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Today on the show, Paul and Ben talk about Top Secret, Disney Frozen, flat earthers, NASA photos, theater etiquette, weird foods, Widow's Bay, precocious kids, The French Connection location, Dropout, AI slop, running for trains, when we were in the best shape of our life, and reviews we received.

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Send us Fan MailA movie with a great pedigree. Directed by Bill Friedkin who gave us 'The French Connection' action is coordinated by one of the very best stuntmen in the business BUDDY JOE HOOKER....everyone remembers the classic freeway sequence....let's take a look...enjoySupport the showIf you've enjoyed this episode then why not follow us on Twitter, Instagram and Facebook using the following linkhttps://linktr.ee/behindthestunts

In this episode of Gangland Wire, retired Kansas City Police Intelligence Unit detective Gary Jenkins sits down with author Frank Hayde to explore his latest book, Hoffa's Connection. Hayde, a Kansas City native and noted mob historian, brings forward a largely overlooked figure in organized crime history—Sylvia Pagano. The conversation centers on Pagano's rise from Kansas City to Detroit, where she operated at the intersection of organized crime and labor unions under Jimmy Hoffa. Known for her effectiveness as a union organizer, Pagano infiltrated workplaces, signed up members, and quietly maintained ties to powerful mob figures. Her ability to navigate both worlds made her a key behind-the-scenes operator during a volatile era in American labor history. Hayde details Pagano's role in helping broker alliances between the Mafia and the Teamsters during a turbulent strike, marking a turning point in the relationship between organized crime and labor. Drawing from FBI wiretaps, he reveals candid conversations that shed light on her relationships with influential mob leaders like Tony Giacalone and Moe Dalitz, emphasizing her strategic importance across multiple crime families. The episode also explores the life of Chucky O’Brien, who grew up surrounded by Hoffa and organized crime figures. Through Hayde's research and interviews, listeners gain insight into the generational impact of mob ties, as well as the strict code of silence that governed both mother and son. Beyond individual stories, the discussion expands to the broader national network connecting crime families and labor unions. Pagano's reach extended well beyond regional boundaries, illustrating how organized crime leveraged union influence across the country. This episode offers a fresh perspective on the enduring mystery surrounding Hoffa's disappearance by examining the deeper historical context—and the overlooked players like Sylvia Pagano who helped shape it. It's a detailed look at power, loyalty, and survival within the American Mafia. The book is Hoffa’s Connections:The Story of Sylvia Pagano: the Kansas City Girl at the Center of the Mafia’s Alliance with the Teamsters Union  xxx [0:00] Hey, all you wiretappers out there, good to be back here in the studio of Gangland [0:03] Wire. This is Gary Jenkins. I’m a retired Kansas City Police Intelligence Unit detective, later sergeant. I have this podcast, Gangland Wire. I’ve got a website. If you want to go check my website out, I’ve got a few things for sale on there. And you can go rent the documentaries I’ve done about the Kansas City mob on Amazon. Just search my name. I’m all over the internet. Just search my name and mafia and you’ll find more you ever wanted to know about me and the mob and what I’ve done. And today I have a really a former Kansas City boy, a Kansas City native who has done several books on the mob, particularly the Kansas City mob. And he’s got a most recent one that I find just really fascinating. It’s a little known story that will help shed the light on Jimmy Hoffa, a little bit more light than most of you ever knew. There’s some questions that I had myself that’s not really in the in the popular culture about Jimmy Hoffa. It’s Frank Hayde. Welcome, Frank. Thanks, Gary. Great to be with you again. All right, Frank. We’ve done Mafia Dreams and Mafia and the Machine. So tell the guys a little bit about yourself and your books. [1:13] I grew up in Kansas City. My family stretches way back in Kansas City, and they were involved in the political machine under Pendergast, and so I heard a lot of stories about those days growing up. Later in my career with the National Park Service, I worked a short stint at the Harry Truman National Historic Site, where I learned more about local history, more about the political machine and the mob in Kansas City. So that’s where my interest started. [1:39] And then many years later, I wrote The Mafia and the Machine, and then followed that up with some of these other books, including this most recent one, Hoffa’s Connection, the story of Sylvia Pagano, the Kansas City girl at the center of the Mafia’s alliance with the Teamsters. You know, that’s the mouthful, I know. You know how it is with the subtitle. You can try to get the, summarize the entire book in your subtitle. So, that’s what that is. Yeah. When you look up a book or you see it online or whatever, you want to know quickly what it’s about. So I see that title, Hoffa. Oh, that’s interesting. I thought everything was done about Hoffa. Then you got this subtitle in here and you say, oh, that’s interesting. I didn’t know about this. And I didn’t myself, this Sylvia Pagano. And the story starts in Kansas City. It’s a fascinating story, guys. I want to tell you, it is a fascinating story. [2:31] But before we get started, Frank was a park ranger, a law enforcement park ranger for the National Park Service for 20 years. And he has a really interesting mob interaction when he was in, I believe you run a temporary assignment out in California. Tell the guys about your mafia interaction as a law enforcement officer. [2:53] Yeah. So I was actually at the park service 32 years. 20 of those were law enforcement and just retired. But in the summer of 2024, I got to go out to Redwood National Park on what we call a detail, which is a temporary assignment. They were shorthanded and needed a little extra help. And I knew the place pretty well because I had worked there earlier in my career. So I went out there and it’s a beautiful place. And I was on patrol and I came upon a campsite and there was some violations going on. Nothing major, just the typical stuff that we see as park rangers. And I contacted the occupants of this campsite and I got their licenses and I was back in my vehicle running the licenses. There was a male and a female and the female, I noticed it was a New York license and Brooklyn address and last name is Scarpa. I said, no, that can’t be. That’d be too much of a coincidence. And ran the information, recontacted the subject. And I asked the female, I said, by any chance, are you related to Greg Scarpa? She said, oh, yeah, that was my grandfather. And Greg Jr. was my father. [4:02] And I guess I had to laugh. And by then, I had already written a ticket or two, I think, for just petty offenses. And so I handed her ticket and then asked her if she’d take a picture with me. But she was real nice. She understood that people don’t mind, and she was great. She took a picture with me, and she was more than happy to talk about her father and her grandfather. And it was all very interesting and just quite the coincidence. Yeah, really. That was quite a coincidence. Not only the main coincidence was that you knew her. And then a lot of people might know the name. You really knew the name. Yeah, no. And you had this whole interest in it to talk about. Yeah, I can tell you that 99% of park rangers, you have no idea. Now, if you’re a Brooklyn cop, that’s different. But I was probably the only park ranger alive that would have made that connection because of my interest in the topic. I’ve been trying to get Greg Scarlett Jr. to come on. He’s made some intimations to somebody else. He followed my Facebook group, and I followed his. And so I don’t know. I reached out indirectly. I don’t know exactly how to get a hold of him. Maybe I’ll package this little story up and I’ll send that to him. Maybe that’ll get him to come on the show. Except you wrote the tickets, damn it. That’s the problem. I hope he won’t come after me to write in his daughter’s tickets. Yeah. [5:25] All right, Frank. So let’s go in this most recent book, Hoffa’s Connection. How did you, Sylvia Pagano, how did you even get onto that name other than, did you start, she’s Chucky O’Brien’s mother, who most guys know if you’re really into Hoffa at all, or even on the little bit, Chucky O’Brien was, everybody thought he was like his illegitimate son a lot of times or his surrogate son. And he was really close to Hoffa and drove him around. I was going through your book. He was a guy that Hoffa could send around to other mob people because he was half Italian himself and both sides trusted him to carry messages and do meetings and things like that. So how did you get onto this originally? So I got a call from Jack Goldsmith, who’s a very interesting man because he is the learned hand professor of law at Harvard University, senior fellow at the Hoover Institution, former assistant attorney general under President Bush. But for me, the most interesting thing about him was that he is Chucky O’Brien’s stepson. [6:29] And he was working on his book, Inhofe’s Shadow, when he contacted me. It’s a great book. I would recommend it to all the wiretappers. But it’s about Chucky. And he wanted to know if I had come across any information on Chucky O’Brien in my research for the Mafia and the Machine, because Chucky was from Kansas City. I said, what? Chucky O’Brien was from Kansas City? Because I knew all about Chucky O’Brien, but I had no idea he was from Kansas City. So that shocked me. And I don’t think very few people knew that. His Kansas City roots were scarcely known. Everybody just thought of Chucky as a Detroit guy. But when I finally read Goldsmith’s book, it’s about Chucky, but he touches on Sylvia. And I found what he wrote about Sylvia to be completely fascinating, especially because she was Kansas City. And so I thought, shoot, she’s in my wheelhouse. I thought, wow, she would make a great subject for a book. But I balked at it because she was so secretive that she left hardly anything information, hardly any documents exist about Sylvia. It’s just she wasn’t like the men that she associated with who were so extensively documented. There was just very little known about her, not even very many photographs in existence. [7:44] But fortunately, I got together with Pat Faisal in Kansas City. He’s a terrific researcher. You’ve worked with him a lot, Gary. You’ve had him on your show, I think. I think he’s written a couple of really important books on local history, and he had come across her independently of me, and through his own research, he had stumbled on just a brief mention or two of Sylvia Pagano in various FBI documents. [8:09] And so we decided to put our heads together, and Pat helped me with the research, did the lion’s share of the research, fed it to me, and then I would write the story. And that’s how it came together. [8:21] Interesting. And Frank, one of the coolest things, the research that Pat found was those wiretaps or bugs that the illegal bugs the FBI had in her house. And so they got a lot of really great conversations and they’re all transcribed and out there for somebody to find. So to me, that was fascinating. [8:45] Yes, that was probably our best source are these transcripts from the illegal microphones that the FBI placed in homes and businesses of organized crime associates all over the country back in the 60s. Got some great information from those. Sylvia talking freely in her apartment. Candidly, because she doesn’t know anybody’s list. And they had him in Tony Giacalone’s home juice company in Detroit also. And Sylvia was often a topic of conversation over there as well. By the way, Tony Giacalone was Sylvia’s paramour for many years. They had a long affair. People who think that Sylvia had an affair with Hoffa that produced Chucky O’Brien, [9:28] And that is not accurate. Chucky, we know who Chucky’s father was. He was a criminal out of St. Louis from the time he was a boy and went to prison when he was a young guy, was recruited from prison to come to Kansas City and work as a driver, for none other than Charlie Banagio. And so that put him right at the center of the action. [9:53] And Sylvia, having married the young man that put her right, she was already at the center of the action because she knew all the movers and shakers in the North End at that time already from the time she was a girl. But they became very much a part of Banagio’s network. And this was one fact that really blew me away that I didn’t know. And I don’t think you know it or Owsley or O’Malley or really anybody in Kansas City that Charlie Banagio was Chuckie O’Brien’s godfather. Yeah, I didn’t know that. Yeah. That is interesting. So Sylvia Pagano, she lives down there in the North End, what we call the North End folks, which is our little Italy. There’s a big church that anchors that neighborhood. And that’s where all the people came from Southern Italy and Sicily, moved into Kansas City and were associated with the church down there. After them, the Vietnamese came in and the church sponsored a lot of the Vietnamese and settled in that same neighborhood as it became a shifting neighborhood. So she’s down over there in Little Italy or the North End. And she meets a guy named Michael. Was it Three Fingers? [11:03] Oh, yeah. Frankie. Frankie Three Fingers. Coppola. Coppola, yeah. So tell us about that relationship. Yeah, that’s really interesting because Frankie Three Fingers… Hasn’t really been chronicled much as part of the Kansas City family. Because he was a roving guy, he had a lot of clout in both Italy and the U.S., and he had memberships in multiple families, and he was a high-ranking status too. So wherever he went, whether it was Detroit, Chicago, Los Angeles, St. Louis, New York, New Orleans, he was all over the place, and he was well-respected wherever he went. But he was in Kansas City for quite a long time. He was strongly associated with Padagio. And it appears from all the evidence, as well as testimony from organized crime experts in Detroit, that Frankie Three Fingers escorted Sylvia to Detroit after her marriage with Charles O’Brien ended in about 1941 in Kansas City. [12:13] So Sylvia arrives in Detroit on the arm of Frank Coppola, and that put her on the fast track to getting to know the upper echelon of the Detroit family and mobsters, top mobsters beyond Detroit. Coppola was associated with Costello in his slot machine racket down in New Orleans. [12:36] And later, after he got deported back to Italy, He worked with Lucky Luciano to put together the whole narcotics syndicate network that included the French Connection. So tremendously influential as a mobster. Sylvia could really not have picked a more influential and well-connected guy as a boyfriend. That really put her on the fast track to getting to know a lot of the most powerful guys in the country. Really interesting guy. Frank Copeland. I’ll just say it and maybe someone else can run with it. I don’t know if it’ll be me or not, but he would make a great subject for a book. Yeah, he’s not very well known. And the mob used to have this guy, Nikolai Gentile. He traveled around to different families and brokered different deals. I think back before communication was so fast and you didn’t fly from one city to the other, you had to take a train. That’s a whole day on the train to get one city to the other. Telephone communication wasn’t that good. You didn’t hardly make long distance phone calls back there in the 20s and 30s. I don’t think they were hard. So you have guys like this that then travel around and take messages that are trusted by the different cities. And so he had to be one of those guys. [13:52] You’re exactly right. In fact, he knew Nicola Gentile. [13:58] Gentile is also, I speak about him in this book also. He plays a role, a pretty important one, and he describes some events that are really fascinating. This story actually doesn’t begin in Kansas City. It begins in Pueblo, Colorado. There’s three geographic areas that are really emphasized in this story. Pueblo, Colorado, Kansas City, and Detroit. But Nicola Gentili and Frank Coppola knew each other in the United States, and they knew each other in Italy. And you’re exactly right, they had a similar role as traveling diplomats within the mafia. Very interesting. Not too many other guys, especially later on. They had Johnny Roselli, who was really well-traveled, and some others. But in those early days, a couple of these guys, Coppola, Gentile, I don’t know if there was any others or not, but that was what they did. They were all over the place, and they were so well-connected, and they really had memberships in multiple families. And that seems to have faded away later. You didn’t hear too much about guys that had more than one member. So occasionally somebody would switch families, but yeah, they were really interesting, [15:11] real, what you would call international mystery men, I think. Interesting. So she had an affair with him, and he brought her up to Detroit and started making connections in Detroit, if I remember the story right, with the Jackalones. And so what. [15:27] Take us on from there. How does she then move in with Hoffa? And she’s like in the middle between the Peckerwood truck drivers and the Italian mob, which they both needed each other and they worked well together for a long time. So how does she end up in the center of that? Yeah, she’s still quite young when she gets to Detroit. She’s just early 20s, maybe mid 20s at that point. But and here she is she’s immediately meeting all of the wise guys but she was still she needed a job she needed work i’m sure coppola helped her out to some extent but he had his own wife he had his own he probably had another mistress or two as well i mean she needed to make a she needed to make a living and raise her son chucky and um she got a job with the teamsters at that time in In Detroit, unions were strong. There was a lot of unions, and it was the capital of industrial unionism at that time. And so that just became a natural choice. She ended up meeting Burke Brennan initially, actually, even before Hoffa. Brennan was Hoffa’s right-hand guy. [16:36] And he gave her a job with the Teamsters as a salter. She was an organizer, and a good one, and a legit organizer. But her specialty was salting. Now, what’s that? So she was a union representative, and she would get a job in a factory or a warehouse, just an ordinary job. And she would go to work, just like everybody else, punch the clock. But while she was there, her real objective was signing other people up to join the union. So she’s like a secret agent in a way, buried into the normal workforce, but with a real different agenda. And she was real good at it. And the union guys noticed that she worked really hard and she was loyal and that she would keep her mouth shut. And so those were the same qualities that the mob guys admired. So this was at the time, though, and this is very important, when most of the unions and the mob were still at odds with each other. Back then, the gangsters were getting hired by companies to break strikes and to oppose unions. [17:47] And there was a particularly bad strike going on. It lasted a long time. The Teamsters were striking the Detroit Lumber Company. This was at about 42. And it was violent. And Hoffa could see the writing on the wall that the Teamsters were losing the battle. It went on and on. It was violent. And that’s where Sylvia Pagano stepped in. Burt Brennan told Jimmy Hoffa he should talk to Facci. Facci was Italian for face. And that was Sylvia’s nickname that she got when she was young back in Kansas City. Had a very pretty face. And so they called her the face. So Hoffa talked to Fauci and she set up a basically like a summit meeting peace conference, more or less. And they brokered a deal where the mob switched sides and became allies with the Teamsters against the Detroit Lumber Company. So that was really the moment that changed history, brought the mafia into the Teamsters orbit and vice versa. And that’s all traceable right back to Sylvia Pagano. [18:55] Wow. That’s interesting. I always wondered what the genesis of that was with Hoffa and the mob. And of course, we can see how it developed, but what that actual birth of that was. I think you’ve stumbled across the birth of it. You also… [19:11] We’re able to stumble across the birth of the Eastern families and New York families connection to Hoffa, which that that gets even bigger. Tell us a little bit about that. She was involved in that, believe it or not, guys. And just like in Detroit, back in New York, there’s Johnny Dio. He was busting up labor union strikes for the companies. Yeah, I think that to some degree in New York, New Jersey, that some Teamsters locals had already been infiltrated by the mafia independently and maybe unbeknownst to Hoffa in Detroit. But it really became a big thing with Hoffa and with Sylvia’s brokering that alliance. Little isolated examples of mob infiltration, I think, were already happening in Detroit. But once again, as Hoffa’s progressing in his career, moving up the ranks, he always had his eye on the top job. He wanted to be the president of the IBT. And of course, he knew he needed help in the Northeast for that, to realize that goal. And so with Sylvia helped set up meetings with Tony Ducks Corral Johnny Diagordi Tony Provenzano and Sylvia had gotten to know Provenzano in Detroit because he had strong connections to Detroit let’s see his cousin was married to. [20:39] Tony Giacalone’s cousin was married to Tony Pro, I believe, or vice versa. That’s your book. Yeah. I’d have to go back and read my own book. Yeah, it’s hard to keep up. Hard to remember all the details. All these players. Giacalone’s cousin was married to Provenzano. And so Sylvia had already met Provenzano in Detroit. And Chucky, her son, had already started calling him Uncle Tony. And so she had this great connection to Provenzano. And so she helped facilitate the Teamsters Mob Alliance in New York and New Jersey, just as she had in Detroit. And then it goes on from there. Then she later, we’re moving forward now, but she would later become the link between Hoffa and his closest contact in Cleveland, which was Moe Daylitz. She became the link between Hoffa and Alan Dorfman in Chicago. And she became the link between Hoffa and the Sevilla brothers in Kansas City. So she really was, and this is all, they taught, there’s a, from those FBI tapes, those illegal FBI tapes, we have Tony Zarelli and Nick Sevilla in Florida speaking about Sylvia Pagano and her relationship as a liaison between the Detroit family and between the Kansas City family. Like, there’s your proof right there. Not that you need it. She was really… [22:09] The guys, a lot of them really liked, adored her in the sense of she did have an affair with a couple of them, and she was a good-looking woman. A lot of them had, Moe Dalitz was known to have a crush on Sylvia, possibly an affair with Sylvia. But she was more than your mob mole, right? She was a dealmaker. She was an advisor. She was a liaison. She brought money to the table. She did deals with the guys. She helped broker some pension fund loans, all these things. So what I like to say about Sylvia is that we all know that the mob never inducted women into their ranks. But if they had, Sylvia Pagana would have been their first choice because she worked hard. She was loyal. [22:56] She kept her mouth shut. And she really lived truer to the code than some of the men did. She was 100% omerta. She really was. and she learned that in the north end of Kansas City, where Umerta was extremely strong even up into this century after it wasn’t so strong in other places and so she passed that on to Chucky O’Brien. He was also a real strong adherent to the code of silence. Yeah, I think we have to remember Chucky O’Brien was half Italian. His father was Italian. No. [23:33] So his mother, Sylvia, was the Italian. Mother, Sylvia, yeah. Yeah, his dad was Irish. Yeah, I got that mixed up. Exactly, asked backwards. But yeah, he was half Italian. And so he really talked the talk, and he moved right in. All these guys were like his uncle, Uncle Nick, Uncle Quirk, and that kind of thing. So he came back to Kansas City. Tell a little bit about Chuckie O’Brien and Kansas City. Yeah, so in 1950, he’d been in Detroit for about nine years by that point. 1950, he’s getting into high school age, and Sylvia sent him back to Kansas City to live on Independence Avenue with his grandparents, and he went to Cardinal Glennon High School. [24:13] And became a good athlete, started dating a gal from the old neighborhood who was a lot like Sylvia. I think that’s really interesting because Chucky really idolized his mother, but he never really, when he was young at least, got to spend as much time with her as he wanted. He spent a lot of time back in Kansas City. He spent a lot of time at his uncle’s house in Detroit because Sylvia was so busy with Hoffa and with the mob. So here’s Chucky in Kansas City. He meets a gal from Sylvia’s old neighborhood who has other things in common with Sylvia and who even looks, in my opinion, quite a lot like Sylvia. And he would eventually take her back to Detroit and marry her and have a family together. But his main objective, it really in Kansas City wasn’t so much going to school. It was becoming a truck driver. He wanted to become a truck driver so that he could put himself on the path to becoming a union organizer like his hero and surrogate father, Jimmy Hoffa. And according to Chucky, Uncle Nick and Uncle Cork got him his first job as a driver and got him his first union card with local 541. [25:23] And this was right at the time when Local 541 was becoming ground zero for labor strife and union corruption in the United States. And Gary, you said a key word earlier, which was Peckerwood. And that’s who was running the Kansas City Teamsters at the time. It was dominated by Peckerwood guys, country boys, basically, and like Hoffa. And these guys were just as bad as the Italian gangsters who were more famous. They ran those locals with intimidation and terror, and they were violent, and they were very ambitious. They had political power. [26:08] Make a long story short, in 1953 in Kansas City, we had an inter-union labor war. And it was the Teamsters versus almost every other union in town. And Teamsters were trying to dominate a lot of these other unions is what it was. And so you had a complete paralysis of the entire construction industry for three months. Imagine just all construction stopping for three months in any metro area and how devastating that is to the economy. 23,000 Kansas Citians were out of work. The Teamsters were refusing to pick up or deliver supplies. And that eventually morphed into violence and sabotage. You had guys going into battle at construction sites. People were getting badly injured. People were getting kidnapped. It was, and then furthermore, we had four military defense projects centered in the Kansas City area, and this is right at the height of the Korean War. So these military installations were suffering work stoppages also. So this was unacceptable in Washington. And Congress swooped in with hearings and an investigation. [27:17] And they called this, basically, it was, I think the exact language was something like the most forbidding chapter in the history of American unions, something like that. It was a big deal. This history has been mostly forgotten. But Kansas City was [27:32] completely paralyzed for about three months. And that was the union that was the local mainly primarily local 541 which chucky was a young member of he was too young at that time to get drawn into the politics of the union i don’t believe that he was on the front lines of these these battles and violence that was happening he was just a brand new truck driver at the time but he was part of that in the sense that he was a local a member of the local at the time this stuff was happening so yeah that’s that’s what happened when Chucky came back to Kansas City. [28:07] Interesting. And that must have been the time when Roy Williams started moving up the ladder and the mob was moving in and they moved this auto ring and some of his people out. And Roy Lee Williams must have, with the support of Nick Civella and the local mob, must have moved right on in. Yeah, that’s exactly what happened. The main guy behind all the strife and violence I was just talking about was Orville Ring, classic quintessential Peckerwood guy and then after all this happened Hoffa swooped in and helped negotiate an end to these conflicts in 1953 and, And Nick Civella and his crime family, they were all watching all this from the wings, planning and scheming. Wow, there’s a lot going on here. How can we capitalize on this? [28:50] So in the aftermath of it all, the Savellas basically intimidated Orville Ring out of the Union. He went back to his farm. Later, he was killed in an accident on his farm, which a lot of people thought was the mob, that the mob did it. But it looked probably just an accident. And I think a tractor rolled over on him or something like that. But yeah, Roy Williams. So at this time, just basically the Italians were taken over from the Peckerwoods. There were still some useful Peckerwoods, and they worked together. And Roy Williams was the key guy there. This is when Nick Civella and he started working together to take over the Teamsters in Kansas City. You’re exactly right. And the rest is history. Really? really. Roy Williams is an interesting guy. He was a war hero from World War II. He had several bronze stars and he was a huge war hero, but he knew which side of the bread got the butter. And so he went with that and he went with Nick Civella. And he did, he bucked up to him a few times, but Nick Civella, actually in a famous scene, Nick Civella had him picked up and driven somewhere and shined a bright light in his eyes and said, you will go along with this scheme. [30:05] So it’s, but he kept going along to almost, he almost, he did become the president of the union for a short period of time, almost right there at the end of his life and when everybody was going to jail. But he was Nick Civella’s protege and Nick Civella’s puppet for his whole life and the whole Teamsters union was. [30:24] Yeah and that story you mentioned with the white spotlight shining in his eyes they kidnapped him and took him into this empty warehouse and i always point to that as just one of those. [30:34] Terrifying stories about how the mob used to work and yeah man and that wasn’t the only time that they intimidated roy williams in that manner so he like you said he was this tough guy war hero He was a big guy, and yet even a guy like that can get intimidated into doing whatever these guys tell him to do because his tactics that they used were just terrifying. Yeah. I read one thing where he later on, he claimed when he turned and gave evidence and talked to the Bureau that he claimed that they also threatened his wife and children during one of these sit downs with him. I mean, they did the same thing to Alan Glick out in Las Vegas. Tuffy DeLuna was out there, and he read off Alan Glick’s name of his wife and his children. He said, you may find yourself expendable, but I don’t think you’re going to find your family expendable and read off their names. So there’s two good examples of them. Say that Bob never messes with your family. There’s two good examples of them using the family and family as threats. Yeah. [31:40] It’s very tough. Yeah, it is. I heard knowing Mo Dalitz, to me, that was key because he was such a mover and an operator. Talk a little more about that. He had been in Cleveland. He had to set her up with Bill Presser. And that was primarily Jewish mobsters in Cleveland, seemed to me like. And then he also had all those connections to Chicago to get to Red Dorfman, his son, Alan Dorfman. Talk a little more about that relationship with Mo Dalitz. In Mo Dalitz’s biography, I can’t think of the name of the author at the moment, but that author states that Sylvia was one of Mo Dalitz’s lovers. I’m not sure if that’s true or not. I do think that Mo Dalitz, at the very least, had a crush on Sylvia, but also respected her very much. And she, just as she had with the Detroit family before, she brokered an alliance with Daylitz. What happened was Daylitz had a laundry empire, was a rum runner and a racketeer and a leader in the Jewish mob. But he also had a lot of legitimate businesses, including a laundry empire in Detroit and Cleveland. [32:53] And while he was still in Detroit, before he really made his move to Cleveland, his permanent move to Cleveland, his laundries, along with other laundry owners, they bonded together in an association. And they were very anti-union. And they were basically at odds with the Teamsters. And until Sylvia swooped in. And Sylvia had her own connections by now to the Laundry Workers Union also. So she’s working for the Teamsters, and she’s very close to Hoffa, but she then married a guy named John Paris, who was the head of the Laundry Workers Union. [33:32] So Sylvia knows Hoffa, and she knows the head of the Laundry Workers Union very closely, and she knows Dalitz. So she’s the one who’s positioned to bring these people together, sit them down at the same table, and start working together, start negotiating. And that’s what she did with Daylitz. And so that led to Daylitz paying off Hoffa, basically, to settle this contract on terms that were favorable to Daylitz and the other laundry owners. [34:07] But you could say that Hoffa, in that case, sold out his members, at least at that time. Now, I do want to make it clear that most rank-and-file teamsters for many decades loved Hoffa because he definitely did negotiate some great contracts that brought truck drivers into the middle class, got them very good pay and benefits. And it’s only fair, it’s only right to give him credit because as somebody once said about Hoffa. [34:33] He was always a criminal, but also always a teamster. And he worked very hard for his membership. He never stopped working. And it was sincere, I do believe. But there were times when he, the ends justified the means and he did whatever he had to do to keep the union alive, but also to serve himself and enrich himself. And that was one of those cases where the membership lost out a little bit when Hoffa and Daylitz formed their alliance with the initiation and the help of Sylvia Pagano. Interesting. So let’s go back to Chucky O’Brien for a minute. He goes back up from Kansas City. He ends up back up in Detroit and working very closely with Jimmy Hoffa. And you talked to his son. Yeah. And to make that, and he was probably a huge help and some insight into what his father was like. So talk about Chucky O’Brien when he got back with Hoffa. Yeah, so he goes back to Detroit. [35:31] And he steps right back into the Hoffa family circle because Sylvia became part of the Hoffa family. She was Josephine Hoffa’s best friend. Jimmy Hoffa relied on her not only for important work in the union and for important connections to the mob, but he also relied on her heavily as Josephine’s personal assistant and caretaker. Sylvia worked extremely hard serving other people. And she was an excellent caretaker to Josephine who needed a lot of care, had very poor health, made worse by severe alcoholism. And Sylvia was a wonderful caretaker. But Chucky stepped right back into that family orbit. Later, when his own kids were small, Chucky and his wife and his kids moved into the Hoffa house. They’d all lived under the same roof for quite a few years. But Sylvia was really the glue that kept it all together and Chucky’s son who’s also named Chuck O’Brien he was a young boy at this time so his memories of his grandmother. [36:42] And Jimmy Hoffa started when he was a young boy and continued up until Sylvia died when he was in his late teens, but he was a great source for the book helped out a lot I really appreciate him And it was interesting to have direct access to someone who actually lived under the same roof with Jimmy Hoffa. So he was not privy, young Chuck was not privy to any inside information or any mob dealings or anything like that. But he later moved to Kansas City and went to work in the River Key for his uncle at the Godfather Lounge, which just a couple of years later was torched in the River Key War. And then young Chuck had worked in professional hockey for a while. And then he became a truck driver and joined Local 41. And so all this history just comes full circle and repeats itself. And I was a little fascinated by these Sylvia’s grandkids who were born and raised in Detroit. They both ended up back in Kansas City in the land of their parents and their grandparents. And they ended up in the same neighborhoods that Sylvia had been born in many years before. [37:57] Interesting. And Chucky O’Brien, then he’s kind of Hoffa’s driver sometimes. And Aaron Renner on up to the end of Hoffa’s life was even implicated at the very end. Some people claim that he helped set Hoffa up because he was the one person that Hoffa trusted. And that one movie, The Irishman or whatever, really threw a lot of shade on Chucky O’Brien. So how did you deal with that. [38:21] Yeah, I think Chucky got a real bad rap, and as I used to study Hoffa and read all the Hoffa books, I always thought, I always had a very low opinion of Chucky O’Brien, and he became the butt of a joke, and he was portrayed as this blundering, not-too-bright guy who either helped kill his surrogate father or was duped into giving him a ride to where he was killed without knowing what was going on and without being able to, realize it to the point where he could have maybe helped Hoffa. I think Jack Goldsmith put all that to rest. He really changed my opinion of Chucky in his book, but I realized that Chucky had been misunderstood in many ways. Was he involved in Hoffa’s disappearance or not? I think Goldsmith basically vindicates Chucky. [39:15] However, I do believe that there’s still some evidence that could strongly suggest that even in light of what Goldsmith wrote, that Chucky could still have known more than he let on. But he was so committed to Emerita that he took a lot of secrets to his grave, I believe. What’s interesting is some of the other co-conspirators in the Hoffa thing ended up dead, like Sally Buggs, and got killed in Little Italy a few years later, and the prevailing wisdom, at least, was to, keep him quiet about the Hoffa case. And they would have probably done the same thing to Chucky if Chucky could have pointed the finger at anybody or implicated anybody. And I’m sure he could have. I’m sure he knew some things about that. He was so close to Giacalone. Chucky was very close to Tony Giacalone and to Tony Provenzano. [40:07] And I think that Chucky survived because Giacalone trusted him 100% just as Sylvia Pagano’s son. Giacalone’s trust in Chucky to not give anybody up was just so rock solid. And he loved Chucky. And I think that he was also honoring Sylvia by allowing Chucky to stay alive. So I know I’m straying from your initial question, Gary. There’s so much going on with the whole Chuck O’Brien thing and his involvement. It gets very interesting. You have to get really down in the weeds with it to understand all of it. But I think that Goldsmith’s book is a great read for anybody who’s interested in Hoffa and the whole case. I definitely would recommend it. So it may come down to Chuck O’Brien. And was he more loyal to the mob, to the mafia and their code? Or more loyal to Hoffa and the Teamsters? as Hoffa as an individual, not to the teams or his union, but Hoffa as an individual. Was he more loyal to Hoffa or more loyal to the union or more loyal to the mob? And giving up those guys, he has to turn his back on everything. [41:21] The union and the mob. And so I can see where he, whatever he knew, [41:25] he was not going to say a word. It would be to his advantage. He has no, they didn’t have a hammer on him. Wasn’t a criminal. They didn’t have a life sentence hanging over his head for anything. They did have, they did prosecute Chucky on a federal case. It was a small time thing. He took some, maybe took some gifts from a, from an employer in his role as a union guy, some small gifts. And then he had also got caught up in a cargo theft case, which is all documented in the book, Office of Connection. But the law enforcement did have a couple of cases that they could apply pressure onto Chucky. But he didn’t say a word, and he just went to prison and served his time. He didn’t have to serve too much time. He was only in for about a year, I think. It was a low-level felony. But he just, he’d never thought once about turning state’s witness. He just went and served his time and got back out and went on with his life. [42:25] Yeah. It’s those 50 and 75-year sentences that’ll make the right attorneys. You get even, I used to say, when they came up, those sentencing guidelines for cocaine dealers, you could make a guy talk about his mother when he’s looking. He’s 40 years old and he’s looking at a 50, 75-year sentence. Yeah. I do have to say, though, if there’s one guy that might, and there was a few of them who went and served a hard time. Yeah, a long time until they’re old. Rather than give anybody else up. And I think Chucky would have been one of those guys. I do. Yeah. [42:57] Having been raised by sylvia pagano he was just so committed to that culture and those traditions and that way of life and and omerta yeah sylvia even had almost a kind of a halfway making ceremony for chucky she arranged for the top guys in detroit when he came back to detroit from kansas city in the early 50s tony giacalone put together a little event where chucky walked into the back room of grecian gardens restaurant in detroit and all the top guys were sitting around a table and he made a pledge of loyalty to them at that time and then he sat down and broke bread with them and he didn’t prick his finger and burn a card and he wasn’t made into the family but it was all halfway a little bit and they did that for sylvia and because they just valued her so much they respected her and they needed her they she was the connection to their most valuable asset, which was Jimmy Hoffa. So that tells you a little bit about how much respect they had for Sylvia and also for Chucky’s unique role. Here he is. [44:05] He’s he’s the son of charlie banagio’s low-level chauffeur yeah and yet he’s sitting down with guys like meyer lansky in florida he’s sitting down with all the top guys in detroit chicago inu acardo rica rosanova all these top guys in chicago then he would sit down with them on behalf of jimmy hoff he was he probably i say in the book that he probably had more chucky o’brien the son of, Banagio’s chauffeur probably had more sit-downs with high-level mobsters than Nick Civella did. As Hoffa’s representative, that was the life. And he knew how to handle that kind of thing because he was raised by Sylvia. So he knew how to say, what not to say, how to behave himself in those types of meetings. So that came naturally to him. And he was Hoffa’s gopher. He drove in places. He took Hoffa’s wife to her medical appointments. He did low-level stuff like that, but he also did more important work, more sensitive stuff, like sitting down with mob bosses and relaying information back and forth, just like as Sylvia had taught him to do. [45:16] That’s fascinating. I tell you what, guys, Frank Hayde, Hoffa’s Connection, the story of Sylvia Pagano, the Ken City girl at the center of the mafia’s alliance with the Teamsters Union. I might have links in here. You better get this book. This is untrod territory. Unplowed ground, as we used to say on the farm. This is fresh stuff that you’ve read. There’s so many books out there about Hoffa and his disappearance that they just want to, come on, we can’t do this. I can’t do this again, Hoffa’s disappearance. You’re never going to find his body. You’re never going to figure out exactly who killed him. Nobody’s going to talk, and anybody that could is dead. But this unearthed some really fresh, interesting information about Hoffa and his connection with the Italian La Cosa Nostra in the United States, the entire United States, really. Yes. Thank you, Gary. That was a very nice little summary of it. And I really appreciate you. You’ve had me on your show before, my other books, and I listened to your podcast. Can’t get enough of it. You do terrific work. All us wire trappers love you, man. And we all appreciate you very much. Thank you. Thank you. Are you still doing the, are we still buying you cups of coffee and that kind of stuff? Yeah, you can always buy me a cup of coffee and hit the donate button. [46:29] I forget about doing that. I’ve been doing this so long and I got a few guys that hit it regularly and some never do. I do this for the pure joy of it anyhow, but it helps to have a little extra money coming in now and then. When you were selling books yesterday, you love writing this book. You love all that research and putting it together and educating people, but it’s nice to get paid for it too. [46:50] It’s a small-time racket, but hey. It’s a small-time racket. Another interesting thing, Frank, we were talking about people doing time, getting so much time, and trying to force them to talk. Yesterday, Frank had a program at the library, and we had a local guy who was a subject of his last book, Mafia Dreams, who was a mob hanger-on guy when he was a young guy. And he got caught up in a murder, an accidental murder in a way. That it’s a long story and you have to get mafia dreams to learn about it. The next generation of the wannabe. [47:25] Italian mafia guys in kansas city and so that guy was there he did 25 years 25 years for what we call felony murder another guy he transported a friend of his to a drug by only the guy killed the man was selling the or tried to kill the man that was selling the drugs and the fbi had it set up and ran in and shot and killed the kid who almanese had carried up to the drug ripoff and And so they charged this driver with felony murder, and he did 25 years, just got out about four or five years ago. He could have talked. He had enough to buy him a lot of grace on that 25-year sentence, and he did every minute of it. He never said a word, and it was hard time. It was state time here in Missouri. Yeah, I think that’s true. I think he is representative of Kansas City in a way, because I do believe that in Kansas City, the Code of Emerita persisted longer than most places. And yeah, when you’re 24 years old, I think he was 24 at the time that he was sentenced. Maybe he was 25 and you get sentenced to 25 and a half years. [48:38] And you have the chance to whittle that down by giving up information on your friends. And you don’t take it, and you choose to do the 25 and a half years, that’s hardcore. And he did, and those are the best years of his life that he’ll never get back. But he is out now, and he’s making a legitimate living and keeping his nose clean and just trying to make up for a lot of lost time. Yeah, he is. 25 years will straighten your mind out, won’t it? Yeah. Man. All right, Frank. Thanks so much for coming on the show. Hey, thanks again, Gary. Don’t forget to donate Bob the Bob Gary cup of coffee, y’all. Thank you. Okay, Gary. Okay, Frank. That was great. Talk to you later.

Il tramonto della French Connection scatena una sanguinosa guerra di successione a Marsiglia, dai boss Zampa e "il Belga" fino alla balcanizzazione delle nuove bande corse. Ma il vero colpo di scena è a New York: un clamoroso scandalo corrompe il NYPD, dove gli agenti rubano 300 kg di eroina dai sequestri sostituendola con farina, scoperta solo a causa degli insetti.Mentre i chimici francesi traslocano in Sicilia, la pressione internazionale sradica l'impero criminale.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/storia-della-mafia-americana--4689841/support.Leggi dello stesso autore Polvere di stelle 

durée : 00:04:10 - par : Max Dozolme - Aujourd'hui ressort dans quelques cinémas, en version numérique et restaurée, un grand classique du cinéma policier et à suspense : le film "The French Connection" de William Friedkin. Un film d'action rythmé par la musique remarquable de Don Ellis ! Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

This week, we celebrate International Women's Triple-V Day! Our 9th episode in a series dedicated to women who bring the fury with style and passion. Don't dare call these “chick bands”; these are kick-ass rock n' roll bands that happen to include powerful women in them!!! Piss off a man; you can fight it out and then go have a pint at the pub. Piss off a woman, and you will pay for it 10-fold. These are ladies that play loud and heavy with attitude and… balls?  What's this InObscuria thing? We're a podcast that exhumes obscure Rock n' Punk n' Metal and puts them in one of 3 categories: the Lost, the Forgotten, or the Should Have Beens. These ladies bring it, and you owe to yourself to check them out! These songs are all filled with attitude, grit, and raw girl power! We hope we turn you on to something new! Songs this week include: SuckerTrap – “Seven Sisters” from Seven Sisters - Single (2023) Her Fury – “Don't Tempt The River” from Don't Tempt The River - Single (2026) Stainless – “(Don't Cross Me) Fool” from Lady Of Lust And Steel (2026) Sky Valley Mistress – “Live Past Life” from Luna Mausoleum (2026) Baby And The Nobodies – “Aggressive” from Ready Or Not (2025) Hot Machine – “She's On The Money” from Leather And Steel - EP (2024) Maggot Heart – “THIS SHADOW” from HUNGER (2023) Yee Loi – “Ghost Of Vegas” from Ghost Of Vegas - Single (2025) Visit us: https://inobscuria.com/ https://www.facebook.com/InObscuria https://x.com/inobscuria https://www.instagram.com/inobscuria/ Buy cool stuff with our logo on it: InObscuria Store Check out Robert's amazing fire sculptures and metal workings here: http://flamewerx.com/ If you'd like to check out Kevin's band THE SWEAR, take a listen on all streaming services or pick up a digital copy of their latest release here: https://theswear.bandcamp.com/ If you want to hear Robert and Kevin's band from the late 90s – early 00s BIG JACK PNEUMATIC, check it out here: https://bigjackpnuematic.bandcamp.com/

Il declino della French Connection nacque dall'avidità interna all'Unione Corsa, una confederazione di clan protetta dalle istituzioni per il passato nella Resistenza. Tra i leader spicca Jean Jehan, "fantasma" imprendibile protetto in Francia, che beffò i detective Grosso ed Egan (le cui indagini ispirarono il film Il braccio violento della legge). La fine dell'era d'oro fu sancita dalla sanguinosa guerra tra il clan Guérini e Marcel Francisci, conclusasi negli anni '80 con lo sterminio dei vertici storici.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/storia-della-mafia-americana--4689841/support.Leggi dello stesso autore Polvere di stelle 

Mosaico criminale poliarca, la French Connection dominò il narcotraffico mondiale tra gli anni '40 e '70. L'asse transatlantico univa i gangster corsi di Marsiglia, chimici d'eccellenza capaci di produrre eroina pura al 98% (come il leggendario Jo Cesari), e Cosa Nostra americana, guidata da Lucky Luciano. Sfruttando coperture geopolitiche anticomuniste, auto di lusso e canali diplomatici, la rete inondò gli USA fino al memorabile blitz di Aubagne nel 1964, avviato grazie alla cooperazione internazionale.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/storia-della-mafia-americana--4689841/support.

Over an hour shorter than last week...Thanks to the Beautiful Penis...Matt plays the bachelor...Doug squirts...Milwaukee Safe House...Docks, nothing but docks...Picking toes...Are hickies a big thing...Doug is lower middle class...Matt continues bashing Helen Hunt...

Enfin disponible en Blu-Ray et même 4K Ultra-HD chez l'éditeur L'atelier d'images, TRAQUÉ reste probablement le dernier grand film du cinéaste responsable de FRENCH CONNECTION, L'EXORCISTE, POLICE FÉDÉRALE LOS ANGELES ou encore SORCERER - LE CONVOI DE LA PEUR. Julien Charpentier rejoint Stéphane Moïssakis pour en parler dans cet épisode de STEROIDS - LE PODCASTRetrouvez toutes nos émissions sur http://www.capturemag.frPour nous soutenir, il y a deux adresses :PATREON : https://www.patreon.com/capturemagTIPEEE : https://www.tipeee.com/capture-magLISEZ CAPTURE MAG !Toutes nos revues sont disponibles dans les librairies, les magasins de produits culturels et sites marchands.Akileos : https://bit.ly/AkilsCMCapture Mag est sur LETTERBOXD : https://letterboxd.com/CaptureMag/#williamfriedkin #actionmovies #beniciodeltoro Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Movie of the Year: 1971The Finale, Part IIThe 1971 Film Finale Podcast: One Champion RemainsThe 1971 film finale podcast brings the Taste Buds' most ambitious bracket season to its definitive conclusion. Ryan, Mike, and Greg have debated, dismissed, and championed their way through a remarkable field — and now eight films remain. In this episode, four Elite Eight matchups collapse into a single champion, and five major awards close out the season before the final verdict arrives.Furthermore, this finale caps a season that has included some of the most provocative, challenging, and enduring films ever made. From Stanley Kubrick's A Clockwork Orange to William Friedkin's The French Connection, the 1971 bracket has consistently rewarded listeners willing to sit with difficult, boundary-pushing work. The season also covered Straw Dogs, Sweet Sweetback's Baadasssss Song, and Dirty Harry — each one generating strong arguments before falling short of the Elite Eight.Additionally, five competitive award categories — Best Sex, Best Violence, Musical Moment, Best Actor, and Best Actress — draw nominees from across the full season. Consequently, this episode stands as the richest and most content-dense installment of the year.ContentsThe Elite Eight MatchupsThe 1971 AwardsWhy the 1971 Film Finale Podcast Still MattersRelated EpisodesFAQThe Elite Eight MatchupsEight films enter. One leaves as the 1971 champion. The Taste Buds structured the Elite Eight around four head-to-head matchups, and each one forces a different kind of critical argument.A Clockwork Orange vs. The DevilsTwo of the year's most transgressive films meet in the first matchup. A Clockwork Orange arrived as a season-long frontrunner — a Kubrick film operating at the height of his formal powers, one that the Taste Buds covered in depth on their dedicated episode. Ken Russell's The Devils, meanwhile, delivers a fever dream of religious hysteria and state violence that stands as one of the most divisive films the Taste Buds have discussed all season. Moreover, this matchup poses a pointed question: which film earns its provocation more honestly? Both demand something from the viewer. However, only one advances.Harold and Maude vs. McCabe and Mrs. MillerHarold and Maude represents the season's most warmly beloved film — a dark comedy about love, death, and radical living that generated some of the most enthusiastic podcast discussion of the year. By contrast, Robert Altman's McCabe and Mrs. Miller offers a revisionist Western suffused with melancholy and moral exhaustion, its beauty inseparable from its grief. Both films carry passionate advocates among the Taste Buds. Consequently, this matchup ranks among the tightest and most personal bracket debates of the entire season. Above all, it asks whether warmth or ache makes the stronger lasting impression.Wanda vs. The ConformistBarbara Loden's Wanda — a micro-budget American independent masterwork — faces Bernardo Bertolucci's The Conformist, a visually ravishing Italian political drama. Notably, both films center on characters adrift in systems designed to diminish them. Nevertheless, they arrive at very different emotional endpoints: Wanda drifts, the Conformist spirals. The Taste Buds' arguments in this matchup reveal as much about their own critical values as about the films themselves. In practice, this is the bracket's most purely cinephile debate.The French Connection vs. The Last Picture ShowThe bracket's most commercially dominant film — The French Connection, winner of five Academy Awards including Best Picture — faces Peter Bogdanovich's elegiac The Last Picture Show. In practice, this matchup pits Hollywood's muscular genre filmmaking against its more introspective New Wave ambitions. As a result, the debate cuts to the heart of what 1971 cinema actually achieved. Gene Hackman's Popeye Doyle and the dusty streets of Anarene, Texas, represent two entirely different ideas of what a great film should do — and the Taste Buds have strong opinions on which idea wins.The 1971 AwardsBefore the bracket champion is named, the Taste Buds present five awards covering the full sweep of the season. This Movie of the Year 1971 podcast segment features each host nominating the moments they found most memorable, daring, or essential — and the resulting field spans an extraordinary range of films and tones.Best SexThe nominees range from the tender to the violent to the surreal, drawing from three different films and three distinct registers of human sexuality.Jacy and Abilene — The Last Picture ShowThe Pool Party — The Last Picture ShowThe Rape of Christ — The DevilsThe Sex Duel with the Biker Gang — Sweet Sweetback's Baadasssss SongYoung Sweetback and the Sex Worker — Sweet Sweetback's Baadasssss SongBest ViolenceThe nominees span the full tonal range of 1971 action filmmaking — from Dirty Harry's iconic bank robbery standoff to the slow, aching finality of McCabe dying alone in the snow.The Car Chase — The French ConnectionHarry Foils a Bank Robbery — Dirty HarryThe Kid Kills the Cowboy — McCabe and Mrs. MillerThe Ludovico Technique — A Clockwork OrangeMcCabe Dies Alone in the Snow — McCabe and Mrs. MillerMusical MomentThe nominees here demonstrate just how varied 1971's soundtrack was — Cat Stevens, Beethoven, and Gene Wilder all make the shortlist.Maude Sings "If You Want to Sing Out, Sing Out" — Harold and MaudeOpening Funeral March — A Clockwork Orange"Pure Imagination" — Willy Wonka and the Chocolate Factory"Singin' in the Rain" — A Clockwork OrangeThe Tango — The ConformistBest Actor The five nominees represent the full range of 1971 male performance — from Hackman's coiled rage to Wilder's heartbreaking wonder. Additionally, this category generated some of the most contested debates in the entire 1971 film podcast season.Warren Beatty — McCabe and Mrs. MillerGene Hackman — The French ConnectionOliver Reed — The DevilsJean-Louis Trintignant — The ConformistGene Wilder —

Idiot's Weekly - The French ConnectionBecome a supporter of this podcast: https://www.spreaker.com/podcast/harold-s-old-time-radio--4206392/support.

In this Geektown Talks To interview, Dave chats with cinematographer Hillary Fyfe Spera, the lead cinematographer behind both seasons one and two of Marvel's ‘Daredevil: Born Again'.Hillary was there from the very beginning of the Disney+ series, shooting the pilot, finale, and seven of the nine episodes in season one, helping to establish the grounded, cinematic look of Matt Murdock's return to Hell's Kitchen. She also returned for season two, shooting half of the episodes, including the opening two, as the story pushed further into the conflict between Daredevil, Wilson Fisk, and a city under increasing pressure.During the interview, Hillary discusses how she first came to cinematography through still photography, and how her love of collaboration led her into film and television. She also talks about how ‘Daredevil: Born Again' came to her, and how classic 1970s New York films such as ‘Taxi Driver' and ‘The French Connection' helped inform the visual direction of the series.We also dig into the visual contrast between Matt Murdock's world and Fisk's world, with Daredevil and the vigilantes shot in a more handheld, human, street-level style, while Fisk's side of the story becomes more controlled, symmetrical and oppressive. Hillary explains how those visual rules evolved across the two seasons, and how they could shift as characters moved between worlds or began to lose control.Hillary also breaks down the show's practical approach to Daredevil's heightened senses, including the in-camera “sensory grande” technique, which uses multiple cameras, lenses, movement and aspect ratio changes to represent something that is not inherently visual.There is also plenty of discussion about the action, including working with the stunt team, keeping fight scenes grounded while still making them cinematic, and why the best sequences need emotional pauses rather than just relentless punching. Hillary talks about the huge East River boat oner in season two, shot at night with drone lighting, choreography and practical location challenges, along with the series' BB Report segments and how they changed visually as the story developed.Plus, Hillary chats about what she is watching at the moment, her love of ‘The X-Files', and why her dream future project would be a Western.‘Daredevil: Born Again' Seasons 1 and 2 are available on Disney+.Support this show http://supporter.acast.com/geektown. Hosted on Acast. See acast.com/privacy for more information.

Movie of the Year: 1971The Finale, Part IIThe 1971 Film Bracket Podcast Reaches the Elite EightThis 1971 film bracket podcast returns with its most dramatic episode yet. Ryan, Mike, and Greg — the Taste Buds — work through the bottom half of the Sweet 16, producing four matchups that nobody saw coming. Furthermore, the episode hands out two major awards: Comedic Performance and Biggest Shithead. The results set the stage for Part III, where the Elite Eight will be whittled down to a single 1971 champion.If you missed Part I of the finale, start there first. The bracket has been full of upsets throughout the season. Consequently, no outcome here should be taken for granted.The Sweet 16: Bottom Half of the 1971 Film BracketThe bottom half of the 1971 Sweet 16 is stacked. These four matchups pit some of the most beloved and argued-over films in the entire bracket against one another. Moreover, the range of cinema on display — from Hollywood blockbusters to European art films to New Hollywood grit — illustrates exactly why 1971 is one of the most fertile film years ever put to a bracket.The Taste Buds debate each matchup using their standard evaluative framework: craft, cultural impact, rewatchability, and gut feeling. Above all, they trust their instincts — and their instincts have produced surprises at every turn this season. Tune in to find out which four films advance to the Elite Eight.Willy Wonka and the Chocolate Factory vs. WandaThis matchup pits one of cinema's most beloved fantasies against one of its most criminally underseen gems. Willy Wonka and the Chocolate Factory needs little introduction — Gene Wilder's performance alone has kept it in the cultural conversation for over fifty years. Nevertheless, Wanda is no pushover. Barbara Loden's Wanda (1971) is a raw, naturalistic landmark of American independent cinema, and its inclusion in the bracket has been a point of pride for whoever seeded it.This is a clash of tone, scale, and intention. One film is a spectacle engineered for maximum delight. The other strips cinema down to its bones. However, the Taste Buds must pick one — and the pick will tell you something about where their tastes landed by the time the 1971 season reached its final stretch.The French Connection vs. Brian's SongTwo films that defined what mainstream American cinema could do with raw emotional and procedural intensity. The French Connection won the Academy Award for Best Picture in 1971. It features one of the most celebrated car chases in film history and a career-defining performance from Gene Hackman as the relentless, morally compromised Popeye Doyle. Additionally, William Friedkin's direction remains a masterclass in gritty, kinetic storytelling.Brian's Song, meanwhile, hit American living rooms as a TV movie and destroyed everyone who watched it. The story of Gale Sayers and Brian Piccolo remains one of the most emotionally devastating sports films ever made. Notably, the Taste Buds covered both films earlier this season — so this rematch in the 1971 film bracket carries the weight of all those prior arguments.The Last Picture Show vs. KluteTwo of New Hollywood's most enduring films square off here, and neither one will go quietly. The Last Picture Show is Peter Bogdanovich's elegiac black-and-white portrait of a dying Texas town — a film the American Film Institute has called one of the greatest ever made. Furthermore, its ensemble cast, including Jeff Bridges, Cybill Shepherd, Cloris Leachman, and Ben Johnson, delivers some of the finest performances in the bracket.Klute, however, has Jane Fonda. Her performance as Bree Daniels earned her the first of her two Academy Awards, and it remains one of the most psychologically intricate portrayals of a woman in crisis in American cinema. Alan J. Pakula's direction is coiled and paranoid in all the right ways. Consequently, this matchup may be the most difficult call in the entire bracket.The Conformist vs. The Panic in Needle ParkThe final Sweet 16 matchup is the most arthouse of the four — and arguably the most fascinating. Bernardo Bertolucci's The Conformist is a landmark of European cinema. Vittorio Storaro's cinematography is among the most studied in film school history, and the film's meditation on fascism, identity, and moral cowardice has only grown richer with time. You can read more about the film at Roger Ebert's review on RogerEbert.com.The Panic in Needle Park, by contrast, is bracingly American — a gritty, unglamorous portrait of heroin addiction on the streets of New York. It introduced Al Pacino to mainstream audiences. Moreover, Jerry Schatzberg's unflinching direction makes the film feel almost documentary in its honesty. These two films represent opposite ends of world cinema in 1971, and the Taste Buds must choose one.Award: Best Comedic Performance — 1971 Film Bracket PodcastThe Taste Buds hand out individual performance awards throughout the season, and the Comedic Performance category drew a fascinating and eclectic field of nominees. The 1971 bracket is not short on laughs — from the anarchic fantasy of Willy Wonka's chocolate factory to the dark comedy of Harold and Maude. Furthermore, the nominees represent a range of comic registers, from broad physical performance to pitch-black wit.The nominees are:David Battley — Willy Wonka and the Chocolate Factory (Mike's pick)Julie Dawn Cole — Willy Wonka and the Chocolate Factory (Greg's pick)Bud Cort — Harold and Maude (Mike's pick)Michael Gothard — The Devils (Ryan's pick)Gene Wilder — Willy Wonka and the Chocolate Factory (Greg's pick)David Battley's turn as the hapless Mr. Turkentine in Willy Wonka is a masterwork of bewildered reaction comedy. Julie Dawn Cole's Veruca Salt is a full-throttle comic creation — spoiled, relentless, and somehow sympathetic. Additionally, Bud Cort's Harold is a genuinely difficult comic achievement: deadpan to the point of catatonia, yet somehow enormously warm.Michael Gothard's Father Barre in The Devils is Ryan's wild-card choice — a performance of manic, committed intensity that functions as dark comedy whether or not Ken Russell intended it. Meanwhile, Gene Wilder's Willy Wonka remains one of cinema's great comic performances — menacing, whimsical, and deeply strange all at once. The winner is waiting for you in the episode.Award: Biggest Shithead of 1971One of the Taste Buds' most beloved recurring awards, the Biggest Shithead category recognizes the most memorably awful person — or entity — in the bracket. Notably, this award rewards commitment. Nominees do not simply do bad things. They do bad things with style, conviction, and a complete lack of self-awareness.The nominees are:Baron de Laubardemont — The Devils (Greg's pick)The Lady at Snakearama — Duel (Ryan's pick)The Motorcycle Cop — Harold and Maude (Greg's pick)Mr. Deltoid — A Clockwork Orange (Mike's pick)Veruca Salt — Willy Wonka and the Chocolate Factory (Mike's pick)Baron de Laubardemont, the cold bureaucratic villain of The Devils, brings state-sanctioned cruelty to the category. The Lady at Snakearama from Duel is Ryan's inspired choice — a brief but indelible portrait of someone who simply should not be in this movie. Furthermore, Harold and Maude's Motorcycle Cop is a monument to institutional pettiness.Mr. Deltoid from A Clockwork Orange is a sweaty, oleaginous masterpiece of ineffectual authority — Mike's nomination is well-argued. Veruca Salt, however, may be the category's most pure entry: a child who has elevated wanting things to an art form. The winner, as always, is in the episode.Why This 1971 Film Bracket Podcast Still MattersThe Sweet 16 is where bracket tournaments reveal their true character. By this stage, the obvious candidates are mostly gone. What remains are the films that survived not on reputation alone but on genuine argument. Moreover, the bottom half of the 1971 Sweet 16 contains some of the season's most debated films — which means every matchup result carries real emotional weight.The year 1971 is one of the most remarkable in cinema history. New Hollywood was hitting its stride. European art cinema was pushing form to its limits. Genre filmmaking was getting stranger, darker, and more personal. Consequently, any bracket drawn from this year produces matchups that feel genuinely impossible to call. The Taste Buds do not pretend otherwise — they argue, they agonize, and they vote.Part III is coming. The Elite Eight will determine the Movie of the Year: 1971 champion. Above all, this episode is the last chance to see which films survive before the final reckoning. Subscribe to PopFilter and follow along — the 1971 film...

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July 12, 1979. Brooklyn, New York. Carmine Galante sat on the back patio of Joe and Mary's restaurant, finishing lunch with his cigar clenched between his teeth. At 69 years old, he controlled the heroin trade in New York City. He had built a drug empire worth millions through the French Connection. He had murdered at least 80 people over his career. And he had made a critical error: he declared himself "boss of bosses" and refused to share the profits. At 2:45pm, three men in ski masks walked through the restaurant. They raised shotguns. They opened fire. And Carmine Galante learned the ultimate lesson of organised crime: no one is untouchable. When police arrived, they found him sprawled in a tomato patch, his cigar still clenched in his teeth. The photograph would become one of the most infamous images in mafia history. This is the story of the heroin kingpin who rose from East Harlem street gangs to become one of America's most powerful mobsters, and the lunch that ended with betrayal, shotgun blasts, and a cigar that wouldn't go out.Become a Patreon or Apple + subscriber now for ealry and ad free access from as little as $1.69 a week. All the details hereSubscribe to Crime at Bedtimes Youtube channel HERE Hosted on Acast. See acast.com/privacy for more information.

Ep. 391: Michael Lee Nirenberg on Cinematic Immunity, his new oral history about New York filmmaking crews Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week I go behind the scenes with filmmaker and author Michael Lee Nirenberg, whose new book Cinematic Immunity is an oral history of New York filmmaking of a different sort. Rather than directors or screenwriters, Nirenberg interviewed crew members across departments—and decades—to recount the making of movies like The French Connection and Do the Right Thing, shows like Pee-Wee's Playhouse and The Sopranos, and generally the ethos of working with Sidney Lumet or Spike Lee. As our conversation demonstrates, we were able to delve into stories and anecdotes that offer different perspectives and angles on film culture and the esprit de corps of studio filmmaking. “Cinematic Immunity: An Oral History of New York Filmmaking As Told by the Crews That Got the Shot” is available for purchase online and in bookstores. Also, the Frank Perry film that's mentioned, Last Summer (1969), is screening on May 3 at the Paris Theater. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Movie of the Year: 1971The Finale, Part IThe Movie of the Year 1971 Podcast Reaches Its ReckoningThe Movie of the Year 1971 podcast has arrived at its moment of reckoning. Ryan, Mike, and Greg — the Taste Buds — open the three-part finale with a full awards ceremony, a frank assessment of what 1971 means to cinema history, and the first wave of bracket eliminations. Sixteen films entered this season. Not all of them survive Part 1.This is a different kind of episode. There is no single film to defend or dissect. Instead, the Taste Buds are doing something harder: accounting for an entire year, making choices that cannot be unmade, and sending some of the finest films ever made home without a championship. The bracket is merciless. So, it turns out, is 1971.Part 2 continues the eliminations next week. Part 3 crowns the champion the week after. However, before any of that — the awards begin.About This Season: Sixteen Films, One ChampionThe Movie of the Year podcast runs a bracket-style competition each season, selecting the best film from a given year. This season, the Taste Buds covered sixteen films from across the full spectrum of 1971 cinema — studio blockbusters, guerrilla filmmaking, European art cinema, and Hollywood at its most unguarded. The field represents not just a great year in film, but an ongoing argument about what movies are for.The sixteen contenders are:A Clockwork Orange — Stanley KubrickSweet Sweetback's Baadasssss Song — Melvin Van PeeblesThe Devils — Ken RussellDuel — Steven SpielbergHarold and Maude — Hal AshbyStraw Dogs — Sam PeckinpahDirty Harry — Don SiegelMcCabe & Mrs. Miller — Robert AltmanWilly Wonka and the Chocolate Factory — Mel StuartWanda — Barbara LodenThe Conformist — Bernardo BertolucciThe Panic in Needle Park — Jerry SchatzbergThe French Connection — William FriedkinBrian's Song — Buzz KulikThe Last Picture Show — Peter BogdanovichKlute — Alan J. PakulaFor every episode from this season, visit the Movie of the Year podcast archive on PopFilter.What Does 1971 Mean to the Movies?Before any film is eliminated, the Taste Buds take a step back and ask the question the whole season has been building toward: what does 1971 actually mean to the history of cinema?The short answer is that 1971 is the year movies stopped asking permission. The Production Code was dead, and New Hollywood was at full velocity. The studios were desperate. The filmmakers who had spent the late 1960s learning a new visual language were suddenly free to use it without restraint. Consequently, the films of 1971 are not polished products. They are arguments — about violence, about sexuality, about power, and about who gets to survive.Moreover, 1971 is uniquely international in its ambitions. Bertolucci's The Conformist brought a European grammar of fascism and desire to mainstream audiences. Meanwhile, Melvin Van Peebles made Sweet Sweetback's Baadasssss Song entirely outside the studio system — financing it with his own money and changing the economics of Black independent filmmaking permanently. These were not films that happened alongside American culture. They actively reshaped it.Furthermore, the year produced an unusual number of films that resist a single reading. Dirty Harry is simultaneously a fascist power fantasy and a critique of one. Straw Dogs refuses to let its audience off the hook. The French Connection makes a hero out of a man who may not deserve the title. As a result, 1971 is defined not by its answers but by the quality of its questions.Above all, the Taste Buds argue that 1971 matters because it remains unresolved. These films are still being debated, still being taught, still being felt. That is the mark of a year that did something real — and the reason a bracket this competitive is so hard to close.Movie of the Year 1971 Podcast Awards: Best Supporting ActressThe first award of the finale is Best Supporting Actress. The nominees represent five performances that each, in their own way, stole scenes from films that were already remarkable. Notably, two nominees come from the same film — a testament to how fully The Last Picture Show populated its world with fully realized human beings.The nominees for Best Supporting Actress are:Ellen Burstyn — The Last Picture ShowCloris Leachman — The Last Picture ShowJulie Dawn Cole — Willy Wonka and the Chocolate FactoryVivian Pickles — Harold and MaudeStefania Sandrelli — The ConformistHistorically, the Academy nominated both Burstyn and Leachman at the 1972 Oscars — and Leachman won. However, the Taste Buds are not the Academy. Their winner reflects their own criteria, their own arguments, and a full season of watching these performances in context. Who walks away with the award? Listen to the episode to find out.Movie of the Year 1971 Podcast Awards: Best Supporting ActorThe second award is Best Supporting Actor — a category that reads, in 1971, like a catalog of actors doing the most demanding and least comfortable work of their careers. The nominees include debut-level performances and career-defining turns alike. The competition is, by any measure, extraordinary.The nominees for Best Supporting Actor are:Dudley Sutton — The DevilsMichael Gothard — The DevilsJeff Bridges — The Last Picture ShowBen Johnson — The Last Picture ShowGastone Moschin — The ConformistBen Johnson's Sam the Lion is among the most quietly devastating performances in American film — a man who embodies everything a dying town loved and then lost. Jeff Bridges, in his first major role, announced his entire career in a single film. Gastone Moschin made fascist complicity feel not monstrous but ordinary, which is considerably more frightening. The Devils, meanwhile, sent both its nominees into material that demanded everything an actor has. To find out who wins, listen to the episode.The Eliminations: The Bracket Does Not ForgiveThe awards are only half of Part 1 of the Movie of the Year 1971 podcast finale. The other half is the bracket — and the bracket is not sentimental. In this episode, the Taste Buds make the first wave of cuts. Films that have defined the conversation all season, films that generated genuine argument and genuine love, are sent home.This is the nature of the format. Nevertheless, that does not make it easy. 1971 is not a year with obvious fodder. Every film in this bracket earned its place. Consequently, every elimination in this finale is a real loss — and a real statement about what the Taste Buds believe cinema can do at its best.Which films survive? Which ones go home in Part 1? That, you will have to hear for yourself. Parts 2 and 3 continue the process — and by the end of the three-part finale, only one film from 1971 will be left standing.Why the Movie of the Year 1971 Podcast Finale MattersA season finale is never just a conclusion. It is an act of criticism — a declaration about what mattered, what lasted, and what deserves to be remembered. The Movie of the Year 1971 podcast finale is doing that work for one of the most important years in the history of film.Furthermore, the bracket format makes that work visible in a way that traditional film criticism rarely does. The Taste Buds cannot hedge. They cannot say everything is great and leave it there. They have to rank, eliminate, and ultimately choose. In doing so, they reveal something true about how they experience cinema — and they invite every listener to push back.Above all, this three-part finale is a love letter to a year that refused to behave. 1971 did not make comfortable films. It did not offer easy consolations. It asked audiences to look directly at things they would have preferred to avoid. The Taste Buds have been doing the same thing all season. Now, in three parts, they are going to decide which film did it best — and which one deserves to be called the Movie of the Year.Related Episodes from Movie of the Year: 1971

The unbelievable insider stories of how they “got the shot,” Cinematic Immunity tells the story of New York City's movie industry from the crew members who created the sets, lit the scenes, and shot the film. Focused on the golden age (1950-1990) of New York filmmaking, Cinematic Immunity covers On the Waterfront through The Sopranos. The East Coast film industry, thousands of miles from the Los Angeles executives, existed by its own rules and with little oversight. It was a close-knit and freewheeling community of movie technicians that took on the most outrageous challenges to get every shot perfect. Behind-the-scenes documentaries and books feature “above the line” talent—actors, producers, directors, and writers. For the first time, readers will hear the unvarnished truth of the New York movie industry—tales about union politics, labor strikes, movie families, dangerous locations, difficult shots, volatile directors, anecdotes about actors, pranks, friendships, rivalries, generational shifts, substance use and abuse, technical feats, and more. Readers will hear never heard before stories about classic (and not so classic) films and television shows including: Midnight Cowboy, The Warriors, The French Connection, The Exorcist, The Godfather, The Wiz, The Taking of Pelham 123, Annie Hall, Cruising, Do The Right Thing, When Harry Met Sally, Home Alone 2, The Sopranos, and Law and Order. Expect to discover secrets about how your favorite scenes were shot and the outrageous characters with outsized talents whose personalities sometimes dwarfed actors and directors. Tales of their exploits, what they saw (and did) on these sets was previously only passed among themselves as showbiz lore but now, readers learn of Marlon Brando's pranks on the set of The Godfather, how crews kept William Friedkin from killing them, the actors, and himself, and how consummate New Yorker Sidney Lumet was the angel to Friedkin's demons. Michael Lee Nirenberg has worked as a scenic artist in New York since 2006, and in many cases, alongside many of the people featured in the book. This book is a labor of love comprised of over 150 interviews and hundreds of hours of recordings. Cinematic Immunity includes hundreds of behind-the-scenes images from studio archives and from the technicians who were there. Daniel Moran's writing about literature and film can be found on Pages and Frames. He earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing and co-hosts the long-running podcast Fifteen-Minute Film Fanatics, found here on the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The unbelievable insider stories of how they “got the shot,” Cinematic Immunity tells the story of New York City's movie industry from the crew members who created the sets, lit the scenes, and shot the film. Focused on the golden age (1950-1990) of New York filmmaking, Cinematic Immunity covers On the Waterfront through The Sopranos. The East Coast film industry, thousands of miles from the Los Angeles executives, existed by its own rules and with little oversight. It was a close-knit and freewheeling community of movie technicians that took on the most outrageous challenges to get every shot perfect. Behind-the-scenes documentaries and books feature “above the line” talent—actors, producers, directors, and writers. For the first time, readers will hear the unvarnished truth of the New York movie industry—tales about union politics, labor strikes, movie families, dangerous locations, difficult shots, volatile directors, anecdotes about actors, pranks, friendships, rivalries, generational shifts, substance use and abuse, technical feats, and more. Readers will hear never heard before stories about classic (and not so classic) films and television shows including: Midnight Cowboy, The Warriors, The French Connection, The Exorcist, The Godfather, The Wiz, The Taking of Pelham 123, Annie Hall, Cruising, Do The Right Thing, When Harry Met Sally, Home Alone 2, The Sopranos, and Law and Order. Expect to discover secrets about how your favorite scenes were shot and the outrageous characters with outsized talents whose personalities sometimes dwarfed actors and directors. Tales of their exploits, what they saw (and did) on these sets was previously only passed among themselves as showbiz lore but now, readers learn of Marlon Brando's pranks on the set of The Godfather, how crews kept William Friedkin from killing them, the actors, and himself, and how consummate New Yorker Sidney Lumet was the angel to Friedkin's demons. Michael Lee Nirenberg has worked as a scenic artist in New York since 2006, and in many cases, alongside many of the people featured in the book. This book is a labor of love comprised of over 150 interviews and hundreds of hours of recordings. Cinematic Immunity includes hundreds of behind-the-scenes images from studio archives and from the technicians who were there. Daniel Moran's writing about literature and film can be found on Pages and Frames. He earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing and co-hosts the long-running podcast Fifteen-Minute Film Fanatics, found here on the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/film

The unbelievable insider stories of how they “got the shot,” Cinematic Immunity tells the story of New York City's movie industry from the crew members who created the sets, lit the scenes, and shot the film. Focused on the golden age (1950-1990) of New York filmmaking, Cinematic Immunity covers On the Waterfront through The Sopranos. The East Coast film industry, thousands of miles from the Los Angeles executives, existed by its own rules and with little oversight. It was a close-knit and freewheeling community of movie technicians that took on the most outrageous challenges to get every shot perfect. Behind-the-scenes documentaries and books feature “above the line” talent—actors, producers, directors, and writers. For the first time, readers will hear the unvarnished truth of the New York movie industry—tales about union politics, labor strikes, movie families, dangerous locations, difficult shots, volatile directors, anecdotes about actors, pranks, friendships, rivalries, generational shifts, substance use and abuse, technical feats, and more. Readers will hear never heard before stories about classic (and not so classic) films and television shows including: Midnight Cowboy, The Warriors, The French Connection, The Exorcist, The Godfather, The Wiz, The Taking of Pelham 123, Annie Hall, Cruising, Do The Right Thing, When Harry Met Sally, Home Alone 2, The Sopranos, and Law and Order. Expect to discover secrets about how your favorite scenes were shot and the outrageous characters with outsized talents whose personalities sometimes dwarfed actors and directors. Tales of their exploits, what they saw (and did) on these sets was previously only passed among themselves as showbiz lore but now, readers learn of Marlon Brando's pranks on the set of The Godfather, how crews kept William Friedkin from killing them, the actors, and himself, and how consummate New Yorker Sidney Lumet was the angel to Friedkin's demons. Michael Lee Nirenberg has worked as a scenic artist in New York since 2006, and in many cases, alongside many of the people featured in the book. This book is a labor of love comprised of over 150 interviews and hundreds of hours of recordings. Cinematic Immunity includes hundreds of behind-the-scenes images from studio archives and from the technicians who were there. Daniel Moran's writing about literature and film can be found on Pages and Frames. He earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing and co-hosts the long-running podcast Fifteen-Minute Film Fanatics, found here on the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

The unbelievable insider stories of how they “got the shot,” Cinematic Immunity tells the story of New York City's movie industry from the crew members who created the sets, lit the scenes, and shot the film. Focused on the golden age (1950-1990) of New York filmmaking, Cinematic Immunity covers On the Waterfront through The Sopranos. The East Coast film industry, thousands of miles from the Los Angeles executives, existed by its own rules and with little oversight. It was a close-knit and freewheeling community of movie technicians that took on the most outrageous challenges to get every shot perfect. Behind-the-scenes documentaries and books feature “above the line” talent—actors, producers, directors, and writers. For the first time, readers will hear the unvarnished truth of the New York movie industry—tales about union politics, labor strikes, movie families, dangerous locations, difficult shots, volatile directors, anecdotes about actors, pranks, friendships, rivalries, generational shifts, substance use and abuse, technical feats, and more. Readers will hear never heard before stories about classic (and not so classic) films and television shows including: Midnight Cowboy, The Warriors, The French Connection, The Exorcist, The Godfather, The Wiz, The Taking of Pelham 123, Annie Hall, Cruising, Do The Right Thing, When Harry Met Sally, Home Alone 2, The Sopranos, and Law and Order. Expect to discover secrets about how your favorite scenes were shot and the outrageous characters with outsized talents whose personalities sometimes dwarfed actors and directors. Tales of their exploits, what they saw (and did) on these sets was previously only passed among themselves as showbiz lore but now, readers learn of Marlon Brando's pranks on the set of The Godfather, how crews kept William Friedkin from killing them, the actors, and himself, and how consummate New Yorker Sidney Lumet was the angel to Friedkin's demons. Michael Lee Nirenberg has worked as a scenic artist in New York since 2006, and in many cases, alongside many of the people featured in the book. This book is a labor of love comprised of over 150 interviews and hundreds of hours of recordings. Cinematic Immunity includes hundreds of behind-the-scenes images from studio archives and from the technicians who were there. Daniel Moran's writing about literature and film can be found on Pages and Frames. He earned his B.A. and M.A. in English from Rutgers University and his Ph.D. in History from Drew University. The author of Creating Flannery O'Connor: Her Critics, Her Publishers, Her Readers, he teaches research and writing and co-hosts the long-running podcast Fifteen-Minute Film Fanatics, found here on the New Books Network. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Movie of the Year: 1971Straw Dogs (feat. Erik from the Cradle to the Grave pod!)The Straw Dogs Podcast: Peckinpah's Most Dangerous FilmThe Straw Dogs podcast episode of Movie of the Year confronts one of 1971's most debated, disturbing, and relentlessly provocative films — Sam Peckinpah's psychological siege thriller starring Dustin Hoffman and Susan George. Ryan, Mike, and Greg are joined by Erik Hanson of the Cradle to the Grave podcast. Together, they examine the film's violence, its contested rape scene, and the gender dynamics at the heart of Peckinpah's vision. Consequently, no other episode this season demands more from its hosts — or from its audience.Moreover, the 1971 film Straw Dogs arrived in remarkable company. A Clockwork Orange, Dirty Harry, and The French Connection all hit theaters the same year — forming a cluster of films that fundamentally altered what Hollywood was willing to show. Furthermore, Straw Dogs distinguished itself from all of them. Filmed entirely in a Cornish village, it replaced the city's noise with something quieter and more suffocating. Ultimately, it is a film that has never stopped demanding conversation — and that is exactly what the Taste Buds deliver.About the FilmSam Peckinpah directed Straw Dogs (1971), starring Dustin Hoffman as David Sumner, a mild-mannered American mathematician who relocates with his English wife Amy (Susan George) to her rural hometown in Cornwall. David hires local men to repair their farmhouse. Almost immediately, however, the couple faces escalating harassment, intimidation, and violence from the villagers — including Amy's former boyfriend Charlie (Del Henney).Peckinpah and screenwriter David Zelag Goodman adapted the film from Gordon M. Williams's 1969 novel The Siege of Trencher's Farm. Peckinpah famously dismissed the source material. The film builds to a harrowing siege in which David, pushed past every limit, defends his home with escalating brutality. Additionally, the title derives from the Tao Te Ching, which describes straw dogs as ceremonial objects — used briefly, then discarded without feeling. The Criterion Collection edition includes a discussion of this symbolism in its supplemental materials.Released theatrically in the UK in November 1971, the film earned a nomination for the Academy Award for Best Original Score. It was later issued as a Criterion Collection release featuring new critical scholarship. The British Film Institute also maintains an entry on the film. The British Board of Film Classification banned it for home video release for years after its UK theatrical run.Guest Panelist: Erik HansonJoining the Taste Buds for this Sam Peckinpah film discussion is Erik Hanson, the creator and host of Cradle to the Grave — a horror movie podcast built around a distinctive structural premise. Starting with 1971, his own birth year, Erik ranks and discusses his Top 10 horror films from every year of his life, covering each in depth with rotating guests. The show has developed a devoted following for Erik's knowledgeable, laid-back, and genuinely funny approach to the genre.In addition to podcasting, Erik is the author of Death Machine, a debut horror novel set in 1987 Northern California that reimagines the Zodiac Killer returning to terrorize a group of kids. Based in Sacramento, California, Erik is also a musician. His work across fiction and podcasting reflects a lifelong relationship with horror that goes well beyond fandom and into genuine craft. Notably, the fact that Cradle to the Grave begins precisely with 1971 makes Erik an especially fitting guest for a deep dive into one of that year's most unsettling films. You can pick up Death Machine on Amazon.Peckinpah and Violence: A Director Pushed to the EdgeBy 1971, Sam Peckinpah had already established himself as Hollywood's most uncompromising chronicler of violence. The Wild Bunch (1969) had rewritten the grammar of the Western, deploying slow-motion carnage in a way that made violence impossible to process cleanly. Straw Dogs, however, moved in a very different direction. Furthermore, Warner Bros. had effectively exiled Peckinpah from Hollywood following a chaotic falling out, which is why he filmed this Straw Dogs 1971 production entirely in England, far from his natural terrain.The violence in Straw Dogs is not operatic like The Wild Bunch. Instead, it is domestic, intimate, and deeply uncomfortable. Peckinpah builds menace through accumulation — small humiliations, loaded glances, minor intrusions — before releasing it all in the siege. Additionally, the film implicates the audience in David's rampage by making it feel, at least in the moment, cathartic. That troubling catharsis is entirely the point. As a result, the Straw Dogs podcast discussion centers on Peckinpah's central question: whether violence is ever truly civilized, or whether it simply waits beneath the surface of every man who believes he is better than it. Roger Ebert, writing for the Chicago Sun-Times in 1971, gave the film two stars and called it a film committed to the pornography of violence while laying on moral outrage with a shovel — a dissent worth hearing even for those who disagree.The Rape Scene: Context, Controversy, and CriticismNo discussion of Straw Dogs is complete without addressing its most contested sequence. Charlie, her former boyfriend, first assaults Amy — then a second attacker follows. What makes the scene so difficult to analyze is the way Peckinpah films the first assault. Many critics interpreted Amy's shifting emotional response during the rape as suggesting consent or complicity. That reading fueled decades of fierce feminist criticism of the Sam Peckinpah film.Moreover, the British Board of Film Classification rejected the film for home video release for years, specifically over this content. The studio cut the scene for the US release to secure an R rating. Susan George has spoken in interviews about her complex relationship to the role and the sequence. Notably, film scholar Linda Williams frames the film within the longer history of misogynistic representation in cinema. Her analysis appears in the Criterion Collection release. She argues that Straw Dogs belongs in conversation with works that are technically significant but ethically compromised. Consequently, the scene is not a matter of simple condemnation or simple defense. It is the central wound around which the entire film's meaning turns, and the Taste Buds treat it accordingly.David, Amy, and Gender in Straw Dogs 1971At its core, Straw Dogs is a film about masculinity in crisis. David Sumner is an intellectual — passive, avoidant, and seemingly incapable of the physical authority the Cornish village treats as natural male behavior. The film, however, refuses to position his bookishness as a virtue. Dustin Hoffman understood his character as a man who unconsciously provokes the violence around him — a pacifist whose repressed aggression the siege finally unlocks.Amy occupies an equally impossible position. The film's gaze codes her as provocative — bare feet, no bra, conspicuous in the village — while simultaneously punishing her for that very visibility. Nevertheless, Susan George's performance introduces ambiguity and depth that the script does not always earn on its own. The dynamic between David and Amy is as much a source of tension as the men gathering outside. They seem genuinely ill-suited and miscommunicate constantly. Above all, Straw Dogs asks what gender roles cost everyone involved. Specifically, the film suggests that masculinity, however dormant, will ultimately assert itself through violence. That is Peckinpah's most unsettling argument — and one that the A Clockwork Orange episode of Movie of the Year covers from a very different angle.Career Retrospective: Dustin HoffmanBy the time the Straw Dogs podcast era film was released in 1971, Dustin Hoffman had already fundamentally changed what a movie star could look like. His breakthrough in The Graduate (1967) — neurotic, unhandsome, deeply searching — made him a voice for a generation that distrusted certainty. Midnight Cowboy (1969) proved he could disappear entirely into character, earning his first Academy Award nomination. Little Big Man (1970) demonstrated his ability to age through an entire life on screen. Straw Dogs, therefore, marks something different in his catalog: not charm or pathos, but something colder and harder to forgive.Hoffman's Career After...

Luke Selby is the chef at Palé Hall Hotel in North Wales. Selby started cooking when he was 14, and he began his career at Le Manoir aux Quat'Saisons, where he progressed from commis chef to sous chef under Raymond Blanc, before moving on to Restaurant Gordon Ramsay and Hide. He then ran the kitchen at Soho restaurant Evelyn's Table with his brothers, where they received a Michelin star. A Roux Scholar and National Chef of the Year winner, Selby is recognised for his progressive cooking shaped by international experience, strong seasonal sourcing and clarity of flavour. After returning to Le Manoir aux Quat'Saisons in 2025, in 2026 he moved to Snowdonia, as Chef Partner at Palé Hall Hotel. At the end of the podcast Luke Selby will reveal his favourite restaurants in the UK and the rest of the world. The recommendations mentioned in this podcast and thousands more are available in the World of Mouth app: https://www.worldofmouth.app/ Hosted on Acast. See acast.com/privacy for more information.

Welcome to Decorating the Set: From Hollywood to Your Home with Beth Kushnick!  This week on Decorating the Set, Beth and Caroline sit down with Michael Nirenberg, author of the new bestseller, Cinematic Immunity: An Oral History of New York Filmmaking As Told by the Crews that Got the Shot.  This is a MUST LISTEN TO episode for anyone that loves behind the scenes stories. Cinematic Immunity has amazing stories collected from the storied history of NY filmmaking! A big thank you to Michael for his time and sharing his work with us, he was a wonderful guest! Amazon Link to Book (https://www.amazon.com/Cinematic-Immunity-History-Filmmaking-Crews/dp/1627311718) Publisher Link to Book (https://feralhouse.com/cinematic-immunity/) The Interview with Michael begins at Time Code: 3:11 Join the Decorating the Set Community by subscribing to our Official Facebook Group (https://www.facebook.com/groups/decoratingthesetpodcast)! Interact with Beth, Caroline, Producer Mike, and all of the DTS listeners! GUEST BIO: MICHAEL NIRENBERG  Michael Lee Nirenberg is a filmmaker and writer. He has directed several music videos and the award-winning documentary Back Issues: The Hustler Magazine Story, about the history of the magazine, where his father served as creative director in the seventies and eighties. Mr. Nirenberg has also written for several well-known magazines and websites. Since 2006, he has worked as a freelance scenic artist on countless mainstream movies and television shows you've seen. His blog about the environment and climate change can be found at againstnature.org, which he plans to get back to when this book is done. His first book Earth A.D.: The Poisoning of the American Landscape and the Communities That Fought Back was released in July 2020. He has directed music videos and the award-winning documentary Back Issues: The Hustler Magazine Story. Mr. Nirenberg has contributed to national magazines and websites. Since 2006, he has worked as a scenic artist in IATSE local 829. Follow Michael on Instagram: @nirenberg.v2 ABOUT CINEMATIC IMMUNITY: Cinematic Immunity tells the story of New York City's movie industry from the crew members who created the sets, lit the scenes, and shot the film. Focused on the golden age (1950-1990) of New York filmmaking, Cinematic Immunity covers On the Waterfront through The Sopranos. The East Coast film industry, thousands of miles from the Los Angeles executives, existed by its own rules and with little oversight. It was a close-knit and freewheeling community of movie technicians that took on the most outrageous challenges to get the shot.  Readers will hear the unvarnished truth of the New York movie industry—tales about union politics, studio bullshit, movie families, dangerous locations, complex shots, volatile directors, plus anecdotes about actors, pranks, friendships, rivalries, generational shifts, substance use and abuse, technical feats, and more. Includes stories about classic (and not so classic) films and television shows including: Midnight Cowboy, The Warriors, The French Connection, The Exorcist, The Godfather, The Wiz, The Taking of Pelham 123, Annie Hall, Cruising, Do The Right Thing, When Harry Met Sally, Home Alone 2, The Sopranos, and Law and Order. ### For over 35 years, Beth Kushnick has created character-driven settings for countless award-winning television series and feature films. As a Set Decorator, she’s composed visuals that both capture and enhance any story. Now, she wants to help you capture and enhance YOUR story. Join Beth and her co-host, Caroline Daley, each week as they go behind the scenes of Hollywood's magic, and give you approachable, yet sophisticated tips to realize the space that best expresses who you are. ### Follow Beth Kushnick on Social Media:  Instagram: @bethkushnick Twitter: @bethkushnick Website: BethKushnick.com Beth is the Decorator By Your Side and now, you can shop her Amazon Store! CLICK HERE! Follow Caroline Daley on Social Media: Twitter: @Tweet2Caroline Website: PodClubhouse.com ### Credits: “Giraffes” by Harrison Amer, licensed by Pod Clubhouse. This is an original production of Pod Clubhouse Productions, LLC. Produced, engineered and edited at Pod Clubhouse Studios. For more information, visit our Website.

The French Connection and Paraguay In 1968, a gang of smartly-dressed gangsters robbed a bank in Buenos Aires. The fallout from the raid would lead authorities in all kinds of crazy directions — from French paramilitary hitmen to mobsters belonging to the feared Union Corse, Corsican dope traffickers who'd perfected “French Connection” routes from Southeast Asia and Turkey into Marseille, then onto New York to feed a ballooning American addiction crisis. Amid the chaos, one Frenchman fled Argentina to neighboring Paraguay. There he discovered a smuggler's paradise, full of Nazis and narcos, whose reliance on drugs and contraband would grow so huge that US drug squads would refer not only to the French Connection, but to one named for Paraguay's repressive, half-German dictator: The Stroessner Connection. He and the fugitive French mafioso would form a bond that, in many ways, has outlived both of them to today. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this audio and video episode of the podcast Phillip is joined by friend and fellow podcaster, Craig MacNeil from the Craig & Friends Podcast. They start the show a little different with chatting and talking about the movie, and Phillip plays a Tarantino Talks all about this movie. Then Phillip introduces the show. Phillip starts by giving the general information about this 1971 classic directed by William Friedkin, The French Connection. It's then time for Listener' Opinions from Twitter, Instagram, and Facebook. Then it's time for Phillip and Craig to discuss this movie some more. It's a great conversation full of all kinds of behind the scenes information. Phillip then asks if they noticed anything from this movie that Tarantino might have liked or used in a film. It's then time to individually rate this movie. They then answer whether they would buy this movie, rent it, or find it for free. Phillip then gives his Phil's Film Favorite of the Week; Videoheaven (2025). Craig then recommends a movie; One Battle After Another (2026). They chat some more and have a great time. Then it's time for Phillip to promote next week's show where he will be joined by Rob Papp 1/3 of The Cinemigos Podcast to discuss 1978's Jack Chan classic Drunken Mater. Thanks for watching or listening.Craig & Friends Podcast on Spotify: https://open.spotify.com/show/3Byv1iVRr9BOrdsdV08vP8Craig & Friends Podcast on YouTube: https://www.youtube.com/channel/UCW0xtNUc-e2EbVuJavQtFYgCraig & Friends Podcast on Patreon: https://www.patreon.com/CraigAndFriends

Movie of the Year: 1971Dirty Harry (feat. Conor Kilpatrick from iFanboy!)The Dirty Harry podcast arrives this week on Movie of the Year: 1971, as the Taste Buds take on one of the most influential and contested crime films ever made. Don Siegel's thriller introduced the world to Inspector Harry Callahan — a San Francisco cop who operates on instinct, fury, and a very large handgun. Moreover, the film sparked a debate about justice, civil liberties, and the price of order that has never fully quieted. The Taste Buds are joined by Conor Kilpatrick of iFanboy for this Don Siegel Dirty Harry analysis, and they also cover 1971 ProStars and a special segment on the year in comic books.Episode Show Notes: What We CoverThis Dirty Harry 1971 film discussion covers a lot of ground. Below is a summary of the key talking points from the episode — a roadmap for listeners and a reference for anyone who wants to dig deeper after the fact.On Harry Callahan as a character: The panel opens by asking whether Harry is actually a hero or whether the film simply frames him as one. Conor argues that Eastwood's performance is so controlled and interior that the audience does the work of making Harry sympathetic — the film barely has to try. Ryan pushes back: Harry's righteousness is earned on screen because he is always right in his read of a situation, even when he is wrong in his methods. Mike lands somewhere in between, pointing out that Harry's body count by the end of the first film is genuinely troubling if you stop and count.On politics and the law: The Taste Buds spend significant time on Pauline Kael's famous "fascist" critique and whether it holds up. The consensus is that the film is more ambiguous than Kael allowed — but that the ambiguity is doing real work, and not always in a reassuring direction. The legal system in Dirty Harry is not just flawed; it is portrayed as an active obstacle to justice. That framing has consequences.On San Francisco: The panel discusses how Don Siegel uses the city as a visual argument — the geography of the chase scenes, the specific choice of Kezar Stadium as a set piece, and what it means to set this particular story in the city that had been the symbolic capital of American idealism just four years earlier.On 1971 in comics: Conor breaks down the Marvel vs. DC landscape of the year, the significance of the Spider-Man drug arc, and why Jack Kirby's Fourth World still does not get the mainstream recognition it deserves. Additionally, he and the Taste Buds find real thematic overlap between the comics and the film: both are grappling with institutions that have failed and individuals who step into the void.About the FilmDirty Harry (1971) was directed by Don Siegel and stars Clint Eastwood as Inspector Harry Callahan of the San Francisco Police Department. The film follows Callahan as he hunts the Scorpio Killer — a sadistic serial murderer loosely inspired by the real-life Zodiac Killer — while clashing repeatedly with a city bureaucracy unwilling to bend the rules. Harry has no such hesitation. Andrew Robinson plays Scorpio with chilling, unhinged intensity. The film's cat-and-mouse structure keeps the tension taut from its rooftop opening shot through its iconic waterfront finale.Furthermore, Dirty Harry arrived at a fraught cultural moment. Crime rates in major American cities were rising sharply. Public trust in government and police was eroding. Consequently, the film's portrait of a cop who gets results by any means necessary struck a powerful nerve. For more context alongside this Dirty Harry podcast, explore the full production history on the film's IMDb page.Produced by Warner Bros. and Malpaso Productions, the film features a propulsive score by Lalo Schifrin. Dirty Harry launched a five-film franchise and cemented Clint Eastwood as one of cinema's defining icons of controlled menace. It remains among the most debated American films of its era — a movie that means different things depending entirely on who is watching it. Listeners who enjoy this Dirty Harry podcast episode might also want to revisit our discussion of The French Connection, another 1971 film that wrestles with law enforcement, moral ambiguity, and the limits of the justice system.Guest Panelist: Conor Kilpatrick of iFanboyJoining the Taste Buds this week is Conor Kilpatrick, co-founder and longtime host at iFanboy — one of the most enduring comics media platforms on the internet. Conor co-founded iFanboy around 2000 alongside Josh Flanagan and Ron Richards, originally as a college email chain where friends traded weekly comic reviews. That chain became a website, then a podcast, then a 25-year institution in the comics world. Known as the "DC Guy" of iFanboy, Conor has spent decades explaining infinite Earths, multiple reboots, and the craft of visual storytelling with genuine enthusiasm and expertise. He brings that same depth of knowledge to the Dirty Harry podcast discussion this week.He is also the co-host of the Goodfellas Minute podcast and a co-founder of Great Northern Media. Moreover, his deep knowledge of 1971 comics makes him the ideal guest for this episode's special segment. His perspective on the cultural landscape of 1971 — what was happening in comics while Dirty Harry was in theaters — adds a dimension to this Dirty Harry 1971 film discussion that no other guest could bring. Welcome to Movie of the Year, Conor.Harry Callahan: The Dirty Harry Podcast's Central DebateHarry Callahan is one of American cinema's most complicated figures. On the surface, he is a blunt instrument — a man who solves problems with a .44 Magnum and withering silence. However, Siegel and Eastwood invest him with something far more ambiguous. Harry is genuinely competent, even brilliant, at what he does. The tragedy is that the system he serves refuses to reward competence over politics.Eastwood's performance is famously economical. He does not grandstand or seek sympathy. Notably, that restraint is precisely what makes Harry magnetic — audiences fill in the emotional gaps themselves, projecting onto a man who reveals almost nothing voluntarily. The Taste Buds discuss whether Harry reads as a hero, an antihero, or something the film itself cannot quite name. For contrast, consider how Gene Hackman's Popeye Doyle in The French Connection presents a similarly brutal cop — but one the film regards with considerably more irony.The "Do you feel lucky, punk?" monologue is among the most quoted speeches in 1970s cinema. Nevertheless, it is more than a catchphrase. It is a masterclass in character — Harry performing certainty he may not entirely feel, using psychology as a weapon when firepower is temporarily unavailable. Above all, it reveals a man who understands power in all its forms and deploys it with surgical precision.Politics, Justice, and the Law: A Don Siegel Dirty Harry AnalysisFew films from 1971 generated more critical controversy than Dirty Harry. Pauline Kael famously called it a fascist work of art in her widely-discussed review. Others defended it as a frank reckoning with a legal system too broken to protect its own citizens. Consequently, the film sits at the center of a political argument that has never fully resolved itself.The film's central tension is not, ultimately, between Harry and Scorpio. It is between Harry and the law itself. Time and again the legal system fails — releasing Scorpio on procedural grounds, blocking the investigation, prioritizing process over lives. Harry's response is to act outside those constraints entirely. Moreover, the film frames him as righteous for doing so, and that is precisely what troubled critics at the time.However, the Taste Buds push on this carefully. Does Dirty Harry endorse vigilantism, or does it simply portray it with unflinching honesty? The ending — Harry throwing his badge into the water — complicates any easy reading. Therefore, rather than celebrating his methods without reservation, the film may ultimately acknowledge that Harry's approach destroys him even as it saves others. This Don Siegel Dirty Harry analysis explores that tension without settling for easy answers. Listeners interested in how 1971 cinema handled political disillusionment should also visit our episode on A Clockwork Orange, which confronts similar questions from a radically different angle.San Francisco: A City in the WestSan Francisco is not merely a backdrop in Dirty Harry. It is a character. Don Siegel shoots the city with documentary precision — rooftops, construction sites, Kezar Stadium, winding streets, and the cold grey of the bay. As a result, San Francisco's geography becomes an extension of the film's moral landscape: beautiful, treacherous, and full of places the law cannot easily reach.The city of 1971 was in deep transition. The Summer of...

Fifty years ago, All the President's Men was released, starring Robert Redford as Bob Woodward and Dustin Hoffman as Carl Bernstein. The movie, written for the screen by William Goldman, dramatizes the research, legwork, and reporting done by The Washington Post's Woodward and Bernstein who exposed the Watergate scandal, shedding light on the corruption that stemmed from President Richard M. Nixon's Committee to Re-Elect the President, known as CREEP. In the movie, released in April 1976, Woodward and Bernstein come across as dedicated, scrappy, and fearless, at times they're even chummy. Designer, author, and teacher Michael Bierut praises William Goldman's screenwriting craft, not only in All the President's Men but also in another Goldman buddy movie, Butch Cassidy and the Sundance Kid which starred Robert Redford alongside Paul Newman. We also discuss Zodiac, The Post, The Social Network, and movies by Charles and Ray Eames. This episode appeared on Season 1 of the show in 2024.-Michael Bierut graduated from the University of Cincinnati's College of Design, Architecture, Art and Planning in 1980 with highest honors. He worked at the office of Lella and Massimo Vignelli for a decade. In 1990, Bierut became a partner in the New York office of Pentagram designing for Mastercard, Slack, Verizon, Benetton, Disney, and the Brooklyn Academy of Music, among a long list of other clients. He designed the “H” logo during Hillary Clinton's 2016 campaign and presidential run, and also the typographic inscription for the Obama Presidential Center. Beginning in 2024, he shifted into an alternate role at Pentagram, an advisory role, titled Consulting Partner on his LinkedIn. Bierut has earned numerous accolades, was elected to the Alliance Graphique Internationale in 1989, received the AIGA Medal, and won the Design Mind category of the Cooper-Hewitt National Design Awards. In addition to being a designer, he has been lecturer at the Yale School of Management and senior critic at the Yale School of Art. An accomplished author, Bierut is co-editor of the five-volume design series of books, Looking Closer: Critical Writings on Graphic Design and he co-founded the site Design Observer. Find more of his writing in these books: 79 Short Essays on Design (2007), How to use graphic design to sell things, explain things, make things look better, make people laugh, make people cry and (every once in a while) change the world (2015 and 2021), and Now You See It and Other Essays on Design (2017). Be sure to check out Bierut in Gary Hustwit's 2007 documentary Helvetica.https://www.pentagram.com/about/michael-bierut https://www.instagram.com/p/DLIJ4FzAR3U/ https://www.fastcompany.com/91265497/the-incomparable-michael-bierut-steps-downhttps://99percentinvisible.org/episode/655-exit-interview-with-michael-bierut/ -All the President's Men (1976)https://www.imdb.com/title/tt0074119 https://www.imdb.com/title/tt0074119/releaseinfo/ -Nixon, Watergatehttps://visit.archives.gov/whats-on/explore-exhibits/president-resigns-50-years-later https://www.archives.gov/exhibits/american_originals/nixon.html https://www.fordlibrarymuseum.gov/exhibits/watergate-files -Other movies and shows discussed:Butch Cassidy and the Sundance Kid (1969)The Conversation (1974)The French Connection (1971)The Godfather (1972)Keepers of the Magic (2016)Marathon Man (1976)The Post (2017)The Princess Bride (1987)The Social Network (2010)When Harry Met Sally (1989)The X-Files (1993-2018)Zodiac (2007)

On this episode Phillip is by himself to discuss this Shaw Brothers classic. He starts the show out by reading the general information on the movie with some trivia sprinkled in. There are not listener opinions from Twitter, Instagram, and Facebook. Phillip then talks about this great kung fu movie that he was pleasantly surprised by. Such a great fun movie. It's then time for Phil's Film Favorite of the Week; The Mechanic (1972). Then it's time to talk about what's coming next week. Phillip will be joined once again by friend and fellow podcaster Craig MacNeil to discuss 1971's The French Connection. Thanks for listening.

Movie of the Year: 1971Willy Wonka and the Chocolate FactoryWilly Wonka and the Chocolate Factory podcast fans, this one is for you. Ryan, Mike, and Greg are joined by special guest Matt Singer of ScreenCrush to revisit one of 1971's most beloved and most debated films on Movie of the Year. In addition, Mel Stuart's musical fantasy has frightened and delighted children and adults in equal measure for over fifty years. This episode also features Movie Trivia and a PopFilter Hall of Fame: Willy Wonka and the Chocolate Factory induction.About the FilmRoald Dahl based the film on his 1964 novel Charlie and the Chocolate Factory. The story follows young Charlie Bucket, who wins a golden ticket and tours the mysterious factory of the eccentric Gene Wilder as Willy Wonka. Notably, Dahl wrote the screenplay himself — and then disowned the finished film. He objected to the liberties the production took with his story and his vision for the character. As a result, that tension between author and adaptation makes this a particularly rich film to revisit.Before diving in, check out our recent episodes on The Last Picture Show, A Clockwork Orange, and The French Connection for more from the Movie of the Year 1971 series.Guest Panelist: Matt Singer of ScreenCrushMatt Singer joins the Taste Buds for this episode. He serves as editor and film critic at ScreenCrush and holds membership in the New York Film Critics Circle. Singer spent five years as the on-air host of IFC News on the Independent Film Channel. He has also contributed to CBS This Morning Saturday, Ebert Presents at the Movies, The Village Voice, and The Dissolve. Furthermore, he won a Webby Award for his work on IFC.com and authored Opposable Thumbs: How Siskel & Ebert Changed Movies Forever.Matt Singer's New Book: Funny BusinessHis latest book is Funny Business, out in October. It covers the comedy films of the 2000s — Old School, Zoolander, The 40-Year-Old Virgin, Superbad, The Hangover, and more. Pre-order it now. Moreover, Willy Wonka and the Chocolate Factory ranks among Singer's four all-time favorite films on Letterboxd. Consequently, this is not just any guest — Singer has thought deeply about this film for a very long time.Willy Wonka 1971 Podcast Discussion: Genre and ToneThe first major topic of this Willy Wonka 1971 podcast discussion is the question that has divided audiences since opening day: what kind of film is this, exactly? The studio marketed it as a children's musical fantasy. In practice, however, it delivers something far stranger and more unsettling. The boat tunnel sequence alone has scared generations of young viewers. Moreover, the tone shifts without warning from whimsical to genuinely threatening. Gene Wilder's performance keeps the audience perpetually off-balance throughout.Ryan, Mike, Greg, and Matt Singer dig into how Mel Stuart navigated the tension between studio ambitions and the source material. They also examine the complicated role of Roald Dahl as screenwriter — a man who shaped the film's darkest edges and then rejected the result. For more on the film's production history on IMDB, the details prove just as strange as the movie itself.What Gene Wilder Brings to Willy WonkaAbove all, the panel examines what Gene Wilder brings to the role that no other actor has replicated. His Wonka radiates warmth that sits one beat away from menace — and a menace that sits one beat away from warmth. No other performer has threaded that needle. For a full look at Wilder's career, therefore, visit his IMDB page.Willy Wonka and the Chocolate Factory: Kids vs. AdultsOne of the central questions of this episode is who Willy Wonka and the Chocolate Factory actually targets. On the surface, it presents itself as a children's film. In practice, though, it rewards adult viewing in ways that most children's films never attempt. The satire cuts deep, the darkness feels genuine, and Wonka makes much more sense to a viewer who no longer roots for Charlie as a pure hero.The panel explores the film through both lenses. As children, most of them fell for the candy and feared the tunnel. As adults, by contrast, they find something else entirely — a film about power, punishment, and the thin line between a visionary and a tyrant. Additionally, they discuss how the film shifts meaning depending on which version of yourself sits in the audience, and why that quality remains so rare.Capitalism, Conformity, and Other -Isms in Willy Wonka 1971Beneath the chocolate and the Oompa Loompas, Willy Wonka and the Chocolate Factory has a great deal to say about the world. The children who fail Wonka's tests are not simply bad kids. Instead, they embody consumer culture, class anxiety, and parental failure. Augustus Gloop represents excess. Violet Beauregarde embodies competitive ambition. Veruca Salt carries unchecked privilege. Meanwhile, Mike Teavee absorbs media saturation. Each child faces punishment not for being a child, but for playing the role of a particular kind of adult in miniature.Ryan, Mike, Greg, and Matt Singer examine what the film says about capitalism, conformity, and the systems that shape children before they can question them. In addition, they take on the troubling labor politics of the Oompa Loompas — workers paid in cacao beans, housed inside their employer's factory, and sent out to deliver moral lectures on demand. It is a lot to unpack. Nevertheless, this episode unpacks all of it.For more critical context on the film's themes, visit RogerEbert.com.Movie Trivia: Willy Wonka and the Chocolate Factory EditionThis episode features a special Movie Trivia segment. Did you know that Gene Wilder agreed to play Wonka only if the character could limp — so audiences could never fully trust him? Or that the chocolate river used real chocolate and cream, and quickly turned rancid on set? Or that Roald Dahl refused to authorize a sequel after the studio ignored his objections to the first film?As a result, the Taste Buds and Matt Singer test their full knowledge of the film. They cover casting history, behind-the-scenes stories, and the many ways the finished film diverged from Dahl's original vision. Even devoted fans will likely learn something new.PopFilter Hall of Fame: Willy Wonka and the Chocolate FactoryThis episode also features a PopFilter Hall of Fame: Willy Wonka and the Chocolate Factory induction. The panel makes their case for which element of the film deserves permanent enshrinement — whether that is Gene Wilder's performance, a specific scene, a song, or something else entirely. Tune in to find out what makes the cut.Why the Willy Wonka and the Chocolate Factory Podcast Discussion Still MattersMore than fifty years after its release, Willy Wonka and the Chocolate Factory stands as one of the most enduring and genuinely strange films in the American canon. It grows with you. Specifically, it means something different at seven, at seventeen, and at forty-seven. Few films can make that claim.Ultimately, this Willy Wonka and the Chocolate Factory podcast episode revisits the film not just as a 1971 classic, but as a living text that continues to reward close attention. With Matt Singer in the mix, expect sharp criticism, genuine passion, and at least one strong opinion about the Fizzy Lifting Drinks scene.Related Episodes from Movie of the Year: 1971If you enjoyed this episode, check out the rest of the Movie of the Year 1971 series:The Last Picture Show — Bogdanovich, nostalgia, and a dying Texas townA Clockwork Orange — Kubrick, free will, and the limits of the stateThe French Connection — Friedkin,

Fr Peter George Flynn speaks with Fr Jim Doyle, a priest from the Diocese of Ferns who serves as chaplain to the Irish community in Paris at the historic Irish Cultural Centre (formerly the Irish College), which trained thousands of priests over four centuries. Fr. Jim traces his own unusual vocation story from civil engineering […] L'articolo St Patrick's French Connection – Fr Jim Doyle and Fr Peter George Flynn proviene da Radio Maria.

"El narcotráfico es la alternativa donde el Estado se retira", afirma el joven activista de las barriadas del norte de Marsella. Dos hermanos asesinados. El primero estaba involucrado con la mafia. El segundo iba a entrar a la policía. Su libro Marsella, seca tus lágrimas. Vivir y morir en tierra de narcotraficantes es un testimonio humanista de gran fuerza politica. Amine está obligado a vivir protegido por guardaespaldas. ►► Para escuchar el reportaje, hacer click en el ícono play ►► En el cruce de la célebre avenida Canebière, símbolo del puerto milenario de Marsella, con la avenida Roma se encuentra la sede de la Primavera marsellesa, una coalición de partidos de izquierda, ecologistas y ciudadanos que apoyan la candidatura del alcalde Benoît Payan para su reelección en las elecciones municipales de marzo 2026. En el interior de la sede está el candidato Amine Kessaci. Tiene 22 años, una militancia social y ecologista curtida y un puñado de escoltas. Han intentado silenciar a sangre y fuego su voz que desnuda los estragos del tráfico de drogas en las barriadas de la periferia norte de Marsella, los grandes olvidadas por el Estado francés. Amine denuncia la injusticia de su situación: “Yo no he atacado a nadie, no he atacado a personas. Ataqué a un sistema, al abandono del Estado. Quiero que se encuentren soluciones para que la gente pueda vivir. Y me condenaron por primera vez en 2020 cuando mataron a mi hermano y lo quemaron; porque a mi hermano lo encontraron quemado dentro de un automóvil.  ¿Y ante eso, querían que me callara? Ahora han asesinado a mi hermano pequeño Mehdi porque buscan matarme a mí. ¿Y ante eso, quieren que no hable?” Primer crimen transversal de nuestros tiempos Roberto Saviano, figura emblemática de la lucha contra la mafia, fue invitado este año como investigador por el Instituto de criminología y derecho penal de París. Refiriéndose a los asesinatos de los dos hermanos Kessaci, el periodista y escritor italiano afirma que se trata del “primer crimen transversal de la Francia moderna”. Saviano explica que “las ejecuciones transversales siempre se producían entre criminales, en la época de la French Connection. Ahora están ocurriendo con la nueva mafia francesa matando a un chico inocente". El autor de Gomorra precisa que "no habrían matado al segundo hermano de Amine Kessaci, el hermano inocente, si su primer hermano asesinado no hubiera estado involucrado con los criminales porque “eso hizo que la organización mafiosa considerara a esa familia como una familia bajo sus reglas". Romper la omertà o ley de silencio En octubre de 2025, tres años después el asesinato de su hermano Brahim, Amine Kessaci publicó Marsella, seca tus lágrimas. Vivir y morir en tierra de narcotraficantes, implacable denuncia del poder que han recuperado las redes mafiosas tras el abandono estatal de las barriadas populares en el norte de la segunda ciudad de Francia. Un mes después, Mehdi, su hermano menor que preparaba el examen para entrar a la policía, fue acribillado por dos hombres armados en moto.   “Este joven es un símbolo. Él dice que en ese territorio sí se puede hablar. Es mucho más peligroso que cualquier periodista porque demuestra que dentro del territorio puedes rebelarte”, afirma Saviano El periodista Roberto Saviano también se rebeló en su Nápoles natal contra la Camorra, la poderosa mafia italiana. En 2006, publicó Gomorra, una formidable investigación que denuncia el horror de esos clanes mafiosos insertos en el engranaje institucional, empresarial y vital de la sociedad.     Con dos décadas de diferencia, Saviano y Kessaci rompieron la omertà o la ley de silencio que cubre a la mafia.  Ambos fueron amenazados de muerte y obligados a vivir bajo protección policial. El joven marsellés habla de esa condena injusta: “Me condenaron a vivir mi duelo y también a vivir bajo arresto domiciliario, a una vida en la que cambio de apartamento cada dos días. Tengo guardaespaldas que me rodean. Casi una decena. Me desplazo en un auto blindado y llevo un chaleco antibalas. Es injusto que, con 22 años, sea el objetivo de los grandes narcotraficantes. Solo por haber escrito tres líneas en un libro”.  "El narcotráfico es la consecuencia de la injusticia social" Fabrice Lextrait, artífice del arte y la cultura en Marsella, descubrió desde las primeras páginas del libro de Amine una obra literaria con un alcance político muy fuerte, afirma. “El libro de Amine Kessaci es un testimonio humanista de lo que la sociedad actual de Marsella puede hacer en una familia popular como la suya: en la vida de un joven que se convirtió en delincuente, su primer hermano asesinado por la mafia. Un segundo hermano, víctima de una injusticia absoluta, diferente de la primera, pero siempre en el registro de la injusticia. Y luego él, que con todo eso, tendrá que seguir su camino junto a su madre”, dice el fundador de la icónica Friche la Belle de Mai en Marsella. En el prisma de Lextrait la obra de Kessaci igualmente es un testimonio de los sobrevivientes, de cómo aquellos que deben hacer el duelo también deben velar por que ese duelo no se repita en otras familias. Finalmente, Lextrait subraya en la obra de Amine el enfoque que el joven autor da al fenómeno del narcotráfico: "Lo que explica Amine Kessaci con gran contundencia política es que el narcotráfico no es la causa, sino la consecuencia. Y que nuestra sociedad debe buscar la verdadera causa en la injusticia social que sumerge a los jóvenes en manod de individuos que logran manipularlos para hacer su fortuna y riqueza personal".    El Estado es responsable  "Yo digo que este país es responsable, quizá no culpable, pero sí responsable. Responsable de haberte puesto en peligro, de habernos dejado solos”, reza en uno de los pasajes del libro de Amine Kesacci. El autor explica que el Estado no pone un arma en la cabeza de la gente para obligarla a traficar con droga, pero que “El Estado es responsable de haber permitido que estos jóvenes caigan en el narcotráfico, de haber permitido que no exista ninguna alternativa económica al tráfico de drogas y que,en cambio, exista esa economía subterránea mediante la retirada de los servicios públicos, la falta de acción política en ese ámbito, la falta de lucha contra la pobreza, contra el desempleo. Todo esto conduce a la situación en la que estamos hoy”. Como muchos de los jóvenes que viven en los suburbios del norte, Amine proviene de los cientos de miles de inmigrantes argelinos que desde mediados de los años 60 desembarcaron en el puerto de Marsella para trabajar en Francia. “Nuestros padres, cuando llegaron con las primeras oleadas de inmigración, fueron los peones, las hormigas obreras de Francia. Todos esos padres inmigrantes que trabajaron en las rotondas, que construyeron   carreteras, ciudades… fontaneros, albañiles, que hicieron todos esos trabajos duros y terminaron sus vidas enfermas, cansados, con la espalda destrozada. A todos esos padres no se les preguntó qué querían, si querían otra opción. Era eso o nada. Y ellos aceptaron ese papel, y formaron familias. Y, luego, ¿no se les da nada a cambio?”, dice. Servicios públicos desmantelados Los suburbios de la periferia norte de la segunda ciudad de Francia son de los más pobres del país. Tras la proliferación de colmenas de vivienda popular en la década de los 80, las llamadas ‘cités', sus habitantes han sido poco a poco desmantelados de los servicios públicos básicos que son vectores de desarrollo. "Cuando se eliminan escuelas, bibliotecas, oficinas de correos, el transporte de los barrios, se aíslan esos lugares, se crean zonas sin ley donde la República no existe. Esto no es posible para los miles de familias que viven allí que no causan problemas y solo piden una cosa: poder vivir”, denuncia Amine. Para este hijo de las barriadas vulnerables de Marsella, la exclusión social a las que han sido sometidos sus habitantes alcanzó su momento culmen en la década de los años 2000, bajo la gestión de Nicolas Sarkozy, primero como ministro del interior y, luego, presidente de la república. "Yo culpo a NIcolas Sarkozy. El decidió retirar los servicios públicos y la policía de proximidad. Los mismos que abogan por la represión y la seguridad total, destruyeron la fuerza disuasoria que tenía la policía en esos barrios. Ese señor eliminó la imagen de lo que podría ser el Estado de derecho en las barriadas populares. Por cierto, su eslogan era los vamos a limpiar con hidro lavadoras". La frase de Nicolas Sarkozy evocaba a una limpieza social en los barrios  más desfavorecidos de Francia -donde existen muchas viviendas sociales y viven comunidades de inmigrantes- y a cuyos habitantes trató de "escoria". Su ofensiva retórica y represiva en materia de seguridad no frenó el avance de la venta de drogas ilícitas en el norte de Marsella. “Donde yo vivía, la red de drogas estaba delante de la puerta del bloque. Incluso, entraban cuando hacía frío. Así que nos saludábamos, nos conocíamos”, relata Belaid Aroun, activista social y empresario marsellés que nació y creció en el distrito 15 e Marsella, símbolo de la fractura entre el norte y el sur de la ciudad. La red de transporte empezó a funcionar apenas en 2020. “Los traficantes de drogas en mi barrio estaban mucho más presente que los servicios públicos. Ellos formaban parte integrante de la vida social. Incluso en las celebraciones, pagaban las fiestas del barrio, los regalos de Navidad. Es muy difícil poder esquivarlos porque, en realidad, son amigos. Hemos crecido con ellos. Algunos no son de Marsella, pero vienen a trabaja en las redes. Y físicamente están con nosotros”, dice. Un problema que oculta otros El fenómeno de la venta de drogas en las barriadas del norte es, sin embargo, relativamente reciente. "La Frenche Connexion nunca puso un pie en las cités del norte. El primer expendio de droga que vimos aparecer allí fue en 1984”, afirma Claire Duport, socióloga e investigadora en Transverscité de Marsella y el Observatorio francés de drogas y tendencias adictivas.  Actualmente, lo esencial de la venta callejera de droga en Marsella, en puestos fijod y con vendedores visibles se hace en los barrios vulnerables del norte de la ciudad y en algunos del centro pauperizados o con una importante presencia de consumidores. "Pero eso es solo una realidad de la venta de drogas en la ciudad", precisa la experta. “Yo no puedo decir que sea la mayor parte porque no tenemos datos cuantitativos. Pero hay menos venta callejera en las barriadas del norte que en 2023. En 2024 hubo menos y en 2025 aún menos. En cierto modo, los expendios de droga en las calles de esos barrios vulnerables se prestan para ocultar las demás modalidades de este mercado”. Para Duport la cuestión del tráfico de drogas ha sido instrumentalizada, sin que por ello el fenómeno dejé de representar un problema: “No digo que se está haciendo mucho ruido por algo que no es un problema. En absoluto. Lo que digo es que desde hace una década que los problemas de la venta de droga en las barriadas del norte ocupan todo el debate sobre los barrios marginales y, con ello, se oculta la cuestión de la pobreza, la salud, la vivienda.  Si se habla de las ‘cités', solo es sobre el problema de la droga. En primer lugar, en muchos de esas barriadas no hay tráfico de drogas   Y, además, así se ocultan todas las dificultades que atraviesan sus habitantes”. Coctel de miseria y racismo En el norteño  barrio de La Busserine la vida cotidiana  está engullida por la miseria y el control de los traficantes de drogas que reclutan cada vez un número mayor de menores. “El barrio es teso. Al hijo de una mujer que trabaja con nosotros, involucrado en las redes de traficantes, le cortaron las manos y lo quemaron. Es el horror total”, narra María Elena Márquez, trabajadora social en Schebba, asociación que apoya a las mujeres de la Busserine. Para ella, la causa de esta violencia social está en “la pobreza alimentada con el racismo. Por ejemplo, los muchachos deben hacer una pasantía cuando están en tercero de bachillerato y ninguna empresa los recibe porque la población magrebí, la más implicada, ha sido muy estigmatizada, entonces es muy mal visto tener un empleado magrebí.” La segregación a la que son sometidos los jóvenes de estas barriadas les va abriendo las puertas a la única opción laboral y de progreso económico allí existente: las redes del narcotráfico.  “No tienen acceso al empleo, ni a una formación adecuada. Eso hace que desde muy temprano los soliciten para vigilar; ponen a niños de diez años a que les avisen cuando viene la policía. Así empiezan su proceso de integración a las redes de las drogas”. Valentía y dignidad, las armas de las madres El nivel de desempleo en los barrios del norte de la ciudad es muy alto. “Y los hombres cuando no encuentran trabajo se van. Entonces, hay muchas familias monoparentales”, dice María Elena Márquez. De padres divorciados, Belaid Aroun creció solo con su mamá:  “Los narcotraficantes hacen un trabajo psicológico con los jóvenes para suplir esa carencia. Es un trabajo de reclutamiento a largo plazo. Recuerdo que cuando era muy pequeño, con diez u once años, estábamos en contacto permanente con ellos, sabíamos los nombres de todos, sabíamos cómo funcionaba el negocio, lo sabíamos todo sin estar metidos”, cuenta Aroun. Hoy es un reconocido líder comunitario y, al mismo tiempo, empresario. “Si no me metí es porque tuve a mi madre, que estaba sola y luchó. Ella estuvo muy presente para mí y me permitió mantenerme a flote. No estoy seguro de que, de haber salido del camino recto, hubieran podido recuperarme. En mi barrio han pasado muchas cosas muy graves. Y ahora que tengo 38 años, veo que muchos de mis amigos con los que crecí, con los que jugábamos al fútbol, han muerto o están en la cárcel”. Amine Kessaci denuncia el intento de parte de un sector de los políticos franceses de imponer una suerte de punición colectiva para las familias de los jóvenes que caen en la delincuencia de las mafias. “Me parecen unos cobardes los que proponen quitarles las viviendas sociales a las madres con hijos que son traficantes de drogas. No existe la fuerza, ni el valor, ni las armas para luchar contra los cabecillas de las redes que están en Dubái, en Tailandia, en los Emiratos Árabes. Pero, en cambio, si hay el valor de atacar a las madres de los barrios que no tienen armas ni defensa”  A los 16 años Amine creo Consciencia, una asociación que asiste a las madres de los barrios del norte cuyos hijos son asesinados en medio de la turbulencia criminal.  “Nuestras madres luchan con las únicas armas con las que cuentan: su valentía y su dignidad. Cuando se enteran de que sus hijos andan metidos en las drogas, cuando sus hijos no están en casa por la noche, ellas salen, van a los expendios de venta de droga, se plantan delante de ellos, les dicen que vuelvan a casa y recuperan a sus hijos”.

French authorities opened a formal investigation into Jean-Luc Brunel after multiple women came forward alleging that the longtime modeling agent had helped recruit and supply young women to Jeffrey Epstein. Brunel, who founded the MC2 modeling agency, was accused by several accusers of using the modeling world as a recruiting pipeline—bringing young women, including some from South America and Eastern Europe, into Epstein's orbit under the promise of fashion work. French prosecutors began examining allegations that Brunel had participated in rape, sexual assault, and trafficking connected to Epstein's network. The inquiry gathered momentum after Epstein's 2019 arrest in the United States, prompting investigators in France to revisit longstanding accusations surrounding Brunel and his role in the international modeling industry. Brunel was ultimately arrested in Paris in 2020 and placed under formal investigation as authorities examined claims that he had helped facilitate exploitation for years.The case also drew attention to long-standing controversy surrounding France's age-of-consent framework. For decades, French law lacked a clearly defined statutory age below which sexual relations with a minor would automatically be considered rape, relying instead on prosecutors to prove coercion, force, or lack of consent in many cases involving teenagers. Critics argued that this legal structure made it more difficult to prosecute sexual exploitation involving older adults and adolescents and left gaps that could be exploited by predators operating in industries such as fashion and entertainment. Public outrage over several high-profile cases—including those involving allegations tied to Brunel—intensified debate within France about whether the legal standard adequately protected minors. The controversy eventually fueled legislative reform efforts aimed at establishing clearer age thresholds and strengthening protections for young victims of sexual exploitation.to contact me:bobbycapucci@protonmail.comBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-epstein-chronicles--5003294/support.

durée : 01:28:31 - Coup de chapeau à la French Connection Academy - par : Philippe Cassard - Créée par Jean-Baptiste Doulcet et Émilie Callesen-Doulcet à Odense, au Danemark, la French Connection Academy est conçue comme un écosystème pour les jeunes musiciens classiques, dans lequel tous les aspects de la vie professionnelle en ses débuts sont abordés. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

This week's pod is all about Universal Jurisdiction (yes we keep coming back to it!) – it's part of the series we've set ourselves, every month a different take (last month Argentina). UJ is the legal principle that engages national courts in fulfilling their obligations to prosecute individuals for serious international crimes (genocide, crimes against humanity, war crimes, and torture) […]

This week's French Connection podcast episode covers one of the most thrilling and morally complicated films of 1971. Ryan, Mike, and Greg revisit The French Connection on Movie of the Year. William Friedkin's Best Picture winner changed what American cinema thought a hero could look like. In addition, this episode features a special Gene Hackman career retrospective.Released in 1971, the film follows New York City detective Jimmy "Popeye" Doyle — based on real NYPD detective Eddie Egan, with partner Sonny Grosso inspiring the character of Russo. Doyle pursues a massive heroin operation with little regard for the law or the people around him. As a result, the film won five Academy Awards, including Best Picture, Best Director, and Best Actor. It remains one of the defining films of the New Hollywood era.This Movie of the Year podcast episode is one of the most anticipated of the 1971 season. Before diving in, check out our recent episodes on The Last Picture Show and A Clockwork Orange.Joining the Taste Buds for this episode is special guest C. Craig Patterson A screenwriter, director, and filmmaker based in Los Angeles. An alum of Columbia University, NYU's Tisch School of the Arts, and USC's School of Cinematic Arts, Patterson brings serious cinematic credentials to the table. His short film Fathead won the Cannes Film Festival Best Student Short Award and earned an NAACP Image Award nomination. His scripts have been recognized by the Sundance Screenwriters Lab, The Black List, and the Academy's Nicholl Fellowship. Patterson also directed the critically acclaimed Roy Wood Jr. comedy special Imperfect Messenger for Paramount+. With projects currently in development at Paramount and Epic Games, he is one of the most exciting emerging filmmakers working today — and exactly the kind of guest who makes a film like The French Connection worth revisiting.The French Connection 1971 Podcast: Popeye Doyle — Hero, Antihero, or Something Worse?The central tension of this French Connection 1971 podcast discussion is what to make of Popeye Doyle. Gene Hackman plays him as a force of nature — relentless, racist, reckless, and completely compelling. He is not a good man, and he is barely a good cop. Nevertheless, the film frames his obsession as heroic, his instincts as genius, and his victory as worth celebrating.Ryan, Mike, and Greg dig into what Friedkin and screenwriter Ernest Tidyman were doing with Doyle. Is the film a critique of the kind of law enforcement he represents? Or is it simply in love with him? The answer is probably both. Ultimately, that ambiguity is what makes the character so difficult and so fascinating fifty years later.The Real Detectives Behind the StoryThe real detectives, Eddie Egan and Sonny Grosso, consulted on the film and even appear in small roles. Consequently, knowing the story is grounded in a real investigation makes Doyle's behavior harder to dismiss. These were not fictional excesses invented for dramatic effect, and the panel takes that seriously.Gene Hackman won the Academy Award for Best Actor for this role, beating out Peter Finch, Walter Matthau, George C. Scott, and Topol. Furthermore, it remains one of the most celebrated performances of the 1970s. The panel uses this episode to look back at Hackman's broader career and make the case for where he stands in the pantheon.For more on Gene Hackman's career, visit the Internet Movie Database.William Friedkin and the New Hollywood Crime FilmDirector William Friedkin approached The French Connection as a documentary-style thriller. He shot on location in New York City with handheld cameras and natural light, refusing to glamorize either the city or its characters. As a result, the film feels unlike almost anything else from 1971 — raw, kinetic, and deeply uncomfortable.The Taste Buds explore how Friedkin's direction shaped the film's identity. Most notably, the legendary car chase under the elevated train tracks in Brooklyn is widely considered one of the greatest action sequences ever filmed. Friedkin shot it on live New York City streets without fully stopping traffic, with a camera mounted to the front of the car. For critical analysis of the chase, the Criterion Collection offers essential reading.Friedkin After The French ConnectionJust two years later, Friedkin directed The Exorcist, cementing his place as one of the defining filmmakers of the decade. The panel discusses what the two films share and what The French Connection reveals about Friedkin's sensibility. In both cases, his camera feels like it is barely keeping up with reality — and that is entirely by design.For more on Friedkin's influence on American cinema, visit the American Film Institute.The French Connection Podcast Discussion: Justice and Its LimitsAt its core, The French Connection is about the gap between justice and the law. Popeye Doyle operates outside the rules, endangers civilians, shoots an unarmed man in the back, and ultimately fails to bring the main target to justice. Despite all of this, the film presents his pursuit not as tragedy but as the cost of doing business.Ryan, Mike, and Greg examine what the film says about the American justice system in 1971 — a moment of profound national disillusionment. Vietnam, the civil rights movement, and the early signs of Watergate were all in the air. Meanwhile, the "good guys" in this film are not good, the "bad guys" are not caught, and the audience is asked to root for the pursuit anyway.Race and Policing in The French ConnectionMoreover, the film's racial politics are impossible to ignore. Doyle's racism is presented as character texture rather than moral failing, and the film never fully grapples with the implications of the policing it depicts. That discomfort is an important part of the conversation this week.For historical context on the real case, visit the DEA's history of the French Connection.Gene Hackman Best Performances: A Career RetrospectiveThis episode includes a special segment on Gene Hackman's best performances. The Taste Buds make their case for the defining Hackman roles and debate his greatest work. In particular, they discuss what made him such an unusual screen presence: his everyman quality, his capacity for rage, and his refusal to tell the audience how to feel about his characters.His breakthrough came in Bonnie and Clyde in 1967, and his Oscar followed here in The French Connection. Subsequently, classics like The Conversation, Mississippi Burning, Unforgiven, and The Royal Tenenbaums cemented one of the most extraordinary bodies of work in American cinema. This segment celebrates an actor who never got quite enough credit for how good he really was.Why The French Connection 1971 Still MattersMore than fifty years later, The French Connection remains essential viewing. Beyond its technical achievements, it functions as a moral document — capturing a specific American mood: exhausted, suspicious, and uncertain about its own institutions.Ultimately, this French Connection podcast episode revisits the film as a living argument about power, obsession, and the stories we tell about law enforcement. It asks hard questions, and this episode doesn't let them off the hook.Related Episodes from Movie of the Year: 1971If you enjoyed this episode, check out the rest of the Movie of the Year 1971 series:The Last Picture Show — Bogdanovich, nostalgia, and a dying Texas townA Clockwork Orange — Kubrick, free will, and the limits of the stateBrowse all Movie of the Year episodesFAQ: The French Connection Podcast and FilmWhat is The French Connection podcast episode about?Ryan, Mike, and Greg discuss William Friedkin's 1971 Best Picture winner. Topics include Popeye Doyle, Friedkin's direction, justice, and a Gene Hackman career retrospective.What is The French Connection about?It follows NYPD detective Popeye Doyle, based on real detective Eddie Egan, as he pursues a massive heroin smuggling operation using methods that are often illegal and always reckless.Who directed The French Connection?William Friedkin directed the 1971...

If you think L.A. is Sodom and Gomorrah 2.0 today, it was not exactly Disney World in the 80s either. A movie came out in 1985 that showed the not so glamorous side of L.A. with a story about Secret Service agents chasing down a murderous, psychotic counterfeiter around L.A. That movie is William Friedkin's “To Live And Die In L.A.”, and if Friedkin's name sounds familiar, it's because he also directed “The Exorcist” and “The French Connection.” He brings his gritty, never-know-what-you're-gonna-get style to his action thriller. William L. Peterson plays the main character, Secret Service agent Richard Chance and his target in a quest for vengeance is a clever counterfeiter named Eric Masters, played by Willem Dafoe. Masters murders someone very close to Chance and that triggers a dangerous, frenzied pursuit where you never know who's going to make it out alive. “To Live And Die In L.A.” is also famous for a 80s cool soundtrack by Wang Chung. Is it worth checking out? Check out this episode to find out! “To Live And Die In L.A.” also stars Darlanne Fluegel, John Pankow, Debra Feuer, Dean Stockwell, Steve James and Robert Downey Sr.Support the showFeel free to reach out to me via:@MoviesMerica on Twitter @moviesmerica on InstagramMovies Merica on Facebook

Donald checks in with “The Good Samaritan,” the 19/20th episode of season three. With special guest Lauren Myers-Hinkle, they talk about the 90s masculinity crisis, etiquette breaches, The French Connection and Zorba the Greek, and their film adaptations. Lauren Myers-Hinkle writes poetry that reimagines history and cinematic experience. She was a finalist for the Missouri Review's Jeffrey E. Smith Editors' Prize, Tupelo Quarterly's Prize for Cross-Disciplinary Writing, and the American Literary Review's poetry award. Lauren's poems and literary journalism have appeared in such publications as Tupelo Quarterly, RHINO, Carve Magazine, and the Writer's Chronicle. She serves as Poetry Editor of The Maine Review and earned an MFA in Writing from Vermont College of Fine Arts. Prior to the MFA, she completed graduate work in Cinema and Media Studies at the University of Chicago.Here are the texts and authors discussed in this episode:The Correspondent by Virginia EvansThe French Connection by Robin MooreZorba the Greek by Nikos KazantzakisThe Book Censor's Library by Bothayna Al-EssaBack to the Future Part III (1990)The Secret of My Success (1987)Emily Post

Amelia Earhart, Fearless Flyer, "The French Connection"Written by Liz HaraStarring Autumn Reeser as Amelia Earhart; Annie Savage as Abby Adams; Craig Cackowski and Paul F.Tompkins as Vikings; Mark Gagliardi and Keiko Agena as French people; Raymond Lee as DB Cooper; and Hal Lublin as the Newsreel Narrator.THE THRILLING ADVENTURE HOUR IS 100% INDEPENDENT.Want every episode and more, including never-released audio, ad free? Want exclusive videos, including rehearsal videos?To support the show and the people who make it, and to gain access to our complete back catalogue including never-released episodes (from as far back as 2005!), early access to the podcast, early access to tickets to our live shows, and more, join our Patreon community: https://www.patreon.com/thrillingadventurehourVisit our store for Beyond Belief concert film DVDs!Visit our video vault to stream a ton of live and live-to-Zoom TAH shows! Hosted on Acast. See acast.com/privacy for more information.

ABOUT NAT SEGALOFF'S BOOK HURRICANE BILLYOriginally published in 1990, Hurricane Billy: The Stormy Life and Films of William Friedkin is at last available again with a new foreword and extensive afterword written in assessment of William Friedkin's career following his 2023 death. Biographer Nat Segaloff draws upon his fifty-year friendship with the controversial director of The French Connection, The Exorcist, To Live and Die in L.A., Cruising, and his greatest achievement, Sorcerer.. This was the first book to offer an intimate portrait of the director. BearManor Media is proud to bring this work back into print. Nat Segaloff's Hurricane Billy: The Stormy Life and Films of William Friedkin is an in-depth look at this mercurial filmmaker of "The French Connection," "The Exorcist," Sorcerer" and other dynamic classics. Billy (his friends called him that) was as explosive as his movies. He was known to hit actors, shoot off a handgun to get an effect, and tell people off to their faces regardless of the consequences. Nat knew him for 50 years and wrote "The Exorcist Legacy" (2023) as well as more than 30 other books, mostly about movies. "Hurricane Billy" was written with Friedkin's participation in 1990 and is being republished after disappearing on its publication 35 years ago.ABOUT THOMAS CLAGETT'S WILLIAM FRIEDKIN: FILMS OF ABERRATION, OBSESSIIN & REALITYWilliam Friedkin: Films of Aberration, Obsession, and Reality was first published in 1990 and has been massively revised and expanded it for this new 2026 edition. It covers all of Friedkin's films in detail, and explores the connections between the man and his movies, as well as their cinematic legacy. It is incredibly provocative in showing how Friedkin's films reflect not only the man who made them but also the world he lives in. Tom went to USC and worked on "The Two Jakes" and "St. Elsewhere" as an assistant editor and since then has won awards for his books in the genre of historical fiction.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Join us this week as we celebrate 5 years of the podcast! It has already been five years since the inception of The Jay Jay French Connection: Beyond the Music, & we've had quite a wonderful run of guests over the years. Today we welcome back the very first guest on the show, the one & only Mike Portnoy! After reflecting on podcast highlights & the years since its beginning, Mike gets into discussing his remarkable journey in the music sphere - from the initial struggles of forming a band to navigating his return to Dream Theater, to the transformation of the music business over the decades. Portnoy & Jay Jay's relationship serves as an inspiring testament to the importance of enduring friendships and collaborations, and the importance of community in the ever evolving music industry. Tune in for a must listen episode, as we celebrate 5 years of the podcast, & what's to come - only on The Jay Jay French Connection: Beyond the Music!Produced & Edited by Matthew Mallinger

The Cinematography Podcast Episode 342: Michael Bauman Cinematographer Michael Bauman recently earned an Academy Award nomination for Best Cinematography for his work on One Battle After Another. Before becoming a cinematographer, Bauman spent years as a gaffer, working under legends like Robert Elswit, Janusz Kaminski, and the late Harris Savides. This mentorship gave him a masterclass in diverse visual languages and on-set problem-solving. After serving as a gaffer for director Paul Thomas Anderson on several projects, Bauman stepped into the DP role for the features Phantom Thread and Licorice Pizza. The decision to shoot One Battle After Another in VistaVision was Anderson's idea. Known for his commitment to celluloid, Anderson prefers old-school techniques: watching dailies on developed negative and editing with physical film. VistaVision offered a larger negative and higher resolution than standard 35mm without the massive footprint of IMAX. The challenge, however, was mobility. Historically used for stationary visual effects shots, the VistaVision camera is notoriously bulky. Anderson wanted the opposite: a dynamic, handheld, and Steadicam-heavy aesthetic. "The language of this entire movie is camera movement," says Bauman. "How do you take this format—with a viewing system that comes off the top at 45 degrees—and turn it into something that can capture the story the way he wants?" Putting an experienced team together was key for the endeavor. They had to be capable of troubleshooting in remote locations far from the safety of LA or New York hubs. Their goal wasn't perfection, but character. "In the digital world we soak in now, it's all about a pristine image," Bauman notes. "Blacks are super rich, whites are super crisp. We wanted to take this 'Kobe beef' format and turn it into a McDonald's hamburger—in the best way possible." The visual identity was further refined by referencing 1970s cinema, specifically The French Connection. Bauman studied the texture and color palettes of that era to emulate its "loose and rough" style. True to form, Anderson pushed to avoid modern LED lighting, preferring tungsten sources whenever space allowed. As a former gaffer, Bauman was happy to accommodate. Perhaps the greatest hurdle was the improvisational nature of the production. Anderson enjoys letting the actors improvise or even reshoot later. He doesn't use storyboards or do pre-vis, so even complex scenes had to be worked out in pre-production or on the day. “Every day was just like, you had to get comfortable with the uncomfortable,” comments Bauman. “I knew we were doing stuff in a good spot when I was really questioning all of it. We had to embrace all these happy accidents. It's free jazz all day long. It's exciting now, but at the time I was stressed as hell!” This spontaneity extended to the film's climax. The spectacular car chase wasn't fully scripted until the location manager discovered a road with rolling hills on the Arizona border. After a week of testing the VistaVision rigs on pursuit vehicles, the crew spent seven days capturing the sequence. Although it was in the wide-open desert, the characters chased each other over the undulating terrain, which allowed enough suspense to build before the spectacular conclusion. See One Battle After Another in theaters and streaming on HBO Max Find Michael Bauman: Instagram @baumanlights Check out Michael's lighting companies, LiteGear and Lux Lighting. Support Ben's short film, The Ultimate Breakup! https://www.kickstarter.com/projects/theultimatebreakup/the-ultimate-breakup-short-film?ref=nav_search&result=project&term=the%20ultimate%20breakup&total_hits=2 The Cinematography Podcast website: www.camnoir.com YouTube: @TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Blue Sky: @thecinepod.bsky.social

Gene Hackman was a great actor and we hope he rests in peace! The French Connection is a great film with a shady protagonist and that's why we love it! Also, how many films has one of the characters named Alain! I Finally Watched's Alain was very excited! We hope you enjoy our continuation of our In Memoriam Month!     Music: https://jessejacethomas.bandcamp.com/album/want Create your podcast today! #madeonzencastr

12 - Rampant fraud in Minnesota! How did a YouTuber uncover hundreds of millions of fraud in faulty daycare centers? How are liberals defending this? 1215 - Side - associated with France. Should the Eagles play the starters this weekend? 1220 - Your calls. What is the most expensive toll road in the world? 1230 - Attorney at Law Linda Kerns joins us to close the year. But not before paying a compliment to Dom on his job! Which living musicians are billionaires? What is Linda's big election law takeaway from this year? What other stories piqued her interest? What's coming up on the next Linda Show? 1250 - Newcomer of The Year, Xenos of Upper Darby calls in. 1 - Artificial Intelligence is going to be used in your health screenings for insurance? In New Jersey? Are we sure about this one? Do people even like AI? 105 - Are New Jersey towns going to fight back against developers? Who will make the biggest stories this year? 110 - Your calls. 120 - More of your calls. Should Patriots' Wide Receiver Stefon Diggs be disciplined by the NFL? 135 - Emanuel Heller Professor of Law at the University of California at Berkeley John Yoo joins us. How did he like the Birds to win on Sunday? Does Trump have the right to send in the entire military into Chicago? Do we really want the Marine in Chicago? What does John think of the SCOTUS Justices and the charge that they're letting Trump do what he wants? 150 - Your calls to round out the hour. 2 - Dr. EJ Antoni, Chief Economist, and Richard Aster Fellow, in The Heritage Foundation Grover M. Hermann Center for the Federal Budget, joins us. Who does EJ favor for the Fed Chair? Why has Trump Derangement Syndrome caused people to behave irrationally on things like “no tax on tips”? Was there a story this year that EJ feels was not talked about enough? How does EJ feel about AI making medical decisions? 220 - Your calls. 230 - Why are they eliminating cash tolls on the AC Expressway? 235 - Pastor Bill Devlin joins us this afternoon from Nigeria! What good news does he have regarding a Christian friend of his that he is helping? What is Bill's prognostication on what will be the biggest religion in America in 2040? What are Pastor Bill's prediction for 2026? 250 - The Lightning Round!

Opening with a interview with Megan Daubert ( https://www.megandaubert.com/ ), a wife and mother, whose husband, Michael, suffered a serious brain injury in 2024. She has since been documenting the arduous, inspiring, journey to recovery on her social media, and tonight she'll be on to talk about the challenges of dealing with both grief and gratitude, especially around the holidays. In the second half of the show we'll take calls, review some news from over the weekend (most notably Candace Owens), and spend a little time remembering a precious little friend of ours. Promo code TURKEY to get in on Wednesday's $500+ KetoBrainz product giveaway! https://tinyurl.com/2cess6y7 Sponsor The Show and Get VIP Perks: https://www.quitefrankly.tv/sponsor One-Time Tip: http://www.paypal.me/QuiteFranklyLive Elevation Blend Coffee & Official QF Mugs: https://www.coffeerevolution.shop/category/quite-frankly Official QF MERCH: https://tinyurl.com/f3kbkr4s Gold & Silver: https://quitefrankly.gold Send Holiday cards, Letters, and other small gifts, to the Quite Frankly P.O. Box! Quite Frankly 222 Purchase Street, #105 Rye, NY, 10580 Tip w/ Crypto: BTC: bc1q97w5aazjf7pjjl50n42kdmj9pqyn5zndwh3lng XRP: rnES2vQV6d2jLpavzf7y97XD4AfK1MjePu Leave a Voice Mail: https://www.speakpipe.com/QuiteFrankly Read Exclusive Quite Frankly Articles & Past Newsletter Features: https://www.quitefrankly.tv/newsletter-archives Quite Frankly Socials: Twitter/X: @QuiteFranklyTV Instagram: @QuiteFranklyOfficial Discord Chat: https://discord.gg/u5RutUcSMJ Official Forum: https://tinyurl.com/k89p88s8 Telegram: https://t.me/quitefranklytv Truth: https://tinyurl.com/5n8x9s6f GETTR: https://tinyurl.com/2fprkyn4 Gab: https://tinyurl.com/mr42m2au Streaming Live On: QuiteFrankly.tv (Powered by Foxhole) Youtube: https://tinyurl.com/yc2cn395 BitChute: https://tinyurl.com/46dfca5c Rumble: https://tinyurl.com/yeytwwyz Kick: https://kick.com/quitefranklytv Twitch: https://www.twitch.tv/quitefranklylive Audio On Demand: Spotify: https://spoti.fi/301gcES iTunes: http://apple.co/2dMURMq SoundCloud: https://tinyurl.com/yc44m474

1 Hours and 48 MinutesNSFWPete and members of the Old Glory Club talk about the latest headlines. Old Glory Club YouTube ChannelOld Glory Club SubstackOld Glory Club WebsitePete and Thomas777 'At the Movies'Support Pete on His WebsitePete's PatreonPete's Substack Pete's SubscribestarPete's GUMROADPete's VenmoPete's Buy Me a CoffeePete on FacebookPete on TwitterBecome a supporter of this podcast: https://www.spreaker.com/podcast/the-pete-quinones-show--6071361/support.

We get into our Mens Room Question: Where did you get stuck, stranded or lost?