Podcasts about charles chaplin

El 'Cinema a la Xarxa' d'aquesta setmana est

Más terror e historias de nuestros invitados. No te olvides seguirnos en Redes Sociales⁠⁠⁠⁠⁠⁠#brujas⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠#paranormal⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠#podcastparanormal⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠#podcast⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠#monterrey⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠#historiasdeterror⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠#historiascortas⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠#ouija⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠#fantasmas⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠#historiasdeterror⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠#terror⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠#horror⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠#miedo

In Cineversary podcast episode #81, host ⁠Erik Martin⁠ goes prospecting for comedic gold by revisiting Charles Chaplin's The Gold Rush on its 100th anniversary. Accompanying him on this expedition is Jeffrey Vance, a film historian, film archivist, and author of the book Chaplin: Genius Of The Cinema. Together, they mine the priceless merits of the Little Tramp's hilarious and impressive adventure, examining how it has stood the test of time, what makes the laughs evergreen, and how scores of imitators have been influenced by this masterwork.Learn more about the Cineversary podcast at www.cineversary.com and email show comments or suggestions to cineversarypodcast@gmail.com.

Jackie and Greg don their champagne flutes and boxing gloves for Charlie Chaplin's CITY LIGHTS from 1931. Topics of discussion include the film's long shooting schedule, Chaplin's perfectionism, where it sits in his filmography, and whether it's his definitive film or not.#50 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#36 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

El gran dictador (The Great Dictator) es una película estadounidense de comedia dramática, estrenada en 1940, con guion, dirección y actuación de Charles Chaplin. Chaplin era el único cineasta en Hollywood que seguía realizando películas mudas cuando el sonido ya estaba plenamente implantado en el cine, y esta fue su primera película sonora.La obra es una feroz y controvertida condena del nazismo, del fascismo, del antisemitismo y de las dictaduras del alemán Adolf Hitler, el italiano Benito Mussolini, así como las dictaduras en general. En el momento de su estreno, los Estados Unidos todavía no habían entrado en guerra con la Alemania nazi. Chaplin desempeña ambos papeles principales, el de un despiadado dictador nazi y el de un barbero judío perseguido. Ahora bien, ¿El pintor austriaco del bigote llegó a verla? Vamos a averiguarlo. Puedes leer más y comentar en mi web, en el enlace directo: https://luisbermejo.com/en-un-lugar-de-la-mancha-06x29/ Puedes encontrarme y comentar o enviar tu mensaje o preguntar en: Web: https://www.luisbermejo.com. X: https://x.com/LuisBermejo Instagram: https://www.instagram.com/luisbermejo/ Facebook: https://www.facebook.com/lbermejojimenez/ Usuario Twitter/Instagram/Telegram: @LuisBermejo Canal Telegram: https://t.me/LuisBermejoPodcast Grupo Whatsapp: https://chat.whatsapp.com/FQadHkgRn00BzSbZzhNviT Y si me quieres invitar a un café: Paypal: https://paypal.me/Bermejo Bizum: +34613031122

Scott and Marty go back -- WAYYY BACK -- to the nudists, clock goblins, and rarebit fiends of silent cinema -- as they launch an unprecedented FOUR PART series on how FILM SEES ITSELF! It's so exciting, it requires ALL CAPS and LOTS of exclamation points!!!Covered this week (Holy Monkeyshines!):Meta-movies of the 19th century at 4:00A Trip to the Moon (1902, Dir. George Méliès) at 30:09The Great Train Robbery (1903, Dir. Edwin S. Porter) at 39:21Dream of a Rarebit Fiend (1906, Dir. Edwin S. Porter) at 50:56Behind the Screen (1916, Dir. Charles Chaplin) at 55:34The Extra Girl (1923, Dir. F. Richard Jones) at 1:05:16Movie Crazy (1932, Dir. Clyde Bruckman and Harold Lloyd) at 1:14:51All this, plus Continuity Boulevard (at 1:29:52) and the illustrious Lightning Round (at 1:35:15). Whew!Follow us on Spotify, Apple Podcasts, Google Podcasts, or Amazon Music.Visit us at slackandslashpod.comEmail us at slackandslash@gmail.com

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Repasamos la obra maestra de Charles Chaplin. Sus controversias, polémicas, declaraciones, dificultades, opiniones... y mucho más Ven a disfrutar con nosotros del recuerdo de una historia que sigue siendo tan humana como lo fue desde su confección. Con Fran Maestra y Luis Martínez Vallés. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

O que você poderia liberar hoje que abriria espaço para algo melhor? Muitas vezes, nos agarramos a situações, pessoas e crenças que já não fazem sentido. Tudo por medo do desconhecido. Mas e se, ao confiar no fluxo da vida, você permitisse que o novo chegasse com mais leveza e alinhamento?Neste episódio, eu falo sobre soltar padrões, crenças e histórias que já não nos servem, e como esse simples ato pode abrir portas para oportunidades inesperadas e uma vida mais milagrosa.

Poema de Antonio Choperena como introducción a un tema de Charles Chaplin

《当我开始真正爱自己》【英】查理·卓别林；朗读：姜林杉当我真正开始爱自己，我才认识到，所有的痛苦和情感的折磨，都只是提醒我：活着，不要违背自己的本心。今天我明白了，这叫做“真实”。当我真正开始爱自己，我才懂得，把自己的愿望强加于人，是多么地无礼，就算我知道，时机并不成熟，那人也还没有做好准备，就算那个人是我自己。今天我明白了，这叫做“尊重”。当我开始爱自己，我不再渴求不同的人生，我知道任何发生在我身边的事情，都是对我成长的邀请。如今，我称之为“成熟”。当我开始真正爱自己，我才明白，我其实一直都在正确的时间，正确的地方，发生的一切都恰如其分。由此我得以平静。今天我明白了，这叫做“自信”。当我开始真正爱自己，我不再牺牲自己的自由时间，不再去勾画什么宏伟的明天。今天我只做有趣和快乐的事，做自己热爱，让心欢喜的事，用我的方式，以我的韵律。今天我明白了，这叫做“单纯”。当我开始真正爱自己，我开始远离一切不健康的东西。不论是饮食和人物，还是事情和环境，我远离一切让我远离本真的东西。从前我把这叫做“追求健康的自私自利”，但今天我明白了，这是“自爱”。当我开始真正爱自己，我不再总想着要永远正确，不犯错误。我今天明白了，这叫做“谦逊”。当我开始真正爱自己，我不再继续沉溺于过去，也不再为明天而忧虑，现在我只活在一切正在发生的当下，今天，我活在此时此地，如此日复一日。这就叫“完美”。当我开始真正爱自己，我明白，我的思虑让我变得贫乏和病态，但当我唤起了心灵的力量，理智就变成了一个重要的伙伴，这种组合我称之为“心的智慧”。我们无须再害怕自己和他人的分歧，矛盾和问题，因为即使星星有时也会碰在一起，形成新的世界，今天我明白，这就是“生命”！方圃译作者简介：查理·卓别林（Charles Chaplin，1889年4月16日～1977年12月25日），出生于英国伦敦Walworth地区的一个演艺家庭，父母亲都是艺人。他当过报童、杂货店小伙计、玩具小贩、医生的小佣人、吹玻璃的小工人，还在游艺场扫过地。13岁时随剧团到美国演出，卓别林决定留在美国。之后，由于制片人麦克·山内特发掘，卓别林获得了与吉斯通公司签约的机会并正式成为该公司的艺人。当时吉斯通公司已经有了一批大牌的明星，但很快卓别林很快就超越了他们，并且创造了一年拍摄35部影片的奇迹。从1915年开始卓别林开始自编自导自演，甚至还担任制片和剪辑。稍后他加入了埃斯安尼公司，并于1917年出品了《移民者》和《安乐街》，1918年，他和他的兄弟在洛杉矶开了自己的公司。在此后的时间中卓别林创造了许多不朽的杰作，其中包括短喜剧《狗的生活》（1918年）和《发饷日》（1922年）。长的作品有《从军记》（1918年）和《朝圣》（1923年）。此外还有他的无声电影经典，其中包括《寻子遇仙记》（1921年）、《巴黎一妇人》（1923年）、《淘金记》（1925年）和《马戏团》（1928年）。有声电影被发明后他还拍了两部他最著名的无声电影《城市之光》（1931年）和《摩登时代》（1936年），《城市之光》是卓别林喜剧因素与情感交配得最完美的一部作品。1949年的《舞台生涯》被公认是他最好的有声电影。1967年他拍摄了最后一部影片《香港女伯爵》，1977年受勋，1977年圣诞节于瑞士家中去世。 创作背景：《当我真正开始爱自己》作于查理·卓别林70岁生日当天，这位时年古稀的艺术家，历经沧桑之后，心灵无比宁静平和。他说，这是来自神的寂静之声。

Avui repassem una de les pel·lícules de Chaplin, on ell no hi actúa, però que dirigeix, escriu, produeix i en composa la música. Ens acompanya la convidada cinèfila Maite Orduña, experta en la matèria. Als Filmets de la Holy tenim "Aún estoy aquí" (2024), la bona proposta que la Holy ja ha vist. Salut i metratge, família!

Entre las recomendaciones, comenzamos con la biografía de Oona O'Neill, hija del escritor Eugene O'Neill, esposa de Charles Chaplin, y muy probablemente ensombrecida por ambas figuras. La portada de esta primera novedad nos sirve para ilustrar el podcast. pero tenemos más novedades: "El secreto de Marcial", de Jorge Fernández Díaz; "Los secretos de la papelería Shihodo", de Kenji Ueda; y "Las iras", de Pilar Adón.Entre las recomendaciones de la semana, "El ojo de Goliat", de Diego Muzzio; "Devoción", de Pablo D'Ors; "Solo Berlín", de Hans Fallada; y "Arsénico por compasión", de Joseph Kesselring.

Hola amics. ¿Preparados para la canción de navidad de La Cultureta un año más? ¿Sí?  En esta noche tan especial nos acompaña al piano Isabel Vázquez. Canta ejemplarmente mal el Criticón de la Gran Reserva. Un fuerte aplauso para ellos. Lyrics: Así es, es Navidad Todos dicen que mola Saca el champán Haz la lista de regalos En la cena, tu cuñada de Cornellá Oh yeah Suelta mierdas culturetas Holocausto, Gustav Klimt BogdanovichShostakovich o Matisse Tú diles Austen, Tiziano, Bette Davis, Sidney Pollack, O una random de John Ford Una de, una de, una de… John Ford Menciona King Kong Diles que te encanta la Iliada Vaya mierda el Joker 2. Lady Ga, Lady Ga, Lady Ga…rrafón Hace frío, es tarde ya Los niños dicen juguemos Yo digo no Me voy al cuarto de la planchaMe pongo un rato mi podcastY lo flipo otra vez Sólo quiero Hichcock, Bergman Frida Kahlo, Harper Lee Tan difícil de pillarlo es para ti No quiero licorNo quiero bombones ni trufitasSolo quiero Arthur Rimbaud ArthurRimbaud, ArthurRimbaud, ArthurRimbaud… RimbaudTú dame Orson Wells Prefiero la Callas, Chopin, Verdi Muy Muy Mal Gladiator 2Russel Crowe, Russel Crowe, Russel te has librauSomos culturetas, Marchantes, poetas, Gente cultivada, Repipis, gafachoflas, intelectuales de las ondas, peña molona, referencia, faro, prescriptores, líderes de audiencia…Tú diles Juan Gris, Machado, Clarín y Mary Shelley Kubrick, Oliver Stone. Oliver, Oliver, Oliver… StoneDenzel Washington,Serrat, Charles Chaplin, Dostoievski Cher, Harrison Ford CherHarri, CherHarri, CherHarri… son Ford

Hola amics. ¿Preparados para la canción de navidad de La Cultureta un año más? ¿Sí?  En esta noche tan especial nos acompaña al piano Isabel Vázquez. Canta ejemplarmente mal el Criticón de la Gran Reserva. Un fuerte aplauso para ellos. Lyrics: Así es, es Navidad Todos dicen que mola Saca el champán Haz la lista de regalos En la cena, tu cuñada de Cornellá Oh yeah Suelta mierdas culturetas Holocausto, Gustav Klimt BogdanovichShostakovich o Matisse Tú diles Austen, Tiziano, Bette Davis, Sidney Pollack, O una random de John Ford Una de, una de, una de… John Ford Menciona King Kong Diles que te encanta la Iliada Vaya mierda el Joker 2. Lady Ga, Lady Ga, Lady Ga…rrafón Hace frío, es tarde ya Los niños dicen juguemos Yo digo no Me voy al cuarto de la planchaMe pongo un rato mi podcastY lo flipo otra vez Sólo quiero Hichcock, Bergman Frida Kahlo, Harper Lee Tan difícil de pillarlo es para ti No quiero licorNo quiero bombones ni trufitasSolo quiero Arthur Rimbaud ArthurRimbaud, ArthurRimbaud, ArthurRimbaud… RimbaudTú dame Orson Wells Prefiero la Callas, Chopin, Verdi Muy Muy Mal Gladiator 2Russel Crowe, Russel Crowe, Russel te has librauSomos culturetas, Marchantes, poetas, Gente cultivada, Repipis, gafachoflas, intelectuales de las ondas, peña molona, referencia, faro, prescriptores, líderes de audiencia…Tú diles Juan Gris, Machado, Clarín y Mary Shelley Kubrick, Oliver Stone. Oliver, Oliver, Oliver… StoneDenzel Washington,Serrat, Charles Chaplin, Dostoievski Cher, Harrison Ford CherHarri, CherHarri, CherHarri… son Ford

Hola amics. ¿Preparados para la canción de navidad de La Cultureta un año más? ¿Sí?  En esta noche tan especial nos acompaña al piano Isabel Vázquez. Canta ejemplarmente mal el Criticón de la Gran Reserva. Un fuerte aplauso para ellos. Lyrics: Así es, es Navidad Todos dicen que mola Saca el champán Haz la lista de regalos En la cena, tu cuñada de Cornellá Oh yeah Suelta mierdas culturetas Holocausto, Gustav Klimt BogdanovichShostakovich o Matisse Tú diles Austen, Tiziano, Bette Davis, Sidney Pollack, O una random de John Ford Una de, una de, una de… John Ford Menciona King Kong Diles que te encanta la Iliada Vaya mierda el Joker 2. Lady Ga, Lady Ga, Lady Ga…rrafón Hace frío, es tarde ya Los niños dicen juguemos Yo digo no Me voy al cuarto de la planchaMe pongo un rato mi podcastY lo flipo otra vez Sólo quiero Hichcock, Bergman Frida Kahlo, Harper Lee Tan difícil de pillarlo es para ti No quiero licorNo quiero bombones ni trufitasSolo quiero Arthur Rimbaud ArthurRimbaud, ArthurRimbaud, ArthurRimbaud… RimbaudTú dame Orson Wells Prefiero la Callas, Chopin, Verdi Muy Muy Mal Gladiator 2Russel Crowe, Russel Crowe, Russel te has librauSomos culturetas, Marchantes, poetas, Gente cultivada, Repipis, gafachoflas, intelectuales de las ondas, peña molona, referencia, faro, prescriptores, líderes de audiencia…Tú diles Juan Gris, Machado, Clarín y Mary Shelley Kubrick, Oliver Stone. Oliver, Oliver, Oliver… StoneDenzel Washington,Serrat, Charles Chaplin, Dostoievski Cher, Harrison Ford CherHarri, CherHarri, CherHarri… son Ford

Se estrena "Chaplin. Espíritu gitano", documental que especula sobre el origen romaní de Charles Chaplin. Repasamos la carrera de esta gran figura, icono del Séptimo Arte.

El 'Cinema a la Xarxa' d'aquesta setmana est

La pequeña isla Ellis, situada en el río Hudson, fue durante décadas la puerta de entrada a Estados Unidos para millones de inmigrantes. En 1892 abrió sus puertas un centro de inmigración que permaneció activo hasta 1954, año de su cierre definitivo. Durante más de seis décadas, 12 millones de personas pasaron por exhaustivas revisiones médicas y exámenes legales con la esperanza de alcanzar una vida mejor y cumplir el sueño americano. Entre esos inmigrantes, entonces anónimos, se encontraron figuras que más tarde se convertirían en iconos mundiales, como Charles Chaplin, Walt Disney o Sigmund Freud.Setenta años después, un pacto entre Italia y Albania supone un punto de inflexión en la política migratoria en los países de la Unión Europea. Ayer, 10 ciudadanos de Bangladés y 6 de Egipto llegaron al puerto albanés de Shengjin, tras ser interceptados cuando intentaban alcanzar las costas italianas. Los 16 fueron los primeros en ingresar en uno de los dos centros de internamiento que Italia ha construido en Albania como parte de un plan de externalización de la inmigración fuera de la Unión Europea, una medida impulsada por el gobierno de Giorgia Meloni.¿Es esta una “solución valiente”, como sostiene Roma, o una vulneración de los derechos humanos, tal y como denuncian las ONG y partidos como Más Europa o el Partido Demócrata? Este tema será central en la cumbre de líderes de la Unión Europea que comienza hoy, especialmente tras la carta de siete páginas enviada por Ursula von der Leyen, en la que sugiere inspirarse en el modelo impulsado por Giorgia Meloni. La gran incógnita es si Europa seguirá el ejemplo de Italia en su intento por contener la inmigración irregular.En el capítulo de hoy, Juan Sanhermelando, corresponsal en Bruselas de EL ESPAÑOL, nos da las claves de un problema que preocupa y alarma a Europa y nos explica cómo son y cómo funcionan estos centros. La inmigración ya es el principal problema para los españoles, según el CIS, por encima del desempleo. Solo en tres meses ha pasado de ocupar el noveno puesto.

Santiago Ramón y Cajal se une a la ilustre lista de personajes históricos que hemos alumbrado en El Faro durante dos horas y media como Marilyn Monroe, a Charles Chaplin, Salvador Dali, Fernándo Fernan Gomez o Mafalda. Dale al play y descubre cómo un niño de un pueblo de Navarra, que nació a mediados del siglo XIX, en 1852, y al que no le interesaba demasiado la escuela porque prefería seguir el vuelo de los pájaros en el campo, se convierte en un científico tan brillante, considerado el padre de la neurociencia moderna. Hablamos con Belén Yuste, divulgadora que ha dedicado cinco años a estudiar al científico hasta publicar el libro 'Descubriendo a Cajal', junto a Sonia Rivas Caballero. La Doctora Susana Collado estudió medicina porque vio la serie dedicada a Ramon y Cajal que protagonizó Adolfo Marsillach en los años 80. La serie despertó su vocación y ahora ella se la pone a sus alumnos en la universidad. Eva Consculluela nos cuenta su relación con los libros.

¿Cuál es la leyenda que está detrás del chocolate? ¿Quién fue Charles Chaplin? ¿Qué secretos esconde Zacatlán? ¿De qué trata “La metamorfosis” de Franz Kafka? En este capítulo hablamos de: Historia del chocolate, Los inicios de Chaplin, Platillos de Zacatlán, Metáforas literarias, El dictador, Y más en los Entremeses del Banquete del Doctor Zagal,See omnystudio.com/listener for privacy information.

Este é o segundo episódio sobre “O Bêbado e a Equilibrista”. No anterior, você ouve a participação de João Bosco, que conta como nasce a ideia da música no dia de Natal de 1977, ao saber da morte de Charles Chaplin. Desta vez, o bate-papo é com o produtor musical João Marcello Bôscoli, que me recebeu para essa conversa nos estúdios da Trama, em julho de 2023. Acompanhe.

Reciban un cordial saludo. Desde Cali (Colombia), les habla Sergio Luis López, compartiéndoles un nuevo episodio de "Así la escuché yo..." El cantante brasileño José Augusto se anotó un éxito musical en 1973 con la canción “Candilejas”. Así la escuché yo... José Augusto ya había grabado la canción ese mismo año de 1973, aunque en idioma portugués con el título “Luzes Da Ribalta”. La canción original es sólo instrumental y su autor es el famoso artista británico y estrella del cine mudo, Charles Chaplin, quien la compuso en 1952 para su película “Limelight”, titulada en castellano como “Candilejas”; cuya interpretación estuvo a cargo del también británico Frank Chacksfield, la cual es conocida bajo el título “Terry's Theme from Limelight”. Al año siguiente, se grabaron versiones a las que se les añadió letra. En inglés, por ejemplo, con letra de Geoff Parsons and John Turner fue interpretada inicialmente en 1953 por Dinah Shore con la orquesta de Vic Schoen, bajo el título “Eternally” (Eternamente). Como dato curioso, hay que decir que algunas personas creen que quien canta “Candilejas” es “O Rei” Roberto Carlos; pero, en realidad, el intérprete de esta canción es su compatriota José Augusto. ¿Y tú, sabías que Charles Chaplin es el compositor de “Candilejas”? Autor: Charles Chaplin (británico) - Versión al castellano Roberto Torres - Versión al portugués Antônio Almeida & João De Barro (brasileños) - Versión al inglés Geoffrey Parsons & John Turner (británicos) Candilejas - José Augusto (1973) “Candilejas” álbum (1973) José Augusto (nombre real José Augusto Cougil, brasileño)⁠ Luzes da Ribalta - José Augusto (1973) “José Augusto” álbum (1973) José Augusto (nombre real José Augusto Cougil, brasileño) Terry's theme (from Limelight) - Frank Chacksfield & Charles Chaplin (1952) “Limelight songs” Movie Soundtrack álbum (1952) Frank Chacksfield (nombre real Francis Charles Chacksfield, británico) Charles Chaplin (nombre real Charles Spencer Chaplin, británico) Eternally (from Limelight) - Dinah Shore (1953) single "Eternally/Blue canary"(1953) con Vic Schoen and his Orchestra Dinah Shore (nombre real Frances Rose Shore, estadounidense) ___________________ “Así la escuché yo…” Temporada: 8 Episodio: 49 Sergio Productions Cali – Colombia Sergio Luis López Mora

Odiar a los estadounidenses y luego amarlos. Perder Cuba y Filipinas en una guerra contra ellos y luego aficionarnos a todo lo americano como algo moderno y atractivo. A partir de la Primera Guerra Mundial, la pasión cultural por lo estadounidense echó raíces en España. Buena parte de la culpa la tuvieron las películas y, entre ellas, las de Charles Chaplin fueron especialmente influyentes, creando todo tipo de imitadores y negocios asociados. ¿Por qué Chaplin era tan querido en nuestro país? ¿Cómo fue su peripecia de 1931 para poder visitarnos y ver "una corrida de toros"? ¿Y qué otros exponentes de cultura 'yanki' calaron en España? Lo analizamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares y Sergio del Molino, a partir del estupendo libro 'Bienvenido, Míster Chaplin' de Juan Francisco Fuentes. Además, los culturetas ya han visto el nuevo Caravaggio del Museo del Prado y nos cuentan sus impresiones.

Odiar a los estadounidenses y luego amarlos. Perder Cuba y Filipinas en una guerra contra ellos y luego aficionarnos a todo lo americano como algo moderno y atractivo. A partir de la Primera Guerra Mundial, la pasión cultural por lo estadounidense echó raíces en España. Buena parte de la culpa la tuvieron las películas y, entre ellas, las de Charles Chaplin fueron especialmente influyentes, creando todo tipo de imitadores y negocios asociados. ¿Por qué Chaplin era tan querido en nuestro país? ¿Cómo fue su peripecia de 1931 para poder visitarnos y ver "una corrida de toros"? ¿Y qué otros exponentes de cultura 'yanki' calaron en España? Lo analizamos con Carlos Alsina, Rubén Amón, Rosa Belmonte, Guillermo Altares y Sergio del Molino, a partir del estupendo libro 'Bienvenido, Míster Chaplin' de Juan Francisco Fuentes. Además, los culturetas ya han visto el nuevo Caravaggio del Museo del Prado y nos cuentan sus impresiones.

Director Henri-Georges Clouzot maps out one of the all-time great thrillers.  “Explosive” is the right word in all possible ways to describe this film. Join our  Patreon and support the podcast!  Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Charles Chaplin's Monsieur Verdoux (1947).

Para acceder al programa sin interrupción de comerciales, suscríbete a Patreon: https://www.patreon.com/elvillegas REVOLUCIÓN (2023) https://www.elvillegas.cl/producto/revolucion TSUNAMI (2016) https://www.elvillegas.cl/producto/tsunami LA TORRE DE PAPEL (2022) https://www.elvillegas.cl/producto/la-torre-de-papel ENVEJEZCA O MUÉRASE (2022) https://www.elvillegas.cl/producto/envejezca/ INSURRECCIÓN (2020) Chile https://www.elvillegas.cl/producto/insurreccion/ Internacional por Amazon: https://www.amazon.com/dp/B09WZ29DTQ JULIO CÉSAR PARA JÓVENES Y NO TANTO (2011) https://elvillegas.cl/producto/julio-cesar-para-jovenes-y-no-tanto/ TAMBIÉN APÓYANOS EN FLOW: https://www.flow.cl/app/web/pagarBtnPago.php?token=0yq6qal Grandes Invitados en Amazon: https://www.amazon.com/dp/B09X1LN5GH Encuentra a El Villegas en: Web: http://www.elvillegas.cl Facebook: https://www.facebook.com/elvillegaschile Twitter: https://www.twitter.com/elvillegaschile Soundcloud: https://www.soundcloud.com/elvillegaspodcast Spotify: https://open.spotify.com/show/7zQ3np197HvCmLF95wx99K Instagram: https://www.instagram.com/elvillegaschile

[00:00:00] Alberto Huerta: If I were to get a do over in life, I would have more consistently put family above my professional life. I would say a disproportionate commitment to my professional growth ended up not being the best choice when it came to prioritizing family. I think on a day-to-day basis, we can also suffer from long days or lots of travel and my do over would really center around being able to still strive for excellence, strive for impact, but to more consistently be able to do that both in my marriage and with my kids and in my community, as well as professionally. ++++++++++++++ [00:00:42] Alberto Huerta: Our guest today is Alberto Huerta. Alberto has brought his expertise in brand strategy and management, marketing and fundraising strategy, product development and innovation, and donor insights and analytics to such organizations as Visa, Kraft, Procter Gamble, Compassion International, and World Vision. [00:01:03] Tommy Thomas: He's skilled in turnaround, startups, and global enterprise operations. Alberto, welcome to NextGen Nonprofit Leadership. [00:01:11] Alberto Huerta: Thank you so much, Tommy. It's a pleasure to be with you today. [00:01:14] Tommy Thomas: Before we go too deep into your professional experience, I always like to explore someone's childhood.  So take me back to your childhood.  What do you remember as being formative? [00:01:28] Alberto Huerta: Certainly, the people in my life. Tommy, I had a mom who was always there for me. Unconditional love for sure. My dad modeled honesty and hard work and respect for others. An amazing brother who modeled kindness and generosity. And I have to highlight my grandma who modeled Jesus for me. And it took me a while, but she certainly planted some seeds that sprouted later in my faith walk. Besides just the great people in my life, English was always a part of my life growing up in Mexico. My mom loved the U.S. She traveled to the U.S. when she was really young. [00:02:04] Alberto Huerta: And instilled that in our family. I developed a taste for other cultures and languages living outside of the U.S. and in Europe and then back to Mexico where I chose to study industrial engineering. I never really practiced it, but it ended up being a really great school and a really great skill set for what I ended up doing. [00:02:26] Tommy Thomas: What was high school like in Mexico? [00:02:29] Alberto Huerta: High school in Mexico … I was in Colorado Springs for a couple of years with my uncles. They were kind enough to receive me and my brother for 9th and 10th grade. So when I got back to Mexico, it'd been about seven years. I'd been away in Europe with my mom. And then, as I said, with my uncles in Colorado, and so getting back to Mexico to finish high school was, a really different experience. It was almost a reverse cultural shock getting back and getting acquainted with Mexico again. I had the fortune of being in an upper middle class family where I had access to really great schooling, which led to the opportunity to go to the Monterey Institute of Technology to be able to study there. So really grateful for the opportunities my parents opened. [00:03:17] Tommy Thomas: What's something that people are always surprised to know about you? [00:03:24] Alberto Huerta: Oh boy!  That I have only spent 15 years of my life in Mexico. I'm 52 this year which means that I've been around a lot of places, both in Europe and Canada, where my two daughters were born and then a variety of different places in the U.S. where different opportunities both with P&G and Kraft and Visa. So, I would say the amount of exposure to different cultures and different cities. I just love languages. I love different cultures. I've really gravitated to global roles over the years because I really appreciate and enjoy the company of people from other countries and the friendships that I've been able to develop.  So that's a big part of what has shaped me. And I credit my mom for that. [00:04:05] Tommy Thomas: So, you spent the first 15 years of your career with P&G. What went into your decision to go with P&G? [00:04:12] Alberto Huerta: The friend that introduced me to Brenda, my wife of 27 years, was the same friend who said to me one day, last semester of industrial engineering school, he said Procter & Gamble is on campus. It's really hard to get in. We ought to go try. And so, we did and that was my introduction P&G and brand management. This whole idea of, at a very early stage in your career, being given a business to run and managing it from a brand and marketing viewpoint. So, the process itself, Tommy, was extraordinary and had multiple steps in it. The highlight for me was a three-day weekend in a hotel where they cooped us up, all 40 candidates of us, and just put us through the ringer. [00:05:02] Alberto Huerta: Late nights being evaluated on our leadership skills. I made it somehow and was able to enter the P&G family. I am so grateful for my years there. The leadership that they teach. And enable you to practice the mastery, the collaboration across various functions and up and down the management chain. I am really grateful for my time with P&G, which actually started in Mexico, but then continued in the Czech Republic. That in and of itself is a long story. And then Canada, and then all roads lead to Cincinnati when you're at P&G. And so, I did my last year's working on fabric care, or more simply said, detergents. [00:05:46] Tommy Thomas: Thinking back to your first management job when you actually had somebody reporting to you, what do you remember about that? [00:05:55] Alberto Huerta: I'm still in touch with the three, four people that were with me in my first assignment. That was brand manager for Folgers up in Canada. And it was just such an honor to be able to recognize that I had the opportunity, even if just for a year or two or three an opportunity to shape the career of people with such talents and energy and deeply complex personal lives. So, for me to look for that opportunity to develop and play a valuable role in people's development has always been super, super motivating for me. [00:06:31] Tommy Thomas: So, let's fast forward to today and if I had the privilege to come out to Compassion or World Vision and you let me talk to your direct reports, what would they say would be the most challenging aspect of working with Alberto?  And then what would they say would be the most rewarding part of working for you? [00:06:49] Alberto Huerta: The most challenging part, I would say my favorite movie is Rocky. And aside from my lack of true film knowledge, you could say, Rocky is relentless, and he doesn't give up easily. And sometimes that can be tiring because there's always a higher bar. There's always the next goal. Taking no for an answer but working together to find ways to get around it. I think in a sense, I think that can be tiring. And I am very driven. [00:07:21] Alberto Huerta: I am very high energy. So, one of the things that I've learned is to think about the way I was taught. What gear do you enter a conversation with? If you're always in 4th gear, 5th gear, 6th gear that can be unnecessary sometimes and that generally is my default. So, what does it look like to enter a conversation in first gear or second gear? And really being able to connect and engage in a variety of ways based on the situation and the person. [00:07:50] Alberto Huerta: Now about what might be exciting or fun for people to work with me, it's always the strength and the other side is the opportunity, isn't it? And for me it's exciting to see how people respond to the energy I can bring towards what is possible. What are we building over time? What are we building over time together? That is meaningful. So, you can imagine that coming into Christian nonprofits has been particularly motivating because it takes it from something that can be very exciting and what you're doing with a package good or in financial services, but to be able to have that same kind of energy and transformational dream for us to work towards and against, I think is something that is motivating. [00:08:33] Alberto Huerta: Based on the feedback that I receive in helping people find their particular way of contributing towards the greater transformation that we're aiming for as a team. And so, I think that's probably what services to the top. When I think about the feedback I've received over the years. ++++++++++++++++ [00:08:51] Tommy Thomas: Tell me a little bit about the mentors in your life.  Who has been the most influential mentor? [00:08:57] Alberto Huerta: I'll give you a person as well, a regular human being, but I do value the teaching of the Bible around praying continuously and being able to be sensitive to the Spirit is something that I strive for every day in this very conversation, what am I, why am I saying, what is helpful, what is not helpful, what is imbued with the direction and love of Jesus.  He's my moment-to-moment mentor. And I love him for that. I would say the second would be my brother. He knows me through and through, the highs and the lows. And what I appreciate about him the most is his listening and his ability to demonstrate unconditional love to tell me what I need to hear, whether it's easy to hear or not.  And so, I appreciate him for that. I think he would be my longest-term mentor, I would say. [00:09:46] Tommy Thomas: In 2015, you left what was probably a financially lucrative job with Visa to go to work with Compassion. Tell us about that move. [00:09:58] Alberto Huerta: It's a move that really had its beginnings in 2010, five years earlier. I realized in my faith walk, for me, it was not going to make sense to think about retiring in a for profit job. And so, I began conversations with Christian nonprofits that would value mass marketing skills, mass brand building skills. And that led me to start a conversation with organizations like World Vision, like Compassion and it was not an easy decision, but it was one that I felt really great about the point in time where this decision became most pressing was when I was working at Visa, and at the same time, my wife and I were co pastoring a small Hispanic congregation and I sensed a need a calling to integrate more of my lifestyle and be able to work for an organization that was in and of itself dedicated to advancing the purposes of Jesus. And so ultimately that's what made that decision, although a big one, a very natural and easy one for me when the day came. [00:11:13] Tommy Thomas: What's the most significant difference you've observed between the private sector and the nonprofit sector? [00:11:24] Alberto Huerta: Oh, there's a lot of similarities, but there's certainly some differences. Probably at the heart of it, when I think about differences, I truly value the focus on a mission that is so clear and so compelling and really goes above any financial metrics. Now, I know that's also true of some for-profit organizations. In fact, probably some of the ones that are most profitable and most successful over time are ones that do see beyond just the financial. But that is obviously much more common, I would say, and much more natural for a nonprofit to be able to value their mission to value the impact that they're making, and it truly changes how one contributes to it because it's not enough to be a marketer. [00:12:12] Alberto Huerta: It's not enough to be a fundraiser. It's about truly understanding the impact that is being made. How is that impact made? What are the actions that drive that impact? How effective are we making that impact? I think that is so crucial in being a successful and an effective marketer within a nonprofit. Being able to build a very strong bond and tight relationship with the programmatic leaders. So that would be one that I would highlight, Tommy, and that leads to the importance of end-to-end solutioning with programs which I've enjoyed a whole lot. It's one thing to solve for a supporter or a donor. [00:12:52] Alberto Huerta: It's another in the much more complex model that the nonprofits have where there's more stakeholders in play to be able to solve for the whole and to be able to really value and understand the needs, not only of the end beneficiaries in the case of Compassion and World Vision would be the children in the communities around them, but also the various stakeholders, both near and far from the beneficiaries.  And I found that particularly interesting and motivating. [00:13:22] Tommy Thomas:  What was your greatest adjustment in coming from Visa to Compassion? [00:13:30] Alberto Huerta: Oh boy!  A common understanding is that for a believer's first move into a Christian nonprofit, whether you like it or not you just imagine that you're stepping into heaven, right? A little piece of heaven. It's all believers. We're all following the same God. We're all following the same biblical principles.  It must be heaven there. You might not say that overtly, but you expect it, and you have a very high bar and imagination and then slowly, but surely you realize, hey, there's people like me in this organization. So, there's a bit of a high. As you first step into an organization like this, and then there's a realization that we're all a work in progress as individuals, as couples, as families, and as organizations as churches. So that's definitely one of the key important realizations walking into Compassion. More broadly I would say it is true both of Compassion and World Vision that these are longstanding, mature organizations working within mature sectors, certainly from a product or fundraising perspective. [00:14:39] Alberto Huerta: And what I particularly relish was, the intrapreneurship that that I was able to push into the opportunity to identify ways that the organization could change and grow and being able to help the organization embrace change from within, which, in my view, is particularly meaningful because it then leverages the strengths of the organization and it's able to operate and grow in a way that is relevant. And it continues to stay fresh and both for the supporters as well as for the beneficiaries. [00:15:13] Tommy Thomas: In terms of a leadership role, how do you assess what's right for you? [00:15:22] Alberto Huerta: And the way I'm understanding your question, Tommy, is how do I assess what's right as I think about leadership roles that I'm evaluating for myself? Is that the essence of your question? [00:15:31] Tommy Thomas: What makes a good fit for Alberto? I want to work for an inspirational leader – a true visionary. [00:15:35] Alberto Huerta: I have several criteria. There's one that I added. Or I would say I moved up the list in recent weeks is working for an inspirational leader, a true visionary. [00:15:49] Alberto Huerta: I think that's something that's particularly motivating for me right now. I feel if the energy and the big idea is coming from the very top that can really spell tremendous progress and success and accomplishment. So that's one that's really important for me. [00:16:05] Alberto Huerta: The other one I would say it's certainly culture.  A culture of understanding what the mission is and being able to be focused on accomplishing the mission. Being able to for there to be a sense within the organization that we can pour ourselves into the mission and the organization will take care of us as individuals. [00:16:26] Alberto Huerta: That's a little bit idealistic potentially, but I saw that even at P&G and certainly at Compassionate and World Vision. So, I value culture and that selflessness to pour oneself into the mission as another key criteria. And if I were to pick a third one, I would say learning a learning organization, one that does not rest on their laurels. [00:16:48] Alberto Huerta: One that is continuously finding ways to experiment. It can be so tempting to be hand to mouth, like in the performance engine, just producing, and it can suck the life out of experimentation and innovation and just even being able to bring one's full skillset into the job. I want to work for a learning organization - one that doesn't sit on its laurels. [00:17:08] Alberto Huerta: So that'll be a third one, but it's great question, Tommy. And I think it's a learning journey, isn't it? What is the best fit for us? Depending on the season as well. +++++++++++++++ [00:17:17] Tommy Thomas: At what point in your career did you get comfortable in your leadership skin? Did you accept the fact that God had given you certain leadership abilities and it was your responsibility to steward those? [00:17:34] Alberto Huerta: Wow, that's a great question. I gravitated to leadership because I'm driven. I tend to be more of a futurist. So I see where we might be headed. I like to see the big picture and integrate the various pieces as far as getting comfortable with it. I think that came fairly naturally. I think over time. And it doesn't happen immediately, does it? Just realizing that the biggest job of a leader is, in fact, developing leaders. And it wasn't until the jobs started to get large enough that I just had no choice. As an example, my last job at Compassion comes to mind where I had anywhere between eight and 10 direct reports leading particular marketing disciplines. [00:18:21] Alberto Huerta: It became so natural for me to be able to really focus on developing leaders because there was no way that I could be investing myself into that many different disciplines but rather really investing myself in my team, investing myself in my leaders and being able to carve a path for the whole. So, I would say that the various roles invite new levels of leadership for each of us. And that's certainly been an exciting part of the journey for me. [00:18:50] Tommy Thomas:  Let's go to change and innovation for a minute. I read a recent Harvard Business Review Survey that said 37 percent of companies had energy for change but lacked focus. 20 percent were skeptical of change because of past failures. 24 percent were stuck because of a lack of energy and direction, and 19 percent were struggling to change. If anything is certain, it is that change is certain. The world we're planning for today will not exist in this form tomorrow. (Phillip Crosby) [00:19:15] Tommy Thomas: Phillip Crosby said, if anything is certain, it is that change is certain. The world we're planning for today will not exist in this form tomorrow. Talk a little bit about how you've led organizations through change and what that's looked like. Organizational change is easy when there is no choice – not so much so when the need for change is not obvious. [00:19:34] Alberto Huerta: When change is unavoidable it's so much easier, isn't it? I remember working on the P&G laundry portfolio. There was an economic crisis at the time. There were 2 or 3 competitors, both on the private label side, as well as value detergents that were eating our lunch in certain channels. And so, change was inevitable at that point. And so, it became really clear. The energy was there. The expectation was there. We created awesome solutions. It was still really hard to create the right solution to fit the bill. But the need for change, I think, was felt. And that led to P&G really embracing the full scope potential of Tide as a mega brand playing across various categories and subcategories, but also and mostly the importance of the detergent laundry portfolio for P&G and being able to develop the various brands to be able to compete effectively in the marketplace. [00:20:35] Alberto Huerta: However, when change is not obvious I think it is that much more rewarding when we can make it happen, but also that much harder because our organization will resist change that doesn't feel eminently needed because it's working and it's profitable and the momentum is there. [00:20:57] Alberto Huerta: And it can lead organizations in my experience to a sales and fundraising mindset that starts to put to the side where the product should be going, where the brand should be going, where the marketing strategy should be going and it can start to, to let a problem continue to fester and ultimately become a problem that that, as we know, has buried organizations. So, I feel that being able to clarify the case for change and build really strong unity around that case for change. I'm a big proponent of Cotter's eight steps to really seeing change through. I think those are so wise and so true, particularly when change is not obvious or well accepted. [00:21:49] Tommy Thomas: Last year, Bed Bath & Beyond filed for bankruptcy and later will be purchased by Overstock. One writer attributes their financial woes to their failure to innovate. Is there a lesson there for the nonprofit sector? [00:22:05] Alberto Huerta: Oh, absolutely. Absolutely. There's certain mechanisms and approaches that work and we tend to get enamored by them. And we all know the most visible examples of disruption of sectors and those are real and those are accelerating. And so, I think it's particularly important for organizations that are starting to get stale or starting to experience a certain comfort level to be clear on what is truly foundational of the organization and what is going to be a consistent truth that they can live into. [00:22:45] Alberto Huerta: And what are things that do need to be revisited and sometimes broken and rebuilt? It reminds me of Jeff Bezos talking about Amazon and saying there are a few things that are not going to change, and we can bank on those people who are going to want more assortment. People are going to want to lower the price. People are going to want to get it fast. Now, everything else can change, but let's anchor on those key pieces. I think particularly mature nonprofits that that have some strong foundational pieces that you should continue to push into should be very clear on what those are, and then start to innovate and differentiate and break down walls and barriers where they should be broken. [00:23:27] Alberto Huerta: One of the common products across both Compassion and World Vision is the child sponsorship product. Such a beautiful product and so relevant to today. I think about subscription. So that is obviously a problem. We all have way too many subscriptions and we need apps to be able to manage our subscriptions. And it's also a very relevant product because of the connection to a local team who's working locally, who's committed to that particular community. There are so many aspects of sponsorship that are so powerful. And yet it's been difficult for the sector to innovate at the rate that it could have. [00:24:09] Alberto Huerta: It is encouraging though, to see organizations with both Compassion and World Vision, I would say really pushing into ways of bringing truth from supporters into the building and being able to work through those. World Vision's chosen sponsorship, I think, is a really great example of that one where there's a real empowerment of the child, the real listening to the supporter on the kinds of things that would be more motivating and make their connection to the child in, in a property context, more real and more meaningful to them. It is not easy for organizations to innovate in such ways. It takes true commitment, and it can be very heavy lifting, but it's worth it. +++++++++++++++ [00:24:55] Tommy Thomas: Let's go to something maybe a little bit lighter. If you were a judge on a nonprofit version of Shark Tank, what are the questions you would have to have solid answers to before you would open your pocketbook? [00:25:08] Alberto Huerta: That's an easy one because I've been thinking about that in this season and that is would you invest your own money into that nonprofit and why I found that it is so interesting to think about the big shift that we've seen over the decades and years where it used to be that one would give to an organization purely because of their beliefs, their values, their trust in the organization. They think like me. They value what I value. I'll put my money in their pockets. That's not today's world. I think donors are very sophisticated, increasingly sophisticated. We are very visible about the organization. And so, it is so important that we, particularly in the marketing and fundraising departments, are completely soaked in all things program. [00:25:58] Alberto Huerta: We need to not be the flashy, smart, cool marketers only, we really need to be the representatives of amazing work that's happening in the field with our beneficiaries. And that we're able to represent that we know why it's believable. We know why it works. And one of the ways that I think is particularly powerful is we know what needs to get better even in our program. And that is what donors I believe are looking for these days is transparency. To be able to know that it is not perfect. It is well built. It is yielding results. And it is improving just like we would expect for profit to be improving. [00:26:44] Tommy Thomas: Let me get you to respond to two quotes from Steve Jobs. You can have a great product, but if communication fails, it's like watching a stand-up comedian do a gig in a completely different language (Steve Jobs) [00:26:59] Alberto Huerta: That is so true, isn't it? The picture that comes to mind is the front of the TV and the back of the TV for anybody to or, in a more modern way, would be our beloved iPhone, right? It's one thing to experience the iPhone. It is simple. You pinch your fingers, you drag your fingers, you click that's what the person cares about. [00:27:21] Alberto Huerta: What we care about is both sides, right? The back of the iPhone and the insides of the iPhone and we fall in love with it. We love to delve into the complexities of it, but if we're not able to present it in a way that is relevant to who the user is be it in communication, be it in, from a UI perspective then we will fail. [00:27:43] Alberto Huerta: And it's certainly something that Steve jobs modeled for all of us with his products. [00:27:49] Tommy Thomas: His second quote. It's a complicated and noisy world, and we're not going to get a chance to get people to remember much about us. No company is. So, we have to be really clear about what we want them to know about us. (Steve Jobs) [00:28:09] Alberto Huerta: It's a powerful one, isn't it? And he went on to talk about values and that led to communication from Apple, such as the very famous think different campaign with Gandhi and Einstein and Charles Chaplin and all these geniuses who are crazy enough to think they could change the world. [00:28:27] Alberto Huerta: And so, they were the ones who did. And so, I think he walked that really well. I think it is so important for organizations to know who they are and also to know who they're becoming for whom, right? Who they are becoming, how, what value they bring and how that really is in some ways the way to materialize their values, right? [00:28:51] Alberto Huerta: It's the way to materialize their values. And I think organizations like Compassion and World Vision are ones that understand their essence very well, and they're able to bring it across in ways that truly connect. We see Jesus, for example.About a dozen times in the New Testament being moved with compassion, right? [00:29:11] Alberto Huerta: He saw something and he was moved with compassion in such a way that he was going to bring such strength and love and really throw themselves at whatever that need was because their heart had been moved with compassion and I think that's such a beautiful essence of Compassion and why it's so easy for people to feel such a connection to it similar with World Vision. [00:29:35] Alberto Huerta: We think about seeing the world differently and seeing our ability to reach beyond our own walls and see the world differently. The need around the world and being able to work as a whole for those that are in most need for those that are hardest to reach. So, I think being able to be clear on one's essence is really critical to be able to be successful in an environment that is so noisy, as you said. [00:30:02] Tommy Thomas: Let's try to bring this thing to a close. I have two questions that I often ask at the end. And the first one would be, if you could get a do over in life, what would it be? [00:30:15] Alberto Huerta: Oh boy, that's a big one. If I were to get a do over in life, I would have more consistently put family above my professional life. [00:30:17] Alberto Huerta: If I were to get a do over in life, I would have more consistently put family above my professional life. And the way that it would have played out, there's deeper, more day-to-day ways, but one very simple one is following the very best job to whatever country or city it happened to be placed in. [00:30:39] Alberto Huerta: So that's one way that I would say a disproportionate commitment to my professional growth ended up not being the best choice when it came to prioritizing family. I think on a day-to-day basis, we can also suffer from long days or lots of travel and my do over would really center around being able to still strive for excellence, strive for impact, but to more consistently be able to do that both in my marriage and with my kids and in my community, as well as professionally. [00:31:14] Alberto Huerta: God has been graceful. And 27 years later I'm so glad to have such a wonderful wife and family that I can enjoy every day and be able to take action on that learning as I look to the future. [00:31:29] Tommy Thomas: If you could give a younger version of yourself a piece of advice, what would it be? [00:31:39] Alberto Huerta: It's not about you. God says that we are to die to ourselves and be able to live for him. And I think that is really at the core of a lot of our issues, whether it's looking disproportionately for ourselves, whether it's making happiness and comfort the overarching search for our lives. And we all know, especially those that are past their twenties, Tommy, like you and I, that there are tough circumstances in life. And one can't control or make life the walk in the park that we would want it to be, or the peak after peak adventure that we want it to be. [00:32:24] Alberto Huerta: And so being able to make it about God, about Him and about His glory and about how our lives can be a reflection of the love that He's shown us and the grace that He's shown us. That'll be my biggest piece of advice. [00:32:40] Tommy Thomas: Thank you for joining us today. If you are a first-time listener, I hope you will subscribe and become a regular. You can find links to all the episodes at our website: www.jobfitmatters.com/podcast. [00:33:05] Tommy Thomas: If there are topics you'd like for me to explore, my email address is tthomas@jobfitmatters.com.  Word of mouth has been identified as the most valuable form of marketing. Surveys tell us that consumers believe recommendations from friends and family over all other forms of advertising. [00:33:28] Tommy Thomas: If you've heard something today that's worth passing on, please share it with others. You're already helping me make something special for the next generation of nonprofit leaders. I'll be back next week with a new episode. Until then, stay the course on our journey to help make the nonprofit sector more effective and sustainable.   Links & Resources JobfitMatters Website Next Gen Nonprofit Leadership with Tommy Thomas The Perfect Search – What every board needs to know about hiring their next CEO   Connect tthomas@jobfitmatters.com Follow Tommy on LinkedIn   Listen to Next Gen Nonprofit Leadership with Tommy Thomas on: Apple Podcasts | Spotify | Stitcher | Google Podcasts

Jackie and Greg are joined by Aaron Strand of the Behind the Slate podcast in their discussion of Charlie Chaplin's MODERN TIMES from 1936. Topics of discussion include the film's genesis, Chaplin's relationship with co-star Paulette Goddard, how it addresses heavy, topical issues with a light touch, and a conversation on the bizarre alternate ending which was shot but ultimately cut before the film's release.#63 on Sight & Sound's 2012 "The 100 Greatest Films of All Time" list.https://www.bfi.org.uk/sight-and-sound/polls/greatest-films-all-time-2012#78 on Sight & Sound's 2022 "The Greatest Films of All Time" list.  https://www.bfi.org.uk/sight-and-sound/greatest-films-all-timeCheck out 'Behind the Slate' hosted by Aaron Strandhttps://shows.acast.com/behindtheslateSupport WITHDRAWAL on Seed & Sparkhttps://seedandspark.com/fund/withdrawalCheck us out on Instagram: https://www.instagram.com/sceneandheardpodCheck us out at our official website: https://www.sceneandheardpod.comJoin our weekly film club: https://www.instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtGraphic Design: Molly PintoMusic: Andrew CoxEditing: Greg KleinschmidtGet in touch at hello@sceneandheardpod.comSupport the showSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

Lea Vélez ha escrito una historia muy potente: La hija de Gardel. Plena de ritmo y personajes inolvidables. Rodolfo Lazárate, un periodista supuestamente comprometido con los derechos humanos, es asesinado en Guernica. Su muerte está relacionada con cuatro personas que viven en la orilla de la ley: Fernando y Alicia, un matrimonio de exiliados de la dictadura argentina en Madrid; Gaona, un oficial de la Armada, hoy "arrepentido", que participó en los vuelos de la muerte, y Ana, una jovencísima periodista madrileña involucrada con la causa abierta por el juez Garzón a los represores argentinos.Pero Ana no es una periodista más. Es hija de una desaparecida. Y se pone a investigar el el paradero de Fernando Carredo, falsificador que conoce detalles sobre cientos de adopciones ilegales.La obra ha sido publicada por Contraluz. Después de perder a su marido y descubrir un doloroso secreto, Isabelle decide mudarse a París, la ciudad que adora desde que era niña. Quiere empezar allí una nueva vida. Se instala en un piso cerca de su mejor amiga y comienza a trabajar en una librería inglesa frente al Jardín de Luxemburgo. Y allí, envuelta en la atmósfera parisina, Isabelle volverá a ilusionarse y a soñar. También viajará a Londres, donde encontrará no solo nuevas alegrías, sino el camino hacia un nuevo amor.Cuando volvamos a vernos es la ópera prima de una escritora, Isabel Arias, que debuta con una historia llena de sentimientos y de viajes, no solo geográficos, sino también al fondo del corazón.En pequeñas historias de los clásicos, Jorge Luis Borges, un tipo de lengua afilada a quien era mejor tener como amigo. Y si no, que le pregunten a Charles Chaplin. En la sección de Audiolibros, abrimos las páginas de una de las novelas que más adaptaciones ha tenido, impulsada por la fuerza de su personaje: Ivanhoe, de Walter Scott, un escritor tan grande que Edimburgo le dedicó un monumento que es de obligada visita cuando uno viaja a esta hermosísima ciudad.Y escuchamos música que tiene que ver con bibliotecas y solteros de oro. Y en las últimas recomendaciones, Toni Hill en bolsillo, o Una asesina en el espejo, de Andrea Aguilar-Calderón. Y clásicos de la talla de Dostoievski y Martin Amis.

Is the fate of the impoverished fixed? Does anyone have it all? How can we find the infinite in the finite? In focusing on three distinct cinematic depictions of scarcity, this week's episode seeks to identify the circumstances in which we might feel content with just enough. Contact us via email at contact@jimmybernasconi.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/2xxfm-sacredcinema/message

Muchas mujeres buscan hacer su pecho más grande para sentirse más atractivas. Pero cada día son más las famosas que se los retiran ¿Por qué? Aquí te lo contamos.Y además en El Gordo y La Flaca: La noticia de que Al Pacino sería padre a los 83 años impactó a más de uno. Pero no es el único, aquí te contamos quienes han tenidos hijos a edades muy avanzadas.¿Por qué Cesar Ébora sigue consolidándose como uno de los galanes más apetecidos? Esto piensa el actor sobre su éxito.¿Para el amor no hay edad? Esta es una de las creencias de Madonna pues todos sus novios son bastante más jóvenes que ella. 

Charles Chaplin war Anfang der 1920er dank seiner zahlreichen kurzen Filme, in denen seine Kunstfigur, der Tramp Charlie, die Hauptrolle spielte, bereits ein Weltstar. Einen Wendepunkt in seinem Schaffen bildet sicherlich die Mit-Begründung der United Artists, die ihn finanziell und kreativ unabhängiger machen sollte, sowie die Entdeckung des 4 Jahre alten Jackie Coogan. Die Zusammenarbeit mit ihm führte zu Chaplins erstem Langfilm „The Kid“, der eine riesiger Erfolg war und in über 50 Länder exportiert wurde. Premiere feierte der Film am 21. Januar 1921, kam aber erst beinahe 3 Jahre später, am 9. November 23 in Deutschland in die Kinos. Dies nahmen zahlreiche Zeitungen zum Anlass, über Chaplin zu schreiben. Auch der Berliner Lokal-Anzeiger vom 5. November tat dies in seiner 5 Milliarden teuren Ausgabe. Wie sehr Chaplin neben des Schauspiels auch die Regie und andere Gewerke des Films an sich riss liest für uns Frank Riede.

Listopad, 1924. Producent filmowy Thomas Ince swoje 44 urodziny świętuje na jachcie prasowego magnata – Williama Randolhpa Hearsta. Wszystko byłoby w porządku, gdyby nie fakt, że zaledwie kilka dni po nagle przerwanej zabawie Ince umiera. Co więcej, Hearst zdaje się robić wszystko, by zatuszować swój jakikolwiek związek z tą sprawą. Co tak naprawdę stało się na jachcie? Dlaczego przez lata Hollywood będzie plotkować, że w istocie umrzeć miał nie Ince, a… Charlie Chaplin? _______ Muzyka: Spy Glass by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4410-spy-glass Plucky Daisy by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4226-plucky-daisy Thinking Music by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4522-thinking-music Umbrella Pants by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4559-umbrella-pants Licencja: http://creativecommons.org/licenses/by/4.0/ Sacred - Haunting Atmospheric Soundscape https://www.youtube.com/watch?v=tShZcR-YEpc _______ Źródła: Charles Chaplin, My autobiography Kenneth Whyte, The Uncrowned King: The Sensational Rise of William Randolph Hearst Samantha Barbas, The First Lady of Hollywood: A Biography of Louella Parsons Brian Taves, Thomas Ince: Hollywood's Independent Pioneer Kieron Connolly, Mroczna historia Hollywood Marion Davies, The Times We Had: Life with William Randolph Hearst http://www.paranormalne.pl/topic/48257-calun-tajemnicy-spowijajacy-smierc-thomasa-incea-czesc-pierwsza/ https://allthatsinteresting.com/marion-davies https://www.newyorker.com/magazine/1998/03/23/earthly-delights-david-nasaw https://www.dailytelegraph.com.au/news/today-in-history/how-publishing-magnate-randolph-hearst-flexed-his-media-muscle-to-prevent-the-release-of-orson-welles-citizen-kane/news-story/85f7897da5d738d7f4f9cc1aa359a672 http://hollywoodlandforever.blogspot.com/2013/04/the-shroud-of-mystery-behind-thomas.html https://www.worldcat.org/title/murder-at-san-simeon/oclc/38224345?loc= _______ Fragmenty utworów należą do ich prawnych właścicieli i zostały wykorzystane wg prawa cytatu (art.29 ust.1 ustawy o prawie autorskim i prawach pokrewnych). _______ Posłuchaj na: Spotify: https://bit.ly/nagleostatniejnocySpotify YouTube: https://bit.ly/nagleostatniejnocyYouTube _______ Intro Cool Vibes - Film Noire by Kevin MacLeod https://incompetech.filmmusic.io/song/3553-cool-vibes https://filmmusic.io/standard-license Fragment filmu “Dom na Przeklętym Wzgórzu”, 1959 _______ Kontakt: kinolityka@gmail.com Facebook: https://www.facebook.com/kinolityka/ Instagram: @nagle.ostatniej.nocy  

Seguimos aprendido Economía y Bolsa a través del Cine, en esta ocasión rescatamos uno de los clásicos del cine mudo: Tiempos Modernos. Filmada en 1936 pero ambientada en La Gran Depresión, la película refleja las penurias de un empleado de fábrica que, extenuado por el frenético ritmo de la cadena de montaje, acabará perdiendo la razón, hospitalizado, recuperado y posteriormente encarcelado al verse envuelto, por casualidad en una manifestación. “Refleja muy bien la sustitución de las personas por máquinas”, explica Sara Carbonell, directora del bróker CMC Markets, en alusión al taylorismo y fordismo, dos formas de organización del trabajo surgidas durante la Segunda Revolución Industrial que tuvieron un impacto en la eficiencia y productividad en el mercado laboral. Considerada como la última película del cine mudo, en realidad es una mezcla entre el cine mudo y sonoro ya que incorporó algunos efectos auditivos como música y voces procedentes de radios y altavoces además de que, hacia el final, se puede escuchar a Charles Chaplin cantando una canción en una lengua ininteligible. “Abordó muchos problemas como el estrés y la alienación en el trabajo cuando nadie lo hacía además de contener escenas de manifestaciones en época de entreguerras”, recuerda Sara Carbonell, además de destacar otro de los temas a las que el cineasta se anticipó: el de los avances tecnológicos plasmados en las escenas de la telepantalla de la fábrica. “Ya vislumbró los peligros de la inteligencia artificial y los trabajos en riesgo con la llegada de las máquinas”.

This week, we watch the highest rated silent movie of all time. At the height of his power and the end of the silent film era, Charlie Chaplin used an exorbitant amount of his own money to create what many consider to be his masterpiece. City Lights (1931), directed by Charles Chaplin.

Stanley Lloyd Kaufman never really wanted to make movies, but wanted to work in Broadway musicals. During his years in Yale, though, he got introduced to "B" pictures and the works of Roger Corman. Lloyd later got the opportunity to executive-produce a short movie made by a fellow student. The film, called "Rappacini", got him even more interested in movies. He bought his own camera and took it with him to Chad, Africa, were he spent his summer. There, he shot a 15-minute film of a pig being slaughtered.That was his first movie, and was the birth of what was later to become known as Troma Films. He showed the footage of the squealing pig being killed to his family, and their shocked reaction to it made him wonder if making movies that shocked audiences would keep them in their seats to see what would happen next.He wanted to be a director right then and there, so he got a couple of friends at Yale and made his second movie, The Girl Who Returned (1969). People loved it, and he went straight to work on other films, helping out on projects like Joe (1970), Rocky (1976) and Saturday Night Fever (1977).Lloyd put in a lot of long, hard hours in the film business, just to be in the credits and to get money for his next project, a full-length feature. It was a tribute to Charles Chaplin, Harold Lloyd and the classic era of silent-film comedy.Even though Lloyd hated the movie when it was finally completed, people seemed to love it. He formed a studio called 15th Street Films with friends and producers Frank Vitale and Oliver Stone. Together, they made Sugar Cookies (1973) and Cry Uncle (1971), directed by John G. Avildsen. A friend from Yale, Michael Herz, saw Lloyd in a small scene in "Cry Uncle" and contacted him to try to get into the film business, too. Kaufman took Herz in, as the company needed some help after Oliver Stone quit to make his own movies. Michael invested in a film they thought would be their biggest hit yet, Schwartz: The Brave Detective (1973) (aka "Big Gus, What's the Fuss?"). It turned out to be a huge flop and 15th Street Films was ruined. Lloyd and Michael owed thousands of dollars to producers and friends and family members who had invested in the picture.Lloyd, trying to find a quick way to pay off the bills, made The Divine Obsession (1976), and with Michael formed Troma Studios, hoping to make some decent movies, since they only owned the rights to films they thought were poor. They were introduced to Joel M. Reed, who had an unfinished movie called "Master Sardu and the Horror Trio". The film was re-edited and completed at Troma Studios (which actually consisted of just one room) during 1975, re-titled and released in 1976 as Blood Sucking Freaks (1976) (aka "Bloodsucking Freaks"). It was enough of a success to enable them to pay the rent so they wouldn't lose the company.Lloyd later got a call from a theater that wanted a "sexy movie" like The Divine Obsession (1976), but about softball (!). The resulting film, Squeeze Play (1979), used up all the money Troma had earned from "Bloodsucking Freaks" and, as it turned out, no one wanted to see it--not even the theater owner who wanted it made in the first place (he actually wanted a porno movie). Just when things looked their darkest, they got a call from another theater which was scheduled to show a film, but the distributor pulled it at the last minute. Troma rushed "Squeeze Play" right over, and it turned out to be a huge hit. Lloyd, Michael and Troma eventually made millions from it, and had enough money to buy their own building (which still remains as Troma Headquarters). Troma then turned out a stream of "sexy" comedies--i.e., Waitress! (1982), The First Turn-On!! (1983), Stuck on You! (1983)--but there was a glut of "T&A" films on the market. Troma noticed that a lot of comedies were being made, and decided to make one, too, but much different than the rest. After reading an article that claimed horror movies were dead, Lloyd got the idea to combine both horror and comedy, and Troma came up with "Health Club Horror"--later retitled and released as The Toxic Avenger (1984), a monster hit that finally put Troma on the map.Lloyd Kaufman and Troma have become icons in the cult-movie world, and Troma has distributed over 1000 films. Lloyd has continued his career as a director in addition to producing, and Troma has turned out such films as Monster in the Closet (1986), Class of Nuke 'Em High (1986), Combat Shock (1984), Troma's War (1988), and Fortress of Amerikkka (1989), and Poultrygeist: Night of the Chicken Dead (2006), which follows an army of undead chickens as they seek revenge on a fast food palace.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2881148/advertisement

Uno de los más grandes #Genios del #Cine, querido y admirado, resultó ser un hombre #Perverso y con raros gustos. Aclamado y a la vez cuestionado, hoy les contaré la historia de un #Comediante y #Actor con un talento único e irrepetible. 

Lançado em 1936, Tempos Modernos é uma daquelas obras que todo amante de cinema precisa assistir pelo menos uma vez. Escrito, dirigido e estrelado por Charles Chaplin, o filme conta a história de um operário de fábrica que após se submeter a condições severas em um trabalho acaba indo para um sanatório e saindo de lá, é preso por "liderar" um movimento de protesto trabalhista. Em paralelo a isso, uma jovem descontraída precisa lutar no dia a dia para manter a fome da sua família sanada. Tempos Modernos é uma reflexão profunda sobre a Grande Depressão e a desumanidade do capitalismo e da industrialização. O filme busca de forma leve e irônica questionar a própria estrutura social na qual somos inseridos, sobretudo para a classe trabalhadora.. Rafael Arinelli recebe Carissa Vieira (Youtube), Diego Quaglia (Fiz Cinema) e Camila Henriques (Cine Set e Sábado sem legenda) para desbravar uma das obras-primas de Chaplin e tentar entender como a visão de cinema do grande diretor e sua vivência pessoal deu a Tempos Modernos os contornos atemporais e empáticos que nos permitem ver o filme quase 90 anos depois de seu lançamento, e ainda rir, chorar e se apegar a personagens tão lindos. Faça o download do episódio aqui 4m59: Pauta Principal 1h19m32: Plano Detalhe 1h38m18: Encerramento Ouça nosso Podcast também no: Feed: https://bit.ly/feed-cinemacao Apple Podcast: https://bit.ly/itunes-cinemacao Android: https://bit.ly/android-cinemacao Deezer: https://bit.ly/deezer-cinemacao Spotify: https://bit.ly/spotify-cinemacao Google Podcast: https://bit.ly/cinemacao-google Amazon Music: https://bit.ly/amazoncinemacao Agradecimentos aos patrões e padrinhos: André Marinho Anna Foltran Bruna Mercer Charles Calisto Souza Daniel Barbosa da Silva Feijó Diego Lima Flavia Sanches Gabriela Pastori Guilherme S. Arinelli Gustavo Reinecken Katia Barga Luiz Villela William Saito Fale Conosco: Email: contato@cinemacao.com Facebook: https://bit.ly/facebookcinemacao Twitter: https://bit.ly/twittercinemacao Instagram: https://bit.ly/instagramcinemacao Tiktok: https://bit.ly/tiktokcinemacao Apoie o Cinem(ação)! Assine o Cinem(ação) e passe a fazer parte de um grupo seleto de ouvintes que têm vários benefícios. Com um valor a partir de R$5,00, você já terá direito a benefícios e o melhor de tudo, depois de 1 ano de contribuição, você ganha um presente exclusivo! Acesse a página Contribua, escolha o plano que melhor lhe atende e venha ser um apoiador do nosso canal! Plano Detalhe: (Carissa): Série: Yellowjackets (Carissa): Livro: Belo mundo, onde você está (Diego): Série: The Marvelous Mrs. Maisel (Diego): Filme: Sem Ursos (Camila): Filme: Cría Cuervos (Camila): Filme: Tina (Rafa): Podcast: #91 - Luzes da Cidade (Rafa): Curso de Línguas: Oktober Languages Apoia.se: https://apoia.se/cinemacao

In the film Ed Wood, Wood is speaking in a hospital waiting room to the woman he'd marry, Cathy. She asks him what he does for a living, and he says he's in movies --- as a writer, producer, director and actor. Awww, no one does all that, she replies. Yes, two people do, says Wood, he and Orson Welles. But there was an individual who did all that and went some better, helping to compose the music for his films and the editing. And from the 19-teens to the 1950s. It was Charles Chaplin, Knight of the British Empire, better known as Charlie Chaplin, perhaps best known as his film persona, the Little Tramp. Out of a childhood of want and strife, he became the world's greatest comic character, an innovator and magnate in the film industry, a multimillionaire. He was also despised by many in Hollywood, decried as a Communist and degenerate and expelled from the US. Most important, he taught me (along with the Marx Brothers), through the films of his classic age, that it was not only fine to make fun of the wealthy and powerful, it‘s crucial to do so. email: David@thosewonderfulpeople.comWebsite and blog: www.thosewonderfulpeople.comIG: @thosewonderfulpeopleTwitter: @FilmsInTheDark

Le dictateur, discours --- Send in a voice message: https://podcasters.spotify.com/pod/show/diseursdebeauxtextes/message

Stanley Lloyd Kaufman never really wanted to make movies, but wanted to work in Broadway musicals. During his years in Yale, though, he got introduced to "B" pictures and the works of Roger Corman. Lloyd later got the opportunity to executive-produce a short movie made by a fellow student. The film, called "Rappacini", got him even more interested in movies. He bought his own camera and took it with him to Chad, Africa, were he spent his summer. There, he shot a 15-minute film of a pig being slaughtered. That was his first movie, and was the birth of what was later to become known as Troma Films. He showed the footage of the squealing pig being killed to his family, and their shocked reaction to it made him wonder if making movies that shocked audiences would keep them in their seats to see what would happen next.He wanted to be a director right then and there, so he got a couple of friends at Yale and made his second movie, The Girl Who Returned (1969). People loved it, and he went straight to work on other films, helping out on projects like Joe (1970), Rocky (1976) and Saturday Night Fever (1977).Lloyd put in a lot of long, hard hours in the film business, just to be in the credits and to get money for his next project, a full-length feature. It was a tribute to Charles Chaplin, Harold Lloyd and the classic era of silent-film comedy. Even though Lloyd hated the movie when it was finally completed, people seemed to love it. He formed a studio called 15th Street Films with friends and producers Frank Vitale and Oliver Stone. Together, they made Sugar Cookies (1973) and Cry Uncle (1971), directed by John G. Avildsen. A friend from Yale, Michael Herz, saw Lloyd in a small scene in "Cry Uncle" and contacted him to try to get into the film business, too. Kaufman took Herz in, as the company needed some help after Oliver Stone quit to make his own movies. Michael invested in a film they thought would be their biggest hit yet, Schwartz: The Brave Detective (1973) (aka "Big Gus, What's the Fuss?"). It turned out to be a huge flop and 15th Street Films was ruined. Lloyd and Michael owed thousands of dollars to producers and friends and family members who had invested in the picture.Lloyd, trying to find a quick way to pay off the bills, made The Divine Obsession (1976), and with Michael formed Troma Studios, hoping to make some decent movies, since they only owned the rights to films they thought were poor. They were introduced to Joel M. Reed, who had an unfinished movie called "Master Sardu and the Horror Trio". The film was re-edited and completed at Troma Studios (which actually consisted of just one room) during 1975, re-titled and released in 1976 as Blood Sucking Freaks (1976) (aka "Bloodsucking Freaks"). It was enough of a success to enable them to pay the rent so they wouldn't lose the company.[presto_player id=154943]Lloyd later got a call from a theater that wanted a "sexy movie" like The Divine Obsession (1976), but about softball (!). The resulting film, Squeeze Play (1979), used up all the money Troma had earned from "Bloodsucking Freaks" and, as it turned out, no one wanted to see it--not even the theater owner who wanted it made in the first place (he actually wanted a porno movie). Just when things looked their darkest, they got a call from another theater which was scheduled to show a film, but the distributor pulled it at the last minute.Troma rushed "Squeeze Play" right over, and it turned out to be a huge hit. Lloyd, Michael and Troma eventually made millions from it, and had enough money to buy their own building (which still remains as Troma Headquarters). Troma then turned out a stream of "sexy" comedies--i.e., Waitress! (1982), The First Turn-On!! (1983), Stuck on You! (1983)--but there was a glut of "T&A" films on the market. Troma noticed that a lot of comedies were being made, and decided to make one, too, but much different than the rest. After reading an article that claimed horror movies were dead, Lloyd got the idea to combine both horror and comedy, and Troma came up with "Health Club Horror"--later retitled and released as The Toxic Avenger (1984), a monster hit that finally put Troma on the map.Lloyd Kaufman and Troma have become icons in the cult-movie world, and Troma has distributed over 1000 films. Lloyd has continued his career as a director in addition to producing, and Troma has turned out such films as Monster in the Closet (1986), Class of Nuke 'Em High (1986), Combat Shock (1984), Troma's War (1988), and Fortress of Amerikkka (1989), and Poultrygeist: Night of the Chicken Dead (2006), which follows an army of undead chickens as they seek revenge on a fast food palace.

La película Blonde de Ana de Armas está generando grandes dudas entorno a la figura de Marilyn Monroe. ¿Es verdad todo lo que cuenta? ¿Cuánto hay de cierto y cuánto de ficción? Juan Sanguino, el colaborador de Cuerpos especiales experto en cultura pop, explica su relación con el hijo de Charles Chaplin, cuántos abortos tuvo y por qué llamaba "papi" a sus parejas.

En este especial recordamos a algunos de los grandes cómicos que han llenado de risas la historia del cine, cada uno de ellos con su particular estilo: Bob Hope, Jerry Lewis, Harpo Marx, Charles Chaplin, Peter Sellers, Danny Kaye, Alberto Sordi, los Monty Python o Stan Laurel y Oliver Hardy, los inolvidables el Gordo y el Flaco.  

Angela and Austin discuss the chemistry of creative relationships and inspiring partnerships. In addition to many tangents along those lines, they also do their first reader Q&A. Album of the day: Duets, Frank Sinatra Mentioned: I-no photoshoot https://www.instagram.com/p/CSmj4MdFKif/ Addams Family photoshoot https://www.instagram.com/p/CVvllVevWzN/ Alive Alf website http://alivealfphotography.com/ Charles Chaplin footprints http://chaplin.bfi.org.uk/images/720/bfi-00n-h8v.jpg Killing Batgirl Movie https://variety.com/2022/film/news/batgirl-movie-why-not-releasing-warner-bros-1235332062/ Austin's Bandcamp (to join Discord) https://austinwintory.bandcamp.com ┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈ Brushes and Keys: instagram.com/BrushesAndKeys twitter.com/BrushesAndKeys Austin Wintory: instagram.com/a.wintory twitter.com/awintory Angela Bermudez: instagram.com/angelabermudeza twitter.com/angelabermudeza Canvas Bermintory: instagram.com/canvasbermintory Email us at brushesandkeys@gmail.com ┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈

Alfonso Vázquez autor de 'Una paella para Chaplin' visita el programa de Julia en la Onda para hablarnos de su novela.

Is silence golden? Is it deadly? Is it nervous? Is it dramatic? As with everything else I seem to talk about, it depends on the context.This week we will discuss the role silence plays, if any, regarding authority; the greatest silent picture star of all time, and what he didn't say; the thousand tiny triangles that play constantly between my ears; and your new favorite game that I'm here to make you hate. Hal Hammons is the preacher for the Lakewoods Drive church of Christ in Georgetown, Texas. He is the host of the Citizen of Heaven podcast. You are encouraged to seek him and the Lakewoods Drive church through Facebook and other social media. Lakewoods Drive is an autonomous group of Christians dedicated to praising God, teaching the gospel to all who will hear, training Christians in righteousness, and serving our God and one another faithfully. We believe the Bible is God's word, that Jesus died on the cross for our sins, that heaven is our home, and that we have work to do here while we wait. Regular topics of discussion and conversation include: Christians, Jesus, obedience, faith, grace, baptism, New Testament, Old Testament, authority, gospel, fellowship, justice, mercy, faithfulness, forgiveness, Twenty Pages a Week, Bible reading, heaven, hell, virtues, character, denominations, submission, service, character, COVID-19, assembly, Lord's Supper, online, social media, YouTube, Facebook.  

On Friday 10 June 2022, Judy Garland celebrates her 100th birthday. My Pride 2022 series kicks off with a close examination of Judy's status as gay icon, as well as my claim that Garland was, is, and remains the world's greatest entertainer of all time. As always with Countermelody, the proof is in the performances, and I share a generous sampling of recordings, primarily from the final years of Judy's life, that bolster that claim. Included are performances of songs by Harold Arlen, Yip Harburg, Ted Koehler, Ira Gershwin, Rodgers and Hart, Jule Styne, Burton Lane, Alan Jay Lerner, Cole Porter, Cy Coleman, Carolyn Leigh, Gilbert Bécaud, Wright and Forrest, Schwartz and Dietz, Charles Chaplin, and others, in live recordings from The Judy Garland Show, which ran for a single season in 1963-64; live concert performances from New York, Amsterdam, London, Paris, Philadelphia, and Copenhagen; and a smattering of rare studio recordings. I also discuss the impact of Judy's enormous talent impact on my own life, as well as her still-substantial numbers of worldwide fans. Vocal guest stars include two other classic gay icons, Barbra Streisand, and Judy's own daughter, Liza Minnelli. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Tras nuestros especiales dedicados a Charles Chaplin ahora le llega el turno al egregio Buster Keaton. Junto a Iban Martín desgranamos la vida de este genio del celuloide y demostramos que el actor estadounidense era algo más que un cúmulo de caídas y acrobacias. Acompañadnos en este viaje a través de la imaginación, el riesgo y la creatividad.

The Japanese have a saying “You have three faces, The first face, you show to the world. The second face, you show to your close friends and your family. The third face, however, you never show anyone. It is the truest reflection of who you are.” Most of the world only saw the one face of Charles Chaplin, a comedy-driven vagabond who only wanted to make people laugh, but those closest to him were exposed to the faces that he never wanted to show the rest of the world.-Visit us online at itsrottentothecore.com-Find us on all podcasting platforms: https://link.chtbl.com/Rotten-Support the show at Patreon.com/itsrottentothecore-Check out our other podcasts: itsarclightmedia.comEpisode Sponsors:- Download your new favorite getaway, BEST FIENDS, for FREE today on the App Store or Google Play.- Get Honey for FREE at Joinhoney.com/RTC

This week, we watch what is said to be the first satire in movie form. With filming starting two years before the start of World War 2, this parody is a historical marvel, and most of the gags still land. The Great Dictator (1940), written, directed, and starring Charles Chaplin.