Podcasts about evanston illinois

This week I speak with Justin Oliver - Assistant Wrestling Coach at Northwestern University. We talk through some of his movement since we've had him on the podcast, from Buffalo to Michigan State to Northern Colorado, and eventually to Evanston Illinois to coach the Wildcats. We also talk through the team, some of the veterans who stand out along with some young guys to watch. Lastly we cover the upcoming B1G championships being hosted by Northwestern and what people can expect. Finally I recap the Chippewa Challenge and talk about the upcoming Michigan v Ohio State Dual. Rock on!

Today, Thursday, October 24 on Urban Forum Northwest:*Jaime Harrison, chair, Democratic National Committee (DNC) is on the "I Will Vote" bus tour. The tour has been to Florida, Georgia, South Carolina and he is North Carolina today and will give is perspective on the effectiveness of his and the tour on voters.*Larry Gossett and Davida Ingram of the Seattle King County African American Reparations Committee (SAARC), they are inviting you to hear former Evanston Illinois alderwoman Robin Rue Simmons discuss how she got cash reparations for African Americans. The event is Saturday, October 26 at 2:00 pm (PDT) at New Hope Missionary Baptist Church 124 21st Avenue, Seattle 98122.*Alexis Mercedes Rinck is a candidate for Seattle City Council Position No. 8. She is Assistant Director of Policy, Planning and State Operations, University of Washington. Her focus, the politics of division are harmful to our city, nation and future, she wants to prioritize housing affordability and public safety, protecting workers rights and advancing climate action.*Dave Reichert (R) candidate for Washington State Governor, he served as the first elected Sheriff of King County 1997-2005. He then served in the US House of Representatives 2005-2019. As governor he states he will work tirelessly to foster an economy that works for everyone, safe streets, and neighborhoods, and ensure that our students get a world class education.*Tanya Woo, Seattle City Council member Position No. 8, she was appointed to the position that she is now seeking to be elected. She believes that our city is struggling on too many fronts like housing affordability and public safety. She has organized safety teams that provide mutual aid and worked with unhoused neighbors. She will ensure a balanced approach that invest in community programs.Urban Forum Northwest streams live at www.1150kknw.com. Like us at www.urbanforumnw.com for archived programs and relevant information. Like us on facebook. X@Eddie_Rye. Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Today, Thursday, October 24 on Urban Forum Northwest: *Jaime Harrison, chair, Democratic National Committee (DNC) is on the "I Will Vote" bus tour. The tour has been to Florida, Georgia, South Carolina and he is North Carolina today and will give is perspective on the effectiveness of his and the tour on voters. *Larry Gossett and Davida Ingram of the Seattle King County African American Reparations Committee (SAARC), they are inviting you to hear former Evanston Illinois alderwoman Robin Rue Simmons discuss how she got cash reparations for African Americans. The event is Saturday, October 26 at 2:00 pm (PDT) at New Hope Missionary Baptist Church 124 21st Avenue, Seattle 98122. *Alexis Mercedes Rinck is a candidate for Seattle City Council Position No. 8. She is Assistant Director of Policy, Planning and State Operations, University of Washington. Her focus, the politics of division are harmful to our city, nation and future, she wants to prioritize housing affordability and public safety, protecting workers rights and advancing climate action. *Dave Reichert (R) candidate for Washington State Governor, he served as the first elected Sheriff of King County 1997-2005. He then served in the US House of Representatives 2005-2019. As governor he states he will work tirelessly to foster an economy that works for everyone, safe streets, and neighborhoods, and ensure that our students get a world class education. *Tanya Woo, Seattle City Council member Position No. 8, she was appointed to the position that she is now seeking to be elected. She believes that our city is struggling on too many fronts like housing affordability and public safety. She has organized safety teams that provide mutual aid and worked with unhoused neighbors. She will ensure a balanced approach that invest in community programs. Urban Forum Northwest streams live at www.1150kknw.com. Like us at www.urbanforumnw.com for archived programs and relevant information. Like us on facebook. X@Eddie_Rye. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Today, Thursday, October 24 on Urban Forum Northwest: *Jaime Harrison, chair, Democratic National Committee (DNC) is on the "I Will Vote" bus tour. The tour has been to Florida, Georgia, South Carolina and he is North Carolina today and will give is perspective on the effectiveness of his and the tour on voters. *Larry Gossett and Davida Ingram of the Seattle King County African American Reparations Committee (SAARC), they are inviting you to hear former Evanston Illinois alderwoman Robin Rue Simmons discuss how she got cash reparations for African Americans. The event is Saturday, October 26 at 2:00 pm (PDT) at New Hope Missionary Baptist Church 124 21st Avenue, Seattle 98122. *Alexis Mercedes Rinck is a candidate for Seattle City Council Position No. 8. She is Assistant Director of Policy, Planning and State Operations, University of Washington. Her focus, the politics of division are harmful to our city, nation and future, she wants to prioritize housing affordability and public safety, protecting workers rights and advancing climate action. *Dave Reichert (R) candidate for Washington State Governor, he served as the first elected Sheriff of King County 1997-2005. He then served in the US House of Representatives 2005-2019. As governor he states he will work tirelessly to foster an economy that works for everyone, safe streets, and neighborhoods, and ensure that our students get a world class education. *Tanya Woo, Seattle City Council member Position No. 8, she was appointed to the position that she is now seeking to be elected. She believes that our city is struggling on too many fronts like housing affordability and public safety. She has organized safety teams that provide mutual aid and worked with unhoused neighbors. She will ensure a balanced approach that invest in community programs. Urban Forum Northwest streams live at www.1150kknw.com. Like us at www.urbanforumnw.com for archived programs and relevant information. Like us on facebook. X@Eddie_Rye.

"How can our electorate be informed if we are blocking - intentionally blocking access to information about such a crucial issue?" - Lesley WilliamsJust north of Chicago, in Evanston Illinois, 20-year veteran librarian Lesley Williams became the center of a controversy that involved an invitation to Palestinian author and scholar Ali Abunimeh to speak at a series at the Evanston Public Library. Lesley was then told to "postpone" the reading by her boss. What ensued was a series of public-facing PR gaffes and political maneuvers that eventually brought the author to the library for an engagement,  but not before the damage had been done.In the current world of censorship and job separations based on the genocide in Gaza and suppression of Palestinian voices, this might come across your feed as something as a sad "new normal," but the Evanston library incident happened in 2014, and culminated with Lesley's departure from the library three years later.Ten years later, Lesley joins Arabs in Media to share not only the personal side and timeline of what happened at the Evanston Public Library, but exposes in a fascinating talk how the "innocent ol' library" - the original medium for accessing knowledge intellectual freedom - are not just hotspots for book banning the ways we may or may not understand it, but are places where open discussions and knowledge exchanges are also being essentially doxxed.If you followed the story when it first happened, you'll get more depth and perspective on the details surrounding the controversy from that time.As an active member of Jewish Voices for Peace and champion for justice, Leslie shares great insights on everything from the library ethos and Bill of Rights, to why it's so hard to find books about Palestine by Palestinian authors, to how big chain bookstores do a disservice on how they hide the few Palestinian stories they do carry.How are your books placed? How are your community programs programmed? How does this relate to library censorship, the one place you expect information to be accessible?  How can you re-think what free-thinking is in this world where people get fired for standing up against genocide?Finally, if you are a book lover and/or someone interested in reading some recommended works, you can't miss this episode. Here are some links from the podcast, as promised in the recording: We Refuse : A Forceful History of Black Resistance, by Kellie Carter Jacksonhttps://www.kelliecarterjackson.com/we-refuseA radical reframing of the past and present of Black resistance—both nonviolent and viSend a text message with any feedback. I won't see your number, and I can't reply, but it is a way to leave a comment. Or, you can send a message on Substack or IG @ ArabsinMediaHazem Jamal is a first-generation Iraqi-American who worked in as a programming exec in American radio for many years. After witnessing limited voices and shrinking consumption in linear media, Hazem founded Arabs in Media to offer a platform for fresh stories, information, and entertainment. To join the Arabs in Media community, sign up at the free Arabs in Media Substack for more multi-media content, and email notifications for new episodes dropping. https://arabsinmedia.substack.com/Instagram @arabsinmediaFeatured media and social links here:https://linktr.ee/arabsinmediaSupport Operation Olive Branch, providing humanitarian assistance to families devastated by g-cide:https://linktr.ee/opolivebranch

(Airdate 7/5/24) Kamilah Moore is an attorney, reparatory justice scholar and an attorney with a specialization in entertainment and intellectual property. She was the Chair of California's Reparations Task Force. On this podcast she offers insightful updates on the latest efforts to get restitution for survivors of the Tulsa Race Massacre; the conservative lawsuit against Evanston Illinois reparations program, Calif Task Force bills making their way through the legislature and Prop 6 in November's election which will outlaw involuntary servitude in the state's prisons. X: @KamilahVMoore @CJECOfficial @DiPrimaRadio First Things First w/Dominique DiPrima Streams Live Weekdays 6AM-9AM PDT www.yeswecanworshipcenter.org

The College Football Experience (@TCEonSGPN) on the Sports Gambling Podcast Network continues its 134 college football team preview series with the Northwestern Wildcats 2024 Season Preview. Pick Dundee aka (@TheColbyD) & Patty C (@PattyC831) break down each and every position for the Wildcats and key in on their upcoming 2024 college football schedule. Can David Braun duplicate his first season success in Evanston, Illinois? Did Northwestern make a mistake by tearing down old Ryan Field for a new soulless stadium? Did Northwestern do Pat Fitzgerald dirty?Will Mike Wright get the start at Quarterback after coming over from Mississippi State? Can Cam Porter continue to be an X factor at the running back spot for the Northwestern Wildcats? How will the wideout room look with the likes of Bryce Kirtz, Frank Covey, AJ Henning and Donnie Gray? Will Thomas Gordon be a name to watch at the tight end spot? Does returning 3 of 5 on the line of scrimmage mean the offensive line should be in decent shape? Is new OC Zach Lujan the perfect hire for Northwestern after coming over from South Dakota State?What will the Wildcats defense look like under new DC Tim McGarigle? Will the D Line be a force with the likes of Jaylen Pate, Sean McLaughlin, RJ Pearson, Carmine Bastone and Richie Hagarty? How will the linebacking room look with Robert Fitzgerald, Mac Uihlein, and Xander Mueller? Will the secondary be able to play at an elite level with the likes of Ore Adeyi, Theran Johnson, Devin Turner and Coco Azema? What should Northwestern Wildcats fans expect from year 2 under David Braun? We talk it all and more on this Northwestern Wildcats edition of The College Football Experience. JOIN the SGPN community #DegensOnlyExclusive Merch, Contests and Bonus Episodes ONLY on Patreon - https://sg.pn/patreonDiscuss with fellow degens on Discord - https://sg.pn/discordDownload The Free SGPN App - https://sgpn.appCheck out the Sports Gambling Podcast on YouTube - https://sg.pn/YouTubeCheck out our website - http://sportsgamblingpodcast.comSUPPORT us by supporting our partnersCirca Sports - 16 MILLION in guaranteed prizes w/ Circa Survivor & Circa Millions - https://www.circasports.com/circa-sports-millionFootball Contest Proxy - Use promo code SGP to save $50 at - https://www.footballcontestproxy.com/Rithmm - Player Props and Picks - Free 7 day trial! http://sportsgamblingpodcast.com/rithmmUnderdog Fantasy code SGPN - Up to $250 in BONUS CASH - https://play.underdogfantasy.com/p-sgpnGametime code SGPN - Download the Gametime app, create an account, and use code SGPN for $20 off your first purchase - https://gametime.co/ADVERTISE with SGPNInterested in advertising? Contact sales@sgpn.io Follow The College Experience & SGPN On Social MediaTwitter - https://twitter.com/TCEonSGPNInstagram - http://www.instagram.com/TCEonSGPNTikTok - https://www.tiktok.com/@TCEonSGPNYoutube - https://www.youtube.com/@TheCollegeExperienceFollow The Hosts On Social MediaColby Dant - http://www.twitter.com/thecolbydPatty C - https://twitter.com/PattyC831NC Nick - https://twitter.com/NC__NicK

In 2021, the Chicago suburb of Evanston, Illinois, became the first U.S. city to offer reparations to Black Americans for past housing discrimination. Now, a conservative legal group is challenging the program in court, saying it unconstitutionally discriminates against residents who aren't Black. John Yang speaks with Brandis Friedman of PBS member station WTTW for more. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

durée : 00:35:45 - France Culture va plus loin (l'Invité(e) des Matins) - par : Guillaume Erner - Y a-t-il des facteurs culturels à la prospérité ? Nous en discutons avec Joel Mokyr, auteur de "Une culture de croissance : les origines de l'économie moderne", paru chez Gallimard en 2019. L'occasion d'interroger l'histoire et les défis futurs de l'économie européenne. - invités : Joel Mokyr professeur d'économie et d'histoire à l'université Northwestern à Evanston (Illinois)

The Stadium Heads, Michael Barker aka CFB Campus Tour (@CFBCampusTour) & Pick Dundee aka (@TheColbyD) are back with their 2nd episode as the guys break down all 18 Big Ten Stadiums from their rich history to the recent stadium improvements. Did the Big Ten really improve their stadiums with the 4 recent Pac 12 additions? What makes a great football stadium and why does College Football keep its soul as compared to the NFL? Did the Northwestern Wildcats make a mistake by moving on from Ryan Field? Will more college football stadiums move to name their stadiums as corporate sponsors? Is the Rose Bowl the greatest football stadium in America? When will the Ohio State Buckeyes and other Big Ten Stadiums move back to grass as opposed to turf?What do we make of the newer Big Ten Stadiums like Huntington Bank Stadium in Minneapolis or SHI Stadium in Piscataway? Should Maryland's stadium always be referred to as Byrd Stadium? Is Fielding Yost a genius to think that Michigan should be the biggest stadium way back in 1925? Does sailgating make the stadium experience that much better at Husky Stadium? Is the L.A. Coliseum one of the most underrated stadiums in America and did the Los Angeles Rams make a mistake by leaving it for So Fi Stadium? Has the Purdue Boilermakers done everything right in improving Ross-Ade Stadium? What do we make of the three Memorial Stadiums in the Conference? Is Autzen Stadium one of the biggest gems in all of college football. We talk it all and more on this episode of The Stadium Heads. JOIN the SGPN community #DegensOnlyExclusive Merch, Contests and Bonus Episodes ONLY on Patreon - https://sg.pn/patreonDiscuss with fellow degens on Discord - https://sg.pn/discordDownload The Free SGPN App - https://sgpn.appCheck out the Sports Gambling Podcast on YouTube - https://sg.pn/YouTubeCheck out our website - http://sportsgamblingpodcast.comSUPPORT us by supporting our partnersNYRA Racing code SGPN25 - $25 FREE BET and $200 Deposit Bonus - https://racing.nyrabets.com/sign-up-bonus/sgpn25?utm_source=sgpn&utm_medium=paid_social&utm_campaign=sgpn_25&utm_content=1080x1080Underdog Fantasy code TCESGPN - 100% Deposit Match up to $100 - https://play.underdogfantasy.com/p-sgpnGametime code SGPN - Download the Gametime app, create an account, and use code SGPN for $20 off your first purchase - https://gametime.co/Football Contest Proxy - Use promo code SGP to save $50 at - https://www.footballcontestproxy.com/ADVERTISE with SGPNInterested in advertising? Contact sales@sgpn.io Follow The College Experience & SGPN On Social MediaTwitter - https://twitter.com/TCEonSGPNInstagram - http://www.instagram.com/TCEonSGPNTikTok - https://www.tiktok.com/@TCEonSGPNYoutube - https://www.youtube.com/@TheCollegeExperienceFollow The Hosts On Social MediaColby Dant - http://www.twitter.com/thecolbydPatty C - https://twitter.com/PattyC831NC Nick - https://twitter.com/NC__NicK

The Stadium Heads, Michael Barker aka CFB Campus Tour (@CFBCampusTour) & Pick Dundee aka (@TheColbyD) are back with their 2nd episode as the guys break down all 18 Big Ten Stadiums from their rich history to the recent stadium improvements. Did the Big Ten really improve their stadiums with the 4 recent Pac 12 additions? What makes a great football stadium and why does College Football keep its soul as compared to the NFL? Did the Northwestern Wildcats make a mistake by moving on from Ryan Field? Will more college football stadiums move to name their stadiums as corporate sponsors? Is the Rose Bowl the greatest football stadium in America? When will the Ohio State Buckeyes and other Big Ten Stadiums move back to grass as opposed to turf?What do we make of the newer Big Ten Stadiums like Huntington Bank Stadium in Minneapolis or SHI Stadium in Piscataway? Should Maryland's stadium always be referred to as Byrd Stadium? Is Fielding Yost a genius to think that Michigan should be the biggest stadium way back in 1925? Does sailgating make the stadium experience that much better at Husky Stadium? Is the L.A. Coliseum one of the most underrated stadiums in America and did the Los Angeles Rams make a mistake by leaving it for So Fi Stadium? Has the Purdue Boilermakers done everything right in improving Ross-Ade Stadium? What do we make of the three Memorial Stadiums in the Conference? Is Autzen Stadium one of the biggest gems in all of college football. We talk it all and more on this episode of The Stadium Heads. JOIN the SGPN community #DegensOnlyExclusive Merch, Contests and Bonus Episodes ONLY on Patreon - https://sg.pn/patreonDiscuss with fellow degens on Discord - https://sg.pn/discordDownload The Free SGPN App - https://sgpn.appCheck out the Sports Gambling Podcast on YouTube - https://sg.pn/YouTubeCheck out our website - http://sportsgamblingpodcast.comSUPPORT us by supporting our partnersNYRA Racing code SGPN25 - $25 FREE BET and $200 Deposit Bonus - https://racing.nyrabets.com/sign-up-bonus/sgpn25?utm_source=sgpn&utm_medium=paid_social&utm_campaign=sgpn_25&utm_content=1080x1080Underdog Fantasy code TCESGPN - 100% Deposit Match up to $100 - https://play.underdogfantasy.com/p-sgpnGametime code SGPN - Download the Gametime app, create an account, and use code SGPN for $20 off your first purchase - https://gametime.co/Football Contest Proxy - Use promo code SGP to save $50 at - https://www.footballcontestproxy.com/ADVERTISE with SGPNInterested in advertising? Contact sales@sgpn.io Follow The College Experience & SGPN On Social MediaTwitter - https://twitter.com/TCEonSGPNInstagram - http://www.instagram.com/TCEonSGPNTikTok - https://www.tiktok.com/@TCEonSGPNYoutube - https://www.youtube.com/@TheCollegeExperienceFollow The Hosts On Social MediaColby Dant - http://www.twitter.com/thecolbydPatty C - https://twitter.com/PattyC831NC Nick - https://twitter.com/NC__NicK

Evanston, Illinois Reparations with Meg and ChrisSee omnystudio.com/listener for privacy information.

Lara Biggs, Capital Planning Bureau Chief and City Engineer for the City of Evanston, Illinois, joined the podcast to discuss capital planning, infrastructure, and improving bicycle and pedestrian safety. She shared the City's engagement strategy to design projects with the community and stakeholders. She also talked about what data points are used when prioritizing projects, how to handle reduction in parking spaces with safety improvements, and how to get public buy-in on new safety design elements. Host: Ben Kittelson

Er starb vereinsamt und verarmt in einem Krankenhaus in Buffalo und hinterliess ein vielgestaltiges Werk. Die Black Lives Matter-Bewegung entdeckte Eastman für sich. Inzwischen ist seine ungezähmte Musik im Konzertsaal angekommen. Julius Eastman wollte nicht mehr als sich selbst sein. «In vollen Zügen schwarz, in vollen Zügen Musiker, in vollen Zügen Homosexueller». Damit platzte er in die Blase der weissen Avantgarde New Yorks und brach mit seinen sexuell aufgeladenen Performances als Sänger, Tänzer und Komponist Tabus. Exemplarisch dafür ist der Bruch mit John Cage auf dem Campus in Buffalo. Zwischen den Stücken aus Cages «Song Book» improvisierte Eastman 1975 eine Satire über ein «neues System der Liebe», während er das «Beste aus beiden Welten» (die schwarze «Miss Suzyanna» aus Haiti und den «blonden Charles» aus Buffalo) hiess, sich auf der Bühne zu entkleiden. Am Ende war nur Charles nackt und Eastman liess die Hose herunter. Die Performance über umgekehrten Rassismus und homosexuelle Hemmungslosigkeit provozierte. Cage, der Homosexualität als Privatsache betrachtete, soll auf die Bühne gestürmt sein und Eastman zur Rede gestellt haben. Anderntags beschwerte er sich beim Institutsleiter. Eastmans Musik trägt Titel wie «Gay Guerilla» und «Evil Nigger» und repräsentiert ein Selbstverständnis, das schon zu Lebzeiten Widerstand innerhalb der Community provozierte. Die afroamerikanische Studentenorganisation der Northwestern University in Evanston (Illinois) etwa setzte 1980 die Streichung des N. Worts auf dem Programmzettel durch, worauf Eastman vor dem Konzert eine Gegenrede hielt. «Die USA hätte ohne die Feld-Niggers niemals die ökonomische Kraft aufbauen können, über die sie heute verfügt.» Das beleidigende Wort verwende er, um die Rolle der Afroamerikaner in der amerikanischen Geschichte zu ehren. Die Pianistin Simone Keller gehört zu den ersten, die sich im Bund mit dem Kukuruz Quartet Eastmans Klaviermusik gewidmet hat. 2018 hat das Quartett eine Referenzaufnahme vorgelegt. Ihr folgt 2024 eine Solo-CD, die Simone Keller vergessener Musik etwa von Olga Diener, Julia Amanda Perry und Julius Eastman widmet. Er schrieb nicht nur wütende Minimalmusic, er rang sich auch intellektuell fundierte Stücke wie etwa «Piano 2» ab. Simone Keller blickt im Gespräch mit Corinne Holtz auf den Werdegang des Aussenseiters, an dem die Sakralisierung zum Klassiker zu beobachten ist. Ausserdem spricht die Pianistin über die Herausforderung, als weisse Frau Eastmans Musik und der kontrovers diskutierten Intersektionalität gerecht zu werden.

Episode 45- How Yamu Camara Turned Her Traumatic Childhood Into A 7 figure Real Estate EmpireTo Join Donni's Mentorship Program, Actionable CEO: www.actionableceo.comTo Get Started As A Coach, Consultant or Course Creator: www.sixfigureedu.com

Our guest this week is Bob Bourke of Evanston, IL, a retired banker, father of four including a daughter with Down Syndrome and a advisory board member at Misericordia in Chicago.Bob and his wife, Peggy, have been married for 44 years and are the proud parents of three boys: Bo (40), Matt (36), and Nick (32) as well as daughter, Molly (38) who has Down Syndrome. Bob had a storied career in banking. We learn about the wide range of programs and services Molly benefited from and that have helped her develop into this bright, vivacious young woman. Bob has also become a passionate volunteer and supporter at Misericordia, a Chicago based non-profit whose mission is: to provide a continuum of care and support for children and adults of all faiths and cultures who have intellectual and developmental disabilities. Through the leadership of sister Rosemary Connelly, the past 50+ years, Misericordia provides residency to more than 600 specially abled adults. They also provide the highest quality of care designed to meet each person's changing needs and maximize his/her independence, self-determination, interpersonal relationships, and engagement in the community. The mission extends beyond the residents as they offer peace of mind to families. Through Catholic values and traditions they strive to be a diverse and inclusive community of acceptance, respect, dignity, spirituality, and quality of life for us all.We'll hear Bob's story and how the apple of his eye, Molly, lights up every room she enters. That's all in this week's SFN Dad to Dad Podcast. Show Notes - Email – robertrbourke@yahoo.comPhone – (312) 209-4890Website – https://www.misericordia.com/YouTube Video Molly Bourke's Journey (Misericordia)- https://www.youtube.com/watch?v=QUFaqaA-DYYSpecial Fathers Network - SFN is a dad to dad mentoring program for fathers raising children with special needs. Many of the 500+ SFN Mentor Fathers, who are raising kids with special needs, have said: "I wish there was something like this when we first received our child's diagnosis. I felt so isolated. There was no one within my family, at work, at church or within my friend group who understood or could relate to what I was going through."SFN Mentor Fathers share their experiences with younger dads closer to the beginning of their journey raising a child with the same or similar special needs. The SFN Mentor Fathers do NOT offer legal or medical advice, that is what lawyers and doctors do. They simply share their experiences and how they have made the most of challenging situations.Check out the 21CD YouTube Channel with dozens of videos on topics relevant to dads raising children with special needs - https://www.youtube.com/channe... Please support the SFN. Click here to donate: https://21stcenturydads.org/do...Special Fathers Network: https://21stcenturydads.org/SFN Dads Mastermind Group - https://21stcenturydads.org/sfn-mastermind-group/Discover more about the Dads Honor Ride 2023 - https://21stcenturydads.org/2023-dads-honor-ride/Find out about Horizon Therapeutics – Science and Compassion Working Together To Transform Lives. https://www.horizontherapeutics.com/

Hold on to your glasses, whiskey lovers, as we dive into the rich, intoxicating world of craft distilling with our guest Paul Hletko, the mastermind behind Few Spirits. This episode is brimming with fascinating chats about Pauls innovative distilling processes, the creation of Few Spirits, and his distillery in Evanston Illinois. Get a behind-the-scenes look at the significant role that whiskey plays in our culture and how Paul lets the whiskey do the talking, connecting with customers on a deeper level.Hold your breath, because we're about to take a whirlwind journey through the extraordinary world of music and whiskey collaboration. Special guest Paul Hletko, founder of Few Spirits, brings us the story of how the re-release of Alice in Chains' "All Secrets Known" connected him with a fan at a whiskey festival. Also, fasten your seatbelts for a surprise unboxing of a tequila Barrel finished whiskey, autographed by none other than Alice in Chains. Paul dives into how his passion for music influences his whiskey crafting, upcoming band collaborations, and the art behind the labels.We wrap up this episode by introducing you to the world of the Scotchy Burben Boys. Find out where you can join us on our social media platforms and catch our podcasts. We encourage our listeners to live dangerously but responsibly, reminding them that enjoying good bourbon and whiskey is synonymous with good friends and good times. As we sign off, we hope that you'll take away not just a wealth of knowledge about craft distilling, but a deeper appreciation for the art that goes into every bottle. Cheers to that! Support the showhttps://www.scotchybourbonboys.com

Hour 3 of The Drew Mariani Show on 11-30-23 Kendall & Sheila Qualls help us understand what is happening in the education system, particularly in a story that's surfaced about a school in Evanston IL that has decided to segregate their students so that they can have "better learning"

In this episode, we welcome Steve Hagerty, Mayor of the City of Evanston, IL and Academy Fellow,  to discuss the mindset behind resiliency, the importance of collaboration with other governments before disaster strikes, and the critical role of public engagement in building resilient communities.  Support the Podcast Today at:donate@napawash.org or 202-347-3190Music Credits: Sea Breeze by Vlad Gluschenko | https://soundcloud.com/vgl9Music promoted by https://www.free-stock-music.comCreative Commons Attribution 3.0 Unported Licensehttps://creativecommons.org/licenses/by/3.0/deed.en_

Today's Summer School episode from the IBI Archive is episode 23 with Heather McGhee. Heather designs and promotes solutions to inequality in America. Do you know Heather? You might know Heather. Maybe you saw her on NBC's Meet the Press, or MSNBC's “Morning Joe.” Or perhaps you saw her sparring with Republican Senator John Kennedy during the confirmation hearings of supreme court Justice Neil Gorsuch, or it just may have been that time when, while on C-Span, an older white gentleman called in to acknowledge his own racism and prejudice, and wanted Heather's advice on how to change, how to be a better American Citizen, and Heather's response went… viral. Born on the south side of Chicago, and raised in the suburbs of Evanston IL, Heather McGhee has made a career out of fighting for a more equal America. She holds a B.A. in American Studies from Yale University and a law degree from the University of California, Berkeley, and for the last two decades, helped build the nonpartisan “think and do” tank, Demos, later serving as president for four years. She's argued before the Supreme Court to protect voting rights. She's helped Starbucks CEO Howard Schultz design anti-bias training for its 250,000 employees. She's lead research campaigns behind successful wage increases for low-wage workers on federal contracts as well as at Walmart and McDonalds.And that's like, 5% of her resume. But of course, Heather is so much more than her work. She's also a wife and mother of a beautiful two-year-old, who makes a small cameo in this episode. Her new book being released this week, and also partially written while carrying the aforementioned toddler, is called The Sum of Us. It unravels the mystery of how. How the wealthiest country on earth suffers some of its worst health disparities, and has a collapsing infrastructure, all while its citizens are crippled by insurmountable levels of debt. One word: Racism. And you know who actually suffers most? White people. In this episode we discuss Heather's journey into the hallowed halls of our country's government, How motherhood has changed her view of the world, what parents can do to ensure their children receive good educations, even while under lockdown, and how we ALL lose in the zero-sum game of racism. Heather's website: https://heathermcghee.comGet your copy of "The Sum of Us" here. Thank you for tuning in! Please don't forget to rate, comment, subscribe and SHARE with a friend.Visit us on IBI Digital at blackimagination.com Watch other episodes on YouTube at The Institute of Black Imagination.Connect with us on Instagram at @blackimagination

Marc Sims talks with Cheryl Judice, owner of Hecky's Barbecue in Evanston Illinois. Hecky's Barbecue, an Evanston Illinois institution for nearly 40 years, won the Chicago Tribune's Readers' Choice Award for the best Chicago-style BBQ.

Mark starts us out introducing us to our returning guest Donna Jackson The Fed will have its own crypto currency. They will control everything you buy, you sell, you say. Cashless Society…this has been foretold. As far back as the 70's there have been people about end times. Have you seen how many people do not cary cash now days. We are moving towards a world government a World Religion. This all started with COVID, the people the government punished were small business owners. The Walmart's the Amazons didn't struggle. The FED is telling us that the problem with banking is not in big banks, it's in the community banks. Why is this???? It's because the big banks are quasi-governmental units at this point. They are hand in hand working with the Government. Donna tells us about a town in Illinois, that is going to solve all the problems about race relations in America. Evanston Illinois has adopted a policy for reparations for housing. Whenever people give you installments, it leads to decimation in a community. See the link below for the article https://nationalcenter.org/ncppr/staff/donna-jackson-2/ https://www.nbcnews.com/news/nbcblk/evanston-s-reparations-plan-noble-start-complicated-process-experts-say-n1262096 https://www.catholicnewsagency.com/news/29099/we-are-brothers-pope-stresses-in-message-to-pentecostals https://gdf24.com/

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----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're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, 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.  

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----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're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, 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.  

Chris is the youth and college pastor at Evanston Vineyard in Evanston IL. Chris and I spend a little time reminiscing about overhead projectors, but then dive deep into a conversation about how to care for your own heart and your family while also doing ministry. We also talk about dealing with the feelings of “why am I doing this still?” in youth ministry. It's a very deep episode that you'll find both challenging and refreshing!

This episode has information and Evanston IL and Detroit Michigan Affordable Housing efforts. Find out here. #affordablehousing #theapartmentlady --- Send in a voice message: https://podcasters.spotify.com/pod/show/theapartmentlady/message

Jermaine Wilson v. City of Evanston, Illinois

Host Sean Lennon welcomed Lolo McGrath who is the promoter of Palmhouse Pro Wrestling which debut event "Cross The Line" happens Sunday November 19th. Featuring Max The Impaler, Trish Adora, and Chicago Area Wrestlers such as Mateo Valentine, Axel Ricco, Joey Mayberry and more in a LGBTQ themed Wrestling Event!For more info - https://www.facebook.com/events/1035089157131328

Ellen King, head baker and owner of Hewn Bakery in Evanston IL, joins us in the studio to share her story. We discuss the importance of knowing who and where our food and ingredients are sourced from. Ellen also reveals her many talents and skill sets outside of baking that have proved incredibly useful throughout her journey. We want to hear from you!What was your take on this episode? Who would you like to hear on the show? What would you ask them? Reach out to us at: kimchikidspodcast@gmail.comINSTAGRAMYOUTUBE

EVANSTON, IL REPARATIONS COMMITEE UPDATES SEPT 2022 2HR

On September 6, the Human Services Committee of Evanston City Council voted unanimously to send Alderman Devon Reid's proposed ordinance to allow women to go topless in “all public places (forward to 51:25)” to the “Equity and Empowerment Committee.” Reid wants his proposed ordinance reviewed over concerns that “it excluded the transgender community.” How might it have done that, you may wonder. Well, apparently, some objected to the ordinance's “gender binary” language. Evanston sex-deniers cannot tolerate any public acknowledgment that the human species is a sex-binary species. Reid, is a “queer, 29-year-old” activist and former city clerk who was arrested in 2018 for driving on a license that had been suspended since 2013 and ticketed for “possession of under 10 grams of marijuana.” This was two years before Illinois legalized recreational marijuana. It seems Reid has little respect for either public decency or the law. Read more...

On September 6, the Human Services Committee of Evanston City Council voted unanimously to send Alderman Devon Reid's proposed ordinance to allow women to go topless in “all public places (forward to 51:25)” to the “Equity and Empowerment Committee.” Reid wants his proposed ordinance reviewed over concerns that “it excluded the transgender community.” How might it have done that, you may wonder. Well, apparently, some objected to the ordinance's “gender binary” language. Evanston sex-deniers cannot tolerate any public acknowledgment that the human species is a sex-binary species. Reid, is a “queer, 29-year-old” activist and former city clerk who was arrested in 2018 for driving on a license that had been suspended since 2013 and ticketed for “possession of under 10 grams of marijuana.” This was two years before Illinois legalized recreational marijuana. It seems Reid has little respect for either public decency or the law. Read more...

Marc Sims talks with Cheryl Y. Judice, owner of Hecky's Barbecue in Evanston Illinois. https://www.heckys.com

Grateful Dead Live at Max Yasgur's Farm on 08-16-1969 It's hard to believe that it's been 53 years since the Grateful Dead's Woodstock performance.   As iconic as the event was it wasn't one of the band's best shows but fortunately, Larry Mishkin  highlights the most memorable parts.   With Rob Hunt on vacation he has time to review some of the shows he's attended this summer including; Tedeschi Trucks Band, Elvis Costello, and Nick Lowe.Produced by PodConxDeadhead Cannabis Show - https://podconx.com/podcasts/deadhead-cannabis-showLarry Mishkin - https://podconx.com/guests/larry-mishkinDeadhead Cyclist - https://deadheadcyclist.com/Jay Blakesberg - https://podconx.com/guests/jay-blakesbergRecorded on Squadcast

Today's show is a rebroadcast from March 29, 2021. On tonight's edition of Bring It On!, hosts William Hosea and Liz Mitchell are joined by Alderwoman Rue Simmons of the City of Evanston to discuss the city's decision to offer reparations to its Black residents. On March 22, 2021, the City Council of Evanston, Illinois …

Today's show is a rebroadcast from March 29, 2021. On tonight's edition of Bring It On!, hosts William Hosea and Liz Mitchell are joined by Alderwoman Rue Simmons of the City of Evanston to discuss the city's decision to offer reparations to its Black residents. On March 22, 2021, the City Council of Evanston, Illinois …

Our latest isolatedmix comes from Mark Nelson, who as Pan•American, or as part of Labradford or even Anjou, has garnered relative cult status amongst the ambient and experimental lifers and tape community. Forming a big part of the Kranky label history from its very first release, Mark recently returned with a new album after a three-year hiatus, and the mature, refined instrumentalism on The Patience Fader is a subtle reminder of the quality Mark has retained over the years - quite an achievement, given his first Pan•American record on Kranky goes back to 1997. I took the chance to send over some questions to Mark to shed some light on the new record and the music that exists in his life right now, alongside his tasteful and electic isolatedmix. The Patience Fader by Pan•AmericanHi Mark, where are you right now and what have you been listening to lately? I'm at home in Evanston IL-just north of Chicago. Drinking coffee after work and listening to the water running through the filter of our pet turtle's tank and the music of Mette Henriette. If you're not familiar with her she's a Norwegian composer and saxophone player who put out a record on ECM a couple of years ago it's so beautiful-one of those records I only let me listen to occasionally because I don't want to become too familiar with it. worried the magic might lessen-but magic never really does. Last few days I've been listening to lots of the music that made it onto the mix-Mike Cooper, African Head Charge, Ulla, my friend Robert Donne's incredible track Touch my Camera Through the Fence, Takagi Masakatsu. The most recent music that I've really liked are the 3 cd comp by Fubutsushi on Cached Media and my friend Francis Harris' beautiful new record Thresholds that I was lucky enough to contribute to. Running a label myself, and given you had the honor of being the very first release on Kranky, with Labradford, I'm interested in the details of how that very first album and relationship came about? It's hard to believe but back then you could put out a 7" single-maybe 300 copies-and be pretty confident all the key distributors, zines, record store buyers and radio stations would find out about it and boost it up if they liked it. Joel and Bruce worked at Cargo-an independent distributor based in Chicago. Our single came across Joel's desk and he felt good enough about it to set in motion the plan he'd been forming to start a label. I remember my friend Andrew who put the single out told me a guy from Cargo was going to call me and I stayed close to the (landline) phone for the next couple days. Joel called, we talked and the rest has unfolded very naturally. A blend of luck and trying to manifest something in the world around the music. “Romantic minimalism” is used in the text for your new album The Patience Fader, and it's an apt term for the delicate, perhaps even more ‘focused' approach on this one. Do you think there is a clear connection between the effects of the past year and the type of music it inspires? Was that the case here? Yes-absolutely in my case. Both from within and without. Not consciously of course, but Patience Fader was made during the summer and fall of 2020, so Covid, Trumpism, BLM/George Floyd protests were all in full flight. At the same time, my father was dying in a hospice in Virginia that we couldn't visit because of Covid. In some respects, emotions were very simple for me in this time. Right and wrong, life and death joy and sorrow seemed very plainly mapped out. The album features some smaller ‘vignette' type tracks, which I personally love. What was your intention behind these as part of the greater album flow? Is there a hidden narrative? Not a narrative really, no. I would say there's a theme of Roots throughout the record and trying to find different ways to approach what roots and being grounded can mean. So guitar and harmonica as the instruments used speak literally to the basic grounding of American music. The field recording of a summer afternoon and slamming screen door on Baitshop is evocative to me of childhood. There's even a song called Grounded. We were all literally grounded by Covid and I was searching for a sense of Grounding amidst the unraveling. It seems like you come from the ‘instrumental first' school of ambient music (as I sometimes like to put it), integrating your instruments as source material, especially on your latest. What does the process for creating a PA album usually look like? It tends to come out of the daily practice of playing. I like practicing and trying to be "better" as a guitar player. Sometimes it can even feel like if I get an idea I need to dig into, it interrupts just simple, repetitive practice that in some ways I enjoy more. I think I've gotten pretty good at recognizing when an idea needs to be followed through and I do feel like I have an obligation to not let it go. Although in the end, most don't make it. Eventually, I tend to establish something that feels like the first song for an album and the last song, and that's when I know that something new is really emerging. The Lapsteel / Pedal steel was perhaps brought to ‘ambient fame' by the KLF's Chill Out, especially to those who run in more general ‘ambient' music terms. And I definitely get a similar vibe to that album with The Patience Fader. …“the ghost of rust belts and dust bowls looming in a horizon of deepening dusk.” as the press text puts it. As a foreigner in the US, I've always wondered about this romanticism and never really experienced it outside of trips to the desert here in the west. How does this come to life for you personally? Is it something you seek out? I'm a big fan of Chill Out-but I think Brian Eno and Daniel Lanois got there first on Apollo! Also, the Paris Texas soundtrack and Ry Cooder's slide playing cemented some of those connections that I guess now verge on cliche. Funny enough I'm a bit of an outsider here as well-my Father was a US diplomat and I didn't live in the US until I was a teenager. I've always looked for a way in I guess, and music-rock n roll, country, blues, jazz seemed like a kind of skeleton key. A key to a series of doors that open and close constantly and I seem to remain disoriented. I certainly returned to these roots (literal and figurative) in music for an explanation or comfort as Trump set fire to whatever remained of the Better Angels of what (for some reason) is referred to as the American Experiment. Mixed results. You speak of the notion of “lighthouse music,” radiance cast from a stable vantage point, sending “a signal to help others through rocks and dangerous currents.” My perception and ‘unromanticizing' of this after listening to the album, is that you have tried to create very clear, and comforting music, something that will cut through easier and not need too much thought for it to work. I love this overall sentiment - could you expand upon it in your own words? It's an effort to be uncluttered and go straight for the heart. The beauty in country music is the same effort or effect. It's ok if it's a formula to an extent that's comforting! The songs on my record share a very similar structure and palette to one another-I really wanted to create a world that would be very quickly recognized-meaning the boundaries would be clear right away-and the work could be done within those boundaries. There's certainly much to recommend pushing beyond known boundaries and limits-for me though it's where known elements within a world blur, overlap, merge, surrender and change like water that's what I'm interested in! New possibilities come from new combinations, and new layering of familiar material. Hybrid forms, mutations. I think what we're looking for is here-it's just up to us to make it visible.~ astrangelyisolatedplace · isolatedmix 118 - Pan•AmericanListen on Soundcloud, Mixcloud, or the ASIP Podcast.DownloadTracklist:01. Willie Nelson- Sad Songs and Waltzes02. Ulla - New Poem03. Michael Grigoni - Little Cliffs04. Sosena Gebre Eyesus - Seqelew Eyalu05. Maurizio - MO7A (edit)06. Mike Cooper - After Rain07. African Head Charge - Bazarre08. Takagi Masakatsu - Uter 109. Mary Lattimore - We Just Found Out She Died10. Loren Connors - Blues #511. Robert Donne - Touch My Camera Through the Fence12. Lokai - Histoire DSPan•American: Website | Bandcamp | Soundcloud | Discogs

In this Name Bites, Jennifer and Mallory pick names of educators Carlton Moody and Marva Collins. Carlton Moody was our vice principal at Martin Luther King Jr. Laboratory School in Evanston Illinois. He was a beloved role model for many students during his tenure at the experimental school, and still interacts with them today! Marva Collins opened her own private school for the lower-income families in the inner city of Chicago. Jennifer and Mallory deep-dive into each name, its meaning, and popularity over time. Have a name you'd like us to cover? Email us at podcast@babynames.com. The Baby Names Podcast is a production of BabyNames.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Talking with Bindy Bitterman is full of laughter and humor. She recently published her first children's book, Skiddley, Diddley, Skat, a beautifully illustrated limerick and has returned to frequently writing limericks to the delight of all who know her. Even as a full time business woman, owning and running an antique store in Evanston IL, Bindy was successful because her customers knew they would feel better after shopping there. As she gets ready to turn 91, Bindy is grateful for finding a retirement community that adores her sense of play. Never bored, never at a lack for friendship and fun, she thrives on living, playing and creating. "I can't figure out how I got to be 90. It seems my sense of humor and play have developed since I've retired and moved to a retirement community." - Bindy Bittermanhttps://video.wttw.com/video/childrens-author-bindy-bitterman-writing-limericks-aufkbw/Connect with Bindy:Website: BindysVerses.comEmail: Bindy@eurekaevanston.comBook: Skiddley Diddley Skat - Children's BookAvailable at (temporarily out of stock until early February, 2022) :  Unabridged Book Store, Lake ViewBooked, EvanstonBook Stall, WinnetkaBook Cellar, ChicagoTown House Books, St. CharlesSee Bindy's interview on Chicago TonightEmail: Bindy@eurekaevanston.com

Evanston, Illinois Mayor Daniel Biss talks about what sets his city apart from other Chicago suburbs, including its first-in-the-nation reparations program. He also reflects on his time in Illinois state government and explains why this is a big moment for municipal government.

Shalini Van Ecka (‪708-247-5668) launches her new online therapy website, YourTime Counseling, to help residents in Evanston, IL find the care they need for their mental health issues, including stress management and life transition strategies. Learn more at https://www.yourtimecounseling.org (https://www.yourtimecounseling.org)

古巴罕見爆發示威 共產黨快罩不住了嗎？ 隔壁有個胖虎處處封鎖你的時候 怎麼辦？ 古巴人窮歸窮 但能做疫苗還能輸出醫生？

Seward & Szczygiel in Chicago, Illinois announces their updated family law services, including child support, visitation, and custody. The attorneys at law guide clients step-by-step through the entire litigation process. Learn more at https://sewardszczygiel.com/chicagoattorneys/seward-szczygiel-p-c (https://sewardszczygiel.com/chicagoattorneys/seward-szczygiel-p-c)

Wendel Patrick has been referred to as “David Foster Wallace reincarnated as a sound engineer” by Urbanite Magazine and as “wildly talented” by the Baltimore Sun. He has been referred to by XLR8R magazine as “a hip-hop producer that could easily make any fan of Squarepusher, Boards of Canada, or Madlib flip out.” The alter-ego of classical and jazz pianist Kevin Gift, Wendel Patrick has made a name for himself internationally as a music producer of remarkable vision, skill and talent. His five albums: Sound, Forthcoming, JDWP, Passage, and Travel were all produced without the use of sampling, with Patrick playing every note of every instrument. What is perhaps most astounding and perplexing to listeners is that there are actually no instruments…he crafts all of the instruments, and plays every note, electronically. Equally at home performing on stage with his band, behind two turntables, beatboxing, improvising, or playing a Mozart Concerto on stage with orchestra, Wendel Patrick has toured Europe on several occasions and performed throughout the world with renowned spoken word artist and poet Ursula Rucker (The Roots, 4 Hero). In 2014, Wendel Patrick traveled to Australia as a guest lecturer, speaking about music production and entrepreneurship in the arts at The Australian Institute of Music in both Sydney and Melbourne. In 2011, Wendel Patrick co-founded the Baltimore Boom Bap Society, with Erik Spangler (DJ Dubble8) that performs monthly improvised hip hop shows with hand picked musicians and emcees. The group's collaborative performance with the Baltimore Symphony Orchestra of Igor Stravinsky's The Soldier's Tale was recently named “Best Mesmerizing Performance of 2016” by Baltimore Magazine. Wendel Patrick's music has also been heard across the country on NPR stations, most notably on Out of the Blocks, an award winning radio documentary program he co-produces with radio producer Aaron Henkin for  NPR affiliate WYPR that has been featured by the Third Coast International Audio Festival and Hearing Voices as well as on the BBC. Recent performances included a new collaboration between the Baltimore Symphony Orchestra and the Baltimore Boom Bap Society, on which Patrick's orchestral compositions were performed. An avid photographer and videographer, his photography has been exhibited in several art galleries including the Baltimore Museum of Art and the Ralph Arnold Gallery in Chicago. Patrick shoots all of the accompanying documentary photography and videography for Out of the Blocks . Wendel Patrick/Kevin Gift majored in both music and political science at Emory University and earned his M.M. in Piano Performance as a scholarship student at the Northwestern University School of Music in Evanston Illinois. Patrick is a winner of the 2015 Baker Artist Awards' Mary Sawyers Baker grand prize and was a member of the faculty at Loyola University in Baltimore, Maryland from 2001 to 2013 teaching piano, introduction to music theory, music history and electronic music production. He has taught at the Maryland Institute College of Art and at Loyola University Chicago where he was Department of Fine and Performing Arts Guest Artist-in-Residence for 2019. Wendel Patrick is currently a professor at The Peabody Music Conservatory - Johns Hopkins University where he teaches “Hip Hop Music Production: History and Practice”, the first course of its kind to be taught at a major traditional music conservatory anywhere in the United States. He has recently been named as the new host of the “Artworks” television program on Maryland Public Television/PBS.***If you enjoy the podcast, would you please consider leaving a short review on Apple Podcasts/iTunes? It really makes a difference and it's always nice to read kind words.Follow us on Twitter and  InstagramBe sure to check out our other podcasts:Mastermind Team's Robcast - Mastermind Team's Robcast is an irreverent and hilarious podcast covering all things pop culture and weird news. Let's Watch It Again - Let's Watch It Again is a movie review podcast from MTR The Network.★ Support this podcast ★

The guys begin with the acknowledgement of National Brain Injury Awareness Month and how they felt about the death of Lyric Chanel. On behalf of Women's History Month every time somebody referred to women as a "bitch" they had to take a shot. They also discuss the El Chapo's wife turning informant, Rodger says all the missing kids are McDonalds chicken nuggets, reparations for black people in Evanston Illinois, habits we were proud to break and much more

This is a clip from the one hour interview with my dad, where he talks about where we live and Evanston Illinois.

Redressing institutional racism and redlining. Nicholas Cummings, Corporation Counsel for the City of Evanston, Illinois, joined the podcast to talk about the new program approved last month to address the historic impacts of housing discrimination. He shared the details of the program and the City's Local Reparations Fund. Nicholas also discussed the legal limits of reparations programs in local government and how the program fits into the broader racial equity conversation. Host: Alyssa Dinberg

On today's show we are covering some of the most unbelievable Marxist articles from the week, including Oakland California's new universal basic income program, and Evanston Illinois providing reparations. We're going to be showing you exactly how all of this fits into the radical Marxist agenda, and what this escalating movement means for the future of our nation and the Church.

Cicely Fleming, 9th Ward Alderman on the City Council, was the lone no vote, when they took up the matter. Before you judge, check out her reasons.

The African History Network Show with Michael Imhotep on 910AM Superstation WFDF Detroit on 4-1-21: Reparations: Evanston, IL., is the 1st U.S. City to fund a Reparations program for Black victims of ‘Redlining'. Guest: Robin Rue Simmons, 5th Ward Alderwoman of Evanston, IL. We'll correct a lot of the Misinformation about the proposal.; Day 4: Derek Chauvin Trial in the murder of George Floyd. Support The African History Network through Cash App @ https://cash.app/$TheAHNShow or PayPal @ TheAHNShow@gmail.com or http://www.PayPal.me/TheAHNShow or visit http://www.AfricanHistoryNetwork.com and click on the yellow “Donate” button.   (Online Course) Ancient Kemet (Egypt), Moors, Understanding The Trans-Atlantic Slave Trade with Michael Imhotep REGISTER HERE: https://theahn.learnworlds.com/course/ancient-kemet-the-moors-maafa-understanding-the-trans-atlantic-slave-trade  

In episode six, DJ and Courtney break down the dangers of deepfakes and the Reparations in Evanston, IL. They also discuss Derrick Jaxn's confession. RESOURCES/LINKS MENTIONED IN THE SHOW: Postmaster General announces 10-year plan: https://cnn.it/3miOAqP Inside the Pentagon's race against deepfake videos: https://cnn.it/2OekmbU Evanston, Illinois Offers Black residents Reparations: https://bit.ly/3wlfJ11 and https://to.pbs.org/3sP2Da7 Ta-Nehisi Coates on The Case for Reparations: https://bit.ly/3cHsvPw A mailman, two little sisters, and weeks-long games of Tic-tac-toe: https://cnn.it/3fAJKEf Email Us: breakingitdownshow@gmail.com Breaking It Down with DJ & Courtney is edited and produced by designsbycourtneyh. Music produced by Courtney Hinton.

On tonight’s edition of Bring It On!, hosts William Hosea and Liz Mitchell are joined by Alderwoman Rue Simmons of the City of Evanston to discuss the city’s decision to offer reparations to its Black residents. On March 22, 2021, the City Council of Evanston, Illinois voted 8-1 to distribute $400,000 to eligible Black households. …

The crisis at our southern border is disastrous not only for Americans but for the immigrants traveling here as well. Children become pawns of cartels and sex traffickers. The human toll is too high a price for all of us to pay, and the president and his team don’t seem to have answers, after all, they created the current crisis.  Evanston Illinois is the first city to approve a reparations program for its Black residents. Becky Kolemainen and Linda Martinelli discuss reparations and also Amazon’s new palm print biometrics. Are these good solutions to long-standing issues, or will they make things worse? The Ladies of Liberty speak out. You’re gonna love this!

Short pod today, low energy. I talk about Evanston Illinois officially giving reparations to African American residents.Music: Lana Del Ray - Dark but a gameJoin RollingHQ discord: http://discord.rolling.tv

On this episode: Evanston IL giving reparations - GA politicians introduce new Jim Crow legislation - "Genius: Aretha" biopic review - states lowering Covid-19 vaccination age eligibility - NBA trade deadline - Women's History Month spotlight and much more! Like, share, and subscribe! --- Send in a voice message: https://anchor.fm/officialdomj/message

Today on It's My House Tv Podcast we shall be discussing Restorative Housing Reparations. Our LIVE STREAM number is 619-768-2945.

Evanston, Illinois is First City to Provide Reparations for Black Americans (BCNN1 3.24.21) by Daniel Whyte III

The First Step Towards Reparations in Evanston, Illinois The first phase of the reparations program in Evanston, Illinois begins with the distribution of housing grants to Black residents that faced discriminatory housing policies.  How the Pandemic Has Exacerbated the Lack of Affordable Housing A look at the pandemic’s impact on the rental market in the U.S. and how it has exacerbated the lack of affordable housing. Derek Chauvin Trial: Jury is Selected As City Settles Lawsuit with George Floyd's Family The jury has been selected for the trial of Derek Chauvin, set to start this upcoming Monday.  Jury Selection, Explained 15 people have been selected to serve on the jury during the much-anticipated trial of Derek Chauvin, the former police officer who has been charged in the murder of George Floyd. 

The First Step Towards Reparations in Evanston, Illinois The first phase of the reparations program in Evanston, Illinois begins with the distribution of housing grants to Black residents that faced discriminatory housing policies.  How the Pandemic Has Exacerbated the Lack of Affordable Housing A look at the pandemic’s impact on the rental market in the U.S. and how it has exacerbated the lack of affordable housing. Derek Chauvin Trial: Jury is Selected As City Settles Lawsuit with George Floyd's Family The jury has been selected for the trial of Derek Chauvin, set to start this upcoming Monday.  Jury Selection, Explained 15 people have been selected to serve on the jury during the much-anticipated trial of Derek Chauvin, the former police officer who has been charged in the murder of George Floyd. 

Today on It's My House Tv Podcast we shall be discussing Restorative Housing Reparations. Our LIVE STREAM number is 619-768-2945.

3.23.21 #RolandMartinUnfiltered: Colorado mass shooting; Gun violence has become a public health issue; Deadly COVID variant spreads: Evanston, IL approves reparations; Diversifying the medical industry; Boston gets its 1st Black mayor; Battle of the vaccines Support #RolandMartinUnfiltered via the Cash App ☛ https://cash.app/$rmunfiltered or via PayPal ☛https://www.paypal.me/rmartinunfiltered #RolandMartinUnfiltered is a news reporting platform covered under Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com See omnystudio.com/listener for privacy information.

The nation's first government-backed reparations initiative was green lit this week in Evanston, Illinois, a Chicago suburb where about 16 percent of its 75,000 residents are Black. The city council has promised $10 million over 10 years. John Yang discusses how the program could serve as a model for the rest of the country with Ron Daniels of the National African American Reparations Commission. PBS NewsHour is supported by - https://www.pbs.org/newshour/about/funders

Part 2 of today’s pod opens with some music talk between Adam, Bryan and Dawson. Adam then rants his way through another round of March Madness Madness. Later, Mike Dawson reads news stories about the Boulder Colorado shooting, a potential murder during Miami’s Spring Break, a controversial photo caption that was published, Lemmy Kilmister’s ashes placed into bullet casings, and the Eddie Van Halen tribute at the Grammy’s. As the show wraps up, the guys talk about Dr. Oz guest-hosting Jeopardy, Evanston Illinois paying reparations for discrimination, and a rare Corvette auctioned off for $2.6 million Please support today’s sponsors: LiquidDeath.com/ADAM Lifelock.com enter ADAM TommyJohn.com/ADAM PlutoTV Geico.com

The African History Network Show with Michael Imhotep on 910AM Superstation WFDF Detroit on 3-22-21.  Reparations: Evanston, IL, leads the country with first reparations program for Black residents; Lakers Legend Elgin Baylor Dies At 86. Support The African History Network through Cash App @ https://cash.app/$TheAHNShow or PayPal @ TheAHNShow@gmail.com or http://www.PayPal.me/TheAHNShow or visit http://www.AfricanHistoryNetwork.com and click on the yellow “Donate” button.   REGISTER HERE: https://theahn.learnworlds.com/course/ancient-kemet-the-moors-maafa-understanding-the-trans-atlantic-slave-trade     NEXT CLASS, TUES. 3-23-21, 8pm EST (LIVE Online Course) ‘Ancient Kemet (Egypt), The Moor & The Maafa: Understanding The Trans-Atlantic Slave Trade What They Didn't Teach You In School' – (8 WEEKS) Next class TUES. March. 16th, 2021, 8pm – 10pm with Michael Imhotep? Our Guest Speaker was Dr. David Imhotep author of “The First Americans Were Africans Documented Evidence”. 8 WEEKS, Registration $80 (WATCH the CLASS AND CONTENT ON DEMAND NOW)  

Plug of the Week (Soul of a Nation) (18:12), When did you realize you were black? (19:46) Reparations in Evanston Illinois (28:00), Kanye Net Worth of 6.6 Billion (44:49), Mass Shooter at Asian Spas in Atlanta (53:00) IG: thegroupmessagepod Twitter: @groupmessagepod Facebook: The Group Message

This week we talked about the Golden Globes winners and losers. We also got into Lady Gaga's dog getting kidnapped, Benzino and his daughter, Reparation fund passed in Evanston Illinois. And so much more so come listen to all we have to say over what happen this week.Listen to this episode fully for free but become a support for full episodes in the future www.patreon.com/theafacts★ Support this podcast on Patreon ★

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This is the first city in the country to offer reparations to Black Americans. Steve's candor is deafening! Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

Heather McGhee designs and promotes solutions to inequality in America.  Do you know Heather?  You might know Heather. Maybe you saw her on NBC’s Meet the Press, or MSNBC’s “Morning Joe.” Or perhaps you saw her sparring with Republican Senator John Kennedy during the confirmation hearings of supreme court Justice Neil Gorsuch, or it just may have been that time when, while on C-Span, an older white gentleman called in to acknowledge his own racism and prejudice, and wanted Heather’s advice on how to change, how to be a better american Citizen, and Heather’s response went… viral.  Born on the south side of Chicago, and raised in suburbs of Evanston IL, Heather McGhee has made a career out of fighting for a more equal America. She holds a B.A. in American Studies from Yale University and a law degree from University of California, Berkeley, and for the last two decades, helped build the nonpartisan “think and do” tank, Demos, later serving as president for four years. She’s argued before the Supreme Court to protect voting rights. She’s helped Starbucks CEO Howard Schultz design anti-bias training for its 250,000 employees. She’s lead research campaigns behind successful wage increases for low-wage workers on federal contracts as well as at Walmart and McDonalds. And that’s like, 5% of her resume. But of course, Heather is so much more than her work. She’s also a wife and mother of a beautiful two-year-old, who makes a small cameo in this episode.  Her new book being released this week, and also partially written while carrying the aforementioned toddler, is called The Sum of Us. It unravels the mystery of how. How the wealthiest country on earth suffers some of its worst health disparities, has a collapsing infrastructure, all while its citizens are crippled by insurmountable levels debt. One word: Racism. And you know who actually suffers most?  White people.  In this episode we discuss Heather’s journey into hallowed halls of our country’s government, How motherhood has changed her view of the world, what parents can do to ensure their children receive good educations, even while under lockdown, and how we ALL lose in the zero-sum game of racism.  Heather's website: https://heathermcghee.com Get your copy of "The Sum of Us" https://www.penguinrandomhouse.com/books/564989/the-sum-of-us-by-heather-mcghee/ (here). Thank you for tuning in! Please don't forget to rate, comment, subscribe and SHARE with a friend (https://www.instagram.com/blackimagination/ (@blackimagination)). Support this podcast https://creativevisions.networkforgood.com/projects/53444-creative-visions-fiscal-sponsorship-the-institute-of-black-imagination (here)! Support this podcast

Die einzige deutschsprachige Sendung, die nicht 100prozentig Anti-Trup ist. Mitschnitt des Livestreams von 05.00 bis 08.00 Uhr. Mit Russell Berman, Germanist, Stanford University, Gerd Buurmann, Theaterleiter, Köln, Oliver Haynold, Historiker und Unternehmensberater, Evanston IL, Andreas Hellmann, Americans for Tax Reform Found., Washington DC, Todd Huizinga, Ex-Diplomat, Grand Rapids MI, Paul Ingendaay, FAZ, Berlin, Rose Lange, New Mexiko, Roger Letsch, Publizist, Hannover, Jürgen Liminski, Ex-Deutschlandfunk, Sankt Augustin, Joachim Steinhöfel, Rechtsanwalt, Hamburg, Markus Vahlefeld, Publizist, Köln, Kathrin Wirth-Torrente, Photographin, New Hope PA, Benjamin Wolfmeier, Republicans Overseas Germany, Hannover Moderation: Burkhard Müller-Ullrich

These days, everyone is feeling the stress of their jobs and of the industry. With so many people just dreaming of starting over, I always hear, I am going to just quit and go work in the Cannabis industry. It is the modern equivalent of saying I am going to run off and join the circus. But the reality is more challenging. It is a highly regulated and complex industry, it is illegal on the federal level so you are at the mercy of state regulations and an ever changing political environment. Then you have to be able to produce and sell a fairly technical and complex product that requires a high level of service to the customer. Making money in the business is not as straight forward as you might think.One thing we have seen is that the Cannabis industry has done very well during the pandemic. It was considered an essential business in most parts and people have been taking advantage of that while locked down. There have also been a lot of positive signs about the benefits of the cannabis industry certainly in pain treatment, but also in the reduction of opioid use and related deaths. States have benefitted from the additional tax revenue. In my town here in Evanston Illinois, the city has earmarked taxes from cannabis sales to be put toward reparations.So, what does it take to be successful in the business? Today I have with me cannabiz entrepreneur and founder of Dispensary 33 here in Chicago, Zachary Zises. Dispensary 33 was one of the first and most successful dispensaries in Chicago. They have grown with the rise of medical cannabis to adult use recreational sales. They have built a large and loyal customer base for both medical and recreational sales with their artisanal consultative, high touch approach to business. Now they are looking to expand their footprint and to get into the grow side of the business.I’m so excited to learn more about the industry, and what it take to succeed.Welcome Zachary.

This week, on Inside the Skev, we sit down with Matt Wechsler from the Village Farmstand.Village Farmstand is an online grocery store and micro-warehouse built for small farmers and loyal patrons looking to revolutionize our food system.Village Farmstand is a social entrepreneurship started by filmmaker Matt Wechsler and farmer Marty Travis. The two met in 2013 when Matt and his wife Annie set out to make a documentary about sustainability in agriculture. After meeting Marty, they knew they had found their main character.The film, Sustainable, was released in 2016 and distributed worldwide, inspiring a new generation of farmers to be part of a fundamentally different food system.Village Farmstand can be found at https://villagefarmstand.com/ and is located at 810 Dempster Street, Evanston IL 60202.Inside the Skev is a one stop shop for all things Skokie and Evanston hosted by Aaron Masliansky. Be the first to know about local events, new podcast episodes, real estate and the latest stories about the great people in these towns by going tohttp://www.skevanston.com. Sign up for the newsletter and reach out to Aaron Masliansky at aaron@skevanston.com with any questions or suggestions. Be sure to also follow Inside the Skev on Facebook, Instagram and Twitter for the latest updates. 

This week, on Inside the Skev, we sit down with Aina Gutierrez, the Executive Director of Evanston Rebuilding Warehouse, an Evanston-based non-profit organization that promotes the reduction of waste in landfills through sustainable deconstruction and renovation building practices. Reclaimed building materials are sold at their warehouse at low cost to the community and the proceeds support their education, job-training and job-development programs which foster individual, community and economic growth in Evanston and beyond.Evanston Rebuilding Warehouse is planning a move this fall, into a new and larger facility one block from their current location in Evanston. There is a crowd funding campaign to raise money for the space through July 24, 2020 that will be matched by a generous donor. You can donate by clicking here. You can also shop and learn more by stopping by the current warehouse located at 2101 Dempster Street, Evanston IL 60201.Inside the Skev is a one stop shop for all things Skokie and Evanston hosted by Aaron Masliansky. Be the first to know about local events, new podcast episodes, real estate and the latest stories about the great people in these towns by going tohttp://www.skevanston.com. Sign up for the newsletter and reach out to Aaron Masliansky at aaron@skevanston.com with any questions or suggestions. Be sure to also follow Inside the Skev on Facebook, Instagram and Twitter for the latest updates. 

Laurel O’Sullivan, J.D. is a Life Transition Coach, Professional Speaker and the founder of The Woman’s Coach. In her practice she applies a blend of intuition and astrology to guide and mentor women through various life transitions. Her unique brand of Second Chance coaching is premised on the idea that we never get just one chance to find our unique purpose in life. Laurel draws upon two decades of professional experience as an attorney and nonprofit advocate as well as her own life experiences courageously navigating divorce and multiple career transitions to help her clients find their truth and use their voice with more authority and impact in the world. Laurel lives in Evanston Illinois with her husband Tim and their blended family of five kids plus their dog Blue. She is a Crossfit Enthusiast and International Trekker.Websites:laurelosullivancoaching.com/workwithlaurelslaurelosullivancoaching.com/contactlaurelosullivancoaching.com/womans-coach-blogSupport us on Patreon: http://www.Patreon.com/12minconvosListen to another #12minconvo

Today in the studio, one of our listeners joins us live to share their own experience of how changing their home environment had profound impact on their overall life. Everything changes. Poet Robert Frost said “In three words I can sum up everything I've learned about life, it goes on.” Let's see how change inside and outside of the home occurred for our guest, John Parker of Evanston IL. Learn which principles of Soul Centered Living he applied.

Keren Vishny is a psychotherapist and certified Natural Dreamwork Practitioner. She is also a teacher and workshop facilitator affiliated  the CG Jung Center, Evanston Illinois and the Marion Woodman Foundation.Over her 28 years of work in the healing arts , Keren has shifted from mainstream medical practice  to a focus on psycho-spiritual healing through dreams. […]

Happy end of the school year/pre-Midwest Clinic! Matt Bufis and I discuss his journey to Illinois, adapting a program to the current needs of students, repertoire selection, and work-life balance. Musical selections featured in this episode include March for the Sultan Abdul Madjid by Rossini and After the Thunderer by Hearshen. Both selections are performed by the Evanston Township High School Wind Symphony.FULL BIOMatthew P. Bufis joined the music faculty at Evanston Township High School in June of 2012 and was later named Director of Bands in June of 2016. Mr. Bufis leads the Wildkit Marching Band, Jazz Ensemble, and Wind Symphony, teaches Guitar classes, and is the instrumental sponsor for the YAMO pit orchestra – the musical accompaniment to a student written and directed theatre production at ETHS. Under his direction, the ETHS Wind Symphony has risen to new levels of distinction, with multiple invite performances at the University of Illinois Superstate Concert Band Festival and a 2018 Illinois Music Educators Conference performance, both of which are first-time honors for the program. The Wildkit Marching Band also continues an upward trajectory, with a seventy percent enrollment growth rate and steady progress in scores and placements at competitions over the last five seasons. Mr. Bufis is actively involved in activities that enhance learning at ETHS, serving on the Disciplinary Literacy, Teacher Evaluation, School Day (scheduling), and ETHS Foundation committees as well as maintaining his role as Lead Teacher for Fine Arts through which he organizes events, maintains the facility and equipment, plans professional development opportunities, and facilitates the music honors program.Prior to his appointment at ETHS, Mr. Bufis completed two successful tenures at Westmont High School in Illinois and Great Mills High School in Maryland, where he is responsible for leading both programs to distinction. Ensembles under his direction performed at the Maryland State High School Band Festival and the Illinois Superstate Band Festival many times. Mr. Bufis is responsible for pioneering artist-in-residency programs at each of his former posts, collaborating with guest performers and conductors – most notably Ronald Romm (The Canadian Brass), Thomas Jöstlein (St. Louis Symphony), and composer Eric Ewazen (Concerto for Marimba and Orchestra – wind ensemble transcription premiere 2006). The Great Mills Wind Ensemble also performed annually at the Maryland Day ceremony in historic St. Mary's City, including a performance attended by Governor Robert Ehrlich.A native of New Jersey, he holds a Bachelor of Music in Music Education degree from Ithaca College in Ithaca, New York and a Master in Music Education degree from the University of Illinois at Urbana-Champaign. He is currently completing coursework for a Master in Principal Preparation at Concordia University in Chicago. Mr. Bufis studied conducting with Stephen G. Peterson, James F. Keene, Joseph Manfredo, and Donald Schleicher and has pursued additional training through conducting symposiums lead by Mallory Thompson, John Whitwell, Jamie Nix, H. Robert Reynolds, and Allan McMurray. He studied euphonium, his primary instrument, with David Unland, Mark Moore, and Kenneth Steinsultz.Mr. Bufis is an active guest lecturer on the topics of leadership and management, curriculum design, music teacher evaluation, music technology, and music education advocacy, presenting his work in these areas at state and national conferences and universities. He is also an active clinician and adjudicator, working with bands of all ages and ability levels. He has served as a leadership consultant for bands and sports teams on the East Coast and throughout the Midwest working with students, coaches, and teachers. Mr. Bufis has received many National Band Association Citations of Excellence in recognition of the Westmont and Evanston Township High School Band performances at the Illinois Superstate Concert Band Festival and has been nominated for inclusion in various “Who's Who” publications since 2004. He is an active member of ILMEA, NAfME, Phi Beta Mu, and Phi Mu Alpha Sinfonia. Mr. Bufis is an Eagle Scout of Troop 76 in Ringwood, New Jersey and garnered a varsity letter in collegiate men's swimming for his three years as an Ithaca College Bomber.

Joining us tonight in conversation will be Evanston, Illinois Alderwoman Robin Rue Simmons who led the recent historic victory in Evanston, Illinois to create a $10 million Reparations Commission.

Joining us tonight in conversation will be Evanston, Illinois Alderwoman Robin Rue Simmons who led the recent historic victory in Evanston, Illinois to create a $10 million Reparations Commission.

The YPN Leadership Journey is a series of interactive conversations with Y leaders. Each webcast features tips on professional development, insight into overcoming career challenges, and advice on developing leadership skills. This is a quick listen to the Leadership Journey interview with Monique Parsons, President and CEO of the McGaw YMCA in Evanston IL.

Is there a rhinoceros in the room? Is the quantum world aesthetically weird? Are quantum systems only small? What is macroscopicness? Is there quantum behavior, but no quantum objects? Why is (?) there randomness, but not superposition (say), in the manifest world? Is the World one unified physical system? Are there local hidden variables? Can reality/realism be local? Can detectors detect determinate outcomes while themselves not being in a determinate state? Is interaction free measurement possible? Why does context or history play a role? Is inference observation? Is (even) a single atom, when inside vacuum, truly isolated? Why is quantum-ness lost as systems/environments become complex/stronger? How ‘large’ can qubits be? Do causal and informational isolation coincide in the ‘real’ world? Why don’t we ever observe Tartaric Acid switch its handedness? Is common sense a good guide to how the physical world functions? Would we widely mine quantum entanglement as a ‘resource’? How much weirder will it get? &, would ‘…Quantum-Mechanical Description of Physical Reality Be Considered Complete?’ in the future? SynTalk thinks about these & more questions using concepts from quantum physics (Prof. Anupam Garg, Northwestern University, Evanston (IL)), philosophy (Dr. Tarun Menon, TISS, Mumbai), & quantum computing (Dr. Rajamani Vijayaraghavan, TIFR, Mumbai). Listen in...

Episode 218:  Eric Ockrassa opened his studio to discuss his colorful hard edge abstractions created through digital editing and planning, a vinyl cutter, and plenty of painters tape.  He currently has a painting on view entitled “Stussy,” at Ice House Gallery in Evanston (IL). Eric Ockrassa      iTunes The post Eric Ockrassa appeared first on Studio Break.

Kumar is the Chief Sustainability and Resilience Officer for the City of Evanston, IL and serves in multiple leadership capacities within the Urban Sustainability Directors Network (USDN) including as a co-chair for the People of Color Support Initiative and on the USDN Planning and Advisory Committee. Kumar’s work centers around stakeholder collaboration including: community advocacy groups, strategic partners, other units of government, elected officials, and various city departments, all to make Evanston a climate-ready and carbon neutral community. In 2018, Kumar was named to the 2018 GreenBiz “30 Under 30” global list of 30 young leaders in sustainable business who demonstrate “the world-changing promise of sustainability in their everyday work.”  Kumar Joins Sustainable Nation to Discuss: Engaging people of all ages on local climate issues The importance of spaces for people of color and how they relate to progress on racial equity within sustainability Urban Sustainability Directors Network (USDN) People of Color Support Initiative Evanston's Climate Action and Resilience Plan Advice and recommendations for sustainability leaders Interview Highlights: Sustainability and resilience were both built into your climate action and resilience plan. Talk to us a little bit about the development of this plan, what that process looks like and the challenges of now prioritizing your actions around this plan. Now is the right time for us to be talking about that. We're certainly at the point at which the plan has been approved and we're moving quickly into implementation. If we backtrack a little bit, back in 2017, when the federal administration indicated their intent to withdraw from the Paris Climate Accord, we already had numerous commitments around climate action and resilience at the local level. That process of pulling out of the Paris agreement actually kicked us into gear. The mayor called on the community to develop a 17-member working group of residents to work alongside city staff to develop a plan. The climate action group had their first meeting in November of 2017 and had their last meeting in November of 2018, so they took 12 months, meeting and breaking out into task forces, to develop the entirety of the plan. So, this plan was written by community members in consultation with city staff. We didn't hire consultants to develop the plan and it wasn't a plan that city staff developed and then asked community members for feedback. It was written by and then edited and advised on by city staff and other community partners. As we now look at implementation a lot of the responsibility has been turned back on the city and some of our major partners. So, the process that we're going through right now has two pieces to it. One piece is looking at our administrative responsibilities or things that city staff and municipality can focus on. So, thinking about where we purchase our energy from for a municipal standpoint, what we're doing with our fleet, how we're evaluating a critical infrastructure for vulnerability etc. But then also within we had dozens of policy changes that were recommended and advised upon. So, the other part of this process is figuring out how we move forward many of those policy changes, understanding that some of them are pretty complex. For example, thinking about the way in which we transition our buildings to be net zero emissions or net zero energy. In Evanston, 80% of our community wide greenhouse gas emissions come from transportation. So, although we are a suburb, we have very strong public transportation options in the city. That leads to, thankfully, a smaller proportion of our emissions being transportation related. But as a very built out community, we have to look at our building sector very intentionally about how we're not only going to transition to low and no carbon fuels, but also reducing that energy consumption. Evanston is a member of the Urban Sustainability Directors Network (USDN) and it looks like you serve in a few different ways within that organization. One of them is serving as the co-chair for the People of Color Support Initiative. Tell us a little bit about that initiative and the importance of integrating social issues and racial equity issues within your city's sustainability program. I'm glad you brought up USDN. Evanston has been a USDN member for quite a few years now. I've had the privilege of being a member and the representative for the city for the past two years since I've been in this role. That organization has been crucial to my professional development, but also to ensuring that Evanston as a community has access to resources, technical expertise, funding opportunities and really innovative practices from around the nation. I'm indebted and grateful for the members in that network and the staff. The initiative that you mentioned is a really important one within professional spaces, particularly within professional environmental spaces. Oftentimes and historically, those spaces have been predominantly and overwhelmingly white. As the climate justice movements and the environmental justice movements become a bit more mainstream, I think it is really crucial that not only are we thinking about the way in which those communities are impacted, but also the people that are working in those spaces and what their experience is. Often times, those staff people, whether they be working for a city or for a corporation or for community organization, are still working in predominantly white spaces. I think that one of the benefits of a network like USDN is that when members decide that there is a need for additional training or additional support, whether it be small cities joining together and saying, "Hey, you know what, we need an affinity group to work on issues that are specific to small cities in small departments because we don't have million dollar budgets and dozens of staff." USDN is really able to respond to that and help facilitate and create those spaces. In particular, the Members of Color Peer Support Initiative is incredibly important for a number of reasons. One is just to provide a space so that people of color within that network are able to connect and support each other in their lived experience of the person of color within the field. But additionally, it provides a value to USDN because it's also creating a space in which USDN has a group of people to be able to ask for feedback and support on how the network as a whole is serving their memberships and their members of color. So, I think those things are incredibly important. What is one piece of advice you would give other sustainability professionals that might help them in their careers? The advice that I've gotten that has felt the most useful isn't sustainability related at all. It's just to take care of yourself. To heal, to give yourself time to rest and just to recognize that your needs are valid and important. This work can feel exhausting as a lot of socially minded work can. It seems like we continue to get waves of terrible news and projections that are going in directions that we don't want to see. So, it's not just about avoiding burnout, but it's about being able to be the person that you want to be and not allowing your position or your work at that one particular time to define you. It's really important that we continue to be able to contribute and feel like that contribution is helpful and healthy for us. I'm gonna cheat a little bit and use an Audrey Lorde quote, which I'm sure many of the listeners are familiar with. She says,"Caring for myself is not self indulgence, it is self preservation and that is an act of political warfare." Oftentimes when we think about things as big and challenging is climate change, it's easy to forget how important it is to take care of ourselves. What are you most excited about right now in the world of sustainability? There's a bunch of things but I will be brief. I'd say the youth climate strikes are really inspiring and exciting. I'm really looking forward to seeing how the conversations around the Green New Deal go at the federal level. I think it's exciting to have federal policy being talked about in that way. It's also really exciting that there are over 200 communities around the country that have made formal commitments to 100% clean energy by 2035, if not sooner. Those are all things that give me hope and are exciting. What is one book you would recommend sustainability leaders read? One that I am working my way through right now that I find really insightful is called The Environment and the People in American Cities from the 1600's to the 1900's by Dr. Dorceta Taylor. What are some of your favorite resources or tools that really help you in your work? I'd say the Urban Sustainability Directors Network, first and foremost. There's a Chicago based network called Environmentalists of Color or EOC, which I had been involved in and found as a really valuable and supportive space. There's a blog called Fake Equity, which always has really relevant topics around thinking and being reflective around the type of work you're doing. It's not just sustainability related, but it's really insightful. I'm not a huge Instagram person, but I have started following a few folks. One of them is Go Green Save Green, which provides really helpful and appealing and informative infographics for consumer tips and products on things like reusables and avoiding plastics. The green 2.0 report by Dr. Dorceta Taylor. There's another podcast out about social entrepreneurship, which I've been listening to recently and it's by a dear friend, Judy Lee. It's called Money Mission and Me, and it's intended to be a resource for anyone interested in how startups can be a force for good. Where can people go to learn more about you and your work at the city of Evanston? Our Twitter handle is @GreenEvanson. My personal Twitter handle is at @MrKumarj. You can also find some information on Linkedin. About Sustridge Sustridge is a sustainability consulting firm providing consulting in sustainability strategy development, GHG emissions calculating and management, zero waste planning and guidance in TRUE Zero Waste, B Corp, LEED and Carbon Neutral certification.  

  Experience the Fischoff National Chamber Music Competition from the perspective of the musicians participating.  Hear conversations about their experience at Fischoff, their preparation process, and the dedication and many sacrifices that go along with entering a national chamber music competition.   Fischoff National Chamber Music Competition: https://www.fischoff.org/ Instagram: https://www.instagram.com/fischoffchambermusic/ Facebook: https://www.facebook.com/TheFischoff/   Featuring: Dajj String Quartet - Chamber Music Connection , Worthington, OH - https://cmconnection.org/ Anna Linder & Mathias Koo, violin; Julian Tugaoen, viola; Jackson Tomsic, cello Catharsis Winds – Cleveland Institute of Music, OH - https://www.cim.edu/ Jessica Chancey, flute; Isaac Ripple, oboe; Shihao Hugh Zhu, clarinet; Willem Crone, horn; Corbin Krebs, bassoon Chiave Trio – Music Institute of Chicago Academy, IL - https://www.musicinst.org/academy Esme Arias-Kim, Kelly Kim, violin & viola; Yerin Yang, piano Fab Five Brass Quintet – Chicago Youth Symphony Orchestra - https://cyso.org/ Nick Szoblik & Louis Vacha, trumpet; Miles Teague, horn; Megan Martin, trombone; Christjovan Massao, tuba Fiero String Quartet – Music Institute of Chicago Academy, IL - https://www.musicinst.org/academy Isabella Brown & Kaylin Liu, violin; Elena Galentas, viola; Alon Hayut, cello Galvin Trio – Northwestern University, Evanston IL - https://www.music.northwestern.edu/ Nanao Yamada, violin; Jasmine Pai, cello; Nansong Huang, piano Lafontaine Quartet – McGill University, Montréal QC - https://www.mcgill.ca/music/ Aaron Chan & Astrid Nakamura, violin; Emily Rekrut-Pressey, viola; Fiona Robson, cello Precipice Saxophone Quartet- Merit School of Music, Chicago IL -  https://meritmusic.org/ Emmett Connolly, Cole Moorhead, Christopher Li, Taki Salameh, saxophone Éclatante String Quartet – Starling Preparatory Project, Cincinatti OH - http://www.starling.org/ Christina Nam & Skye Park, violin; Jennifer Armor, viola; Meagan Hipsky, cello Avanzare String Quartet – Cleveland Institute of Music, OH - https://www.cim.edu/ Rebecca Benjamin & Yu-Ming Ma, violin; Serena Hsu, viola; Wei-An Hung, cello The Bone Rangers – Merit School of Music, Chicago IL - https://meritmusic.org/ Liam Coyne, Jonah Blake, Christopher Tam, Rafael Noriega, trombone Merz Trio, New York NY - https://www.merztrio.com/ Brigid Coleridge, violin; Julia Yang, cello; Eric (Lee) Dionne, piano     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice.   THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a huge thank you to my producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/   Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/

FEW Spirits is a grain to grass distillery founded by Paul Hletko located in Evanston Illinois, the birthplace of prohibition. Located just outside of Chicago, FEW produces ryes, bourbons, and gin! Paul Hletko takes us through the history of the distillery, the town, and the range of the whisky. Recorded in New Orleans, during Tales of the Cocktail!

FEW Spirits is a grain to grass distillery founded by Paul Hletko located in Evanston Illinois, the birthplace of prohibition. Located just outside of Chicago, FEW produces ryes, bourbons, and gin! Paul Hletko takes us through the history of the distillery, the town, and the range of the whisky. Recorded in New Orleans, during Tales of the Cocktail!   Special thanks to our sponsor: The State of Logic Podcast Follow Jamie on Twitter: https://twitter.com/bourbonthing Instagram: https://www.instagram.com/bourbonthing Follow Mark on Twitter: https://twitter.com/markbylok Instagram: https://www.instagram.com/markbylok This podcast was edited and mixed by Bryan Goman. The theme song is licensed in thanks to Alan Doyle! It's available on iTunes.

PROGRAM SUMMARY Today in Part TWO of Jazz Fusion, we look at FIVE more Jazz Fusion artists on …VINYL VIBRATIONS ! M1 Miles Davis and his "Bitches Brew" album 1970 Columbia. Miles Davis experiments with electric instruments like electric piano and electric guitar. Also we see more of an improvisational style with a rock rhythm. a double album - a studio album.  We listen to the song titled "John McLaughlin" on Bitches Brew.  This is an all-star cast--Chick Corea and Joe Zawinul on two electric pianos, John McLaughlin on electric guitar, Jack DeJohnette and Don Alias on two drum sets, Dave Holland and Harbey Brooks on two electric basses and of course on trumpet, Miles Davis. M2  Return to Forever,  featuring Chick Corea. The recording and title song is "Hymn of the Seventh Galaxy". A phenomenal set of musicians --- guitarist Bill Connors, Stan Clarke on Bass, Lenny White on Drums. This song provides examples of time changes, which Chick Corea thrives in, providing a high energy framework for Bill Connors to play lead guitar. A very mechanical song, with enough melodic component to to be interesting and tell a story about THE SEVENTH GALAXY ---- The band is Return to Forever and the title song is "Hymn of the Seventh Galaxy"featuring Chick Corea, 1973, Polydor Records. M3 Soft Machine and we listen to the album simply named "5". On this 1972 CBS album, part 2 of the 2-part song "L.B.O., by John Marshall, the drummer.  The musicians are Elton Dean on Alto Sax, Saxello and Electric Piano, Hugh Hopper on Bass, Mike Ratlidge on Organ and Electric Piano, and John Marshall on Drums. Note the time changes, the improvisation, the use of electric saxello, electric piano, in a jazz format, with the rock beat. M4 Pat Metheny and his 1976 album BRIGHT SIZE LIFE. We listened to UNQUITY ROAD, composed by Pat Metheny.  I remember seeing the very young Metheny back in 1977 at a small venue named Amazingrace, then  locatedat 845 Chicago Ave in Evanston IL. There, up on stage stood this white kid from Missouri, then 21, with huge a afro and and a very large hollow body electric guitar. This kid is really different. The guitar playing is like nothing I had heard before. Great technique, the scales, wide intervals, the melodic character of this music, the little excursions each of the songs take. And a very NEW sound with jazz "improvisation"  The bass sound is also new, because it is fretless and electric, that's Jaco Pastorius on bass. Bob Moses Drums. Recorded in 1976, not in the US… but in Ludwigsburg, Germany, for ECM Records. M5 SPACES. Next, we hear from the Band, Album, and title Song . . . all titled "SPACES". Another all-star cast, featuring Larry Coryell and John McLaughlin on guitars, Billy Cobham on drums, Chick Corea electric piano, and Miroslav Vitous on bass….. Vitous playing a bowed bass, in this case, an electrified, acoustic bass. And the Coryell-McLaughlin guitar combination, works well … it's surprising, as they have such different styles (Coryell's fury and power vs McLaughlin's texture and finesse). Much improvisation, much power in the guitar solo parts. This is a great instrumental album. The song SPACES was composed by Julie Coryell. This was originally recorded in 1971, and this release is 1974 from VANGUARD APOSTOLIC records. M6 The Mahavishnu Orchestra with John McLaughlin and the album "The Inner Mounting Flame" and the most laid back song on that album, if you will, a track named "Dawn" with John McLaughlin on Guitar, Jerry Goodman on Violin, Jan Hammer on Piano, Rick Laird Bass and Billy Cobham on Drums. Original composition of John McLaughlin. This first studio album, released in 1971, by Columbia Records.

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Featured music: Joyous Celebration, by Don Owens. Chunky Monkey, by Don Owens. Dan Moore and I were lucky have Dan's mentor, Don Owens (D.O.) come out and work our band in rehearsal. Of course, we couldn't let D.O. leave without sitting down and recording a podcast about his time in Texas and working at Evanston Township High School and Northwestern University in Illinois. Enjoy listening to some great band history and teaching tips for band directors everywhere. Don Owens, Coordinator Emeritus of the Jazz Studies and Pedagogy Program, Director Emeritus, Contemporary Music Ensemble, and the National High School Music Institute at Northwestern University, began his tenure at Beinen School of Music in 1979. Before coming to Northwestern, he taught for twelve years at Evanston (Illinois) Township High School where his duties included directing band, brass ensembles, and jazz band, as well as teaching classes in music theory, popular music, free improvisation, and composition. He created the Electronic Music Studio at ETHS in 1971. Owens received the Bachelor of Music Education degree from North Texas State University, where he studied Composition and Jazz. His Master of Musical Arts degree is from the University of Illinois, where he majored in Composition. He studied composition with Morgan Powell, Merrill Ellis, Samuel Adler, and Salvatore Martirano. He has won several grants and awards, and is regularly commissioned for new works. In his first few years at Northwestern, Mr. Owens conducted the nationally renowned Jazz Ensemble, directed the "Wildcat” Marching Band and Symphonic Band, and taught advanced Method classes for undergraduate Music Education Majors. He eventually was appointed Coordinator of the Jazz Studies and Pedagogy Program, teaching courses in Jazz Writing, Seminar in Jazz Pedagogy, Jazz in the Public Schools, and conducted the Jazz Ensemble. Under his leadership, the Northwestern Jazz Program grew to offer the B.M. in Jazz Studies and the M.M. in Jazz Pedagogy. In addition to Owens' responsibilities in the Jazz area, he served as Director and Primary Conductor of the internationally acclaimed Northwestern University Contemporary Music Ensemble for over 20 years. This group performed over 200 world premiers, as well as the standard 20th century repertory. In 1991, the Northwestern CME served as the primary chamber music ensemble for the John Cage Now World Festival. In the spring of 1995, the CME served as one of two visiting Artist Ensembles for the National Meeting of the Society of Composers at the University of Iowa. In 2002, the CME played a major role in the Stephan Wolpe Festival, sponsored by the School of Music. During the summers, Owens served as Director of the National High School Music Institute, from 1991 to 2004. Under his leadership, the enrollment increased by 100%. With a curriculum that required the attending students to declare a Major - Classical Guitar, Composition, Jazz Studies, Music Education, Piano, Strings, Voice, or Winds and Percussion- NHSMI consistently attracted students from all 50 states, as well as many foreign countries.