Podcasts about Gene Kelly

Bob and Brad are joined by friend-of-show Lee Diaz to revisit the classic film Singin' in the Rain alongside a review of Weller Special Reserve bourbon. They explore the film's themes of whimsy, the transition from silent films to talkies, and the iconic performance of Gene Kelly. TThen, they break to sample Weller Special Reserve, discussing its nuances of pricing and value.Chapters00:00 Introduction04:02 Brad Explains the Plot of Singin' in the Rain07:19 Personal Connections to the Film17:53 Gene Kelly: The Icon and His Persona23:56 Stylistic Choices and Cinematic Techniques35:34 Whiskey Tasting: Weller Special Reserve Overview56:10 Two Facts and a Falsehood01:16:00Final Thoughts on Singing in the Rain01:26:28 Let's Make it a Double and Final Scores--Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Email us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Discord server!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For more episodes and engaging content, visit Film & Whiskey's website at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.filmwhiskey.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Christopher Atkins joined me to talk about Rye Playland, his high school baseball career; modeling; meeting Claudia Black and running into her 40 later; modeling with Brooke Shields, Phoebe Cates, and Lisanne Frank; showing his swing in Blue Lagoon, Randall Kleiser making him sleep with a Brooke Shields poster over his bed for a week before meeting her; swimming with a professional naked baby; William Daniels; being beaten at The Golden Globes by Timothy Hutton; Child Bride of Short Creek about FLDS; Night of 100 Star; hanging out with Paul Newman, Gene Kelly, Mickey Rooney, and Princess Grace; I Love Liberty; The Pirate Movie; Kristy McNichol and its long cult status; her chewing gun; possible reunion; his hit "How Can I Live Without Her"; appearing on American Bandstand; doing Rock 'n' Roll Summer (1985) with Dick Clark; doing a parody of Nastassja Kinski's snake poster; doing Carson with guest host Joan Rivers; getting treated like the Beatles; A Night in Heaven; Perfect Match; Dallas; having Larry Hagman help you move into your dressing room; doing Circus of the Stars and putting your head in a lions mouth; Beaks; doing two movies as a love interest for Joe Pesci's real life girlfriend; twice doing the Jerry Lewis Telethon; Smoke 'n' Lightning; playing a crew member from Blue Lagoon who died of AIDS in It's My Party; his film Amy; how he got into writing and how he wants to make his own film

The Time Riders: Part 5 A Labyrinth Palace. Based on a post by BiscuitHammer, in 16 parts. Listen to the Podcast at Explicit Novels. The non-descript carriage had indeed made its way through Paris' winding streets, taking well over an hour to finally stop in front of the palace and allowing Mark to get out of the cramped cab before it rattled off. The sun had set some time ago, and night hung over the city heavily, the cloying air of Paris carrying the city's growing pains to his ears. Even at night, the city was not silent. Mark adjusted his outfit and marched toward the outermost gate of the vast palace, its arms spread wide and encompassing a massive courtyard. Two men wearing ornate red uniforms and holding pikes crossed their weapons at his approach, barring his entry. One of them gruffly asked him to state his business. Trusting to the plan, Mark said nothing, but merely held out one of his sealed letters, this one bearing the emblem of Richelieu. The guard examined it for several seconds, consulting with the other guard before handing it back and then opening the gate. Mark shot them both a dirty look for holding him up in his errand and then swept inside, doing his best to look haughty and full of bravado, which is what the Musketeers were apparently renowned for. He couldn't help but reflect that they seemed a lot less heroic than history let on and were more dickbags than anything else. Oh well. Faking being a dickbag was probably significantly easier than pretending to be a hero. He passed through another gate that got him closer to the palace, this one also manned by the Swiss Guard. He arrogantly presented them with the Richelieu missive, which once again satisfied their scrutiny and he was allowed to pass. He forced himself to not look around in wonder at his surroundings, instead heading straight to the great doors that would give him admittance to the palace. Alex once again presented his letter, but this time the guards squinted at him suspiciously. "Qui es tou?" demanded one of them. His throat was dry, but he answered as readily as he could, trying to sound authoritative and even haughty. "J'mappelle Benat de Ferres, of Soule, Second Company of the King's Musketeers under Monsieur de Treville. Let me through." "Fucking Basques and Gascons," muttered one of the guards in irritation. "Why would a musketeer be bringing a missive to his excellency, the Cardinal?" he demanded to know. Mark concealed his anxiety by looking pissed and rattling off one of the phrases Alexandra had given him, hoping it had the desired effect. "I have an idea, why don't we all go ask the Cardinal and you can fucking explain to him why you held up his envoy on an important errand? Does that sound good to you?" The two men looked at one another warily; the visitor was certainly obnoxious enough to be a Musketeer and a Gascon. Sighing and shaking his head in defeat, the one man handed the sealed letter back to Mark and they opened the doors, allowing him entrance. He swept by them, calling them shitheads in Spanish before the doors closed behind him. He knew he shouldn't, but he couldn't help Gawking as he stared at the palace around him; its splendor was beyond anything he had imagined. Walls of white plaster, carved in exquisite shapes and edged in royal purple, along with gold filigree, and incredible paintings and artifacts lined the walls. Endless numbers of servants scurried by, hardly noticing him. He shut his eyes for a moment and composed himself, remembering the details Alexandra had shown him, the way through the palace. He turned and began his search for his teacher. Lisette walked primly through the halls of the palace, bowing her head deferentially to just about everyone who passed her. Wearing an elegant gown, she seemed to almost glide along the hallway, walking with a practiced ease that her mistress had taught her. She had, in three years, only been in the royal presence twice before, in attendance to Lady Alexandra. The king had barely noticed her, but Lisette didn't mind one bit, because this was far more of a life than she ever could have hoped for. She had, of course, spent much more time in the presence of the queen, because her mistress served Anne directly. Anne of Austria seemed mostly amused by Lady Alexandra's quirky servant, but she was kind to Lisette, often sending her home with gifts of chocolate. Her devotion to the queen, while not equal to her fanatic love for Lady Alexandra, meant she would die in Anne's name if necessary. She hoped it wouldn't come to that tonight, but she had made her peace with God and the Lady Mary all the same. Alexandra had set her with the task of removing or distracting every guard she could from the route Mark would take through the palace. She was not to kill anyone, nor was she to be seen in the mayhem, if at all possible. If things went wrong, she was to retreat to the queen's quarters and be seen protecting her. It was the best alibi she could hope for. A guard up ahead. He was a sullen-looking brute, not carrying the long pikes of the gate guards, but a much more practical halberd, along with a short rapier on his belt. She knew he'd be trouble. She ducked into an alcove and pulled a small phial out of her cleavage, drinking the strong red wine from it and sloshing it around in her mouth, to make sure the aroma was on her breath. Replacing the phial, she lurched back out into the hallway and sauntered toward him lazily. "Hello, beautiful," she said drunkenly, giving him a lopsided smile. "You must' be off-duty by now." "No, I am not," he grunted, not looking at her. "Go away, slut." "C'mon," Lisette persisted, leering at him as she leaned against the wall to his left. "We could be having fun. Don' you like fun?" "Duty is not meant to be fun." "But these are fun," she drawled, as she stepped in front of him and leaned forward, using her hands to pull down the front of her bodice and exposing her perky tits to the man, whose eyes went wide at the sight. "These are all the fun you'll need;” He didn't stop her as she sidled up to him, stood on her tip-toes and put her arms around his neck. Her breath was sweet with wine, her dark eyes glassy with the lack of inhibition it brought on. Her tits pressed to his chest, her hips flat to his crotch. "Take me into that room and fuck me;” she breathed huskily, her lips no more than an inch from his. "I want to feel you inside me;” The man was rather pale at her suggestion, but nodded readily and turned around to open the door. The parlor behind was empty, the perfect place for a rendezvous with this slattern. She took him by the hand and led him inside, closing the door behind them. Mark walked down the hallway, trying to not look like he was hurrying, and staying alert. He was entering a difficult part of the operation, because he was no longer in an area of the palace that led to either the king's quarters or those of Cardinal Richelieu. If anyone stopped him now, he would probably be redirected rather forcefully, and he had precious little time to waste. He walked by a door, from which he heard a moaning noise. Then he heard a familiar woman's voice, gasping and urging someone on. His translator bud wasn't close enough to hear what was being said, but he was fairly certain he knew what was happening. He subtly pushed the door open and peered inside. Mark gaped as he watched Lisette, leaning over a small table, panting while a member of the House Guard fucked her from behind, her layered skirt bunched over her ass as he pushed in and out of her. The guard remained oblivious, but she noticed the door open and flicked a glance his way. She gave him an annoyed look and jerked her head, indicating that she had this covered and he needed to keep moving. He nodded and pulled the door shut quietly before heading down the hall again. He turned a corner and then headed up some stairs, leading up to the next floor, which was apparently where Becky was being kept. He was so busy thinking about what he needed to do next that he blundered right into two guards, who grunted and then glared at him angrily. "Stupid shit!" the one man he had smacked into spat. "Watch where you are; who are you?" Mark went wide-eyed, not having expected them. His mouth seemed to work, but no sounds came forth. They blocked his ascent and continued to glare at him. "Who; are; you?" the man demanded again. Mark regained control of his voice and tried to speak. "My name is; my name is Benat;” Fuck, he'd forgotten his last name. "My name is Benat DeFlepard," he managed to say. "I am from Sully and I have' "What sort of name is DeFlepard?" snarled the one guard. "I have sealed orders," Mark interrupted, not liking where this was going. "From the Cardinal!" "Is that so?" sneered the man. "Let's see them!" Mark handed him the sealed missive scroll. The man examined it and frowned. "This is the king's seal," he growled. "What is the meaning of this?” Before the man could finish his query, Mark punched him in the face and then pulled his crème-colored tabard over his head and threw him down the stairs. The guard cursed loudly as he rolled at least two floors. Mark was too late to stop the other man from drawing his short rapier, but managed to grapple onto him, keeping himself from being run through. Mark might have been taller, but the guard was a veteran of many wars, strong and cunning. It wasn't long before he had Mark's back pressed against the wall, both men fighting for balance on the stairs. "Little shit!" he shouted, trying to press the edge of his blade against Mark's throat and slit it. They tussled, and Mark managed to wedge his arm between his neck and the rapier, feeling the sickening cold pain of the keen edge creasing his forearm. His free hand, however, snaked down to the pistol on his belt, twisting the leather until the muzzle pointed down; The stairwell echoed with a thunderous crack as Mark pulled the trigger and discharged the weapon, the iron ball punching a hole in the guard's boot and then his foot. The man groaned and staggered, releasing Mark. His ears ringing, Mark managed to shove the man down the stairs, following his comrade. He shook his head and began sprinting up the stairs, knowing the whole palace would be coming down on his head any second now. Alexandra was concealed in a secret closet in a parlor not far from the queen's quarters, listening carefully. She was wearing the red uniform of the Cardinal's personal guard, her impressive bust flattened and pulled tight with linen straps. Her golden hair was held in a ponytail while a black mask concealed her facial features. Her rapier sat on her hip and three customized pistols were concealed around her person, along with several knives balanced for throwing. She heard the discharge of a firearm, followed by shouts of alarm and fright. She hung her head and sighed. She'd been hoping it wouldn't come to this, but there seemed to be nothing for it. She would see her obligation met. Alexandra crossed herself and exited the hidden space, heading toward the Cardinal's quarters, determined to cause a distraction for Mark as he went in the opposite direction to rescue Rebecca. It was all in God's hands now. All she could hope was that Mark had remembered what his name was. Mark raced down the hallway, ignoring people who poked their heads out of various rooms and parlors to see what all the commotion was, before closing their doors and locking them in panic at the sight of him. He had his sword in one hand, his pistol in the other. Having discharged his shot already and having no idea how to readily and safely reload the damn thing, the pistol was mostly for intimidation purposes at this point. Thankfully, if he pointed it at people, they tended to make themselves scarce. A guard rushed around the corner, his halberd in hand, but Mark smashed the ornate swept hilt of his rapier into his mouth, which dissolved in a welter of blood, lips and gum before he burbled and fell over. Mark kept running. He shoulder-blocked his way past another guard, but then found himself confronted by a small group of angry servant girls, who kept swearing in French and throwing bread rolls and potatoes at him. Covering his head, he sprinted past them, resisting the urge to take a swipe at the uppity wenches. There was the room! He raced up to it and tried to open the door, but it was locked. Given the amount of noise and commotion he was causing, he shouldn't have been surprised. He stepped back and then slammed the heel of his sturdy boot into the door with all his might, knocking it out of its frame and falling to the floor. He rushed inside, looking around for his teacher, but she was nowhere in sight. That's when the heavy vase smashed into the back of his head. He was on his face on the floor, reality swimming around him. He heard someone hissing at him as he was handled roughly by his neck and his tunic. He was turned onto his back and someone was straddling him now, their supple legs on either side of his throat and their heavy skirt bunched up between their legs, allowing him to goggle up at his assaulter. "Becky! Stop! Stop, I; Ow! Jesus! Quit Hitting Me! It's Me, Mark!" The flurry of fists halted and then there was a pause thick with confusion. He felt his cheeks being gripped tightly, immobilizing his face and then his neck pulled up so that whoever was sitting on him could look at him. "Mark?" Becky exclaimed in disbelief. "Mark! Oh my God!" She began smothering him with feverish kisses, still straddling him. Still dizzy, he was in no particular shape to stop her, in spite of the fact the whole palace was on its way to kill him. His eyes finally managed to focus, and he looked up at her. "I've missed you too, Becks, but can you let me up, please?" Becky blinked and then jumped off him hastily, helping him to his feet. She still seemed stunned to see him, not that he blamed her. "How?" she asked, her eyes wide with disbelief and wet with emotion. "You; you were." "Dead? Yeah, kinda." "The how are you here?" she asked, trembling. He shrugged. "To quote Neil De Grasse-Tyson, science, bitches." "Oh, it doesn't matter," she exhaled, crushing herself to him and hugging tight, her body shaking with raw emotion. "You're back, Mark. You came back for me;” He smiled and hugged her back, his hand on the back of her head. "Well sure I did. You're my time-travelling partner, aren't you? Can't leave you here with these smelly savages." She laugh-choked back a sob and look up at him, her eyes leaking tears onto her scarlet cheeks. "And we're gonna get out of here and; Becks, are you, like, really drunk?" Her expression of delight warped into a scowl at his query and she pushed herself away from him. "Well what do you expect? I only spent the past month trying to kill myself with alcohol while you were taking your unscheduled nap, you jerk!" "I'm sorry," he faltered, knowing that this couldn't possibly be the right time to make her angry, on so many levels. "Let me get you out of here and then I'll explain everything." "Hang on;” she huffed, stomping over to a table and grabbing her bottle of wine, tilting her head back and taking a stiff pull from it gulping loudly. Mark made a wan face and fidgeted, acutely aware of the time they were losing. "Becks, no offense, but I'm pretty sure every guard in Paris is looking for me right now, and I' "Sounds like more of a you problem than a me problem," she grunted, attempting to drain the bottle with several loud glucks. "Nobody was trying to kill me while I was here." "No, you seem to have that covered;” he said dryly. She shot him a nasty look, but didn't stop drinking. "Look, we need to go," he insisted. "Pretty sure Alexandra's risking her neck to make sure I can' "Alexandra?" Becky interrupted, stopping drinking to look at him pointedly. "The gorgeous blonde I want to fuck?" "I; sure," Mark replied, trying to keep up. "Pretty sure she and Lisette are' "Who's Lisette?" Becky asked suspiciously, lurching toward him. She was quite a bit drunker than he'd initially thought. "It doesn't matter," he declared, determined to get moving before Richelieu arrested and shot his ass again. "We need to get' Mark winced in fear as she surged toward him, the bottle raised over her head. She flew by him and smashed the bottle down on the head of a guard who had barged into the room. His eyes rolled up into his head and he went to sleep. "Weren't you drunk moments ago?" Mark asked in disbelief. "Looks like you're the one who need rescuing." Becky shot back. "You were half a second away from having an exit wound the size of an airport runway in your chest just now." Another guard sprang around the corner. Becky, who was closest to the door, kicked him savagely between the legs. The man staggered to a stop and stiffened, but didn't fall over, the impact of her foot cushioned by the many layers of baroque skirt she was wearing, not to mention the dainty, padded slipper. As the man gaped at her, she kicked him between the legs again, but her skirt interfered, softening the blow to the place where he merely doubled over from the ache. Becky snarled angrily, lunged in, grabbed him by the neck and DDT him, almost as smoothly as ‘Jake the Snake' did to fellow pro wrestlers. This time he stayed down. "Jerk!" she muttered, glaring at the man. Without a second thought, she used a knife on the man's belt to tear layers of skirt away, leaving herself clad only in the bodice and skimpy underwear, with garters holding up the silk stockings she wore. She knelt on the unconscious man's back and pulled his boots off, replacing her slippers with the sturdier footwear. She then stripped his rapier and pistol from his person before turning to look at Mark. "You ready now?" she asked pointedly, standing there in what basically amounted to negligee and musketeer boots, while holding a rapier and a wheellock pistol. He gaped at her for a moment, unable to say anything. "You have no idea how stupidly sexy you look right now, Becks." Mark managed to say. "I'll believe it when Alexandra says it to me," she sniffed, turning and heading out the door. "Let's go, hero." Mark sighed and trotted after her, leaving the two men lying on the floor in a spreading pool of wine and broken shards of glass. Lisette made sure the guard was arranged comfortably in the plush chair, snoring, his breeches still around his ankles, his soft cock oozing cum all over his balls. She shook her head in exasperation as she rearranged her skirts; no sooner had the man cum than he yawned and began to fall asleep. She'd been nowhere close to climaxing when he'd finished. Typical male. At least the boy from the future liked to make sure she came first, even if he was a naïve school boy. She left the door open, to make sure his shame was on display and then hurried down the hallway, holding her skirt up and allowing herself to run. The palace was ringing with shouts of alarm, anger and panic. Everything seemed to be going as planned, whatever that entailed. She just trusted that Mistress knew what she was doing. Guards from various regiments were racing around now, getting one another's way and shouting orders angrily. She passed through them virtually unnoticed, merely a servant girl looking for shelter. She made a beeline right for the queen's royal apartments, and she was stopped by no one, since she was known to the guards and stuff. She nodded hastily as she passed two guards outside the ornate doors and headed inside the boudoir. Anne of Austria looked up from a book to see Lisette scurry in, closing the door behind herself and then pressing her ear to the door, ignoring everyone else in the room. She then saw the queen, blinked, curtseyed hastily, and went back to eavesdropping on the frenzy of activity outside. The monarch shook her head wearily and went back to reading her book. "You may not pass through here!" shouted the house guard, blocking Alexandra's passage forward. She had identified herself as a member of the Cardinal's guard, using her well-practiced man's voice to give credit to her guise. Thought he believed her, the man remained unmoved, barring her way. "I told you, I need to reach the Cardinal!" she insisted, knowing full well he would not let her through. "That is no concern of mine," he said coldly, glaring at her, his hand on his sword, ready to draw it. "Find another way to reach your Cardinal, because if you come another step closer, I will run you through." "So be it!" she growled as she lunged in, her own rapier flashing in her hand. The man drew his weapon and thrust at her, but she parried and then drove the point of her blade through the shoulder of his sword arm, pinning him against the wall. He groaned as his sword fell to the ground, but then her foot slammed into his face while she pulled her rapier from his shoulder. He was unconscious, but he would live. She had no cause to kill these men. She ran down the hallway, listening all the while to the commotion that echoed through the Louvre. A young guard barred her progress at a juncture in the hallways, and before he was even ready, she struck him across the head with the basket of her rapier, knocking him out. Alexandra continued along the corridor, but then saw several guards rushing into the other end of the hall, outside of an ornate door that led to the king's royal apartments. Upon seeing her, the six men pointed their muskets at her, three kneeling while the other three stood behind. A series of barks shook the area as she ducked around a corner hastily, avoiding their barrage. She could hear them shouting orders to reload. She leaned her head back against the wall and sighed. Idiots. Before they had reloaded, she had pulled a small device made of two pieces of flint out of her pocket, along with a tiny clay pot out of the other. From the hole in the top of the pot hung a thin strip of rigid paper. She held the pot by its flat bottom and snapped the flint pieces against one another, producing sparks that caught on the paper and began to burn. As the flame made its way down the paper wick, she counted slowly and calmly before leaning around the corner, tossing the pot, which skated on its flat bottom along the floor toward the guards who opposed her. She then ducked back, waiting grimly. There were shouts and the sound of boots stampeding, but then an unreal hissing shriek and a bright, flaring white light as the magnesium powder inside the container ignited. Cries of pain followed. Ten seconds later, the light died, and she rounded the corner and strode down the hallway. Four of the six guards had fled before the grenade went off, while two were writhing on the ground, clutching at their eyes from the flash blindness. She stepped between them and kicked in the door toward the king's apartments before turning around and walking away, knowing that this would create additional confusion as they sought to find the assassin in the red tabard who sought to slay the Sun King. There was more chaos to sow. Mark and Becky sprinted down the hall, ignoring the pell-mell going on around them. Inevitably, though, they were confronted by a soldier of the Cardinal, one that Mark recognized. It was the captain who had shot him. Marks teeth clenched as he rushed forward, ready to run the sonofabitch through, but Becky was faster. She threw herself into a skid, sliding along the polished floor, hurtling straight toward the man. He gaped at her in disbelief, but by then, she had slammed her foot into his crotch, doubling him over with a grunt of unreal pain. With a roar, she surged to her feet, grabbed the man around the middle from behind and yanked him over backwards, suplexing his family jewels with zest. Mark had by now skidded to a halt and watched in disbelief while his teacher stood over the supine officer and kicked him in the ribs. "Bastard!" she raged. "Teach you to kill my students!" She knelt and yanked his head up, making sure his eyes were open as she pointed at Mark, her voice dripping with vitriol. "See that? He's alive! You can't even kill something right! Your life means nothing! Nothing!" She smacked his head off the tile floor and gathered up her weapons before looking at Mark, composing herself now. "Sorry," she said with a flush of embarrassment. "You probably wanted him, didn't you? I thought you were dead, so if I ever saw him again, I'd have to avenge you." Mark shrugged. "No harm done. Except to him, and I don't really' Mark stopped talking and stared down the hallway behind Becky. Three men in flamboyant uniforms, trimmed in blue and white like himself were now approaching them. One had a grim, patrician air and about him, the second a handsome boyish charm, while the third towered over the others by a head and shoulders, a contemptuous smirk on his face. "That can't be good;” he thought. Becky didn't even blink. Without turning around, she pointed her pistol backwards over her shoulder and pulled the trigger. The bark of the shot echoed around the palace and the giant staggered backward, eyes wide in shock, before he fell over like a redwood. The other two gaped at her in astonishment as she turned around to glower at them. They hastily took hold of their downed friend and hauled him out of sight, their duty to the king forgotten. "That's right, ladies, run!" Becky called out, her chest heaving. "How's it feel to get beat up by a girl?" "You are so sexy right now, Becks." Mark chuckled, approaching her. She turned back to face him; covered with gunpowder smudges, scratches and the occasional bruise, she'd never looked more attractive to him. Heedless of their surroundings, she threw herself against him and kissed him shamelessly. His hands found her ass and squeezed as he returned the kiss and she moaned into his mouth. If there'd been a rhino horn on his crotch, he'd have been impaled on it. She broke the kiss and looked at him hungrily, her eyes shouldering with desire. "I'm so glad you're not dead, Mark," she breathed. "I can't wait to prove it to you when we get the fuck out of here." Mark took her hand and pulled her down the hallway, breaking into a run. They weren't out of danger yet. "What're you laughing about?" she asked, scowling while she allowed him to lead her through the palace. "I think that was Porthos you shot," he said almost cheerfully. "Becks, you ganked Porthos." "Oh, I did not," she hissed, trying to not feel disgust at her student's lack of historical knowledge and basic temporal mechanics. "Porthos doesn't die until 1670. So if that guy dies, it wasn't Porthos. If it was Porthos, he isn't dead. Read a book, Mark." "Ha, you said bookmark!" he laughed as he pulled her around a corner and down another hallway, trying to reach the point Alexandra had designated. "Uh!" Becky groused. "Why was I so damn happy that you lived? I swear, Mark, I; Ack!" They both whirled in panic and threw themselves back around the corner as a withering hail of musket fire peppered the plaster of the walls where they'd been standing mere seconds before. They scrambled to their feet and began running back the way they'd come, determined to not die in some baroque version of Bullet Hell from the Matrix. "Fucking shit!" Mark yelped, yanking her around another corner as more soldiers appeared and filled the hall with musket balls. "This sucks!" "Ya' think?" she hissed as they kept running, their options becoming increasingly limited. "I'm in this too, Mister Spotlight!" "Yeah, well at least you don't have the Goblin City Battle music from the Labyrinth soundtrack stuck in your head while they chase us around and try to kill us!" "I do now, you fucker! Thanks a lot!" Becky raged. A lone house guard skidded to a stop near them and prepared to fire. Mark flung his pistol at the man, striking him in the head before knocking him aside as they continued down the corridor. "What did you throw your gun away for, dumbass?" she exclaimed, wondering if blood loss after getting shot had permanently damaged Mark's brain. She hoped he could still get it up, if they made it out of here. "It had no ammo in it." Mark grunted, trying to get his bearings, thinking back to the plans of the palace Alexandra had shown him. "Why were you carrying around an empty pistol?" Becky asked in disbelief. "Intimidation purposes? Were you gonna hold it sideways when you pointed it at people, hope you looked all gangster?" "I plugged a guy on my way to find you, okay?" he sighed as they kept running. "The first shot fired that started this whole mess, it was me shooting some jackoff in the foot as I tried to find you." Becky skidded to a stop, halting Mark's flight as well. She looked into his eyes and then hugged him in relief. "Thank you, Mark," she said quietly. "You came for me, after you nearly died, and we both could today. You're very brave." When she ended the hug, Mark found she had put her own pistol in his hands. He frowned in confusion. "Why'd you give me your pistol?" he asked. "Because let's face it, I'm a lot more likely to snag another one than you are," she sighed. "Let's go, I'm done with the Sun King's France." Out of breath, they settled for trotting down a hallway, surrounded by the echoing sounds of chaos. Things had gotten so confused that the guards were all fighting one another now, thinking the enemy in their midst. Panting, the pair stopped suddenly as they came to a major intersection of hallways. Not far away, a confused brawl consisting of house guard and the Cardinal's guard blocked their passage. Upon their appearance, though, both sides paused in their fight and stared at them. Then a captain raised a call to kill them. Without even thinking, Mark pointed his pistol at the huge iron chandelier over the soldier's heads and fired. The plaster ceiling broke as the iron ball struck at and the chandelier plummeted, crashing into the dozens of men before while clouds of plaster dust filled the hall. "I can't believe that worked!" Mark laughed as they ran down another venue. "Yes, it was very impressive, Gene Kelly," Becky sighed, shaking her head. "Next, you'll be swinging from the damn chandeliers or using your knife to ride down tapestries." Soldiers surged around the corner, charging into the couple. Mark shouted in fury as they tried to skewer him while they attempted to wrestle Becky to the ground. He dodged a blade and slashed his foe across the arm before leaping back to try and give himself room. He looked around in a panic and saw Becky kicking a soldier in the nuts before punching another in the face, her eyes flashing with fury. Someone slammed into him from behind and he tumbled forward, scrambling to gain his feet. More bodies joined the fracas and he realized that they were not only trying to kill him but fighting one another as well. It was difficult to breathe. There were too many bodies smothering him. He gasped in panic and strained to find room for himself. His shaking hand gripped a sword and she shoved it forward indiscriminately, feeling something soft give before him. He focused all his effort on crawling forward, finally emerging from the churning pile of men, locked in combat. He dragged himself along the floor but then grunted in pain as something speared into his thigh from above and behind. He turned to look, his eyes watering in pain, seeing a man in red, glaring at him, raising his rapier for another strike. Then a sword point burst through the man's chest from behind. His eyes widened, and he dropped his sword and crumpled to the ground. The man who had killed him was already moving on to another target. Exhausted and dull with pain, Mark dragged himself to a wall and slumped against it, looking around for Becky, but she was nowhere to be seen. No. Not again. He ignored the maelstrom of violence and pushed himself to his feet, limping down a hallway, sword held loosely in his hand as he went to find his teacher. Alexandra strode down the hall with purpose, her senses keen for trouble. She had caused as much trouble as she could, all the while keeping the fray well away from the queen's quarters. She regretted that men would die today, due to their poor judgement, but she understood that the girl Rebecca could not remain here in Paris. A deep foreboding warned her that almost any price was worth paying to see her safely away. Sparring with D'Artagnan. She stopped as a lone figure came into view, blocking her way down the corridor. He wore the blue of the king's mousquetaires, his young face etched with determination. His hand rested on the hilt of his rapier while he observed her. "So," he began, tilting his head. "You must be the cause of all this mayhem, oui?" "I am not who you seek." Alexandra said plainly. "I do not truck with liars and I do not appreciate being lied to!" the young man snapped. "I would have your name before I run you through in the king's. Are you an agent of Buckingham?" "No." "Charles of Spain?" "I have no time for this," Alexandra said testily, putting her hand on the hilt of her blade. "Move aside and let me complete my task, musketeer!" "Then it is death you crave!" he hissed, his rapier flashing in his hand now. "I shall happily give it to you in the queen's honor!" Alexandra drew her blade as her foe rushed forward. She parried his initial thrust and then counter-thrust, which he swatted aside. A flurry of thrusts and ripostes followed, the two warriors measuring one another, vying for advantage in the narrow hallway. Steel rang and flashed. Alexandra's sword point tore a vent in one of her foe's sleeves, and she followed up with a swipe at his eyes, but he dodged away nimbly. He lunged in with the speed of a striking serpent and she caught his blade on hers before it pierced her stomach, turning it aside. They pressed blade-to-blade, moving around one another in a slow, deadly circle, their eyes locked. He danced away again as a main-gauche flashed in her hand, nearly shearing his throat open. He spun around her next attack, and when he was facing her again, a pistol had appeared in his free hand. At point blank range, he pulled the trigger. The thunderous bark of the firearm rattled her teeth as she bent backwards, the bullet passing harmlessly overhead. Alexandra somersaulted backward gracefully, coming to her feet with her rapier guarding against a follow-up attack. A lot of bemusement crossed his face. "Very pretty, good sir," he said. "But it will not save you." He darted in again and another furious exchange of swordplay followed. His blade kissed the top of her thigh, leaving a shining crimson thread on her skin. She paid him in kind with a nick across his cheek, followed by cutting the red plume from his hat. He was nearly as fast as she was, and his recklessness made him dangerously unpredictable, even to one as skilled and experienced as Alexandra. Their blades grated as they strained against one another, teeth clenched and eyes flashing in fury. With a cry of effort, she shoved with all her might and threw him back. He kept his feet and remained on guard, irritated by his foe's grit and skill. "D'Artagnan!" shouted Athos as he and Aramis dragged the unconscious Porthos across the hallway behind the combatants, disappearing from sight. This distracted the Musketeer, who turned to look behind himself in confusion and then disbelief. He glanced back at his foe and then sighed, sheathing his blade. "Until next time, enemy mine;” he said, before darting around the corner to catch up with his comrades. Alexandra waited some seconds after he was gone and then sagged against the wall, sighing heavily. She rubbed her face for a moment before returning her rapier to its sheathe and continuing on. She had to find Mark and Rebecca. The door to the room swung open and Mark staggered inside, panting in pain. His entire leg felt like it was on fire, and it was maddeningly sticky. He had lost his sword while searching for Becky, but it mattered little if he couldn't find her. He tumbled into a sitting position, propping himself up on his hands and trying to breathe. Everything hurt now, and it was getting to the place where he couldn't move. His head throbbed and he was getting dizzy. With extreme effort, he managed to tear one of his sleeves off, and tied it around his leg, hoping it would act as a tourniquet and perhaps staunch the bleeding. It stung like fucking Hell and to his distress did nothing ease his pain. He sat there panting, when a solemn figure in red moved slowly by the door. There was a pause and then the person came back into view, peering at Mark quizzically. Clad in red robes and a little red skull cap, his tight, lemony features creased in recognition and then disbelief. "I know you," the Cardinal murmured, his eyes never leaving Mark. "Yes, you are the boy from the field, the one who claimed to be a Spanish noble and had the pretty girl with him." He stepped closer, still scrutinizing Mark, who tried to move backwards, his body screaming in protest. "But you died," the elderly man stated. "My captain shot you. You died in that field. What witchcraft is this?" Annoyance flashed in the Cardinal's eyes now. "So, you are the cause of all this tumult. The girl I was to give to the queen, she is missing and now I know why." He pulled a pistol from within the voluminous folds of his red robes and cocked it before pointing the muzzle down at Mark's face. "I think it is time I dealt with this problem myself, once and for all." Too hurt and exhausted to fight back, Mark squeezed his eyes shut; "I Kick You In The Nuts, Richelieu!" shrilled a voice from the doorway behind the Cardinal, the shout followed by a sickening thump as a musketeer's boot appeared beneath Richelieu's groin. The man stiffened for a moment in confusion, but then his eyes crossed, and he bit his lower lip as his skin turned a sickly shade of green. While Richelieu slumped forward and then fell on his side, trembling and holding the family jewels, Mark goggled up at Becky, who stood indignantly in the doorway with her hands on her hips, glaring down at His Eminence. "Asshole;” she muttered as she stepped over the Cardinal and came over to Mark, who was shaking with the effort of holding himself up. Her eyes welled with emotion as she knelt next to him. "Oh, Mark," she said in a gentle voice. "Look at you, you got stabbed, baby. I'm so sorry;” "I'll be alright," he managed to say as she hugged him to her. "At least you still look amazing, no matter how badly your ass has been kicked." Becky's laugh choked back her sob and she smiled at him, tears in her eyes. "Smart-ass," she murmured. "C'mon, let me bind your boo-boo properly and then we'll get out of here, before everyone in Paris is dead." She fixed his makeshift tourniquet and then helped him stand. Once he was upright, he took a deep breath and smiled at her. "I think I can walk, I was just in need of a breather, ya' know?" She giggled. "How the Hell are we gonna explain a rapier wound through your thigh when you get home?" "With any luck, Chester will have a little something' to fix me right up." Mark replied. "Let's go. If we are where I think we are, then our ride isn't that far away." They walked cautiously down several smaller hallways, avoiding any and all encounters. They chaos seemed to have abated, at least for now. Alexandra had predicted that if fighting broke out, there was be lots of confused violence, followed by the various guard companies withdrawing to their assigned wings of the palace, to directly protect their charges, such as the king, queen and cardinal. "Bet the Cardinal's guards are gonna be upset," Mark chuckled. "He's nowhere near his quarters, and they let him get kicked in the freaking balls." Becky giggled as she walked alongside him, her arm through his. "You have no idea how good that felt, Mark. A girl could get used to that. Maybe we should visit Berlin, see if I can kick Hitler in the nuts." "One grand adventure at a time, teach;” he said wearily, causing her to laugh. But her mirth was brought up short when a solitary figure appeared in front of them, wearing red and clad in a black mask, a rapier and several pistols on their belt. Becky scowled, getting ready to step in front of her student, when Mark seemed to sigh in relief. "I am glad to see you are both well," said the person, walking forward, pulling their golden hair out of its ponytail and removing the mask. Becky's heart leapt as she came face-to-face with Lady Alexandra once more. "Thank the Lord." She stepped in and embraced them both, all three of them trembling at being reunited. Alexandra finally smiled at her friends and nodded. "We must still get you out of here, before the guards return to some sense of normalcy. Mark, do you still have the place name I gave to you?" Mark smiled wearily. "I; it's in the little pocket in my pants here, but it's probably pretty red and unreadable by now." "It's a good thing, then, that I wrote a copy, non?" Alexandra lilted, pulling a small piece of vellum out from beneath the sash she wore and handing it to Becky. "Go to this place," the noblewoman instructed. "By carriage, it should not take more than three days. It is a sanctum I use on occasion and it will be safe. Lisette and I will find you there a day or two after you arrive." She then handed two small, round jars into Becky's palm as well. "Use these to salve your wounds, until I arrive. I promise you, they will work." "How can we thank you?" Becky asked, staring at Alexandra, enchanted. The French woman smiled and then pulled Becky to her, kissing her deeply and passionately. Becky shuddered and moaned, her arms wrapping around Alexandra and returning the kiss passionately. Mark smiled as he watched the blondes make out for almost a minute before Alexandra reluctantly pulled away. "We need to stop, or we will be fucking right here in the halls of the palace," she breathed, wiping at the corner of her mouth with a finger. "We will see one another soon, and celebrate then." She turned to Mark and smiled before leaning in and kissing him gently. "You are a brave man, my friend. Never doubt it, no matter what travails Heaven provides." She walked them through several secret passages now, until they emerged into a small courtyard, under the cover of night. Standing nearby, a non-descript carriage awaited them. Alexandra wrapped Becky in a cloak and then spoke to the driver while the clambered inside. His instructions were clear, and he would not deviate from them. Becky and Mark looked out a small window, smiling and waving at Alexandra, who held up her hand to bid them farewell. The carriage exited the Louvre via a small gate where the guards asked no questions, and then they were on their way through Paris. Mark sank back into the surprisingly plush seat and sighed heavily. "Try not to get kidnapped again, Becks," he said lazily. "I'm not sure how much more of this my body can take." "But being rescued by you is one of my favorite reasons to use tawdry sex as a thank you," she protested, turning to smile at him and tracing a fingernail up and down his chest. "You wouldn't deprive me of that joy, would you, hero?" "Perish the thought, teach;” he chuckled tiredly. A time to recuperate. Mark had Lisette pinned beneath him and rocked back and forth on top of her, his cock plunging in and out of her molten cunt, while she groaned in pleasure. It felt so good to have this boy's tool inside her again. Her legs were wrapped around his strong waist and her hips moved in time with his, taking him in as deep as she could. Lisette rarely kissed anyone who wasn't her mistress, but in this case, she was making a willing exception. Their tongues tangled wetly as they fucked, exploring one another. The tingling heat was overtaking her, and she knew it would not be long now. She crossed her ankles behind him and she bit at the skin of his chest, shuddering in delight. Mark arched his back, pushing as deep inside her as he could, before shaking and allowing himself release. Her wanton cunt gripped his cock while he came deep inside her, his whole being awash with unreal pleasure. They moaned through a frenzied kiss and then sagged together, spent and sated, at least for now. Moans, pants and sighs of bliss attracted Mark and Lisette's attention and they looked off their side; also on the huge bed with them, Becky and Alexandra were sitting together, with their arms and legs wrapped around one another, kissing hungrily as they squirmed their slick pussies together. Their matching golden hair was damp with the sweat of their exertions, skin slick and shining. The greedy smacking and sucking sounds their slits made as they mingled made the four lovers shiver in delight. Alexandra and Becky were groping and fondling one another with unreal need, their nails leaving red marks and their fingers gripping tight enough to leave welts. Neither relented, though, desperate to cum together. The moans became groans and they were panting as they gyrated their hips, churning rhythmically in a sensual dance of bliss. They pulled tighter against one another, clenching their teeth and craning their necks as they peaked, then crying out and pressing their molten, gooey pussies as they came. More feverish kissing punctuated the climax and the finally both collapsed backward, chests heaving, their legs still scissored together. Steam seemed to be rising from their bodies, skin flushed pink. The four lovers lay silent for some minutes, just basking in their shared bliss. Mark finally pulled himself out of Lisette and then knelt over her face, allowing the dark-haired girl to slide his cock into her mouth, cleaning their mingled cum from his cock, which she did with great delight. Becky and Alexandra finally clasped wrists and pulled themselves up into a sitting position, hugging tiredly, but not willing to relinquish their most intimate contact. They kissed deeply and contentedly, fondling one another's tits. Lisette looked over at them and giggled. Alexandra looked over at her servant, her eyebrow raised. "What is so funny, girl?" Lisette turned on her side and rested her head on her hand while Mark spooned in behind her. "I was just thinking, Mistress; you and Miss Rebecca look so much alike. What if you are her ancestor?" Becky and Alexandra both thought about that, looked at one another for a moment, shrugged and began kissing again, their tongues tangling loudly. "And if that was the case, think about what we discussed the other day," she continued, smirking mischievously. "You said you had wondered what it would be like to Monsieur Mark's child, yes? Wouldn't that also make him Miss Rebecca's ancestor?" Mark burst out laughing while Becky choked on her shock, interrupting the kiss she had been so enjoying. She looked at Lisette in disbelief. Alexandra just sighed and shook her head, used to her servant's twisted humor. The moment of metaphysical terror passed for Becky and they all cuddled together in the center of the bed, kissing tenderly and caressing. Alexandra had told Becky all about Mark's efforts to find her and reach her, what he had undergone and risked. Becky's eyes shone as she looked at Mark at promised to make sure he was properly thanked until the end of time. "I wish you could stay," Alexandra almost moped, regretting that she had to give her new friends up. "I enjoy your company, and I am not ashamed to say I love you both." "Feeling's mutual, Alexa," Becky lilted, tracing a fingernail across her generous tit. "But maybe we needn't end our association. If we designate a consistent place, when you know you are available, you can leave a message there. Mark and I will check for messages, and when we see one, we can visit you at the appointed time. No conflicts or dangers presented, as long as we're all certain of the clear lines of communication." "I like that idea," Alexandra said, grinning. "And I have a gift for you both." She climbed off the bed and went to retrieve something. She returned shortly with two bottles, which she presented to them. "A new type of wine, invented in my native region of Champagne," she said, kneeling on the bed as they examined the bottles. "Twice fermented and sweet on the tongue, not unlike my darling Rebecca." Becky blushed and Mark grinned. "You'll be glad to know that in our time, champagne is one of the most expensive and sought-after drinks in the world, used in every important celebration." "That does please me, Mark." Alexandra said, nodding her head and deciding to not chide him this time about telling her the future. "And now that I think of it, literally, I've got a present for you, Alexa." Mark mused, getting off the bed. The three women watched as he walked into a large closet, rummaging around loudly. When he returned, he was holding what appeared to be several unusual books, which he handed to Alexandra. "What are these?" she asked, puzzled. "Well, the graphic novel is a pictorial history of Wonder Woman, who you may recall I told you a little bit about," he explained, sitting on the bed again. "And the other three books are all written by a man named Alexander Dumas and are fictional works about the Three Musketeers. I figured they'd be humorous reading for you." She looked up at him incredulously. "But; why were they in my closet here in my chalet?" He grinned again. "Well, just a moment ago, I decided to give them to you. So in a few days, I'm gonna gather them up, bring them here to just before Becky and I arrive, and bury 'em in your closet, where I know they are. That way, I don't run into any of us. And clearly it worked." Becky made a wry face. "Ya' know, I'd say you're getting the hang of this whole temporal travel thing, but I'm pretty sure you're only getting the hang of abusing it." Mark smirked at her and pinched her nipple, making her shiver and bite her lip. He then looked back at Alexandra. "And when you're done with 'em, you can just leave 'em in our drop-off spot and Becks and I'll pick them up. That way, there's no anachronistic copies of nineteenth-century novels or twentieth-century comic books lying around to be discovered by archaeologists." "I take back what I said just now, you're gonna get us all clock-hammered right out of existence." Becky sighed, causing her lovers to laugh. Mark and Becky lay side-by-side in her bed and holdings hands, back in their own time and generally none the worse for wear. They'd learned some valuable lessons and had made some important contacts along the way. "Do' you really think Alexandra's my ancestor?" Becky mused, looking at her bedroom ceiling. Mark shrugged. "You sure look a lot alike, and you're both Hell on wheels. I'm still amused by the notion of me being your great-great-great-whatever grandfather." She sighed and shook her head. "I can handle the notion of fucking and falling in love with my great-whatever grandmother, but the notion of you as my whatever grandfather gives me the jibblies. Just promise me you won't impregnate Alexa and make that come true, Mark." He chuckled. "I promise. I have no idea how trans-temporal alimony or visitation rights even work." Becky giggled and turned in to face him, cuddling close. "So, who're you gonna save me from next, hero?" she purred, nipping at his earlobe and making him shiver. "Oh, God, Becks, can we start out with some really ferocious kindergartners from the Roaring Twenties taking you hostage? I can probably handle that right about now." She giggled again and crawled on top of him, staring down into his eyes and kissing his nose while she squirmed her tits against him. "Take me to New York in the Twenties and I'll show you how liberated a flapper girl I can be," she whispered. "Deal?" "Deal." Mark replied, pulling her down and kissing her soulfully. Count Mark and Becky in! I Think I'm Getting The Hang Of This! Finally home. Mark sat at his dining room table, eating dutifully. His mom had prepared short ribs and mashed potatoes for dinner, one of his favorites. What she didn't know was that Mark had substituted several herbs and spices into her collection, items he'd brought back from his temporal travels. At the very least, this meant they were technically several hundred years old, or sometimes that they didn't exist in the modern era at all. "I'm enjoying this particular batch of thyme that I put in the braise," Dhallyla Pritchard remarked as she gently stabbed some green beans with her fork. "Mark, where did you say you got it for me? The flavor is so; special." Mark shrugged. "Another shop I thought I'd try out," he replied. "Nowhere near our usual places." "Well, keep it up, son," his father said, sitting at the other end of the table. "No offence to your mother's cooking, but the spices we were getting before weren't helping the cause. Now this is flavor." "Such a good little minion," his mom said sweetly, reaching over and pinching his cheek. "First, you did amazingly well on your Physics exam and boosted your overall grade to the place where the university accepted you, and now you're an herbs and spices guru. Talk about an unexpected change." "Yeah," his sister Roxy said, sitting across from him, and trying to keep the suspicion out of her voice. "Unexpected is right." "Now Roxy, be nice," their mom chided. "You should be happy for your little brother, he'll be going to university with you." "As long as she pulls her grades up," grunted dad, pausing in eating to waggle his fork in her general direction. "You promised us you'd keep your grades up and we'd let you live here rent-free as a result, Rox. We're living up to our end of the bargain, what's so difficult about yours?" "Maybe I should study more and party less," she grumbled, scowling at her food. She hated to admit it, but her mom was right, the spices were great. Where had the little trouser-snake bought them? "Ya' know, open my mind more and my legs less?" "Dear!" Dhallyla gasped, looking at her daughter in shock. "Nobody said you were behaving licentiously! There's no need to use language like that!" "Sorry," the dark-haired girl sighed, putting down her fork. "Just been on edge lately. Seems to have been The Mark Show around here recently,

In this impactful and inspiring episode of Unstoppable Mindset, host Michael Hingson sits down with Ronald Cocking—performer, educator, and co-founder of the Looking Glass Studio of Performing Arts—to reflect on a remarkable life shaped by rhythm, resilience, and love. Ron's journey into the performing arts began at just five years old, when his passion for tap dance ignited a lifelong commitment to dance and musical theater. From his first professional role at age 15 in My Fair Lady to founding one of Southern California's most impactful arts schools, Ron's story is one of dedication, creativity, and community.   But perhaps the most moving part of Ron's story is his 49-year partnership—both personal and professional—with the late Gloria McMillan, best known as Harriet Conklin from Our Miss Brooks. Together, they created a legacy of mentorship through the Looking Glass Studio, where they taught thousands of students across generations—not just how to act, sing, or dance, but how to live with confidence and integrity.   Ron also reflects on the legacy Gloria left behind, his continued involvement in the arts, and the words of wisdom that guide his life:   “Teach a man to fish and you feed him for a lifetime.” “To find happiness, take the gifts God has given you and give them away.”   This is more than a story of a career in the arts—it's a touching tribute to passion, partnership, and purpose that will leave you inspired.   Highlights:   00:48 – Hear how early radio at home shaped a lifetime love for performance. 03:00 – Discover why drumming and tap both trained his ear for rhythm. 06:12 – Learn how a tough studio change led to ballet, jazz, and tumbling basics. 08:21 – See the “sing with your feet” method that makes tap click for students. 10:44 – Find out how a teen chorus role in My Fair Lady opened pro doors. 13:19 – Explore the drum-and-tap crossover he performed with Leslie Uggams. 15:39 – Learn how meeting Gloria led to a studio launched for $800. 18:58 – Get the long view on running a school for 44 years with family involved. 23:46 – Understand how Our Miss Brooks moved from radio to TV with its cast intact. 32:36 – See how 42nd Street proves the chorus can be the star. 41:51 – Hear why impact matters more than fame when students build careers. 43:16 – Learn what it takes to blend art and business without losing heart. 45:47 – Compare notes on marriage, teamwork, and communication that lasts. 48:20 – Enjoy a rare soft-shoe moment Ron and Gloria performed together. 56:38 – Take away the “teach to fish” approach that builds lifelong confidence.   About the Guest:   My father was a trumpet player, thus I heard music at home often in the early 50's and was always impressed and entertained by the rhythms and beats of Big Band music… especially the drummers.  Each time I would see Tap dancers on TV, I was glued to the screen.  It fascinated me the way Tap dancers could create such music with their feet!   In 1954, at age 5, after begging my Mom and Dad to enroll me in a Tap class, my Dad walked in from work and said “Well, you're all signed up, and your first Tap class is next Tuesday.  I was thrilled and continued studying tap and many other dance forms and performing and teaching dance for all of my life.     In my mid teens, I became serious about dancing as a possible career.  After seeing my first musical, “The Pajama Game” starring Ruth Lee, I new I wanted to do musical theatre.  I got my first professional opportunity at age 15 in “My Fair Lady” for the San Bernardino Civic Light Opera Association and loved every minute of it… and would continue performing for this organization well into my 30's   I met Gloria McMillan in the late 60's while choreographing a summer musical for children.  Gloria's daughter was doing the role of Dorothy in “The Wizard of Oz”.  Then, about 3 or 4 years later I would meet Gloria again and the sparks flew.  And, yes, she was Gloria McMillan of “Our Miss Brooks” fame on both radio and television.  Wow, was I blessed to have crossed paths with her.  We shared our lives together for 49 years.   On November 4, 1974, Gloria and I opened a performing arts school together named “The Looking Glass Studio of Performing Arts”.  We would teach and manage the school together for 44 years until we retired on June 30, 2018.  We moved to Huntington Beach, California and spent 3 beautiful years together until she left to meet our Lord in heaven on January 19, 2022.   Ways to connect with Ron:   Lgsparon@aol.com     About the Host:   Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening!   Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast   If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset .   Leave us an Apple Podcasts review   Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.       Transcription Notes:   Michael Hingson ** 00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.   Michael Hingson ** 01:20 Well, hi there, wherever you are and wherever you happen to be today. Welcome to unstoppable mindset. I'm your host, Mike hingson, and today we get to chat with Ron Cocking, who is Ron. Well, we're going to find out over the next hour. And Ron was married for many years to another person who is very famous, and we'll get to that, probably not as well known to what I would probably describe as the younger generation, but you're going to get to learn a lot about Ron and his late wife before we're done, and I am sure we're going to have a lot of fun doing it. So let's get to it. Ron, welcome to unstoppable mindset. We're glad you're here.   Ron Cocking ** 01:59 Thank you. I'm so glad to be here. Michael, this. I've been looking forward to this.   Michael Hingson ** 02:04 I have been as well, and we're going to have a lot of fun doing it.   Ron Cocking ** 02:08 Do you one note on that last name? It is cocking. Cocking, he comes right? Comes from a little townlet in the coal mining country of England called Cockington.   Michael Hingson ** 02:20 I don't know why I keep saying that, but yeah, cocky, no   02:23 problem.   Michael Hingson ** 02:24 Well, do you go up to the reps recreations at all?   Ron Cocking ** 02:28 Oh my gosh, Gloria. And I know you and Gloria, did do you still do it? I've it's on my schedule for September.   Michael Hingson ** 02:35 I'm gonna miss it this year. I've got a speech to give. So I was going to be playing Richard diamond at recreation. Well, I'll have to be Dick Powell another time, but I thought that you you were still doing   02:50 it. I'm planning on it cool.   Michael Hingson ** 02:53 Well, tell us about the early Ron cocking and kind of growing up in some of that stuff. Let's start with that.   Ron Cocking ** 02:59 Well, the early part of my story was when I was born just a little before television came in, before everyone had a TV in their home. How old are you now? If I maybe, you know, I am now 76   Michael Hingson ** 03:12 Okay, that's what I thought. Yeah, you're one year ahead of me. I'm 75   Ron Cocking ** 03:16 I was born in 49 and so my earliest remembrances my mom and dad and my brother and I lived with our grandfather, and we had no television, but we had this big it must have been about three to four foot tall, this big box on the floor in a very prominent spot in the living room. And that was the Sunday afternoon entertainment. I remember my family sitting around, and I listened and I laughed when they did, but I had no idea what was going on, but that was the family gathering. And just, I know we'll talk about it later, but I I just have this notion that at that time I was laughing, not knowing what I was laughing at, but I bet I was laughing at my future   Michael Hingson ** 04:02 wife, yes, yes, but other things as well. I mean, you probably laughed at Jack Benny and Amos and Andy and   Ron Cocking ** 04:09 yeah, I remember listening to all those folks, and it was just amazing. Then when television came about and my father was a trumpet player, and I loved his trumpet playing, and he practiced often at home. He would sit in his easy chair and play some tunes and scales and that sort of thing. But what captured my ear and my eyes when I went to on rare occasions when I could go to his engagements, it was always the drummer that just stuck out to me. I was mesmerized by the rhythms that they could produce. And when TV came about, I remember the old variety shows, and they often would have tap dancers like. Had a stair gene, Kelly, Peg Leg Bates and the Nicholas brothers, and I just, I was just taken back by the rhythms. It sounded like music to me. The rhythms just made me want to do it. And so I started putting that bug in my parents ears. And I waited and waited. I wanted to take tap dance lessons. And one day, my dad walks in the back door, and I said, Dad, have you signed me up yet? And he said, Yep, you start next Tuesday at 330 in the afternoon. So I was overjoyed, and I went in for my first lesson. And mind you, this was a private tap class. Total Cost of $1.25 and we had a pianist for music, no record player, live piano, wow. And so I, I rapidly fell in love with tap dance.   Michael Hingson ** 05:56 And so you did that when you weren't in school. Presumably, you did go to school.   Ron Cocking ** 06:00 Oh, yeah, I did go to school. Yeah, I did well in school, and I enjoyed school. I did all the athletics. I played little league, and eventually would be a tennis player and water polo and all that stuff. But all through the years, after school was on the way to the dance classes.   Michael Hingson ** 06:16 So you graduated, or I suppose I don't want to insult drumming, but you graduated from drumming to tap dancing, huh?   Ron Cocking ** 06:24 Well, I kept doing them both together. I would dance, and then when my dad would practice, I would beg him to just play a tune like the St Louis Blues, yeah, and so that I could keep time, so I pulled a little stool up in front of an easy chair, and one of the arms of the chair was the ride cymbal, and the other one was the crash cymbal, and the seat of the chair was my snare drum. I would play along with him. And eventually he got tired of that and bought a Hi Fi for my brother and I, and in the bedroom I had a Hi Fi, and I started to put together a set of drums, and I spent hours next to that, Hi Fi, banging on the drums, and I remember it made me feel good. One day, my mom finally said to me, you know, you're starting to sound pretty good, and that that was a landmark for me. I thought, wow, somebody is enjoying my drumming,   Michael Hingson ** 07:18 but you couldn't do drumming and tap dancing at the same time. That would have been a little bit of a challenge. A challenge.   Ron Cocking ** 07:23 No, I would practice that the drums in the afternoon and then head for the dance studio later. And in this case, I was a local boy. I grew up in Riverside California, and my first tap teacher was literally maybe two miles from our house. But that didn't last long. She got married and became pregnant and closed her studio, and then I she recommended that I go see this teacher in San Bernardino by the name of Vera Lynn. And which I did, I remember walking into this gigantic classroom with a bunch of really tall kids, and I was maybe seven or eight years old, and I guess it was kind of an audition class, but after that evening, I she put me in the most appropriate classes, one of which was ballet, which I wasn't too excited about, but they all told me, If you're going to be a serious dancer, even a tap dancer, you need to get the basic body placement from ballet classes. And I said, Well, I am not going to put any tights and a T shirt on. But they finally got me to do that because they told me that the Rams football team took ballet class twice a week at that time. Ah. Said, no kidding. So they got me, they they got you. They got me into ballet class, and then it was jazz, and then it was tumbling, and so I did it all.   Michael Hingson ** 08:43 I remember when we moved to California when I was five, and probably when I was about eight or nine, my brother and I were enrolled by my mother. I guess my parents enrolled us in a dance class. So I took dance class for a few years. I learned something about dancing. I did have a pair of tap shoes, although I didn't do a lot of it, but I, but I did dance and never, never really pursued it enough to become a Gene Kelly or Fred Astaire. Well, few of us do. I didn't dislike it. It just didn't happen. But that was okay, but it was fun to, you know, to do it and to learn something about that. And so I even today, I I remember it, and I appreciate it. So that's pretty cool.   Ron Cocking ** 09:32 Well, you would understand what I always told my students, that tap dancing is like singing a song with your feet. Yeah. And I would sing, I would say, you all know, happy birthday, right? So I would sing it, and they would sing it along, and then I'd said, then I would sing it again, and I would sing it totally out of rhythm. And they would wrinkle their nose and look at me and say, okay, so what are you doing? And I'd say, Well, you don't recognize it because the rhythm is not correct. So then I would. Would tap dance Happy birthday, and I'd say, you sing along in your mind and I'm going to tap dance it. And that would always ring a bell in their mind, like, Oh, I get it. The rhythm has to be right on the button, or the people aren't going to recognize   Michael Hingson ** 10:16 that was very clever to do.   Ron Cocking ** 10:18 Yeah, thank you. And they got it, yeah, they got it, yeah,   Michael Hingson ** 10:22 which is even, even more important. That's pretty clever. Well, so you did that, and did you do it all the way through high school,   Ron Cocking ** 10:30 all the way through high school? And I think when I was 15, I was, I think I was in the eighth grade, maybe ninth, but I was 15 and got my first chance to I was cast in a professional show for San Bernardino civic light opera Association. And the show was My Fair Lady, and it was my English and journalism teacher at the junior high who had been cast. He was a performer also, but something came up and he couldn't follow through, so he had given the association my name, and I was out in the backyard. My mom came out. Said, Hey, San Bernardino clo just called and they want, they want to see it tonight at seven o'clock. So I put on my dance clothes and went over, and the director, by the name of Gosh, Gene Bayless, came out, and he showed me a couple of steps. And he said, Yeah, let's do it together. And he said, Boy, you unscramble your feet pretty well there kid. And he he looked over into the costumers and said, measure this guy. Let's put him in the show. So I was beside myself. And long story short, I Gosh, I'm over the over the years, I my first show was at age 15 with them, and I participated, did shows with them, until I think my last show, I was about 38 years old, and that last show was anything goes with Leslie uggums, wow.   Michael Hingson ** 11:52 So what part did you play on my fair lady?   Ron Cocking ** 11:55 I was just a chorus kid. I remember in the opening when Eliza sings, that wouldn't it be lovely? Wouldn't it be lovely? I was a street sweeper. I remember I had a broom, and there were three of us, and we were sweeping up that street and working in and around. Eliza Doolittle, of   Michael Hingson ** 12:11 course, being really spiteful. You just said a little while ago, you were beside yourself. And the thing that I got to say to that, quoting the Muppets, is, how do the two of you stand each other? But anyway, that's okay, good in the original Muppet Movie, that line is in there. And I it just came out so fast, but I heard it. I was going, Oh my gosh. I couldn't believe they did that. But anyway, it was so cute, very funny. That's great. So and then you were, you eventually were opposite Leslie UB,   Ron Cocking ** 12:39 yes, that was one of the high points talking about dancing and drumming at the same time. In fact, I used to give a drum a basic drum summer camp where I would teach tappers the basics of music notation, quarter notes, eighth notes, 16th notes. And then we would put a tap orchestra together. Everybody had their own music stand and their own drum pad. I would conduct, and we would play little pieces, and they would they would drum a rhythm, tap, a rhythm, drum, a rhythm, tap, a rhythm. And so anyway, it came full circle. One of the highlights of my dance slash drumming career was this show I did with Leslie uggums, the director had done this prior, and he knew it would work, and so so did the conductor in the entre Act. The top of the second act, the pit orchestra starts and plays like eight measures. And then there were six of us on stage, behind the main curtain, and we would play the next 16 bars, and then we would toss it back to the pit, and then toss it back to us, and the curtain would begin to rise, and we were right into the first song that Leslie uggums sang to get into the second act. Then she wanted to add a couple of songs that she liked, and she was very popular in with the audiences in San Bernardino, so she added a couple of songs, and I got to play those songs with her and and that was just so thrilling. And I with the scene finished, I had to have my tap shoes on, on the drum set. I had to hop down from the riser, and came out, brought one of my Toms with me, and played along with another featured tap dancer that kind of took over the scene at that point. So it was, it was really cool.   Michael Hingson ** 14:31 So with all this drumming, did you ever meet anyone like buddy rip?   Ron Cocking ** 14:35 No, I never met any famous drummers except a man by the name of Jack Sperling, which was one of my drumming idols,   Michael Hingson ** 14:44 Donnie Carson was quite the drummer, as I recall,   Ron Cocking ** 14:48 yeah, he did play yeah and boy, his his drummer, Ed Shaughnessy on his on The Tonight Show was phenomenal. Yeah, he's another of my favorites, yeah,   Michael Hingson ** 14:57 well, and I remember. I guess Johnny Carson and Buddy Rich played together, which was kind of fun. They   Ron Cocking ** 15:07 played together, and so did Ed Shaughnessy and Buddy Rich did a little competition on the show one time I realized, yeah,   Michael Hingson ** 15:15 right, yeah. Well, and it's interesting to see some of the performers do that. I remember once trying to remember whether what show it was on, maybe it was also a Tonight Show where Steve Martin substituted for Johnny, but he and the steel Canyon, the Steve Canyon band, came out. Of course, he was great on the band, and then flat and Scruggs or flat came out. Or which one? Yeah, which one did the banjo flat, I think, but they, but they banjo together, which was fun?   Ron Cocking ** 15:51 Oh, wow, yeah, yeah. Steve Martin is a tremendous band. He is, Whoa, yeah. I,   Michael Hingson ** 15:56 I have a hard time imagining fingers moving that fast, but that's okay, me too. I saved my fingers for Braille, so it's okay. So where did you go to college?   Ron Cocking ** 16:07 I went to for two years to Riverside City College, Riverside Community College, and then I went for two years to San Bernardino Cal State, San Bernardino, and I was majoring in English because I thought I may want to do some writing. But in the meantime, I became married, I became a father, and so I was trying to work and study and maintain a family life, and I just couldn't do it all. So I didn't quite finish a major at Cal State San Bernardino. I continued actually a nightclub drumming career. And now, now we're getting up to where this our performing arts studio began between Gloria and I.   Michael Hingson ** 16:50 So was it? GLORIA? You married first?   Ron Cocking ** 16:53 No, okay, no, Gloria was married. Gloria was a prior, prior marriage for 20 some years, or 20 years, I guess. And I had been married only two years, I think. And when we first, well, we actually met while we were both. I'll tell you the story in a minute, if you want to hear it. Sure, the first time I ever met Gloria Macmillan, I had no idea who she was, because she her name was Gloria Allen at the time that was, that was her married name that she took after the arm is Brooks TV show. Well, she took that the new name before the TV show even ended. But I was choreographing a children's summer musical, and the director came up said, hey, I want you to meet this young lady's mom. So the young lady was Gloria's daughter, her oldest daughter, Janet. And I said, Sure. So he said, This is Gloria. Allen, Gloria, this is Ron. And we shook hands, and I said, Nice to meet you. And that was it. And so the show happened. It ran for a couple of weeks, and Gloria was a wonderful stage mom. She she never bothered anyone. She watched the show. She was very supportive of her daughter. Didn't, didn't stage manage   Michael Hingson ** 18:09 whatsoever, which wasn't a helicopter mom, which is good,   Ron Cocking ** 18:12 definitely that, which was just really cool. So and so I was maybe three, four years later, so Gloria obviously knew that I could dance, because she had seen me choreographed. So I got a phone call from Gloria Allen, and I said, Okay, I remember her. She wanted to meet because she was thinking about starting an acting school and wanted someone to teach actors some dance movement. So I went over for a interview and took my little at that time, about two and a half year old, daughter, three year old, and we chatted, and oh my gosh, I just this, this beautiful woman swept me off my feet. And of course, I by the end of the conversation, I said, Gosh, you know, we talked about how we would integrate the acting and the dance, and I said, Can I have your phone number? Nope, I got the old well, we'll call you. Don't call us. And so I had to wait for a few days before I got a call back, but I got a call back, and I don't remember a lot of details, but the sparks flew really, really quickly, and we started planning our school. And if you can believe that this was 1973 when we started planning, maybe it was early 74 and we invested a whole total of $800 to get ourselves into business. We bought a record player, some mirrors, some paint, and a business license and a little shingle to hang out front. We had a little one room studio, and we. Opened on November 4, 1974 and we would close the studio on June 30, 2018 Wow.   Michael Hingson ** 20:08 Yeah. So you, you had it going for quite a while, almost, well, actually, more than 40 years. 44 years. 44 years, yes. And you got married along the way.   Ron Cocking ** 20:20 Well along the way, my my wife always said she fell in love with my daughter, and then she had to take me along with her. Yeah. Well, there you go. So we were together constantly, just running the school together. And then eventually I moved over to San Bernardino, and it was, gosh, some 1213, years later, we got married in on June 28 1987 and but nothing really changed, because we had already been living together and raising five children. GLORIA had four from a private prior marriage, and I had my little girl. So we we got all these five kids through elementary and junior high in high school, and they all went to college. And they're all beautiful kids and productive citizens, two of them still in show biz. Her son, my stepson, Christopher Allen, is a successful producer now and of Broadway shows. And our daughter, Barbara Bermudez, the baby that Gloria fell in love with. She's now a producer slash stage manager director. She does really well at big events with keynote speakers. And she'll, if they want her to, she will hire in everything from lighting and sound to extra performers and that sort of thing. And she's, she's just busy constantly all over the world, wow.   Michael Hingson ** 21:43 Well, that's pretty cool. And what are the other three doing?   Ron Cocking ** 21:47 One is a VP of Sales for it's a tub and shower company, jacuzzi, and the other one is a married housewife, but now she is a grandmother and has two little grandkids, and they that's Janet, the one that I originally had worked with in that children's show. And she and her husband live in Chino Hills, California, which is about 40 minutes from here. I live in Huntington Beach, California now,   Michael Hingson ** 22:14 well, and I'm not all that far away from you. We're in Victorville. Oh, Victorville, okay, yeah, the high desert. So the next time you go to Vegas, stop by on your way, I'll do that, since that's mainly what Victorville is probably most known for. I remember when I was growing I grew up in Palmdale, and Palmdale wasn't very large. It only had like about 20 703,000 people. But as I described it to people, Victorville wasn't even a speck on a radar scope compared to Palmdale at that time. Yeah, my gosh, are over 120,000 people in this town?   Ron Cocking ** 22:51 Oh, I remember the drive in the early days from here to Vegas in that you really felt like you could get out on the road all alone and relax and take it all in, and now it can be trafficking all all the   Speaker 1 ** 23:04 way. Yeah, it's crazy. I don't know. I still think they need to do something to put some sort of additional infrastructure, and there's got to be another way to get people to Vegas and back without going on i 15, because it is so crowded, especially around holidays, that one of these days, somebody will get creative. Maybe they'll get one of Tesla's tunnel boring tools, and they'll make a tunnel, and you can go underground the whole way, I don't know,   Ron Cocking ** 23:32 but that would be, that would be great. Something like that would happen.   Michael Hingson ** 23:38 Well, so you you started the school and and that did, pretty cool. Did, did Gloria do any more acting after our Miss Brooks? And then we should explain our Miss Brooks is a show that started on radio. Yes, it went on to television, and it was an arm is Brooks. Miss Brooks played by e vardin. Was a teacher at Madison High, and the principal was Osgood Conklin, played by Gail Gordon, who was absolutely perfect for the part. He was a crotchety old curmudgeon by any standards. And Gloria played his daughter, Harriet correct. And so when it went from radio to television, one of the things that strikes me about armas Brooks and a couple of those shows, burns and Allen, I think, is sort of the same. Jack Benny was a little different. But especially armas Brooks, it just seems to me like they they took the radio shows and all they did was, did the same shows. They weren't always the same plots, but it was, it was radio on television. So you, you had the same dialog. It was really easy for me to follow, and it was, was fascinating, because it was just like the radio shows, except they were on television.   Ron Cocking ** 24:56 Yeah, pretty much. In fact, there were a lot, there's lots of episodes. Episodes that are even named the same name as they had on the radio, and they're just have to be reworked for for the television screen,   Michael Hingson ** 25:08 yeah, but the the dialog was the same, which was so great,   Ron Cocking ** 25:13 yeah, yeah. And to see what was I going to add, it was our Miss Brooks was one of the very few radio shows that made the transition to television with the cast with the same intact. Yeah, everybody looked like they sounded. So it worked when they were in front of the camera. Yeah,   Michael Hingson ** 25:33 it sort of worked with Jack Benny, because most of the well, all the characters were in it, Don Wilson, Mary, Livingston, Dennis day, Rochester, world, yeah. And of course, Mel Blanc, yeah, oh.   Ron Cocking ** 25:49 GLORIA tells a story. She she and her mom, Hazel, were walking down the street on the way to do a radio show in the old days in Hollywood, and here comes Mel blank, he says, he pulls over. Says, Hey, where are you girls headed because I know that he probably recognized them from being at at CBS all the time, and they said, We're headed to CBS. He said, hop in. Oh, that's where I'm going. So Mel Brooks gave her a ride to the Mel Blanc, yeah, would have been   Michael Hingson ** 26:15 fun if Mel Brooks had but that's okay, Young Frankenstein, but that's another story. It is. But that's that's cool. So did they ever? Did she ever see him any other times? Or was that it?   Ron Cocking ** 26:30 No, I think that was it. That's the one story that she has where Mel Blanc is involved.   Michael Hingson ** 26:36 What a character, though. And of course, he was the man of a million voices, and it was just incredible doing I actually saw a couple Jack Benny shows this morning and yesterday. One yesterday, he was Professor LeBlanc teaching Jack Benny how to play the violin, which was a lost cause.   Ron Cocking ** 26:59 Actually, Jack Benny was not a bad view. No,   Michael Hingson ** 27:01 he wasn't violent. No, he wasn't. He had a lot of fun with it, and that stick went straight in from radio to television, and worked really well, and people loved it, and you knew what was going to happen, but it didn't matter. But it was still   Ron Cocking ** 27:16 funny, and I'm sure during the transition they there was a little bit of panic in the writers department, like, okay, what are we going to do? We got to come up with a few shows. We got to get ahead a little bit. So the writing being just a little different, I'm sure that's part of the reason why they went back and kind of leaned on the old, old script somewhat, until they kind of cut their teeth on the new this new thing called television   Michael Hingson ** 27:39 well, but they still kept a lot of the same routines in one way or another.   Ron Cocking ** 27:45 Yeah, when they work, they work, whether you're just listening or whether you're watching,   Michael Hingson ** 27:48 right, exactly what other shows made it from radio to television with the cast   Ron Cocking ** 27:53 intact? You know, I am not up on that number. I   Michael Hingson ** 27:57 know there were a couple that did. RMS, Brooks was, well, oh no, I was gonna say Abbott and Costello, but that was different, but our Miss Brooks certainly did. If   Ron Cocking ** 28:09 the Bickersons did, I forget the two actors that did that show, but that was a really, Francis   Michael Hingson ** 28:13 Langford and Donna Michi could be, but I think burns and Allen, I think, kept the same people as much as there were. Harry bonzell was still with them, and so on. But it was interesting to see those. And I'm awake early enough in the morning, just because it's a good time to get up, and I get and be real lazy and go slowly to breakfast and all that. But I watched the Benny show, and occasionally before it, I'll watch the burns and Allen show. And I think that the plots weren't as similar from radio to television on the burns and Allen show as they weren't necessarily in the Benny show, but, but it all worked.   Ron Cocking ** 28:58 Yeah, yeah. That's why they were on the air for so long?   Michael Hingson ** 29:02 Yeah, so what other kind of acting did Gloria do once? So you guys started the school   Ron Cocking ** 29:10 well after she well, when we started the school, we found ourselves, you know, raising five children. And so I continued playing nightclub gigs. I had one, one nightclub job for like, five years in a row with two wonderful, wonderful musicians that were like fathers to me. And Gloria actually went to work for her brother in law, and she became a salesperson, and eventually the VP of Sales for a fiberglass tub and shower business down here in Santa Ana. So she drove that 91 freeway from San Bernardino, Santa Ana, all the time. But in,   Michael Hingson ** 29:47 yeah, you could do it back then, much more than now. It was a little better   Ron Cocking ** 29:51 and but in, but twist in between, she managed. Her mom still did a little bit of agency. And she would call Gloria and say. Want you to go see so and so. She did an episode of perfect strangers. She did an episode with Elliot of the guy that played Elliot Ness, stack the show Robert Stack the show was called Help Wanted no see. I guess that was an in but wanted, anyway, she did that. She did a movie with Bruce Dern and Melanie Griffith called Smile. And so she kept, she kept her foot in the door, but, but not, not all that much she she really enjoyed when John Wilder, one of her childhood acting buddies, who she called her brother, and he still calls her sis, or he would call her sis, still. His name was Johnny McGovern when he was a child actor, and when he decided to try some movie work, he there was another Johnny McGovern in Screen Actors Guild, so he had to change his name to John Wyler, but he did that mini series called centennial, and he wanted Gloria for a specific role, to play a German lady opposite the football player Alex Karras. And they had a couple of really nice scenes together. I think she was in three, maybe four of the segments. And there were many segments, it was like a who's who in Hollywood, the cast of that show   Michael Hingson ** 31:28 does that was pretty cool.   Ron Cocking ** 31:32 But anyway, yeah, after Gloria finished armas Brooks, she became married to Gilbert Allen, who, who then became a Presbyterian minister. So Gloria, when you said, Did she continue acting? There's a lot of acting that goes on being a minister and being a minister's wife, and she would put together weddings for people, and that sort of thing. And she did that for 20 years. Wow. So she Gloria was a phenomenon. She did so many things. And she did them all so very well, in my   Speaker 1 ** 32:04 opinion. And so did you? Yeah, which is, which is really cool. So you, but you, you both started the school, and that really became your life's passion for 44 years. Yes,   Ron Cocking ** 32:16 we would get up in the mornings, go do a little business, come home, have a little lunch, go back about 132 o'clock, and we would normally crank up about four after the kids get out of school, and we would teach from four to nine, sometimes to 10. Go out, have some dinner. So yeah, we pretty much 24/7 and we had had such similar backgrounds. Hers on a national radio and television scale, and mine on a much more local, civic light opera scale. But we both had similar relations with our our moms after after the radio tapings and the TV things. GLORIA And her mom. They lived in Beverly Hills, right at Wilshire and Doheny, and they had their favorite chocolate and ice cream stops. And same thing for me, my mom would take me there, two doors down from the little studio where I was taking my tap classes. There was an ice cream parlor, haywoods ice cream. And that was, that was the the lure, if you go in and if you do your practicing, Ronnie, you can, I'll take it for an ice cream so that I did my practicing, had plenty of little treats on the way, so we had that in common, and we both just had very supportive moms that stayed out of the way, not, not what I would call a pushy parent, or, I think you mentioned the helicopter, helicopter, but it   Michael Hingson ** 33:37 but it sounds like you didn't necessarily need the bribes to convince you to tap dance, as you know, anyway, but they didn't hurt.   Ron Cocking ** 33:46 No, it didn't hurt at all, and it was something to look forward to, but I I just enjoyed it all along. Anyway, I finally got to to really showcase what I could do when I was cast as the dance director in the show 42nd street. Oh, wow. And I was lucky. We were lucky. San Bernardino clo was able to hire John Engstrom, who had done the show on Broadway. The earlier version that came, I think it was on Broadway in the mid or to late 70s. He had worked side by side with Gower Champion putting the show together. He told us all sorts of stories about how long it took Gower to put together that opening dance. Because everything in the opening number you you see those steps later in the show done by the chorus, because the opening number is an audition for dancers who want to be in this new Julian Marsh show. So the music starts, the audience hears, I know there must have been 20 of us tapping our feet off. And then a few seconds later, the curtain rises about two and a half feet. And then they see all these tapping feet. And then the main curtain goes out, and there we all are. And. I my part. I was facing upstage with my back to the audience, and then at some point, turned around and we did it was the most athletic, difficult, two and a half minute tap number I had ever done, I'll bet. But it was cool. There were five or six kids that had done it on Broadway and the national tour. And then during that audition, one more high point, if we have the time, we I was auditioning just like everybody else. The director had called and asked if I would audition, but he wasn't going to be choreographing. John Engstrom was so with there was probably 50 or 60 kids of all ages, some adults auditioning, and at one point, John pulled out one of the auditioners, and he happened to be one of my male tap dance students. And he said, Now I want everybody to watch Paul do this step. Paul did the step. He said, Now he said, Paul, someone is really teaching you well. He said, everybody that's the way to do a traveling timestamp so and that, you know, I'll remember that forever. And it ended up he hired. There were seven myself and seven other of my students were cast in that show. And some of them, some of them later, did the show in Las Vegas, different directors. But yeah, that, that was a high point for me.   Speaker 1 ** 36:19 I'm trying to remember the first time I saw 42nd street. I think I've seen it twice on Broadway. I know once, but we also saw it once at the Lawrence Welk Resorts condo there, and they did 42nd street. And that was a lot of that show was just a lot of fun. Anyway,   Ron Cocking ** 36:39 it's a fun show. And as John said in that show, The chorus is the star of the show.   Speaker 1 ** 36:45 Yeah, it's all about dancing by any by any definition, any standard. It's a wonderful show. And anybody who is listening or watching, if you ever get a chance to go see 42nd street do it, it is, it is. Well, absolutely, well worth it.   Ron Cocking ** 37:00 Yeah, good. Good show. Fantastic music, too. Well.   Michael Hingson ** 37:03 How did you and Gloria get along so well for so long, basically, 24 hours a day, doing everything together that that I would think you would even be a little bit amazed, not that you guys couldn't do it, but that you did it so well, and so many people don't do it well,   Ron Cocking ** 37:21 yeah, I don't know I from, from the the first time we met, we just seemed to be on the same wavelength. And by the way, I found out as time went by, Gloria was like Mrs. Humble. She wasn't a bragger, very humble. And it took me a while to find out what an excellent tap dancer she was. But when we went to the studio in the early days, we had, we just had one room. So she would teach actors for an hour, take a break. I would go in teach a tap class or a movement class or a ballet class. I in the early days, I taught, I taught it all. I taught ballet and jazz and and and and   Michael Hingson ** 38:01 tap. Well, let's let's be honest, she had to be able to tap dance around to keep ahead of Osgoode Conklin, but that's another story.   Ron Cocking ** 38:09 Yeah. So yeah, that. And as our studio grew, we would walk every day from our first studio down to the corner to a little wind chills donut shop wind chills donuts to get some coffee and come back. And about a year and a half later, after walking by this, this retail vacant spot that was two doors from our studio, we said, I wonder if that might be, you know, something for us, it had a four lease sign. So, long story short, we released it. The owner of the property loved knowing that Gloria Macmillan was that space. And so luckily, you know when things are supposed to happen. They happen as people would move out next to us, we would move in. So we ended up at that particular studio with five different studio rooms. Wow. And so then we can accommodate all of the above, acting, singing classes, all the dance disciplines, all at the same time, and we can, like, quadruple our student body. So then we made another move, because the neighborhood was kind of collapsing around us, we made another room and purchased a building that had been built as a racquetball club. It had six racquetball courts, all 20 by 40, beautiful hardwood. We made four of them, five of them into studios, and then there was a double racquetball racquetball court in the front of the building which they had tournaments in it was 40 by 40 we moved. We made that into a black box theater for Gloria. And the back wall of the theater was one inch glass outside of which the audiences for the racquetball tournaments used to sit. But outside the glass for us, we had to put curtains there, and out front for us was our. Gigantic lobby. The building was 32,000 square feet. Wow, we could it just made our heart, hearts sing when we could walk down that hallway and see a ballet class over here, a tap class over there, singers, singing actors in the acting room. It was beautiful. And again, it was just meant for us because it was our beautiful daughter, Kelly, who passed away just nine months after Gloria did. She's the one that said, you guys ought to look into that. And I said, Well, it's a racquetball court. But again, the first moment we walked in the front door, you start. We started thinking like, whoa. I think we could make this work. And it worked for another 20 years for us and broke our hearts to basically rip it apart, tear the theater down, and everything when we were moving out, because we we couldn't find another studio that was interested in in coming in, because they would have had to purchase the building. We wanted to sell the building. Yeah. So anyway, of all things, they now sell car mufflers out of there.   Michael Hingson ** 41:02 That's a little different way, way. Yeah, social shock, did any of your students become pretty well known in the in the entertainment world?   Ron Cocking ** 41:11 I wouldn't say well known, but a lot of them have worked a lot and made careers. Some of our former students are now in their 50s, middle 50s, pushing 60, and have done everything from cruise ship to Las Vegas to regional some national tours, even our son, Christopher, he did the national tour of meet me in St Louis with Debbie Boone, okay, and he's the one that is Now a successful producer. He's his latest hit. Well, his first, what can be considered legitimately a Broadway hit show was the show called shucked, and it opened about two years ago, I think, and I finally got to go back to New York and see it just a month before it closed. Very hilarious. Takes place in Iowa. The whole show is built around a county in which everybody that lives there makes their living off of corn, making whiskey. And it is a laugh, way more than a laugh a minute. But anyway, we had one of Gloria's acting students who was hired on with a Jonathan Winters TV sitcom called Davis rules. It ran for two seasons, and here he was like 16 or 17 years old, making, I think it was. He was making $8,000 a week, and he was in heaven. He looked like the Son he played, the grandson of Jonathan Winters and the son of Randy Quaid and so he, yeah, he was in heaven. And then after that, he did a very popular commercial, the 711 brain freeze commercial for Slurpee. The Slurpee, yeah, and he made the so much money from that, but then he kind of disappeared from showbiz. I don't know what he's doing nowadays,   Speaker 1 ** 43:00 but it's, it's, it's interesting to, you know, to hear the stories. And, yeah, I can understand that, that not everybody gets to be so famous. Everybody knows them, but it's neat that you had so many people who decided to make entertainment a career. So clearly, you had a pretty good influence on a lot of, a lot of kids.   Ron Cocking ** 43:20 Yes, I over the years, Gloria and I felt like we had 1000s of children of our own, that they that we had raised together. It's really a good feeling. And I still get phone calls. We got a phone call once a few years back from from one of our students who had been trying to crack the nut in New York, and she called us like 530 in the morning, because, of course, it was Yeah, but she had just signed her first national tour contract and was going to go out with the show cabaret. So fortunately, we were able to drive up to Santa not let's see, it's just below San San Jose. The show came through San Jose, and we got to see her up there. But those kinds of things are what made us keep teaching, year after year, all these success stories. Of course, we have former students that are now lawyers. Those are actors. Well, we   Michael Hingson ** 44:17 won't hold it and we understand, yeah and they are actors, by all means. How many teachers did you have in the studio when you had the big building?   Ron Cocking ** 44:26 Gosh, at one time, we had 10 or 12 teachers, teaching vocal teachers, two or three ballet teachers, jazz teachers, and you both taught as well. And we both continued teaching all through that time. We never just became managers, although that's that was part of it, and mixing business with art is a challenge, and it takes kind of a different mindset, and then what an unstoppable mindset you have to have in order to mix business with performing, because it's too. Different sides of your brain and a lot of patience and a lot of patience. And guess who taught me patience? Uh huh, Gloria Macmillan.   Michael Hingson ** 45:09 I would Conklin's daughter, yes, and I'll bet that's where she learned patience. No, I'm just teasing, but yeah, I hear you, yeah. Well, I know Karen and I were married for 40 years, until she passed in November of 2022 and there's so many similarities in what you're talking about, because we we could do everything together. We had challenges. Probably the biggest challenge that we ever had was we were living in Vista California, and I was working in Carlsbad, and the president of our company decided that we should open an office, because I was being very successful at selling to the government, we should open an office in the DC area. And so we both got excited about that. But then one day he came in and he had this epiphany. He said, No, not Virginia. I want you to open an office in New York. And Karen absolutely hated that she was ready to go to Virginia and all that.   Speaker 1 ** 46:15 But the problem for me was it was either move to New York or take a sales territory that didn't sell very much anymore. The owner wasn't really willing to discuss it, so we had some challenges over that, but the marriage was strong enough that it that it worked out, and we moved to New Jersey, and Karen made a lot of friends back there, but, you know, we always did most everything together. And then when the pandemic occurred, being locked down, it just proved all the more we just did everything together. We were together. We talked a lot, which is, I think one of the keys to any good marriages, and you talk and communicate.   Ron Cocking ** 46:56 Yes, in fact, when after we closed the studio in 2018 it took us a few more months to sell our home, and then when we moved down here, it was only about, I don't know, I don't know if it was a full year or not, but the pandemic hit and but it really didn't bother us, because we had, we had been working the teaching scene for so many years that we basically Were done. We basically walked out of the studio. We did. Neither of us have the desire to, well, let's continue in at some level, no, we cherished our time together. We have a little porch out in front of our home here, and it gets the ocean breeze, and we would sit for hours and chat. And oddly enough, not oddly, one of our favorite things to do, we have a website that we went to that had, I think, every radio show of armas Brooks ever made. And we would sit listen to those and just laugh. And, in fact, Gloria, there are some. She said, You know what? I don't even remember that episode at all. So yeah, that that was an interesting part. But yeah, Gloria and I, like your wife and you really enjoyed time together. We never talked about needing separate vacations or anything if we wanted to do something. We did it   Speaker 1 ** 48:16 together, yeah, and we did too. And you know, for us it was, it was out of desire, but also was easier for us, because she was in a wheelchair her whole life. I was I'm blind. I've been blind my whole life. And as I tell people, the marriage worked out well. She read, I pushed, and in reality, that really is the way it worked, yeah, yeah. Until she started using a power chair. Then I didn't push. I kept my toes out of the way. But still, it was, it was really did meld and mesh together very well and did everything   Ron Cocking ** 48:49 together. That's fantastic. I'm proud of you, Michael, and it really   Michael Hingson ** 48:53 it's the only way to go. So I miss her, but like, I keep telling people she's somewhere monitoring me, and if I misbehave, I'm going to hear about it. So I got to be a good kid,   Ron Cocking ** 49:04 and I'll hear I'll get some notes tonight from the spirit of Gloria McMillan too. I prayed to her before I went on. I said, please let the words flow and please not let me say anything that's inappropriate. And I think she's guided me through okay so far.   Michael Hingson ** 49:20 Well, if, if you do something you're not supposed to, she's gonna probably hit you upside the head. You know, did you two ever actually get to perform together?   Ron Cocking ** 49:30 Oh, I'm glad you asked that, because, well, it had been years since I knew that she was a darn good tap dancer. In fact, I had a tap dancing ensemble of of my more advanced kids, and if they wanted to dedicate the extra time that it took, we rehearsed them and let them perform at free of charge once they made it to that group, they they did not pay to come in and rehearse with me, because I would spend a lot of time standing there creating so. So we were doing a performance, and we wanted to spotlight, I forget the exact reason why we wanted to spotlight some of Gloria's career. Talk about radio a little bit. And I said, Gloria, would you do a little soft shoe routine? And because we had invited a mutual friend of ours, Walden Hughes, from the reps organization, and he was going to be the guest of honor, so I talked her into it. At first she wasn't going to go for it, but we had so much fun rehearsing it together. And it wasn't a long routine, it was relatively short, beautiful music, little soft shoe, and it was so much fun to say that we actually tap danced together. But the other times that we actually got to work together was at the old time radio conventions, mostly with reps, and that's really when I got to sit on stage. I was kind of typecast as an announcer, and I got to do some commercials. I got to sing once with Lucy arnazza. Oh, life, a life boy soap commercial. But when Gloria, Well, Gloria did the lead parts, and oh my gosh, that's when I realized what a superb actress she was. And if I don't know if you've heard of Greg Oppenheimer, his father, Jess Oppenheimer created the I Love Lucy shows, and so Gloria loved Jess Oppenheimer. And so Greg Oppenheimer, Jess Son, did a lot of directing, and oh my gosh, I would see he came in very well prepared and knew how the lines should be delivered. And if Gloria was not right on it, he would say, No, wait a minute, Gloria, I want you to emphasize the word decided, and that's going to get the laugh. And when he gave her a reading like that man, the next time she went through that dialog, just what he had asked for. And I thought, Oh my gosh. And her timing, after watching so many armist Brooks TV and listening to radio shows. GLORIA learned her comedic timing from one of the princesses of comedy timing is Eve Arden, right? They were so well for obvious reasons. They were so very similar. And if you have time to story for another story, do you know have you heard of Bob Hastings? He was the lieutenant on McHale's navy. McHale's Navy, right? Yeah. Well, he also did a lot of old time radio. So we went up to Seattle,   Michael Hingson ** 52:32 our two grandkids, Troy Amber, he played, not Archie. Was it Henry Aldridge? He was on,   Ron Cocking ** 52:40 I think you're right. I'm not too up on the cast of the old time radio show. Yeah, I think you're right. But anyway, he was there, and there was an actress that had to bow out. I don't know who that was, but our grandsons and Gloria and I, we walked in, and as usual, we say hi to everybody. We're given a big packet of six or eight scripts each, and we go to our room and say, Oh my gosh. Get out the pencils, and we start marking our scripts. So we get a phone call from Walden, and he said, hey, Ron Bob. Bob Hastings wants to see Gloria in his room. He wants to read through he's not sure if he wants to do the Bickersons script, because he you know, the gal bowed out and right, you know, so Gloria went down   Michael Hingson ** 53:23 couple of doors, coming   Ron Cocking ** 53:26 Yes, and she so she came back out of half an hour, 40 minutes later, and she said, well, that little stinker, he was auditioning me. He went in and she went in and he said, Well, you know, I don't know if I want to do this. It doesn't seem that funny to me. Let's read a few lines. Well, long story short, they read the whole thing through, and they were both, they were both rolling around the floor. I'll bet they laughing and so and then jump to the following afternoon, they did it live, and I was able to watch. I had some pre time, and I watched, and they were just fantastic together. I left after the show, I went to the green room, had a little snack, and I was coming back to our room, walking down the hall, and here comes Bob Hastings, and he says, oh, Ron. He said, Your wife was just fantastic. So much better than the other girl would have been. So when I told GLORIA That story that made her her day, her week. She felt so good about that. So that's my Bob Hastings story. Bob Hastings and Gloria Macmillan were great as the Bickersons.   Speaker 1 ** 54:29 Yeah, that was a very clever show. It started on the Danny Thomas show, and then they they ended up going off and having their own show, Francis Langford and Donna Michi, but they were very clever.   Ron Cocking ** 54:42 Now, did you realize when now that you mentioned Danny Thomas? Did you realize that Gloria's mom, Hazel McMillan, was the first female agent, talent agent in Hollywood? No, and that's how you know when the. They moved from from Portland, Oregon, a little city outside of Portland. They moved because Gloria's mom thought she had talent enough to do radio, and it wasn't a year after they got here to LA that she did her first national show for Lux radio at the age of five. That was in 1937 with with Edward G Robinson. I've got a recording of that show. What's what show was it? It was a Christmas show. And I don't remember the name of the of it, but it was a Christmas show. It was Walden that sent us. Sent   Michael Hingson ** 55:33 it to us. I'll find it. I've got it, I'm sure.   Ron Cocking ** 55:35 And so, yeah, so, so Gloria was a member of what they called the 500 club. There was a group of, I don't know, nine or 10 kids that by the time the photograph that I have of this club, it looks like Gloria is around 12 to 14 years old, and they had all done 500 or more radio shows. Wow, that's a lot of radio show. There's a lot of radio So Gloria did, I mean, I got a short my point was, her mom was an agent, and when Gloria was working so consistently at armas Brooks, she said, Well, I'm kind of out of a job. I don't need to take you. GLORIA could drive then. And so she came back from the grocery store, Ralph's market near Wilshire and Doheny, and she came back said, Well, I know what I'm going to do. I ran into this cute little boy at the grocery store. I'm going to represent him for television. And she that's, she started the Hazel McMillan agency, and she ran that agency until she just couldn't anymore. I think she ran it until early 1980s but she, my god, she represented people like Angela Cartwright on the Danny Thomas show and Kathy Garver on, all in the family a family affair. Family Affair. Yeah. Jane north. Jane North went in for Dennis the Menace. He didn't get the role. He came back said, Hazel, I don't think they liked me, and they didn't. They didn't call me back or anything. Hazel got on that phone, said, Look, I know this kid can do what you're asking for. I want you to see him again. He went back and they read him again. He got the part, yeah,   Michael Hingson ** 57:21 and he was perfect for it.   Ron Cocking ** 57:22 He was perfect for that part was, I'm sorry.   Michael Hingson ** 57:27 It's sad that he passed earlier this year.   Ron Cocking ** 57:29 Yeah, he passed and he had, he had a tough life, yeah,   Michael Hingson ** 57:36 well, you know, tell me you, you have what you you have some favorite words of wisdom. Tell me about those.   Ron Cocking ** 57:45 Oh, this goes back to the reason why I came across this when I was looking for something significant to say on the opening of one of our big concert programs. We used to do all of our shows at the California theater of Performing Arts in San Bernardino, it's a really, a real gem of a theater. It's where Will Rogers gave his last performance. And so I came across this, and it's, I don't know if this is biblical, you might, you might know, but it's, if you give a man a fish, you feed him for a day. If you teach a man to fish, you feed him for a lifetime. And that's what I felt like Gloria and I were trying to do. We wanted to teach these kids as as professionally. We treated our students as they were, as if they were little professionals. We we expected quality, we expected them to work hard, but again, Gloria taught me patience, unending patience. But we knew that we wanted them to feel confident when the time came, that they would go out and audition. We didn't want them to be embarrassed. We want we wanted them to be able to come back to us and say, Boy, I felt so good at that audition. I knew all the steps I was and I and I read so well it was. And thank you. Thank you. Thank you. And so that aspect of it, we felt that we were feeding them for a lifetime, but we also were creating all of these arts patrons, all these lovers of the arts, 1000s of kids now love to go to musicals and movies and plays because they've kind of been there and done that at our studio. And so anyway, that's and whether, whether or not it was their confidence in show business or whether it was their confidence we've had so many calls from and visits from parents and former students saying, Boy, I just was awarded a job. And they said my my communication skills were excellent, and I owe that to Gloria. I was on the beach the other day, and I looked over and there was this young man and his wife. I assumed it was his wife. It was they were setting. Up their beach chairs, and I looked and I say, Excuse me, is your name Brandon? And he said, No, but he said, Is your name Ron? And I said, Yes. He said, No, my name is Eric. And I said, Eric puentes. And so we reminisced for a while. He took tap from me. He took acting from Gloria, and he said, you know, he was sad to hear of Gloria's passing. And he said, You know, I owe so much to Gloria. I learned so much about speaking in front of groups. And he is now a minister. He has his own church in Redlands, California, and he's a minister. And of all the billion people on the beach, he sits next to me. So that's one of those things when it's supposed to   Michael Hingson ** 1:00:41 happen. It happens. It does. Yeah, well, and as we talked about earlier, you and Gloria did lots of stuff with reps, and I'm going to miss it this time, but I've done a few, and I'm going to do some more. What I really enjoy about people who come from the radio era, and who have paid attention to the radio era is that the acting and the way they project is so much different and so much better than people who have no experience with radio. And I know Walden and I have talked about the fact that we are looking to get a grant at some point so that we can train actors or people who want to be involved in these shows, to be real actors, and who will actually go back and listen to the shows, listen to what people did, and really try to bring that forward into the recreations, because so many people who haven't really had the experience, or who haven't really listened to radio programs sound so forced, as opposed to natural.   Ron Cocking ** 1:01:46 I agree, and I know exactly what you're saying. In fact, Walden on a couple of at least two or three occasions, he allowed us to take some of Gloria's acting students all the way to Seattle, and we did some in for the spurred vac organization Los Angeles, we did a beautiful rendition of a script that we adapted of the Velveteen Rabbit. And of all people, Janet Waldo agreed to do the fairy at the end, and she was exquisite. And it's only like, I don't know, four or five lines, and, oh my gosh, it just wrapped it up with a satin bow. And, but, but in some of our kids, yeah, they, they, they were very impressed by the radio, uh, recreations that they were exposed to at that convention.   Speaker 1 ** 1:02:37 Yeah, yeah. Well, and it's, it is so wonderful to hear some of these actors who do it so well, and to really see how they they are able to pull some of these things together and make the shows a lot better. And I hope that we'll see more of that. I hope that we can actually work to teach more people how to really deal with acting from a standpoint of radio,   Ron Cocking ** 1:03:04 that's a great idea. And I know Walden is really sensitive to that. He Yeah, he would really be a proponent of that.   Michael Hingson ** 1:03:10 Oh, he and I have talked about it. We're working on it. We're hoping we can get some things. Well, I want to thank you for being here. We've been doing this an hour already.  

To coincide with this week's "Fun for All Ages" episode about movie musicals of 1980, GGACP revisits this hilarious conversation from 2017 about Gil and Frank's' favorite musical misfires. In this episode: Burt Reynolds sings Cole Porter, Gene Kelly laces up his skates, Nipsey Russell follows the yellow brick road and Carol Channing covers the Beatles. PLUS: "Grease 2"! "Paint Your Wagon"! And Gilbert meets Mr. Baseball! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Daily Quiz - Music Today's Questions: Question 1: Why Does Gene Kelly Suddenly Stop In The 'Singing In The Rain' Routine Question 2: What was the real name of Kool, of Kool and the Gang fame? Question 3: Which band includes 'John Lennon'? Question 4: Which American singer, songwriter, dancer and actress released the studio album 'Circus'? Question 5: Which American rock band released the song 'Sliver'? Question 6: Which German rock band released the song 'Rock You Like a Hurricane'? Question 7: 'Pass the Dutchie' was a one hit wonder in 1983 by which artist? Question 8: What type of instrument is a oboe? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

EPISODE 112 -  “CLASSIC CINEMA STAR OF THE MONTH: JACQUELINE WHITE” - 11/03/25 When we think of our beloved Classic film stars who are still with us, we tend to think of EVA MARIE SAINT, ANN BLYTH, KIM NOVAK, ROBERT WAGNOR, or DICK VAN DYKE, however, there is one star among us who will be turning 103 in November. The name JACQUELINE WHITE may not ring any bells today, but for a brief time in the 1940s, she was a beautiful, talented leading lady with much promise. In fact, when she was up for the lead role of the mother in the 1946 film The Yearling, she was told by the producers that she was too beautiful to portray the simple pioneer woman. The role went to JANE WYMAN, who probably would have been none-too-pleased to know that, apparently, she was just fine playing such a plain and simple woman! But as a consolation prize, Wyman was nominated for an Academy Award as Best Actress. Join us as we pay tribute to Jacqueline White and her contribution to classic cinema.  SHOW NOTES:  Sources: Jacqueline White Official Biography, 1946, RKO Studios; “Jacqueline White May Be The New Irene Dunne, December 1, 1946, Los Angeles Times; “Jacqueline White to Wed,” September 20, 1948, by Louella Parsons, Los Angeles Examiner; “Snappy Shots,” October 24, 1948, by Dorothy Manners, Los Angeles Examiner; “An Interview With…Jacqueline White,” by Mike Fitzgerald, Western Clippings; Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; Movies Mentioned: Dr. Gillespie's New Assistant  (1942), starring Lionel Barrymore, Van Johnson, & Susan Peters; Reunion in France (1942), starring Joan Crawford & John Wayne; Air Raid Wardens (1943), starring Stan Laurel, Oliver Hardy, & Jacqueline White; Three Hearts for Julia (1943), starring Ann Sothern & Melvyn Douglas; Pilot #5 (1943), starring Franchot Tone, Marsha Hunt, & Gene Kelly; Swing Shift Maisie (1943), starring Ann Sothern & James Craig; A Guy Named Joe (1943), starring Spencer Tracy, Irene Dunne, & Van Johnson; Song of Russia (1944), starring Robert Taylor & Susan Peters; Thirty Seconds Over Tokyo (1944), starring Spencer Tracy, Van Johnson, & Robert Walker; The Harvey Girls (1946), starring Judy Garland, John Hodiak, & Angela Lansbury; The Show Off (1946), starring Red Skelton, Marilyn Maxwell, & Marjorie Main; Banjo (1947), starring Sharron Moffat & Jacqueline White; Seven Keys To Baldpate (1947), starring Phillip Terry & Jacqueline White; Crossfire (1947), starring Robert Young, Robert Mitchum, Robert Ryan, & Gloria Grahame; Night Song (1947); starring Dana Andrews & Merle Oberon; Return of the Bad Men (1948), starring Randolph Scott, Robert Ryan, Anne Jeffries, & Jacqueline White; Mystery In Mexico (1948), starring William Lundigan & Jacqueline White; Riders on The Range (1950), starring Tim Holt & Jacqueline White; The Capture (1950), starring Lew Ayres & Teresa Wright The Narrow Margin (1952), starring Charles MacGRaw, Marie Windsor & Jacqueline White; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this toe-tapping episode, Pete and Hannah dive headfirst into the Technicolor world of Hollywood's golden age with Singin' in the Rain #5 on the AFI Top 100 list. As they wade through the splashy musical numbers and behind-the-scenes drama of 1920s Tinseltown, the duo unpacks why this classic remains one of the most beloved films in American cinema.Expect plenty of laughs as Pete attempts to recreate Donald O'Connor's physical comedy (thankfully off-mic), while Hannah breaks down the film's clever satire of the transition from silent films to “talkies.” Together, they explore Gene Kelly's iconic choreography, Debbie Reynolds' breakout performance, and whether that rain-soaked dance scene still holds up nearly a century later.It's nostalgia, film history, and a little bit of musical geekery—all in one joyful, umbrella-spinning conversation.

A couple months ago that we spun the wheel of random movies and selected 10 on the show. Well we finally watch them all and have a lot of thoughts. What a random mix of films, some very good, some very, very bad. Check out the highlight at the top of our Instagram profile for which movies we picked and where you can watch them, largely for free. We learned how Gene Kelly broke into Hollywood, we debate the empowerment vs exploitation of extensive nude scenes, and in a totally separate movie Jake worries he may have accidentally downloaded and sent Dustin porn with a yeti in it. ....yeah.Before that, Dustin gives spoiler free first impressions of the remade "Salem's Lot (2024) and also M3GAN 2.0. Jake of course is watching Love is Blind: Denver and The Golden Bachelor, but actually has important recommendations in "Chad Powers" and a really unique indie film called "Hellbender" (2021).----Special thank you to Alan Hlavacek and Travis Mason from ⁠⁠Attack on Venus⁠⁠ for the sick theme music! Check them out here:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bandcamp⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠- ⁠⁠⁠⁠⁠⁠⁠⁠⁠https://attackonvenus.bandcamp.com⁠⁠⁠⁠⁠⁠⁠Spotify⁠⁠ - ⁠⁠https://open.spotify.com/artist/34bZPk9DrWCURfBNmkRiKt⁠⁠Apple Music⁠ - ⁠⁠⁠https://music.apple.com/us/artist/attack-on-venus/974094891⁠⁠----⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Connect with us and share your thoughts:Instagram:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/moviebonerz/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YouTube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/@moviebonerz⁠⁠⁠⁠⁠⁠⁠Facebook:⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.facebook.com/moviebonerz⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TikTok:⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.tiktok.com/@moviebonerz⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Hey weather warriors! Dustin Breeze here, your AI meteorological maestro bringing you the hottest - and coolest - forecast around. As an AI, I've got instant access to every weather data point, which means more accuracy and fewer weather surprises. Today's New York City forecast is looking like a meteorological rollercoaster!Right now, we've got some seriously dramatic weather brewing. Overnight, expect showers and possibly a thunderstorm with a steady temperature around 65 degrees Fahrenheit. The winds are gonna be dancing from the south at around 16 miles per hour, with gusts potentially hitting 29 miles per hour. Precipitation chance? A whopping 90 percent! Looks like Mother Nature is ready to water her concrete jungle.Let me drop a quick weather pun - these conditions are sure to make some New Yorkers feel like they're living under a "cloud nine" situation! Meteorological humor, folks - it never gets old.Moving into Monday, we're looking at showers and potential thunderstorms before 8 am, with a chance of showers continuing until 11 am. Temperatures will be dropping to around 58 degrees Fahrenheit by 10 am. Southwest winds will be cruising between 14 to 17 miles per hour.Now, let's dive into our Weather Playbook segment! Today, we're talking about "atmospheric instability" - basically, it's when different layers of the atmosphere have temperature variations that create those awesome thunderstorms and dramatic weather patterns. Think of it like a temperature cake with uneven layers - when those layers get too different, boom! Weather drama happens.Our three-day forecast is looking like this: Monday night will be mostly clear with temperatures around 51 degrees Fahrenheit. Tuesday brings sunshine and a high near 65 degrees Fahrenheit. Tuesday night? More showers with temperatures around 56 degrees Fahrenheit.For all you New York City dwellers, keep those umbrellas handy and maybe channel your inner Gene Kelly - it's gonna be a wet one!Hey, don't forget to subscribe to our podcast for more weather wisdom. Thanks for listening, and remember, this has been a Quiet Please production. Learn more at quiet please dot ai.Stay dry, stay curious, and keep your weather radar on!This content was created in partnership and with the help of Artificial Intelligence AI

This week, my guest is the legendary FRANK CONNIFF (of Mystery Science Theater 3000 fame!!!), who picked the equally legendary Jacques Demy film, The Young Girls Of Rochefort!, to discuss as his music film!!We discuss Frank's introduction into the MST3K world, how their show grew through grass roots and tape trading, the process of how MST3K would put together a show every week, the lack of cable tv in the US when their show first came on, how MST3K felt like being in a band for Frank, how he picked the films for their show and what the failsafes for jokes were, Ed Wood, can a movie like The Young Girls Of Rochefort get riffed on, actor Jack Webb's anti-hippie stance, The Umbrellas Of Cherbourg, Criterion laser discs, Frank accidentally coming across Rochefort on tv, how Demy's films could transport you emotionally with just a color, the incredible Michele Legrand score that is relentlessly non-stop fantastic, how the film casually drops in a serial killer storyline, Catherine Deneuve and her real-life sister Françoise Dorléac's performances in the film together, West Side Story and actor George Chakiris, how they shot two different versions of Rochefort at the same time (one in French and one in English), how sexy everyone looks in the film, the surprise of Gene Kelly showing up in this film and his later fllm roles including Viva Knievel & Xandau and more!So let's turn around on a moment's notice and suddenly leap into the air as soon as someone beautiful has just passed us on the street on this week's Revolutions Per Movie!!!FRANK CONNIFF: https://frankconniff.com/https://dumb-industries.com/themadsarebackhttps://dumb-industries.com/store/books/frank-conniffYOUNG GIRLS OF ROCHEFORT: French Language Version: https://archive.org/details/the-young-girls-of-rochefortEnglish Language Version (rare workprint found of part of the film): https://archive.org/details/the-young-girls-of-rochefort-english-reelREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movie releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Hosted on Acast. See acast.com/privacy for more information.

Send us a textSeven new Blu-rays land for November with new 4K restorations that fix past audio issues, honor original aspect ratios, and bring back theatrical context with shorts and radio plays. We also unveil three film collections for Gene Kelly, Doris Day, and James Cagney.• Marx Bros At the Circus with era-accurate shorts and trailer• Powell and Loy's I Love You Again with a Lux Radio Theater adaptation• Bette Davis's underrated comedy It's Love I'm After in a fresh 4K scan• Errol Flynn's Silver River with corrected sound and matched cartoons• Davis and Cagney's The Bride Came C.O.D. plus Warner Night at the Movies• Technicolor showcase The Iron Mistress and Alan Ladd's studio shift• The Miracle restored Technirama from a 6K scan • Why film collections exist and how to use them to start or gift librariesPre-order links are only available for the film collections: JAMES CAGNEY COLLECTION BLU-RAYGENE KELLY COLLECTION BLU-RAYDORIS DAY COLLECTION BLU-RAY The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

Jaume Segalés habla del espectáculo sobre María Callas, de cine clásico y de dónde viene la expresión "aquí hay gato encerrado"."María Callas, Sfogato" María Callas sigue siendo considerada, casi medio siglo después de su muerte, la cantante de ópera más grande de la Historia. Podemos conocer más sobre su Arte, su legado y, sobre todo, su personalidad y su visión del mundo gracias a un gran espectáculo: María Callas, Sfogato (cuando Callas encontró a María). Hasta el 12 de octubre, en el Teatro Amaya (Paseo del General Martínez Campos, 9). Una propuesta íntima que nos muestra los últimos momentos de la vida de esta gran diva apodada «La Divina». María Anna Cecilia Sofía Kalogeropoulos, de ascendencia griega, nació en Nueva York en 1923 y murió poco antes de cumplir 54 años en París, en 1977, probablemente por una ingesta excesiva de tranquilizantes. La obra nos muestra ese tiempo final. Recluida y vulnerable, acosada por la prensa, por los admiradores y por los recuerdos del pasado, pero siendo una artista con mayúsculas en todo momento, apasionada por la música, la vida y el amor. Una historia que nos acerca a la María real a través del diálogo entre ella (interpretada por Mabel del Pozo) y su ama de llaves Bruna, que lleva acompañándola décadas, a la que da vida la actriz Anabel Maurín. El texto (de Pedro Villora, bajo la dirección de Alberto Frías), se intercala con pasajes musicales, en directo, de las arias más célebres de María Callas, a cargo de la pianista Natasha Belenova y de la soprano Eva Marco a quien entrevistamos. Sección lingüística "Dicho Queda" Carlota Izquierdo Gil (Instagram: @cigservicioslinguisticos) nos explica de dónde proviene la expresión "aquí hay gato encerrado".Sección de cine clásico "Es sesión continua" Antolín de la Torre hoy nos habla sobre "Hello, Dolly! ". Película musical estadounidense de 1969 basada en el musical de Broadway del mismo título.Gene Kelly dirigió y produjo el guion de Ernest Lehman. El reparto incluye a Barbra Streisand, Walter Matthau, Louis Armstrong, Michael Crawford, Tommy Tune y Fritz Feld. Louis Armstrong alcanzó el número uno de las listas con la canción principal de la película.

Cheryl Baxter's very first job as a young dancer put her on the set of Xanadu with Olivia Newton-John, Gene Kelly, and Kenny Ortega. What does it feel like to step into a world like that straight out of a small town in Wisconsin? And how do you carry lessons from legends into a career that lasts for decades?    Joining John Corella in this episode, Cheryl reflects on the magic of Xanadu, the influence of Gene Kelly's ease and Olivia Newton-John's authenticity, and the ways she has kept her career alive through every crossover - from film and television to teaching and even TikTok!   Cheryl's story invites you to think about resilience, reinvention, and the joy that comes from saying yes to new stages of life in dance.   Episode Breakdown: 00:00 Dance Dad Introduction 03:20 Making Xanadu With Olivia Newton-John and Gene Kelly 06:00 Gene Kelly's On Set Lesson: Relax and Have Fun 10:30 Meeting Olivia Newton-John and Early Xanadu Memories 16:10 Why Xanadu Became a Cult Classic 28:30 Reinvention and Career Crossover From Stage to TikTok 49:30 Filming Magic on Xanadu: Steadicam, Long Days, Big Finale 57:50 Stay Bold: Resilience and Reinvention in Dance    Connect with Cheryl Baxter: Follow Cheryl on Instagram   Connect with John Corella: Follow Dance Dad with John Corella on Instagram Follow John on Instagram Join Dance Dad with John Corella on Patreon John Corella Website Podcast production and show notes provided by HiveCast.fm

GGACP celebrates the birthday (September 9) of recurring guest and friend of the podcast, Emmy-winning writer-director-producer Bill Persky by presenting this ENCORE of his very first appearance back in 2014. In this episode, Bill talks about his working relationship with the late, great Carl Reiner, creating “That Girl” with partner Sam Denoff, directing episodes of "Kate & Allie" and "Welcome Back Kotter" and working with virtually EVERYONE in show business — including Julie Andrews, Tim Conway, Bob Hope, Gene Kelly, Mary Tyler Moore, Peter Sellers and Orson Welles (to name but a few). Learn more about your ad choices. Visit megaphone.fm/adchoices

Sparse highway, light rain ambience. We are on the side of a small road just outside town. It's night, and it's raining. Imagine you're a content Gene Kelly walking home after frolicking around main. Or Feel free to ruminate. That's the general vibe around here. There's a movie theater nearby showing cat videos (for a good cause) and it's practically sold out. Catvideofest 2025 is repackaged cat timeline videos on a gigantic screen. And that it is pretty much sold out this weekend says something about our collective mood. Anyway, I did manage to get tickets and me my youngest will share an auditorium with a Spider-verse amount of other people.That's all from me — Oh, so if I controlled the universe for a day aside from solving every important global issue I would want to sneak a cameo of Ice Cube into that animated Will Smith fish movie that also stars Katie Couric as “Katie Current.” But I would add in Ice Cube so he could be like “even saw the lights of the Goodyear Blimp and it read ‘Ice Cube's a shrimp.'” Which may occur in that movie, I haven't seen it. New plan: I'm bringing back that short-lived trend from early-pandemic days that social media tried to cook up — shoe-kicking as greeting. I only saw people on my phone doing that dumb ****. I want to ingrain into humans that shoe-kicking is now retroactively high-five. Every famous high-five from history now feet kicking. From the business meetings to competitive sports. The mayhem.PS: if you are interested in listening to cars pass but you would rather imagine yourself not being rained on -- check out last year's Vermont Route 100 episode recorded from the Mad River Valley.

Still Here Hollywood, Steve Kmetko, Brittany Murphy, Breckin Meyer, Arnold Schwarzenegger prank, Ted Lange Love Boat, Gene Kelly, Noah Wyle ER reboot, Julia Duffy aging in Hollywood, Joely Fisher Ellen coming out, Lea Thompson Michael J. Fox, Eric Roberts Heath Ledger, Laura Leighton Melrose Place, Brian Dunkleman American Idol, Donna Pescow Saturday Night Fever, Michael Nouri Flashdance, Jill Whelan Love Boat, Amy Yasbeck Suzanne Somers, George Wendt Jason Sudeikis, Melora Hardin Little House on the Prairie, celebrity interviews, Hollywood stories, behind the scenes. Show CreditsHost/Producer: Steve KmetkoAll things technical: Justin ZangerleExecutive Producer: Jim LichtensteinMusic by: Brian SanyshynTranscription: Mushtaq Hussain https://stillherehollywood.comhttp://patreon.com/stillherehollywoodSuggest Guests at: stillherehollywood@gmail.comAdvertise on Still Here Hollywood: jim@stillherenetwork.comPublicist: Maggie Perlich: maggie@numbertwelvemarketing.com

National Cuban sandwich day.  Entertainment from 1962.  Christopher Columbus arrested and sent back to Spain, East Tennessee suceeded from East Tennessee, Largest tank battle in world history ended. Todays birthdays - Gene Kelly, Tex Williams, Barbara Eden, Rudy Lewis, Keith Moon, Rick Sprinfield, Shelly Long, Jimi Jamison, Ed Gale, Jay Mohr, River Phoenix, Scott Caan.  Rudolph Valentino died.   Intro - God did good - Dianna Corcoran   https://www.diannacorcoran.com/  The Cuban sandwich - Barrence Whitfield and Tom RussellBreaking up is hard to do - Neil SedakaWolverton Mountain - Claude KingIt wasn't god who made honky tonk angels - Kitty WellsBirthdays - In da club - 50 Cent    https://www.50cent.com/Singing in the rain - Gene KellySmoke smoke smoke - Tex WilliamsUp on the roof - The DriftersMy generation - The WhoJesse's girl - Rick SpringfieldCheers TV themeHigh on you - SurvivorExit - Catcg & Release - Chris Guenther   https://www.chrisguenthermusic.com/countryundergroundradio.com History & Factoids webpage

Cats Don't Dance is a 1997 animated musical film directed by Mark Dindal, which featured an ensemble cast including Scott Bakula, Jasmine Guy, sung vocals by Natalie Cole, Jon Rhys-Davies, Ashley Peldon, and various others, and featured a soundtrack of musical numbers composed by Randy Newman and contributions to choreography by Gene Kelly; his final film contribution before his death in 1996. The film features an alternate 1939 where humans and anthropomorphic animals co-exist and work in Hollywood; in which the animals are not allowed any leverage in show business. The story follows Indiana-native Danny T. Cat (Bakula) venturing to Hollywood to start an acting career, and eventually facing and overcoming the injustices inherent in the system in order to get better parts for him and his friends. The film was not a commercial success and received mixed-to-positive reviews upon release, but over the years has developed a cult following for its dark satirical undertones, and allegories to the plight of black actors and actresses during this same time period.On a new episode of Hell Is A Musical, Lilz and Scott are overwhelmed with whimsy as they sit through a screening of Cats Don't Dance with return guest Kendra Beltran of the Crushgasm podcast! Join them for perplexing old Hollywood references that would probably go over the heads of young children, make an excruciating amount of furry jokes, and kneel in deference to the will of the immortal godking tyrant whose name is whispered by mere mortals as Don Knotts....with Lilz & Scott!

Bob and Brad return to a golden age classic: An American in Paris (1951), directed by Vincente Minnelli and starring Gene Kelly and Leslie Caron. With its lush Technicolor visuals, elaborate ballet finale, and iconic George Gershwin score, this MGM musical remains a milestone in film history, but how does it hold up on rewatch?To pair with this classic, Bob and Brad pour a bottle of Evan Williams Bottled-in-Bond Bourbon (White Label), a budget-friendly Kentucky straight bourbon that punches well above its price point. At 100 proof and aged at least 4 years, this bourbon is a staple for whiskey drinkers seeking bold flavor without breaking the bank.Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film & Whiskey ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Email us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Join our Discord server!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠For more episodes and engaging content, visit Film & Whiskey's website at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.filmwhiskey.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

See J.P.'s thirty second version of "The Birds" here: https://youtu.be/kjiSyts0xnk?si=1KZK5e7fOymLmtLU EPISODE 98 -  “BEHIND THE SCENES: GETTING TO KNOW THE TEAM BEHIND FBTHS” - 7/28/25 As they say, it takes a village. And that is very true here at FROM BENEATH THE HOLLYWOOD SIGN podcast. This week, we decided to pull the curtain back and reveal two unsung heroes of the show who work tirelessly behind the scenes at the podcast. Meet Executive producer and Post Production Supervisor LINDSAY SCHNEBLY and Associate Producer and Researcher JOHN PRICE RICHEY. They are the true backbone behind this show who do an amazing job keeping us technically proficient and as factually accurate as possible. Listen and get to know these two remarkable artists who both have very interesting stories to tell. We would be lost without them!  SHOW NOTES:  Sources: Wikipedia.com; TCM.com; IBDB.com; IMDBPro.com; Movies Mentioned: The Birds (1963), starring Tippi Hedren, Rod Taylor, Jessica Tandy, & Suzanne Pleshette; Vertigo (1958), starring James Stewart & Kim Novak; It's a Wonderful Life (1946), starring James Stewart & Donna Reed; The African Queen (1951), starring Humphrey Bogart & Katharine Hepburn; Singin' in the Rain (1952), starring Gene Kelly, Debbie Reynolds, & Donald O'Connor; The Bad and Beautiful (1952), starring Kirk Douglas & Lana Turner; Sunset Boulevard (1950), starring Gloria Swanson & William Holden; 8 1/2 (1963), starring Marcello Mastroianni & Claudia Cardinale; My Favorite Year (1982), starring Peter O'Toole; Mulholland Drive (2001), starring Naomi Watts & Laura Harring; The Star (1952), starring Bette Davis & Sterling Hayden; Cinderella (1997), starring Brandy & Whitney Houston; Ninotchka (1939), starring Greta Garbo & Melvyn Douglas; The Red Shoes (1948), starring Moira Shearer; City Lights (1931), starring Charlie Chaplin & Virginia Cherrill; North By Northwest (1959), starring Cary Grant & Eva Marie Saint; The Sting (1973), starring Paul Newman & Robert Redford; The Godfather (1972), starring Al Pacino, Marlon Brando, & James Caan; The Godfather II (1974), starring Al Pacino, Robert DeNiro & James Caan; The Shop Around The Corner (1940), starring James Stewart & Margaret Sullivan; The Merry Widow (1934), starring Jeanette MacDonald & Maurice Chevalier; The Poseidon Adventure (1972), starring Gene Hackman, Ernest Borgnine & Shelley Winters; Grand Prix (1966), starring James Garner & Eva Marie Saint; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Isaac's Back! Ted Lange Tells All About Life, Love, and Laughs on The Love Boat and Old Hollywood stories! Beloved Love Boat star Ted Lange delivers a treasure trove of behind-the-scenes stories and Hollywood memories in this unforgettable interview. He recalls working with legendary guest stars like Mickey Rooney, Forrest Tucker, Jack Gilford, Gene Kelly, and Dana Andrews—each with their own wild tales. Ted shares hilarious pranks he did on Fred Grandy and also the whole Love Boat cast, heartfelt reflections on his friendship with Gavin MacLeod, and how a frustrating, terrible director on The Love Boat led to Ted get a bigger role on the show. He discusses directing episodes of The Love Boat and directing Ricardo Montalban on Fantasy Island. He tells a hilarious story of drinking with Lee Majors and directing him in The Fall Guy, and how Burt Reynolds personally cast him in Evening Shade. Pure gold for classic TV fans!That's Classic! Merchandise: http://tee.pub/lic/2R57OwHl2tESubscribe for free to That's Classic YouTube Channel: https://www.youtube.com/channel/UCBtpVKzLW389x6_nIVHpQcA?sub_confirmation=1Facebook: facebook.com/thatsclassictvHosted by John Cato, actor, voiceover artist, and moderator for over 20 years for the television and movie industry. John's background brings a unique insight and passion to the podcast.

Shilling For Luck 44xxxx Guest - Gene Kelly 

"SECOND ACT: REDISCOVERING OVERLOOKED MUSICALS" (094) - 6/30/25 In this episode of the podcast, Steve and Nan dive into some of their favorite classic Hollywood musicals that they feel do not get their due. They share fond memories and behind-the-scenes tidbits about timeless films like Summer Stock, State Fair, and Gentlemen Prefer Blondes. With infectious enthusiasm, they discuss the charm of Gene Kelly's choreography, Judy Garland's unforgettable voice, and the sweeping scores that still resonate decades later. Whether you're a seasoned fan or a newcomer to the genre, this episode is a heartfelt tribute to the magic of classic movie musicals. SHOW NOTES:  Sources: 75 Years of the Oscar: The Official History of the Academy Awards (2004), by Robert Osborne; My Path and My Detours: An Autobiography (1985), by Jane Russell; The Hollywood Musical: Every Hollywood Musical from 1927 to the Present Day (1981), by Clive Hirschhorn; The Films of 20th Century Fox (1979), by Tony Thomas & Aubrey Solomon; “Judy Garland and Gene Kelly team up – off and on screen – for “Summer Stock,”  May 6, 2019, by Kay Reynolds, HighDefWatch.com; Wikipedia.com; TCM.com;  IBDB.com; IMDBPro.com; Movies Mentioned:  The Gay Divorcee (1934), starring Fred Astaire, Ginger Rogers, Alice Brady, Edward Everett  Horton & Betty Grable; State Fair (1945), starring Jeanne Crain, Dana Andrews, Dick Haynes, Vivian Blaine, Fay Bainter, & Charles Winninger; The Singing Nun (1966), starring Debbie Reynolds, Greer Garson, Ricardo Montalban, Agnes Moorehead, & Juanita Moore; Gentlemen Prefer Bondes (1953), starring Jane Russell, Marilyn Monroe, Charles Coburn, Elliott Reid, Tommy Noonan, & Norma Varden; Summer Stock (1950), starring Judy Garland, Gene Kelly, Phil Silvers, Marjorie Main, Gloria De Haven, & Eddie Bracken; Orchestra Wives (1942), starring Ann Rutherford, George Montgomery, Cesar Romero, Glenn Miller & his Band, Lynn Bari, Carole Landis, Mary Beth Hughes, Virginia Gilmore & The Nicholas Brothers; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Do you remember “Tammy,” and “Aba Daba Honeymoon? How about “Tammy and the Bachelor” and “The Unsinkable Molly Brown?” I think all of us remember the movie “Singing in the Rain.” Today's podcast goes back to a woman who danced toe-to-toe with Gene Kelly, stole scenes with her wit and could probably out-sing out-joke and out-charm all of us combined. Debbie Reynolds has some gossip from the time and will give advice on how to stay fabulous 24/7. And I loved the sexy way she answered the phone.

This episode explores the themes of luck, deception, and the consequences of one's actions through the story of a gambler who experiences a series of fortunate and unfortunate events in a single day. The narrative unfolds as the protagonist navigates through his gambling misfortunes, leading to a dramatic climax where his luck takes a turn for the worse, ultimately resulting in his downfall.takeawaysLuck can change in an instant.Deception often leads to unforeseen consequences.A single day can alter the course of one's life.Gambling can lead to both fortune and misfortune.The protagonist's choices reflect his desperation.The narrative illustrates the unpredictability of fate.Characters are often driven by their desires and fears.The story highlights the thin line between luck and misfortune.Consequences of actions can be far-reaching and irreversible.In the end, one must face the reality of their choices.gambling, luck, deception, crime, suspense, fate, consequences, storytelling, drama, narrative

Joe, Kyle, and Rick review the musical romantic comedy film Singin' In The Rain. Directed by Stanley Donen and Gene Kelly. Written by Betty Comden and Adolph Green. With music by Lennie Hayton, Arthur Freed, and Nacio Herb Brown. The film stars Gene Kelly, Donald O'Connor, Debbie Reynolds, Jean Hagen, and Millard Mitchell. We ranked 11 songs off the soundtrack (with one off the deluxe), and picked our favorite lines, characters, performers, and scenes. Enjoy!

If you've ever roller-skated, then this movie is for you! Michaela Watkins (Hacks) joins Paul, June, and Jason to talk all about the Olivia Newton-John & Gene Kelly musical Xanadu. LIVE from Largo in LA, they cover everything from the opening dance montage where the muses come out of a mural portal, the animation sequence that was basically the sex scene, and Gene Kelly's memory boner. Plus, we discover why Zeus has a British accent during audience Q&A! (Originally Released 01/30/2022) • Go to hdtgm.com for tour dates, merch, FAQs, and more• Have a Last Looks correction or omission? Call 619-PAULASK to leave us a voicemail!• Submit your Last Looks theme song to us here• Join the HDTGM conversation on Discord: discord.gg/hdtgm• Buy merch at howdidthisgetmade.dashery.com/• Order Paul's book about his childhood: Joyful Recollections of Trauma• Shop our new hat collection at podswag.com• Paul's Discord: discord.gg/paulscheer• Paul's YouTube page: youtube.com/paulscheer• Follow Paul on Letterboxd: letterboxd.com/paulscheer• Subscribe to Enter The Dark Web w/ Paul & Rob Huebel: youtube.com/@enterthedarkweb• Listen to Unspooled with Paul & Amy Nicholson: unspooledpodcast.com• Listen to The Deep Dive with June & Jessica St. Clair: thedeepdiveacademy.com/podcast• Instagram: @hdtgm, @paulscheer, & @junediane• Twitter: @hdtgm, @paulscheer, & msjunediane • Jason is not on social media• Episode transcripts available at how-did-this-get-made.simplecast.com/episodesGet access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using the link: siriusxm.com/hdtgm

Our journey back through the years of Suspense continues with my favorite episodes from 1944. Lucille Ball is a taxi dancer who hopes to avoid a murderous dance partner in “Dime a Dance” (originally aired on CBS on January 13, 1944), and Charles Ruggles suspects his new housekeeper may be too good to be true in “Suspicion” (originally aired on CBS on February 10, 1944). Orson Welles stars in a rare two-part Suspense science fiction drama “Donovan's Brain” (originally aired on CBS on May 18 and May 25, 1944), and Vincent Price and Ida Lupino co-star in “Fugue in C Minor,” a Gothic horror drama from the pen of Lucille Fletcher (originally aired on CBS on June 1, 1944). Charles Laughton encounters a strange man who claims to have invented an undetectable method for murder in “The Man Who Knew How” (originally aired on CBS on August 10, 1944), and Gene Kelly enjoys a seemingly supernatural streak of luck…until he doesn't in “The Man Who Couldn't Lose” (originally aired on CBS on September 28, 1944).

Kyle, Joe, and Rick review the musical fantasy film Xanadu. Directed by Robert Greenwald. Written by Richard Christian Danus and Marc Reid Rubel. With music by Barry De Vorzon and Electric Light Orchestra. The film stars Olivia Newton-John, Michael Beck, and Gene Kelly. We ranked 10 songs off the soundtrack and picked our favorite lines, characters, performers, and scenes. Enjoy!

Send us a textToday's episode is my conversation about the 1929 film Weary River. Director Jonathan Hammond returns to the podcast to discuss the film and we talk about possibly the most compassionate prison warden character in film history, a theme song that gets played way too much in one film, and whether or not the film works as a part silent and part talking film. You can watch Weary River on YouTube or purchase a copy for your collection and be sure to follow Jonathan on Instagram @jonohamm and keep an eye out for his latest film "Fireflies in the Dusk" at film festivals this summer. You can also listen to the previous interview with Jonathan on the podcast here.Other films mentioned in this episode include:"Fireflies in the Dusk" directed by Jonathan HammondThe Shawshank Redemption directed by Frank DarabontOur Dancing Daughters directed by Harry Beaumont (listen to the episode about that film)Sunrise: A Song of Two Humans directed by F. W. Murnau (listen to the episode about that film)The Jazz Singer directed by Alan Crosland (listen to the episode about that film)Singin' in the Rain directed by Gene Kelly and Stanley DonenThe Broadway Melody directed by Harry Beaumont (listen to the episode about that film)The Room directed by Tommy WiseauDrag directed by Frank Lloyd (lost film)The Divine Lady directed by Frank LloydMutiny on the Bounty directed by Frank LloydCavalcade directed by Frank LloydThe Barker directed by George Fitzmaurice (lost film)Sunset Boulevard directed by Billy WilderNetwork directed by Sidney LumetBabylon directed by Damien ChazelleThe Patent Leather Kid directed by Alfred SantellThe Deer Hunter directed by Michael CiminoWizard of Oz directed by Victor FlemingShowgirls directed by Paul VerhoevenOther referenced topics:Hollywood Babylon: The Legendary Underground Classic of Hollywood's Darkest and Best Kept Secrets by Kenneth Anger"Awkward Early Talkie Theatre: 'Weary River'" by David InmanSupport the show

He's always singin' and dancing... in the rain!

Send us a textToday's episode is my conversation about the 1929 film The Broadway Melody. My friend Kevin Pettit from the See You at the Movies newsletter joins me to discuss the film and we talk about whether the film was there just to support the music being played, the degree to which this film is was considered scandalous at the time, and whether or not the film earns the love triangle (quadrangle?) that serves as the centerpiece to the "action."You can watch The Broadway Melody on YouTube or purchase a copy for your collection and be sure to check out Kevin's newsletter.Other films mentioned in this episode include:Glorious Betsy directed by Alan Crosland and Gordon Hollingshead (listen to the episode discussing the film)Tombstone directed by George P. Cosmatos and Kevin JarreMy Darling Clementine directed by John FordAll Quiet on the Western Front directed by Lewis MilestoneWings directed by William A. WellmanSinners directed by Ryan CooglerAnora directed by Sean BakerPolice Story directed by Jackie ChanOld Boy directed by Park Chan-wookOur Dancing Daughters directed by Harry BeaumontThe Artist directed by Michel HazanaviciusY tu mamá también directed by Alfonso CuaronSingin' in the Rain directed by Gene Kelly and Stanley DonenAvatar directed by James CameronPocahontas directed by Eric Goldberg and Mike GabrielThe Wizard of Oz directed by Victor FlemingGone with the Wind directed by Victor FlemingThe White Lotus (series)Intolerance directed by D. W. GriffithWicked directed by Jon M. ChuEmilia Pérez directed by Jacques AudiardLa La Land directed by Damien ChazelleWest Side Story directed by Stephen SpielbergOther referenced topics:All Quiet on the Western Front (novel) by Erich Maria RemarqueMotion Picture News reviewVariety reviewGone with the Twins reviewSupport the show

"If it means anything to you, I love you." For Episode 360, Brandon and Thomas continue their series on Jukebox Musicals with AN AMERICAN IN PARIS. Listen as they discuss the life of George Gershwin, how Arthur Freed got the rights to make the film, why the movie couldn't be filmed in Paris, and how the musical shocked Hollywood on Oscar night.  Also, don't forget to join our Patreon for more exclusive content: Opening - Thomas's Broadway Trip -  (00:00:10) Recap of the Jukebox Musical Genre (00:05:36) Intro to An American in Paris (00:10:12) How An American in Paris Got to Production (00:15:36) Favorite Scenes (00:35:03) On Set Life - (01:02:09) Aftermath: Release and Legacy (01:11:18) What Worked and What Didn't (01:16:41) Film Facts (01:21:44) Awards (01:22:25) Final Questions on the Movie (01:27:55) Wrapping Up the Episode (01:36:20) Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast

Welcome back to The Film Library, a Kanopy podcast where we spotlight hidden gems, cult favorites, and emotional deep cuts. No film degree required.  This week, hosts Kristy Puchko (Entertainment Editor at Mashable) and Jeff Rauseo (horror devotee and movie-night traditionalist) take on Mother's Day at the Movies, celebrating all the ways motherhood shows up on screen, from heartwarming to horrifying. Kristy and Jeff swap picks from across the Kanopy catalog, highlighting maternal icons, complicated family dynamics, and the emotional whiplash of being someone's kid. Expect Cher in a fish-shaped car, Joan Crawford with a wire hanger, and the Babadook lurking in the shadows.  Follow Kristy on Instagram @thekristypuchko and on Letterboxd @kristypuchko.  You can find Jeff on Instagram, TikTok, and Letterboxd @jeffrauseo.  Don't forget to follow Kanopy on Letterboxd to see the full episode list—and stream every film we mention for free at kanopy.com with your library or university card.

This week our usual and only host, Marissa, graciously invites Chelsea and Madison on to have a thoughtful and intellectual discussion about the 1952 American musical romantic comedy (?) Singin' in the Rain. Marissa guides our guests through the plot, history, and fun facts of this comedic romp, exploring the pitfalls and follies that accompanied the transition from silent films to talkies. Is it a rom com? Ehhhh. Is it a fabulous musical rich with quippy dialogue, catchy tunes, and mindboggling skilled footwork? Absolutely. Tangents include the Muppets, Fred Astaire, Tom Holland and Madison does at one point call Gene Kelly a power bottom.Thank you again, to Marissa, for allowing Madison and Chelsea to be on the podcast. It wouldn't exist without Marissa and anyone who claims otherwise will face legal action (I'm not kidding, Marissa said "I will sue" in a Lina Lamont voice when I brought up that she isn't actual the lead of the podcast and I can't afford the legal bills).Lastly, apologies for the delay in posting this episode-- Madison had four concerts to attend in a week and our cat producer, Uno, couldn't figure out the softwareConnect With UsFollow us on Instagram @loveatfirstscreening or send an email to loveatfirstscreening@gmail.comProduction Hosts: Chelsea Ciccone and Madison HillCat Producers: Phoebe, Uno, Kiwi, and CiscoMusic: Good StephArtwork: Chelsea CicconeSocial Media: Marissa CicconeAbout the ShowAn examination of classic tropes and iconic characters pits connoisseur against cynic—one romantic comedy at a time. The cinematic world of love and laughter had rom-com enthusiast Madison head over heels from the time Harry met Sally. For genre skeptic Chelsea, however, it's been a grueling enemies-to-lovers plot. In Love at First Screening, Madison introduces Chelsea to all the fan-favorite love stories she's never wanted to watch. One friend's passion might be the other's displeasure, but doesn't love conquer all? Tune in every Wednesday to find out.

Send us a textIn today's episode, I interview Madison Hatfield, the director and star of the short film "I Could Dom," a laugh a minute sex comedy about a young woman trying to figure out what exactly she wants in a relationship.Listen to hear about how the film was a bit of self discovery for Madison when it came to her people-pleasing personality, the importance of getting her male lead just right, and how important it is to help other artists whenever possible as we are all on our own journeys.Books mentioned in this episode include:A Swim in a Pond in the Rain: In Which Four Russians Give a Master Class on Writing, Reading, and Life by George SaundersTenth of December: Stories by George SaundersLincoln in the Bardo: A Novel by George SaundersThe Bear and the Nightingale by Katherine Arden (first book in the Winternight Trilogy)Films and TV shows mentioned in this episode include:"I Could Dom" directed by Madison HatfieldSingin' in the Rain directed by Gene Kelly and Stanley DonenAmelie directed by Jean-Pierre JeunetWhen Harry Met Sally directed by Rob ReinerMy Cousin Vinny directed by Jonathan LynnMoonstruck directed by Norman JewisonTwisters directed by Lee Isaac ChungTwister directed by Jan de Bont"Bob's Funeral" directed by Jack Dunphy"Holiday House" directed by Alex Heller"Debaters" directed by Alex Heller"Make Me a Pizza" directed by Talia Shea LevinOther media mentioned:"Kiss From a Rose" by SealWhat Am I Making Podcast-Episode #85 w/guest Beth LisogorskyFollow Madison on Instagram @madhat31 and the film @icoulddom. And if you're in the Atlanta area, check out Banshee where the opening and closing scenes of the film were shot.

“'S Wonderful! 'S Marvelous!” – An American in Paris (1951)This week, we step into the dreamlike Technicolor world of An American in Paris with special guest Arlene Hellerman. A Publications Associate for Broadway Licensing Global, Arlene brings a multifaceted perspective shaped by a career spanning theatre, film, television, broadcast news, and print journalism.Together, we explore how Vincente Minnelli's 1951 musical turned Gershwin's music and Gene Kelly's choreography into a lavish cinematic spectacle—culminating in one of the most ambitious ballet sequences in film history.An American in Paris (1951) was directed by Vincente Minnelli and stars Gene Kelly and Leslie CaronSelected to the National Film Registry in 1993Known for:Its 17-minute ballet finale inspired by French impressionist artA seamless blend of Gershwin's music with vivid choreography and designWinning six Academy Awards, including Best PictureDiscussion topics include:The film's legacy in shaping the movie musicalIts stylized depiction of postwar ParisThe interplay between fine art and popular culture in Minnelli's visionFeaturing special guest:Arlene Hellerman, Publications Associate for Broadway Licensing Global, whose career spans theatre, film, TV, broadcast news, and print journalism Follow the Show:TwitterInstagramWebsite Music by Mike Natale

It's a new season of Read it and Weep! Alex has graciously passed the hosting mic on to Ezra and it's gonna get a little weird.   This season, Ezra's trying to break out of his algorithms. He's looking for media that his friends love, but that no one's talking about these days.   First up, Sarah Hatheway brings us Gene Kelly's 1951 Technicolor musical, An American in Paris.   Dream ballets! Questionable 1950s romantic subplots! And rhythm? Yeah, we've got rhythm.   Who could ask for anything more? (Also, the recording date was 1/28/25, thus the timely Oscars talk.)   Editing by Zach Hahn Music by @mitrxxx

Send us a textPicture this: you're excitedly walking down Main Street, U.S.A. when suddenly, the skies open up and unleash a Florida downpour that would make Moana's ocean look tame. Or perhaps you're melting faster than Olaf in summer as the thermometer climbs past 95°F. What do you do when Mother Nature throws a wrench into your carefully planned Disney day?Our latest episode dives deep into surviving (and thriving!) during extreme weather at Disney parks. From the clockwork afternoon thunderstorms of Walt Disney World to the rare but bewildering rain showers that paralyze Southern California visitors at Disneyland, we share stories, strategies, and solutions for making the most of any weather conditions.We kicked off the episode sampling the appropriately named Category 5 drink from Hurricane Hannah's at Disney's Beach Club Resort—a powerful concoction featuring spiced rum, banana rum, peach schnapps, and a dangerous float of Gosling's 151. At $15.50, this three-and-a-half-shot marvel might just be the best tropical drink on property, providing liquid courage for whatever weather challenges lie ahead.Whether it's creating your own impromptu "water park" during heat waves, channeling your inner Gene Kelly during downpours on Main Street, or knowing exactly which indoor shows to target when lightning strikes, we've developed survival strategies through years of sweaty, soggy, and occasionally freezing Disney adventures. We share our favorite hiding spots when the weather turns, the best quick-drying footwear options, and the simple hotel room hack that will save your vacation when your shoes get soaked (hint: it involves washcloths!).From serious hurricane protocols to lighthearted Disney character weather-inspired bounds, we cover the full spectrum of preparing for and embracing whatever Mother Nature throws at you during your Disney vacation. Remember, some of the most memorable park moments happen during unusual weather—fewer crowds, unique photo opportunities, and stories you'll be telling for years to come.Subscribe now and never let weather rain on your Disney parade again! Share your own extreme weather Disney stories with us on social media—we'd love to hear how you've weathered the storms at the Happiest and Most Magical Places on Earth.Here's who we are and what is in store for you

Welcome to the mashup you never thought of: Gene Kelly and Hanna-Barbera! Sierra is back to check one more credit off of Gene Kelly's filmography to talk about the children's TV movie he directed and starred in where he sang and danced with animated creatures. Hello early days of green screen technology!Sierra's Instagram: @sierrareinMarquee Five: @marqueefivePodcast Socials -Email: butasongpod@gmail.comFacebook: @butasongpodInstagram: @butasongpodThreads: @butasongpodNext episode: Between the Lines!

EPISODE 83 - “TCM FILM FESTIVAL 2025 PREVIEW” - 4/14/2025 It's that time of years again. Time for the 2025 Turner Classic Movies Film Festival, which takes place April 24-27 in Hollywood California. This year, the theme is “Grand Illusions: Fantastic Worlds on Film.” This week, Steve and Nan offer a fun preview of the highlights of the upcoming festival and they discuss the films they are most excited to see, including great titles such as BEN HUR, SUDDENLY LAST SUMMER, GUNFI*GHT AT THE OKAY CORRAL and A GUY NAMED JOE.  SHOW NOTES:  Sources: Wikipedia.com; TCM.com; IMDBPro.com; Movies Mentioned:  The Empire Strikes Back (1980), starring Mark Hamill, Carrie Fisher, & Harrison Ford; The Fabulous Baker Boys (1989), starring Jeff Bridges, Michelle Pfeiffer, & Beau Brides; Cooley High (1975), starring Lawrence Hilton Jacobs & Glenn Turman; Car Wash (1976), starring Richard Pryor, Bill Duke, & George Carlin; Greased Lightning (1977), starring Richard Pryor, Pam Grier, & Beau Bridges; Which Way is Up (1977), starring Richard Pryor & Lonette McKee; Bustin' Loose (1981), starring Richard Pryor & Cicely Tyson; Sgt. Pepper's Lonely Hearts Club Band (1978), starring Peter Frampton & The Bee Gees; The Last Dragon (1985), starring Taimak & Vanity; Krush Groove (1985), starring Russell Simmons & LL Cool J; Beau Geste (1926), starring Ronald Colman; The Freshman (1925), starring Harold Lloyd; Misery (1990), starring Kathy Bates & James Caan; The Rocky Horror Picture Show (1975), starring Tim Curry, Susan Sarandon, & Barry Bostwick; Babe (1995), starring James Cromwell; The Enchanted Cottage (1945), starring Robert Young & Dorothy McGuire; Jaws (1975), starring Richard Dreyfuss, Robert Shaw, & Roy Scheider; Blue Velvet (1986),starring Kyle McLaughlin, Laura Dern, Dennis Hopper, & Isabella Rossellini; We're No Angels (1955), starring Humphrey Bogart & Joan Bennett; Gunfight At The Okay Corral (1957), starring Burt Lancaster & Kirk Douglas; Cape Fear (1962), starring Robert Mitchum, Gregory Peck and Polly Bergen; The Ritz (1976), starring Rita Moreno & Treat Williams; Gunman's Walk (1958), starring Van Heflin, James Darren, & Tab Hunter; Heaven Knows, Mr. Allison (1957), starring Robert Mitchum & Deborah Kerr; The Divorcée (1930), starring Norma Shearer & Robert Montgomery; Talk of The Town (1942), starring Cary Grant, Jean Arthur, & Ronald Colman; Moonlight & Pretzels (1933), starring Leo Carrillo & Mary Brian; A Guy Named Joe (1943) starring Spencer Tracy, Irene Dunne, & Van Johnson; Ben Hur (1959), starring Charlton Heston & Stephen Boyd; Suddenly Last Summer (1959), starring Elizabeth Taylor, Katharine Hepburn, & Montgomery Cliff; Brigadoon (1954), starring Gene Kelly & Syd Charisse; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

现在应该有许多地方都进入了雨季，雨天渐渐多了起来。其实我特别喜欢雨天，当天开始变得灰蒙蒙，雨滴轻轻敲打窗户，街道在雨幕中变得模糊的时候，如果我在室内，我的内心会有非常多的安全感。而此刻，我就会变得不想说话不想思考，只想要有一段不被打扰的空白，听着雨声还有音乐，安静地待一会，这是能让我感受到特别治愈的一件事。今天为了这个场景而准备的歌单，不会有激烈的节奏，只会有像毛毯般能包裹我们情绪的旋律。我推荐你可以窝在沙发的角落，或者靠在窗边发呆，甚至关了灯躺在床上，来听这期节目。希望这期节目能让雨声掩盖城市和内心的喧嚣，让音乐填补安静的缝隙，接住我们的情绪，成为一片充满治愈感的温柔的庇护所。

durée : 00:22:23 - "La blonde et la rousse" ("Pal Joey") (1957) - Inspiré par "Pal Joey", la comédie musicale de Rodgers et Hart qui a notamment révélé Gene Kelly, le film "La blonde et la rousse" réunit en 1957 rien moins que Frank Sinatra, Kim Novak et Rita Hayworth.

It's time for a new podcast in a place where nobody dares to go and they call it ‘Xanadu'. This episode we discuss the 1980 cult classic starring the divine Olivia Newton John and Gene Kelly in his last film role. The surreal film sees a Greek muse encourage a struggling artist to crate a roller disco! Tune in to see the neon lights shining for you and enjoy the ride!

Greatest musical of all time, you say? Plenty of people would agree. Stanley Donen and Gene Kelly co-direct Kelly, Donald O’Connor and Debbie Reynolds through a delightful Comden and Gteen score, not to mention dance numbers that have achieved legendary status. For anyone who admires clever, energetic film choreography, it’s a joy to watch. For a fan of classic film, there’s an homage to the transition between silent and talking movie. That happened barely 20 years before this film was made, which is kind of bonkers to think about. The episode title is a callback. It’s what we do! Shelly Brisbin with Nathan Alderman, David Almeida, David J. Loehr and Micheline Maynard.

Hollywood stars: they don't make ‘em like they used to. While there are still many fine actors and actresses working in film and television today, very few have the megawatt star power that used to bring audiences to the theaters from the mid- to late 20th Century. And as we move further and further away from the Golden and Silver ages of Tinseltown, the Great Pop Culture Debate podcast wants to determine: who WAS the Best Classic Hollywood Movie Star? We consider 16 film actors and actresses who made their big breaks prior to 1969, including: Cary Grant, Paul Newman, Judy Garland, Ingrid Bergman, Humphrey Bogart, Fred Astaire, Joan Crawford, Katharine Hepburn, Jimmy Stewart, Elizabeth Taylor, Marilyn Monroe, Audrey Hepburn, Bette Davis, Gene Kelly, Gregory Peck, and Barbara Stanwyck. Join host Eric Rezsnyak and GPCD panelists Derek Mekita, Jonny Minogue, and Karissa Kloss as they discuss 16 of the biggest Hollywood legends who made their big breaks prior to 1969. Play along at home by finding the listener bracket here. Make a copy for yourself, fill it out, and see if your picks match up with ours! For more exclusive content, including the warm-up in which we discuss even more iconic Hollywood legends that didn't make the bracket, become a Patreon supporter of the podcast today. Looking for more reasons to become a Patreon supporter? Check out our Top 10 Patreon Perks. Want to play along at home? Download the Listener Bracket and see if your picks match up with ours! Sign up for our weekly newsletter! Subscribe to find out what's new in pop culture each week right in your inbox! Vote in more pop culture polls! Check out our Open Polls. Your votes determine our future debates! Then, vote in our Future Topic Polls to have a say in what episodes we tackle next. Episode Credits Host: Eric Rezsnyak Panelists: Derek Mekita, Jonny Minogue, Karissa Kloss Producer: Bob Erlenback Editor: Bob Erlenback Theme Music: “Dance to My Tune” by Marc Torch #classicfilm #classicmovies #hollywood #moviestar #goldenage #oscars #elizabethtaylor #katharinehepburn #paulnewman #carygrant #audreyhepburn #marilynmonroe #humphreybogart #ingridbergman #judygarland #jimmystewart #bettedavis #joancrawford Learn more about your ad choices. Visit megaphone.fm/adchoices

"THE NICHOLAS BROTHERS: CLASSIC CINEMA STARS OF THE MONTH" The Nicholas Brothers, FAYARD and HAROLD, are arguably two of the greatest dancer to ever hit Hollywood. Born to musician parents, they learned their craft working the vaudeville scene and appearing at the famous Cotten Club during the Harlem Renaissance before landing in Hollywood. In Tinseltown, they made movie magic dancing in some of Hollywood's biggest musicals. The brothers mixed tap-dancing with acrobatics to perfect thrilling routines that we're still win awe of today. They also had to endure the limits put upon them by the racism of the day. Join us this week, as we celebrate these icons of dance who are our Stars of the Month.  SHOW NOTES:  Sources: Brotherhood in Rhythm: The Tap Dancing of the Nicholas Brothers (2002), by Constance Valis Hill; Dorothy Dandridge: An Intimate Biography (1970), by Earl Mills; “The Nicholas Brothers, Fayard and Harold: Tap Dance Legends,” February 17, 2024, Dance Mogul magazine; “The Incredible Nicholas Brothers: A Classic Hollywood Black Dance Duo Everyone Should Be Obsessed With,” October 30, 2022, by Maureen Lee Lenker, Entertainment Weekly; “The Nicholas Brothers: Every Generations Dance Heroes,” February 17, 2020, by Najja Parker, The Atlanta Journal-Constitution; “Celebrating The Nicholas Brothers,” September 16, 2011, by Daniel Eagan, Smithsonian magazine; www.nicholasbrothers.com TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; AcademyMuseum.com Movies Mentioned:  Pie Pie Blackbird  (1932) - starring Nina Mae McKinney & The Nicholas Brothers; Stoopnocracy (1933), starring Budd Hulick & Harold Nicholas; The Emperor Jones (1933), starring Paul Robeson & Harold Nicholas; Kid Millions (1934), starring Eddie Cantor, Ann Sothern, & Ethel Merman; Jealousy (1934), starring Nancy Kelly & George Murphy; The Big Broadcast of 1936 (1935), starring Jack Oakie, George Burns, Gracie Allen, Bing Crosby, & Ethel Merman; Coronado (1935), starring Johnny Downs; My American Wife (1936), starring Francis Lederer & Ann Sothern; Don't Gamble with Love (1936) starring Ann Sothern; Babes in Arms (1937), starring Mickey Rooney & Judy Garland; Down Argentine Way (1940), starring Betty Grable, Don Ameche, Carmen Miranda, & Charlotte, Greenwood; Tin Pan Alley (1940), starring Betty Grable, Alice Faye, Jack Oakie, & John Payne; The Great American Broadcast (1941), starring Alice Faye & John Payne; Sun Valley Serenade (1941), starring Sonja Henie & John Payne; Orchestra Wives (1942), starring George Montgomery & Ann Rutherford; Stormy Weather (1943), starring Lena Horne; Reckless Age (1944), starring Gloria Jean & Harold Nicholas; Carolina Blues (1944), starring Kay Kyser & Ann Miller; The Pirate (1948), starring Judy Garland & Gene Kelly; Botta e Riposta (1950); El Mensaje le la Muerte (1953); Musik I'm Blut (1955); L'Empire de la Nuit (1964); The Liberation of L.B. Jones (1970), starring Lee J. Cobb, Roscoe Lee Brown, & Fayard Nicholas; Uptown Saturday Night (1974), starring Sidney Poitier, Bill Cosby, Richard Pryor, Flip Wilson, Harry Belafonte, & Harold Nicholas That's Entertainment! (1974); That's Dancing (1985); Tap (1989); --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

EPISODE 72 - “CHATTING CLASSIC CINEMA WITH JOURNALIST MAUREEN LENKER” - 1/27/2024 In this week's episode, Steve and Nan welcome award-winning journalist MAUREEN LENKER. Maureen, who is currently a Senior Writer for Entertainment Weekly, has a deep passion and knowledge of classic cinema and has made 1930s Hollywood the setting for her new novel, “His Girl Hollywood.” Join us as Maureen discusses her career, her passion for cinema, her most inspirational classic films, and all the tea about her new novel. SHOW NOTES:  Sources: It Happened One Fight (2023), by Maureen Lee Lenker; His Girl Hollywood (2025), by Maureen Lee Lenker; TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  Swing Time (1936) - starring Fred Astaire & Ginger Rogers; Gone with the Wind (1939), starring Vivien Leigh, Clark Gable, Olivia de Havilland, Leslie Howard, & Hattie McDaniel; His Girl Friday (1940), starring Rosalind Russell, Cary Grant, Ralph Bellamy, Gene Lockhart, Helen Mack, & John Qualen; The Philadelphia Story (1940), starring Katharine Hepburn, Cary Grant, James Stewart, Ruth Hussey, Virginia Weidler, Mary Nash, John Howard, & Roland Young; Casablanca (1942), starring Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Peter Lorre, Sydney Greenstreet, & Dooley Wilson; The Heiress (1949), starring Olivia de Havilland, Montgomery Clift, Ralph Richardson, & Miriam Hopkins; Outrage (1950). Starring Mala Powers, Tod Andrews, Robert Clarke, Lillian Hamilton, & Rita Lupino; Singing in the Rain (1952), starting Gene Kelly, Debbie Reynolds, Donald O'Connor, Jean Hagan, Rita Moreno, Cyd Charisse, & Millard Mitchell; West Side Story (1952), starring Natalie Wood, Richard Beymer, Rita Moreno, George Chakiras, & Russ Tamblyn; The Quiet Man (1952), starring John Wayne, Maureen O'Hara, Mildred Natwick, Barry Fitzgerald, & Patrick McLaglen; White Christmas (1954), starring Bing Crosby, Danny Kaye, Rosemary Clooney, Vera Ellen, Dean Jagger, Mary Wickes, & Anne Whitfield; It's Always Fair Weather (1955), starring Gene Kelly, Cyd Charisse, Dan Dailey, Michalre Kidd, & Delores Gray; Mary Poppins (1964), starring Julie Andrews, Dick Van Dyke, David Tomlinson, & Glynis Johns; The Sound of Music (1965), starring Julie Andrews, Christopher Plummer, Eleanor Parker, Chairman Carr, Richard Haydn, & Peggy Wood; Then Princess Bride (1987), starring Cary Elwes, Robin Wright, Billy Crystal, Mandy Patinkin, & Wallace Shawn; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

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