Podcasts about crown publishers

Send us a textCurious about how the world of prison economics operates? Get ready to uncover a hidden universe with our guest, David Skarbek, a leading voice in political economy. David takes us on a captivating journey from his early days in construction to his groundbreaking research at George Mason University, where he was inspired to explore the economics of unconventional spaces. His insights reveal the sophisticated systems of governance designed by prison gangs to maintain order and manage illicit economies. Whether you're fascinated by how these groups mimic pirate crews or intrigued by their ability to regulate harm in a high-stakes environment, this episode promises to reshape your understanding of extra-legal cooperation.David Skarbek, Michael Targoff Professor of Political Economy at Brown University. David Skarbek's Amazon Author PageBook'o'da'Month:  Shattered: Inside Hillary Clinton's Doomed Campaign  – Crown Publishers, April 18, 2017. by Jonathan Allen  Amie Parnes.Club Random: Bill Maher talks to William ShatnerIf you have questions or comments, or want to suggest a future topic, email the show at taitc.email@gmail.com ! You can follow Mike Munger on Twitter at @mungowitz

Have you ever been watching a movie, and desperately wanted to SMELL the action? Like literally SMELL what was going on in the film? Well, turns out, Hollywood has tried to make that a reality several times. Today we'll examine the bizarre and complicated history of attempting to add scents to the silver screen. Edited and thumbnail by Noah JOIN US ON PATREON FOR EARLY EPISODE RELEASES, BONUS CONTENT, AND MORE: www.patreon.com/desperateactsofcapitalism BIG THINGS ARE COMING Sources: "Another Early 'Smellie'". Variety. January 6, 1960. p. 35.  Gilbert, Avery N. (2008). "Hollywood Psychophysics". What the Nose Knows. Crown Publishers. ISBN 978-1-4000-8234-6.  "'Smellies' Back in 1916?". Variety. November 27, 1940. p. 21. Retrieved 2021-01-04 – via Internet Archive.  Fowler, Albert E. (January 13, 1960). "Fragrance of Long Ago". Variety. p. 6. https://www.latimes.com/business/la-tm-oops6feb05-story.html  "Swiss Inventors' 'Smellie' Adjunct To Pix; Other N.Y. Airport Items". Variety. September 11, 1940. p. 2. Retrieved 2021-01-04 – via Internet Archive. Robertson, Patrick (1993). The Guinness Book of Movie Facts & Feats (5th ed.). Abbeville Press. p. 168. ISBN 1558596976. https://www.nytimes.com/1959/10/17/archives/todd-smell-film-may-be-scooped-reade-rushes-own-picture-to-beat.html  Hift, Fred (October 14, 1959). "War of Rival Film 'Smellies'". Variety. Vol. 216, no. 7. p. 1. Kirsner, Scott (May 15, 2008). Inventing the Movies. Createspace. pp. 45–46. ISBN 978-1-4382-0999-9. https://www.nytimes.com/1959/12/10/archives/smells-of-china-behind-great-wall-uses-aromarama.html  Sragow, Michael (November 17, 2006). "Be forewarned: It's 'Waters' World'". Baltimore Sun Times. Archived from the original on 2007-09-30. Retrieved 2007-04-06.  https://web.archive.org/web/20201021044003/https://www.ntt.com/release_e/news06/0004/0411.html  https://www.firstshowing.net/2011/spy-kids-4-hitting-theaters-with-an-all-new-form-of-smell-o-vision/  https://www.telegraph.co.uk/technology/news/8077455/Smell-O-Vision-TV-developed-by-Japanese-scientists.html  https://www.newscientist.com/article/mg21729105-900-smell-o-vision-screens-let-you-really-smell-the-coffee/

James Dobson does it again: he wrote another book that makes me want to crawl out of my skin and die. The hits really don't stop coming, huh. This time, we are reading the toxic sludge known as "Bringing Up Girls". This is the start of a series about Purity Culture, the Evangelical philosophy that says holding hands is basically the same as having an affair (and both will earn you a scarlet A). Hold on to your lunches because this gets downright disgusting.References:“An Ecological Approach to Obesity and Eating Disorders. Chapter 10: Prevalence of Eating Disorders in Men versus Women.”Randy Wilson's Page on the FRC websiteThe Colorado law Dobson misconstrues so he can fear-monger about queer peopleFotF Media Commitment (previously Covenant)Why Abstinence Only Education suuuuucksDobson's challengeLegkauskas, V., & Stankevičienė, D. (2009). Premarital sex and marital satisfaction of middle aged men and women: a study of married Lithuanian couples. Sex Roles, 60, 21-32.Legkauskas, V., & Jakovlevaitė, V. (2005). Rizikingo seksualinio studentų elgesio ir jų psichosocialinių savybių ryšys [Relationship between risky sex behaviors and psychosocial characteristics of students]. Psichologija, 32,35–46.Rochlen, A. B., McKelley, R. A., Suizzo, M. A., & Scaringi, V. (2008). Predictors of relationship satisfaction, psychological well-being, and life satisfaction among stay-at-home fathers. Psychology of Men & Masculinity, 9(1), 17.Levenson, R. W., & Gottman, J. M. (1985). Physiological and affective predictors of change in relationship satisfaction. Journal of personality and social psychology, 49(1), 85.DeClaire, J., & Gottman, J. M. (2001). The relationship cure: A five-step guide for building better connections with family, friends, and lovers. Crown Publishers.Music from #Uppbeat (free for Creators!):https://uppbeat.io/t/mood-maze/trendsetterLicense code: 9OT2MTBHWWSRZP5S Hosted on Acast. See acast.com/privacy for more information.

https://www.patreon.com/DestinyComix https://destinycomix.weebly.com The Bookeis podcast is NOT ABOUT SPORTS BETTING!!! we are a group of friends who get together each month to discuses a different paperback drawn at random. We discuses children literature, horror, action, any paper back we know to be of quality writing. We have been recording our book club as a podcast since the end of 2016. I hope you enjoy this months discussion. In this episode we do a deep dive and review into Erik Larson's The Devil in the White City. This true crime biography was published back in 2003 by Crown Publishers. I hope you enjoy our book club, because your always welcome.

In this episode, Payton delves into the tragic demise of the renowned personality Bob Crane, exploring how a haphazard investigation may have allowed the perpetrator to evade justice. Episode Source: en.wikipedia.org/wiki/Bob_Crane The Murder of Bob Crane (1993, Crown Publishers), by Robert Graysmith archive.seattletimes.com/archive/?date=20010904&slug=bobcrane04 phoenixnewtimes.com/news/crime-reporters-notebook-6421838 ew.com/tv/2019/08/26/bob-crane-hogans-heroes-unsolved-murder/ imdb.com/title/tt0070716 youtube.com/watch?v=cbmtFYRoNM0 youtube.com/watch?v=UedIG2xguMI youtube.com/watch?v=jDyPYAP8o48 youtube.com/watch?v=d35vGmsuxtE youtube.com/watch?v=Nw5buq-aBHY Newspapers.com sources: newspapers.com/image/336116049 newspapers.com/image/320531499 newspapers.com/image/312200033 newspapers.com/image/225914435 newspapers.com/image/12001408 Learn more about your ad choices. Visit podcastchoices.com/adchoices

Buckle up for a mind-blowing discussion with Dustin Parker, the game-changing Co-Founder & CEO of The Parker Group. Pivoting from a full-time teaching career to the unpredictable realm of Real Estate, Dustin and his wife's evolution is a testament to the power of courage and adaptation. Today, their grit and perseverance have paid off, culminating in an impressive projection of $200 Million in sales in Delaware in 2023.This unmissable episode of Gathering the Kings podcast with Chaz Wolfe takes a deep dive into the critical topics of Delayed Gratification, Self-Discipline, Client Value, and Employee Management. Each filled with actionable insights and practical wisdom. Grab your headphones, hit that play button, and join us in the thrill of the entrepreneurial journey!During this episode, you will learn about;[00:48] Intro to Dustin Parker and his business[01:37] The burning desire inside of Dustin that keeps him pushing for more[05:18] Dustin's view of being an entrepreneur[10:32] Dustin's transition to real estate[16:40] How Dustin's origins has shaped his views in the present[19:34] The steps Dustin took to gain self discipline[25:57] The work that goes into filling the pipeline[34:30] A good business decision that Dustin has made[37:55] Dustin reflects on a bad business decision that he has learned from[39:36] Dustin's tips on leading people[42:17] What is the number one thing Dustin is tracking in his business right now[42:32] Dustin's recommended resources[45:43] Dustin's view on work- life obsession[50:54] What advice would Dustin give to the younger version of himself?[51:53] How to connect with Dustin[52:45] Info on Gathering The Kings MastermindNotable Quotes"If you're always the practitioner in the business, you're limiting the potential growth you could have." - Dustin Parker"I'm always more interested in the person that shows up in the beater than in the one that shows up in the Maserati." - Dustin Parker"The risk is actually greater staying in a job that you don't love for your whole life. More than anything, I like the journey of entrepreneurship." - Dustin Parker"I'm still very much in the grind, but it's the grind that I enjoy." - Dustin Parker"Good seeds planted always reap a good harvest." - Chaz Wolfe (Host)"Go serve. Just go love people." - Chaz Wolfe (Host)"The perspective of changing the boss to yourself or your spouse, or even your children is a huge shift that most people don't make." - Chaz Wolfe (Host)Books and Resources Recommended:Gerber, Michael E. The EMyth. HarperBusiness, 1985.Amazon.com: The E Myth: Why Most Businesses Don't Work and What to Do About It: 9780887303623: Gerber, Michael E.: BooksFerriss, Timothy. The 4-Hour Workweek: Escape 9-5, Live Anywhere, and Join the New Rich. Crown Publishers, 2007.Amazon.com: The 4-Hour Workweek: Escape 9-5, Live Anywhere, and Join the New Rich (Expanded and Updated) (Audible Audio Edition): Ray Porter, Timothy Ferriss, Blackstone Audio, Inc.: BooksCollins, Jim. Good to Great: Why Some Companies Make the Leap... and Others Don't. HarperBusiness,...

UNLOCKED from our Patreon page, it's the “Look Me In the Eye” Book Club! Interested in more Book Clubs? Want to vote on what we read next? Feeling FOMO at getting this a full year late? Wish your 2 CEs for listening to the episode were FREE??? Join us on Patreon to get all of our episodes a week early, access to these bonus episodes, plus other goodies. It's been nearly a year since we came together to discuss a book that we all ::GASP:: really liked! And our enjoyment is yours too as the Book Club Crew takes a trip down memory lane with the memoir “Look Me In the Eye” by John Elder Robison. Well, someone's memory lane. We discuss the tender, humorous, and melancholic life story of an man on the autism spectrum growing up without a diagnosis then take this opportunity to improve our focus on the individual in how we provide behavior analytic services (in a book with no mention of behavior analysis at all!). This episode is worth 2.0 LEARNING CEUS. Content discussed in this episode Robison, J.E.. (2007). Look me in the eye. Crown Publishers. If you're interested in ordering CEs for listening to this episode, click here to go to the store page. You'll need to enter your name, BCBA #, and the two episode secret code words to complete the purchase. Email us at abainsidetrack@gmail.com for further assistance. Want these CEs for FREE? Just subscribe to our Patreon at the $10+ levels and go to the original post for a discount code.

On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. 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 travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.  

One of the preeminent entertainers of the 20th century, Harry Houdini was a master of his craft, thrilling audiences with captivating physical stunts. An inventor, illusionist, and escapologist, he spent the final years of his career fighting to define the blurring line between entertainment and exploitative false spiritualism. In observance of the 96th anniversary of his death, join us as we explore the extraordinary life of the most famous magician of all time. https://www.reviewjournal.com/entertainment/entertainment-columns/kats/david-copperfields-secret-museum-of-magic-open-to-all-in-his-book-2467823/ (David Copperfield's secret magic museum revealed in new book – PHOTOS | Las Vegas Review-Journal) https://www.smithsonianmag.com/smithsonian-institution/harry-houdini-ingenious-innovator-didnt-want-anybody-know-180961078/ (Escape Artist Harry Houdini Was an Ingenious Inventor, He Just Didn't Want Anybody to Know More than just a magician, Houdini was also an actor, aviator, amateur historian and businessman By Jackson Landers January 9, 2017) https://muzeo.org/current-exhibitions/ (Houdini Unchained: The Legacy of Harry Houdini – Muzeo Museum and Cultural Center) https://www.newyorker.com/magazine/2020/03/30/harry-houdini-and-the-art-of-escape (Harry Houdini and the Art of Escape Why do the magician's tricks and triumphs still fascinate us? By David Denby March 23, 2020) https://newrepublic.com/article/123057/harry-houdini-love (Excerpted from The Witch of Lime Street: Séance, Seduction, and Houdini in the Spirit World Copyright © 2015 by David Jaher. Published by Crown Publishers, a division of Penguin Random House LLC.) https://www.history.com/news/10-things-you-may-not-know-about-harry-houdini#:~:text=Houdini%20assisted%20with%20the%20American%20war%20effort%20during%20WWI.&text=In%20a%20series%20of%20classes,of%20capture%20by%20the%20Germans. (10 Things You May Not Know About Harry Houdini - HISTORY.COM) https://publicdomainreview.org/collection/houdini-on-his-water-torture-cell-1914 (Audio of Houdini on his Water Torture Cell (1914)) https://www.youtube.com/watch?v=4ZX6NzOehKY (Houdini Archival Footage) https://www.thriftbooks.com/w/houdini-the-career-of-ehrich-weiss_kenneth-silverman/475982/item/5902641/?gclid=Cj0KCQjwwfiaBhC7ARIsAGvcPe6k5rxBjoLfEtAKFZ_Pmj81RI1LOCR_UrJZ3lCkL7QY2zWK5QRJIW4aAuR-EALw_wcB#idiq=5902641&edition=4403216 (Houdini!!! The Career of Ehrich Weiss by Kenneth Silverman) https://www.wildabouthoudini.com/ (WILD ABOUT HARRY - Where Houdini Lives By John Cox) https://www.thriftbooks.com/w/the-secret-life-of-houdini-the-making-of-americas-first-superhero_larry-sloman_william-kalush/297021/item/1434186/?gclid=Cj0KCQjwwfiaBhC7ARIsAGvcPe6weQmM8KVtFYAMlXiI4nY2sT_zuO7XknicVDIdajjQpXjkbO6BBEoaAr6VEALw_wcB#idiq=1434186&edition=4213113 (The Secret Life of Houdini: The Making of America's First Superhero by Larry Sloman and William Kalush) https://americanmuseumofmagic.com/ (American Museum of Magic | The wonder of it all!) https://www.visitnepa.org/things-to-do/attractions/houdini-museum/ (Houdini Museum: Tour & Magic Show | Scranton | Lackawanna County, PA) https://www.pbs.org/wgbh/americanexperience/features/houdini-margery-pamphlet/ (Margery Pamphlet | American Experience | Official Site | PBS) https://www.scientificamerican.com/article/scientific-american-vs-the-supernatural/ (Scientific American vs. the Supernatural - Scientific American By Katherine Harmon Courage on September 1, 2020) https://www.history.com/news/flu-pandemic-wwi-ouija-boards-spiritualism (How the 1918 Pandemic Spurred a Spiritualism Craze of Talking to the Dead - HISTORY) https://www.theatlantic.com/health/archive/2012/10/silencing-the-dead-the-decline-of-spiritualism/264005/ (Silencing the Dead: The Decline of Spiritualism - The Atlantic by Erin McCarthy OCTOBER 23, 2012) Follow us on IG: @themorbidmuseum Email us at themorbidmuseum@gmail.com Artwork: Brittany Schall

Steven Jay Rubin is the founder and president of Fast Carrier Pictures, Inc., a Los Angeles-based motion picture and television production company. He made his producing debut for Showtime in 2001 on the baseball comedy classic Bleacher Bums, starring Peter Riegert, Brad Garrett, Wayne Knight and Charles Durning. In 2002, for the Hallmark Channel, he produced the true World War II drama, Silent Night, starring Linda Hamilton, which was nominated for four Canadian television academy awards. Rubin was the executive producer of Archie's Final Project, a teen dramedy which starred David Carradine, Mariel Hemingway, Joe Mantegna, Nora Dunn, Tony Hale, Harry Shearer and amazing newcomer, Gabriel Sunday – a film that won 19 Best Picture awards around the world, including the Crystal Bear for Best Picture in its class at the 2009 Berlin Film Festival. Additionally, Rubin wrote, produced and directed the feature documentary, East L.A. Marine: The Untold True Story of Guy Gabaldon (Virgil Films). His upcoming film projects include a number of comedies he wrote with top television writer Billy Riback (Home Improvement, The Suite Life of Zach and Cody), including The Line Kings, about a group of rabid Star Wars fans determined to be the first to see the latest film in the series. He's also the executive producer of The Coolest Guy Movie Ever, a documentary produced and directed by Chris Espenen, that takes viewers to the locations where The Great Escape was shot in 1962, and which features one of the few interviews with Steve McQueen on record. Recognized around the world as an expert on the James Bond movies, Rubin previously wrote The James Bond Films: A Behind the Scenes History (Arlington House, 1981, Crown Publishers, 1983), and The Complete James Bond Movie Encyclopedia (Contemporary Books, 1990, 1995, McGraw Hill, 2003). His latest books include The Twilight Zone Encyclopedia (Chicago Review Press, 2017), and the upcoming children's picture book, The Cat Who Lived With Anne Frank (Penguin/Philomel, 2019), which he co-authored with David Lee Miller. Rubin also frequently writes for CinemaRetro magazine, where his cover stories have included heavily-researched behind-the-scenes studies of Rocky and The Bridge at Remagen. He recently interviewed actor Kirk Douglas for a retrospective look at the actor's favorite film, Lonely are the Brave. As a film historian, Rubin was nominated for Best Classic Commentary in 2004 by the DVD Exclusive Academy for his hosting work on the Special Edition DVD release of The Great Escape, a film he also covered in a documentary that debuted on Showtime in 1993. As a marketing executive, with a specialty in publicity and promotion, Rubin worked on the publicity campaigns for over 150 movies and television series. He lives in Los Angeles with his wife, Elisa, daughter Jaymie and son Darren.Support the show

Please enjoy this short preview of our full-length, Patreon-exclusive Look Me In the Eye Book Club. Want to hear the rest and earn 2 free CEs? Head over to our Patreon site and subscribe at the $10 or higher level to access this and all of other Book Clubs, plus a bevy of other extras just for patrons. Hope to see you there! It's been nearly a year since we came together to discuss a book that we all ::GASP:: really liked! And our enjoyment is yours too as the Book Club Crew takes a trip down memory lane with the memoir “Look Me In the Eye” by John Elder Robison. Well, someone's memory lane. We discuss the tender, humorous, and melancholic life story of an man on the autism spectrum growing up without a diagnosis then take this opportunity to improve our focus on the individual in how we provide behavior analytic services (in a book with no mention of behavior analysis at all!). Content discussed this episode: Robison, J.E.. (2007). Look me in the eye. Crown Publishers. Want to hear the whole episode and earn 2 free CEs? Visit us on Patreon to subscribe.

This month are hearts are all a-flutter, and it's not just because of our love of crappy NECCO wafers. We're seeing stars about our February topics! We'll be joined by Dr. Patrick McGreevy to discuss the origins and utility of the “Essential for Learning” curriculum followed by a review on the literature regarding teaching abduction prevention skills to children. As a special surprise, we've also got our 2021 talk from the Thompson Center for Autism Conference on maintaining a work-life balance. And, for our Patreon supporters, the latest in our Book Club series where we'll be analyzing “Look Me in the Eye: My Life with Asperger's” by John Elder Robison. Now check the candy heart in your podcast player: It says, “Cool Cat”. That's you! Articles for February 2022 Essential for Living w/ Dr. Patrick McGreevy McGreevy, P., Fry, T., & Cornwall, C. (2012, 2014). Essential for living. Orlando, FL: Patrick McGreevy, PhD, P.A. and Associates. McGreevy, P. & Fry, T. (n.d.). A journey to life skills. Essential for Living. https://essentialforliving.com/efl/ Armstrong, H., Denne, L.D., & Bailey, T. (2021). The role of key skills as a risk marker for the development of challenging behaviour in children and young people who have an intellectual disability. International Journal of Positive Behavioural Support, 11, 3-14.   Abduction Prevention Gunby, K.V., Carr, J.E., & LeBlanc, L.A. (2010). Teaching abduction-prevention skills to children with autism. Journal of Applied Behavior Analysis, 43, 107-112. doi: 10.1901/jaba.2010.43-107 Miltenberger, R.G., Fogel, V.A., Beck, K.V., Koehler, S., Shayne, R., Noah, J., McFee, K., Perdomo, A., Chan, P., Simmons, D., & Godish, D. (2013). Efficacy of the Stranger Safety abduction-prevention program and parent conducted in situ training. Journal of Applied Behavior Analysis, 46, 817-820. doi: 10.1002/jaba.80 Berube, T., MacDonald, J., & Parry-Cruwys, D. (2021). Teaching abduction prevention skills to children using a one-on-one training setting. Behavioral Interventions, 36, 550-560. doi: 10.1002/bin.1806 Ledbetter-Cho, K., Lang, R., Lee, A., Murphy, C., Davenport, K., Kirkpatrick, M., Schollian, M., Moore, M., Billingsley, G., & O'Reilly, M. (2021). Teaching children with autism abduction-prevention skills may result in overgeneralization of the target response. Behavior Modification, 45, 438-461. doi: 10.1177/0145445519865165   Bonus: “Work Life Balance as a BCBA: Is it Even Possible”   Winter 2022 Book Club Robison, J.E. (2007). Look me in the eye: My life with Asperger's. Crown Publishers.

Is your cat capable of love? Of altruism? Will your cat fight to the death to protect you? Ann and Lisa tell stories of feline heroics. They prove, without a shadow of a doubt, cats love you more than you'll ever know. Want to follow up on our sources or watch any of the videos we mention? Go to ThisAnimalLIfe.com and click on Show Notes.  Adams, Sam, “Best of friends: Cat and dog meet at same time every day to enjoy a stroll,” Mirror, August 2015. Demirjian, Karoun, “Russia's heroic cat Masha: She's credited with saving an abandoned infant from winter's deep freeze.” Washington Post, January 2015. Dictionary Corner: Iris Oxtabee was right! Anthropomorphism: The attribution of human characteristics or behavior to a god, animal, or object. Personification: the attribution of a personal nature or human characteristics to something nonhuman, or the representation of an abstract quality in human form. Dunn, Rob, Never Home Alone: From Microbes to Millipedes, Camel Crickets, and Honeybees, the Natural History of Where We Live. Basic Books, Illustrated edition, October 2019. Lang, Fabienne, “Cat Dies Defending Family from One of Australia's Most Venomous Snakes.” Interesting Engineering, February 2021. Morell, Virginia, Animal Wise: The Thoughts and Emotions of Our Fellow Creatures. Crown Publishers; 1st edition, February 26, 2013. Strickland, Ashley, “Yes, cats really do bond with people, study says, even if they don't always show it.” CNN September, 2019.

As beaches open up for the summer, remember there's more than COVID-19 to worry about. No, actually, that should be the main thing to worry about. Oh and sun cancer. While Strange County is talking about shark attacks, shark attacks are pretty rare. You have a better chance of having Trump grab you by your genitalia. But in the summer of 1916, a shark or sharks terrorized the Jersey Shore over 12 days. Scientists still don't know definitively what sparked it, but Beth and Kelly put forth a theory that is pretty incredible. Theme music: Big White Lie by A Cast of Thousands Cite your sources: Brown, Elizabeth. “How a Century of Fear Turned Deadly for Sharks.” Florida Museum, 3 May 2019, www.floridamuseum.ufl.edu/science/how-a-century-of-fear-turned-deadly-for-sharks/. Capuzzo, Michael. Close to Shore: the Terrifying Shark Attacks of 1916. Crown Publishers, 2003. The Case of the New Jersey Man-Eater, www.elasmo-research.org/education/topics/saf_nj_maneater.htm. Copeland, Matthew. “A History of Shark Attacks in Texas.” KIIITV, 24 July 2018, www.kiiitv.com/article/news/local/a-history-of-shark-attacks-in-texas/503-577105458. Evelyn, Kenya. “Amazon Threatened with Closure of Wisconsin Campus over Coronavirus.” The Guardian, Guardian News and Media, 22 May 2020, www.theguardian.com/technology/2020/may/22/amazon-coronavirus-wisconsin-campus-closure-threat. Fernicola, Richard G. Twelve Days of Terror: a Definitive Investigation of the 1916 New Jersey Shark Attacks. The Lyons Press, 2002. Gambino, Megan. “The Shark Attacks That Were the Inspiration for Jaws.” Smithsonian.com, Smithsonian Institution, 6 Aug. 2012, www.smithsonianmag.com/history/the-shark-attacks-that-were-the-inspiration-for-jaws-15220260/. “Great White Shark.” National Geographic, 21 Sept. 2018, www.nationalgeographic.com/animals/fish/g/great-white-shark/. “Great White Shark.” Smithsonian Ocean, 18 Dec. 2018, ocean.si.edu/ocean-life/sharks-rays/great-white-shark#section_690. McCall, Matt. “2 Weeks, 4 Deaths, and the Start of America's Fear of Sharks.” 1916 New Jersey Shore Shark Attacks Inspired Jaws and Changed the Way We View Ocean Predators, 12 June 2019, www.nationalgeographic.com/news/2015/07/150702-shark-attack-jersey-shore-1916-great-white/. Picchi, Aimee. “Trump Adviser Says America's ‘Human Capital Stock’ Ready to Return to Work, Sparking Anger.” CBS News, CBS Interactive, 26 May 2020, www.cbsnews.com/news/human-capital-stock-kevin-hassett-trump-economic-advisor-back-to-work/. Rice, Doyle. “Good News for Beachgoers: The Number of Shark Attacks Is Decreasing.” USA Today, Gannett Satellite Information Network, 22 Jan. 2020, www.usatoday.com/story/news/nation/2020/01/21/shark-attacks-were-down-again-2019-only-2-deaths-worldwide/4502604002/. Schmidt, Samantha. “A Century Later, Memories of Fatal Shark Attacks Linger in New Jersey.” The New York Times, The New York Times, 11 July 2016, www.nytimes.com/2016/07/11/nyregion/a-century-later-memories-of-fatal-shark-attacks-linger-in-new-jersey.html. “Shark Attack Compared to Other Risks.” Florida Museum, 1 Feb. 2018, www.floridamuseum.ufl.edu/shark-attacks/odds/compare-risk/. “Shark Attack Injures Two And Closes Gulf Beaches.” The New York Times, The New York Times, 11 June 2000, www.nytimes.com/2000/06/11/us/shark-attack-injures-two-and-closes-gulf-beaches.html. Wyatt, Edward. “Peter Benchley, Author of 'Jaws,' Dies at 65.” The New York Times, The New York Times, 13 Feb. 2006, www.nytimes.com/2006/02/13/books/peter-benchley-author-of-jaws-dies-at-65.html?searchResultPosition=2.

[Warning] This episode contains explicit language and explicit themes. Listener discretion is advised. Returning to the realm of mythology, Danny investigates a book meant to bring together parent and child. Analyzing the educational value from multiple perspectives, he addresses the skill of the author to illuminate values and history to any reader. Danny also discusses the brilliant scholastic opening and how Russell differentiated himself from contemporaries with a highly accessible style. Myths are the original novel and The Broken Shelf reviews all! Tune in every Tuesday for a new episode of The Broken Shelf. ~Follow all the Legionaries on Twitter~ Danny: twitter.com/legionsarchive The Tsar: twitter.com/TsarAlexander6 Allen: twitter.com/blkydpease Spangar: twitter.com/LSFspangar ~Credits~ Original Sound Cloud image provided by Amazon at www.amazon.com/Classic-Myths-Rea…nal/dp/0517588374 Original cover art owned by William F Russel, Crown Publishers, and Crown Trade Paperbacks. The Broken Shelf icon created and published by "The Broken Shelf" and Danny Archive. Podcast Opening recorded by Delayne Archive and edited by Danny Archive. Accompanying Opening music: Title - "Dreams Electric" Artist - Geographer Provided free from YouTube Audio Library Intro Song - "High School Hero" Artist - Silent Partner Provided free from YouTube Audio Library Interlude Song - "Chariots of War" Artist - Aakash Gandhi Provided free from YouTube Audio Library Outro Song - "Glass Hero" Artist - Bird Creek Provided free from YouTube Audio Library Podcast edited by Danny Archive using Audacity. Download Audacity here: https://www.audacityteam.org/ This podcast is fair use under U.S. copyright law because it is (1) transformative in nature, the audio is a journalistic commentary on popular media (2) uses no more of the original work than necessary for the podcast's purpose, the claimed duration is an edited clip for rhetoric, and (3) does not compete with the original work and could have no negative affect on its market. DISCLAIMER: I do not own any of the materials (music/artworks). All rights belong to the original artists. If you are the content owner and want to remove it, please contact me at legionssoulfood@gmail.com. Thank you! ~Check out William F Russell's Collection~ Penguin Random House: https://gate.sc/?url=https%3A%2F%2Fwww.penguinrandomhouse.com%2Fauthors%2F26530%2Fwilliam-f-russell&token=1bbb88-1-1562240531538 ~Do Us A Favor~ If you downloaded the podcast via anything else other than Sound Cloud, maybe check out our Sound Cloud, give us a follow, and listen to a few more of our other tracks. Sound Cloud was there from the beginning for us and no matter what the others provide it was and is our host. Thanks! Sound Cloud: https://soundcloud.com/user-377177156

Notes: IN THE LEAD BY A TAIL —see A Treasury of Southern Folklore, ed. by Botkin, New York, Crown Publishers, 1949, pp 128-129. Also in The Old Time Tennessee Orator by John Randall, pp 359-360.

Notes: A FRESH TURNED TRAIL see Botkin, Treasury of Western Folklore, p 512, rev.ed., New York, Crown Publishers, 1975, “The Smart Coon Dog,” ed. By B. A. From Idaho, A Guide in Word and Picture,WPA Federal Writers’ Project, 1937.

On this very special Valentine's Day episode, Beth and Kelly discuss the life and work of John Brinkley, a man who put goat testicles where no goat testicles had gone before. Brinkley, who bought his medical diploma for $100, made millions "curing" erectile dysfunction with the help of goat balls he sewed into patients' scrotums. People say love hurts for a reason. Theme music: Resting Place by A Cast of Thousands. Cite your sources: Brock, Pope. Charlatan: America’s Most Dangerous Huckster, the Man Who Pursued Him, and the Age of Flim Flam. Crown Publishers, 2008. Edemariam, Aida. “John Kerry: 'People Are Going to Die Because of the Decision Donald Trump Made'.” The Guardian, 16 Nov. 2018, www.theguardian.com/us-news/2018/nov/16/john-kerry-paris-climate-donald-trump-presidential-bid. Gunter, Jen. “Dear Gwyneth Paltrow, I'm a GYN and Your Vaginal Jade Eggs Are a Bad Idea.” Dr. Jen Gunter, Dr. Jen Gunter, 12 May 2017, drjengunter.wordpress.com/2017/01/17/dear-gwyneth-paltrow-im-a-gyn-and-your-vaginal-jade-eggs-are-a-bad-idea/.

Notes: THE ACCORDION DOG was collected from a Berea College student in 1976 and has since been heard in Strasburg, Virginia and a couple of other places. My source did not liken the dog to an accordion—that is my invention. Two friends told me a “dirty” version, one from his childhood in Cherokee County, North Carolina in which the dog is in a car which wrecks and both dog and its owner end up in the hospital. The owner, when he comes to, sees the dog on the rug next to his bed and asks the doctor if that is his dog. The doctor answers in the affirmative to which the man says, “What’s that collar thing around his neck?” Is this the original tale? See also Botkin, A Treasury of American Folklore, rev. ed., New York, Crown Publishers, 1975; “Fay Hubbard’s Dog” pp 511-512 from Idaho, A Guide in Word and Picture, Federal Writers’ Project, 1937. Also, Fireman’s Fast Lane Hound, Crown Publishers, 1944, Chicago Dentist Folklore by Jack Conroy, Manuscript for WPA Federal Writers’ Project.

Chatting With Sherri welcomes producer/writer Steven Rubin! Rubin began his motion picture writing career when he acquired the theatrical remake rights to the ABC television series Combat! and sold his screenplay and the rights to Savoy Pictures and later Paramount. He made his producing debut for Showtime in 2001 on the baseball comedy Bleacher Bums, starring Peter Riegert, Brad Garrett, Wayne Knight and Charles Durning.  In 2002, for the Hallmark Channel, he produced the true World War II drama Silent Night, starring Linda Hamilton, which was nominated for four Canadian Television Academy Awards.       He served as executive producer on Archie’s Final Project, an indie teen dramedy that won the Best Picture award in its class at the Berlin Film Festvial in 2009, and 19 other Best Picture awards around the world. On the documentary front, he wrote, directed and produced East L.A. Marine: The Untold True Story of Guy Gabaldon for Virgil Films and Entertainment. He currently serves as executive producer on the documentary The Coolest Guy Movie Ever (2018, also for Virgil Films).      He is the author of nine books, including: Secrets of the Great Science Fiction Films (Kino Verlag, 1984), The James Bond Films: A Behind the Scenes History (Arlington House, Crown Publishers, 1981, 1983), The Complete James Bond Movie Encyclopedia (Contemporary Books, 1990, 1995, McGraw-Hill, 2003), Combat Films: American Realism 1945-2010 (McFarland Books, 1981, 2010), The Cat Who Lived With Anne Frank, his first children’s picture book, co-written with David Lee Miller, and due from Penguin/Philomel in February 2019.     

The 9/11 attacks revealed a breakdown in American intelligence and there was a demand for individuals and institutions to find out what went wrong, correct it, and prevent another catastrophe like 9/11 from ever happening again. In Rogue Justice: The Making of the Security State (Crown Publishers, 2016) Karen J. Greenberg discusses how the architects of the War on Terror transformed American justice into an arm of the Security State. She tells the story of law and policy after 9/11, introducing the reader to key players and events, showing that time and again, when liberty and security have clashed, justice has been the victim. Expanded intelligence capabilities established after 9/11 (such as torture, indefinite detention even for Americans, offshore prisons created to bypass the protections of the rule of law, mass warrantless surveillance against Americans not suspected of criminal behavior, and overseas assassinations of terrorism suspects, including at least one American) have repeatedly chosen to privilege security over the rule of law. The book addresses how fear guides policy and the dangers of indulging these fears. Karen concludes that “[t]he institutions of justice, caught up in the war on terror, have gone rogue.” Learn more about your ad choices. Visit megaphone.fm/adchoices

The 9/11 attacks revealed a breakdown in American intelligence and there was a demand for individuals and institutions to find out what went wrong, correct it, and prevent another catastrophe like 9/11 from ever happening again. In Rogue Justice: The Making of the Security State (Crown Publishers, 2016) Karen J. Greenberg discusses how the architects of the War on Terror transformed American justice into an arm of the Security State. She tells the story of law and policy after 9/11, introducing the reader to key players and events, showing that time and again, when liberty and security have clashed, justice has been the victim. Expanded intelligence capabilities established after 9/11 (such as torture, indefinite detention even for Americans, offshore prisons created to bypass the protections of the rule of law, mass warrantless surveillance against Americans not suspected of criminal behavior, and overseas assassinations of terrorism suspects, including at least one American) have repeatedly chosen to privilege security over the rule of law. The book addresses how fear guides policy and the dangers of indulging these fears. Karen concludes that “[t]he institutions of justice, caught up in the war on terror, have gone rogue.” Learn more about your ad choices. Visit megaphone.fm/adchoices

The 9/11 attacks revealed a breakdown in American intelligence and there was a demand for individuals and institutions to find out what went wrong, correct it, and prevent another catastrophe like 9/11 from ever happening again. In Rogue Justice: The Making of the Security State (Crown Publishers, 2016) Karen J. Greenberg discusses how the architects of the War on Terror transformed American justice into an arm of the Security State. She tells the story of law and policy after 9/11, introducing the reader to key players and events, showing that time and again, when liberty and security have clashed, justice has been the victim. Expanded intelligence capabilities established after 9/11 (such as torture, indefinite detention even for Americans, offshore prisons created to bypass the protections of the rule of law, mass warrantless surveillance against Americans not suspected of criminal behavior, and overseas assassinations of terrorism suspects, including at least one American) have repeatedly chosen to privilege security over the rule of law. The book addresses how fear guides policy and the dangers of indulging these fears. Karen concludes that “[t]he institutions of justice, caught up in the war on terror, have gone rogue.” Learn more about your ad choices. Visit megaphone.fm/adchoices

The 9/11 attacks revealed a breakdown in American intelligence and there was a demand for individuals and institutions to find out what went wrong, correct it, and prevent another catastrophe like 9/11 from ever happening again. In Rogue Justice: The Making of the Security State (Crown Publishers, 2016) Karen J. Greenberg discusses how the architects of the War on Terror transformed American justice into an arm of the Security State. She tells the story of law and policy after 9/11, introducing the reader to key players and events, showing that time and again, when liberty and security have clashed, justice has been the victim. Expanded intelligence capabilities established after 9/11 (such as torture, indefinite detention even for Americans, offshore prisons created to bypass the protections of the rule of law, mass warrantless surveillance against Americans not suspected of criminal behavior, and overseas assassinations of terrorism suspects, including at least one American) have repeatedly chosen to privilege security over the rule of law. The book addresses how fear guides policy and the dangers of indulging these fears. Karen concludes that “[t]he institutions of justice, caught up in the war on terror, have gone rogue.” Learn more about your ad choices. Visit megaphone.fm/adchoices

Mind+Body Science (start time: 4:52): If you've ever struggled  to decide whether to see a Western conventional doctor or an  “alternative” medical practitioner for ailments ranging from a compromised immune system to irritable bowel syndrome, you are aware of a deep divide between the two camps. Dr. Jo Marchant, a British geneticist and science writer, has delved into the science and politics of mind-body connections in her new book. It’s called Cure: A Journey into the Science of Mind Over Body. She discusses this journey with host Susan Moran. (We played snippets from the interview during the recent  pledge-drive show. Thanks to you, listener-members, for your support! And thanks, Crown Publishers, for allowing KGNU to give copies of Cure to those who pledged during the show. Headlines (0:56 - 4:30) 1) Analyzing the molecular signature from our body's microbial communities might be used in the future to link suspects to crimes definitively. 2) New research explores whether molecules behave like predatory animals when it comes to foraging for food. Hosts: Beth Bennett, Susan Moran Producer: Beth Bennett Engineer: Beth Bennett Headline Contributor: Beth Bennett Executive Producer: Joel Parker Listen here to the show:

Paul Bloom, Brooks and Suzanne Ragen Professor of Psychology and Chair of the Cognitive Science Program at Yale University, draws upon his research into psychopathy, criminal behavior, charitable giving, infant cognition, cognitive neuroscience and Buddhist meditation practices to argue that empathy is a poor moral guide and we are better off without it. He is author of "Just Babies: The Origins of Good and Evil" (Crown Publishers, 2013).

Guest host: Ron Beard Studio Engineer: Amy Browne Issue: Community concerns and opportunities Program Topic: Sharing the Landscape: People and Wildlife Key Discussion Points: Jim tells a a bit about his career and connection to Maine…and what factors led to his interest in the increasingly fractious interactions between people and wildlife, leading him to write Nature Wars Jim explains some of the roots of the modern-day problem of people encroaching on wildlife and wildlife encroaching on people Landscape—cutting colonial era forests to forests re-growing since the Civil War- present day eastern forest, land conservation Where people lived and worked– rural to urban and suburban, outdoors- indoors How we have “managed” wildlife—abundance, slaughter, scarcity, protection, benign neglect, over abundance How people relate to wildlife—hunting source of food, threats to agriculture, slaughter for fashion, hunting for sport, romantic portrayals in literature and film, observing nature from indoors, wildlife as pets The current commercialization of wildlife – feeding birds and other wildlife Jim tells the story of how fictional “East Burbia” approaches its deer situation Reporters are charged with finding the story, laying out all the dimensions… where do you see this story leading us… what are our responsibilities in relation to wildlife? Are there any bright spots that give you hope for a shared landscape? Guests by name and affiliation: Jim Sterba, foreign correspondent and national reporter for the Wall Street Journal and New York Times, author of Nature Wars, published by Crown Publishers, 2012, and Frankie's Place: A Love Story See also www.JIMSTERBA.com The post Talk of the Towns 7/11/14 first appeared on WERU 89.9 FM Blue Hill, Maine Local News and Public Affairs Archives.

Jonathan Allen and Amie Parnes are the co-authors of authors of HRC: State Secrets and the Rebirth of Hillary Clinton (Crown Publishers 2014). Allen is White House bureau chief at Bloomberg; Parnes is White House correspondent for The Hill. This is a big, buzzy book that has gotten a lot of media attention. Much of the book is about how important trust is to Hillary Clinton. Allen and Parnes refer to the “concentric circles of trust” that dominate the political decisions made by the Clintons. They also write that Hillary Clinton has a “bias for action” that compels her to focus on doing rather than debating. One of the most interesting parts of the book is about how Secretary Clinton embraced technology and relied on staff to integrate technology into diplomacy innovative ways. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jonathan Allen and Amie Parnes are the co-authors of authors of HRC: State Secrets and the Rebirth of Hillary Clinton (Crown Publishers 2014). Allen is White House bureau chief at Bloomberg; Parnes is White House correspondent for The Hill. This is a big, buzzy book that has gotten a lot of media attention. Much of the book is about how important trust is to Hillary Clinton. Allen and Parnes refer to the “concentric circles of trust” that dominate the political decisions made by the Clintons. They also write that Hillary Clinton has a “bias for action” that compels her to focus on doing rather than debating. One of the most interesting parts of the book is about how Secretary Clinton embraced technology and relied on staff to integrate technology into diplomacy innovative ways. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jonathan Allen and Amie Parnes are the co-authors of authors of HRC: State Secrets and the Rebirth of Hillary Clinton (Crown Publishers 2014). Allen is White House bureau chief at Bloomberg; Parnes is White House correspondent for The Hill. This is a big, buzzy book that has gotten a lot of media attention. Much of the book is about how important trust is to Hillary Clinton. Allen and Parnes refer to the “concentric circles of trust” that dominate the political decisions made by the Clintons. They also write that Hillary Clinton has a “bias for action” that compels her to focus on doing rather than debating. One of the most interesting parts of the book is about how Secretary Clinton embraced technology and relied on staff to integrate technology into diplomacy innovative ways. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jonathan Allen and Amie Parnes are the co-authors of authors of HRC: State Secrets and the Rebirth of Hillary Clinton (Crown Publishers 2014). Allen is White House bureau chief at Bloomberg; Parnes is White House correspondent for The Hill. This is a big, buzzy book that has gotten a lot of media attention. Much of the book is about how important trust is to Hillary Clinton. Allen and Parnes refer to the “concentric circles of trust” that dominate the political decisions made by the Clintons. They also write that Hillary Clinton has a “bias for action” that compels her to focus on doing rather than debating. One of the most interesting parts of the book is about how Secretary Clinton embraced technology and relied on staff to integrate technology into diplomacy innovative ways. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jonathan Allen and Amie Parnes are the co-authors of authors of HRC: State Secrets and the Rebirth of Hillary Clinton (Crown Publishers 2014). Allen is White House bureau chief at Bloomberg; Parnes is White House correspondent for The Hill. This is a big, buzzy book that has gotten a lot of media attention. Much of the book is about how important trust is to Hillary Clinton. Allen and Parnes refer to the “concentric circles of trust” that dominate the political decisions made by the Clintons. They also write that Hillary Clinton has a “bias for action” that compels her to focus on doing rather than debating. One of the most interesting parts of the book is about how Secretary Clinton embraced technology and relied on staff to integrate technology into diplomacy innovative ways. Learn more about your ad choices. Visit megaphone.fm/adchoices

Jonathan Allen and Amie Parnes are the co-authors of authors of HRC: State Secrets and the Rebirth of Hillary Clinton (Crown Publishers 2014). Allen is White House bureau chief at Bloomberg; Parnes is White House correspondent for The Hill. This is a big, buzzy book that has gotten a lot of media attention. Much of the book is about how important trust is to Hillary Clinton. Allen and Parnes refer to the “concentric circles of trust” that dominate the political decisions made by the Clintons. They also write that Hillary Clinton has a “bias for action” that compels her to focus on doing rather than debating. One of the most interesting parts of the book is about how Secretary Clinton embraced technology and relied on staff to integrate technology into diplomacy innovative ways. Learn more about your ad choices. Visit megaphone.fm/adchoices