Podcasts about Fort Apache

Stationed at Fort Apache, Rusty joins a surveying patrol to mark off correct boundaries for the Apache reservation. Lt Masters finds a few Indian braves of the Shirakawa tribe who…

Presenting The Screen Directors Playhouse production of "Fort Apache" aired on Aug 05, 1949. Please support these shows with your donation today, thank you. https://mpir-otr.com/sponsors-donations

Dopo aver analizzato in compagnia di Adriano Della Starza Ombre rosse, L'uomo che uccise Liberty Valance (puntata n. 24) e Sentieri selvaggi (puntata n. 85) e dopo aver esaminato nell'episodio n. 128 di Il traditore, Furore, Com'era verde la mia valle e Un uomo tranquillo, torniamo a parlare finalmente di John Ford, occupandoci di tre suoi celebri western. Nell'ordine:(14:15) Il massacro di Fort Apache(43:08) I cavalieri del Nord-Ovest(01:03:19) La carovana dei mormoni

In this episode of Zone 7, Crime Scene Investigator, Sheryl McCollum, sits down with retired detective Ralph Friedman, a legendary figure in law enforcement with over 2,000 arrests and 15 shootouts to his name. Ralph shares his unexpected journey into the police force and his experiences in the infamous 41st precinct, known as "Fort Apache." Ralph describes the undercover operations using taxi cabs and milk trucks to a life-threatening shootout in a darkened apartment. He also shares the wisdom gained from life-or-death encounters, the lessons that changed police protocol forever. Ralph Friedman is the most decorated detective in NYPD history, with 2,000 arrests and 219 medals to his name. He is the author of Street Warrior: The True Story of NYPD’s Most Decorated Detective and the Era That Created Him and was featured in the television series Street Justice: The Bronx. Listeners can learn more about Ralph Friedman at his website, on IG @bronxstreetwarrior Street Justice: The Bronx Street Warrior: The True Story of NYPD’s Most Decorated Detective and the Era That Created Him Show Notes: (0:00) Welcome back to Zone 7 with Crime Scene Investigator, Sheryl McCollum (0:10) Sheryl introduces guest, retired N.Y.P.D detective Ralph Freeman (2:00) How a spontaneous decision led to a legendary career (4:00) Ralph’s first encounter with a police officer shooting (6:00) A detective’s death changes police protocol forever (7:00) Using taxis, milk trucks, and even a Harley to catch criminals (12:30) The brotherhood of the NYPD (16:00) Saving a partner’s life (17:00) ”The other side of the coin is that, if you're taking a life, you're definitely saving at least one life.”  (19:30) Near-death encounters (22:00) Unexpected career-ending incident (24:30) The most gangster thing detective Ralph ever did (25:45) A gun deal turns into a deadly rooftop shootout (31:00) “ The rush is worth the risk.” -R.Freeman’s back tattoo Thanks for listening to another episode! If you’re loving the show and want to help grow the show, please head over to Itunes and leave a rating and review! --- Sheryl “Mac” McCollum is an Emmy Award winning CSI, a writer for CrimeOnLine, Forensic and Crime Scene Expert for Crime Stories with Nancy Grace, and a CSI for a metro Atlanta Police Department. She is the co-author of the textbook., Cold Case: Pathways to Justice. Sheryl is also the founder and director of the Cold Case Investigative Research Institute, a collaboration between universities and colleges that brings researchers, practitioners, students and the criminal justice community together to advance techniques in solving cold cases and assist families and law enforcement with solvability factors for unsolved homicides, missing persons, and kidnapping cases. Social Links: Email: coldcase2004@gmail.com Twitter: @ColdCaseTips Facebook: @sheryl.mccollum Instagram: @officialzone7podcastSee omnystudio.com/listener for privacy information.

Send us a textFrank West, a combat veteran with a rich family legacy of military service, takes us on a journey through his impactful military career, starting with his enlistment in 1994. Inspired by a profound sense of duty and love for his country, Frank shares gripping tales of his deployments, particularly after 9/11, and the harrowing conditions faced at Fort Apache in Iraq. We explore the intense camaraderie among soldiers, likening it to the teamwork found in sports, and how these experiences profoundly shape a veteran's transition back to civilian life.As Frank opens up about the challenges veterans face, we discuss the struggle of reintegrating into a civilian world that often lacks the adrenaline and camaraderie of military life. Through personal reflections and anecdotes, we highlight the enduring impact of military service, the mental health challenges faced by many veterans, and the void left by the unique brotherhood formed in combat. Our conversation touches on the disconnect and misrepresentation of veterans on social media, underscoring the need for greater understanding and appreciation for their sacrifices.From leadership to resilience, the lasting influence of military values reverberates through Frank's stories, offering insights into the discipline and sacrifice inherent in military service. We candidly discuss the importance of strong leadership within the military and the life skills it imparts, extending these lessons to the VA system and other civilian contexts. Join us as we celebrate the leadership, discipline, and enduring legacy of veterans, while also exploring lighter topics like boat building and the return of old school camo designs, all woven together with threads of patriotism and a deep respect for those who serve.GUEST WEBSITE: https://westperformancemarine.comOUR WEBSITE/OTC MERCH: https://offtheclockwithbscott.comHAVOC GEAR SHOP: https://havocnation.comHAVOC BOATS WEBSITE: https://havocboats.comHAVOC DEALERS: https://havocboats.com/dealers/SOCIAL LINKSTruth Social: https://truthsocial.com/@OffTheClockwithBScottFacebook: https://www.facebook.com/people/Off-The-Clock-With-B-Scott/61557737220814/Twitter (X): https://twitter.com/OTCwithBScottInstagram: https://www.instagram.com/offtheclockwithbscott/YouTube: https://www.youtube.com/channel/UCwu6_wWcXDoBzhpHv4YgZGQRumble: https://rumble.com/c/c-5644782Spotify: https://open.spotify.com/show/2g76hRDp9d609LETevSH2U?si=0ba23ae282c94e88&nd=1&dlsi=d9f84d7699b84724Apple Podcasts: https://podcasts.apple.com/us/podcast/off-the-clock-with-b-scott/id1734265760

The ICE boyos have brought a chill to Chicago, Aurora, and even the desert Southwest as Jesus Hitler starts making good on his promise of mass deportations. Round up the usual suspects. A little song and war dance for the TV cameras. “Dr. Phil” even got in on the act in Chicago. Shock and awe, baby. It works, for a while. But some folks just don't take kindly to being shoved around. Soon even the fanboys will find the price of admission to the Dingaling Bros-Barnum & Beelzebozo Circus ("There's One Born Every Minute!) just keeps going up, as honest immigrant workers vanish alongside the bad guys, citizens decline to take their jobs in agriculture, construction, manufacturing, food processing and service industries, and goods and services get more expensive and/or harder to find. But never fear. We'll be annexing Canada! And Greenland! And the Sudetenland (whoops, wrong fascists, never mind). The Circus will roll on a Road of Bones until the world is under One Big Red White and Blue Tent (handmade by skilled artisans in border internment camps)! While you await your own personal invitation to assist the authorities with this project (and their inquiries) you might as well listen to the latest All-American Episode of — yes, yes, yes — Radio Free Dogpatch. Could be the last one. You never know who's lending us an ear, or why. • Technical notes: RFD favors the Ethos mic from Earthworks Audio; Audio-Technica ATH-M50X headphones; Zoom H5 Handy Recorder; Apple's GarageBand, and Auphonic for a wash and brushup. The trailer theme from "Fort Apache" comes from YouTube, as do Rick's conversations with Major Strasser and Sam in "Casablanca." Bob and Doug McKenzie say "Good day" from SCTV's YouTube page. The drum-heavy martial music (by Gregor Quendel) and “Out of Step” are both courtesy of Zapsplat. The Mescalero Apache tribe's take on a member's run-in with an ICE agent can be found here. The Guardian reports on a Navajo experience. The Associated Press covered immigration raids in Chicago. At The Atlantic Mark Leibovich had some fun visiting Greenland, soon to be our 52nd state. And at the New Republic Matt Ford shredded the pestilential ordure dropped on birthright citizenship.

"Never apologize. It's a sign of weakness."We know we're quite a ways into 2025, but Happy New Year everyone. Anders & Adam Holmes are back with a new trilogies episode! On this episode, the Holmes Brothers hop on their horses and ride out west to Monument Valley. They again discuss and analyse three favourite westerns from their childhood, two of which they saw a lot on VHS (remember those?). The movie trilogy they are looking at on this episode is: John Ford's The Cavalry Trilogy. It includes Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950).All three films star John Wayne and feature regular members of Ford's acting troupe like Henry Fonda, John Agar, Harry Carey Jr, Ben Johnson, George O'Brien and Victor McLaglen. John Ford was very much in his mythical period when making these westerns. We hope you like this episode and do check out the films, if you have or haven't seen it. Anders's screenwriter work can also be seen in the western The Outlaws which is a available to watch in the US, Finland & the UK on Amazon and Apple TV for example. You can read a review about the film on Collider.Also check out Anders's reviews on Robert Eggers's Nosferatu, Die Hard 4.0 and The Crow (2024).Follow us on our Instagram page. We're vacating our Twitter page and the site in general, for obvious reasons.Follow our Letterboxd page where you can see what we were recommending to each other over the course of the Covid-19 Pandemic:Also check us out on Letterboxd too!Anders Hosted on Acast. See acast.com/privacy for more information.

Åter till Monument Valley och en av John Fords second tier westerns, "Fort Apache" från 1948. Kommentera avsnittet på Fripps Filmrevyer.

Interview with the most decorated NYPD Detective Ralph Friedman Years of Service: 1968-1984Detective Friedman began his law enforcement career with the NYPD in 1968 as a fingerprint technician. He was later assigned to the 41st Precinct, also known as “Fort Apache,” as an officer on foot patrol.Right from the start, Detective Friedman was a proactive police officer who sought out criminals both on and off duty, quickly earning a reputation as someone who got things done. He was eventually promoted to the Anti-Crime Unit, where he worked alongside some of his heroes, and through his hard work, he achieved the rank of Detective 3rd grade.While serving as an officer and detective for the NYPD, Friedman made 2,000 arrests, including 100 off-duty arrests, and provided assistance in 6,000 cases. He was involved in 15 shootings, resulting in the deaths of 4 suspects. Unfortunately, Detective Friedman's career was cut short after just 14 years due to a severe on-duty car accident, which led to his medical retirement as a second-grade detective.Detective Friedman has been the subject of numerous articles and interviews. He is the co-author of the book "Street Warrior: NYPD's Most Decorated Detective and the Era that Created Him" based on his career.A 2017 television series, which is currently available on Amazon Prime and is called "Street Justice the Bronx," was also based on his career. Friedman was featured in the movie "Tattoo" with Bruce Dern, and he was the technical advisor to the Prequel Movie for the Sopranos called "The Many Saints of Newark."

Interview with the most decorated NYPD Detective Ralph FriedmanYears of Service: 1968-1984Detective Friedman began his law enforcement career with the NYPD in 1968 as a fingerprint technician. He was later assigned to the 41st Precinct, also known as “Fort Apache,” as an officer on foot patrol.Right from the start, Detective Friedman was a proactive police officer who sought out criminals both on and off duty, quickly earning a reputation as someone who got things done. He was eventually promoted to the Anti-Crime Unit, where he worked alongside some of his heroes, and through his hard work, he achieved the rank of Detective 3rd grade.While serving as an officer and detective for the NYPD, Friedman made 2,000 arrests, including 100 off-duty arrests, and provided assistance in 6,000 cases. He was involved in 15 shootings, resulting in the deaths of 4 suspects. Unfortunately, Detective Friedman's career was cut short after just 14 years due to a severe on-duty car accident, which led to his medical retirement as a second-grade detective.Detective Friedman has been the subject of numerous articles and interviews. He is the co-author of the book "Street Warrior: NYPD's Most Decorated Detective and the Era that Created Him" based on his career. A 2017 television series, which is currently available on Amazon Prime and is called "Street Justice the Bronx," was also based on his career.Friedman was featured in the movie "Tattoo" with Bruce Dern, and he was the technical advisor to the Prequal Movie for the Sopranos called "The Many Saints of Newark."

Interview with the most decorated NYPD Detective Ralph FriedmanYears of Service: 1968-1984Detective Friedman began his law enforcement career with the NYPD in 1968 as a fingerprint technician. He was later assigned to the 41st Precinct, also known as “Fort Apache,” as an officer on foot patrol. Right from the start, Detective Friedman was a proactive police officer who sought out criminals both on and off duty, quickly earning a reputation as someone who got things done. He was eventually promoted to the Anti-Crime Unit, where he worked alongside some of his heroes, and through his hard work, he achieved the rank of Detective 3rd grade.While serving as an officer and detective for the NYPD, Friedman made 2,000 arrests, including 100 off-duty arrests, and provided assistance in 6,000 cases. He was involved in 15 shootings, resulting in the deaths of 4 suspects.Unfortunately, Detective Friedman's career was cut short after just 14 years due to a severe on-duty car accident, which led to his medical retirement as a second-grade detective.Detective Friedman has been the subject of numerous articles and interviews. He is the co-author of the book "Street Warrior: NYPD's Most Decorated Detective and the Era that Created Him" based on his career. A 2017 television series, which is currently available on Amazon Prime and is called "Street Justice the Bronx," was also based on his career. Friedman was featured in the movie "Tattoo" with Bruce Dern, and he was the technical advisor to the Prequal Movie for the Sopranos called "The Many Saints of Newark."

Messing up names, the genius and madness of Philip K. Dick, more human than human, the dangers of falling for a robot, adjusting our fate, looking into the future with Nicolas Cage and Christopher Walken, a goofy ass movie with Ben Affleck that I love, a French Dick movie, Philip K. Dick and the impact of his deceased twin sister, a really great Paul Newman movie that never gets mentioned, the craziness of the amazing Total Recall, there's nothing better than Fright Night, a big time Spielberg adaptation, a science fiction movie I adored as a kid, the allure and absolute destruction that amphetamine abuse can cause, Philip K. Dick predicted our future in so many ways, a ridiculous moment at a midnight movie, and some quotes. Stuff mentioned: Philip K. Dick Do Androids Dream of Electric Sheep? (1968), Blade Runner (1982), Fight Club (1999), Electric Light Orchestra "Yours Truly, 2095" (1981), Bradbury Building (304 S Broadway, Los Angeles, CA 90013), Union Station (800 N Alameda St, Los Angeles, CA 90012), 2nd Street Tunnel (620 W 2nd St, Los Angeles, CA 90012), Ennis House (2655 Glendower Ave, Los Angeles, CA 90027), The Shining (1980), Blade Runner: The Final Cut (2007), Blade Runner: Director's Cut (1992), Blade Runner 2049 (2017), The Adjustment Bureau (2011), Philip K. Dick Adjustment Team (1954), Source Code (2011), Screamers (1995), Philip K. Dick Second Variety (1953), Alien (1979), Blue Thunder (1983), The Return of the Living Dead (1985), Screamers: The Hunting (2009), Next (2007), Saturday Night Live: Ed Glosser, Trivial Psychic: Limited Usefulness (October 24, 1992 https://www.youtube.com/watch?v=h-xz0z1gU1M), The Dead Zone (1983), Philip K. Dick The Golden Man (1954), Impostor (2001), Philip K. Dick Impostor (1953), Paycheck (2003), Philip K. Dick Paycheck (1953), Philip D. Dick Confessions of a Crap Artist (1975), Barjo (1992 https://www.youtube.com/watch?v=bf-wG85iLgA), Philip K. Dick We Can Remember It for You Wholesale (1966), Total Recall (1990), Fort Apache the Bronx (1981), Total Recall (2012), Fright Night (1985), Fright Night (2011), The Man in the High Castle (2015-2019), Philip K. Dick The Man in the High Castle (1962), Sugar (2024), Philip K. Dick The Minority Report (1956), Minority Report (2002), Flash Gordon (1980), Queen Flash Gordon Original Movie Soundtrack (1980), Queen "Flash's Theme" (1980), Elliott Smith "Speed Trials" (1994), Elliott Smith Either/Or (1994), A Scanner Darkly (2006), and Philip K. Dick A Scanner Darkly (1977).

The Searchers are back with another Trading Post episode in which we cover 6 movies in under 2 and a half hours! FORT APACHE, FIREWORKS, THE CABLE GUY, COP LAND, GORGEOUS and THE LAST OF THE MOHICANS. There's liquor, wine and beer around the campfire this time, so prepare yourself for a wild ride. Timestamps for each film provided for Apple and Podbean users. If you like what you heard, please rate us a 5/5 on Apple, Spotify, or Podbean, and review us on Apple. Submit your mailbags to us at thesearcherspodcast@gmail.com. We'll read both on air. Follow us on Letterboxd.com if you'd like to see what we've recently watched and/or reviewed. Ben, Chris, & Kevin Our episode catalogue: https://searchersfilmpodcast.podbean.com/

John Wayne in The Alamo 1960 https://archive.org/download/the-alamo-1960/The%20Alamo%201960.ia.mp4 Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

Fort Apache with John Wayne, Henry Fonda, Shirley Temple, Etc. https://archive.org/download/01-shirley-temple/Fort%20Apache.1948.ia.mp4 Support us on Patreonhttps://www.patreon.com/user?u=4279967Jack Benny TV Videocasthttps://open.spotify.com/show/6BDar4CsgVEyUloEQ8sWpw?si=89123269fe144a10Jack Benny Show OTR Podcast!https://open.spotify.com/show/3UZ6NSEL7RPxOXUoQ4NiDP?si=987ab6e776a7468cJudy Garland and Friends OTR Podcasthttps://open.spotify.com/show/5ZKJYkgHOIjQzZWCt1a1NN?si=538b47b50852483dStrange New Worlds Of Dimension X-1 Podcasthttps://open.spotify.com/show/6hFMGUvEdaYqPBoxy00sOk?si=a37cc300a8e247a1Buck Benny YouTube Channelhttps://r.search.yahoo.com/_ylt=AwrOoc1Q5bllBgQA469XNyoA;_ylu=Y29sbwNncTEEcG9zAzEEdnRpZAMEc2VjA3Ny/RV=2/RE=1707891281/RO=10/RU=https%3a%2f%2fwww.youtube.com%2f%40BuckBenny/RK=2/RS=nVp4LDJhOmL70bh7eeCi6DPNdW4-Support us on Patreonhttps://www.patreon.com/user?u=4279967

2+ Hours of Westerns and a surpriseFirst a look at this day in History.Then Fort Laramie starring Raymond Burr, originally broadcast August 5, 1956, 68 years ago, The Massacre.  The peaceful Shoshone Indians are attacked by a fanatical army major. Followed by the news from 68 years ago, then Gunsmoke starring William Conrad, originally broadcast August 5, 1956, 68 years ago, Sweet and Sour. Rena Decker comes to town, and soon men start fighting over her. Then Screen Directors Playhouse, originally broadcast August 5, 1949, 75 years ago, Fort Apache starring John Wayne.  An adaptation of John Ford's 1949 classic western movie about Cochise battling the cavalry, with a group of travelers caught in the middle.Followed by Screen Guild Theater, originally broadcast August 5, 1946, 78 years ago, Christmas in Connecticut starring Ronald Reagan, Jane Wyman, and Leon Belasco. An adaptation of the 1945 movie about a food writer who has lied about being the perfect housewife must try to cover her deception when her boss and a returning war hero invite themselves to her home for a traditional family Christmas.Finally Claudia, originally broadcast August 5, 1948, 76 years ago, Making the Beds. Thanks to Sean for supporting our podcast by using the Buy Me a Coffee function at http://classicradio.streamCivil defense info mentioned on the show can be found here: http://www.civildefensemuseum.com/docs.html

Join me on this captivating episode as we delve into the world of adult urban crime fiction with the talented crime writer, James Hill. Discover the secrets behind crafting gripping crime novels as James Hill shares his unique techniques and storytelling process.Bio:James L Hill, a.k.a. J L Hill, is a native New Yorker from the South Bronx, Fort Apache, of the turbulent 60's. He earned a degree in computer programming, his other love. A multi-genre author, his experiences seasoned his novels and the worlds he imagined. James started RockHill Publishing LLC to publish his own work and give others access to the literary world. The four-part adult urban crime series, The Killer Series, is complete. Killer With A Heart, Killer With Three Heads, Killer With Black Blood have all received five-star reviews. Killer With Ice Eyes, the final chapter of the boys from the Bronx, is available now. He is currently working on a three-part historical fantasy Gemstone Series; The Emerald Lady is in publication to rave reviews. The Ruby Cradle and the third book, The Diamond Warrior, is coming soon. Then there's the psychological dystopian science fiction thriller, Pegasus: A Journey To New Eden foryour reading pleasure.Social Media Links:Website:www.rockhillpublishing.comwww.jlhill-books.comPodcastFacebookYouTubeBooksKiller SeriesThe Emerald LadyPegasusConnect with LizWebsite https://lizbullardwrites.comEmail: liz@Lizbullardwrites.comInstagramTiktokFacebookAmazon Author PageCoaching ServicesBooksSnow Fall (FREE) Prophecy Trilogy Series

Author Michael F. Blake returns to chat with me and Jim about his latest book, The Cavalry Trilogy:  John Ford, John Wayne, and the Making of Three Classic Westerns.  Ride along as we talk about the men and the movies; spotlighting Fort Apache, She Wore a Yellow Ribbon and Rio Grande, with a few others getting mentions along the way.A Bill&Debi Production

Bom dia, cinéfilos!Estamos terminando o mês de abril, que é em homenagem ao Julio Cesar de Miranda. Desta vez, o Jonathan convidou o Tiago para conversarem sobre John Ford e dois de seus filmes: Sangue de Heróis, que ambos insistem em chamar de Fort Apache, de 1948 e Caravana dos Bravos, de 1950.Siga o Jonathan no twitter: https://twitter.com/hanekawaifu

Après un mois de mars plus maigre en sorties cinéma, on est de retour avec un programme étoffé : de la guerre, de la bagarre, mais aussi de la famille, de l'honneur et de l'écologie… On se croirait dans un FAST & FURIOUS quoi ! On vous parle ce mois-ci de CIVIL WAR, NOUS LES LEROY, GODZILLA X KONG et MONKEY MAN, et nos coups de cœur pour KING'S LAND, LE MAL N'EXISTE PAS et CHRONIQUES DE TEHERAN. Sans oublier nos découvertes du passé ! Bonne écoute et bons films, on se retrouve très vite avec un Flashback sur la saga LA PLANETE DES SINGES… TIME-CODES (03:44) CIVIL WAR (29:41) NOUS LES LEROY (42:40) GODZILLA X KONG (53:41) MONKEY MAN (01:05:42) KING'S LAND (01:13:45) LE MAL N'EXISTE PAS (01:21:45) CHRONIQUES DE TEHERAN LES FILMS DU PASSÉ (01:28:56) THE DEVILS de Ken Russell (1971) (01:36:26) FORT APACHE de John Ford (1948) (01:42:03) SATURDAY NIGHT FEVER de John Borman (1977)

At long last, we venture inside Fort Apache, the town within a town constructed by Dale Varnam. For months, we have heard about Dale's reputed deal with Pablo Escobar, the deal that transformed Varnamtown. Now we'll venture inside Dale's lair in search of the truth. But can he be trusted? And why does everyone have a different perspective on him? Thank you for supporting our sponsors! Viia Hemp: Go to https://ViiaHemp.com & use code TOWN to receive 15% off PLUS one free sample of their Sleep Dreams gummies. 21+ Wooga: Discover your inner detective when you download June's Journey for free today on iOS and Android. G-Defy Shoes: Visit https://GDEFY.com, and use discount code TOWN for an exclusive $30 off orders of $150 or more.

Looking for gift ideas? City Cast Las Vegas' producers Layla Muhammad and Sonja Swanson have you covered with recommendations on what to get teenagers and that quirky friend, as well as thoughtful but inexpensive gifts and more!  Local recommendations mentioned: Writer's Block  Tat Bar  Solection  Death Drop Roller Skate Shop  Antique Alley Mall Akin Cooperative The Phone Booth  Best of Luck Designs  Vogue's Sip & Pour Memori.ES702 Arte Museum  Snacks from around the world: Rani's World Market on Sahara, Melkam Market on Decatur & Flamingo, Ron's Armenian/Russian on Fort Apache & 215, and Nakata Market on Sahara & Rainbow Anna See  LV Plant Collective  Silver Post  Market in the Alley on Dec. 17th Gaia Flowers  Cactus Joe's We're on social media! Follow us @CityCastVegas on Instagram. You can also call or text us at 702-514-0719. Want some more Las Vegas news? Then make sure to sign up for our morning newsletter here. Learn more about your ad choices. Visit megaphone.fm/adchoices

Irán que está detrás de los ataques de Hamás a Israel financió con 9,3 millones a Pablo Iglesias. Javier Cárdenas se pregunta ¿qué tuvo que prometer Pablo Iglesias a Irán para que estos le dieran 9,3 millones de euros?.«A los iranís les interesa que se difunda en América Latina y España un mensaje de izquierdas para desestabilizar a sus adversarios, ¿lo aprovechamos o no lo aprovechamos?», se preguntaba Pablo Iglesias hace unos años y como publicó OK DIARIO, justificando la financiación de la dictadura islámica de Irán para lanzar, entonces, su carrera política.En una charla en la que fue protagonista en el año 2014 a la que fue invitado por la Unión de Juventudes Comunistas de Aragón manifestó sin sonrojarse: «Para mí quien haga política tiene que asumir cabalgar contradicciones. El gobierno español ha tenido relaciones económicas con Irán siempre. No me gusta que las presentadoras tengan que salir con un pañuelo. Puede ser un motivo para que yo pensase en no trabajar en esa cadena, pero tenemos absoluto control y no tenemos censura. La geopolítica es así y no vamos a ser los únicos imbéciles que no hagamos política cuando todo el mundo hace política», se excusaba.Pablo Iglesias y sus más estrechos colaboradores recibieron «entre 600.000 y 700.000 euros anuales» de la dictadura de Irán desde 2013, según un informe de la Unidad Central de Delincuencia Económica y Fiscal (Udef) de la Policía Nacional.Los pagos procedentes del Gobierno de Irán llegan vía 360 Global Media, la empresa que producía en España la señal de la televisión iraní, cuyo programa estrella en España es Fort Apache, presentado y dirigido por Pablo Iglesias. El el Gobierno de Irán inyectó en tres años 9,3 millones de euros a la filial española de Hispan TV mediante la empresa 360 Global Media. El informe policial cifra en cerca de un millón de euros anuales la aportación que el Gobierno iraní para el “funcionamiento, realce, publicidad y mantenimiento de Podemos”. Los pagos, contabilizados desde 2013, habrían servido para lanzar la imagen pública de Pablo Iglesias y promocionar a su partido, Podemos. El régimen de Irán ha estado sometido a sanciones internacionales durante años por ser una permanente amenaza para la seguridad mundial.

doblesesion.com @doblesesionpdc #dsjovenford 🎩 @IniciativasPod #DirigidoPorJohnFord Volvemos de la mano de IniciativasPod con la iniciativa Dirigido Por John Ford, para hablar de El Joven Lincoln (Young Mr. Lincoln; John Ford, 1939). En la sección inicial hablamos de la importancia y los prejuicios de ver cine clásico. A partir del minuto 0:30:45 hablamos de El Joven Lincoln (Young Mr. Lincoln; John Ford, 1939). Para complementar el visionado os recomendamos el libro Tras La Pista De John Ford de Joseph McBride; y las películas El Hombre Que Mató a Liberty Valance (The Man Who Shot Liberty Valance; John Ford, 1962) y Pasión De Los Fuertes (My Darling Clemetine; John Ford, 1946). Escúchanos y síguenos ➡️ https://linktr.ee/doblesesion “Mi nombre es John Ford y hago westerns”. Con esta mítica frase se presentaba el viejo Jack en el Sindicato de Directores de Estados Unidos. Sin pretensiones y directo. Al cumplirse cincuenta años de su muerte, los podcasts de @IniciativasPod homenajean al gran director estadounidense, repasando una amplia selección de las películas que hizo durante los más de cincuenta años que Ford dedicó al cine. Un pionero del cine mudo que avanzó por el sonoro, el blanco y negro y el color, hasta convertirse en un maestro, no solo del género del oeste, sino de todos los demás. Pasión de los fuertes, Las uvas de la ira, Centauros del desierto, Fort Apache, El hombre que mató a Liberty Valance… son solo algunas de las películas que todos los podcasts que forman parte de este proyecto repasan y homenajean, siempre con una mirada nostálgica y de admiración hacia su director. Súbete a la diligencia de @IniciativasPod y disfruta de todos los programas, con especiales dedicados y entrevistas a personalidades del mundo del cine, todo ello en la lista “DIRIGIDO POR JOHN FORD” de IniciativasPod. Doble Sesión se une en este proyecto a El Café de Rick, Pinkerton Podcast, Universo enmascarado, Podcastwood, Sagas Podcast, La Camarilla, El Piscinazo, Tiempo de Culto, Cine Desencadenado, Just Live It, Filosofipods, Café con Podcast, La Taberna del Irlandés, Policías Pelis, Los 3 Padrinos, Familia Asimétrica, Planeta Bob, Criterio Cero, Batseñales, El Último Refugio, +QCine, La Muerte Tenía un Podcast, Destino Arrakis y Críticas sobre la marcha. Lista de reproducción con todos los podcasts de Dirigido por John Ford (de IniciativasPod) aquí: 🎦 http://bit.ly/DirigidoPorJohnFord Busca los hashtags #DirigidoPorJohnFord #DirigidoPor #JohnFord en redes sociales y escucha todos los podcasts de este proyecto en la lista de reproducción de iVoox: “Dirigido por John Ford”. X de IniciativasPod: @IniciativasPod Agradecimientos: ▪️ Organización: Miguel M. Benito de Pinkerton Podcast Tomás Rodero de LMTPodcast Pol Martín de El Último Refugio ▪️ Apartado visual y miniaturas: Pike Waltz, @PikeWaltz en X ▪️Vídeo promocional: Imanol De Frutos de Batseñales ▪️ Voces para audios promocionales: Arancha San Ginés de Filosofipods Carmen de La Camarilla José Antonio Pérez de Doble Sesión y El Camarote de los Marx Gonzalo Cuélliga de Podcastwood y El Cine de Cherburgo ➖➖➖➖➖➖➖➖➖➖➖➖ También nuestro agradecimiento a todos aquellos que nos han ayudado y animado en este empeño colectivo para seguir los rastros de uno de los grandes cineastas del Hollywood clásico.

“Mi nombre es John Ford y hago westerns”. Con esta mítica frase se presentaba el viejo Jack en el Sindicato de Directores de Estados Unidos. Sin pretensiones y directo. Al cumplirse cincuenta años de su muerte, los podcasts de @IniciativasPod homenajean al gran director estadounidense, repasando una amplia selección de las películas que hizo durante los más de cincuenta años que Ford dedicó al cine. Un pionero del cine mudo que avanzó por el sonoro, el blanco y negro y el color, hasta convertirse en un maestro, no solo del género del oeste, sino de todos los demás. Pasión de los fuertes, Las uvas de la ira, Centauros del desierto, Fort Apache, El hombre que mató a Liberty Valance… son solo algunas de las películas que todos los podcasts que forman parte de este proyecto repasan y homenajean, siempre con una mirada nostálgica y de admiración hacia su director. Súbete a la diligencia de @IniciativasPod y disfruta de todos los programas, con especiales dedicados y entrevistas a personalidades del mundo del cine, todo ello en la lista “DIRIGIDO POR JOHN FORD”

“Mi nombre es John Ford y hago westerns”. Con esta mítica frase se presentaba el viejo Jack en el Sindicato de Directores de Estados Unidos. Sin pretensiones y directo. Al cumplirse cincuenta años de su muerte, los podcasts de @IniciativasPod homenajean al gran director estadounidense, repasando una amplia selección de las películas que hizo durante los más de cincuenta años que Ford dedicó al cine. Un pionero del cine mudo que avanzó por el sonoro, el blanco y negro y el color, hasta convertirse en un maestro, no solo del género del oeste, sino de todos los demás. Pasión de los fuertes, Las uvas de la ira, Centauros del desierto, Fort Apache, El hombre que mató a Liberty Valance… son solo algunas de las películas que todos los podcasts que forman parte de este proyecto repasan y homenajean, siempre con una mirada nostálgica y de admiración hacia su director. Súbete a la diligencia de @IniciativasPod y disfruta de todos los programas, con especiales dedicados y entrevistas a personalidades del mundo del cine, todo ello en la lista “DIRIGIDO POR JOHN FORD” de IniciativasPod. Batseñales se une en este proyecto a El Café de Rick, Pinkerton Podcast, Universo enmascarado, Doble Sesión, Podcastwood, Sagas Podcast, El Piscinazo, Tiempo de Culto, Cine Desencadenado, Just Live It, Filosofipods, Café con Podcast, La Taberna del Irlandés, Policías Pelis, Los 3 Padrinos, Familia Asimétrica, Planeta Bob, Criterio Cero, La Camarilla, El Último Refugio, +QCine, La Muerte Tenía un Podcast, Destino Arrakis y Críticas sobre la marcha. Lista de reproducción con todos los podcasts de Dirigido por John Ford (de IniciativasPod) aquí: https://www.ivoox.com/dirigido-john-ford-de-iniciativaspod_bk_list_10663797_1.html Busca los hashtags #DirigidoPorJohnFord #DirigidoPor #JohnFord en redes sociales y escucha todos los podcasts de este proyecto en la lista de reproducción de iVoox: “Dirigido por John Ford”. X de IniciativasPod: @IniciativasPod Agradecimientos: ▪️ Organización: Miguel M. Benito de Pinkerton Podcast Tomás Rodero de LMTPodcast Pol Martín de El Último Refugio ▪️ Apartado visual y miniaturas: Pike Waltz, @PikeWaltz en X ▪️ Voces: Arancha San Ginés de Filosofipods Carmen de la Camarilla José Antonio Pérez de Doble Sesión y El Camarote de los Marx Gonzalo Cuélliga de Podcastwood y El Cine de Cherburgo ➖➖➖➖➖➖➖➖➖➖➖➖ También nuestro agradecimiento a todos aquellos que nos han ayudado y animado en este empeño colectivo para seguir los rastros de uno de los grandes cineastas del Hollywood clásico.

“Mi nombre es John Ford y hago westerns”. Con esta mítica frase se presentaba el viejo Jack en el Sindicato de Directores de Estados Unidos. Sin pretensiones y directo. Al cumplirse cincuenta años de su muerte, los podcasts de @IniciativasPod homenajean al gran director estadounidense, repasando una amplia selección de las películas que hizo durante los más de cincuenta años que Ford dedicó al cine. Un pionero del cine mudo que avanzó por el sonoro, el blanco y negro y el color, hasta convertirse en un maestro, no solo del género del oeste, sino de todos los demás. Pasión de los fuertes, Las uvas de la ira, Centauros del desierto, Fort Apache, El hombre que mató a Liberty Valance… son solo algunas de las películas que todos los podcasts que forman parte de este proyecto repasan y homenajean, siempre con una mirada nostálgica y de admiración hacia su director. Súbete a la diligencia de @IniciativasPod y disfruta de todos los programas, con especiales dedicados y entrevistas a personalidades del mundo del cine, todo ello en la lista “DIRIGIDO POR JOHN FORD” de IniciativasPod. Sagas Podcast se une en este proyecto a El Café de Rick, Pinkerton Podcast, Universo enmascarado, Doble Sesión, Podcastwood, Just Live It, El Piscinazo, Tiempo de Culto, Cine Desencadenado, La Camarilla, Filosofipods, Café con Podcast, La Taberna del Irlandés, Policías Pelis, Los 3 Padrinos, Familia Asimétrica, Planeta Bob, Criterio Cero, Batseñales, El Último Refugio, +QCine, La Muerte Tenía un Podcast, Destino Arrakis y Críticas sobre la marcha. Lista de reproducción con todos los podcasts de Dirigido por John Ford (de IniciativasPod) aquí: https://www.ivoox.com/dirigido-john-ford-de-iniciativaspod_bk_list_10663797_1.html Busca los hashtags #DirigidoPorJohnFord #DirigidoPor #JohnFord en redes sociales y escucha todos los podcasts de este proyecto en la lista de reproducción de iVoox: “Dirigido por John Ford”. X de IniciativasPod: @IniciativasPod Agradecimientos: ▪️ Organización: Miguel M. Benito de Pinkerton Podcast Tomás Rodero de LMTPodcast Pol Martín de El Último Refugio ▪️ Apartado visual y miniaturas: Pike Waltz, @PikeWaltz en X ▪️ Voces: Arancha San Ginés de Filosofipods Carmen de la Camarilla José Antonio Pérez de Doble Sesión y El Camarote de los Marx Gonzalo Cuélliga de Podcastwood y El Cine de Cherburgo ➖➖➖➖➖➖➖➖➖➖➖➖ También nuestro agradecimiento a todos aquellos que nos han ayudado y animado en este empeño colectivo para seguir los rastros de uno de los grandes cineastas del Hollywood clásico.

“Mi nombre es John Ford y hago westerns”. Con esta mítica frase se presentaba el viejo Jack en el Sindicato de Directores de Estados Unidos. Sin pretensiones y directo. Al cumplirse cincuenta años de su muerte, los podcasts de @IniciativasPod homenajean al gran director estadounidense, repasando una amplia selección de las películas que hizo durante los más de cincuenta años que Ford dedicó al cine. Un pionero del cine mudo que avanzó por el sonoro, el blanco y negro y el color, hasta convertirse en un maestro, no solo del género del oeste, sino de todos los demás. Pasión de los fuertes, Las uvas de la ira, Centauros del desierto, Fort Apache, El hombre que mató a Liberty Valance… son solo algunas de las películas que todos los podcasts que forman parte de este proyecto repasan y homenajean, siempre con una mirada nostálgica y de admiración hacia su director. Súbete a la diligencia de @IniciativasPod y disfruta de todos los programas, con especiales dedicados y entrevistas a personalidades del mundo del cine, todo ello en la lista “DIRIGIDO POR JOHN FORD” de IniciativasPod. Just Live It se une en este proyecto a El Café de Rick, Pinkerton Podcast, Universo enmascarado, Doble Sesión, Podcastwood, Sagas Podcast, El Piscinazo, Tiempo de Culto, Cine Desencadenado, La Camarilla, Filosofipods, Café con Podcast, La Taberna del Irlandés, Policías Pelis, Los 3 Padrinos, Familia Asimétrica, Planeta Bob, Criterio Cero, Batseñales, El Último Refugio, +QCine, La Muerte Tenía un Podcast, Destino Arrakis y Críticas sobre la marcha. Lista de reproducción con todos los podcasts de Dirigido por John Ford (de IniciativasPod) aquí: https://www.ivoox.com/dirigido-john-ford-de-iniciativaspod_bk_list_10663797_1.html Busca los hashtags #DirigidoPorJohnFord #DirigidoPor #JohnFord en redes sociales y escucha todos los podcasts de este proyecto en la lista de reproducción de iVoox: “Dirigido por John Ford”. X de IniciativasPod: @IniciativasPod Agradecimientos: ▪️ Organización: Miguel M. Benito de Pinkerton Podcast Tomás Rodero de LMTPodcast Pol Martín de El Último Refugio ▪️ Apartado visual y miniaturas: Pike Waltz, @PikeWaltz en X ▪️ Voces: Arancha San Ginés de Filosofipods Carmen de la Camarilla José Antonio Pérez de Doble Sesión y El Camarote de los Marx Gonzalo Cuélliga de Podcastwood y El Cine de Cherburgo ➖➖➖➖➖➖➖➖➖➖➖➖ También nuestro agradecimiento a todos aquellos que nos han ayudado y animado en este empeño colectivo para seguir los rastros de uno de los grandes cineastas del Hollywood clásico.

En este especial de TDC, Ángel Codón Ramos y Paco Fox charlan sobre una de las grandes obras maestras de Ford, "Qué verde era mi valle", dentro de la iniciativa "Dirigido por John Ford": “Mi nombre es John Ford y hago westerns”. Con esta mítica frase se presentaba el viejo Jack en el Sindicato de Directores de Estados Unidos. Sin pretensiones y directo. Al cumplirse cincuenta años de su muerte, los podcasts de @IniciativasPod homenajean al gran director estadounidense, repasando una amplia selección de las películas que hizo durante los más de cincuenta años que Ford dedicó al cine. Un pionero del cine mudo que avanzó por el sonoro, el blanco y negro y el color, hasta convertirse en un maestro, no solo del género del oeste, sino de todos los demás. Pasión de los fuertes, Las uvas de la ira, Centauros del desierto, Fort Apache, El hombre que mató a Liberty Valance… son solo algunas de las películas que todos los podcasts que forman parte de este proyecto repasan y homenajean, siempre con una mirada nostálgica y de admiración hacia su director. Súbete a la diligencia de @IniciativasPod y disfruta de todos los programas, con especiales dedicados y entrevistas a personalidades del mundo del cine, todo ello en la lista “DIRIGIDO POR JOHN FORD” de IniciativasPod. Tiempo de Culto TdC se une en este proyecto a El Café de Rick, Pinkerton Podcast, Universo enmascarado, Doble Sesión, Just Live It, El Piscinazo, Filosofipods, Sagas podcast, La Camarilla, Podcastwood, +QCine, Policías Pelis, Café con Podcast, Críticas sobre la marcha, Los 3 Padrinos, Cine Desencadenado, Familia Asimétrica, Criterio Cero, Batseñales, El Último Refugio, Planeta Bob, La Muerte Tenía un Podcast, Destino Arrakis y La Taberna del Irlandés. Lista de reproducción con todos los podcasts de Dirigido por John Ford (de IniciativasPod) aquí: https://www.ivoox.com/dirigido-john-ford-de-iniciativaspod_bk_list_10663797_1.html Busca los hashtags #DirigidoPorJohnFord #DirigidoPor #JohnFord en redes sociales y escucha todos los podcasts de este proyecto en la lista de reproducción de iVoox: “Dirigido por John Ford”. X de IniciativasPod: @IniciativasPod Agradecimientos: ▪️ Organización: Miguel M. Benito de Pinkerton Podcast Tomás Rodero de LMTPodcast Pol Martín de El Último Refugio ▪️ Apartado visual y miniaturas: Pike Waltz, @PikeWaltz en X ▪️ Voces: Arancha San Ginés de Filosofipods Carmen de la Camarilla José Antonio Pérez de Doble Sesión y El Camarote de los Marx Gonzalo Cuélliga de Podcastwood y El Cine de Cherburgo ➖➖➖➖➖➖➖➖➖➖➖➖ También nuestro agradecimiento a todos aquellos que nos han ayudado y animado en este empeño colectivo para seguir los rastros de uno de los grandes cineastas del Hollywood clásico. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

“Mi nombre es John Ford y hago westerns”. Con esta mítica frase se presentaba el viejo Jack en el Sindicato de Directores de Estados Unidos. Sin pretensiones y directo. Al cumplirse cincuenta años de su muerte, los podcasts de @IniciativasPod homenajean al gran director estadounidense, repasando una amplia selección de las películas que hizo durante los más de cincuenta años que Ford dedicó al cine. Un pionero del cine mudo que avanzó por el sonoro, el blanco y negro y el color, hasta convertirse en un maestro, no solo del género del oeste, sino de todos los demás. Pasión de los fuertes, Las uvas de la ira, Centauros del desierto, Fort Apache, El hombre que mató a Liberty Valance… son solo algunas de las películas que todos los podcasts que forman parte de este proyecto repasan y homenajean, siempre con una mirada nostálgica y de admiración hacia su director. Súbete a la diligencia de @IniciativasPod y disfruta de todos los programas, con especiales dedicados y entrevistas a personalidades del mundo del cine, todo ello en la lista “DIRIGIDO POR JOHN FORD” de IniciativasPod. Criterio Cero se une en este proyecto a El Café de Rick, Pinkerton Podcast, Universo enmascarado, Doble Sesión, Podcastwood, Sagas Podcast, El Piscinazo, Tiempo de Culto, Cine Desencadenado, Just Live It, Filosofipods, Café con Podcast, La Taberna del Irlandés, Policías Pelis, Los 3 Padrinos, Familia Asimétrica, Planeta Bob, Batseñales, La Camarilla, El Último Refugio, +QCine, La Muerte Tenía un Podcast, Destino Arrakis y Críticas sobre la marcha. Y en nuestro caso os traemos una de las películas de lo llamado Ocaso de John Ford, de 1958 y que por tanto cumple 65 años. El último hurra puede verse como una rara avis en su filmografía (por lo menos en la más laureada o "conocida") pero posee muchos de los tropos de su cine y sobre todo, pese a ser en blanco y negro, los años que pesan sobre ella y las formas propias de su época, veréis que es un film cuya historia y su "mundo" no pasan de moda y la política actual no es tan distinta de la que se nos muestra. Asier Senarriaga y Guillermo Malagamba acompañan a Salva Vargas en este programa tan especial dentro de un marco incomparable. Lista de reproducción con todos los podcasts de Dirigido por John Ford (de IniciativasPod) aquí: https://www.ivoox.com/dirigido-john-ford-de-iniciativaspod_bk_list_10663797_1.html Busca los hashtags #DirigidoPorJohnFord #DirigidoPor #JohnFord en redes sociales y escucha todos los podcasts de este proyecto en la lista de reproducción de iVoox: “Dirigido por John Ford”. X de IniciativasPod: @IniciativasPod Agradecimientos: ▪️ Organización: Miguel M. Benito de Pinkerton Podcast Tomás Rodero de LMTPodcast Pol Martín de El Último Refugio ▪️ Apartado visual y miniaturas: Pike Waltz, @PikeWaltz en X ▪️ Voces: Arancha San Ginés de Filosofipods Carmen de la Camarilla José Antonio Pérez de Doble Sesión y El Camarote de los Marx Gonzalo Cuélliga de Podcastwood y El Cine de Cherburgo ➖➖➖➖➖➖➖➖➖➖➖➖ También nuestro agradecimiento a todos aquellos que nos han ayudado y animado en este empeño colectivo para seguir los rastros de uno de los grandes cineastas del Hollywood clásico. Este programa cuenta con la producción ejecutiva de nuestr@s mecenas, l@s grandes, l@s únicos Kamy, Lobo Columbus, Enfermera en Mordor, Xama, Javier Ramírez, David y José Percius. ¿Quieres ayudarnos a seguir mejorando y creciendo? Pues tienes varias opciones para ello. Dándole Me gusta o Like a este programa. Por supuesto estando suscrito para no perderte ninguno de los próximos episodios, y ya para rematar la faena, compartiendo el podcast con tus amigos en redes sociales y hablando a todo el que te cruce en la calle de nosotros…. Y todo esto encima, GRATIS!!! Y si ya nos quieres mucho, mucho, mucho y te sobra la pasta…. Puedes hacerlo económicamente de varias formas: Apoyo en iVoox: En el botón APOYAR de nuestro canal de iVoox y desde 1,49€ al mes: https://go.ivoox.com/sq/1355645?utm_source=embed_support_new&utm_medium=support&utm_campaign=new_embeds Invitándonos a una birra en Ko-Fi: por solo 2€ nos puedes apoyar en: https://ko-fi.com/criterioceropodcast Patreon: por sólo 3€ al mes en: https://patreon.com/CriterioCeroPodcast PayPal: mediante una donación a criterioceropodcast@gmail.com También nos podéis ayudar económicamente de forma indirecta si tenéis pensado suscribiros a las modalidades Premium o Plus de iVoox al hacerlo desde estos enlaces: Premium Anual: https://www.ivoox.vip/premium?affiliate-code=df7fcdce0de3ec559a4ec6985a364001 Premium Mensual: https://www.ivoox.vip/premium?affiliate-code=7b9e4ad7e2279c217770d022dba91599 iVoox Plus Mensual: https://www.ivoox.vip/plus?affiliate-code=758a7520886be57f1f8feb11510a2124 Con cada rupia que nos llegue sufragamos los costes del progama al mes, invertiremos en mejorar los equipos y por supuesto, nos daremos algún que otro capricho . Las recompensas por apoyarnos se explican en nuestro blog: https://criterioceropodcast.blogspot.com/2023/08/quieres-ayudar-criterio-cero-mejorar.html Y también puedes seguirnos en nuestras diferentes redes sociales: En Telegram en nuestro grupo: https://t.me/criteriocerogrupo En Facebook en nuestro grupo: https://www.facebook.com/groups/630098904718786 Y en la página: https://www.facebook.com/criterioceropodcast ✖️ En X (el difunto Twitter) como @criteriocero En Instagram como criterioceropodcast En TikTok como criteriocero ✉️ Para ponerte en contacto con nosotros al correo criterioceropodcast@gmail.com De paso aprovechamos para recomendaros podcasts que no debéis perderos: Hudson´s Podcast, Puede ser una charla más, Luces en el horizonte, La Catedral Atroz, La guarida del Sith, Crónicas de Nantucket, Más que cine de los 80, Fílmico, Tiempos de Videoclub, Sector Gaming , El Dátil de ET

“Mi nombre es John Ford y hago westerns”. Con esta mítica frase se presentaba el viejo Jack en el Sindicato de Directores de Estados Unidos. Sin pretensiones y directo. Al cumplirse cincuenta años de su muerte, los podcasts de @IniciativasPod homenajean al gran director estadounidense, repasando una amplia selección de las películas que hizo durante los más de cincuenta años que Ford dedicó al cine. Un pionero del cine mudo que avanzó por el sonoro, el blanco y negro y el color, hasta convertirse en un maestro, no solo del género del oeste, sino de todos los demás. Pasión de los fuertes, Las uvas de la ira, Centauros del desierto, Fort Apache, El hombre que mató a Liberty Valance… son solo algunas de las películas que todos los podcasts que forman parte de este proyecto repasan y homenajean, siempre con una mirada nostálgica y de admiración hacia su director. Súbete a la diligencia de @IniciativasPod y disfruta de todos los programas, con especiales dedicados y entrevistas a personalidades del mundo del cine, todo ello en la lista “DIRIGIDO POR JOHN FORD” de IniciativasPod. +QCine se une en este proyecto a El Café de Rick, Pinkerton Podcast, Universo enmascarado, Doble Sesión, Podcastwood, Just Live It, El Piscinazo, Tiempo de Culto, Sagas podcast, La Camarilla, Filosofipods, Café con Podcast, La Taberna del Irlandés, Policías Pelis, Los 3 Padrinos, Cine Desencadenado, Familia Asimétrica, Criterio Cero, Batseñales, El Último Refugio, Planeta Bob, La Muerte Tenía un Podcast, Destino Arrakis y Críticas sobre la marcha. Lista de reproducción con todos los podcasts de Dirigido por John Ford (de IniciativasPod) aquí: https://www.ivoox.com/dirigido-john-ford-de-iniciativaspod_bk_list_10663797_1.html Busca los hashtags #DirigidoPorJohnFord #DirigidoPor #JohnFord en redes sociales y escucha todos los podcasts de este proyecto en la lista de reproducción de iVoox: “Dirigido por John Ford”. X de IniciativasPod: @IniciativasPod Agradecimientos: ▪️ Organización: Miguel M. Benito de Pinkerton Podcast Tomás Rodero de LMTPodcast Pol Martín de El Último Refugio ▪️ Apartado visual y miniaturas: Pike Waltz, @PikeWaltz en X ▪️ Voces: Arancha San Ginés de Filosofipods Carmen de la Camarilla José Antonio Pérez de Doble Sesión y El Camarote de los Marx Gonzalo Cuélliga de Podcastwood y El Cine de Cherburgo ➖➖➖➖➖➖➖➖➖➖➖➖ También nuestro agradecimiento a todos aquellos que nos han ayudado y animado en este empeño colectivo para seguir los rastros de uno de los grandes cineastas del Hollywood clásico.

Bienvenidos a Podcastwood. El hogar de las estrellas, el podcast sobre los pilares del cine y donde solo las películas consideradas como obras maestras del séptimo arte son analizadas e invitadas a esta selecta hora de la podcastfera cinéfila española. 2️⃣✖0️⃣4️⃣ | LAS UVAS DE LA IRA Dirigida por John Ford, gionizada por Nunnally Johnson adaptando la novela homónima de John Steinbeck. Musicalizada por Alfred Newman y fotografiada por Gregg Toland. Las Uvas de la Ira es una producción de Darryl F. Zanuck para 20th Century Foxy está protagonizada por Henry Fonda , Jane Darwell, John Carradine, Charley Grapewin, Dorris Bowdon, Russell Simpson y O.Z. Whitehead. Las Uvas de la Ira nos narra la historia de Tom Joad (Henry Fonda) regresando a su hogar tras cumplir condena en prisión. Pero la ilusión de volver a ver a los suyos se transforma en frustración al ver cómo los expulsan de sus tierras. Para escapar al hambre y a la pobreza, la familia no tiene más remedio que emprender un larguísimo viaje lleno de penalidades con la esperanza de encontrar una oportunidad en California, la tierra prometida. ¿Sabías que está basada en una historia real?. ¿Conoces cómo fue la adaptación al cine?. ¿Qué sabes sobre su edición de sonido?. ¿Es una película antisistema? Camina junto a Fran Maestra y Gonzalo Cuélliga por El Paseo de la Fama escuchando este podcast de cine clásico que homenajea a Las Uvas de la Ira. SECCIONES ▪️ Contexto ▪️ Adaptación de la novela de John Steinbeck ▪️ Injusticia y deshumanización (psicología de la película) ▪️ El remake fallido de Spielberg ▪️ ¿Es impulsora del cine social? ➖➖➖➖➖➖➖➖➖➖➖➖ ⚠️ Este programa forma parte del evento: DIRIGIDO POR JOHN FORD (de IniciativasPod) “Mi nombre es John Ford y hago westerns”. Con esta mítica frase se presentaba el viejo Jack en el Sindicato de Directores de Estados Unidos. Sin pretensiones y directo. Al cumplirse cincuenta años de su muerte, los podcasts de @IniciativasPod homenajean al gran director estadounidense, repasando una amplia selección de las películas que hizo durante los más de cincuenta años que Ford dedicó al cine. Un pionero del cine mudo que avanzó por el sonoro, el blanco y negro y el color, hasta convertirse en un maestro, no solo del género del oeste, sino de todos los demás. Pasión de los fuertes, Las uvas de la ira, Centauros del desierto, Fort Apache, El hombre que mató a Liberty Valance… son solo algunas de las películas que todos los podcasts que forman parte de este proyecto repasan y homenajean, siempre con una mirada nostálgica y de admiración hacia su director. Súbete a la diligencia de @IniciativasPod y disfruta de todos los programas, con especiales dedicados y entrevistas a personalidades del mundo del cine, todo ello en la lista “DIRIGIDO POR JOHN FORD” de IniciativasPod. Podcastwood se une en este proyecto a El Café de Rick, Pinkerton Podcast, Universo enmascarado, Doble Sesión, Just Live It, El Piscinazo, Tiempo de Culto, Sagas podcast, La Camarilla, Filosofipods, +QCine, Policías Pelis, Café con Podcast, Críticas sobre la marcha, Los 3 Padrinos, Cine Desencadenado, Familia Asimétrica, Criterio Cero, Batseñales, El Último Refugio, Planeta Bob, La Muerte Tenía un Podcast, Destino Arrakis y La Taberna del Irlandés. Lista de reproducción con todos los podcasts de Dirigido por John Ford (de IniciativasPod) aquí: https://www.ivoox.com/dirigido-john-ford-de-iniciativaspod_bk_list_10663797_1.html Busca los hashtags #DirigidoPorJohnFord #DirigidoPor #JohnFord en redes sociales y escucha todos los podcasts de este proyecto en la lista de reproducción de iVoox: “Dirigido por John Ford”. X de IniciativasPod: @IniciativasPod Agradecimientos: ▪️ Organización: Miguel M. Benito de Pinkerton Podcast Tomás Rodero de LMTPodcast Pol Martín de El Último Refugio ▪️ Apartado visual y miniaturas: Pike Waltz, @PikeWaltz en X ▪️ Voces: Arancha San Ginés de Filosofipods Carmen de la Camarilla José Antonio Pérez de Doble Sesión y El Camarote de los Marx Gonzalo Cuélliga de Podcastwood y El Cine de Cherburgo ➖➖➖➖➖➖➖➖➖➖➖➖ También nuestro agradecimiento a todos aquellos que nos han ayudado y animado en este empeño colectivo para seguir los rastros de uno de los grandes cineastas del Hollywood clásico. ➖➖➖➖➖➖➖➖➖➖➖➖ LISTA DE PELÍCULAS CITADAS EN EL PROGRAMA: https://letterboxd.com/podcastwood/list/2x04-podcastwood-las-uvas-de-la-ira/ ➖➖➖➖➖➖➖➖➖➖➖➖ ⭐ ÚNETE AL PASEO DE LA FAMA DE PODCASTWOOD Si te gusta Podcastwood y quieres ayudarnos a seguir progresando con este proyecto convertirte en fan y parte de nuestra comunidad activando el botón "APOYAR" en ivoox. Con ello recibirás las siguientes ventajas: ▪️ Acceso al grupo privado de Telegram de Podcastwood ▪️ Acceso en ivoox a los programas exclusivos para fans ▪️ Capacidad para elegir contenidos para los programas exclusivos para fans ▪️ Enlaces privados para asistir a las grabaciones de los programas para fans ▪️ Críticas semanales de los estrenos de la semana en salas y/o servicios de streaming Comparte día a día tu pasión por el cine junto a nosotros y otros amigos cinéfilos enamorados del séptimo arte. Acomódate, ¡te estábamos esperando! ➖➖➖➖➖➖➖➖➖➖➖➖ SÍGUENOS EN TWITTER: @podcastwood @fran_maestra @gcuelliga INSTAGRAM: podcastwood BLOGGER: podcastwood.blogspot.com ✉ CONTACTANOS EN podcastwoodmail@gmail.com ➖➖➖➖➖➖➖➖➖➖➖➖ DISFRUTA DE LA BSO DE PODCASTWOOD EN SPOTIFY: https://open.spotify.com/playlist/2FYBsPmqMxvs9gtgrUtQ62 ➖➖➖➖➖➖➖➖➖➖➖➖ CREW ▪️Producción: Fran Maestra y Gonzalo Cuélliga ▪️ Redacción: Fran Maestra y Gonzalo Cuélliga ▪️ Sonido y grafismo: Fran Maestra ▪️ Entorno digital: Gonzalo Cuélliga ▪️ Conducción: Fran Maestra y Gonzalo Cuélliga ▪️ Locución: Marta Navas Podcastwood | 2023

“Mi nombre es John Ford y hago westerns”. Con esta mítica frase se presentaba el viejo Jack en el Sindicato de Directores de Estados Unidos. Sin pretensiones y directo. Al cumplirse cincuenta años de su muerte, los podcasts de @IniciativasPod homenajean al gran director estadounidense, repasando una amplia selección de las películas que hizo durante los más de cincuenta años que Ford dedicó al cine. Un pionero del cine mudo que avanzó por el sonoro, el blanco y negro y el color, hasta convertirse en un maestro, no solo del género del oeste, sino de todos los demás. Pasión de los fuertes, Las uvas de la ira, Centauros del desierto, Fort Apache, El hombre que mató a Liberty Valance… son solo algunas de las películas que todos los podcasts que forman parte de este proyecto repasan y homenajean, siempre con una mirada nostálgica y de admiración hacia su director. Súbete a la diligencia de @IniciativasPod y disfruta de todos los programas, con especiales dedicados y entrevistas a personalidades del mundo del cine, todo ello en la lista “DIRIGIDO POR JOHN FORD” de IniciativasPod. Críticas sobre la marcha se une en este proyecto a El Café de Rick, Pinkerton Podcast, Universo enmascarado, Doble Sesión, Podcastwood, Just Live It, El Piscinazo, Tiempo de Culto, Sagas podcast, La Camarilla, Filosofipods, Café con Podcast, +QCine, Policías Pelis, Los 3 Padrinos, Cine Desencadenado, Familia Asimétrica, Criterio Cero, Batseñales, El Último Refugio, Planeta Bob, La Muerte Tenía un Podcast, Destino Arrakis y La Taberna del Irlandés. Lista de reproducción con todos los podcasts de Dirigido por John Ford (de IniciativasPod) aquí: https://www.ivoox.com/dirigido-john-ford-de-iniciativaspod_bk_list_10663797_1.html Busca los hashtags #DirigidoPorJohnFord #DirigidoPor #JohnFord en redes sociales y escucha todos los podcasts de este proyecto en la lista de reproducción de iVoox: “Dirigido por John Ford”. X de IniciativasPod: @IniciativasPod Agradecimientos: ▪️ Organización: Miguel M. Benito de Pinkerton Podcast Tomás Rodero de LMTPodcast Pol Martín de El Último Refugio ▪️ Apartado visual y miniaturas: Pike Waltz, @PikeWaltz en X ▪️ Voces: Arancha San Ginés de Filosofipods Carmen de la Camarilla José Antonio Pérez de Doble Sesión y El Camarote de los Marx Gonzalo Cuélliga de Podcastwood y El Cine de Cherburgo ➖➖➖➖➖➖➖➖➖➖➖➖ También nuestro agradecimiento a todos aquellos que nos han ayudado y animado en este empeño colectivo para seguir los rastros de uno de los grandes cineastas del Hollywood clásico.

“Mi nombre es John Ford y hago westerns”. Con esta mítica frase se presentaba el viejo Jack en el Sindicato de Directores de Estados Unidos. Sin pretensiones y directo. Al cumplirse cincuenta años de su muerte, los podcasts de @IniciativasPod homenajean al gran director estadounidense, repasando una amplia selección de las películas que hizo durante los más de cincuenta años que Ford dedicó al cine. Un pionero del cine mudo que avanzó por el sonoro, el blanco y negro y el color, hasta convertirse en un maestro, no solo del género del oeste, sino de todos los demás. Pasión de los fuertes, Las uvas de la ira, Centauros del desierto, Fort Apache, El hombre que mató a Liberty Valance… son solo algunas de las películas que todos los podcasts que forman parte de este proyecto repasan y homenajean, siempre con una mirada nostálgica y de admiración hacia su director. Súbete a la diligencia de @IniciativasPod y disfruta de todos los programas, con especiales dedicados y entrevistas a personalidades del mundo del cine, todo ello en la lista “DIRIGIDO POR JOHN FORD” de IniciativasPod. Destino Arrakis se une en este proyecto a El Café de Rick, Pinkerton Podcast, Just Live It, Universo enmascarado, El Piscinazo, Doble Sesión, Podcastwood, Tiempo de Culto, SAGAS, La Camarilla, Filosofipods, Más que Cine, Policías Pelis, Café con Podcast, Críticas sobre la marcha, Los 3 Padrinos, Cine Desencadenado, Familia Asimétrica, Criterio Cero, Batseñales, El Último Refugio, Planeta Bob, La Muerte Tenía un Podcast y La Taberna del Irlandés. Lista de reproducción con todos los podcasts de Dirigido por John Ford (de IniciativasPod) aquí: https://www.ivoox.com/dirigido-john-ford-de-iniciativas-pod_bk_list_10663797_1.html Busca los hashtags #DirigidoPorJohnFord #DirigidoPor #JohnFord en redes sociales y escucha todos los podcasts de este proyecto en la lista de reproducción de iVoox: “Dirigido por John Ford”. X de IniciativasPod: @IniciativasPod Agradecimientos: Organización: Miguel M. Benito de Pinkerton Podcast Tomás Rodero de LMTPodcast Pol Martín de El Último Refugio Apartado visual y miniaturas: Pike Waltz, @PikeWaltz en X Vídeo promocional: Imanol De Frutos de Batseñales Voces para audios promocionales: Arancha San Ginés de Filosofipods Carmen de La Camarilla José Antonio Pérez de Doble Sesión y El Camarote de los Marx Gonzalo Cuélliga de Podcastwood y El Cine de Cherburgo También nuestro agradecimiento a todos aquellos que nos han ayudado y animado en este empeño colectivo para seguir los rastros de uno de los grandes cineastas del Hollywood clásico. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

“Mi nombre es John Ford y hago westerns”. Con esta mítica frase se presentaba el viejo Jack en el Sindicato de Directores de Estados Unidos. Sin pretensiones y directo. Al cumplirse cincuenta años de su muerte, los podcasts de @IniciativasPod homenajean al gran director estadounidense, repasando una amplia selección de las películas que hizo durante los más de cincuenta años que Ford dedicó al cine. Un pionero del cine mudo que avanzó por el sonoro, el blanco y negro y el color, hasta convertirse en un maestro, no solo del género del oeste, sino de todos los demás. Pasión de los fuertes, Las uvas de la ira, Centauros del desierto, Fort Apache, El hombre que mató a Liberty Valance… son solo algunas de las películas que todos los podcasts que forman parte de este proyecto repasan y homenajean, siempre con una mirada nostálgica y de admiración hacia su director. Súbete a la diligencia de @IniciativasPod y disfruta de todos los programas, con especiales dedicados y entrevistas a personalidades del mundo del cine, todo ello en la lista “DIRIGIDO POR JOHN FORD” de IniciativasPod. Podcastwood se une en este proyecto a El Café de Rick, Pinkerton Podcast, Just Live It, Universo enmascarado, El Piscinazo, Doble Sesión, Tiempo de Culto, SAGAS, La Camarilla, Filosofipods, Más que Cine, Policías Pelis, Café con Podcast, Críticas sobre la marcha, Los 3 Padrinos, Cine Desencadenado, Familia Asimétrica, Criterio Cero, Batseñales, El Último Refugio, Planeta Bob, La Muerte Tenía un Podcast, Destino Arrakis y La Taberna del Irlandés. Busca los hashtags #DirigidoPorJohnFord #DirigidoPor #JohnFord en redes sociales y escucha todos los podcasts de este proyecto en la lista de reproducción de iVoox: “Dirigido por John Ford”. X de IniciativasPod: @IniciativasPod Agradecimientos: ▪️ Organización: Miguel M. Benito de Pinkerton Podcast Tomás Rodero de LMTPodcast Pol Martín de El Último Refugio ▪️ Apartado visual y miniaturas: Pike Waltz, @PikeWaltz en X ▪️Vídeo promocional: Imanol De Frutos de Batseñales ▪️ Voces para audios promocionales: Arancha San Ginés de Filosofipods Carmen de La Camarilla José Antonio Pérez de Doble Sesión y El Camarote de los Marx Gonzalo Cuélliga de Podcastwood y El Cine de Cherburgo ➖➖➖➖➖➖➖➖➖➖➖➖ También nuestro agradecimiento a todos aquellos que nos han ayudado y animado en este empeño colectivo para seguir los rastros de uno de los grandes cineastas del Hollywood clásico.

Join our PATREON for bonus episodes.⁠  This week we have drummer of A City Safe From Sea and Achings, Justin Staller on to talk about the Team Dresch album Personal Best. We also talk about: where do you find the time?, everybody be moving to Roxborough, Fishtown is dead, Daniel Danger doesn't think we're brave enough, Golden Tea House, is Justin undercover,  “hat all the time” guy, knit hats with the visor, Achings, This is Fort Apache comp, Van Pelt, music that feels plucked from the brain, Restorations, Aspera Ad Astra, Personal Best drum sound, Evergreen State College, Andrew says Diary is backloaded and then realizes he knows Justin, and so much more.  ________ ⁠Order our Gatekeep Harder shirt here!⁠⁠ // Follow us at ⁠@danbassini⁠, ⁠@mysprocalledlife⁠, ⁠@bigedhurly, @achingsband and ⁠@runintotheground⁠.

Welcome back! We got a lot going on in this episode! From the new Farmer wants a wife show to the Fort Apache Batman! We hope you enjoy the episode and as always: THIS POTCAST IS MEANT TO BE ENJOYED UNDER HEAVY INFLUENCE OF THC!! ☁️

That Girl is actually the founder of "Girls Can Grill," Christie Vanover. Her longtime Vegas presence gets some big-time national exposure, as she's a contestant on the new season of Discovery's "Barbecue Brawl." Al and Gemini recorded this episode at Little Avalon, the coastal cuisine casual joint in Village Square, the shopping complex at West Sahara & Fort Apache. Also: Gemini shares her trips to Urth Caffe, Garagiste and and Carson Kitchen. Al gets us up to speed on more places at The Sundry, the new food hall in the southwest valley. In the news: The Summer of Sangria arrives at Jaleo and yet another honor for Pizza Rock's Tony Gemignani. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Fort Apache starring John Wayne. This radio dramatization of the film aired on August 5, 1949.

Since it is Holy week--the most important week on the Christian Calendar--todays episode and Thursday's episode will be a cross between a MOJO minute and a Catholic Corner.Our guide and author for today will again be Fr. Mark-Mary Ames and his wonderful little book, Habits for Holiness: Small Steps for Making Big Spiritual Progress.Key Points from the Episode:The Spiritual war all around us has indeed "leveled up" in the last five to seven years.Fort Apache in the South Bronx is where the Friars elected to setup shopThe art of listening vs hearingOther resources:  1981 Movie--Fort Apache the Bronx Movie (thank you Youtube)More goodnessGet our top book recommendations listWant to leave a review? Click here, and if we earned a five-star review from you **high five and knuckle bumps**, we appreciate it greatly, thank you so much!Because we care what you think about what we think and our website, please email David@teammojoacademy.com, or if you want to leave us a quick FREE, painless voicemail, we would appreciate that as well.Be sure to check out our very affordable Academy Review membership program at http:www.teammojoacademy.com/support

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

Se celebra esta semana en Buenos Aires la cumbre de la Comunidad de Estados Latinoamericanos y Caribeños, más conocida como Celac. Esta organización, fundada hace trece años, estaba muy alicaída, entre otras cosas porque en 2020 el entonces presidente de Brasil, Jair Bolsonaro, comunicó a sus socios que suspendía su participación. Con la salida de Bolsonaro y la llegada a la presidencia de Luiz Inácio Lula da Silva, Brasil vuelve a escena con ambiciosos planes entre los que se encuentran relanzar la Celac y Unasur, y practicar un acercamiento hacia los Gobiernos de Cuba y Venezuela. Esto no sienta bien a la oposición brasileña, tampoco a la argentina, que ha protestado agriamente por la presencia del presidente de Cuba, Miguel Díaz-Canel, en Buenos Aires para asistir a la cumbre. El que no ha acudido es Nicolás Maduro, tampoco lo ha hecho Andrés Manuel López Obrador, a quien no le gusta nada viajar al exterior, ni el nicaragüense Daniel Ortega. Muchos creen que Maduro no ha viajado hasta Buenos Aires porque teme que la DEA le arreste y se lo lleve preso a Estados Unidos. Se trata tan sólo de un rumor, pero lo cierto es que Maduro lleva ya varios años restringiendo sus viajes al extranjero y, cuando los hace, es siempre a países amigos donde los tentáculos de la DEA no llegan. Lo más esperado de esta cumbre, aparte de la revitalización misma de la organización, es el relanzamiento de las relaciones entre Brasil y Argentina, que tienen ahora dos Gobiernos muy afines ideológicamente con grandes planes para poner en marcha. Los de Lula pasan por normalizar las relaciones con Caracas, que prácticamente desaparecieron durante los años de Bolsonaro. A este empeño contribuye decisivamente el Gobierno argentino de Alberto Fernández, cuyas relaciones con el régimen bolivariano son inmejorables. Entretanto Lula y Fernández sostuvieron un largo encuentro en el que anunciaron varios acuerdos en el sector de la energía como la construcción de un gasoducto que lleve gas natural desde el sur de Argentina hasta Brasil. Junto a eso mostraron su interés en crear una divisa común a la que quieren llamar “sur” y que serviría para integrar más ambas economías. La intención de Lula es que Brasil y Argentina eviten el dólar en el comercio entre ambos países. Brasil es actualmente el principal socio comercial de Argentina. El comercio bilateral entre ambos países en 2022 ascendió a los 26.419 millones de dólares. No es la primera vez que se propone algo así. En 2008 se intentó algo parecido en el marco del Mercosur, pero no funcionó. Hace unos años, en 2019, idéntica idea fue rechazada de plano por el Banco Central de Brasil. No es para menos si echamos un vistazo a la evolución del peso argentino y del real brasileño. El primero es una moneda machacada por una inflación persistente, el segundo se encuentra en mucha mejor forma, aunque se ha depreciado sensiblemente en los últimos tres años frente al dólar y el euro. De cualquier modo, la inflación en Brasil es muy inferior a la de Argentina. El año pasado no llegó al 6% frente al 95% de Argentina. Por lo demás, la integración económica entre Brasil y Argentina es muy pequeña. No existe libre circulación de bienes, servicios y capitales, el marco regulatorio es muy distinto y la legislación fiscal y laboral difiere sustancialmente. El “sur” tendría por lo tanto un largo camino por delante en dos países caracterizados por sus vaivenes políticos. En La ContraRéplica: - Tanques para Ucrania - La prohibición de las armas nucleares - La Tuerka, Fort Apache y Podemos · Canal de Telegram: https://t.me/lacontracronica · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #argentina #brasil Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

This week, the guys analyze the film classic Ford Apache. They're joined by Hillsdale College's Professor Adam Carrington, who has written about the film. The group talk about the portrayal of Native Americans, the hubirs of an aristocratic mindset, and more!

Join us for this controversial film that has one of Paul Newman's best performances since the mid-1970s.

This week, we are discussing a classic American genre: the western! 1:54 - What is a western? 13:22 - Ryan's experience with westerns 21:12 - Fort Apache 34:25 - Are westerns inherently problematic as a genre? 42:50 - A Bullet for the General 56:43 - Where did the westerns go? 1:06:31 - Yellowstone

"The New York Sound of Latin Music" demonstrates how the metropolis transformed the music. Guest Ben Lapidus, author of New York and the International Sound of Latin Music 1940-1990, talks to Georges Collinet and Ned Sublette about how innovations in rhythm and instrument design joined with folklore, jazz, New York's education system, and urban multiculturalism to make a new, world-changing music. We'll hear Eddie Palmieri, Sonny Bravo, Larry Harlow, Jerry González and Fort Apache, Eydie Gormé, and many more. APWW #845 Originally produced in 2021 by Ned Sublette

On we have some good ones this week. We head to Hogwerts and review the audiobook Harry Potter and the Sorcerer's Stone. Then we take a mystical trip to Fort Rock Cave and follow a ghost procession. Our featured  story stars John Wayne and his defense of  Fort Apache. I have even managed to put together an OTR commercial montage for you. All you have to do is press that play button and Enjoy. Featured Story - Fort Apache Our featured story comes from the classic radio series Screen Directors Playhouse. The story is called  Fort Apache starring the great John Wayne. This story was the first of director John Ford's Cavalry Trilogy and was followed by She Wore a Yellow Ribbon in 1949, and Rio Grande in 1950. When arrogant and stubborn Civil War hero Lieutenant Colonel Owen Thursday arrives in Arizona with his daughter to assume command of the Fort Apache outpost, he clashes with level-headed Captain Kirby York (John Wayne). Fort Apache first aired on August 5, 1949. Other Stories Include - Snap judgment, The Sorcerer's Stone, Fort Rock Cave, Fort Apache, and OTR Commercials.   Ron's Amazing Stories Sponsored by: Audible - You can get a free audiobook and a 30 day free trial at   and - Good Treats for your dog to eat. Social Links:Contact Links:

2,000 arrests. 100 off-duty arrests. 6,000 assists. 15 shootings. 8 shot. 4 kills. These are not the performance statistics of an entire NYPD unit. They are the record that makes Detective 2nd Grade Ralph Friedman a legend. Friedman was arguably the toughest cop ever to wear the shield and was the most decorated detective in the NYPD's 170-year history. Stationed at the South Bronx's notorious 41 Precinct, known by its nickname “Fort Apache,” Friedman served during one of the city's most dire times: the 1970s and ‘80s, when fiscal crisis, political disillusionment, an out-of-control welfare system, and surging crime and drug use were just a few of its problems.

At Fort Apache, an honorable and veteran war captain finds conflict when his regime is placed under the command of a young, glory hungry lieutenant colonel with no respect for the local Indian tribe. Original Air Date: August 05, 1949 Host: Andrew Rhynes Show: Western Stories Phone: (707) 98 OTRDW (6-8739)   Stars: • John […]

If you like this episode, check out https://otrpodcasts.com for even more classic radio shows! Learn more about your ad choices. Visit megaphone.fm/adchoices