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4 episodes with emigrants
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3 episodes with emigrants
2 episodes with emigrants
2 episodes with emigrants
2 episodes with emigrants
2 episodes with emigrants
2 episodes with emigrants
2 episodes with emigrants
The Brutalist has been one of the most talked about films of the year and taps into a rich vein of films and television that dramatise the immigrant experience. From The Godfather Part 2 to Small Axe, The Emigrants to Home and Away and An American Tail - Ellen E Jones and Mark Kermode examine how filmmakers have investigated and portrayed the perils, patterns and adventure of human movement across the globe.Mark speaks to film critic Christina Newland about the history of immigrant epics in Hollywood - from Once Upon a Time in America to The Brutalist.Ellen then speaks to writer and creator of the tv series Get Millie Black, Marlon James, about his experience watching Small Axe for the first time. Ellen also talks to director Sir Steve McQueen about his anthology series Small Axe and how the films act as their own immigrant epic for the Windrush generation.Producer: Queenie Qureshi-Wales A Prospect Street production for BBC Radio 4
By 1855, over two million Irish people had fled Ireland to escape the devastation of the Great Hunger. The journeys of these emigrants were often harrowing, and the term "Coffin Ship" has become synonymous with their perilous crossings of the Atlantic.While the term evokes images of misery, what was the actual experience like? This episode, originally released over two years ago, reveals the reality of life at sea in the late 1840s and 1850s.It is centered around a conversation with historian Dr. Cian T. McMahon, author of the excellent book "The Coffin Ship."You can get a copy of The Coffin Ship - Life and Death at Sea here. Become a member at https://plus.acast.com/s/irishhistory. Hosted on Acast. See acast.com/privacy for more information.
Margaretta Eagar is a little-known figure in Irish history. In the early 20th century, she worked as a governess to the last Romanov Tsars of Russia. Eagar was just one of thousands of Irish people who emigrated to Imperial Russia. In this episode, historian Angela Byrne joins me to discuss why these Irish emigrants went east. Our fascinating conversation takes you from 17th-century political exiles to 19th-century tourists and, of course, the gripping story of Margaretta Eagar.Our discussion is based around Angela's book Anarchy & Authority: Irish Encounters with Romanov Russia. You can get your copyhttps://www.lilliputpress.ie/products/anarchy-and-authority?srsltid=AfmBOoqFNCTW-O6aWqZx2WSnQ_L9j9ZCKLSfk55XAz_BqJWs1_TKzK2yAngela's website: www.historianka.comFollow Angela on Instagram @angela_historiankaSupport the Irish History Podcast and get an ad-free version of the show at https://patreon.com/irishpodcast Become a member at https://plus.acast.com/s/irishhistory. Hosted on Acast. See acast.com/privacy for more information.
Returned or returning emigrants who are starting or developing a business have until this Thursday to apply for a free government programme that will provide them with expert mentorship and business support for six months. This is the eighth year of the Back for Business programme and there are up to 50 places available to support emigrant entrepreneurs who have returned to Ireland - or are planning to do so soon. Back for Business 8 will run from February to June 2025 and will start with a Launch Forum on February 11th. There is no charge for those selected to participate and the closing date for applications is Thursday 16 January 2025. The development programme, which is funded by the Irish Abroad Unit in the Department of Foreign Affairs, was created to foster and support entrepreneurial activity among Irish emigrants returning to live in Ireland. Back for Business is aimed at those who have lived abroad for at least a year and have returned in the last three years or those planning to return in the near future. It addresses challenges that all early-stage entrepreneurs encounter, but also focuses on the additional barriers faced by those who have been living outside Ireland for some years. Participants on last year's programme grew their combined workforce by 33 employees and had a fourfold increase in their combined turnover from less than €300,000 at the start of the cycle to €1.2 million. Those selected to join Back for Business 8 will take part in round table sessions focused on goals and milestones, which are facilitated by voluntary Lead Entrepreneurs who have experience of successfully starting and growing a business. This year's Lead Entrepreneurs are serial entrepreneur Hannah Wrixon; Morgan Browne, founder and CEO of Milner Browne and Enterpryze; Paul Duggan of The Gardiner Group and Athrú Insights; Seamus Reilly, co-founder and formerly of Critical Healthcare; Sinead Doherty, founder and CEO of Fenero; and Thomas Ennis, founder of the Thomas Ennis Group. Lead Entrepreneur Thomas Ennis said: "I was lucky enough to receive excellent mentoring when I was starting out and it made all the difference. It is great to be in a position to give back and to support those at the start of their entrepreneurial journey." Back for Business has been designed and is being implemented by Fitzsimons Consulting, specialists in areas related to entrepreneurship and growth. The deadline for completed applications for Back for Business is 5pm on Thursday 16 January 2025. For more information or to register your interest in receiving an application form, please see www.backforbusiness.com See more stories here. More about Irish Tech News Irish Tech News are Ireland's No. 1 Online Tech Publication and often Ireland's No.1 Tech Podcast too. You can find hundreds of fantastic previous episodes and subscribe using whatever platform you like via our Anchor.fm page here: https://anchor.fm/irish-tech-news If you'd like to be featured in an upcoming Podcast email us at Simon@IrishTechNews.ie now to discuss. Irish Tech News have a range of services available to help promote your business. Why not drop us a line at Info@IrishTechNews.ie now to find out more about how we can help you reach our audience. You can also find and follow us on Twitter, LinkedIn, Facebook, Instagram, TikTok and Snapchat.
Back for Business, the free programme aimed at supporting returned or soon-to-be returning Irish emigrants to start and develop a business in Ireland is seeking new applicants. The development programme, which is now in its 8th year, was created to foster and support entrepreneurial activity among emigrants recently returned to Ireland and is funded by the Irish Abroad Unit, Department of Foreign Affairs. The call for applications for the new cycle is now open and those eligible have until Thursday, January 16th to apply through www.backforbusiness.com. Back for Business 8 will run from February to June 2025, with the Launch Forum and first round table event taking place on February 11th. Up to 50 places will be available on the programme. Back for Business is for returned Irish emigrants who have lived abroad for at least a year and have returned to Ireland in the last three years, or for emigrants currently living abroad who are planning to return to Ireland in the near future. Since launching in 2017, Back for Business has helped entrepreneurs who are returned emigrants to significantly grow sales and employment. It also addresses challenges that all early-stage entrepreneurs encounter but also focuses on additional barriers faced by emigrants who have been living away from Ireland. Those who completed last year's programme, Back for Business 7, were very positive in their feedback with 100pc saying they would recommend the programme to others and would like to stay in contact with the Back for Business community. In terms of their overall experience, Back for Business 7 participants rated it 4.6 out of a possible 5, with 97% considering the experience either extremely positive or very positive. A total of 93% felt nearer to achieving their ambitions since participating in Back for Business. At the start of the last cycle, under half of the group were trading but, over the course of the programme, this had increased to almost three quarters. The combined turnover of the participants was less than €300,00 at the start of the cycle. By the end of the cycle, the combined turnover of the 31 participants who completed the cycle had increased to €1.2 million, while employment numbers increased from 14 to 47 during the six months. Participants will meet once a month on a peer-supported round table, facilitated by voluntary Lead Entrepreneurs, who have experience of successfully starting and growing a business. Many of them have also lived abroad before returning to Ireland to start their business. This year's Lead Entrepreneurs are: serial entrepreneur Hannah Wrixon; Morgan Browne, CEO of Milner Browne and Enterpryze; Paul Duggan of The Gardiner Group; Seamus Reilly, co-founder and formerly of Critical Healthcare; Sinead Doherty, founder and CEO of Fenero; and Thomas Ennis, founder of the Thomas Ennis Group. Back for Business Lead Entrepreneur Thomas Ennis says: "I was lucky enough to receive excellent mentoring when I was starting out and it made all the difference. It is great to be in a position to give back and to support those at the start of their entrepreneurial journey." Back for Business past participant Aisling McVeigh, founder of the DANU Collective, says: "The Back for Business programme proved invaluable for me as I transitioned back to Ireland from the Middle East and established DANU Collective. The support and structure it provided were exactly what I needed to navigate this new chapter. The advice and expertise from some of Ireland's leading entrepreneurs gave me the confidence to tackle obstacles and seize opportunities. Back for Business truly sets you up for success." Back for Business has been designed and is being implemented by Fitzsimons Consulting, specialists in areas related to entrepreneurship and growth. The deadline for completed applications for Back to Business 8 is midnight on Thursday, January 16th, 2025. For more information or to register your interest in receiving an application form, please...
Hadrat Abu Zharr (ra). Session 59 The Ascetic The poor emigrants will go ahead of the rich people by 40 years on The Last Day (Muslim). Going ahead in Paradise does not mean that their grades will be higher (ibn Qay'yeem). Abu Bakr (ra) will have both the merit of going ahead and also the merit of a high status.
As Lebanon was rocked by two days of exploding pagers and walkie-talkies directed at Hezbollah's communications network, killing dozens and injuring thousands, tensions between Israel and Hezbollah have risen to new heights. In a fiery speech, Hezbollah's leader Hassan Nasrallah vowed revenge. How has this latest escalation impacted Lebanon's internal politics? What are Hezbollah's options in responding? What are the prospects for defusing not only the current crisis but the complex of issues that have shaped the ongoing conflict between Israel and Hezbollah? And what role can the U.S. and other international actors and regional parties play in avoiding an all-out war? Join Aaron David Miller as he sits down with His Excellency Abdallah BouHabib, the foreign minister of Lebanon, to discuss these and other issues.
Kev tells PJ that people who have emigrated shouldn't have a say in how their former home is run. Hosted on Acast. See acast.com/privacy for more information.
The Irish author, emigrant and ultrarunner is running in memory of the 100,000 Irish immigrants who fled to Canada in the Great Famine
An Ireland South European Election candidate believes Irish people working abroad should be granted a two-year tax break when they return home in order to tackle labour deficits. According to a report from the Technological University of the Shannon , 284,000 additional and reskilled construction workers will be required by 2030. While during the twelve months to April last year, 29,500 Irish emigrants returned home from either work or extended travel abroad. Corofin based Irish Freedom Party Candidate Michael Leahy says radical incentives are needed.
In this episode we look at some of the features of the Scottish character that have enabled Scots to survive and prosper. We look in particular at the Scots who helped found the United States of America and who thrived as bankers, industrialists, politicians, judges, inventors and artists …… to name but a few. Emigrants celebrated their Scottish heritage in their new home and many of today's celebrities continue to celebrate their Scottish roots.
In Mexican Exodus: Emigrants, Exiles, and Refugees of the Cristero War (Oxford University Press, 2019), Julia G. Young reframes the Cristero War as a transnational conflict, using previously unexamined archival materials from both Mexico and the United States to investigate the intersections between Mexico's Cristero War and Mexican migration to the United States during the late 1920s. She traces the formation, actions, and ideologies of the Cristero diaspora--a network of Mexicans across the United States who supported the Catholic uprising from beyond the border. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
In Mexican Exodus: Emigrants, Exiles, and Refugees of the Cristero War (Oxford University Press, 2019), Julia G. Young reframes the Cristero War as a transnational conflict, using previously unexamined archival materials from both Mexico and the United States to investigate the intersections between Mexico's Cristero War and Mexican migration to the United States during the late 1920s. She traces the formation, actions, and ideologies of the Cristero diaspora--a network of Mexicans across the United States who supported the Catholic uprising from beyond the border. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies
In Mexican Exodus: Emigrants, Exiles, and Refugees of the Cristero War (Oxford University Press, 2019), Julia G. Young reframes the Cristero War as a transnational conflict, using previously unexamined archival materials from both Mexico and the United States to investigate the intersections between Mexico's Cristero War and Mexican migration to the United States during the late 1920s. She traces the formation, actions, and ideologies of the Cristero diaspora--a network of Mexicans across the United States who supported the Catholic uprising from beyond the border. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latino-studies
In Mexican Exodus: Emigrants, Exiles, and Refugees of the Cristero War (Oxford University Press, 2019), Julia G. Young reframes the Cristero War as a transnational conflict, using previously unexamined archival materials from both Mexico and the United States to investigate the intersections between Mexico's Cristero War and Mexican migration to the United States during the late 1920s. She traces the formation, actions, and ideologies of the Cristero diaspora--a network of Mexicans across the United States who supported the Catholic uprising from beyond the border. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
In Mexican Exodus: Emigrants, Exiles, and Refugees of the Cristero War (Oxford University Press, 2019), Julia G. Young reframes the Cristero War as a transnational conflict, using previously unexamined archival materials from both Mexico and the United States to investigate the intersections between Mexico's Cristero War and Mexican migration to the United States during the late 1920s. She traces the formation, actions, and ideologies of the Cristero diaspora--a network of Mexicans across the United States who supported the Catholic uprising from beyond the border. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history
In Mexican Exodus: Emigrants, Exiles, and Refugees of the Cristero War (Oxford University Press, 2019), Julia G. Young reframes the Cristero War as a transnational conflict, using previously unexamined archival materials from both Mexico and the United States to investigate the intersections between Mexico's Cristero War and Mexican migration to the United States during the late 1920s. She traces the formation, actions, and ideologies of the Cristero diaspora--a network of Mexicans across the United States who supported the Catholic uprising from beyond the border. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-west
In Mexican Exodus: Emigrants, Exiles, and Refugees of the Cristero War (Oxford University Press, 2019), Julia G. Young reframes the Cristero War as a transnational conflict, using previously unexamined archival materials from both Mexico and the United States to investigate the intersections between Mexico's Cristero War and Mexican migration to the United States during the late 1920s. She traces the formation, actions, and ideologies of the Cristero diaspora--a network of Mexicans across the United States who supported the Catholic uprising from beyond the border. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Mexican Exodus: Emigrants, Exiles, and Refugees of the Cristero War (Oxford University Press, 2019), Julia G. Young reframes the Cristero War as a transnational conflict, using previously unexamined archival materials from both Mexico and the United States to investigate the intersections between Mexico's Cristero War and Mexican migration to the United States during the late 1920s. She traces the formation, actions, and ideologies of the Cristero diaspora--a network of Mexicans across the United States who supported the Catholic uprising from beyond the border. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Mexican Exodus: Emigrants, Exiles, and Refugees of the Cristero War (Oxford University Press, 2019), Julia G. Young reframes the Cristero War as a transnational conflict, using previously unexamined archival materials from both Mexico and the United States to investigate the intersections between Mexico's Cristero War and Mexican migration to the United States during the late 1920s. She traces the formation, actions, and ideologies of the Cristero diaspora--a network of Mexicans across the United States who supported the Catholic uprising from beyond the border.
The Irish are best known for migrating to American cities along the east coast, notably Boston and New York. Dr. Alan Noonan joins the show to explain how the Irish also moved to the American West, and settled among mining communities in places like Butte and Virginia City. Noonan's narrative is rich with stories about race, class, religion, and imagined communities, making his book a must read for scholars of industrialization and migration.Essential Reading:Alan J. M. Noonan, Mining Irish-American Lives: Western Communities from 1849 to 1920 (2022).Recommended Reading:Michael MacGowan, The Hard Road to Klondike (2003).Kerby A. Miller, Emigrants and Exiles: Ireland and the Irish Exodus to North America (1988).Janet Floyd, Claims and Speculation: Mining and Writing in the Gilded Age (2012).Elliot J. Gorn, Mother Jones: The Most Dangerous Woman in America (2015).David M. Emmons, The Butte Irish: Class and Ethnicity in an American Mining Town, 1875-1920 (1989).Liping Zhu, A Chinaman's Chance: The Chinese on the Rocky Mountain Mining Frontier (2000).J. Anthony Lukas, Big Trouble: A Murder in a Small Western Town Sets off a Struggle for the Soul of America (1998). Hosted on Acast. See acast.com/privacy for more information.
Interview with Alex Spektor, the director of movie 'Anzacs from Russia - The Untold Story' - Интервью с режиссером документального фильма 'Anzacs from Russia - The Untold Story' Алексом Спектором.
In this 3-episode series, host Sean Dineley lets a sampling of long-time St. Catharines residents do most of the talking. The people whose stories you will hear have all been participants in the museum's StoryLab program. This ongoing oral history project is all about getting the diverse experiences and perspectives of real St. Catharinites into […]
durée : 00:46:08 - Le masque et la plume - par : Rebecca Manzoni - Les critiques du Masque sont allés voir "Cosmos" de Maëlle Poésy, "Vel d'Hiv" d'Alex Lutz, "L'odeur de la Guerre" par Juliette Bayi et Elodie Menant, "Les Emigrants" de Krystian Lupa, "A Funny Thing Happened on the way to the forum" de Stephen Sondheim et "Ils nous ont oubliés" de Séverine Chavrier - invités : Fabienne Pascaud, Sandrine Blanchard, Vincent Josse, Pierre Lesquelen - Fabienne Pascaud : Journaliste chez Télérama, Sandrine Blanchard : Journaliste et critique pour Le monde, Vincent Josse : Producteur et critique de théâtre chez France Inter, Pierre Lesquelen : Critique à I/O Gazette et Détectives sauvages, dramaturge et enseignant-chercheur - réalisé par : Lilian ALLEAUME
Spreng, Eberhardwww.deutschlandfunk.de, Kultur heute
Back in the 1980s Ireland was awash with brilliant bands all being chased by record companies looking for the next U2, and when they found a teenage drummer from Walkinstown and his older brother, they thought they'd found them. Keith Walker went on to sign for a major label and tour the world, becoming hugely famous in Japan in the process, but like all such rock 'n roll dreams, it wasn't all plain sailing. A friend for more than three decades, he joins me on the podcast to talk about his life in music and how it took him around the world.
Government is paying $2200/month for illegal emigrants” “How to apply, or not for county Co. commissions” “Apparently Christmas is cancelled for some” “Anne Colter is NOT running for Trump”
We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988. But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987. I was wrong. While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days. Sorry for the misinformation. 1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win. But before we get to those two movies, there's a whole bunch of others to talk about first. Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there. Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her. Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k. A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature. In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it. But that ad may have been a bit premature. While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k. March 18th saw the release of a truly unique film. Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments. That is Aria. If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom. Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive. It's easy to see what might have attracted Harvey Weinstein to acquire the film. Nudity. And lots of it. Including from a 21 year old Hurley, and a 22 year old Fonda. Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City. But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres. As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it. Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k. There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k. Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad? Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen. Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next? Yep. No reported grosses, no theatres playing the film tracked by Variety. The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own. On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street. And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported. Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States. Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film. The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated. After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world. Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week. The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500. There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it. One week after Mio, Miramax would release a comedy called Going Undercover. Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day. So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies. She hadn't. This was a movie she had made just before Back to the Future, in August and September 1984. Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen. The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice. Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area. The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks. Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor. Or that was line of thinking. Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film. But that didn't make it any easier to sell his film. The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors. As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well. The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles. In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do. The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made. Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own. Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982. But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat. One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder. After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth. After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.” Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary. Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note. “Heard your NPR interview and you were boring.” Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question. It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out. And it would get it. The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review. New York audiences were hooked. Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before. I went and saw it again. Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film. The film would also find itself in several more controversies. Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed. Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights. Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.” Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011. Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry. In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs. The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director. The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights. Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines. “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.” That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area. Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k. In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away. Miramax would finish 1988 with two releases. The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter. When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star. The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star. But that wouldn't happen. Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns. I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration. And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit. Miramax's last film of the year would be the one that changed everything for them. Pelle the Conquerer. Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date. In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world. For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen. After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals. Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor. Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States. Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors. The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen. But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up. Well, for a foreign film. The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win. One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition. I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle. Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
In this week's episode, Francis and Robert discuss China's problem with emigration.
Today we discuss Anders' political philosophy book, 'Think Right or Wrong, Not Left or Right.' Covering subjects like inflation, immigration, and the immorality of the welfare state. Plus Individualism versus Collectivism.Call-to-Action: After you have listened to this episode, add your $0.02 (two cents) to the conversation, by joining (for free) The Secular Foxhole Town Hall. Feel free to introduce yourself to the other members, discuss the different episodes, give us constructive feedback, or check out the virtual room, Speakers' Corner, and step up on the digital soapbox. Welcome to our new place in cyberspace!Show notes with links to articles, blog posts, products and services:Anders Ingemarson on TwitterAnders Ingemarson's websiteAnders Ingemarson's book, Think Right or Wrong, Not Left or Right: A 21st Century Citizen Guide (2nd Expanded Edition)Anders Ingemarson's newsletter on SubstackLaw of JanteTall poppy syndromePodcasting 2.0Value 4 ValueVasa Order of AmericaEllis IslandThe House of Emigrants in Växjö, SwedenHow Technological Progress Has Powered MigrationFor Open Immigration by Harry BinswangerThe Case for Open Borders by Harry BinswangerBlair Schofield and Martin Lindeskog on Racism in the U.S. and Sweden | Culture and Causation Ep 23The DispatchThe Free PressEpisode 69 (68 minutes) was recorded at 2200 Central European Time, on June 17, 2023, with Ringr app. Martin did the editing and post-production with the podcast maker, Alitu. The transcript is generated by...
The voice of T M Krishna is exceptionally unique among Indian artists, making it one of the rarest in the industry. A maestro of Carnatic music, T M Krishna's resonating voice serves as a beacon for the marginalised and oppressed. - இந்தியக் கலைஞர்களின் குரல்களில் மிக அபூர்வமான குரல், T M கிருஷ்ணா அவர்களது குரல். கர்நாடக சங்கீதக் கலையில் உச்சம் தொடும் T M கிருஷ்ணாவின் குரல் ஒடுக்கப்பட்டவர்கள் அனைவருக்காகவும் ஓங்கி ஒலிக்கிறது.
This week on And the Runner-Up Is, Kevin welcomes writer/Instagram star Mark O'Donovan to discuss the 1972 Oscar race for Best Actress, where Liza Minnelli won for her performance in "Cabaret," beating Diana Ross in "Lady Sings the Blues," Maggie Smith in "Travels with My Aunt," Cicely Tyson in "Sounder," and Liv Ullmann in "The Emigrants." We discuss all of these nominated performances and determine who we think was the runner-up to Minnelli. 0:00 - 14:09 - Introduction 14:10 - 37:41 - Diana Ross 37:42 - 57:45 - Maggie Smith 57:46 - 1:18:42 - Cicely Tyson 1:18:43 - 1:35:09 - Liv Ullmann 1:35:10 - 1:54:26 - Liza Minnelli 1:54:27 - 2:32:23 - Why Liza Minnelli won / Twitter questions 2:32:23 - 2:35:25 - Who was the runner-up? Buy And the Runner-Up Is merch at https://www.teepublic.com/stores/and-the-runner-up-is?ref_id=24261! Support And the Runner-Up Is on Patreon at patreon.com/andtherunnerupis! Follow Kevin Jacobsen on Twitter Follow Mark O'Donovan on Twitter and Instagram Follow And the Runner-Up Is on Twitter and Instagram Theme/End Music: "Diamonds" by Iouri Sazonov Additional Music: "Storming Cinema Ident" by Edward Blakeley Artwork: Brian O'Meara
It may be just over two years since Rab Sherwood lost her beloved parents father Sucha Singh Hothi, 85, and mother Gurdev Kaur Hothi, 75, to Covid 19, but this double loss combined with the manner of the loss and the family's brutal treatment in hospital still haunts Rab. Emigrants from Punjab in India to the British midlands in 1965, Sucha was forced to work in a factory despite being a qualified lawyer, qualifications not recognised in the UK. These incredibly hard-working, family-orientated and honest people, made a good life for themselves and their four children who they encouraged to aim high in life. But this precious family unit is bereft after witnessing how their parents were left dehydrated, hungry, and allowed to die alone in a hospital even though they deserved the very best of care. Instead of being apprised of how her parents were progressing, Rab was repeatedly confronted with aggressive demands to sign Do Not Resuscitate forms, while learning that anyone over the age of 75 with one health condition didn't qualify for intensive care treatment. Created, produced, and hosted by Karen Rice, the Stolen Goodbyes podcast won gold in the fiercely competitive Best Lockdown category of the British Podcast Award 2021.Stolen Goodbyes is described as: "outstanding ethical and trauma-informed journalism. Karen Rice manages to capture a historic event in real-time by listening with empathy. Future generations will listen to this podcast and know what it felt like to live through this pandemic." Dart Centre for Journalism and Trauma.Please listen to, review, and share this podcast with your network, it really helps!If you would like to make a donation (no matter how small) to the running costs of this passion project, please visit: https://karen-rice.com/podcast/ or http://bit.ly/3kMSKLgYou can follow Karen on Twitter @Ricekmc and Stolen Goodbyes on Instagram: https://bit.ly/3ITXSFC Facebook: https://bit.ly/3kGGwnG and Youtube: http://bit.ly/3Yq0jW5Support this show http://supporter.acast.com/stolen-goodbyes. Hosted on Acast. See acast.com/privacy for more information.
The Flagstaff of 1937 was quite different from the sleepy little railroad town it had once been. Emigrants from Boston had passed through this pine forest near the mountains in 1876 and marked their camp with a pine tree stripped of its bark and branches and crowned with an American flag in honor of the country's centennial. Their flag staff became a landmark and eventually the name of the town. By the 1930s, Flagstaff had become a thriving small town thanks to the local university, the Lowell Observatory and tourists coming to see the Grand Canyon. The wealthy side of town was on Leroux Street. And it was here on North Leroux Street that the Walkup family home was located. Intro and Outro music: Bad Players - Licensed under a non-exclusive, non-transferable, non-assignable, single-site, worldwide, royalty-free license agreement with Muse Music c/o Groove Studios. The following music was used for this media project: Music: Lonely Fish by Sascha Ende Free download: https://filmmusic.io/song/4655-lonely-fish License (CC BY 4.0): https://filmmusic.io/standard-license Music: Cinematic Suspense Series Episode 002 by Sascha Ende Free download: https://filmmusic.io/song/5789-cinematic-suspense-series-episode-002 License (CC BY 4.0): https://filmmusic.io/standard-license Music: Grief And Despair by Steven OBrien Free download: https://filmmusic.io/song/10414-grief-and-despair License (CC BY 4.0): https://filmmusic.io/standard-license
The Emigrants Of Ahadarra The Works of William Carleton, Volume Two
Minnesota; Its Character and Climate Likewise Sketches of Other Resorts Favorable to Invalids; Together With Copious Notes on Health; Also Hints to Tourists and Emigrants.
Seamus Rocca, CEO of Xapo Bank, explains what Venezuela, Argentina and Lebanon have in common and how cryptos have made it possible for residents in countries with weak local currencies to ply their trade abroad. Moneyweb Crypto news articles
Ireland has a long history with emigration to the United States. Many women were among the wave of Irish emigrants in the 19th and 20th century and a lot of them found a quiet and better life. But what about those who didn't? Dr. Elaine Farrell and Leanne McCormick, authors of Bad Bridget joined Matt to discuss the crimes, mayhem and untold lives of Irish emigrant women. Catch the full chat by pressing the 'Play' button on this page.
On this episode, Cullan sits down with lauded historian Ulf Brunnbauer, managing director of the Leibniz Institute for East and Southeast European Studies in Regensburg, Germany, whose research on the social history and anthropology of Southeast Europe reveals that the Balkan region is in many ways more globalized than the rest of Europe. ABOUT THE GUEST: Ulf Brunnbauer, Academic Director of the Leibniz Institute for East and Southeast European Studies in Regensburg, holds a PhD in history from the University of Graz, Austria (1999). In 2006, he was awarded a habilitation by the Free University of Berlin, and since 2008 he holds the Chair of Southeast and East European History at the University of Regensburg. His most recent books include In den Stürmen der Transformation (2022, with Philipp Ther and others) and The Routledge Handbook of Balkan and Southeastern European History (2021, ed. with John Lampe). He is also author of Globalizing Southeastern Europe. Emigrants, America and the State since the 19th Century (2016). Read an interview with him from ASEEES: https://www.aseees.org/membership/ulf-brunnbauer PRODUCER'S NOTE: This episode was recorded on November 11th, 2022 at the Palmer House Hilton in Chicago, Illinois at the ASEEES 2023 Convention. SlavX is hosting an in-person and virtual conference on global media in diplomacy and foreign policy at The University of Texas at Austin, April 9-12, 2023. The call for papers can be found here: https://slavx.org/connexions. We hope to receive submissions from graduate students especially in countries all over Europe, Asia, and Africa. If your institution is interested in participating, please reach out to slavxradio@utexas.edu with the subject line "#CONNEXIONS CONFERENCE PARTNERSHIP". Thank you! CREDITS Host/Associate Producer: Cullan Bendig (@cullanwithana) Associate Producer: Lera Toropin (@earlportion) Associate Producer: Taylor Ham Assistant Producer: Sergio Glajar Assistant Producer: Misha Simanovskyy (@MSimanovskyy) Social Media Manager: Eliza Fisher Supervising Producer: Katherine Birch Recording, Editing, and Sound Design: Michelle Daniel Music Producer: Charlie Harper (@charlieharpermusic) www.charlieharpermusic.com (Main Theme by Charlie Harper and additional background music by Tea K Pea, Chicochico, Mindseye, Uncanny) Executive Producer & Creator: Michelle Daniel (@MSDaniel) www.msdaniel.com DISCLAIMER: Texas Podcast Network is brought to you by The University of Texas at Austin. Podcasts are produced by faculty members and staffers at UT Austin who work with University Communications to craft content that adheres to journalistic best practices. The University of Texas at Austin offers these podcasts at no charge. Podcasts appearing on the network and this webpage represent the views of the hosts, not of The University of Texas at Austin. https://files.fireside.fm/file/fireside-uploads/images/9/9a59b135-7876-4254-b600-3839b3aa3ab1/P1EKcswq.png Special Guest: Ulf Brunnbauer.
Americans who live abroad are renouncing their United States citizenship in large numbers. What part does the current fairness or unfairness of the United States Tax code play in this? What do U. S. citizens need to consider regarding the renunciation of their citizenship? What are "accidental Americans" and how are they treated under the rules of taxation by the U.S. I talked with Keith Redmond and John Richardson to gain clarity on these issues, and I'm happy to share them with you! Get part 1 of my THE AMERICAN WAY? series here: https://www.podbean.com/ew/pb-epb7d-1309179 or on any podcast platform or on my YouTube channel here: https://www.youtube.com/@cominhomewithjohnalan9103/videos John Richardson and Keith Redmond are co-founders of https://seatnow.org/ John RICHARDSON can be contacted at www.citizenshipsolutions.ca and citizenshipsolutions@proton.me Keith Redmond can be reached at https://www.facebook.com/groups/AmericanExpatriates and US_Overseas_Advocate@outlook.com MY AUDIOBOOK SUBSCRIPTION IS NOW AVAILABLE! Get into it HERE * If you'd like to support The Comin' Home Podcast With John Alan, you can do that at one of the links here: https://patron.podbean.com/JohnAlan https://www.buymeacoffee.com/johnalanpod https://paypal.me/johnalanpod Go check out my new comic strip "Loyal Oak" at https://johnalanpod.com/loyal-oak-the-comicstrip/ You can find my music here: https://open.spotify.com/artist/5F4Jgrwy2fMa54webx5yzk?si=TTCDdVjdQCSf4GsRM7UyZg More info and my blog are here at https://johnalanpod.com/ #CominHomeWithJohnAlan #Taxation #AmericansAbroad
Cody Dericks (Next Best Picture) joins Brian for a discussion of The Emigrants, the Best Picture Oscar nominee starring Max von Sydow and Liv Ullman! They also talk about Ullman's stunning career and pick her three best films.THE EMIGRANTS is available on Amazon Prime: https://amzn.to/3E28EZGFollow us at filmatfifty.com and @filmatfifty on social media, and please leave us a five-star review on Apple Podcasts or wherever you listen to your podcasts.
Today's episode is with choreographer and dancer Bill T. Jones. Jones is an award winning artist and legendary dancer. His work uses storytelling, movement, and multimedia elements such as spoken narrative and videotape to examine identity, social issues and autobiographical elements of his life. His 43-year long career reminds us on the importance of gratitude and remaining present in your life and artistry. In today's conversation we're reminded of the power in investigation. We also explore what it means to create amidst a state of grief. And the importance of spending a life in service to others. Things mentioned https://www.youtube.com/watch?v=j4rRsZTdijU (2010 Kennedy Center Honors - Bill T. Jones) https://www.felaonbroadway.com/ (FELA!) https://www.youtube.com/watch?v=PY2epKdtw2M (Arnie Zane: An Introduction) https://vimeo.com/33288787 (Bill T. Jones: Still / Here with Bill Moyers) What to read https://bookshop.org/books/story-time-the-life-of-an-idea/9780691162706 (Story/Time: The Life of an Idea) by Bill T. Jones https://bookshop.org/books/the-emigrants-9780811226141/9780811226141 (The Emigrants) by W.G. Sebald https://bookshop.org/books/the-bluest-eye/9780307278449 (The Bluest Eye) by Toni Morrison https://bookshop.org/books/the-spirit-in-man-art-and-literature/9780415304399 (The Spirit in Man, Art and Literature) by Carl Gustav Jung https://bookshop.org/books/body-against-body-the-dance-and-other-collaborations-of-bill-t-jones-arnie-zane/9780882680644 (Body Against Body: The Dance and Other Collaborations of Bill T. Jones & Arnie Zane) by Bill T. Jones, Artie Zane, Elizabeth Zimmer https://bookshop.org/books/democracy-moving-bill-t-jones-contemporary-american-performance-and-the-racial-past-9780472075126/9780472055128 (Democracy Moving: Bill T. Jones, Contemporary American Performance, and the Racial Past) By Ariel Nereson What to listen to https://open.spotify.com/album/7nYTU6Yt5pHS2hAsITrQ6g (Fela! (Original Broadway Cast Recording)) - Album by Fela Kuti https://open.spotify.com/track/77K7ByPJFOJWeCoCnpaiYu?autoplay=true (I Will Move On Up a Little Higher) - by Mahalia Jackson https://open.spotify.com/track/2grjqo0Frpf2okIBiifQKs (September) by Earth, Wind & Fire Who to follow Follow Bill T. Jones on http://btj/AZ%20Company%20(@billtjonesarniezaneco) (IG) https://www.instagram.com/billtjonesarniezaneco/?hl=en (@billtjonesarniezaneco) You can also find his company https://newyorklivearts.org/btj-az-company/ (here). This conversation was recorded on July 9th, 2022. Host https://www.instagram.com/dario.studio/ (Dario Calmese) Producer: https://www.instagram.com/holly_woodco/ (Coniqua Johnson) Visual Art Direction and Designs: http://riverwildmen.com/ (River Wildmen), https://www.instagram.com/afrovisualism/ (AfroVisualism) Director of Digital Content: https://www.instagram.com/vickygcreative/ (@vickygcreative) Bookings: https://www.instagram.com/itsms.kt/ (@itsms.kt) Original Music composed by http://www.dariocalmese.com/ (Dario Calmese) Visit us at https://www.blackimagination.com/oral-history (blackimagination.com )
George Lamming, in full George William Lamming, (born June 8, 1927, Carrington Village, near Bridgetown, Barbados), was a West Indian novelist and essayist who wrote about decolonization and reconstruction in Caribbean nations.At Combermere High School, Lamming studied under Frank Collymore, editor of the Caribbean literary journal Bim, which published some of Lamming's early work. Lamming left Barbados and worked as a teacher in Trinidad from 1946 to 1950 before settling in England. His highly acclaimed first novel, In the Castle of My Skin(1953), is an autobiographical bildungsroman set against the backdrop of burgeoning nationalism in the British colonies of the Caribbean in the 1930s and '40s.Lamming continued to study decolonization in his succeeding three novels: The Emigrants (1954), a despairing, fragmentary work about Caribbean immigrants in post-World War II England; Of Age and Innocence (1958), a microcosmic look at the problems of political independence; and Season of Adventure (1960), in which a West Indian woman discovers her African heritage. The Pleasures of Exile (1960) is a collection of essays that examines Caribbean politics, race, and culture in an international context. Lamming's later novels included Water with Berries (1971), a political allegory based on William Shakespeare's The Tempest, and Natives of My Person (1971), about 16th-century explorers in the West Indies. His poetry and short stories were published in various anthologies, and Conversations, a volume of essays and interviews, was published in 1992.From https://www.britannica.com/biography/George-Lamming. For more information about George Lamming:“Remembering George Lamming's spirit of generosity”: https://www.newframe.com/remembering-george-lammings-spirit-of-generosity/The Pleasures of Exile: https://www.press.umich.edu//10236“George Lamming”: https://www.theguardian.com/books/2022/jun/14/george-lamming-obituary
In our very special two-year anniversary episode, it's another Best Picture Showdown as we discuss the iconic American masterpiece THE GODFATHER, as well as the four films it defeated for Best Picture: CABARET, DELIVERANCE, THE EMIGRANTS, and SOUNDER. Hosted by Austin Johnson and Connor Eyzaguirre Music by Cooley Cal New episodes every Sunday! E-mail us at filmgazm@gmail.com, subscribe on iTunes, Spotify, Google Podcasts, Breaker, Overcast, Pocket Casts, RadioPublic, Amazon Music, or Anchor.fm, follow us on Twitter, Facebook, Instagram, YouTube or leave a comment below if there's a movie you want us to review! Visit https://www.filmgazm.com for movie reviews, articles, podcasts, and trailers of upcoming movies. DISCLAIMER - We do not own nor do we pretend to own any posters, artwork, music, or trailers. We mean only to review and discuss movies fairly and without bias. All trademarks are the property of the respective trademark owners. --- Support this podcast: https://anchor.fm/the-filmgazm-podcast/support
Meet Jacqueline P. Walker A Season of Disruption - https://amzn.to/3ygxSAu Fictional Memoir Host: LaShaunda C. Hoffman http://lashaundahoffman.com Building Online Relationships http://bit.ly/BORLCH This episode's Sponsor – Building Your Readership https://amzn.to/2Xg1JsK Would you like to be featured or Sponsor SORMAG's Writer's Cafe? https://lashaunda.kartra.com/page/SWCafePodcast LISTEN – COMMENT – SHARE
Meet Jacqueline P. Walker A Season of Disruption - https://amzn.to/3ygxSAu Fictional Memoir Host: LaShaunda C. Hoffman http://lashaundahoffman.com Building Online Relationships http://bit.ly/BORLCH This episode's Sponsor – Building Your Readership https://amzn.to/2Xg1JsK Would you like to be featured or Sponsor SORMAG's Writer's Cafe? https://lashaunda.kartra.com/page/SWCafePodcast LISTEN – COMMENT – SHARE
Subscribe to Quotomania on Simplecast or search for Quotomania on your favorite podcast app!W.G. Sebald, in full Winfried Georg Sebald, (born May 18, 1944, Wertach, Allgäu, Germany—died December 14, 2001, Norwich, England), was a German-English novelist and scholar who was known for his haunting, nonchronologically constructed stories.Sebald's work imaginatively explored themes of memory as they related to the Holocaust. His novels include Schwindel, Gefühle (1990; Vertigo), Die Ausgewanderten (1992; The Emigrants), Die Ringe des Saturn (1995; The Rings of Saturn), Logis in einem Landhaus: über Gottfried Keller, Johann Peter Hebel, Robert Walser und andere(1998; A Place in the Country: On Gottfried Keller, Johann Peter Hebel, Robert Walser, and Others), and Austerlitz (2001).From https://www.britannica.com/biography/W-G-Sebald. For more information about W. G. Sebald:The Rings of Saturn: https://www.ndbooks.com/book/the-rings-of-saturn/“Why You Should Read W. G. Sebald”: https://www.newyorker.com/books/page-turner/why-you-should-read-w-g-sebald“W. G. Sebald: A Profile”: https://www.theparisreview.org/letters-essays/945/wg-sebald-a-profile-james-atlas
The Interview:Although he did experience some fanfare in his lifetime, German writer, academic, and novelist W.G. Sebald—Max to his friends and colleagues—died 20 years ago in a car crash near his adoptive home in Norwich, England. He was only 58.His postmodern novels—Vertigo, The Emigrants, The Rings of Saturn and Austerlitz—were written in quick succession in a period of less than 10 years, and they were all published in English translations in less than five years, making him one of Germany's biggest authors, almost overnight. Before his death, Sebald had taught in the British university system for decades, mainly at the University of East Anglia, where he helped found the literary translation department. He really did not begin writing in his signature style—a mix of travelogue, memoir, historical fiction with embedded pictures and ephemera—until middle age, however. Walter Benjamin famously opined that any great writer creates their own genre; Sebald accomplished this with just a brief collection of books. Through his unique, poetic prose style of writing, his books grab hold and immerse readers in a world of memory and loss like no other novelist. Trauma runs through his work and his characters seem so real because, like most fictional creations—at least in part—they are based on real people. Sebald's distinctive style got him into trouble, both when he was alive and certainly posthumously. Some readers have taken issue with his re-purposing of Jewish folks' true-life stories. He has been accused, in some cases, of exploiting these stories for personal gain through novelization. When I first began to read his work, shortly after his death in 2001, I interpreted his work to be an homage to the Jewish lives he chronicled, written by a German who grew up in the shadow, silence, and shame of the horrors of WWII. Sebald's father was a military man—a Nazi officer during the war and a member of the re-constituted German army in the post-war years. Sebald grew up in the beatific surroundings of Bavaria in Germany and had a deep hatred for the Nazi regime and his own family's complicity. The fate of the Jews—and other minorities targeted by the Nazi war machine—is a mournful thread that Sebald tears at throughout all of his novels. He also wrote a nonfiction study of the bombings of German cities, entitled On the Natural History of Destruction.Enter biographer Carole Angier, whose previous books include studies of novelist Jean Rhys and Italian physicist and writer Primo Levi. Angier, who grew up in Canada before returning to the UK, is of Viennese descent. She is also Jewish and roughly the same age Sebald would have been had he lived. It took her seven years to finish Speak, Silence (Bloomsbury, 2021). The title, of course, a nod to Nabokov's famous memoir, Speak, Memory, one of Sebald's favorite books. Angier and I caught up recently to discuss her 600-plus-page doorstopper of a book. One of the reasons I wanted to talk with her about it—apart from my longtime love of Sebald—was to ask for her thoughts on the controversy his work still seems to generate, even 20 years after his death. A great deal of the reviews of Speak, Silence, in the States at least, were hyper-critical of Sebald playing fast and loose with some facts in his fiction. But all great fiction writers pluck characteristics and facts to shape their fictional worlds and, so, while Sebald's use of real photographs and ephemera in his work for visual effect made his narrative style offensive to some, it also made it more potent for others. In this interview, Angier speaks to this subject, and many more.The Reading:For the reading, we pulled audio from an event at the 92nd Street Y from 2001, where Sebald read from his then newest novel Austerlitz. He was tragically killed in a car crash later that year. Music by Tangerine Dream92Y Reading link: https://www.youtube.com/watch?v=ccMCGjWLlhY&t=1620s
In the spring of 1846, a group of 90 would-be settlers left Independence, Missouri, for new lives in California. Led by James Reed and George Donner, the group planned to head west by covered wagon as quickly and comfortably as possible, using the Oregon and California trails. But after being delayed by bad directions, a murder trial, an endless desert 'shortcut', and crippling losses, the Donner Party reached the last leg of their journey weeks behind schedule, only to be stopped by an early snowstorm in the Sierra Nevadas. Trapped by below-freezing temperatures and twenty feet of snow, they settled in to try and survive until help arrived, and soon found themselves starving and freezing to death in the most brutal circumstances imaginable. On this episode, we look into the unluckiest road trip in the history of westward expansion, plus a collection of grifters, a very pursuasive guidebook, and one of the longest and strangest rescue efforts we've ever come across. Sources for this episode include: “Ordeal by Hunger”, by G. R. Stewart, 1936 "The Expedition of the Donner Party and its Tragic Fate", by E. P. D. Houghton "The Tragic Story of the Donner Party", by L. Radford, 2019 “Diary of Patrick Breen” by P. Breen, 1846-1847 “The Case for Cannibalism” by C. Cassidy, Wired.com, 2021 "Emigrants' Guide to Oregon and California” by L. W. Hastings, 1845
Ryan Alexander - Twitter @ryanhasbadtaste - Instagram @therepublicofbadtaste Vollmannia podcast @vollmannia coming in 2022 Gateway Books - Dr Jekyll and Mr Hyde - Hamlet - Goosebumps - Salem's Lot - Arguably - Christopher Hitchens TBR · The Books of Jacob by Olga Tokarczuk; translated by Jennifer L. Croft · The Plains, Inland, A Million Windows, Border Districts by Gerald Murnane · Doppelgänger, Leica Format, Trieste, Belladonna, EEG by Daša Drndić; translated by S.D. Curtis, Celia Hawkesworth, and Ellen Elias-Bursać · Vertigo, The Emigrants, The Rings of Saturn, Austerlitz by W.G. Sebald; translated by Michael Hulse and Anthea Bell · Mr. Theodore Mundstock, The Cremator by Ladislav Fuks; translated by Iris Urwin and Eva M. Kandler · Here in Our Auschwitz and Other Stories by Tadeusz Borowicki; translated by Madeline G. Levine · Satantango, The Melancholy of Resistance, War & War, Baron Wenckheim's Homecoming by László Krasznahorkai; translated by George Szirtes and Ottilie Mulzet · Like a Tear in the Ocean, Vols. I-III by Manès Sperber; translated by Constantine Fitzgibbon · The Book of Blam, The Use of Man, Kapo by Aleksandar Tišma; translated by Michael Henry Heim, Bernard Johnson, and Richard Williams · A Dreambook for Our Time, A Minor Apocalypse by Tadeusz Konwicki; translated by David Welsh and Richard Lourie · Nostalgia, Blinding, Solenoid by Mircea Cărtărescu; translated by Julian Semilian and Sean Cotter · Kin by Miljenko Jergović; translated by Russell Scott Valentino - Frost by Thomas Bernhard; translated by Michael Hofmann · The Street of Crocodiles and Other Stories by Bruno Schulz; translated by Celina Wieniewska · Gravity's Rainbow by Thomas Pynchon · Lookout Cartridge, A Smuggler's Bible, Hind's Kidnap by Joseph McElroy Top 10 10. Women and Men by Joseph McElroy 9. The Doll's Alphabet by Camilla Grudova 8. How to Quiet a Vampire: A Sotie by Borislav Pekić; translated by Stephen M. Dickey and Bogdan Rakić 7. The Kindly Ones by Jonathan Littell; translated by Charlotte Mandell 6. Beloved by Toni Morrison 5. Wolf in White Van by John Darnielle 4. Ice by Anna Kavan 3. Rising Up and Rising Down, Vol I: Three Meditations on Death, The Days of the Niblungs, Definitions for Lonely Atoms by William T. Vollmann 2. Infinite Jest by David Foster Wallace 1. Moby-Dick, or The Whale by Herman Melville
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