detroit Lions schedule. The Detroit Tigers are rolling. See ya, Tom! Breaking News: Tommy Lee is allegedly single. Michael Strahan is THE WORST! He interviewed Ana de Armas and put everyone to sleep. He BARELY even brought up Tom Cruise. If you'd like to help support the show… consider subscribing to our YouTube Channel, Facebook, Instagram and Twitter (The Drew Lane Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon).

Our Wrestling Podcast Episode 323: What Happened to Billy Jack Hayes? This week the guys take a look at a controversial superstar and ask, What Happened to Billy Jack Hayes?! X: @owp2019 Instagram: @owp2019 Meta: www.facebook.com/ourwrestlingpodcast Twitch: www.twitch.tv/ourwrestlingpodcast Rumble: https://rumble.com/c/c-7660138 Youtube(sucks): www.youtube.com/channel/UCTcCUQMd…iew... Disclaimer - Under Section 107 of the Copyright Act 1976, allowance is made for fair use; for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.#WWE #WWERAW #SMACKDOWN #WRESTLEMANIA #ROMANREIGNS #WWEHOF #WWESMACKDOWN #CODYRHODES #SETHROLLINS

Sticky Fingers is considered by many to be the greatest studio album the Rolling Stones ever created.  This ninth studio album represented a return to a more basic sound for the Stones after several albums with less conventional instrumentation.  It was also known for its cover artwork from Andy Warhol which featured a man in jeans with a working zipper.  The album won a Grammy for “Best Album Cover” for this innovative design.This was the first album that was released on their own label, Rolling Stones Records.  It was also the first album the group produced without Brian Jones, who had died two years earlier.  The members of the band were Charlie Watts on drums, Bill Wyman on bass, Mick Taylor on guitar, Keith Richards on guitar and backing vocals, and Mick Jagger on lead vocals and some guitar and percussion.  There were a number of session musicians and frequent collaborators involved in the album, including Bobby Keys on sax, and Billy Preston and Ian Stewart on keyboards.Sticky Fingers was the band's first album to reach number 1 on album charts in both the US and the UK.  It has since reached triple platinum status, and was inducted into the Grammy Hall of Fame in 1999.    The album was also the first album to utilize the now-iconic “mouth”  for which the group would be known.Friend of the show Mike Fernandez joins us in Bruce's absence, while Rob brings us this amazing album from one of the giants of the rock world in this week's podcast. Wild HorsesThis softer song with a country bent was first released in 1970 by the Flying Burrito Brothers, and subsequently recorded by the Stones after originally thinking the demo wasn't worth recording.  It was originally recorded over a three-day period at Muscle Shoals Studio in Alabama in 1969.  The lyrics are about being on the road, and not being where you really want to be.Brown SugarThe opening track to the album was also the lead single, and reached the top of the charts in the US and Canada, while reaching number 2 on the UK singles chart.  The song sounds like a strong rocking one, but the lyrics discuss slavery and rape, a much more serious topic than most realized the lyrics covered.BitchThis track which leads off side two of the album was the B-side to the single “Brown Sugar.”  It has a strong brass section — the song originated in a jam, and features Bobby Keys on sax and Jim Price on trumpet.  The lyrics are describing love as a bitch but the title probably didn't help the band in its problems with women's groups.  Can't You Hear Me KnockingThis is the longest song on the album, clocking in at over seven minutes.  The central part of the song lasts for 2:43, with an extended jam following.  The entire track was captured in one take, and the band continued with the jam, thinking that the recording was complete.   ENTERTAINMENT TRACK:One Tin Soldier (from the motion picture “Billy Jack”)This counterculture song was a prominent part of the soundtrack to the action drama "Billy Jack" a part Navajo Green Beret and Vietnam War veteran defending his Freedom School students from angry townspeople. STAFF PICKS:Get It On by ChaseWayne starts out the staff picks with a high energy song from an artist known for his jazz trumpet.  Bill Chase brought together a band including three other trumpet players, a rock rhythm section, and front man Terry Richards on lead vocals.  This jazz fusion rock piece peaked at number 24 on the Billboard Hot 100.Let's Get It On by Marvin GayeLynch brings us a track that has taken on a life of its own as the ultimate romance song.  Backed by the Funk Brothers, it is the most successful song Gaye produced on Motown Records.  It reached number 1 on both the Billboard Hot 100 singles chart and the US Hot Soul Singles chart.Love Her Madly by the DoorsMike features the first single from the album “L.A. Woman,” the sixth studio album from the Doors, and the final album with Jim Morrison before his untimely death.  Guitarist Robby Krieger wrote this song while experimenting with a 12-string guitar.  It Don't Come Easy by Ringo Starr Rob finishes the staff picks with a non-album single from the drummer of the recently-disbanded Beatles.  Fellow Beatle George Harrison produced the single and helped Starr write the song which peaked at number 4 on the US and UK singles charts. INSTRUMENTAL TRACK:Main Theme from the motion picture “The Summer of 42”We exit this week's podcast with the signature song from this Academy Award nominee and coming-of-age movie in the theaters in April 1971. Thanks for listening to “What the Riff?!?” NOTE: To adjust the loudness of the music or voices, you may adjust the balance on your device. VOICES are stronger in the LEFT channel, and MUSIC is stronger on the RIGHT channel.Please follow us on Facebook https://www.facebook.com/whattheriffpodcast/, and message or email us with what you'd like to hear, what you think of the show, and any rock-worthy memes we can share.Of course we'd love for you to rate the show in your podcast platform!**NOTE: What the Riff?!? does not own the rights to any of these songs and we neither sell, nor profit from them. We share them so you can learn about them and purchase them for your own collections.

SUMMARY In this episode of Whistlekick Martial Arts Radio, host Andrew Adams is joined by Sensei Brett Mayfield and Tommy Given to discuss the influential film 'Billy Jack.' They explore the film's impact on the martial arts community, personal connections to the movie, and its cultural significance, particularly in representing Native American heritage. The conversation also delves into Tom Laughlin's journey as a filmmaker and martial artist, the sequels to 'Billy Jack,' and the lasting legacy of the film in cinema and martial arts history. TAKEAWAYS 'Billy Jack' had a significant impact on the martial arts community. The film resonated with audiences due to its cultural representation. Tommy Given's personal connection to the film stems from his Native American heritage. The portrayal of Native Americans in 'Billy Jack' was groundbreaking for its time. The sequels to 'Billy Jack' expanded on the martial arts themes introduced in the original. The film was not just an action movie but a statement on social injustices. The humor in 'Billy Jack' added depth to its serious themes. The film's marketing changed how independent films were promoted. 'Billy Jack' influenced future filmmakers and actors in the martial arts genre.

A movie that seems by all measures to be one thing ends up being something else entirely. While not exactly a masterpiece because some glaring issues, this might be one of the few 70's movies we've watched we didn't hate. Learn more about your ad choices. Visit megaphone.fm/adchoices

At one time in the 1980s Billy Jack Haynes was one of the biggest stars in the sport. He became an absolute legend in Portland and worked all over the country for every top promotion. By the time the 90s had hit Billy Jack had taken several steps down the ladder. He was wrestling sporadically for small promotions, he was working for drug runners, and he had lost his fortune that he made in the 80s. By the time the 2000s hit and shoot interviews were big, Billy Jack Haynes started saying very controversial things. He had several conspiracy stories and would often seem to ramble. Then in early 2024 tragedy struck as police in Oregon arrested Billy for the murder of his wife. We are going to bring in some people from the wrestling community to talk about what this tragedy means not only for Billy, but potentially for the whole sport. Join us as we look at the tragic fall from grace from one of wrestling's most well known stars.

Lori and Julia discuss the upcoming Met Gala, Star Tribune columnist "CJ" Cheryl Johnson's experience meeting Prince, and we talk with Eileen Garvin about her book "Crow Talk". Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Lori and Julia discuss the upcoming Met Gala, Star Tribune columnist "CJ" Cheryl Johnson's experience meeting Prince, and we talk with Eileen Garvin about her book "Crow Talk". Learn more about your ad choices. Visit megaphone.fm/adchoices

Embark on an extraordinary journey with Mike Bolland, a congenital amputee who defies the odds and transcends barriers with his remarkable resilience and ingenuity. Born without a right hand in Montclair, New Jersey, Mike's story is a testament to the power of perseverance and creativity.From his early years in beautiful Hazlet, NJ, where he attended Beers Street School, to his family's relocation to Arizona at the age of eight, Mike's life took unexpected turns that would shape his remarkable trajectory. It was in Arizona where Mike's journey into the spotlight began when he landed the role of Danny in the movie "The Trial of Billy Jack." While initially drawn to the glitz and glamour of the movie industry, Mike quickly realized that his casting was not due to his acting talents, but rather his unique physical condition.Undeterred by the challenges he faced, Mike's resilience only grew stronger with time. At the age of 13, he embarked on a bowling journey that would change his life forever. Introduced to the sport by a friend, Mike quickly discovered a natural talent for bowling. By the age of 16, he clinched his first state bowling title, propelling him onto the national stage and earning him a coveted spot in the Coca-Cola Nationals in Washington, D.C. This opportunity marked Mike's first real taste of independence and success away from home.Watch full episode on YouTubeListen to Mike's podcast: We're Not StumpedSupport the LYM Podcast:Subscribe to our YouTube channelLeave us a review on Apple Podcasts or SpotifyVisit our website Join our mailing listSend a gift to our host VinceWant to sponsor episodes of LYM? Reach out to us on our websiteSupport the show

Phoef Sutton and Mark Jordan Legan, your Film Freaks have the honor of sitting down and interviewing the terrific writing team of Scott Alexander and Larry Karaszewski (“Ed Wood,” “The People v. Larry Flynt,” “Man on the Moon,” “1408,” “The People v. O.J. Simpson,” “Dolemite Is My Name,” etc.). Scott and Larry are also true Film Freaks and we hope you enjoy this free-wheeling, fun, fascinating discussion where they discuss how they met as college freshmen at USC. The four of us share weird and wild cinema and pop culture trivia—everyone from Mel Brooks to Dom DeLuise to Kaypro computers to Anthony Quinn to Frank Sinatra to John Wayne to Dabney Coleman to Milos Forman to Midnight Spook Shows to regional filmmakers like Charles B. Pierce to Billy Jack are discussed and debated. Give it a listen and please subscribe and give us a five-star rating. Thanks, fellow Film Freaks! This episode is sponsored by: Libro.fm (FILMFREAKSFOREVER) | 2 audiobooks for the price of 1 when you start your membership The Writer's Bone Podcast Network

Lee's back this month to cover more score/soundtrack selections from vanity projects. That's right - those special films made by special people with a special vision. Who cares if the films are actually good or not? These (mostly) outsider artists shot their shot, and in Lee's opinion, art is usually better for it. --One Tin Soldier from "Billy Jack" (1971) --Coven --Main Title Theme from "Top of the Heap" (1972) --J.J. Johnson --Opening Theme Song from "The Bad Bunch" (1973) --Ed Cobb & Sheldon Lee --Theme from Solomon King from "Solomon King" (1974) --J. Steiger & Jimmy Lewis --Shed a Tear from "The Trial of Billy Jack" (1974) --Teresa Laughlin --Love in Flight from "Grand Theft Auto" (1977) --Peter Ivers --Main Title/Deep Space & Caught/Massacre/Rocket from "Aftermath" (1982) --John Morgan --We R in Control & Transformer Man from "Human Highway" (1982) --Neil Young --Midnight Rendezvous & Song of Peace from "Rock and the Alien" (1988) --Denis Adam Zervos Opening and closing music: Main Title from "Battle Beyond the Stars" by James Horner, and Main Theme from "The Final Terror" by Susan Justin.

00:00 Introduction and Weather Chit-Chat01:17 Discussing the Press Conference and Upcoming Matches01:58 Reviewing SmackDown and Wrestler Performances05:45 Speculating on Future Matches and Wrestler Careers07:20 Analyzing Wrestler Storylines and Character Development11:44 Debating Potential Outcomes for WrestleMania18:05 Discussing Commentary Teams and Wrestler Appearances21:47 Reflecting on Wrestler Careers and Future Prospects31:06 Discussing Recent Wrestling News and Events32:09 The Rise and Fall of Billy Jack Haynes32:48 Billy Jack's Dangerous Reputation and Early Life33:11 Billy Jack's Wrestling Career and Challenges33:47 Billy Jack's Decline and Mental Health Issues35:54 Billy Jack's Relationships and Controversies36:36 The Downfall and Current State of Billy Jack40:16 Remembering Other Wrestling Legends43:56 The Iron Claw: A Look at the Von Eric Family48:09 The Future of Wrestling: Potential Matchups and Speculations50:27 The Impact of Wrestling on Fans and Society52:02 Concluding Thoughts on the Wrestling Industry- Support Wrestling Soup on Patreon:https://www.patreon.com/wrestlingsoupSOCIAL CHANNELS ʕ̡̢̡ʘ̅͟͜͡ʘ̲̅ʔ̢̡̢Twitter: https://twitter.com/WrestlingSoupInstagram: https://www.instagram.com/wrestlingsoup/Facebook: https://www.facebook.com/WrestlingSoup/Discord Channel: https://discord.gg/wrestlingsoup:shirt: PRO WRESLTING TEES STORE :shirt: ／(=✪ x ✪=)＼https://www.prowrestlingtees.com/wrestlingsoup Become a supporter of this podcast:Become a supporter of this podcast: https://www.spreaker.com/podcast/wrestling-soup--1425249/support.

Robert, Dan, and Scott attempt to predict the rest of the 'Mania card and then review the Valentine's Day edition of AEW Dynamite. Join the Patreon: patreon.com/wrestleroasts Buy our Merch: IT'S DOPE SHIRT/SWEATSHIRT/MUG! wrestleroasts.creator-spring.com THE DEACON BATISTA SHIRT! https://www.prowrestlingtees.com/deacon.html FORBIDDEN DORKS! https://www.prowrestlingtees.com/forbidden.html Follow our Twitters: @WrestleRoasts @WWECreative_ish Follow our Instagram: @wrestleroasts

Brian and Ed talk lightning strikes, Bo Jackson's extortion case, Billy Jack, Chris Russo's 'tism, parents watching porno with their kids and Southwest's new seats.*a comedy podcast about sports, pop culture, movies and dicks*Support this podcast at — https://redcircle.com/the-baller-lifestyle-podcast/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

8 more 70's movie reviews in the can. Starting things off today with (Billy Jack 1971). This is a sequel to a 1967 film called Born Losers, and it is just out of our reach for us. Here is a movie written by the 2 stars in the film and directed by BJ himself. Seems like a real labor of love, and it's pretty great and we'll tell ya'll about it very shortly, or we already are and your reading while your listening, how can you do that? Before we move on BJ is a film about a safe haven and school for outcasts and people of color, where close minded murderous Hicks are just outside the border, waiting to be racist and horrible to the max, I do hope someone has amazing fighting skills hmmm. One more thing, Howard Hesseman……..Johnny Flippin Fever from WKRP is HERE in this film, however, we suck and said it was Venus Flytrap, sorry bout that  icky rookie mistake, Venus was played by the amazing Tim Reid and he is not in this film. Moving on to (Duck, you sucker 1971) Here we have the awful man who will soon have no friends from Happy birthday Wanda June (Rod Steiger), and the gross reporter guy from Goldengirl, (James Coburn), starring in this film about how to become heroes in the Mexican revolution. Hmmmmmm, your gonna need an explosives expert. Next up is (The Outside Man 1972) which stars a focused French guy, the guy that wants the beaches closed and doesn't care about yer concession sales,  the amazing Ann flippin Margaret, and Angie (dressed to kill) Dickinson. Here is a movie with the idea of action, with out a lot of it, 70's style.  You get to see massive amounts of driving round L.A. You can see the old Venice amusement pier, some of the weird street characters, and one thing we wanted to mention but spaced it, was the appearance of public electric shaver in a bathroom, which seems unsanitary, hey, I gots time let's look it up….Time has passed, and the internet has failed me, or perhaps my use of it has failed. (Badge 373 1973)  Verna Bloom, star of a western we all liked, The Hired Hand, is here with Robert Duvall, Henry Darrow, and Radical 60's n 70's activist and Young Lord Felipe Luciano. Here we have some competing actors and the inspirational Felipe, kinda stuck in some budget cop movie, based on the guy whose budget cop stories also inspired the French connection character of Popeye D. Onward we strut to the light and uplifting Ingmar Bergman classic (Scenes from a Marriage 1974), almost too heavy to get into, but I don't really have to, I'll  just skim that surface for you and move on. You've got amazing acting, directing, and cinematography, a good script etc. I wonder what could ever go wrong with a film focused on and icky relationship, through the years. He is horrid to the max, and it is worthwhile to examine relationships and the social norms and conditioning that live inside them. Gosh it was just difficult for your beloved D.U.I. crew to get through. Come with us now to 1975 with (Rancho Deluxe). Rancho Deluxe, is the Slim Pickens holy grail that I didn't even know I was looking for. Now, you have other stuff goin on here, like  Starman (Jeff Bridges) and the dad from Serial Mom (Sam Waterson) are trying to pay rent and piss off a bull baron guy, although Bridges is slumming it, so to speak. Also serial mom's dad's Dad is played by Joe Spinell and he steals the dang show for the scene he's in. Lot's of good talent here, but is it good, or great, listen to find out? Second to last today we review (Outlaw Josey Wales 1976) a puzzling film directed by Clint Eastwood starring Sondra Locke, and Chief mother flippin Dan George, that's it. Finally today we enjoy (Corevette Summer 1978) “It's not even his car, it belongs to the school, It's not even your car!!” This film has Mary Jo Shively from designing woman, and Luke Skywalker from Star Wars  confronting the guy from Laser Blast to return the schools hot rod, back to the school. Thank you for listening, reach us on instagram and Facebook

SPARROW STREET, 93min,. USA Directed by Billy Jack A typical suburban neighborhood is plunged into a nightmare as an invisible, monstrous force begins picking the neighbors off, one by one. The terror outside the house is no match to the terror that forms inside the house where survival, isolation, and hunger all play tricks of the mind for a man, an expectant wife, and their unborn child. The film begs the big question and the great reveal – What is eating the neighbors? https://sparrowstreetfilms.com/ https://instagram.com/sparrow_street_movie?igshid=MzRIODBiNWFIZA= Get to know the director Billy Jack & writer Justin Cole: BILLY – We wanted to create a product (Sparrow Street) that entertains people, and we achieved this based on the data from our test screen and feedback from audience members. Very exciting for us and for those who get the chance to experience this story. JUSTIN: We wanted to scare the heck out of audiences by fusing environmentalism and horror in a completely ridiculous and unseemly way. We think we did that with Sparrow Street. It is a film like none other ever made. Think about the idea of an environmental horror – the time is rife for this kind of emerging idea. That's the story we are telling. Mankind vs. Nature in a completely original, unique, and distinctive point-of-view. Our hope…blow the minds of our audiences. Leave them reeling with thought and meaning. That's ultimately why we made this film. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it's only $3.99 per month. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod/ https://www.facebook.com/wildsoundpod

The Black Box Training Warehouse The Indigenous Ability Blog --- Support this podcast: https://podcasters.spotify.com/pod/show/mark-hatmaker/support

Paul Simon is back!!! This episode gives us one of the most iconic monologues in SNL history and, of course, a lot of Paul singing.There's also a Beatle!!! George Harrison shows up looking for the $3,000 that was promised to The Beatles (only to be disappointed).  And he sings (w/ Paul)!The rest of the episode? There's an all-time commercial parody, an appearance by Chevy Chase, Paul is given a chance to really show his comedic abilities, and we get a couple of music videos (with singing!).And...if you're a fan of the film Billy Jack you are in for a treat! It's a fun one! (Did we mention there is still a lot of singing?)Subscribe today! And follow us on social media on X (Twitter), Instagram, and Facebook.

Sylacauga is a small town in central Alabama, nestled amid the rolling hills and forests of Talladega County. Back in the 1990s, this tight-knit community was so diminutive that it lacked fundamental establishments such as motels, restaurants, or even a solitary traffic signal. The town's limited size fostered a culture where nearly everyone was familiar with each other. Within the context of small-town Alabama, individuals within the LGBTQ+ community often chose to conceal their identities. Many found solace in relocating to the more embracing city of Birmingham. In 1999, the world would come to learn exactly why.SPONSORS -June's Journey: Thank you to June's Journey for sponsoring this episode! The objective of this murder-mystery game is to find objects that are hidden within beautiful, colorful and carefully crafted scenes. Download June's Journey for free on the Apple app store and Google Play.SmartLabels: Thank you to SmartLabels for sponsoring this episode! Say goodbye to countless minutes rummaging through storage bins for your Halloween decorations with SmartLabels. Download their app on the app store and buy their QR labels at: https://www.qrsmartlabels.com/collections/frontpageSHOW NOTES - https://morbidology.com/morbidology-the-podcast-231-billy-jack-gaitherPATREON - https://www.patreon.com/morbidologyAudio Credit:Epidemic SoundEvening of Chaos - Kevin MacLeod (incompetech.com)Empty Reflections - ErikMMusic - https://www.youtube.com/watch?v=bgq4SPKHlyIA Mothers Sacrifice - OurMusicBox - https://ourmusicbox.com/Dark Tranquility - Anno Domini Beats - https://www.youtube.com/watch?v=F6mBav72AkThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3527306/advertisement

Billy Jack Haskins by Gary Fogle

The infamous yet rather well-intended exploitation saga of the one and only Billy Jack gets a lowdown from filmbuffs JJ, Tom & I!   Why doesn't it have as huge an audience as say Death Wish or Shaft type pictures? What is our favorite shocking moment? Why are the filmmakers behind it just as fascinating as the actual film? What do we need to do to slap some sense into critics who keep putting this as one of the worst movies of all time? And more detailing of atypical cult cinema!                       MAIN LINKS:  LinkTree: ⁠https://linktr.ee/JURSPodcast⁠ Facebook Page: ⁠https://www.facebook.com/JackedUpReviewShow/⁠ Facebook Group: ⁠https://www.facebook.com/groups/2452329545040913⁠ Twitter:⁠ https://twitter.com/JackedUpReview ⁠ Instagram: ⁠https://www.instagram.com/jacked_up_podcast/ ⁠         SHOW LINKS: YouTube: ⁠https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ⁠   iHeartRadio: ⁠https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/⁠   Podbean: ⁠https://jackedupreviewshow.podbean.com⁠   Spotify: ⁠https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M⁠   Apple Podcasts: ⁠https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218⁠   RadioPublic: ⁠https://radiopublic.com/the-jacked-up-review-show-We4VjE⁠   Overcast: ⁠https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast⁠   Google Podcasts: ⁠https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz⁠   Anchor:  ⁠https://anchor.fm/s/a46297c/podcast/rss⁠   PocketCasts: ⁠https://pca.st/0ncd5qp4⁠   CastBox:  ⁠https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222⁠        

A hurricane hits, Flair battles Wahoo, the Road Warriors are in action, Windham wins, Rude goes at it with Billy Jack, and Percy cries as Joey brings the Annual to Florida for the CWF Battle of the Belts. paypal.me/cupofjoepod Email: cupofjoewrestlingshow@gmail.com Twitter: @Cupofjoepod

GGACP marks the 50th anniversary of the Four Tops hits, "Ain't No Woman (Like the One I've Got)" and "Are You Man Enough?" (from "Shaft In Africa") with this ENCORE of a 2019 interview with Grammy-nominated songwriter Dennis Lambert ("One Tin Soldier," "Nightshift," "Don't Pull Your Love"). In this episode, Dennis discusses working the Catskills as a boy singer, shopping songs in the Brill Building era, producing hit records for the Righteous Brothers and co-creating the oft-maligned Starship hit, "We Built This City." Also, Neil Diamond hawks holiday tunes, Carole King demos "One Fine Day," Gilbert "covers" Glen Campbell (!) and Dennis becomes a superstar in the Philippines. PLUS: Freddie and the Dreamers! The artistry of Levi Stubbs! The versatility of Steve Lawrence! "Billy Jack" gets a message from God! And Dennis breaks down the construction of a Top 10 hit! Learn more about your ad choices. Visit megaphone.fm/adchoices

"Damn your pacifism!" This week Alexis and Kevin take a look at a pair of films from a subgenre called "redsploitation" and discuss racism and Native Americans staring with BILLY JACK.

Join us on an exploration as we compare Billy Jack (1971) and Hair (1979), two influential films that provide contrasting perspectives on social and political issues. In Billy Jack (1971), we witness the intense journey of a half-Indian, half-white war veteran who takes on the role of a vigilante, using karate to protect Native American children amidst the turbulence of the Vietnam War and the Civil Rights Movement. In contrast, Hair (1979) celebrates the spirit of the 1960s counterculture through vibrant music and an uplifting narrative that advocates for peace, love, and freedom. We delve into the contrasting forms of physical expression in each film, where dance symbolizes rebellion in Hair (1979) and karate serves as resistance in Billy Jack. Explore the societal issues tackled by these movies, from the violence and injustice of war to the hope and optimism of the counterculture movement. Join our podcast for a captivating journey into the depths of Billy Jack (1971) and Hair (1979), gaining fresh perspectives on these socially charged films. The Coyote's Tale, a noir mystery by John Cornelison, is available on Amazon in paperback and on Kindle. Support the show with a purchase from Merch SPREAD THE WORD! If you enjoyed this episode, head on over to iTunes and kindly leave us a rating, a review, and subscribe! Click here to subscribe via Apple Podcast Find us at: YouTube Libsyn Page Ganna Amazon Music Spotify Radiodotcom We would love to get your feedback! Email jec@classicmovierev.com Read more at classicmovierev.com  

Ever heard of the hair dressing, car selling, cape wearing, karate master Count Dante? Yeah, me neither until I came across this incredible new project from the minds of J.C. Barbour and Wes Watson. You might have seen his ads in comic books back when. You might have even joined the Black Dragon Fighting Society to learn the secrets of Dim Mak from the Deadliest Man Alive. This new series is a take considerable liberties look at one of the lesser known but incredibly superhero like martial arts personas of the 70s. Count Dante is a new limited series coming out starting in April with Scout Comics. Where else are you gonna find Chuck Norris and Billy Jack in a comic book? Honestly, probably not that rare but give it a listen and ask your LCS to reserve you a copy of this unique book. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

This week, Adam and Mike look back at an AIP counter-culture double of PSYCH-OUT (1968) and the debut of Billy Jack in THE BORN LOSERS (1967) that opened at the Studio Theatre on March 8, 1968.

The Geeks have hit their third year of broadcasting and invited Dr. Rich-Needs-One and Superfan Mike to join in on the festivities in this giant-sized issue! First up, the World Famous Top 3 List features the gangs' favorite courtroom dramas! Next, The Worst Movie Ever This Week is truly a stinker in The Trial of Billy Jack! The Geeks then swerve the guests by changing Sunday Afternoon Kung-Fu Theater into Sunday Afternoon Exploitation Theater and watch the blaxploitation thriller, Hit Man! The deep dive into luchadora cinema continues with The Panther Women! They cap things off with a spoilerific review of the latest two episodes of The Bad Batch! Thanks for listening for these past three years and as always, Keep On Geekin' On! Timestamps 5:22 Top 3 Courtroom Dramas 25:47 The Trial of Billy Jack 47:57 Hit Man 65:25 Panther Women 77:41 The Bad Batch Episodes 7 & 8 --- Send in a voice message: https://anchor.fm/3oldgeeks/message

The legendary Bill Corbett (Rifftrax, Mystery Science Theater 3000) returns to the show to discuss possibly the weirdest southern social justice movie of the 1970s (and that is saying something): Billy Jack!The guys on the satellite of junk also discuss plastic medicine men, pitch a Billy Jack sitcom, and explain how this franchise gave us modern theatrical film distribution! Soldier up and listen!

In this episode I interview Billy Jack Harlow. Billy Jack has one of the most inspirational stories I have ever heard. From serving in the military for 30 years, to striking oil on his land, to becoming an in demand actor in his 60s, he lives a life unlike anyone else his age and offers some of his incredible philosophies on how you can do the same.  This is an amazing interview from an even more amazing guest. Enjoy!   Connect with Billy Jack Harlow: Facebook @BillyJackHarlow Instagram @BillyJackHarlow   Connect with Mentor Nation: Instagram: @mentornationpodcast Youtube Channel: https://www.youtube.com/channel/UC5TKA2_zaflKgLp7-5lUmpg mentornationpodcast.com

The gang plays FMK, and breaks down Billy Jack in "Born Losers". 

For college-aged students, Summer Staff is the experience of a lifetime. Encouraging them to sign up, however, often takes consistent and intentional effort on the part of YLC staff and leaders. On this episode, John Byard (Point Loma), Billy Jack Blankenship (San Diego State), and Ryan Buskirk (Grand Canyon University) share their most valuable tips and tricks from their Summer Staff recruitment strategy for Young Life College. 

Hands down our favorite episode to record. Billy Jack has been referenced in a previous podcast. We were able to sneak Rooster and Billy Jack in for a sit down. This episode is packed with some stories that are going to be hard to believe. Normally we like to slow stories down to provide some context, but not this time. We just let them roll. We are planning on coming back to this episode and breaking it down to provide context and background to the craziness that you will hear. This is a wild ride and will be an episode that keeps on giving.

Billy Jack, episode 71, with The 4 Year Beer, from @foursilosbrewery. Tom Laughlin starred, directed and wrote, along with his wife Delores the story of Billy, a Vietnam vet who retreats back to his desert roots, trying to leave society behind, but drawn to protect a school for troubled youths. Billy's not much for diplomacy, preferring to let his feet do the talking. It's early 70s message movie paired with a crushable session IPA celebrating a four year anniversary from Four Silos, out of Arizona. Thanks for listening! Check out our website SUBSCRIBE: to the show on Apple Podcast  or Google Play. You can also find us on Audible, Stitcher, Spotify, and Listen Notes. Follow us on Instagram , Facebook, and Twitter! We'd love to hear from you, so comment on our show wherever you are listening. And always, support your local brewery.

Billy Jack Gaither was a 39 year old man who lived deeply in his closet. It didn't help he also lived in a small town in Alabama, the heart of the Bible Belt. Billy Jack kept his secret from most, but someone he considered a "friend"...did him dirty in the ultimately most nefarious way. The true crime quickie comes from South Africa when an up and coming LGBTQ musical artist was brutally slain in daylight while others watched.Intro: Black Moons by 126ersOutro: Subtle Betrayal by SYBSPromo by Pretty PeculiarHost read ad about Wick of the Wood by Creepy TapasSoundbite by F**k That PodcastResources:https://www.al.com/news/2019/02/billy-jack-gaither-was-savagely-murdered-20-years-ago-today-because-he-was-gay-in-alabama.htmlhttps://www.kiro7.com/news/trending-now/killer-in-infamous-1999-murder-of-gay-alabama-man-stabbed-to-death-in-prison/927436893/https://www.washingtonpost.com/archive/politics/1999/03/05/2-accused-of-killing-burning-gay-man/e6241fac-62d5-4f99-bc6d-b90fb766a7c3/https://www.presidency.ucsb.edu/documents/statement-the-death-billy-jack-gaitherhttps://www.pbs.org/wgbh/pages/frontline/shows/assault/interviews/rgaither.htmlhttps://www.iol.co.za/sunday-tribune/news/man-who-stabbed-lgbtqi-activist-lindokuhle-cele-sentenced-to-25-years-in-jail-011c6ed0-cb28-42dd-9cd5-3ad4c64a9e23https://www.mambaonline.com/2020/02/10/grief-bigotry-as-talented-lgbtq-musician-is-murdered-in-kzn/

The Grenade returns with a special BONUS edition. This week we present the Ultra-Mega-Monster episode covering the ENTIRE DEFINITIVE EDITION of the WWF's WRESTLEMANIA III event! Taking our listeners into consideration,  I went back to episodes #73 & #74 and slapped Both Parts 1 & 2 of WrestleMania 3 together for convenience purposes. And no worries, a brand new Episode #75 of the Grenade will drop later this week! ENJOY! PART 1 - The Road to WrestleMania 3 has concluded as we finally arrive at the Silverdome in Pontiac, Michigan to witness one of the most legendary events in pro wrestling history! It's a show of epic proportions as we talk "Rowdy" Roddy Piper's "Retirement Match" vs. "Adorable" Adrian Adonis, as the two men battle in a Hair vs. Hair Match. It's the Battle of the Full Nelsons when Billy Jack Haynes faces Hercules. The King's Crown is on the line when Harley Race meets The Junkyard Dog! Plus, the King Kong Bundy/Little Beaver incident, Brutus Beefcake unofficially becomes the Barber, The Dream Team Splits, Gordie Howe & Samantha Fox at Mania?, The Can-Am Connection prove themselves vs. Orton & Muraco, Mary Hart meets The Macho Man, Bob Uecker Rules, Goodbye JYD (for now), Dino Bravo goes blond, Billy Jack spews bile, Queen Moolah, the Mini-Ring Carts, the Federettes. PART 2 - We talk the epic showdown between WWF Champion Hulk Hogan vs. Andre the Giant, Rick Steamboat attempts to capture the IC Title from "The Macho Man" Randy Savage in a legendary classic. Plus, Jake "The Snake" looks for revenge on The Honky Tonk Man, The Bulldogs & Tito Santana vs. The Hart Foundation & "Dangerous" Danny Davis, Koko B. Ware vs. Butch Reed, Sheik & Volkoff vs. The Killer Bees, Hacksaw Duggan arrives, we'll even break down the "Attendance Record" set here. And we'll talk a common misconception about the booking of the event, WrestleMania Payoffs & Final Grossing Figures, the fallout of the event and what it meant for the other wrestling companies, we'll look at where the company is headed next, and a deep dive into the entire WWF roster that DIDN'T make the WrestleMania lineup! From Kamala to Bruno Sammatino to Paul "Mr. Wonderful" Orndorff... We discuss who realisitcally COULD HAVE worked the show, and who couldn't. I told you guys, this thing is DEFINITIVE! ENJOY! Available everywhere your Podcast Streaming needs are met.Visit our Podcast Network https://wrestlecopia.comFollow us on Twitter @RasslinGrenade and be automatically entered into our FREE PRIZE GIVEAWAY CONTESTS!Follow and LIKE our FACEBOOK PAGE located at https://www.facebook.com/RasslinGrenadeSubscribe to our Youtube Channel at https://www.youtube.com/RasslinGrenade as we continue to add new videos from throughout wrestling history.Please Subscribe to our REVAMPED Patreon account to help keep us going, a dozen Tiers to choose from!!! https://www.patreon.com/wrestlecopiaIncludes a $5 “All Access” Tier featuring SIX GIFTS FOR $5! Including our Patreon Watch-Along Series, all of Ray Russell's insanely detailed show notes (for both the Grenade and Monday Warfare), unedited TR SHOCKS episodes, Early Show Releases, REMASTERED editions of the early Grenade episodes including NEW content that was originally edited out! PLUS, now a sixth gift of monthly DIGITAL DOWLOANDS for your viewing and reading pleasure!Listen at your leisure and pick back up later if need be! Timestamps below for easy navigation.WWF WRESTLEMANIA III"BIGGER, BETTER, BADDER!"THE SILVERDOME - PONTIAC, MICHIGANMARCH 29, 1987 - 4pm Est. Start TimePART 1 - Host Ray Russell kicks the show off talking to first ever WWF 30-Minute Countdown that preceded WrestleMania 3, then from there we're treated to some Coliseum Video exclusives before we head to the big show! This episode tackles the pageantry, the production, Vince McMahon's introduction, Aretha Franklin and controversial comments, guest celebrities that canceled the event like Gordie Howe & Samantha Fox, The Can-Am Connection vs. Bob Orton & Don Muraco, Billy Jack Haynes vs. Hercules, Mixed Tag with Hillbilly Jim, Little Beaver & Haiti Kid vs. King Kong Bundy, Lord Littlebrook & Little Tokyo, JYD vs. "King" Harley Race where the loser must bow and kneel to the King, The Rougeau Brothers vs. The Dream Team, Roddy Piper's Retirement Match vs. Adrian Adonis - Hair vs. Hair. Plus, we talk Bob Uecker's quick wit, Mary Hart's introduction to the Macho Man, the Bundy/Beaver incident, Billy Jack spewing bile all over Hercules, the split of the Dream Team, Brutus unofficially becomes the Barber, JYD's initial farewell, Dino Bravo goes blond, Moolah, the Mini-Ring Carts, the Federettes, and so much more... And don't forget... SOUNDBITES GALORE!PART 2 - WrestleMania 3 continues as talk the epic showdown between WWF Champion Hulk Hogan vs. Andre the Giant, Rick Steamboat attempts to capture the IC Title from "The Macho Man" Randy Savage in a legendary classic. Plus, Jake "The Snake" looks for revenge on The Honky Tonk Man, The Bulldogs & Tito Santana vs. The Hart Foundation & "Dangerous" Danny Davis, Koko B. Ware vs. Butch Reed, Sheik & Volkoff vs. The Killer Bees, Hacksaw Duggan arrives, we'll even break down the "Attendance Record" set here. And we'll talk a common misconception about the booking of the event, WrestleMania Payoffs & Final Grossing Figures, the fallout of the event and what it meant for the other wrestling companies, we'll look at where the company is headed next, and a deep dive into the entire WWF roster that DIDN'T make the WrestleMania lineup! From Kamala to Bruno Sammatino to Paul "Mr. Wonderful" Orndorff... We discuss who realisitcally COULD HAVE worked the show, and who couldn't. I told you guys, this thing is DEFINITIVE! ENJOY! ★ Support this podcast on Patreon ★

Adam and Dr. Drew open the show continuing their bummer conversation about the art of the early 1970s reviewing a clip of Billy Jack and marveling at how quickly our country moved from that to the very different disco era in a short period of time. They then turn to the phones and speak to a caller who has been a fan since the Loveline era and wants to point out some of the things he missed as the show has evolved from what it was then to what it is today. They also speak with a caller who worries that masks are going to be a 'forever' reality for a descent sized segment of Americans. This leds Adam to go searching for a clip of the White House Covid response head telling people that they shouldn't be listening to 'random people on Twitter'. Please Support Our Sponsors: SimpliSafe.com/Adam2 The Jordan Harbinger Show

Kyle Dunnigan joins in as Chris presents more ‘Trending Topics' and they all take a deep dive into the cinematic universe of ‘Billy Jack'. Chris Laxamana fills in for Gina and reports the news of today including: Jay Leno returning to the stage before grazing a cop car and Kim Kardashian reevaluating her relationship with Balenciaga after a photo shoot caused an uproar. PLUGS: Subscribe to Kyle Dunnigan on YouTube: Youtube.com/KyleDunniganComedy THANKS FOR SUPPORTING TODAY'S SPONSORS: SimpliSafe.com/ADAM Meater.com Geico.com

David Koechner returns to the show and tells stories about his dad manufacturing turkey coops, his time in high school, and training at Second City in Chicago. Adam and David then laugh about a few scenes from Billy Jack before Gina reports news stories on: Rihanna being chosen to perform at the Super Bowl, Adam Levine DM'ing various women, and a 'screaming children surcharge' at a restaurant. David has upcoming live shows in Cincinnati, Burbank, and Columbus. For more tour dates and tickets, visit DavidKoechner.com THANKS FOR SUPPORTING TODAY'S SPONSORS: Geico.com SimpliSafe.com/Adam TommyJohn.com/Adam Download InvestAll and use promo code Adam

Well, I'd like to say that Carrie, Tim and Rob are all back this week because the madness of Summer has come to an end, but that wouldn't be true, the madness of Fall is just upon us! Nevertheless, we did find the first week in a month that all of us were either healthy and in cell-phone range and we couldn't be happier about it.  The only thing that could possibly spoil this reunion euphoria is having to spend an hour talking about The Billy Jack series - and here we are! Thanks to Patreon supporter Gavin, we slogged our way through about 100 hours (ish) of a very Caucasian man, casting himself as an Indigenous man/Vietnam war vet and leveraging his Korean martial art, Hapkido, to take down real bad guys. If you're not entirely sold here, check out the episode! In worth mentioning, Carrie covers the newly released Thor: Love and Thunder and Rob attempts to ensure you never want to see the decent movie Day Shift. ***************************************************************** Love the Podcast? Leave us a review! Other places to follow Alternate Ending. Facebook | Instagram | YouTube | Twitter Tim Letterboxd | Rob Letterboxd | Carrie Letterboxd Support Alternate Ending and check out our member perks, via our Patreon page!

Twitch of the Death Nerve are back from a brief hiatus! For this episode, which… The post TWITCH OF THE DEATH NERVE EPISODE 28: BILLY JACK appeared first on Cinepunx.

Well, things are great here, at The Dana Gould Hour podcast. We have two terroifoic guests today. Paul Myers, the author of among many books, A Wizard, A True Star Tod Rungren In The Studio, And The Kids In The Hall: One Dumb Guy is here to talk about the documentary he produced Kids In The Hall Comedy Punks as well as his podcast Record Store Day. Speaking of Kids In The Hall, if you haven't seen the new season on Amazon Prime you are missing out my friend. We also have the lovely and talented Greg Proops who is here to discuss not only his new album In The City, also available on Amazon Prime, but also his tour with Whose Line Is It Anyway and a little discussion of the state of the state of comedy which is, you know, great! We have Two True Tales From Weirdsvilles this month. The first is a look at one of my favorite things, The Law Of Unintended Consequences. You know, let's say you pass a big law, or, say overturn a right people have had for fifty years… You think you know how it's going to pan out. All neat and tidy. But you know what? Even under the best of circumstances, there's the law of unintended consequences. Things are not going to turn out exactly the way you want. As the old saying goes, all the best laid plans of mice and men. Will take a look at classic example of The Law Of Unintended Consequences, one that I have some personal knowledge of. And a bonus True Tales, more in keeping with the tone of the show, about the Kung Fu craze of the mid 70's. Bruce Lee, Kung Fu, Billy Jack, the whole shebang.

Canadian documentary filmmaker Alan Zweig (Vinyl, I, Curmudgeon, When Jews Were Funny) brings us an album of understated, fluid funk with a subtle-but-potent message: 'There's No Place Like America Today' by Curtis Mayfield. Released in 1975 on Mayfield's own Curtom Records, it's a stunning, sophisticated - and sadly overlooked - chronicle of austere times by a true master of his craft. Essential listening. *Opening dialogue from the 2000 documentary film 'Vinyl'Songs featured in this episode: Blame Canada - Mary Kay Bergman; Superfly - Curtis Mayfield; People Get Ready - The Impressions; Freedom of '76 - Ween; Walk Like A Man - The Four Seasons; Rock and Roll - The Velvet Underground; The Young Mods' Forgotten Story - The Impressions; Billy Jack, When Seasons Change - Curtis Mayfield; No Time - The Guess Who; So In Love, Jesus - Curtis Mayfield; Jesus Is Coming Soon - Blind Willie Johnson; Blue Monday People, Hard Times, We Gotta Have Peace (live), Love To The People - Curtis Mayfield; Move On Up (live) - The Jam

The Portland Wrestlecast and the biggest feud in Portland Wrestling history. Bigger than Piper vs Rose or Rip Oliver vs Billy Jack. In 1968, Tough Tony Borne vs Lonnie Mayne drew thousands of fans to the then brand-new Portland Memorial Coliseum. Jim Valley talks with long-time fan, promoter and historian Frank Culbertson about his memories of the feud and the new book "Katie Bar the Door! History of Portland Wrestling"

In which one low-budget action flick forever rewrites the rules of how movies are marketed, and John thinks Spider-Man's aunt is the only real movie star. Certificate #33734.

National Humor Month draws to a close with this memorable 2017 conversation with comedian, actor, writer and director Bobcat Goldthwait. In this episode, Bobcat discusses his transition from performing to directing, his love of Universal horror films, his delight in making audiences feel "awkward" and his years-long friendship with the legendary Robin Williams. Also: Bobcat wrestles with Arsenio, runs afoul of Nickelback, writes a "Billy Jack" movie and raves about Gilbert's documentary. PLUS: John Lennon doodles! Robert De Niro watches "Problem Child"! In praise of Barry Crimmins! In defense of Ed Wood! And Bobcat and Gilbert remember "Hot to Trot"! Learn more about your ad choices. Visit megaphone.fm/adchoices

Joe, who own da Chiefs? OWNS. OWNS! Your Huckleberry curbs his intake of the weed, gets smaller and vows to keep being silly.

Monkey optometrist, podcast round-up, Andy gets ego-phished, “Merry, Merry” murder medley, sibling rivalry, Andy renounces his inner Billy Jack, listener questions, and much more Spiraling.