Podcast appearances and mentions of bob weiss

The start of the NFL regular season is just around the corner. The Chicago Bears are expected to improve upon their seven-win season in 2023. Will new quarterback Caleb Williams and the additions to the roster by Ryan Poles be enough to make the playoffs this year?Rob and Justin are joined by Bob Weiss to discuss the Chicago Bears season, predict how many teams the Bears will win this year, and go through multiple player projections.Looking to make prop bets on your favorite Chicago Bears players?Then head over to our signup page for the best odds and sign-up offers in your area! https://signupexpert.com/huddleWho leads the team in sacks? Montez Sweat? Maybe Austin Booker?How many interceptions will Jaylon Johnson get this year?Will D'Andre Swift lead the Chicago Bears' backfield? Khalil Herbert?How many yards will DJ Moore, Keenan Allen and Rome Odunze get?Will Caleb Williams break the Chicago Bears' rookie passing record?How about the team's season passing record?We answer all of this and more!Hit SUBSCRIBE on our YouTube channel and be entered into a FREE jersey giveaway - any Chicago Bears player of your choice!

The Blues Brothers: An Epic Friendship, the Rise of Improv, and the Making of an American Film Classic (Grove Atlantic, 2024) tells the story of the epic friendship between John Belushi and Dan Aykroyd, the golden era of improv, and the making of a comedic film classic that helped shape our popular culture. “They're not going to catch us,” Dan Aykroyd, as Elwood Blues, tells his brother Jake, played by John Belushi. “We're on a mission from God.” So opens the musical action comedy The Blues Brothers, which hit theaters on June 20, 1980. Their scripted mission was to save a local Chicago orphanage. But Aykroyd, who conceived and wrote much of the film, had a greater mission: to honor the then-seemingly forgotten tradition of rhythm and blues, some of whose greatest artists—Aretha Franklin, James Brown, John Lee Hooker, Cab Calloway, Ray Charles—made the film as unforgettable as its wild car chases. Much delayed and vastly over budget, beset by mercurial and oft drugged-out stars, The Blues Brothers opened to outraged reviews. However, in the 44 years since, it has been acknowledged a classic: it has been inducted into the National Film Registry for its cultural significance, even declared a “Catholic classic” by the Church itself, and re-aired thousands of times on television to huge worldwide audiences. It is, undeniably, one of the most significant films of the twentieth century. The story behind any classic is rich; the saga behind The Blues Brothers, as Daniel de Visé reveals, is epic, encompassing the colorful childhoods of Belushi and Aykroyd; the comedic revolution sparked by Harvard's Lampoon and Chicago's Second City; the birth and anecdote-rich, drug-filled early years of Saturday Night Live, where the Blues Brothers were born as an act amidst turmoil and rivalry; and, of course, the indelible behind-the-scenes narrative of how the film was made, scene by memorable scene. Based on original research and dozens of interviews probing the memories of principals from director John Landis and producer Bob Weiss to Aykroyd himself, The Blues Brothers illuminates an American masterpiece while vividly portraying the creative geniuses behind modern comedy. Daniel de Visé is an author and journalist. A graduate of Wesleyan and Northwestern universities, he worked at the The Washington Post, the Miami Herald and three other newspapers in a 23-year career. He shared a 2001 team Pulitzer Prize and garnered more than two dozen other national and regional journalism awards. His investigative reporting twice led to the release of wrongly convicted men from life terms in prison. His first book, I Forgot To Remember (with Su Meck, Simon & Schuster, 2014), began as a front-page article de Visé wrote for the Washington Post in 2011. His second book, Andy & Don (Simon & Schuster, 2015), began as a journalistic exploration into the storied career of his late brother-in-law, famed actor Don Knotts. His third book, The Comeback (Grove Atlantic, 2018), rekindles a childhood obsession with professional cycling. Daniel is married to Sophie Yarborough, a senior editor at The Washington Post​. They and their children live outside Washington D.C. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Blues Brothers: An Epic Friendship, the Rise of Improv, and the Making of an American Film Classic (Grove Atlantic, 2024) tells the story of the epic friendship between John Belushi and Dan Aykroyd, the golden era of improv, and the making of a comedic film classic that helped shape our popular culture. “They're not going to catch us,” Dan Aykroyd, as Elwood Blues, tells his brother Jake, played by John Belushi. “We're on a mission from God.” So opens the musical action comedy The Blues Brothers, which hit theaters on June 20, 1980. Their scripted mission was to save a local Chicago orphanage. But Aykroyd, who conceived and wrote much of the film, had a greater mission: to honor the then-seemingly forgotten tradition of rhythm and blues, some of whose greatest artists—Aretha Franklin, James Brown, John Lee Hooker, Cab Calloway, Ray Charles—made the film as unforgettable as its wild car chases. Much delayed and vastly over budget, beset by mercurial and oft drugged-out stars, The Blues Brothers opened to outraged reviews. However, in the 44 years since, it has been acknowledged a classic: it has been inducted into the National Film Registry for its cultural significance, even declared a “Catholic classic” by the Church itself, and re-aired thousands of times on television to huge worldwide audiences. It is, undeniably, one of the most significant films of the twentieth century. The story behind any classic is rich; the saga behind The Blues Brothers, as Daniel de Visé reveals, is epic, encompassing the colorful childhoods of Belushi and Aykroyd; the comedic revolution sparked by Harvard's Lampoon and Chicago's Second City; the birth and anecdote-rich, drug-filled early years of Saturday Night Live, where the Blues Brothers were born as an act amidst turmoil and rivalry; and, of course, the indelible behind-the-scenes narrative of how the film was made, scene by memorable scene. Based on original research and dozens of interviews probing the memories of principals from director John Landis and producer Bob Weiss to Aykroyd himself, The Blues Brothers illuminates an American masterpiece while vividly portraying the creative geniuses behind modern comedy. Daniel de Visé is an author and journalist. A graduate of Wesleyan and Northwestern universities, he worked at the The Washington Post, the Miami Herald and three other newspapers in a 23-year career. He shared a 2001 team Pulitzer Prize and garnered more than two dozen other national and regional journalism awards. His investigative reporting twice led to the release of wrongly convicted men from life terms in prison. His first book, I Forgot To Remember (with Su Meck, Simon & Schuster, 2014), began as a front-page article de Visé wrote for the Washington Post in 2011. His second book, Andy & Don (Simon & Schuster, 2015), began as a journalistic exploration into the storied career of his late brother-in-law, famed actor Don Knotts. His third book, The Comeback (Grove Atlantic, 2018), rekindles a childhood obsession with professional cycling. Daniel is married to Sophie Yarborough, a senior editor at The Washington Post​. They and their children live outside Washington D.C. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The Blues Brothers: An Epic Friendship, the Rise of Improv, and the Making of an American Film Classic (Grove Atlantic, 2024) tells the story of the epic friendship between John Belushi and Dan Aykroyd, the golden era of improv, and the making of a comedic film classic that helped shape our popular culture. “They're not going to catch us,” Dan Aykroyd, as Elwood Blues, tells his brother Jake, played by John Belushi. “We're on a mission from God.” So opens the musical action comedy The Blues Brothers, which hit theaters on June 20, 1980. Their scripted mission was to save a local Chicago orphanage. But Aykroyd, who conceived and wrote much of the film, had a greater mission: to honor the then-seemingly forgotten tradition of rhythm and blues, some of whose greatest artists—Aretha Franklin, James Brown, John Lee Hooker, Cab Calloway, Ray Charles—made the film as unforgettable as its wild car chases. Much delayed and vastly over budget, beset by mercurial and oft drugged-out stars, The Blues Brothers opened to outraged reviews. However, in the 44 years since, it has been acknowledged a classic: it has been inducted into the National Film Registry for its cultural significance, even declared a “Catholic classic” by the Church itself, and re-aired thousands of times on television to huge worldwide audiences. It is, undeniably, one of the most significant films of the twentieth century. The story behind any classic is rich; the saga behind The Blues Brothers, as Daniel de Visé reveals, is epic, encompassing the colorful childhoods of Belushi and Aykroyd; the comedic revolution sparked by Harvard's Lampoon and Chicago's Second City; the birth and anecdote-rich, drug-filled early years of Saturday Night Live, where the Blues Brothers were born as an act amidst turmoil and rivalry; and, of course, the indelible behind-the-scenes narrative of how the film was made, scene by memorable scene. Based on original research and dozens of interviews probing the memories of principals from director John Landis and producer Bob Weiss to Aykroyd himself, The Blues Brothers illuminates an American masterpiece while vividly portraying the creative geniuses behind modern comedy. Daniel de Visé is an author and journalist. A graduate of Wesleyan and Northwestern universities, he worked at the The Washington Post, the Miami Herald and three other newspapers in a 23-year career. He shared a 2001 team Pulitzer Prize and garnered more than two dozen other national and regional journalism awards. His investigative reporting twice led to the release of wrongly convicted men from life terms in prison. His first book, I Forgot To Remember (with Su Meck, Simon & Schuster, 2014), began as a front-page article de Visé wrote for the Washington Post in 2011. His second book, Andy & Don (Simon & Schuster, 2015), began as a journalistic exploration into the storied career of his late brother-in-law, famed actor Don Knotts. His third book, The Comeback (Grove Atlantic, 2018), rekindles a childhood obsession with professional cycling. Daniel is married to Sophie Yarborough, a senior editor at The Washington Post​. They and their children live outside Washington D.C. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The Blues Brothers: An Epic Friendship, the Rise of Improv, and the Making of an American Film Classic (Grove Atlantic, 2024) tells the story of the epic friendship between John Belushi and Dan Aykroyd, the golden era of improv, and the making of a comedic film classic that helped shape our popular culture. “They're not going to catch us,” Dan Aykroyd, as Elwood Blues, tells his brother Jake, played by John Belushi. “We're on a mission from God.” So opens the musical action comedy The Blues Brothers, which hit theaters on June 20, 1980. Their scripted mission was to save a local Chicago orphanage. But Aykroyd, who conceived and wrote much of the film, had a greater mission: to honor the then-seemingly forgotten tradition of rhythm and blues, some of whose greatest artists—Aretha Franklin, James Brown, John Lee Hooker, Cab Calloway, Ray Charles—made the film as unforgettable as its wild car chases. Much delayed and vastly over budget, beset by mercurial and oft drugged-out stars, The Blues Brothers opened to outraged reviews. However, in the 44 years since, it has been acknowledged a classic: it has been inducted into the National Film Registry for its cultural significance, even declared a “Catholic classic” by the Church itself, and re-aired thousands of times on television to huge worldwide audiences. It is, undeniably, one of the most significant films of the twentieth century. The story behind any classic is rich; the saga behind The Blues Brothers, as Daniel de Visé reveals, is epic, encompassing the colorful childhoods of Belushi and Aykroyd; the comedic revolution sparked by Harvard's Lampoon and Chicago's Second City; the birth and anecdote-rich, drug-filled early years of Saturday Night Live, where the Blues Brothers were born as an act amidst turmoil and rivalry; and, of course, the indelible behind-the-scenes narrative of how the film was made, scene by memorable scene. Based on original research and dozens of interviews probing the memories of principals from director John Landis and producer Bob Weiss to Aykroyd himself, The Blues Brothers illuminates an American masterpiece while vividly portraying the creative geniuses behind modern comedy. Daniel de Visé is an author and journalist. A graduate of Wesleyan and Northwestern universities, he worked at the The Washington Post, the Miami Herald and three other newspapers in a 23-year career. He shared a 2001 team Pulitzer Prize and garnered more than two dozen other national and regional journalism awards. His investigative reporting twice led to the release of wrongly convicted men from life terms in prison. His first book, I Forgot To Remember (with Su Meck, Simon & Schuster, 2014), began as a front-page article de Visé wrote for the Washington Post in 2011. His second book, Andy & Don (Simon & Schuster, 2015), began as a journalistic exploration into the storied career of his late brother-in-law, famed actor Don Knotts. His third book, The Comeback (Grove Atlantic, 2018), rekindles a childhood obsession with professional cycling. Daniel is married to Sophie Yarborough, a senior editor at The Washington Post​. They and their children live outside Washington D.C. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The Blues Brothers: An Epic Friendship, the Rise of Improv, and the Making of an American Film Classic (Grove Atlantic, 2024) tells the story of the epic friendship between John Belushi and Dan Aykroyd, the golden era of improv, and the making of a comedic film classic that helped shape our popular culture. “They're not going to catch us,” Dan Aykroyd, as Elwood Blues, tells his brother Jake, played by John Belushi. “We're on a mission from God.” So opens the musical action comedy The Blues Brothers, which hit theaters on June 20, 1980. Their scripted mission was to save a local Chicago orphanage. But Aykroyd, who conceived and wrote much of the film, had a greater mission: to honor the then-seemingly forgotten tradition of rhythm and blues, some of whose greatest artists—Aretha Franklin, James Brown, John Lee Hooker, Cab Calloway, Ray Charles—made the film as unforgettable as its wild car chases. Much delayed and vastly over budget, beset by mercurial and oft drugged-out stars, The Blues Brothers opened to outraged reviews. However, in the 44 years since, it has been acknowledged a classic: it has been inducted into the National Film Registry for its cultural significance, even declared a “Catholic classic” by the Church itself, and re-aired thousands of times on television to huge worldwide audiences. It is, undeniably, one of the most significant films of the twentieth century. The story behind any classic is rich; the saga behind The Blues Brothers, as Daniel de Visé reveals, is epic, encompassing the colorful childhoods of Belushi and Aykroyd; the comedic revolution sparked by Harvard's Lampoon and Chicago's Second City; the birth and anecdote-rich, drug-filled early years of Saturday Night Live, where the Blues Brothers were born as an act amidst turmoil and rivalry; and, of course, the indelible behind-the-scenes narrative of how the film was made, scene by memorable scene. Based on original research and dozens of interviews probing the memories of principals from director John Landis and producer Bob Weiss to Aykroyd himself, The Blues Brothers illuminates an American masterpiece while vividly portraying the creative geniuses behind modern comedy. Daniel de Visé is an author and journalist. A graduate of Wesleyan and Northwestern universities, he worked at the The Washington Post, the Miami Herald and three other newspapers in a 23-year career. He shared a 2001 team Pulitzer Prize and garnered more than two dozen other national and regional journalism awards. His investigative reporting twice led to the release of wrongly convicted men from life terms in prison. His first book, I Forgot To Remember (with Su Meck, Simon & Schuster, 2014), began as a front-page article de Visé wrote for the Washington Post in 2011. His second book, Andy & Don (Simon & Schuster, 2015), began as a journalistic exploration into the storied career of his late brother-in-law, famed actor Don Knotts. His third book, The Comeback (Grove Atlantic, 2018), rekindles a childhood obsession with professional cycling. Daniel is married to Sophie Yarborough, a senior editor at The Washington Post​. They and their children live outside Washington D.C. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The Blues Brothers: An Epic Friendship, the Rise of Improv, and the Making of an American Film Classic (Grove Atlantic, 2024) tells the story of the epic friendship between John Belushi and Dan Aykroyd, the golden era of improv, and the making of a comedic film classic that helped shape our popular culture. “They're not going to catch us,” Dan Aykroyd, as Elwood Blues, tells his brother Jake, played by John Belushi. “We're on a mission from God.” So opens the musical action comedy The Blues Brothers, which hit theaters on June 20, 1980. Their scripted mission was to save a local Chicago orphanage. But Aykroyd, who conceived and wrote much of the film, had a greater mission: to honor the then-seemingly forgotten tradition of rhythm and blues, some of whose greatest artists—Aretha Franklin, James Brown, John Lee Hooker, Cab Calloway, Ray Charles—made the film as unforgettable as its wild car chases. Much delayed and vastly over budget, beset by mercurial and oft drugged-out stars, The Blues Brothers opened to outraged reviews. However, in the 44 years since, it has been acknowledged a classic: it has been inducted into the National Film Registry for its cultural significance, even declared a “Catholic classic” by the Church itself, and re-aired thousands of times on television to huge worldwide audiences. It is, undeniably, one of the most significant films of the twentieth century. The story behind any classic is rich; the saga behind The Blues Brothers, as Daniel de Visé reveals, is epic, encompassing the colorful childhoods of Belushi and Aykroyd; the comedic revolution sparked by Harvard's Lampoon and Chicago's Second City; the birth and anecdote-rich, drug-filled early years of Saturday Night Live, where the Blues Brothers were born as an act amidst turmoil and rivalry; and, of course, the indelible behind-the-scenes narrative of how the film was made, scene by memorable scene. Based on original research and dozens of interviews probing the memories of principals from director John Landis and producer Bob Weiss to Aykroyd himself, The Blues Brothers illuminates an American masterpiece while vividly portraying the creative geniuses behind modern comedy. Daniel de Visé is an author and journalist. A graduate of Wesleyan and Northwestern universities, he worked at the The Washington Post, the Miami Herald and three other newspapers in a 23-year career. He shared a 2001 team Pulitzer Prize and garnered more than two dozen other national and regional journalism awards. His investigative reporting twice led to the release of wrongly convicted men from life terms in prison. His first book, I Forgot To Remember (with Su Meck, Simon & Schuster, 2014), began as a front-page article de Visé wrote for the Washington Post in 2011. His second book, Andy & Don (Simon & Schuster, 2015), began as a journalistic exploration into the storied career of his late brother-in-law, famed actor Don Knotts. His third book, The Comeback (Grove Atlantic, 2018), rekindles a childhood obsession with professional cycling. Daniel is married to Sophie Yarborough, a senior editor at The Washington Post​. They and their children live outside Washington D.C. Daniel Moran earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers and articles on G. K. Chesterton and John Ford, he teaches research and writing at Rutgers and co-hosts the podcast Fifteen-Minute Film Fanatics, found here on the New Books Network and on X. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

The story of the epic friendship between John Belushi and Dan Aykroyd, the golden era of improv, and the making of a comedic film classic that helped shape our popular culture. "They're not going to catch us," Dan Aykroyd as Elwood Blues tells his brother Jake, played by John Belushi. "We're on a mission from God." So opens the musical action comedy The Blues Brothers, which hit theatres on June 20, 1980. Their scripted mission was to save a local Chicago orphanage; but Aykroyd, who conceived and wrote the film, had a greater mission: to honor the then-seemingly forgotten tradition of rhythm and blues, some of whose greatest artists-Aretha Franklin, James Brown, John Lee Hooker, Cab Calloway, Ray Charles-made the film as unforgettable as its wild car chases. Late and vastly over budget, beset by mercurial and oft drugged-out stars, The Blues Brothers opened to tepid reviews at best. However, in the 44 years since it has been acknowledged a classic: inducted into the National Film Registry for its cultural significance; even declared a "Catholic classic" by the Church itself; and re-aired thousands of times on television to huge worldwide audiences. It is, undeniably, one of the most significant films of the 20th century. The story behind any classic is rich; the saga behind The Blues Brothers, as Daniel de Visé reveals, is epic, encompassing the colorful childhoods of Belushi and Aykroyd; the comedic revolution sparked by Harvard's Lampoon and Chicago's Second City; the birth and anecdote-rich, drug-filled early years of Saturday Night Live, where the Blues Brothers were born as an act amidst turmoil and rivalry; and of course the indelible behind-the-scenes narrative of how the film was made, scene by memorable scene. Based on original research and dozens of interviews probing the memories of principals from director John Landis and producer Bob Weiss to SNL creator Lorne Michaels and Aykroyd himself, The Blues Brothers vividly portrays the creative geniuses behind modern comedy.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

This week, we're on a mission from God. Journalist and author Daniel de Visé discusses his book The Blues Brothers: An Epic Friendship, the Rise of Improv, and the Making of an American Classic. Hit it. This conversation originally took place March 19, 2024 and was recorded live at the American Writers Museum. AWM PODCAST NETWORK HOME More about The Blues Brothers: "They're not going to catch us," Dan Aykroyd as Elwood Blues tells his brother Jake, played by John Belushi. "We're on a mission from God." So opens the musical action comedy The Blues Brothers, which hit theatres on June 20, 1980. Their scripted mission was to save a local Chicago orphanage; but Aykroyd, who conceived and wrote the film, had a greater mission: to honor the then-seemingly forgotten tradition of rhythm and blues, some of whose greatest artists—Aretha Franklin, James Brown, John Lee Hooker, Cab Calloway, Ray Charles—made the film as unforgettable as its wild car chases. Late and vastly over budget, beset by mercurial and oft drugged-out stars, The Blues Brothers opened to tepid reviews at best. However, in the 44 years since it has been acknowledged a classic: inducted into the National Film Registry for its cultural significance; even declared a “Catholic classic” by the Church itself; and re-aired thousands of times on television to huge worldwide audiences. It is, undeniably, one of the most significant films of the 20th century. The story behind any classic is rich; the saga behind The Blues Brothers, as Daniel de Visé reveals, is epic, encompassing the colorful childhoods of Belushi and Aykroyd; the comedic revolution sparked by Harvard's Lampoon and Chicago's Second City; the birth and anecdote-rich, drug-filled early years of Saturday Night Live, where the Blues Brothers were born as an act amidst turmoil and rivalry; and of course the indelible behind-the-scenes narrative of how the film was made, scene by memorable scene. Based on original research and dozens of interviews probing the memories of principals from director John Landis and producer Bob Weiss to SNL creator Lorne Michaels and Aykroyd himself, The Blues Brothers vividly portrays the creative geniuses behind modern comedy.

The story of the epic friendship between John Belushi and Dan Aykroyd, the golden era of improv, and the making of a comedic film classic that helped shape our popular culture. "They're not going to catch us," Dan Aykroyd as Elwood Blues tells his brother Jake, played by John Belushi. "We're on a mission from God." So opens the musical action comedy The Blues Brothers, which hit theatres on June 20, 1980. Their scripted mission was to save a local Chicago orphanage; but Aykroyd, who conceived and wrote the film, had a greater mission: to honor the then-seemingly forgotten tradition of rhythm and blues, some of whose greatest artists-Aretha Franklin, James Brown, John Lee Hooker, Cab Calloway, Ray Charles-made the film as unforgettable as its wild car chases. Late and vastly over budget, beset by mercurial and oft drugged-out stars, The Blues Brothers opened to tepid reviews at best. However, in the 44 years since it has been acknowledged a classic: inducted into the National Film Registry for its cultural significance; even declared a "Catholic classic" by the Church itself; and re-aired thousands of times on television to huge worldwide audiences. It is, undeniably, one of the most significant films of the 20th century. The story behind any classic is rich; the saga behind The Blues Brothers, as Daniel de Visé reveals, is epic, encompassing the colorful childhoods of Belushi and Aykroyd; the comedic revolution sparked by Harvard's Lampoon and Chicago's Second City; the birth and anecdote-rich, drug-filled early years of Saturday Night Live, where the Blues Brothers were born as an act amidst turmoil and rivalry; and of course the indelible behind-the-scenes narrative of how the film was made, scene by memorable scene. Based on original research and dozens of interviews probing the memories of principals from director John Landis and producer Bob Weiss to SNL creator Lorne Michaels and Aykroyd himself, The Blues Brothers vividly portrays the creative geniuses behind modern comedy.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

Episode 197 ...  for the week March 11, 2024, and this is what is going on in our Disney World...Phil Solo Show!Barbara Bouza out as Walt Disney Imagineering President- Took over WDI from Bob Weiss in 2021. Said WDI is in good hands with Bruce Vaughn- Interesting timing with the $60bn to be spent and several months ahead of D23 Fan EventStarts @1:48 ...Down & Back Trip and EPCOT After Hours Review- Phil and his sone just did a quick trip down to Orlando, on the grounds for 19 hours, and attended the EPCOT After Hours events.- How was it to do such a quick trip and what did we think of the After Hours event?Starts @4:26 ...* Reminder to like, subscribe, rate, and review the DBC Pod wherever you get your podcast *Send us an e-mail! .... thedbcpodcast@gmail.comFollow us on social media:- LinkTree: https://linktr.ee/thedbcpod - Instagram: https://www.instagram.com/TheDBCPod/- Twitter: https://twitter.com/TheDBCPod- Facebook: https://www.facebook.com/TheDBCPod- YouTube Channel: https://www.youtube.com/thedbcpod- Discord Server: https://discord.com/invite/cJ8Vxf4BmQNote: This podcast is not affiliated with any message boards, blogs, news sites, or other podcasts

The Chicago Bears have announced that they are hiring Shane Waldron to be their next offensive coordinator. This news broke AFTER our recording, but was he one of the top candidates? Did Ryan Pace and Matt Eberflus make the right hire?SUBSCRIBE to our YouTube Channel if you agree with "F the Packers!" Hit the LIKE button if you enjoyed that Jordan Love interception vs SF! The Halas Huddle welcomes Bob Weiss back for this episode as Rob, Justin and Bob give their top three offensive coordinator candidates and discuss who they have on their "Do Not Hire" list! Where did Shane Waldron fit in? Then, Ryan Poles is visited by three spirits to help him decide what path he should take regarding Justin Fields. Should Fields remain as the starting quarterback in 2024 or should the team move on from him and draft Caleb Williams? Could Justin Fields be the answer for 2024 knowing that he does not necessarily need to be the guy going forward? Trading the first-overall pick could land a huge draft haul that could set the Chicago Bears up for a new quarterback in 2025 or 2026 should Fields fail to develop. Finally, is Justin Fields the future, franchise quarterback of this team? The locker room seems to believe in him. Is Ryan Pace willing to blow up the Bears' locker room continuity or should he run it back with Fields as the starting quarterback now and into the future?

In Episode 57 of The Halas Huddle, Justin Onayemi and Bob Weiss breakdown a disappointing performance by the Chicago Bears, and discuss what this game means for Justin Fields and his future as a franchise quarterback. #chicagobears #greenbaypackers #justinfields #jordanlove #week1Hit the like button and SUBSCRIBE on YouTube to WIN a free Chicago Bears jersey of your choice!

In this episode, hear from Bob Weiss, director of 737 and 767 BCFs at Boeing Global Services.Boeing continues to diversify its conversion locations, with the Joramco facility in Jordan announcing this week that it will host a conversion line for the 737-800BCF program, joining other upcoming sites like KF Aerospace in Canada and GMR Aero Technic in India.After redelivering its 100th 737-800BCF last year, Boeing has also hit other milestones on its narrowbody conversion program in 2023, including the twentieth at GAMECO and the seventieth at STAECO.Meanwhile, Boeing also marked the fifteenth anniversary of its 767-300BCF program this year. Tune in to this week's podcast as Cargo Facts Editor Jeff Lee discusses these topics and more with Weiss, who will speak on a panel covering the freighter conversion market at Cargo Facts Symposium in October.

Former NBA Guard and Coach Bob Weiss joins the show this week to talk about his time in the NBA, playing with Wilt Chamberlin and signing autographs for fans. In Hobby Happenings Drew and I review recent auction results, talk about new releases and other hobby new. Send questions and feedback to us at ttmcast@yahoo.com

On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----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.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----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.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Justin Onayemi and guest co-host Bob Weiss discuss the thrilling Week 1 win for the Chicago Bears over the San Francisco 49ers. They discuss the early evidence of the HITS principle in action, along with pivotal players and plays from the game.

Judge Robert "Bob" Weiss joined Wake Up Memphis to share why he's running for re-election and why some call him "The Love Judge." See omnystudio.com/listener for privacy information.

The Eastern Professional Basketball League (1946-78) was fast and physical, often played in tiny, smoke-filled gyms across the northeast and featuring the best players who just couldn't make the NBA—many because of unofficial quotas on Black players, some because of scandals, and others because they weren't quite good enough in the years when the NBA had less than 100 players. In "Boxed out of the NBA: Remembering the Eastern Professional Basketball League," Syl Sobel and Jay Rosenstein tell the fascinating story of a league that was a pro basketball institution for over 30 years, showcasing top players from around the country. During the early years of professional basketball, the Eastern League was the next-best professional league in the world after the NBA. It was home to big-name players such as Sherman White, Jack Molinas, and Bill Spivey, who were implicated in college gambling scandals in the 1950s and were barred from the NBA, and top Black players such as Hal “King” Lear, Julius McCoy, and Wally Choice, who could not make the NBA into the early 1960s due to unwritten team quotas on African-American players. Featuring interviews with some 40 former Eastern League coaches, referees, fans, and players—including Syracuse University coach Jim Boeheim, former Temple University coach John Chaney, former Detroit Pistons player and coach Ray Scott, former NBA coach and ESPN analyst Hubie Brown, and former NBA player and coach Bob Weiss—this book provides an intimate, first-hand account of small-town professional basketball at its best. Syl Sobel is the author of five children's books on U.S. history and government. He is an award-winning journalist, attorney, contributor to the op ed page of various newspapers, and was for many years the director of publications for a federal government agency. Jay Rosenstein was a reporter for the newspaper American Banker and a financial writer for a federal government agency for many years. He now writes books for adults and children. The authors grew up together in Scranton, PA, home to one of the Eastern League's anchor franchises, the Scranton Miners and Apollos. Rosenstein was a statistician for the team.

Morgan White Jr. fills in on NightSide with Dan Rea:Millions traveled, and are still traveling, this holiday season despite COVID-19 and all its variants. Travelers have become savvier in protecting themselves from the virus and there are still lots of deals to be had. Joining Morgan to talk all things travel is guru Bob Weiss.

Pete, Chris, Joey, and CK throw down a bonus episode for the members of their 666 Club, the Patreon supporters.  This time they discuss the original gangster, Al Capone.  They detail his crazy life and rise to power in Chicago and beyond.Included is an interview they did with Bob Weiss, owner of Shaker's Cigar Bar in Milwaukee, where Al and Ralph Capone ran a speakeasy during Prohibition.Brought to you by Spellbound FX and Art - a dark and disturbing artwork.  Visit their website for an amazing online catalog and support underground indie artists.Visit Shaker's Cigar Bar in Milwaukee today!Follow Joey's Goremonger page for updates on his music and his distro, FTA Records.Check out Stuck Up Sticker Company and get stickers, banners, and more! Go to Murder Metal Mayhem to listen to our show!Order one of the new MMM shirts with the zombie design from Jeff Gaither!Like us on Facebook, Follow us on Twitter, and Subscribe to our YouTube channel.Join the 666 Club and become a Patreon supporter of the show.  Only $3 a month for bonus content, VIP access, discounts on merch and more!Go to PeteAltieri.com to buy Pete's books and get the latest on what he's doing writing horror stories and novels!Check out Pete's other podcast on horror, Voice Of Dread.

The Eastern Professional Basketball League (1946-78) was fast and physical, often played in tiny, smoke-filled gyms across the northeast and featuring the best players who just couldn't make the NBA—many because of unofficial quotas on Black players, some because of scandals, and others because they weren't quite good enough in the years when the NBA had less than 100 players. In Boxed out of the NBA: Remembering the Eastern Professional Basketball League (Rowman and Littlefield, 2021), Syl Sobel and Jay Rosenstein tell the fascinating story of a league that was a pro basketball institution for over 30 years, showcasing top players from around the country. During the early years of professional basketball, the Eastern League was the next-best professional league in the world after the NBA. It was home to big-name players such as Sherman White, Jack Molinas, and Bill Spivey, who were implicated in college gambling scandals in the 1950s and were barred from the NBA, and top Black players such as Hal “King” Lear, Julius McCoy, and Wally Choice, who could not make the NBA into the early 1960s due to unwritten team quotas on African-American players. Featuring interviews with some 40 former Eastern League coaches, referees, fans, and players—including Syracuse University coach Jim Boeheim, former Temple University coach John Chaney, former Detroit Pistons player and coach Ray Scott, former NBA coach and ESPN analyst Hubie Brown, and former NBA player and coach Bob Weiss—this book provides an intimate, first-hand account of small-town professional basketball at its best. Paul Knepper used to cover the Knicks for Bleacher Report. His first book, The Knicks of the Nineties: Ewing, Oakley, Starks and the Brawlers That Almost Won It All was published in September 2020. You can reach Paul at paulknepper@gmail.com and follow him on Twitter @paulieknep. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The Eastern Professional Basketball League (1946-78) was fast and physical, often played in tiny, smoke-filled gyms across the northeast and featuring the best players who just couldn't make the NBA—many because of unofficial quotas on Black players, some because of scandals, and others because they weren't quite good enough in the years when the NBA had less than 100 players. In Boxed out of the NBA: Remembering the Eastern Professional Basketball League (Rowman and Littlefield, 2021), Syl Sobel and Jay Rosenstein tell the fascinating story of a league that was a pro basketball institution for over 30 years, showcasing top players from around the country. During the early years of professional basketball, the Eastern League was the next-best professional league in the world after the NBA. It was home to big-name players such as Sherman White, Jack Molinas, and Bill Spivey, who were implicated in college gambling scandals in the 1950s and were barred from the NBA, and top Black players such as Hal “King” Lear, Julius McCoy, and Wally Choice, who could not make the NBA into the early 1960s due to unwritten team quotas on African-American players. Featuring interviews with some 40 former Eastern League coaches, referees, fans, and players—including Syracuse University coach Jim Boeheim, former Temple University coach John Chaney, former Detroit Pistons player and coach Ray Scott, former NBA coach and ESPN analyst Hubie Brown, and former NBA player and coach Bob Weiss—this book provides an intimate, first-hand account of small-town professional basketball at its best. Paul Knepper used to cover the Knicks for Bleacher Report. His first book, The Knicks of the Nineties: Ewing, Oakley, Starks and the Brawlers That Almost Won It All was published in September 2020. You can reach Paul at paulknepper@gmail.com and follow him on Twitter @paulieknep. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sports

The Eastern Professional Basketball League (1946-78) was fast and physical, often played in tiny, smoke-filled gyms across the northeast and featuring the best players who just couldn't make the NBA—many because of unofficial quotas on Black players, some because of scandals, and others because they weren't quite good enough in the years when the NBA had less than 100 players. In Boxed out of the NBA: Remembering the Eastern Professional Basketball League (Rowman and Littlefield, 2021), Syl Sobel and Jay Rosenstein tell the fascinating story of a league that was a pro basketball institution for over 30 years, showcasing top players from around the country. During the early years of professional basketball, the Eastern League was the next-best professional league in the world after the NBA. It was home to big-name players such as Sherman White, Jack Molinas, and Bill Spivey, who were implicated in college gambling scandals in the 1950s and were barred from the NBA, and top Black players such as Hal “King” Lear, Julius McCoy, and Wally Choice, who could not make the NBA into the early 1960s due to unwritten team quotas on African-American players. Featuring interviews with some 40 former Eastern League coaches, referees, fans, and players—including Syracuse University coach Jim Boeheim, former Temple University coach John Chaney, former Detroit Pistons player and coach Ray Scott, former NBA coach and ESPN analyst Hubie Brown, and former NBA player and coach Bob Weiss—this book provides an intimate, first-hand account of small-town professional basketball at its best. Paul Knepper used to cover the Knicks for Bleacher Report. His first book, The Knicks of the Nineties: Ewing, Oakley, Starks and the Brawlers That Almost Won It All was published in September 2020. You can reach Paul at paulknepper@gmail.com and follow him on Twitter @paulieknep. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Eastern Professional Basketball League (1946-78) was fast and physical, often played in tiny, smoke-filled gyms across the northeast and featuring the best players who just couldn't make the NBA—many because of unofficial quotas on Black players, some because of scandals, and others because they weren't quite good enough in the years when the NBA had less than 100 players. In Boxed out of the NBA: Remembering the Eastern Professional Basketball League (Rowman and Littlefield, 2021), Syl Sobel and Jay Rosenstein tell the fascinating story of a league that was a pro basketball institution for over 30 years, showcasing top players from around the country. During the early years of professional basketball, the Eastern League was the next-best professional league in the world after the NBA. It was home to big-name players such as Sherman White, Jack Molinas, and Bill Spivey, who were implicated in college gambling scandals in the 1950s and were barred from the NBA, and top Black players such as Hal “King” Lear, Julius McCoy, and Wally Choice, who could not make the NBA into the early 1960s due to unwritten team quotas on African-American players. Featuring interviews with some 40 former Eastern League coaches, referees, fans, and players—including Syracuse University coach Jim Boeheim, former Temple University coach John Chaney, former Detroit Pistons player and coach Ray Scott, former NBA coach and ESPN analyst Hubie Brown, and former NBA player and coach Bob Weiss—this book provides an intimate, first-hand account of small-town professional basketball at its best. Paul Knepper used to cover the Knicks for Bleacher Report. His first book, The Knicks of the Nineties: Ewing, Oakley, Starks and the Brawlers That Almost Won It All was published in September 2020. You can reach Paul at paulknepper@gmail.com and follow him on Twitter @paulieknep. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies

The Eastern Professional Basketball League (1946-78) was fast and physical, often played in tiny, smoke-filled gyms across the northeast and featuring the best players who just couldn't make the NBA—many because of unofficial quotas on Black players, some because of scandals, and others because they weren't quite good enough in the years when the NBA had less than 100 players. In Boxed out of the NBA: Remembering the Eastern Professional Basketball League (Rowman and Littlefield, 2021), Syl Sobel and Jay Rosenstein tell the fascinating story of a league that was a pro basketball institution for over 30 years, showcasing top players from around the country. During the early years of professional basketball, the Eastern League was the next-best professional league in the world after the NBA. It was home to big-name players such as Sherman White, Jack Molinas, and Bill Spivey, who were implicated in college gambling scandals in the 1950s and were barred from the NBA, and top Black players such as Hal “King” Lear, Julius McCoy, and Wally Choice, who could not make the NBA into the early 1960s due to unwritten team quotas on African-American players. Featuring interviews with some 40 former Eastern League coaches, referees, fans, and players—including Syracuse University coach Jim Boeheim, former Temple University coach John Chaney, former Detroit Pistons player and coach Ray Scott, former NBA coach and ESPN analyst Hubie Brown, and former NBA player and coach Bob Weiss—this book provides an intimate, first-hand account of small-town professional basketball at its best. Paul Knepper used to cover the Knicks for Bleacher Report. His first book, The Knicks of the Nineties: Ewing, Oakley, Starks and the Brawlers That Almost Won It All was published in September 2020. You can reach Paul at paulknepper@gmail.com and follow him on Twitter @paulieknep. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Morgan White Jr. fills in on NightSide with Dan Rea:With cruise lines beginning to set sail again, it's important to know how to navigate the current industry and find the best deals. Cruise bargains are found everywhere, from a general online search to Twitter. Knowing where and when to search could mean the difference between a low fare or a compromise on price and itinerary. Joining Morgan to sail you to the bargains is travel expert Bob Weiss.

Jordan Rich Fills In On Nightside with Dan Rea - Rundown for May 31, 2021 If you are fully vaccinated against COVID-19 you can travel freely within the U.S. while continuing to take precautions, such as wearing a mask, sanitizing frequently, and avoiding crowds. International travel is a little trickier, but still widely possible. Travel expert Bob Weiss joins Jordan to discuss the latest travel statistics and what to expect on cruises and airlines moving forward. Are your bags already packed?

We have an exciting show planned with Bob Weiss of Shaker's Cigar Bar Milwaukee & Hangman Ghost Tours!

Founded as the "Eastern Pennsylvania Basketball League" for its first season in post-war 1946 - and later (1970-78) known as the Eastern Basketball Association before eventually morphing into the NBA's semi-official minor-league Continental Basketball Association - the Eastern Professional Basketball League was the probably greatest pro hoops circuit you've never heard of. The EPBL was a fast-paced and physical affair, often played in tiny, smoke-filled gyms across the northeast and featuring standout players who found themselves "boxed out" of the NBA for a variety of reasons - unspoken quotas on Black players (like Hal “King” Lear, Julius McCoy, & Wally Choice), collegiate point-shaving scandals (e.g., Sherman White, Jack Molinas, Bill Spivey), or simply the harsh math of a 1950s/60s NBA that counted less than 100 roster slots total across its 8-10 franchises. Syl Sobel and Jay Rosenstein ("Boxed Out of the NBA: Remembering the Eastern Professional Basketball League") join the show to delve into the fascinating story of a league that, for over 30 years, was the next-best professional league in the world after the NBA. And featured a bevy of eventual basketball luminaries - like Syracuse University coach Jim Boeheim, former Temple University coach John Chaney, former Detroit Pistons player & coach Ray Scott, former NBA coach & TV analyst Hubie Brown, and former NBA player & coach Bob Weiss - who went on to make their marks upon the modern game.   If you remember teams like the Scranton Milers, Wilkes-Barre Barons, Sunbury Mercuries or Allentown Jets - this is the episode for you! Support the show by trying one month of BlueChew for FREE (just pay $5 shipping) with promo code GOODSEATS at checkout!

Hello everyone today on GTP we are talking with Bob Weiss we is a proud owner of Shaker's Cigar Bar in downtown Milwaukee, WI, we are going to talk to bob about the history & the hauntings of Shaker's so please join us on this journey through Shaker's Cigar Bar with Bob Weiss. Shakers Cigar Bar Websites Main website: https://www.shakerscigarbar.com Hang man tours website: https://www.hangmantours.com/?gclid=Cj0KCQiAv6yCBhCLARIsABqJTjaTdKbbGpISt-XJbMzC2nW6rFH6p1UXofSt7W3-8YTDAeaPqvA_JeMaAieDEALw_wcB Youtube Podcast channel: https://www.youtube.com/channel/UCvXJNESs9j5dVe3LIzTbhGg/featured Ghost Travelers Podcast Links: Instragram page: pj_gtp Facebook: https://www.facebook.com/GhostTravelers Youtube Channel: https://www.youtube.com/user/pjkilgorez Music for GTP is Spencer Joyce Music: https://www.facebook.com/spencerjoycemusic

Pete, Chris, Joey, and CK throw down a Jeffrey Dahmer bonus episode that was previously released as exclusive content for members of the 666 Club. The guys talk about the gruesome murders, cannibalism, and necrophilia that surrounds the Dahmer story. An iconic case like this deserves a special episode.They interview Bob Weiss, owner of Shaker's Cigar Bar in Milwaukee, who has a lot of interesting insight into the case. They also interview filmmaker and author, John Borowski,, to discuss his book, "Dahmer's Confession.". It's a fascinating episode!Music by Slayer and Soulfly.Check out our sponsor, Spellbound FX and Art for all your sick and twisted art needs. They've got a killer online catalog of silicone body parts and much more.Please visit Shaker's Cigar Bar in Milwaukee and book your own ghost tour or the walking Jeffrey Dahmer Cream City Cannibal tour.You can purchase books or movies by John Borowski and support indie artists like him.Join our 666 Club today and be a Patreon supporter. Get VIP access to the show.Go to Murder Metal Mayhem to listen to the show.Like us on Facebook, Follow us on Twitter, and Subscribe to our YouTube channel.Go to PeteAltieri.com to buy Pete's books and get the latest on what he's doing writing horror stories and novels!

Rejecting the Screen goes ISO with Kevin Willis, one of the longest tenured players in NBA history. The 1992 NBA All-Star talks about the remarkable amount of weight he's bench pressing at 57-years old, his relationship with David Stern, remembering Vince Carter and Tracy McGrady as rookies, and playing in MTV's Rock N' Jock Game with Leonardo DiCaprio. Kevin explains what it was like to play alongside some of the greatest players of all-time during over 20 seasons in the NBA and tells fascinating stories, including how Magic Johnson helped recruit him to Michigan State, finding out he made the 1992 NBA All-Star Game, and how he celebrated winning the 2003 NBA Championship. -- How much is Kevin Willis bench pressing now? (1:00) Memories of the famous 1984 NBA Draft (2:30) Relationship with David Stern (6:00) Impact of the dress code (12:30) The Hawks first charter flights (14:15) The dunking exploits of Dominique Wilkins and Spud Webb (16:45) "The Tall Boys" rap, Hugs Not Drugs (19:30) Bob Weiss questioning Kevin's decision-making (21:00) Looking back at Game 7 of the 1988 Eastern Conf. Semifinals (24:15) What Kevin thought of Jon Koncak's infamous contract (26:30) Playing with "rage" and how Hakeem Olajuwon helped change his mindset (30:00) Kevin's All-Back Alley Team (35:45) Why he started wearing elbow pads (36:45) Finding out he made the 1992 NBA All-Star Game (38:15) How Kevin ended up at Michigan State & Magic Johnson's part in his recruitment (42:00) Getting traded 2 games into the 1994 season (45:45) Signing with the Spurs (50:15) Celebrating a Spurs title by playing paintball (53:00) Providing Tim Duncan with clothing (54:00) What makes Gregg Popovich special (54:30) Nights out with Dominique Wilkins (59:15) Playing in 1992 Rock N' Jock Game with Leonardo DiCaprio & other celebs (1:01:15) Advice for someone looking to up their fashion game (1:02:00) Best player ever to wear a size 13 shoe (1:03:15) Having Charles Barkley as a teammate (1:04:00) Post players who talked the most trash (1:05:45) Playing with Vince Carter & Tracy McGrady in Toronto (1:07:30) Who he'd want to reject the screen and go iso in a must-win situation (1:10:00) -- Please subscribe to the podcast, rate, review and share with your friends! Rejecting the Screen is part of the Locked On Podcast Network. Follow Noah on Twitter @NoahCoslov and Adam @NaismithLives Learn more about your ad choices. Visit megaphone.fm/adchoices

Some people fish to live and other live to fish – Doc is the latter. In this episode, we explore this Legendary Louisiana Anglers addiction. He not only tells us how it started on the banks of the City Park Lagoon in New Orleans, but how it almost ended his life in a foreign land. In addition, he reflects on how he won the CCA STAR Tournament as well as other high profile tournaments, and his participation in the former Louisiana Trout Watchers program. Without a doubt, if you are an addict like him or I, you will not want to miss this episode.

Pete and Chris hit their 75th episode milestone and recount their amazing trip to the most haunted bar in the US, Shaker's Cigar Bar in Milwaukee. They were at Shaker's in 2018 and were invited back by owner, Bob Weiss. The guys were treated like VIPs and enjoyed the nostalgia of the experience with house band, Dead Man's Carnival. They were joined by friends and family and made the trip on Thursday October 3, 2019. Seance conducted by Emily Hall of Waxing Gibbous Tarot.Music by Dead Mans Carnival.Murder Metal Mayhem intro music by Low Twelve.Book your own tour of the incredible Shaker's Cigar Bar, including the classic ghost tour, seance, or the amazing Jeffrey Dahmer Cream City Cannibal walking tour. Great food, incredible drinks, world class cigars, and a wonderful staff that make you feel like you're home.Go to Murder Metal Mayhem to hear all the past shows and bonus content. Like us on Facebook, Follow us on Twitter, and Subscribe to our YouTube channel.Join the 666 Club and be a Patreon supporter! For only $3 a month you'll get the episodes and notes for the show before anyone, get the karaoke songs before anyone else hears them, discounts on merch, and bonus content only for the VIPs.Visit Spellbound FX and Art for the most unbelievably life-like horror movie props, Gein-inspired sick art pieces, and incredible artwork from Tony Campagno. Check out Psycho Killer Bobbleheads for their amazing collection of 16 bobbleheads of serial killers and dark historical figures!Check out PeteAltieri.com to buy Pete's books and get the latest on what he's doing writing horror stories and novels! His newest book, Creation of Chaos Volume 2: 12 Ways to Make You Die is out now and can be purchased here or on Amazon.

Pete and Chris hammer out another killer podcast, this time with a feature on murderbelia. At just over 2 1/2 hours, it is the longest podcast they've done yet! The guys interview Bob Weiss, of Hangman Tours and the Dahmer Cream City Cannibal Tour, plus William Harder of Murder Auction and Psycho Killer Bobbleheads. Both Bob and William share their thoughts on selling murderbelia and what they think about those who try and stop the practice. CK talks about the Misfits, a Metal Killer Cage Match, an update on the MMM book coming this fall, a funny mayhem story from Pete about a crazed crack head that attacked him, karaoke destruction, and much more.Music by Misfits, Destruction, Abnormality, and Truth Corroded.Go to Psycho Killer Bobbleheads and get one today - get the whole collection of 16 or one of their awesome shirts!Book a ghost tour at Hangman Tours or a Dahmer Cream City Cannibal tour at the amazing Shaker's Cigar Bar in Milwaukee!Buy some killer merch and real true crime stuff at Murder Auction.Go to MurderMetalMayhem for all the latest news, listen to all the past shows.Check out MMM on TwitterGo to PeteAltieri to buy Pete's books and get the latest on what he's doing writing horror stories and novels!Karaoke by I Kill Karaoke ReverbNation.com/ikillkaraoke

Bob Weiss / 2 Corinthians 9 / 07.15.18

Pete and Chris deliver episode 14 with a feature on Billy Milligan and his bizarre 23 personalities. Billy's frightening story was the inspiration for Split and many other books/movies that deal with multiple personalities. They have Pete's daughter, Katie Altieri, in studio as an expert on the subject. The band Pentagram is also featured by Chris Kovacs and Bob Weiss of Shaker's Cigar Bar in Milwaukee is interviewed. Pete discusses his new novel, The Dreadful Lives of Enoch Strange, plus the usual mayhem and silliness are overflowing with this 105-minute behemoth! Music by Aeon, Pro-Pain, Pentagram, and Malevolent Creation.

Our psychedelic road trip stops in NOLA for a fucken dope sit down with activist Max Geller and editor extraordinaire Bob Weiss. This is a far out, far reaching conversation about adderall, education, activism, disaster capitalism, sexual harassment, taking LSD on Bourbon Street and much much more. Follow Max & Bob on insta! @maximumwage @renoir_sucks_at_painting @bobweiszsucks @areyoufourrealz Subscribe on iTunes: goo.gl/Ytp3nx Recorded 10/22/17 New Orleans, LA veryape.tv

In episode #004 of The Raiken Profit Show we talk with stage 4 cancer survivor Bob Weiss about how to make money online. Back in 2008 Bob was diagnosed with Hodgkin's Lymphoma. Bob was able to beat the cancer and now loves to educate others on how to make small and smarter choices in life. In addition, Bob now runs multiple businesses online and also operates a small home watch and concierge business in Naples, Florida. In this episode we will talk about Bob's journey beating cancer, how he was able to build multiple income streams online, and tips for overcoming challenges in life. Click Here To Watch This Video On YouTube

Gideon Hamilton fills in for Al Eschbach and is joined by a multitude of guests including: Bob Weiss of Othello’s Restaurant, Ryan Aber of the Oklahoman, Michael Lee of the Vertical (Yahoo Sports), and Kyle Porter of CBS Sports.

Curtis Harris of Pro Hoops History joins us again to discuss the 1967 Philadelphia 76ers, the record-setting team that ended the Boston Celtics' 8-year championship streak, on the latest episode of the Over and Back Classic NBA Podcast. We talk about Curtis' project with the 76ers called Spirit of the Champion (http://www.nba.com/sixers/spiritofthechampion), commemorating the 68-win championship team that is on the short list of greatest teams in pro basketball history, and what it was like to attend the team's 50th anniversary dinner. We look at how the team fits at a key juncture in NBA history, when the ABA and expansion began to dramatically change the sport. We discuss how the franchise transitioned from the Syracuse Nationals in the early 1960s, how established stars like Hal Greer and Chet Walker adjusted to Wilt Chamberlain joining the team in 1965, the brutal playoff losses to the Celtics (including "Havlicek stole the ball" in 1965), what in Chamberlain's game changed in 1967, and how coach Alex Hannum knew how to work with superstars and bench players and everyone in between. We also discuss the smooth shooting and rugged defense of Greer, Walker's clutch scoring, Billy Cunningham springing all over the court, Luke Jackson's prowess on the boards, Wali Jones' perimeter freedom, and Larry Costello being the old man of the team. We also talk about the contributions of the tough Dave Gambee, rookie Matt Guokas, Bill Melchionni and Bob Weiss, and what ended up preventing the Sixers from becoming a dynasty. See omnystudio.com/listener for privacy information.

Adam and Aaron discuss Dominique Wilkins' first-game back in Atlanta, as an opposition player - March 25th, 1994. Nique dropped 36 points on his former team, as the L.A. Clippers defeated the Atlanta Hawks by three points. This game took place just four weeks after the Hawks' blockbuster trade, that sent Dominique to the Clippers, in exchange for two-time NBA All-Star, Danny Manning. We discuss all the key aspects of the game. We talk about the SportSouth broadcast and its commentary team of Tim Brando and Mike Glenn. Bob Weiss is overlooked in this story-line. He was now coaching the Clippers, however, had just spent the previous three seasons, with the Hawks. We chat about the commentary team's mention of an alleged rivalry between former teammates, Kevin Willis (1992 NBA All-Star) and The Human Highlight Film. We talk about each team's roster and our memories and opinions on this memorable match-up - arguably a forgotten gem of the 1994 NBA season. As per usual, the conversation is scattered with humor and plenty of insight. A must-listen, for die-hard NBA fans, regardless of the team you support. The most prominent players mentioned in this episode, include: Ron Harper, Mark Jackson, Mookie Blaylock, Stacey Augmon, Bo Outlaw, Harold Ellis, Duane Ferrell, Jon Koncak, John Williams & Elmore Spencer. Statistics mentioned in many episodes, are courtesy of Basketball-Reference. Thanks to Paul Vido of the Downtown team, for the Danny Manning photo (see show notes). Show notes | I appreciate all feedback, FB Page 'Likes' and iTunes ratings / reviews. Follow: Facebook | Twitter | Google+ Subscribe: iTunes | Stitcher | Newsletter | RSS | Website Support Adam via Amazon: click-through and purchase any item (store-wide – within 24 hours) - it helps support the podcast – importantly, at no additional cost to you. Thanks. Feedback: e-mail (audio welcome) | Voicemail

Summary of today's show: Our usual thursday panel of Scot Landry, Susan Abbott, Gregory Tracy, and Fr. Roger Landry consider the news headlines of the week, including the Catholic response to the tragedy in Newtown, Connecticut; the beginning of a new online faith formation course for the Year of Faith called Catholic Faith Essentials; local children winning a national artwork competition for the Missionary Childhood Association; Catholic Voices USA training in Boston for media evangelization; Women Affirming Life Advent breakfast; an award for My Brother's Keeper; restoring a 100-year-old organ; and preparing for Christmas. Listen to the show: Watch the show via live video streaming or a recording later: Today's host(s): Scot Landry and Susan Abbott Today's guest(s): Gregory Tracy, managing editor of the Pilot, the newspaper of the Archdiocese of Boston, and Fr. Roger Landry, pastor of St. Bernadette Parish in Fall River Links from today's show: Some of the stories discussed on this show will be available on The Pilot's and The Anchor's websites on Friday morning. Please check those sites for the latest links. Today's topics: Newtown, CT; Catholic Faith Essentials; Missionary Childhood Association; Catholic Voices USA; Preparing for Christmas 1st segment: Scot Landry welcomed everyone to the show and announced that next week we'll be running “best of” shows next week while the staff takes some time off. This afternoon, Cardinal Seán is celebrating a Mass for the staff of the Pastoral Center. The Pilot is taking a hiatus next week as well, but also preparing for the ordination of Bishop Deeley as they come back with a 50-page special edition. The ordination Mass is Friday, January 4 at the Cathedral of the Holy Cross. Fr. Roger Landry said there's a new venerable in the Church that many will know. Pope Paul VI has been declared venerable, meaning that after a lengthy study of his entire life, he has been declared to have lived Christian virtues to a high degree. Pope Paul led the Church through a very difficult time in society and in the life of the Church with all the upheaval of the Sixties and Seventies. In 500 or 1,000 years, what Paul VI wrote in Humanae Vitae will continue to be revered as preaching an important truth that was proclaimed heroically out of season. Scot said his primary memory of Pope Paul VI was hearing of his death from his parents. Susan said she has more memories of the Pope, of traveling to Rome during a Holy Year and going to an audience with the Pope. As the Pope came in, her son was lifted up to the Pope who blessed and kissed the child. Her son later wrote about the sense of importance attached to that moment for the rest of his life. After the audience, people crowded around to kiss the boy's head. Scot said if miracles are attributed to the intercessory prayers to Paul VI he could be then beatified and canonized. One miracle is already being evaluated for his beatification. Fr. Roger encouraged listeners to ask the Lord specifically through the intercession of Venerable Paul VI for any needs they might have. Scot said the big news across the country is the tragedy in Newtown, Connecticut, last Friday. The coverage in Catholic news is slightly different, with focus on the Church's response. Scot said this could have been any community near us. It was not at all unusual. Cardinal Seán preached about this at all of his Masses last weekend. Greg said it reminded him a little of 9/11 in how it shocked and shook people. Like 9/11 people are turning to their faith for answers to this senseless violence. The story in the Pilot was about the Mass at 11:30 that was scheduled for the Rite of Blessing of the Child in the Womb. He tied together the horror people felt, calling for a ban on assault weapons, calling for improved mental health care. He recalled the Feast of the Holy Innocents and how in this time of joy of Christmas there was also a great sadness of the loss of the innocents in Bethlehem. Scot said in the face of this madness, everyone wants to do something. One of our young Catholics in this Archdiocese, a young woman who was just confirmed in Needham, organized one of the largest candlelight vigils in the area. Jackie Arrondo, 16, of St. Joseph Parish wanted to do something. She rallied support from everywhere in town and 70 people came despite the cold rain that evening. Susan also said she heard from a friend who sent out emails to her friends, asking everyone to pray daily for one of the victims and their family. Scot said one of the faces of the Church's response has been Msgr. Bob Weiss, pastor of St. Rose of Lima parish in Newtown. Fr. Roger said you could see the graces of his priestly ordination working through him. No one is ever trained for this as a priest. He had been clear that there are no magic words in a time like this. Just being present to someone, they show that God is with those in pain. Only God can give the definitive answer. The second thing way he proclaimed was by his tears. He broke down on national television and its important for everyone to see that we Christians grieve, but we grieve differently. We don't grieve as if there is no hope. We had tremendous confidence in the salvation of these first-graders. Many of the parents have also given witness to their Christian faith. Fr. Roger said he changed his own homilies this past weekend to confront this reality because it's on everyone's mind. He tried to say that the one who mourns most is the One who lost 28 children that day, but that's not where God the Father stops. He had sent His own Son into a world that was even worse than ours, even more violent. A man could kill his own family or his slaves for any reason. Herod could slaughter all the children legally. But Jesus came into that world and redeemed and over the course of time, we have built a culture on the Prince of Peace, a culture that respects other human beings. the most important thing we need to recognize that our culture needs God and that's the biggest thing we need to change. Fr. Roger said he was happy at the interfaith prayer service that President Obama spoke at that no one was ashamed to turn to God. Scot said most of the opinion pieces in the Pilot deal with this and Scot said John Garvey's is one of the best. Greg said Garvey says that we've devalued human life and in the end we're reaping what we've sown. He writes about what all these recent mass murderers have in common including a lack of love and hope. Jesus gives us love and hope. It's not inconsequential then when people tell us to keep our faith out of the public square. I think we won't make real headway with the problem unless we change the culture, and that is a job for us, not for the government or the psychiatric profession. The culture that young men grow up in is one where violence is not just present but glamorized. At the national and corporate levels we see unjust wars and the arms trade. At the state level, capital punishment. At the individual level we give constitutional protection to abortion, to video games that simulate assault and murder, and in some places to assisted suicide. We teach our children that they are autonomous moral actors, responsible for defining their values. This produces a culture where the strong decide the fate of the weak. Then when something like this happens we want the government to protect us from the natural consequences of our own folly. When Cain killed Abel, he tried to deflect the Lord's inquiry by suggesting that we are each in charge of our own affairs: “Am I my brother's keeper?” We have to relearn Cain's lesson. Yes, I am my brother's keeper. All life is sacred. We must teach our children habits of virtue, not leave them to chart their own course through the moral life. 2nd segment: In the Pilot this week, we learn that the Archdiocese of Boston is beginning an online faith formation course starting on January 7 and continuing for 30 Monday nights in total. People can participate in their own homes or as groups in parishes. They will be webcast live at 7pm on Mondays or viewers can watch the recordings at their convenience. r. Roger said online learning is becoming more popular and he's thrilled that the Archdiocese of Boston is piloting a program like this. Especially in this year of Faith when we're all called to live our faith better. Fr. Roger hopes to encourage his own parishioners to participate. It's not just for Catholics in the Archdiocese or Massachusetts or even the US. We could have people throughout the English-speaking parts of the world because there aren't similar offerings. Scot said this is free and he hopes that people from everywhere will participate. Also in the Pilot, the Women Affirming Life Advent breakfast took place on December 15. Susan said it was right after the Newtown shooting and it affected all those there. More than 300 people attended. She said it was good for them to be together for Mass and breakfast, especially in the busy-ness of Advent. The Cardinal spoke about it in his homily and also spoke about a woman in the Midwest who'd had quintuplets in the early 1960s and gained some fame for her openness to life who recently died. She said Msgr. James Moroney also addressed the group and offered a gentle wit and great insight and comforting words. Another story in the Pilot is a story about two local grade-school students who won a national artwork contest for Christmas. They do this contest every year and the winners go to Washington, DC, for a Mass in the Basilica. There are 24 winners nationwide and having two from Boston is a big deal. Dominic Udoakang, grade 4, from Cathedral Elementary School in Boston and Jacinta Jaranja, grade 4, from St. Patrick School in Lowell, were the winners. Also in the Pilot, Catholic Voices USA will hold training for laypeople in the Pastoral Center at the beginning of March. Fr. Roger said it prepares bright, young Catholics to be defenders of the Church and her teachings in the media in particular. The group has already had an impact during the HHS mandate debates. Young people throughout New England will be trained to become good evangelizers. It's not just goodwill and knowledge, but technique is also important for being effective. The training isn't just for TV and radio appearances, but also for people engaging family members, friends, and local newspapers. They will learn how to frame issues and help people according to their own categories to come to the truth. Scot said they've already done trainings in Washington, DC, and New York. They've had hundreds of applications for the limited number of spots so Scot encouraged people to apply early. Also in the Pilot are two groups advancing toward ordination as Permanent Deacons. Greg said Cardinal Seán has been supportive of the ministry of permanent deacons in the Archdiocese. In recent years, ordinations have increased from every two years to annual. He said the Pilot is working with the Office of Permanent Deacons to give more visibility to the ministry of deacons. The 11 men who became acolytes are John D. Barry; John H. Beagan. Jr.; John J. Burkly; Paul G. Coletti; Richard J. Cussen; Timothy F. Donohue; Joseph R. Flocco; Joseph P. Harrington; William M. Jackson: Kevin P. Martin, Jr.; and William R. Proulx. The 10 men entering formation, and their home parishes, are: Timothy Booker, St. Bridget Parish (Abington); Paul Carroll, St. Theresa of Lisieux Parish (Sherborn); Joseph Dorlus, St. Angela Parish (Mattapan); James Kearney, St. Mary Parish (Wrentham); Kelley McCormick, St. Mary of the Assumption Parish (Dedham); Jonathan Mosely. St. Bernadette Parish (Randolph); Charles Rossignol, Immaculate Conception Parish (Marlborough); Jose Torres, St. Benedict Parish (Somerville); Roger Vierra, St. Helen Parish (Norwell): and Thomas Walsh, St. William Parish (Tewksbury). Scot said our friends from My Brother's Keeper, Jim and Terry Orcutt, have won a national award from Holy Cross Family Ministries. Also in the Anchor is a great story from St. Anthony in New Bedford about efforts to raise funds for their 100-year-old organ. Fr. Roger said some of the greatest organists in the country have given concerts there on this organ which is a masterpiece. Restoring an organ means all the wooden and leather parts which corrode over time need to be replaced. He said we can't depend only on the poor people who live in inner-city New Bedford to pick up the whole cost. Also in both newspapers is a lot of information about preparing for the last week of Advent and Christmas. Scot asked Susan about her preparations for Christmas. She said she tells herself that Jesus will come whether we are ready or not. Susan said she was in a store recently and was appalled at what is being sold for Christmas cards. She wishes we could all remember the reason for the season. She couldn't find a single box of Christmas cards with a religious theme. Scot said he's noticed a lot of his Catholic friends have started sending cards that said Season's Greetings or Happy Holidays, but this year almost all of the cards he's received from Catholics have said Merry Christmas. Fr. Roger wrote in his column this week that the great scandal of Christmas is that there was no room at the inn and that we have to get right what the innkeepers got wrong. Too often we make those who come to Mass only on Christmas and Easter unwelcome. The New Evangelization is about making people welcome to come back again and again. We have to make these people feel welcome by our actions, by helping them feel comfortable being there and showing our love to them. Scot said the Pilot has a section each week called Faith Alive, which is a response to Cardinal Seán's desire to have more faith formation material. The last few weeks it has focused on Advent and this week on Christmas.

Summary of today's show: When a man is ordained a priest in the Archdiocese of Boston, he is made a promise that his medical, retirement, and other needs will be provided for now and in his elder years. The Christmas collection for the Clergy Funds is part of that promise keeping where the parishioners of the Archdiocese show their love and honor for the priests in their lives. Scot Landry and Fr. Chris O'Connor talk to Fr. Michael Medas and Joe D'Arrigo about the Christmas collection and Clergy Funds, about the priests who've affected their lives, and the meaning of the priesthood as a vocation of spiritual fatherhood. Listen to the show: Watch the show via live video streaming or a recording later: Today's host(s): Scot Landry and Fr. Chris O'Connor Today's guest(s): Joe D'Arrigo, Executive Director of the Clergy Funds, and Fr. Michael Medas, Director of Clergy Personnel Links from today's show: Today's topics: The Christmas Collection for Our Priests 1st segment: Scot Landry welcomed Fr. Chris O'Connor to the show. They noted that the seminarians from St. John's Seminary are taking their final exams and heading home for the holiday. Fr. Chris said he'll be celebrating Mass for Christmas in three or four locations, including for the men at Norfolk State Prison. Scot said he just went to a going-away party for our colleague Anna Johnson who is taking a new job in Seward, Alaska. He said she's one of the friendliest people in the Pastoral Center and has added a lot to our team. Anna and Karla take care of many of the behind-the-scenes aspects of the show. Scot said today we'll talk to Joe D'Arrigo and Fr. Michael Medas about the Christmas day collection for the care of our retired and ailing priests. Fr. Chris said all the priests are grateful for the generous contributions people make for the care of their priests. 2nd segment: Scot said the theme of the show is “promises kept” because the Clergy Funds is in the business of keeping the promises made to our priests. Joe D'Arrigo said when a man becomes a priest he's told that his medical needs, his housing needs, his retirement needs are taken care of. The Clergy Funds are responsible for the health and medical benefits for active and retired priests, stipends for retired priests, and Regina Cleri where 55 of our priests live with assisted care today. Joe said when a young man becomes a priests, he's like other young men, not thinking about retirement or other factors later in life. Most men don't start thinking about retirement until they hit about 60. Many of our priests are still active in their 70s and they start thinking about a transition to a life where they're still active in the sacraments but they can slow down a bit. Clergy Funds makes sure they are taken care of. Many priests live on their own and Clergy Funds has a nurse who goes out to visit them. There are about 150 living on their own today, electing not to live at Regina Cleri. Fr. Michael Medas said about 303 priests are assigned to parish ministries. Beyond that there are priests in other ministries, like hospitals or the seminary. That makes up about 350. Another 350 are in retirement. However priests enter a life of service, so they don't retire from ministry, but continue their service to the people of God. He can continue to live that life of service with the aid of the Clergy Funds. Generosity to the Clergy Funds directly impacts the lives of the people whose lives are touched by that priest. Every contribution allows ministry to continue to touch people's lives. Scot said as we move forward in the Archdiocese, those senior priests will continue to be counted on as the number of active priests decline. Joe said the number of senior priests in ministry will exceed the number of active priests in a few years. The senior priests often allow the active priests to be able to take time off or to go to hospitals or prisons, allowing parishes to have coverage for Masses and other sacraments. Scot said they are senior priests because priesthood isn't a job, like parenthood, it's a vocation. Parents don't retire from parenthood. Joe said he goes to Regina Cleri about once per week and every morning all the men are in the chapel at 8:30am celebrating Mass. It's great to visit with them after they come out and you hear lots of great stories. Scot said every man in the pews is vested as a priest for Mass. Joe said there 2,800 years of priesthood at Regina Cleri. At the moment of consecration, you see the hands of every man move, even those who aren't always coherent. It never leaves them. Those men are the history of the Archdiocese. Joe said Fr. Skip Jennings spent 46 years at St. Joseph in Somerville. He retired and went directly to Regina Cleri. He didn't want to retire, but had a fall and needed to go for respite. He went to Regina Cleri and loved it and stayed. He was loved by his parish and the people love their priests. Joe said they hope for $4 million from the Christmas collection. They spent $6 million in medical benefits this year and $4 million in stipends this year. Scot said the Clergy Funds has tried to focus on the individual priests in our lives, to personalize the collection so that we can each honor the priests in our lives. Most of us had multiple priests who have impacted our lives. Joe said they often don't know they're having an impact on us. Joe talked about the priests that have affected him. He said his wife became ill about 20 years ago and they needed the last rites for her. They called a particular priest who came in about 15 minutes in the middle of the night. There was no question that he would come. Priests touch your heart on a daily basis for many of us. Even for those who don't go to Mass on a regular basis, when they need someone, they are there. Joe said after the events of last Friday, people have turned to their priests. Scot said his own pastor said how proud he was of the pastor in Newtown, Connecticut, Msgr. Bob Weiss, who rose to the occasion. The loving representation of God in the person of the priest shows how priests can affect our lives on the toughest days of our lives. Joe said that could be any one of our priests in this Archdiocese on any given day. Fr. Chris said as he watched the footage and on that first night he wondered where was the Church, and it came out that Msgr. Weiss was with those parents receiving the terrible news. Fr. Chris said in the Boston Globe this week was a front-page story about Fr. Doc Conway in Dorchester, walking the streets, bringing Christ to the people of his neighborhood, both parishioners and not. Fr. Michael said he was inspired by Fr. Henry Ronan. You could see his love for God, as his face reflected his love for Christ. He was so unassuming, yet so faithful to God. He was full of joy and you could see he loved being a priest, because he was rooted in service. Fr. Michael said he is very much aware that it is the people of the archdiocese who value the service and sacrifice of their priests. Fr. Chris said Fr. Dan Dunn at St. Mary's in Dorchester as a senior priest affected him. He was a gentle, humble soul. He remembers Fr. Haley in Holliston who had dinners for all the priests of the area to foster camaraderie. He remembers that Fr. Haley had battles with the people of the parish but yet at his parish they all expressed their love for him and Fr. Chris realized that it was just like a father and his children who sometimes disagree but that there was still love. Scot said growing up he worked in the rectory of St. Michael's in Lowell for six years. Fr. Paul Bailey was like a second father to him. Fr. Paul Sullivan spent time with Scot and his brother on the tennis courts. Fr. Lenny O'Malley worked with a lot of the teens while they were there and gave him great advice. Fr. John Mendicoa taught him how to love to eat. The native of Spain cooked a feast every Tuesday for the Bingo crew. Fr. Charlie Higgins who is now in Newton was a deacon there and gave Scot and his brother Roger invaluable advice as they prepared to go to college. 3rd segment: Scot said to promote this Christmas collection, the Clergy Funds team put together a video about the life of Fr. Skip Jennings. Joe said his reflection on his life as an active priest, what it meant for him, and his astonishment upon his retirement how his parishioners related to him were compelling. Our priests don't realize how much they are loved. At the annual Celebration of the Priesthood dinner brings out 1,400 people. One thousand people write personal notes to their priests. When he has shown the video to priests, every priest takes the story to heart as their own story. Fr. Michael said he heard from Fr. Skip's story how he had become family to the parish, not in some abstract way, but in a concrete way. Because he is a priest, they invite him in where outsiders aren't usually welcome. Priests are blessed and honored to be brought int o the family circle. Every priest wants to become a good spiritual father. Fr. Chris said he's been living at Sacred Heart in East Boston and St. John's in Winthrop for up to eight years and he knows them and they know him. Christ is the common denominator, using His priests to communicate His love. It hit him profoundly when Fr. Jennings said there was no other life possible for him because it was the Lord's calling for him. Scot said Fr. Jennings was blessed to serve 46 years in one place, but how difficult it must be for other priests to receive that call that they are to leave the people they know and love to minister to a new parish. He's heard from priests how difficult it is to be sent somewhere else, but it's part of being a priest. They are always being sent and they serve the people of God wherever the bishop wants them to go. Fr. Michael said the life of a priest is not to be a member of one family, but to serve all. They are called to bring that life of grace through service to many places. Joe said Clergy Funds today has expenses today of about $15 million for health, dental, stipends, disability, housing and more. $4 million is about one quarter of what they need to remain stable and the Funds are stable. Scot pointed out that the numbers of priests in need at advanced ages are increasing. It takes all of us to be even more generous than we've been just five years ago. Joe said it's an increasing challenge. Joe said a 4 percent increase each year in the collection will allow them to remain stable. They have three collections per year plus the Celebration of the Priesthood dinner to provide support for our priests. Fr. Michael talked about how hard it is for priests to ask for people to be generous to themselves. But it is easier to ask them to provide for those priests who are retired now. Scot said it's been since 1972 that the Christmas collection has gone to the Clergy Funds as a matter of equity. Previously the Christmas collection stayed in the parish for those priests, but those in wealthier parishes did better than those in poorer parishes. Joe said the driving principle in the Clergy Funds is to treat all the priests on an equal basis. Scot said people often give the same amount to each special collection that comes up, but now people may want to be a little more generous to this collection. Fr. Chris said the priests do rely on people's generosity and costs for care are increasing. Fr. Michael said Christmas is about the gift of Christ to us. If you need more peace in your life or know someone who does, come to Christmas Mass to receive peace and joy. The envelopes will be in churches this weekend to be brought back on Christmas. People can also . He said people should bring the envelope home and think about what priests have meant in their lives.