Podcasts about east l

In this episode of the Better Learning Podcast, host Carla Cummins is joined by co-host Victoria Morlan as well as architect and education advocate Don Baus for a powerful conversation around the 1988 film Stand and Deliver. With decades of combined experience in designing and supporting student-centered environments, the two explore how the true story of Jaime Escalante continues to challenge and inspire today's educators, designers, and school leaders. Set in a struggling East L.A. high school, Stand and Deliver follows math teacher Jaime Escalante as he empowers his students to defy expectations and succeed in AP Calculus—despite systemic barriers and cultural doubt. Victoria and Don dig into the film's themes of belief, rigor, and resilience, connecting them to their own work helping schools design spaces where students feel seen, capable, and empowered to succeed. Don, Charleston Office President for architecture firm Little and a longtime champion of inspiring learning environments, brings a unique design perspective to the discussion. Together, he and Victoria reflect on what it truly means to curate spaces and systems that allow every student to rise—and the ongoing responsibility educators and designers have to ensure equity, access, and inspiration are built into every learning experience.   Takeaways: Jaime Escalante's unwavering belief in his students' potential shows how a single educator's confidence can transform lives and outcomes. When we set the bar high and provide support, students often exceed what others believed possible. Recognizing and valuing diverse backgrounds helps educators design learning experiences that truly resonate. Thoughtful school design - both physical and emotional - can inspire students and help them thrive.   About Don Baus: As past president of AIA Charleston, Don is deeply rooted in South Carolina and champions the delivery of Little's promise to elevate client performance while advancing the firm's reputation in thought leadership, innovation and breakthrough ideas throughout the state. Don has more than 26 years of industry experience on regional projects including K-12 education, higher education, civic, healthcare and mixed-use. He has successfully led teams through all facets of project development from conceptual design through construction, always with a focus on client success and design excellence.   Learn More About Don Baus, AIA, LEED AP: LinkedIn: https://www.linkedin.com/in/don-baus-22b445a/   Learn More About Little Diversified Architectural Consulting: Website: https://www.littleonline.com/ LinkedIn: https://www.linkedin.com/company/little-diversified-architectural-consulting/ Instagram: https://www.instagram.com/littleonline_       About Victoria Brooks Morlan, CPSI, ECLPS: Victoria Brooks Morlan came to Kay-Twelve with 25 years of experience in the education space. She has worked with schools and architects throughout the Carolinas, Virginia and Georgia, helping to develop innovative learning environments for students of all ages. A teacher by education, Victoria has a unique ability for connecting with her clients while seeking to provide them with a holistic solution to foster innovative, collaborative and pedagogy-driven learning environments.   Learn More About Victoria Brooks Morlan, CPSI, ECLPS: LinkedIn: https://www.linkedin.com/in/victoria-morlan-cpsi-eclps-54787456/   Learn More About Kay-Twelve: Website: https://kay-twelve.com/ LinkedIn: https://www.linkedin.com/company/kay-twelve-com/ Instagram: https://www.instagram.com/kay_twelve/       Connect with episode host, Carla Cummins: LinkedIn: https://www.linkedin.com/in/carla-cummins-01449659/     Episode 229 of the Better Learning Podcast Kevin Stoller is the host of the Better Learning Podcast and Co-Founder of Kay-Twelve, a national leader for educational furniture. Learn more about creating better learning environments at www.Kay-Twelve.com.     For more information on our partners: Association for Learning Environments (A4LE) - https://www.a4le.org/ Education Leaders' Organization - https://www.ed-leaders.org/ Second Class Foundation - https://secondclassfoundation.org/ EDmarket - https://www.edmarket.org/ Catapult @ Penn GSE - https://catapult.gse.upenn.edu/ Want to be a Guest Speaker? Request on our website

The cast and creative team behind Real Women Have Curves: The Musical gathered for an exclusive press day, and we were there to soak in the joy, passion, and powerful stories that define this new Broadway production. From bold choreography to songs that stick in your head long after the final note, this episode captures the spirit of a show that centers Latin culture, immigrant narratives, and shared humanity in a way that's as timely as it is timeless. Whether you're drawn to the musical's universal themes or its deeply personal storytelling, every voice in this episode brings something heartfelt to the table. We hear first from producers Barry Weissler and Jack Noseworthy about why this story matters now more than ever, followed by composer/lyricist Benjamin Velez, who shares how he and Joy Huerta crafted the musical world of 1980s East L.A. Alan Madagoitia then gives us insight into her powerful role as Itzel, an undocumented immigrant from Guatemala. Writer Nell Benjamin reflects on adapting a true story with timeless themes, and Sergio Trujillo dives into directing and choreographing something deeply personal. We also hear from cast members Carla Jimenez and Jennifer Sanchez, who infuse their characters with humor, heart, and lived-in truth. Finally, Florencia Cuenca shares her emotional journey as Estela, and how this role has transformed her both personally and professionally. Visit https://www.realwomenhavecurvesbroadway.com/ for tickets and more info!

Anne and Ryan discuss the year's most Oscar-nominated film, Jacques Audiard's musical EMILIA PÉREZ starring Zoe Saldaña, Karla Sofía Gascón and Selena Gomez. The film follows a Mexican cartel leader who recruits a lawyer to help her transition into a woman and restart her life as a philanthropist. Drawing both accolades as an inventive, relevant musical and criticism as a tone-deaf overreach into Mexican and trans representation, EMILIA PÉREZ is the most polarizing film of any recent awards season. Join our discussion of Audiard's divisive musical, taking diversions into Justin Baldoni, George Lucas, offensive Tweets, Josh O'Connor, The Reader, Born in East L.A., and much, much more! EMILIA PÉREZ is currently available to stream on Netflix.

Welcome back to The Video Store Podcast. This week, I've curated a lineup of films that capture different aspects of Los Angeles: its humor, its struggles, its danger, and its intrigue. Whether you're a longtime fan of these movies or discovering them for the first time, I think they're worth your time. Here's what we're watching this week:L.A. Story (1991)Steve Martin stars in and wrote this quirky romantic comedy that doubles as a love letter to Los Angeles. It's full of surreal humor, like talking freeway signs, and it pokes fun at the city's obsession with image and trends. But it's also heartfelt, exploring how we connect with others in a place that can feel isolating. Keep an eye out for some great cameos, including Patrick Stewart as a hilariously serious maître d'. The film was shot all around L.A., including Griffith Park and Venice Beach, which really adds to its sense of place.Born in East L.A. (1987)Cheech Marin wrote, directed, and stars in this comedy about a Mexican-American man who gets mistakenly deported to Mexico. It's packed with laughs, but it also has a lot of heart as it explores cultural misunderstandings. Make sure to check out Paul Rodriguez and Daniel Stern both have memorable roles here, adding to the film's charm.To Live and Die in L.A. (1985)If you're into crime thrillers, this one's a must. Directed by William Friedkin (The Exorcist, The French Connection), it's a gritty and intense look at the darker side of Los Angeles. The film follows a Secret Service agent, played by William Petersen, as he becomes obsessed with catching a counterfeiter (Willem Dafoe). Friedkin's commitment to authenticity shows, especially in the car chases, which are some of the best ever put on film. The movie also features an amazing soundtrack by Wang Chung, which perfectly complements its tense, stylish vibe.L.A. Confidential (1997)Curtis Hanson's neo-noir is a masterpiece. Set in the 1950s, it dives into corruption, scandal, and ambition within the LAPD. The ensemble cast, including Kevin Spacey, Guy Pearce, Kim Basinger, and Russell Crowe, delivers some of their best work. Basinger even won an Oscar for her performance. The screenplay, co-written by Hanson and Brian Helgeland, is a brilliant adaptation of James Ellroy's novel. The production design and costumes perfectly recreate the glamour and grit of post-war Los Angeles, making it as visually striking as it is narratively gripping.That's the lineup for this week. Each of these films captures something unique about Los Angeles, from its humor and charm to its danger and complexity. If you decide to check out any of these, let me know what you think. Thanks for stopping by The Video Store Podcast, and we'll see you next time with more movies to add to your watchlist. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.videostorepodcast.com

Girls night out in Los Angeles. 24-year-old Christy Giles and 26-year-old Hilda Marcela Cabrales-Arzola head to a warehouse party in East L.A., where they meet David Pearce. Witnesses say Pearce offered them cocaine, and the group heads back to Pearce's apartment. The next day, both women are dropped off at separate hospitals suffering from a drug overdose. As the families of both women deal with the devastating news, Christy's husband, Jan notices her phone pinged to an unknown location. We speak to Jan and Christy's parents about how the tragic day played out, as well as Hilda's family, who were with her in hospital while she was in a coma. Plus, a renowned expert on drug-facilitated assault cases discusses the initial facts of the investigation.

As 2024 comes to an end we here at GBW continue to get our fill of kung fu, Roger Corman productions and wacky kids movies. And we continue to share them with you.This time our 16 films covered include a bizarre Canadian kids Christmas movie, two brothers trying to survive in East L.A., a 90's neo noir you've not heard of, a sunbaked crime thriller that delivers the goods, Mickey Rooney going on an acid trip, an early De Palma thriller, Josh continuing his Jackie Chan journey and so much more!Thanks for listening! Be sure to subscribe, rate and review the show wherever you listen to podcasts; join in the discussion on our Facebook group, and if you like what you hear - tell a friend and spread the word - every little bit helps!Links to all our web stuff at www.gbwpodcast.com

Changing lives and creating art. A tried and true program in East L.A. and the forces behind it are bringing purpose out of despair. Special correspondent Mike Cerre reports on the Homeboy Art Academy for our arts and culture series, CANVAS. PBS News is supported by - https://www.pbs.org/newshour/about/funders

A tried and true program in East L.A. helps former gang members, drug users and those leaving incarceration build a new life. Special correspondent Mike Cerre reports on the Homeboy Art Academy for our arts and culture series, CANVAS. PBS News is supported by - https://www.pbs.org/newshour/about/funders

Oreo returns to help Cam summarize their favorite moments in David Ayer's East L.A. movie saga.   Which crooked cop was the bigger bad?   Which one of Ayer's films is a true sleeper prior to career resurgence?    And which of his films would easily make the great Walter Hill proud of its genre tribute?   Suit up and drive across the 101 Freeway with us!     MOVIE PROMOS USED:  Sabotage (2014) Training Day TV Show (2017) The Tax Collector (2021)               MAIN LINKS:  LinkTree: https://linktr.ee/JURSPodcast Facebook Page: https://www.facebook.com/JackedUpReviewShow/ Facebook Group: https://www.facebook.com/groups/2452329545040913 Twitter: https://twitter.com/JackedUpReview  Instagram: https://www.instagram.com/jacked_up_podcast/  Blind Knowledge Podcast Network: https://www.blindknowledge.com/       SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ   iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/   Podbean: https://jackedupreviewshow.podbean.com   Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M   Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218   RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE   Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast   Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz   Anchor:  https://anchor.fm/s/a46297c/podcast/rss   PocketCasts: https://pca.st/0ncd5qp4   CastBox:  https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222   Discord:  https://discord.com/channels/796154005914779678/796154006358851586         #MovieReview #FilmTwitter #PodFamily #PodcastersOfInstagram #Movies #Film #Cinema #Music #Reviews #Retrospect #Podcasts #MutantFam #MutantFamily #actionmystery #bmovies #scifihorror #truecrime #historydramas #warmovies #podcastcollabs #hottakes #edgy #cultmovies #nsfw #HorrorFam #badass   

Dodger Blue Dream podcast host Richard Parks III looks back on a cinematic season. The Wall Street Journal's Jared Diamond explains whether it was enough to revive ratings. This episode was produced by Peter Balonon-Rosen and Eliza Dennis, edited by Amina Al-Sadi, fact-checked by Laura Bullard and Matt Collette, engineered by Andrea Kristinsdottir and Rob Byers, and hosted by Sean Rameswaram. Transcript at vox.com/today-explained-podcast Support Today, Explained by becoming a Vox Member today: http://www.vox.com/members Fans celebrate the Los Angeles Dodgers' win over the New York Yankees in East L.A. Photo by Jason Armond / Los Angeles Times via Getty Images. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It was a big night for the boys in blue as the Dodgers became the world champions once again. Celebrations quickly got out of hand in downtown and East L.A. A former O.C. Supervisor at the center of an LAist investigation is in federal court today. Plus more.  Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.comSupport the show: https://laist.com

Jordan Frazier is In The Frame!Jordan recently completed her run as Angelica in the West End production of Hamilton.After growing up in the US, Jordan spent several years performing on multiple highly acclaimed cruise ships. After moving to London, Jordan was cast as Zahara in the international tour of Bat Out Of Hell. Despite completing rehearsals, sadly the production didn't open due to the Covid-19 theatre shutdown. Jordan starred alongside Wendi Peters as Ruby in You Are Here at the Southwark Playhouse before joining Hamilton as the understudy for all three Schuyler Sisters. She later became the Schuyler Sisters standby and then took over as Angelica full-time. Most recently Jordan has been workshopping the Chaka Khan musical I'm Every Woman, starring as Chaka.Jordan's theatre credits also include: River in In Pieces, Sweet Thang in Nina Simone: Four Women, Lola in Damn Yankees and Dorothy in The Wizard of Oz.Jordan is fluent in Spanish - her Spanish theatre credits include Tiffany in Confessions of Women from East L.A. Jordan has also completed several cruise contracts as a Principal singer. Her screen credits include Ava in Sun Rosè & Romance, Jenny in Love At First Sight (Netflix), Jacquie in Feuds (Disney+), Woman in Power XL (advert) and Toyota Commercial (USA advert). Follow Jordan on Instagram: @jordanbfrazier Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Military vet transformed filmmaker David Ayer assembled his own special voice on cops, robbers, corruption & dark humor in his East L.A. set crime actioners.   Filmbuff Mark Shaver returns to disclose what sets Ayer's work apart from the Michael Mann & Tarantino material of the world and why some of his actors were unrecognizable as the zany characters, why the crime underbelly was atypical & what his trademark is at this rate.   Get your gun or turn in your badge but take a drive down cinema lane!   FILM PROMO CLIPS USED: Training Day Dark Blue SWAT Harsh Times Street Kings End of Watch                     MAIN LINKS:  LinkTree: ⁠https://linktr.ee/JURSPodcast⁠ Facebook Page: ⁠https://www.facebook.com/JackedUpReviewShow/⁠ Facebook Group: ⁠https://www.facebook.com/groups/2452329545040913⁠ Twitter:⁠ https://twitter.com/JackedUpReview ⁠ Instagram: ⁠https://www.instagram.com/jacked_up_podcast/ ⁠ Blind Knowledge Podcast Network: ⁠https://www.blindknowledge.com/⁠       SHOW LINKS: YouTube: ⁠https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ⁠   iHeartRadio: ⁠https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/⁠   Podbean: ⁠https://jackedupreviewshow.podbean.com⁠   Spotify: ⁠https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M⁠   Apple Podcasts: ⁠https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218⁠   RadioPublic: ⁠https://radiopublic.com/the-jacked-up-review-show-We4VjE⁠   Overcast: ⁠https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast⁠   Google Podcasts: ⁠https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz⁠   Anchor:  ⁠https://anchor.fm/s/a46297c/podcast/rss⁠   PocketCasts: ⁠https://pca.st/0ncd5qp4⁠   CastBox:  ⁠https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222⁠   Discord:  ⁠https://discord.com/channels/796154005914779678/796154006358851586⁠         #MovieReview #FilmTwitter #PodFamily #PodcastersOfInstagram #Movies #Film #Cinema #Music #Reviews #Retrospect #Podcasts #MutantFam #MutantFamily #actionmystery #bmovies #scifihorror #truecrime #historydramas #warmovies #podcastcollabs #hottakes #edgy #cultmovies #nsfw #HorrorFam #badass   

As broadcast @ www.totallywiredradio.com Tuesday 10.09.24With special guest Stuart 'Tolly' Tolliday01. Chic - São Pãulo (Atlantic 1977)02. Sergio Mendes & Brasil 66 - Roda (A&M Recs 1968)03. Sergio Mendes & Brasil 66 - Bim-Bom (A&M Recs 1967)04. Sergio Mendes & Brasil 66 - For What It's Worth (A&M Recs 1970)05. Jazz Collective - Velvet (Mukatsuku Recs 2014)06. Walt Barr - Free Spirit (Muse Recs 2022)07. The Joe Thomas Group - Comin' Home Baby (Cobblestone 1968)08. Syl Johnson - Is It Because I'm Black (Numero Group 2021)09. William Bell  - I Forgot To Be Your Lover (Stax 1968)10. George Jackson - One More Hurt (Hit and Run 2023)11. Jerry Butler  - Ordinary Joe (Soul Essentials 2020)12. Alice Taylor - Sounds Ridiculous (Soul Junction 2024)13. Aretha Franklin - Rock With Me (Atlantic 1976)14. Crystal Clear - Stay With Me (Soul Brother Recs 2023)15. Sheree Brown - It's A Pleasure (Capitol Recs 1981)16. Isaac Hayes - Soulsville (Enterprise 1972)17. Jackie Wilson And Linda Hopkins - Joshua Fit The Battle Of Jericho (Popcorn 2013)18. The Winstons - Color Him Father (Metromedia 1969)19. Lou Rawls - A Natural Man (MGM 1971)20. Nathan Haines Ft. Damon Albarn  - FM (Chillifunk 2003)21. Stevens & Foster - I Want To Be Love (Soul Spectrum 2013)22. Bacao Rhythm & Steel Band - Love Like This (Big Crown 2016)23. Herbie Mann - Hijack (Atlantic 1974)24. Etta Jones - Nature Boy (Popcorn 2015)25. The Charmels - As Long As I've Got You (Volt 1967)26. Bobby Hebb - Sunny (Phillips 1966)27. Jay Dee - Rico Suave Bossa Nova (Mr Thing Edit) (Alim 2018)28. Jesse James - Everybody's Talking At Me (Soul Junction 2023)29. Steel Pulse - Ravers (Wise Man Doctrine 1982)30. Jackie Mitoo - Disco Jack (Pressure Sounds 1997)31. East L.A Car Pool - Linda Chicana (GRC 1975)

In this episode of the Matt Watch That Podcast, host Matt Seroski talks about Hispanic Heritage Month and reviews the satirical comedy Born in East L.A. (1987).

Send us a textSal was born and raised in East L.A. California. Sal learned how to sing in grade school and while performing in choir and the music bug bite him hard!! he later picked up and learned the guitar from his self-taught father and others in bands he was in. Sal is a retired U.S. Marine. y'all check him out and look for his story on his webpage and the stories he puts to music.www.salgmusic.comall links are thereproduced by Tommy MooreSupport the Show.The David Bradley ShowHost: David Bradleyhttps://www.facebook.com/100087472238854https://youtube.com/@thedavidbradleyshowwww.thedavidbradleyshow.com Like to be a guestContact Usjulie@thedavidbradleyshow.comRecorded at Bradley StudiosProduced by: Caitlin BackesProud Member of CMASPONSERSBottled Water and Sweet Tea provided by PURITY DairyABlaze Entertainment

Celebrate Gil Cuadros with Kevin Martin, Rafael Pérez-Torres, & Amy Scholder. Opening by Greyson Wright & readings by Joseph Cassara & Flavia Elisa Mora. City Lights & the SF LGBT Center celebrate the publication of "My Body Is Paper: Stories and Poems" by Gil Cuadros, edited by Pablo Alvarez, Kevin Martin, Rafael Pérez-Torres, & Terry Wolverton, foreword by Justin Torres. Published by City Lights Books. Purchase "My Body Is Paper" here: https://citylights.com/my-body-is-paper-stories-poems/ Purchase "City of God" here: https://citylights.com/city-lights-published/city-of-god/ Since "City of God" was published by City Lights 30 years ago, it has become an unlikely classic (an “essential book of Los Angeles” according to the LA Times). The book has touched those who find in his work a singular evocation of Chicanx life in Los Angeles around the time of the AIDS epidemic, which took his life in 1996. Little did we know, Cuadros continued writing exuberant works in the period between his one published book & his untimely death at 34. This recently discovered treasure, "My Body Is Paper," is a stunning portrait of sex, family, religion, culture of origin, & the betrayals of the body. Tender & blistering, erotic & spiritual, Cuadros dives into these complexities which we grapple with today, showing us how to survive these times & beyond. Gil Cuadros (1962–1996) was a groundbreaking gay Latino writer whose work explored the intersections of sexuality, race, & spirituality. Diagnosed with HIV in 1987, Cuadros channeled his experiences into "City of God," capturing the raw emotions of living with a life-threatening illness. His lyrical intensity & unflinching honesty shined a light on marginalized communities & familial expectations. "City of God" has gone on to become a classic of Chicanx literature. Kevin J. Martin is the executor of the Estate of Gil Cuadros, & a longtime copyeditor & writer. He serves as Senior Writer & Associate Editor for MagellanTV, where he writes on various topics related to art & culture. Rafael Pérez-Torres is professor of English & Gender Studies at UCLA & author of "Movements in Chicano Poetry and Critical Mestizaje," co-author of "Memories of an East L.A. Outlaw," & co-editor of "The Chicano Studies Reader." Amy Scholder is a literary editor & documentary filmmaker known for amplifying the stories of marginalized artists & activists. Amy began her career as an editor at City Lights. She has since served as US Publisher to Verso Books, later joining 7 Stories Press as Editor & Chief. In 2008, Scholder left 7 Stories to become the executive editor of the Feminist Press at the City University of New York. Scholder was approached by director Pratibha Parmar & producer Shaheen Haq to help finish their hybrid documentary feature, "My Name Is Andrea," about Andrea Dworkin. She became an executive producer of the film, which premiered at the 2022 Tribeca Film Festival. Joseph Cassara is the author of "The House of Impossible Beauties" (Ecco), winner of the 2019 Edmund White Award for Debut Fiction & finalist for the Lambda Literary Award for Gay Fiction. A graduate of Columbia University & the Iowa Writers' Workshop, he currently serves as the George & Judy Marcus Endowed Chair of Creative Writing at San Francisco State University. Flavia Elisa Mora is a queer, Mexican migrant artist, activist, & community organizer raised in occupied Ramaytush Ohlone land, in La Mission. Her main two foci are muralismo & Flor y Canto poesía. Flavia's work delves into the exploration of her identity, relationships, migration story, family & community history. She is a published writer, performs poetry throughout the Bay, & is one of the lead artists for the mural "Alto al Fuego en la Misión," located on 24th and Capp, SF. Event originally broadcast from City Lights' Poetry Room on Thursday, May 30, 2024. Hosted by Peter Maravelis. Made possible by support from the City Lights Foundation. citylights.com/foundation

Le 18 mars 1997, le visage du rap français changeait pour toujours. Avec l'album L'École du Micro d'Argent, IAM posait une des pierres essentielles du genre en France, et le propulsait vers de nouveaux sommets. Parmi les rares invités du groupe sur le disque, un nom tient une place toute à fait particulière : East, alias Olivier Kponton. Révéré et aimé de toute la scène pour son talent et sa technique, sa présence sur l'album est un symbole et une petite victoire sur un destin particulièrement cruel. Car, un an plus tôt, East a brutalement disparu.Ses proches racontent son histoire et leur combat pour sa mémoire, dans cette enquête Thomas Rozec, réalisée par Geoffrey Puig.CRÉDITSProgramme B est un podcast de Binge Audio présenté par Thomas Rozec. Cet épisode a été produit en juin 2022. Réalisation : Geoffrey Puig. Production et édition : Lorraine Besse. Générique : François Clos et Thibault Lefranc. Identité sonore Binge Audio : Jean-Benoît Dunckel (musique) et Bonnie El Bokeili (voix). Identité graphique : Sébastien Brothier et Thomas Steffen (Upian). Direction des programmes : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Le 18 mars 1997, le visage du rap français changeait pour toujours. Avec l'album L'École du Micro d'Argent, IAM posait une des pierres essentielles du genre en France, et le propulsait vers de nouveaux sommets. Parmi les rares invités du groupe sur le disque, un nom tient une place toute à fait particulière : East, alias Olivier Kponton. Révéré et aimé de toute la scène pour son talent et sa technique, sa présence sur l'album est un symbole et une petite victoire sur un destin particulièrement cruel. Car, un an plus tôt, East a brutalement disparu.Ses proches racontent son histoire et leur combat pour sa mémoire, dans cette enquête Thomas Rozec, réalisée par Geoffrey Puig.CRÉDITSProgramme B est un podcast de Binge Audio présenté par Thomas Rozec. Cet épisode a été produit en juin 2022. Réalisation : Geoffrey Puig. Production et édition : Lorraine Besse. Générique : François Clos et Thibault Lefranc. Identité sonore Binge Audio : Jean-Benoît Dunckel (musique) et Bonnie El Bokeili (voix). Identité graphique : Sébastien Brothier et Thomas Steffen (Upian). Direction des programmes : Joël Ronez. Direction de la rédaction : David Carzon. Direction générale : Gabrielle Boeri-Charles Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this episode, Rivers and Sam are hangin' out at Disgraceland with comedians George Coffey and Seth Pomeroy! We're starting this one out by testing an energy drink made by legendary boxing and wrestling announcer Michael Buffer that Rivers found at a Big Lots in Cleveland, OH. We then get into some local news involving an 81 year-old Dennis the Menace-style terrorist in East L.A. County as well as some political news involving the always-amusing Robert F. Kennedy Jr. George tells us about his recent involvment in aviation and Rivers talks about his favorite inventor. Everyone except Seth saw 'Furiosa' and Quiet Riot's "Cum on Feel the Noize" (yes, that's how it's spelled) is oru JAM OF THE WEEK! This one is a banger and we can't wait for y'all to hear it.  Follow George on Instagram @CoffeyGrams and on Twitter @GeorgeCoffey. Also, follow his hilarious page @GoLocalMetro on Twitter. Follow Seth on all forms of social media @SethPomeroy and follow his WONDERFUL movie review show on Instagram @SethsFirstImpressions. Follow our show on Twitter @TheGoodsPod.  Rivers is @RiversLangley  Sam is @SlamHarter  Carter is @Carter_Glascock  Subscribe on Patreon for an UNCUT video version of the show as well as HOURS of bonus content! http://patreon.com/TheGoodsPod Pick up a Goods from the Woods t-shirt at: http://prowrestlingtees.com/TheGoodsPod 

Bryan SmallBryan Small has stories to tell and we always enjoy the ride. The longstanding, real-deal frontman for The Hangmen joins us to discuss the new album, “Stories to Tell,” the characters in the songs, an in-the-works documentary and why the 1980's scene in East L.A. was as quietly vibrant as the Sunset Strip. Created and Produced by Jared Tuten

The wind was never at the back of Delicia Niami.  She started life in a tough area of East L.A. by a devoted single mom when she (and her brother) were kidnapped by her estranged father and whisked off to Baghdad. She was only four.  With little understanding of the culture and why she was taken, she endured rejection and poverty. Just as abruptly, Delicia was returned a year later.  Without a command of English, she wondered if she would be accepted. She was. Life went on.  But tragedy struck again at age 30 when her mother was murdered in a home invasion by a stranger.  It took years for Delicia to find her footing and she bravely shares her journey with us.

This week, we cover the life and career of Eddie Murray, who grew up in the gang infested, crime riddled streets of Watts, California. Eddie and his five brothers, who would all go onto professional baseball careers, would escape the allure of drugs and crime by spending their summer days playing baseball throughout East L.A. Eddie was a phenomenal, championship high school pitcher, but he would teach himself how to switch-hit, and become the third of five baseball players to finish his Hall Of Fame career, with 500 home-runs while collecting 3,000 hits. #EddieMurray #SteadyEddie #LockeHighSchool #OzzieSmith #BaltimoreOrioles #EarlWeaver #EdwardBennettWilliams #KenSingleton #LosAngelesDodgers #NewYorkMets #ClevelandIndians #CaliforniaAngels #CalRipkenJr

This week, we cover the life and career of Eddie Murray, who grew up in the gang infested, crime riddled streets of Watts, California. Eddie and his five brothers, who would all go onto professional baseball careers, would escape the allure of drugs and crime by spending their summer days playing baseball throughout East L.A. Eddie was a phenomenal, championship high school pitcher, but he would teach himself how to switch-hit, and become the third of five baseball players to finish his Hall Of Fame career, with 500 home-runs while collecting 3,000 hits. #EddieMurray #SteadyEddie #LockeHighSchool #OzzieSmith #BaltimoreOrioles #EarlWeaver #EdwardBennettWilliams #KenSingleton #LosAngelesDodgers #NewYorkMets #ClevelandIndians #CaliforniaAngels #CalRipkenJr

On Part 7 of Episode 57, we continue our look into deputy gangs in the L.A. County Sheriff's Department. Last week, we talked about the rise of the Banditos in the East L.A. Station , their take over of the station, and how it allowed them to abuse their co-workers. But on today's show, we'll talk about their reign of terror over the communities of East Los Angeles, as well as their continued control over operations in the station. I hope everyone thoroughly enjoys today's show and tunes back in next week.PLEASE follow us on our socials- Instagram and Twitter: @theblackhandpodSources:Background Music:Music: Dark Flashes by Shane Ivers - https://www.silvermansound.comIntro Music:Music: Void Glider by Shane Ivers - https://www.silvermansound.comIntro audio sources:Lufthansa clip belongs to The Fox Corporation“New York City is a warzone” clip belongs to CBS Broadcasting Inc.Joey Gallo and “Leave by violence” clip belongs to the American Broadcasting CompanySupport the show

Join us for an incredible episode as we explore the inspiring journey of Ruben Palomares. From a troubled upbringing in LA to an Olympic-level boxer and undercover cop, Ruben's story is gripping.Facing life-threatening situations and PTSD, Ruben found redemption in solitary confinement through faith, counseling, and confronting his trauma. He now helps others in prison and raises awareness about mental health within the police department.Don't miss this powerful episode filled with gripping stories and a message of hope. Tune in to hear Ruben Palomares' incredible story of transformation and redemption.ABOUT RUBEN PALOMARES:Ruben Palomares is a remarkable individual who overcame a challenging upbringing in the tough neighborhoods of East L.A. Despite the odds stacked against him, he excelled in school and became a Golden Gloves boxer, even sparring with boxing champions Oscar de la Hoya and Sugar Shane Mosley. After joining the LAPD, a shooting incident left him with PTSD, leading him down a destructive path. However, through a transformative encounter with God and the support of counselors and Christian psychologists, Ruben found healing and redemption. Now retired from the police force, Ruben is dedicated to raising awareness about mental health issues, particularly within the police department. He uses his own experiences to advocate for better programs and support for individuals with trauma. Follow Ruben Palomares on Instagram (@otherlevel_coaching) and Facebook (https://www.facebook.com/people/Ruben-Palomares/100086164346192/) for more inspiring content. Don't forget to grab his ebook, "Redemption: From Rogue LAPD Cop to Inner Healing," available on Amazon (https://www.amazon.com/Redemption-Rogue-LAPD-Cop-Palomares-ebook/dp/B0734JNG53/ref=sr_1_1?crid=1EVRUMKUSMUHZ&keywords=ruben+palomares&qid=1703186161&sprefix=ruben+palomares%2Caps%2C85&sr=8-1). DISCLAIMER:The views and opinions expressed by our guests are their own and do not necessarily reflect the stand or beliefs of the host or the podcast. We aim to provide a diverse range of perspectives and ideas, fostering open and respectful discussions. We encourage critical thinking and forming your own conclusions. Enjoy the show!► Visit our website here: TheBeginAgainPodcast.com ★ Let's connect: Twitter - https://twitter.com/BeginAgainPdcst Instagram - https://www.instagram.com/thebeginagainpodcast/ TikTok - https://www.tiktok.com/@user8619235129226 Facebook Page: https://www.facebook.com/TheBeginAgainPodcast/ Facebook Group: http://www.facebook.com/groups/thebeginagainpodcast/

We're starting #noirvember with episode 94, The Shanghai Gesture, Josef Von Sternberg's dreamlike tale of revenge from 1941. Known for its fantastic costumes, camerawork and performances, this was Sternberg's last directing job for a decade, until he made Macao (covered in episode 53). What are we pairing it with? East L.A. IPA, a crisp, sharp, pine laden #ipa given to us by the good people of @angryhorsebrewing, out of #montebello.  Thanks for listening! Check out our website SUBSCRIBE: to the show on Apple Podcast  or Google Play. You can also find us on Audible, Stitcher, Spotify, and Listen Notes. Follow us on Instagram , Facebook, and Twitter! We'd love to hear from you, so comment on our show wherever you are listening. And always, support your local brewery.

In today's clip, Los Angeles graffiti legend Man One C.O.I. talks about moving from East Los Angeles to Alhambra at a young age. He also tells us what his early life was like in the new city and attending school where he displays early signs of talent. --- Support this podcast: https://podcasters.spotify.com/pod/show/richard-castro63/support

#175: Today on How To LA, we're talking about punk rock. Specifically, about the evolution of the backyard punk scene that sprouted up in East L.A. starting in the 1980s, and how backyard shows, rooted in Latino spaces in the city, influenced punk rock and made backyard gigs a thing in California. Guest: Journalist and producer Stephanie Mendez, author of the recent SPIN magazine article, “Ode to East L.A. Punk and the Backyard Gigs We Inherited." She was also featured in a documentary called "Los Punks” about the scene. More on this: Javier Cabral's coverage of the East L.A. punk scene for LA Weekly "Teenage Alcoholics: Punk Rock in East Los Angeles" by Jimmy Alvarado for Razorcake "East Los" documentary series by Vans Nothing Less Booking on Instagram Music featured in this episode from: The Stains The Voids Corrupted Youth Union 13 Underground Alliance (clip from "East Los" doc series)    

In this Energy News Beat Podcast, the host, Stuart Turley, President and CEO of the Sandstone Group, is currently at the Permian Basin International Oil and Gas Show. In a conversation with Cyrus Brooks from RABC, they discuss Africa Energy Week's goal to combat energy poverty. Cyrus emphasizes Africa's need for energy accessibility and mentions the importance of ensuring that the benefits of Africa's resources remain within the continent. They criticize the unequal treatment of China's energy practices and stress the significance of considering Africa's needs and preferences in energy development.The conversation highlights natural gas as a crucial component of Africa's energy future due to its versatility and potential to address various energy needs. They also touch on the potential of propane and compressed natural gas for the "last mile" delivery of energy. The conversation emphasizes the importance of creating a sustainable and inclusive energy future for Africa.He discusses Africa Energy Week's goal of addressing energy poverty.Cyrus Brooks from RABC emphasizes the need for energy accessibility in Africa.They stress the importance of ensuring Africa benefits from its resources.Unequal treatment of China's energy practices is criticized.Natural gas is highlighted as a crucial component of Africa's energy future due to its versatility.The potential of propane and compressed natural gas for the "last mile" energy delivery is mentioned.The conversation emphasizes the importance of creating a sustainable and inclusive energy future for Africa.ENB Podcast with Cyrus Brooks - Africa Summit Stuart Turley [00:00:05] Hello everybody. Welcome to the Energy News Beat podcast. My name is Stu Turley president and CEO of the Sandstone Group. I used to be a game show host at one time, but I'm here at the Permian Basin International Oil and Gas Show and I'm here at the Air Compressor Solutions booth. It is just crazy. You can see the old truck back here behind me. And I'll tell you what, this podcast, probably one of the most important that we've talked about in a long time. I've got an old friend here, and I'll tell you what, Cyrus Brooks over at RABC and I mean his dad, I get to interview him tomorrow and they are a international natural gas evaluation and they've got software for long term contracts and everything else. And I've just really enjoyed being able to get in me. Cyrus. [00:00:54]Cyrus, welcome from Africa. How are things there? [2.6s]Cyrus Brooks [00:00:57] Oh, they're very definitely heating up, I guess you could say. Yeah. You know, here it is, the springtime heading into the summer. So. But yeah, it's it's really actually, it's really nice and windy in Cape Town, South Africa.Stuart Turley [00:01:14] You're in Cape Town?Cyrus Brooks [00:01:15] Yes, I'm in Cape Town, which is in the south east. It's actually still on the Atlantic, but not far from where the Indian Ocean meets the Atlantic, right near the bottom of the world.Stuart Turley [00:01:28] Is it now? How long was the flight out there, Cyrus?Cyrus Brooks [00:01:33] Oh, you know, I went from Houston to Atlanta and on to Cape Town. That was 18 hours. So with one and a half hours stopover. So it was quite something.Stuart Turley [00:01:43] Oh, my goodness. [00:01:44]Now, why are you there, Cyrus? [1.2s]Cyrus Brooks [00:01:46] Well, this week is Africa Energy Week. And, you know, their their tagline and our motto here is to make energy poverty history, which really goes right into, you know, the basic purpose of all energy companies is to supply energy. You know, no matter how much money people want to make and all of those things that people think are the real purpose, but actually we really want to supply. I mean, that's our goal, is to supply that energy that people are going to use know. And we know as long as we do that, we still have a great future supplying that energy. So what the difference is, is that if half of Africa gets one out of every two, people don't have electricity like they do electricity.Stuart Turley [00:02:38] And 1.Cyrus Brooks [00:02:39] To 2 people do not have electricity access to it. Like.Stuart Turley [00:02:45] You know, Cyrus, you and I have talked about this and this is heading up where my passion is. Everybody needs to be delivered the lowest kilowatt per hour to all citizens of the planet and allow them to eliminate poverty by low cost, sustainable energy. Now, Cyrus, you and I have also talked about using local natural resources to reduce the impact on the environment. [00:03:12]Tell me what's going on and what's the temperature there with everybody, all the leaders that are there? [4.3s]Cyrus Brooks [00:03:17] Well, it's really interesting to hear people from Europe and then hear people from Africa. And there's just a, you know, a bit of a chasm between the two in some in some aspects. And, you know, African leaders are saying very specifically that, you know, the resources of Africa should benefit Africans. I mean, Africa has natural gas. Africa has oil, a lot of oil. Africa, you know, could easily do 7 million barrels a day. Africa has you know, Africa has minerals. Africa is all it has. You know, minerals such as cobalt, which as we know is essential for EVs electric vehicles. And it has so much in the way of resources. And, you know, it's it's not just a you know, a supply store, but that's the message anyway. It's not this is not just a supply store for everybody else. You know, they have their own needs and they want, you know, if people come and they want to make use of their resources, well, they want to make sure that, you know, the way that contracts are and is that it benefits the people to develop their their resources, their economic development as well.Stuart Turley [00:04:52] You know, it seems like and from what I'm seeing from the international side of things, on the international. And that with the world, not the World Economic Forum at the World Bank, is [00:05:07]loaning money only for renewable projects. [2.9s] And we know that we're seeing a real problem with solar panels. After five years to ten years, they're having to be replaced and then they can't be recycled. And then you need a lot more money for the grid, and it's just a lot higher cost for electricity, for even wind or solar. So what are they saying about getting no money? Really? Access is money available for natural gas pipelines, for coal plants, for natural gas power plants in Africa.Cyrus Brooks [00:05:43] Yeah, that's a that's a very good question. So investment and foreign investment came up quite a bit at this conference. I'll tell you something interesting, just to my last point, if I go back to it, the president of Namibia, which is next, next to South Africa, and you know, it's the president there. He gave a speech and he said something very smart. He said that, you know, the benefits from African resources must benefit Africa. I mean, actually, that's really no different than than any local community, you know, saying that, hey, if you want to build something in my backyard, it should benefit me to me or the community, etc.. You know, whether it's a transmission or a natural gas pipeline or anything. Right. Right. So. So it's not even a big ask. But something else he said was really interesting. He said, we cannot allow and this goes to what you're saying about finance. We cannot allow climate change to be weaponized. Wow. Wow. What a line that is. That weapon.Stuart Turley [00:06:53] Cannot stop and.Cyrus Brooks [00:06:55] Allow climate.Stuart Turley [00:06:57] [00:06:57]Global climate change to be weaponized. [1.8s] Wow.Cyrus Brooks [00:07:00] I like that. So. So. Yeah. And the point is, you are right. They definitely there definitely has been a constraint on finance by, you know, the African Development Bank, the IMF or other banks, European Central Bank, like these kind of banks. They have, you know, these various commitments toward net zero and emissions and all this kind of thing. Right. So so there is that there. And you could say this, that African leaders are actually quite unhappy with this this kind of role. And I mean, there is if you consider, okay, let's take the view that CO2 is a pollutant. You know, let's just pretend for a moment if like it's like dumping paint right in the gutter. Okay. If you take that view that CO2 is a pollutant, just like dumping paint, right? You would go to that company and you would say, hey, you need to clean it up. Right. It's you do that. You have to clean it up. The evidence is right there. And I can see that paint, you know, flowing down the gutter. Go clean it up. Don't talk to me about, you know, and don't complain about my pollution if you if you're going to keep doing it. Now, that's the other thing, is that Africa has if you look at CO2 as a pollution, I mean, if you do, Africa has contributed something like 3% or 4.3%, Like it's really minuscule. It's nothing. So you have people, you know, who have basically developed their economies have been, quote unquote, polluting and they have been polluting. But if you say, oh, okay, let's say just they've been emitting CO2 for. Right. You know, for 150 years and then, you know, saying, you know, as a banker, I'm not going to lend it to you because it's going to add emission is a little bit unfair because, I mean, this is also it's like, hey, you know, you didn't you didn't have this, you know, I'm not going to lend it to you for other people. Did you? I mean, it's not like they weren't lending it to the West early on. And so I think it's pretty fair. There is they're kind of saying two things that are really interesting. You know, what is in the West, clean up their CO2 and, you know, and then that will also make room. That's one of the interesting comments. They said, you know, clean up 20% of the CO2 you put out there and that makes room for for Africa to develop. You know, that would be one thing. So, I mean, there the.Stuart Turley [00:09:45] Reports are I mean I'm sorry words me this you're that I'm sorry you know me well enough know that I'm getting excited about a couple of things you just said. So when we talk about China and the Western world, both. Developed worlds polluting so much. And if CO2 is taken as such, a pollution. What about China? China has announced that they are doing it. Over 300 coal plants are already permitted and in the pipeline for production. Unbelievable amount of gigawatts going on for coal. So why can China put all of this, Colin? [00:10:31]Why can Germany now start taking down windfarms so they can open back up a coal plant and then we're handicapping Africa and saying you have to go renewable energy, which has to have fossil fuels in order to work. Yeah. Are they talking about China? [22.3s]Cyrus Brooks [00:10:53] Question. Well, you know, it's definitely that. Yeah, actually, definitely all that was mentioned about the coal in China and and while frankly, to be honest, I don't blame China, you know, I mean, what can you say? Except they are trying. But this is a weird kind of thing. And when Alex Epstein, who who wrote the book in Our Fossil Future and the Moral Case for Fossil Fuels, Alex Epstein spoke yesterday. And oh, cool. Yeah, he said something quite interesting, which was I mean, he called this he called this very pointedly. He said, this is like environmental racism. I mean, this is really I love the idea. Yeah. Honestly, I mean, the idea that one group of people can, you know, basically make coal plant after coal plant after coal plant with practically no protest. I mean, honestly, if if if the world wanted to protest against it against China grain, they could, you know.Stuart Turley [00:12:01] They wouldn't get any money from the Belt and Road. So.Cyrus Brooks [00:12:05] Well, you know, but I mean people could stop buying things from there. They could. I mean, all sorts of things. They could they could commit sanctions, tariffs. I mean, there's all sorts of things that they could do, which they will not do, you know, because they are intertwined economic right. They are you know, they benefit from the relationship from China, though. So then why are they so willing, so unwilling to be righteous about China? Because it's it it really goes against their own interest. Right. And so therefore, it comes across that, you know, this this resistance towards fossil fuel use in Africa is actually, you know, borne out of a lot of self-interest.Stuart Turley [00:13:01] Well, I had the fortune of interviewing Alex Epstein twice on the podcast, and I really, really enjoyed his passion and not only interviewing him. Chris Wright from Liberty Oil. Liberty Frank has also been the humanitarians and quite honestly, they were my inspiration for trying to take this passion up for being a humanitarian, being energy agnostic, except let's do the lowest impact on the environment, and that means natural gas. And we know that COP 28 is coming around the corner and I'm hearing rumblings. I mean, we have M.D.s, you know, the Saudi prince going to be there. Cyrus And every there's 140 major world leaders going to be at 28. And they're now saying that oil, natural gas and nuclear are going to be the prince of the ball there in order to do that. And I'm where I'm going with this conversation is [00:14:09]how is the conversation at this energy conference in Africa with nuclear? Is nuclear coming up? And as natural gas coming up is really the bridge to prosperity? [13.2s]Cyrus Brooks [00:14:23] Yes, nice gas is coming up a lot. It's probably almost two thirds of the conference is really focused on natural gas. Nice. And, you know, there's a reason for that. The Africa has vast gas resources and potential and the world is also calling for Africa's gas for their own use. Right. So, plus, you know, gas has many more uses than just. More heating and gas fired power generation. You have fertilizer, you have fertilizer, you have you know, you can make hydrogen steam reformation. You can you know, you can do a lot of things. I mean, the basics of ethylene and plastics. I mean, there's so much you can do with that. You can make a compressed natural gas for cars as a cleaner fuel. I mean, and Africa does that, especially in Nigeria, Egypt.Stuart Turley [00:15:26] And propane and everything else.Cyrus Brooks [00:15:28] And propane. And and so LPG is part of this conference as well. And these things are scalable. You know, you can also have cleaner cooking, you know, and this kind of thing, I mean, there's a you know, it's it's as you said, I mean, there's nothing wrong inherently with, you know, solar power or wind power. But like anything, they have their own pros and cons and the peculiarity of electricity is that it's not easily storable, therefore it must be on demand. And as we saw in Texas on Friday with a full lunar eclipse, you saw the solar because the eclipse was in the middle of the day and you saw the solar dropped almost immediately to nothing. And it it just well, it dropped it as like a like a steep cliff.Stuart Turley [00:16:25] And the balancing authority on that side is the balancing authority for ERCOT. I'm sure they had to put the brakes on because they had to spin up natural gas or coal in order to be ready for that. And you just nailed it that, you know, the grid can have standby wind or standby. I just want to give a shout out to as I was coming through to my office in Abilene, the wind farm on the left side was there's just wind farm after wind farm after wind farm. And then over on the right hand side, there is one that has been abandoned. There is a wind farm right outside of Abilene, Texas, and the blades are falling off and they are having some serious problems. And not only is there serious problems with that, the farmers in Germany and farmers in the U.S. are now having to look at 25 year contracts and these wind companies are backing off their abandoned wells. And so now you may have a ranch with two or 300 wind farms sitting out there, and they cannot even use them as a ranch anymore. So that is something that we need to also, when you're talking to the African leaders, the presidents, the general and folks there, just like your company, is so good about forecasting pricing for natural gas on the global market, we need to take a look at wind farms and then absolutely go away at the end of 25 years. Who's going to haul this crap out? And I mean, this is terrible for not only Africa, for Europe, the United States, and nobody's talking about this in Texas, by the way. I love me from Texas. They are really focusing and putting money for the abandoned orphan wells, because quite honestly, the oil and gas industry did not do a great job in the past. But over the last ten, 15 years, the great oil and gas companies have done a phenomenal job in ESG in getting things environmentally sound. Where's the renewable market on this? And I really want to hear while you're at that conference, if you can bring that up and try to ask some folks, [00:18:47]are there long term contracts for solar panels? Because Cyrus solar panels are piling up. We're shipping our solar panels that are no longer usable to other countries and they're toxic waste. How is that being discussed at these kind of conferences? [17.8s] Yes, it makes sense.Cyrus Brooks [00:19:07] Yeah. I only know that Africa doesn't want that kind of stuff at all. No, but I'll tell you something they are interested in. What's that? What they are interested in Creating a value chain. Creating more. So. Okay, so here's what you do, right? Right. If you have a process which has five steps, right? And the first step is, is raw material. If you sell the raw material at the at the first step, then you lose a lot of value at. Right. You lose a lot of value add. And you know, you only have the jobs that relate to the extraction. So you might have some jobs related to oil or gas extraction or mining, you know. Right. And which is.Stuart Turley [00:19:55] Child abuse in the case?Cyrus Brooks [00:19:58] Well, all. All the cases of of that. But the main point is, is that what Africans want is Africans actually want to add industry. So let's say, you know. You know, yeah. So let's say you take your, your minerals and you smelt them and you process them. Well, now you have two industries, right?Stuart Turley [00:20:18] Oh yeah.Cyrus Brooks [00:20:20] You see what I mean? And so now you're adding jobs and you're adding now you can you that the margin, you can sell that material for increases a lot.Stuart Turley [00:20:29] Absolutely. In jobs and.Cyrus Brooks [00:20:31] So.Stuart Turley [00:20:31] And prosperity.Cyrus Brooks [00:20:32] That's right. And so you start to create jobs you create and as you create industry, you also have more money, which also means you can afford more. And eventually, you know, this. This also means there is a market there for, you know, Europeans and Asians and Americans to sell to. Right. And not just, you know, the cheapest phones they can buy, the most expensive everything, because they have, you know, the standard of living that we have.Stuart Turley [00:21:00] So this all for years and and I've been thinking about this and what's wrong if you can go through and as you look at [00:21:09]getting more energy in solving that one out of two people in poverty, energy, poverty in Africa, what's wrong with looking at charging export money? [12.0s] I think the West should charge export fees so that we're paying a higher price for the natural resources out of Africa with that fund going back to Africa to build their infrastructure. That makes sense.Cyrus Brooks [00:21:40] Yes. And I think that that, you know, that's kind of what they're talking about is right during the agreements so that that it starts to build infrastructure nice And they definitely you know it's part of the conversation. So but it does go back to investment as well, you know and there's a lot of issues in in Africa or any any place where there is, you know, it's a developing economy. So administration, you know, even making these agreements even. Even experience and knowledge at the you know, at the levels at the ministerial levels. Right. They if they end up getting advisors and this came up in the conference, if they end up getting advisors who come from Europe and the US who's who have their own agenda right then, then they're going to start to make agreements towards, maybe they'll start to make agreements towards the, the Paris Accord or some, some purpose which the West has not, which is really Africa focused. So, I mean, you know, for example, if you take California and let's just make an example, you take a California and you go to some, you know, a depressed area like East L.A. or, you know, maybe Watts or South Central, you know, down on Skid Row and all these kind of things. And you want to you're going to tell these guys, well, we're going to help your area and we need you. But whatever you do, we've got to make sure it's green. And, you know, they would just look at you like you're crazy. It's like like we have we have no money. We have lots of crime. We have you know, we have a we have, you know, very low literacy. I mean, we we have huge problems overcome. And you want us to to care whether or not we emit CO2. And so, you know, I mean, look, it's it's it's like it's not that it's we can't concern ourselves with climate change. We can't. But, you know, you know, when you when a guy is starving to death, you don't talk to him about CO2. You give him food. You know, I mean, this is this is what it's you know, so.Stuart Turley [00:23:58] It's not fair.Cyrus Brooks [00:23:59] It's not fair. And not only is it not fair, but really, you know, when you talk to somebody, you should really be asking them what they need. You know, should you should and you shouldn't be telling them what they need. You should you should be looking and listening.Stuart Turley [00:24:14] You know, I think one of the best things that came out of that thing were everything that we've talked about. Cyrus is phenomenal. And I couldn't be more happy that you're there helping your company and then helping out bring back the word. We got to spread the word on helping them out because selfishly, it will help out everybody else in the global market. And that's exactly what yes. RB does. You know, your company really does look at the global environment and the fiscal responsibility of elevating folks out. And I absolutely love the way that Alex Epstein phrased that, that it is energy, racism. By putting that out there that way that we're not allowing them freedom through fiscal restrictions. And so I'm excited about that. And tomorrow, you have hooked up with Dr. Ibram and he is the general director of AP. Oh, and I can't wait to visit with him.Cyrus Brooks [00:25:18] Yes, he's the this is the African Petroleum Producers Organization. So he's is really high level. And this guy is a firebrand talker. I mean, he's a really you know, he's a real strong advocate for Africa and for African knowledge and for the kids learning, you know, technology transfer. So and also developing African training so and training centers throughout Africa and also Pan African cooperation so all Africans can, you know, rise up and oh fantastic.Stuart Turley [00:25:57] I'll tell you, I am so excited about about this. And so, Cyrus, [00:26:02]how can everybody get a hold of you and your company? [2.1s] And we want to make sure that people can get a hold of you. What's the best way to get a hold of it?Cyrus Brooks [00:26:10] Yeah, I mean, go to grab a Seacom. So, you know, and that would be, I guess, where we where do we say we say Romeo. Bravo Alpha. Charlie.Stuart Turley [00:26:23] I think I order dot com. Yes, I think it's fabulous. And, and I want to give you a shout out. I didn't mean to cut you off, Cyrus, but you're one of the a great thought leader out there. Your whole team over there does a great job with articles, knowledge, and not only me, I a stalker of you guys in a nice way. I watch you. So I just want to think that you guys are a phenomenal resource for folks being industry thought leaders. So we got about two more minutes. [00:26:51]What is any last words or thoughts for you on this trip that you're doing in Africa? [5.3s]Cyrus Brooks [00:26:57] I would say that something really interesting has come, which is that natural gas is going to be a key to the future. You know, whether you call it a low carbon future or whatever you call it, it's a lot is going to be powered by natural gas. It is cleaner. It is going to make cities cleaner and is, you know, cooking more available electricity, more available to all the people of Earth and obviously help companies to make better energy decisions so that it actually benefits everybody in the long run.Stuart Turley [00:27:33] Isn't that great? Hey, one last question here before we close out. I was visiting with Tucker. He was over at the Propane Council for the United States, and he may be there, Tucker Perkins. And he's describing propane and compressed natural gas as the last mile. And in Africa, that would absolutely be a great way to get, as you mentioned earlier, people using it. So natural gas and then staging it out for the last mile. [00:28:08]It'd be kind of fun to hear what people's thoughts are in incorporating those kinds of contracts in there as well, because the infrastructure is a lot easier to put in for tanks and those kind of things as opposed to a pipeline. [12.2s]Cyrus Brooks [00:28:21] You can find that, you know, you scale it, you scale. They did this in Mexico, you scale it, right. You know, people have the connections in their house so that finally when the pipelines come, you can put them right in because the house, it's already there. You see, you know, it's a very good way to make a scalable micro economy, say, I mean, you'll get off on that one. But yeah, I agree with you. I'm totally with you on that.Stuart Turley [00:28:46] Sounds fantastic, Cyrus. Thank you. From Africa and I'm here in the Permian and shout out to our sponsors here with air Compressor Solutions. And hey, I look forward to visiting with you tomorrow. There's Irish.Cyrus Brooks [00:28:58] Sounds good. To see.

Kamren Curiel is a fourth-gen Angeleno born in East L.A. on March 10, 1979 and raised in Monterey Park and South San Gabriel. She attended Potrero Heights Elementary School, Macy Intermediate, Schurr High and graduated from South Pasadena High School. She got a degree in Journalism from San Francisco State University, lived in the Bay Area for eight years, and moved back to L.A. in 2003. She's written for the L.A.Times, L.A. Taco, Latina magazine, LAist, KCET, Huffington Post, and was the L.A. Editor for Remezcla.com. She loves writing untold stories about the underdog and unveiling voices that resonate with everyday people.Instagram: @kamrencita_______________Music CreditsIntroLike it Loud, Dyalla, YouTube Audio LibraryOutroIndecision, Dyalla, YouTube Audio Library__________________SGV Master Key Podcast:www.sgvmasterkey.cominfo@sgvmasterkey.com

Olivia Rodrigo tiene resentimiento con Taylor Swift?,Que nos paso en el desfile de east L.A?,Yuridia le canta corridos a su bebe?,Jimmy Fallon es toxico?. Escucha mas con Omar y Argelia 7am en Mega 96.3 Learn more about your ad choices. Visit megaphone.fm/adchoices

Description: On this episode, we speak with Dr. Phil's resident parenting expert Donna Tetreault about The C.A.S.T.L.E. Method for building a family foundation. Her approach combines years of evidence-based research and Donna's interviews with psychologists, educators, doctors, parents, and teens to help families create an emotional sanctuary based on compassion, acceptance, security, trust, love, expectations, and education. Join us for this powerful podcast that left us all feeling informed, hopeful, and connected in our journey to parent with compassion. About Donna Tetreault:Dr. Phil's resident parenting expert, Donna Tetreault, is a national TV parenting journalist seen on NBC News, The Today Show, The Doctors, The Talk on CBS, and Dr. Phil. She's been a contributor to national publications and websites, worked as an elementary school teacher in East L.A., and wrote the best-selling children's book, “Dear Me, Letters to Myself For All My Emotions.” Today she joins us to discuss her latest book, “The C.A.S.T.L.E. Method: Building a Family Foundation on Compassion, Acceptance, Security, Trust, Love and Expectations plus Education.”  Connect with Donna Tetreault:• Website: www.DonnaTetreault.com• Instagram at @DonnaTetreault• Twitter at @DonnaTetreault• Buy her book, “The C.A.S.T.L.E. Method: Building a Family Foundation on Compassion, Acceptance, Security, Trust, Love and Expectations plus Education” here: https://www.donnatetreault.com/donna-tetreault-books#donna-tetreault-books-tempCONNECT WITH US Website: www.TheBrainyMoms.com Email: info@TheBrainyMoms.com Social Media: @TheBrainyMoms Dr. Amy's website: www.AmyMoorePhD.comSponsor's website: www.LearningRx.com

The Other Top Local Stories of the Day Also Include: Another elderly woman is assaulted in East L.A. and the Temecula school board approves a state-sanctioned social studies curriculum.

Theed3vil is a duo based out of East L.A. Crafting high-energy rhythms that traverse genres from pulsating electro to heavy gritty techno. Drawing inspiration from all across the sonic spectrum, and incorporating elements of breakbeat, hyper-pop, psytrance, ghetto-tech, EBM, and electro. Influence by Silent Servant, Helena Hauf, Skinny Puppy, Lweski, W1b0, L.F.T.

Today we're bringing you an episode from our vault — a love story of student activism. We're taking you back to 1968, when thousands of students participated in a series of protests that helped spark the Chicano Movement, historically known as the East L.A. Walkouts. It's also when high school sweethearts and student organizers Bobby Verdugo and Yoli Ríos danced to a Thee Midniters song and fell in love. This story originally aired in February of 2019.

John Lesak is a Principal at Page & Turnbull in Los Angeles, where he specializes in in the preservation, rehabilitation, repair, and reuse of historic structures. His work includes the adaption of historic modern office buildings, 1970s concrete structures, and a 1960s library into The Cheech, a museum for Chicano art in Riverside, California that opened last year to house the collection of actor Cheech Marin. Unfrozen and Lesak chat concrete, the broad meaning of historic preservation, and of course, the Cheech – the man and the museum.   -- Intro: “Born in East L.A.,” by Cheech & Chong   Discussed:   The Cheech The Mercury (Union Bank, Getty Realty Building) – Claud Beelman, converted to residential in 2007 Local Law 97 – New York City Empire State Building retrofit by Johnson Controls Ranking of NYC buildings for energy performance Shift of LEED from incentive-based program to code Concrete cage match: Walter Netsch vs William Pereira Consider also Max Abramowitz Boston City Hall Early recognition of embodied energy impact, 1976-1980: Energy Use for Building Construction, Richard G. Stein & Associates + Center for Advanced Computation at the University of Illinois New Energy from Old Buildings, National Trust, 1981 -- Outro: “Concrete,” by the Darkness

Tune in to the next episode of Embracing My Markings Podcast, where I'll be chatting with my guest, Mrs. Peña, about growing up in East LA in the 80s as a Mexican American young woman. Jaime Escalante, (the teacher that inspired James Edwards's movie "Stand and Deliver"), was Mrs. Peña's teacher at Garfield High School (she was in the class of 1985) and he inspired her to become a teacher. I am happy and proud to say she is now a teacher that just happens to be my son's teacher in high school math, what an honor! Tune in now. Visit Our Website: https://embracingmymarkings.com/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/embracingmymarkings/message Support this podcast: https://podcasters.spotify.com/pod/show/embracingmymarkings/support

We remember Gloria Molina, the “Madre of East LA” died on Mother's Day after a long fight against cancer; A preview of Memorial Day and summer vacation plans. Support The L.A. Report by donating now at LAist.com/joinSupport the show: https://laist.com

Happy Momma's Day Jerry G salutes all beautiful hot moms out there. Later shares his love for Dallas TX Everything funny at: https://www.comedianjerrygarcia.com --- Edible arrangements in East L.A.! Mother's Day special: Mention Jerry G and get free delivery ($15 value!) within a 20 mile radius. Call now: (323) 832-9551 5929 Whittier Blvd Unit B, Los Angeles, CA 90022 https://m.ediblearrangements.com/stores/5929-whittier-blvd-los-angeles-ca-90022 —- Apple podcast: https://podcasts.apple.com/us/podcast/its-not-my-weekend-podcast/id1518859595?i=1000549779579 Spotify: https://open.spotify.com/episode/5BqRPKJHSquvg631j7Bfbw?si=GxpLSu-vQRCsTlOQ443JPg https://anchor.fm/jerry-garcia35 Thanks to YoungFlut for the intro and outdo music, check him out. https://soundcloud.com/user-338390100

Saca La Bolsita Starbucks barista ruins Jerry G's order and day. Later Jerry wishes he can be man enough to try coke. Everything funny at: https://www.comedianjerrygarcia.com --- Edible arrangements in East L.A.! Mother's Day special: Mention Jerry G and get free delivery ($15 value!) within a 20 mile radius. Call now: (323) 832-9551 5929 Whittier Blvd Unit B, Los Angeles, CA 90022 https://m.ediblearrangements.com/stores/5929-whittier-blvd-los-angeles-ca-90022 —- Apple podcast: https://podcasts.apple.com/us/podcast/its-not-my-weekend-podcast/id1518859595?i=1000549779579 Spotify: https://open.spotify.com/episode/5BqRPKJHSquvg631j7Bfbw?si=GxpLSu-vQRCsTlOQ443JPg https://anchor.fm/jerry-garcia35 Thanks to YoungFlut for the intro and outdo music, check him out. https://soundcloud.com/user-338390100

Love Hate Relationship Jerry G shares his trip to Texas and Chicago and the struggles of being on the road. Everything funny at: https://www.comedianjerrygarcia.com --- Edible arrangements in East L.A.! Mother's Day special: Mention Jerry G and get free delivery ($15 value!) within a 20 mile radius. Call now: (323) 832-9551 5929 Whittier Blvd Unit B, Los Angeles, CA 90022 https://m.ediblearrangements.com/stores/5929-whittier-blvd-los-angeles-ca-90022 —- Apple podcast: https://podcasts.apple.com/us/podcast/its-not-my-weekend-podcast/id1518859595?i=1000549779579 Spotify: https://open.spotify.com/episode/5BqRPKJHSquvg631j7Bfbw?si=GxpLSu-vQRCsTlOQ443JPg https://anchor.fm/jerry-garcia35 Thanks to YoungFlut for the intro and outdo music, check him out. https://soundcloud.com/user-338390100

Broken Spirit Jerry G flies Spirit Airlines and they were up to their old tricks again! Jerry ranks cities with the hottest chicks. Everything funny at: https://www.comedianjerrygarcia.com --- Edible arrangements in East L.A.! Mother's Day special: Mention Jerry G and get free delivery ($15 value!) within a 20 mile radius. Call now: (323) 832-9551 5929 Whittier Blvd Unit B, Los Angeles, CA 90022 https://m.ediblearrangements.com/stores/5929-whittier-blvd-los-angeles-ca-90022 —- Apple podcast: https://podcasts.apple.com/us/podcast/its-not-my-weekend-podcast/id1518859595?i=1000549779579 Spotify: https://open.spotify.com/episode/5BqRPKJHSquvg631j7Bfbw?si=GxpLSu-vQRCsTlOQ443JPg https://anchor.fm/jerry-garcia35 Thanks to YoungFlut for the intro and outdo music, check him out. https://soundcloud.com/user-338390100

conversation with Professor Chanda Prescod-Weinstein, Black feminist theorist and theoretical physicist and Selma James, long-time feminist activist and Wages for Housework co-founder to discuss, "Our Time is Now," an anthology by Selma James and the legacies of intergenerational feminism.Selma James is a women's rights and anti-racist campaigner and author. From 1958 to 1962 she worked with C.L.R. James in the movement for West Indian federation and independence. In 1972 she co-founded the International Wages for Housework Campaign, and in 2000 helped launch the Global Women's Strike whose strategy for change is Invest in Caring, Not Killing. She coined the word unwaged, which has since entered the English language. In the 1970s she was the first spokeswoman of the English Collective of Prostitutes. She is a founding member of the International Jewish Anti-Zionist Network. She co-authored the classic The Power of Women and the Subversion of the Community, which launched the domestic labor debate.Dr. Chanda Prescod-Weinstein is an assistant professor of physics and astronomy and core faculty in women's and gender studies at the University of New Hampshire. Her research in theoretical physics focuses on cosmology, neutron stars, and dark matter. She additionally does research in Black feminist science, technology, and society studies. Dr. Prescod-Weinstein is also a columnist for New Scientist and Physics World. Nature recognized her as one of 10 peoplewho shaped science in 2020, and Essence magazine has recognized her as one of 15 Black Women Who Are Paving the Way in STEM and Breaking Barriers. A cofounder of Particles for Justice, she received the 2017 LGBT+ Physicists Acknowledgement of Excellence Award for her contributions to improving conditions for marginalized people in physics and the 2021 American Physical Society Edward A. Bouchet Award for her contributions to particle cosmology, including co-founding Particles for Justice. Her first book The Disordered Cosmos: A Journey into Dark Matter, Spacetime, and Dreams Deferred received the 2021 Los Angeles Times Book Prize in the science and technology category and was named a Best Book of 2021 by Publishers Weekly, Smithsonian Magazine, and Kirkus. It has been a finalist for several awards including the 2022 PEN/E.O. Wilson Literary Science Writing Award. The Disordered Cosmos was also long-listed for the OCM Bocas Prize in Caribbean Literature. Originally from East L.A., she divides her time between the New Hampshire Seacoast and Cambridge, Massachusetts.

conversation with Professor Chanda Prescod-Weinstein, Black feminist theorist and theoretical physicist and Selma James, long-time feminist activist and Wages for Housework co-founder to discuss, "Our Time is Now," an anthology by Selma James and the legacies of intergenerational feminism.Selma James is a women's rights and anti-racist campaigner and author. From 1958 to 1962 she worked with C.L.R. James in the movement for West Indian federation and independence. In 1972 she co-founded the International Wages for Housework Campaign, and in 2000 helped launch the Global Women's Strike whose strategy for change is Invest in Caring, Not Killing. She coined the word unwaged, which has since entered the English language. In the 1970s she was the first spokeswoman of the English Collective of Prostitutes. She is a founding member of the International Jewish Anti-Zionist Network. She co-authored the classic The Power of Women and the Subversion of the Community, which launched the domestic labor debate.Dr. Chanda Prescod-Weinstein is an assistant professor of physics and astronomy and core faculty in women's and gender studies at the University of New Hampshire. Her research in theoretical physics focuses on cosmology, neutron stars, and dark matter. She additionally does research in Black feminist science, technology, and society studies. Dr. Prescod-Weinstein is also a columnist for New Scientist and Physics World. Nature recognized her as one of 10 peoplewho shaped science in 2020, and Essence magazine has recognized her as one of 15 Black Women Who Are Paving the Way in STEM and Breaking Barriers. A cofounder of Particles for Justice, she received the 2017 LGBT+ Physicists Acknowledgement of Excellence Award for her contributions to improving conditions for marginalized people in physics and the 2021 American Physical Society Edward A. Bouchet Award for her contributions to particle cosmology, including co-founding Particles for Justice. Her first book The Disordered Cosmos: A Journey into Dark Matter, Spacetime, and Dreams Deferred received the 2021 Los Angeles Times Book Prize in the science and technology category and was named a Best Book of 2021 by Publishers Weekly, Smithsonian Magazine, and Kirkus. It has been a finalist for several awards including the 2022 PEN/E.O. Wilson Literary Science Writing Award. The Disordered Cosmos was also long-listed for the OCM Bocas Prize in Caribbean Literature. Originally from East L.A., she divides her time between the New Hampshire Seacoast and Cambridge, Massachusetts.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Johnny Cuevas is finally on the Lobo Den. He is Chicago based comedian and one of my first homies in the Chicago comedy scene. We talk about our early days of drinking, we share quinceñera stories and how Master P and Born in East L.A. changed our lives. Our parents used to hit us, He loved my "Black and Mild" joke and If your name is Khaleel (formerly the comedian) don't listen to this episode.   He is the host The Goodest Mic every Wednesday.  Catch me and Lobo Den favorite Tito at Roast Battle Thursday 12/15 at The Lincoln Lodge in Chicago get your tickets now! https://www.eventbrite.com/e/roast-battle-chicago-tickets-349939527547?aff=InstagramBio&utm_source=ROAST+BATTLE The views expressed on the podcast are of The Lobo Den Podcast  and do not reflect the views and positions of anyone ever.   Support The Lobo Den Podcast by joining the Patreon with bonus content and more: https://www.patreon.com/theloboden YouTube: https://youtu.be/Bzt5_TLNTjI Instagram: https://www.instagram.com/johnnycuevascomedy/ https://www.instagram.com/lobo9110/ https://www.instagram.com/thelobodenpodcast/ Facebook: https://www.facebook.com/profile.php?id=100084132185446 Best Group on Facebook: https://www.facebook.com/groups/830054804387858 TikTok: https://www.tiktok.com/@theloboden Twitter: https://twitter.com/lobodenpodcast   https://twitter.com/lobo9110   Donate: https://www.paypal.me/thelobodenpodcast Links: https://linktr.ee/theloboden

GSD Mode Podcast Interview with Julian Sado and Joshua Smith. Julian Sado is an Author, National Keynote Speaker and an Executive/Sales Coach who has empowered thousands of Mortgage Professionals to improve their lives and businesses by raising the awareness on how to pivot the subconscious stories that inhibit change. As the owner of Pivot 2 Change (https://www.pivot2change.com/), He is a licensed Behavioral Coach and N.L.P Practitioner with the most unique background. From the streets of East L.A. to Hollywood, to working with top business minds such as Jim Rohn, Dan Sullivan, and Donny Deutsch, along with some of top syndicators and real estate investors of our times like Robert and Bob Helms.

American Cinematographer Magazine named Anka Malatynska as one of the “10 Rising Stars of Cinematography 2019."Variety named her "Top 10 Cinematographers to Watch" in 2020.She certainly deserves the accolades.Anka has had an incredible career as a cinematographer, with work including Monsterland, I Know What You Did Last Summer, Pretty Little Liars: Original Sin, and Steve Buscemi's upcoming film, The Listener, starring Tessa Thompson.Truly a director's cinematographer, Anka listens to her collaborators with a deep heart and intent, resulting in powerful friendships and collaborations.Anka has continually sought out and created work that is bold and diverse. She is as adept at leading a hundred-person crew through the monsoon-soaked jungles of South East Asia as she is at cultivating an intimate atmosphere on a three-person documentary shoot. Through her work, she has hobnobbed with dignitaries and diplomats and hung out with East L.A. gangsters. She speaks three languages fluently and is comfortably conversational in half a dozen more, which only enhances Anka's ability to make absolutely anyone and everyone feel comfortable in front of the lens.The daughter of a Himalayan mountain climber and Polish immigrant scientist mother, Anka is deeply passionate about living an inspired life. Outside of filmmaking, Anka herself is a mother, a wife, a surfer, a yogi, a traveler, and a purposefully inspiring human being. Usually living in New York and Los Angeles, when she is not on set she spends the majority of the time traveling with her husband and son. For six months during the COVID pandemic in 2020, they resided in Nicaragua.Connect with the Film School'd Podcast:Facebook: https://www.facebook.com/filmschooldInstagram: https://www.instagram.com/filmschooldpod/Twitter: https://twitter.com/FilmSchooldPodYouTube: https://www.youtube.com/channel/UCdgrswiL4AGviAOcbzfYCAwContinue the Conversation in the Official Film School'd Discussion Group: https://www.facebook.com/groups/filmschoold

SandONER, East L.A born gangster, sits down with Alan and dives deep into her Mexican upbringing and how growing up on a lunch truck helped define the business model she uses today to sell art.   She calls her artwork, functional art: inspirational art you can take wherever you go. She's a walking reminder of BADASS energy and to never EVER give up on your dream. Tune in to learn why she hates twin beds, how she became a certified pilot and how she managed to change her and her family's life forever.     IG: SandONER  Website: sandoner.com      More about the show:   • Watch the podcast on YouTube: https://bit.ly/NochedePendejadasYT  • Don't forget to subscribe to the podcast for free wherever you're listening or by using this link: https://bit.ly/NochedePendejadasPodcast  • If you like the show, telling a friend about it would be helpful! You can text, email, Tweet, or send this link to a friend: https://bit.ly/NochedePendejadasPodcast  Follow Alannized:  Follow Alannized on IG  Follow Alannized on TikTok  Follow Alannized on Twitter    Thanks to sponsors:   Download the Dave app from the App store right now. Sign up for an Extra Cash account and get up to 500 dollars instantly. For terms and conditions go to dave.com/legal. Learn more about your ad choices. Visit podcastchoices.com/adchoices