Podcast appearances and mentions of greg russo

Greg Russo is a 2x Iraq War veteran and former Linebacker for the Wisconsin Badgers. Greg was a walk on for the Badgers after his second deployment. He shared his incredible story and the genesis of why football and why he joined the Wisconsin Army National Guard. His path from Warzones to the Rose Ball is rare, inspiring, and empowering for everyone.   We also talk about high preforming athletes and teams.   

In this episode of The Wandering Buffalo, we break down the Buffalo Bills' rollercoaster Week 1 win over the Arizona Cardinals. From a rocky start to a strong finish, we analyze the key moments that defined the game and what it means for the rest of the season.

In this episode of The Wandering Buffalo, we break down the Buffalo Bills' rollercoaster Week 1 win over the Arizona Cardinals. From a rocky start to a strong finish, we analyze the key moments that defined the game and what it means for the rest of the season.

0:00 -- Intro.1:35 -- Start of interview.2:05 -- Alan's "origin story".2:43 -- On his background as a U.S. Air Force pilot.4:42 -- On the evolution of his academic career, including at and Stanford GSB and U. of Colorado Boulder.7:01 -- On his Professorship at Cambridge Judge Business School and his role as Co-Director of the Centre for Financial Reporting and Accountability.9:16 -- About the Cambridge Disinformation Summit, on July 27-28, 2023. "I would characterize fraud and greenwashing as disinformation." The difference between disinformation and misinformation.14:49-- His research on fraud is based mostly on public markets  (because public market data is more available than private market data).18:18 -- On ESG, anti-ESG and (the accounting and auditing of) greenwashing. On creation of the Cambridge Executive Master of Accounting to focus on some of these emerging matters.24:36 -- Challenges of ESG Ratings. "Despite the fact that it is challenging to measure, I think it's still worth engaging in it."30:24 -- On the SVB collapse, and its accounting/financial reporting issues.37:03 -- On geopolitics, the "uncoupling"/"re-balancing" of US/EU and China and the broader geopolitical landscape. "This is the highest geopolitical risk environment that I've ever lived through." 39:00 -- On microtargeting, and research by his colleague David Stillwell, the director of the Cambridge Psychometrics Centre.40:25 -- On the challenges with TikTok.42:12 -- On the disinformation challenges of Artificial Intelligence (AI).44:35 -- On the SEC amendments to modernize Rule 10b5-1 insider trading plans and related disclosures.47:58 -- Final take-aways for corporate directors: "You need to be paying attention to the information environment, more than just PR." "Your company is a both a political actor and a political target." "Having a Holistic Approach to Information is Critical."50:03 -- The (recent) books that have greatly influenced his life: Power, by Jeffrey Pfeffer (2010)Corruptible, by Brian Klaas (2021)Foolproof, by Sander Van Der Linden (2023)52:19 -- His mentors, and what he learned from them. Annette Beatty, Professor Fisher College of Business at Ohio State University.Joe Olenoski and Peggy Carnahan, (USAF retired)Greg Russo, USAF Captain during his pilot training.54:00 --  Quotes he thinks of often or lives his life by: "The Absence of Negative is Positive." 54:50--   An unusual habit or an absurd thing that he loves: he has watched every single episode of The Bachelor and Survivor franchises (including Australian Survivor). "It's a huge social manipulation game."56:12 --   The living person he most admires: "I sadly don't have an answer. I am waiting for some personality to start building community again."Alan Jagolinzer is a Professor of Financial Accounting and the Co-Director of the Centre for Financial Accounting and Accountability at Cambridge's Judge Business School. His research interests include insider trading, financial reporting, corporate governance, and executive compensation and incentives.__ You can follow Alan on social media at:Twitter: @jagolinzerLinkedIn: https://www.linkedin.com/in/jagolinzer/__ You can follow Evan on social media at:Twitter: @evanepsteinLinkedIn: https://www.linkedin.com/in/epsteinevan/ Substack: https://evanepstein.substack.com/__Music/Soundtrack (found via Free Music Archive): Seeing The Future by Dexter Britain is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License

In this episode of AHLA's monthly series on fraud and abuse issues, Matthew Wetzel, Partner, Goodwin Procter, speaks to Greg Russo, Managing Director, Berkeley Research Group, about HRSA-paid COVID claims and some of the potential fraud and compliance risks that providers might face as the public health emergency continues and eventually comes to an end. They discuss HRSA's guidance for providers, provider concerns over coding, and longer-term consequences beyond the public health emergency. From AHLA's Fraud and Abuse Practice Group. Sponsored by BRG.

Mortal Kombat 2021, film review - rDNA Podcast #MortalKombat #MortalKombat2021review #FilmReviews Mortal Kombat is a 2021 martial arts fantasy film based on the video game franchise of the same name and a reboot of the Mortal Kombat film series. The film stars Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Max Huang, Joe Taslim, and Hiroyuki Sanada. It is directed by Simon McQuoid (in his feature directorial debut), from a screenplay by Greg Russo and Dave Callaham and a screen story by Russo and Oren Uziel. The film follows Cole Young, a washed-up mixed martial arts fighter who is unaware of his hidden lineage or why assassin Sub-Zero is hunting him down. Concerned for the safety of his family, he seeks out a clique of fighters that were chosen to defend Earthrealm against Outworld. Following the critical and commercial failure of the 1997 film Mortal Kombat: Annihilation, a third Mortal Kombat film languished in development hell for a period of nearly two decades. In late 2010, Warner Bros. Pictures and New Line Cinema (whose parent company acquired the franchise from Midway Games in 2009) began developing a new film, with Kevin Tancharoen serving as director from a script written by Uziel in the wake of their Mortal Kombat: Rebirth short film. James Wan was announced as a producer in August 2015 and McQuoid was hired as director in November 2016. Production took place at Adelaide Studios in Adelaide and at other locations in South Australia. Principal photography occurred from September to December 2019. Mortal Kombat was released internationally on April 8, 2021, then in the United States on April 23, simultaneously in theaters in Dolby Cinema, IMAX and 4DX and on the HBO Max streaming service. The film received mixed reviews from critics and grossed $83.6 million worldwide against a $55 million budget. It became HBO Max's most-successful film launch to date. A sequel is in development with Jeremy Slater set to write the screenplay. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/doseofnerdacumen/message Support this podcast: https://anchor.fm/doseofnerdacumen/support

Nuevamente aquí presente con Luis Gómez y Mortal Kombat  película de fantasía de artes marciales basada en la franquicia de videojuegos del mismo nombre. Está dirigida por Simon McQuoid (en su debut como director), escrito el guión por Greg Russo y Dave Callaham. Únete y disfruta del episodio.   ¿Cómo pueden seguir a Luis? Instagram: Wiso305 Facebook: Luis Gomez

Mortal Kombat is a 2021 martial arts fantasy film based on the video game franchise of the same name and a reboot of the Mortal Kombat film series.[4] The film stars Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Max Huang, Joe Taslim, and Hiroyuki Sanada. It is directed by Simon McQuoid (in his feature directorial debut), from a screenplay by Greg Russo and Dave Callaham and a screen story by Russo and Oren Uziel.[5] The film follows Cole Young, a washed-up mixed martial arts fighter who is unaware of his hidden lineage or why assassin Sub-Zero is hunting him down. Concerned for the safety of his family, he seeks out a clique of fighters that were chosen to defend Earthrealm against Outworld.Following the critical and commercial failure of the 1997 film Mortal Kombat: Annihilation, a third Mortal Kombat film languished in development hell for a period of nearly two decades. In late 2010, Warner Bros. Pictures and New Line Cinema (whose parent company acquired the franchise from Midway Games in 2009) began developing a new film, with Kevin Tancharoen serving as director from a script written by Uziel in the wake of their Mortal Kombat: Rebirth short film. James Wan was announced as a producer in August 2015 and McQuoid was hired as director in November 2016. Production took place at Adelaide Studios in Adelaide and at other locations in South Australia.[6] Principal photography occurred from September to December 2019.Support Our SponsorsIndie Merch Store - https://www.indiemerchstore.com use promo code JASTA10 at check outMartyrstore - https://martyrstore.net use code JJ15The Mad Russian Apothecary - https://www.madrussianapothecary.com use code JASTA21Promescent - Use this link: https://bit.ly/3y9jZAP to get 15% off + free shipping automatically added on all orders!Rockauto - https://www.rockauto.comSubscribe On GaS Digitalhttps://gasdigitalnetwork.com/gdn-show-channels/the-jasta-show/USE PROMO Code JASTA for a 7 day free trial.Follow Jamey On Patreonhttps://www.patreon.com/jastaFollow Jamey On Social Mediahttps://twitter.com/jameyjastahttps://www.instagram.com/jameyjastaFollow Brian MacKay On Social Mediahttps://twitter.com/bmackayisrighthttps://www.instagram.com/bmackayisrightMusician, former television host, and podcaster Jamey Jasta (Hatebreed, Kingdom of Sorrow, Jasta and the former host of MTV's Headbanger's Ball) interviews your heroes every Monday and Thursday. The newest 15 episodes are always free, but if you want access to all the archives, watch live, chat live, access to the forums, and get the show a week before it comes out everywhere else - you can subscribe now at gasdigitalnetwork.com and use the code JASTASee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

A Summer 2021 Peer to Peer article podcast to complement an article from the part one issue written by Greg Russo (found on page 28).  In this episode, ILTA's Beth Anne Stuebe chats with Mike Paul, Chief Technology Officer and Information Security Manager at Innovative Computing Systems, about security and the business decisions you should be making to keep your organization safe.  

Test your might! Press Start to join Dan and Tyler as they tackle 2021's Mortal Kombat!  We talk about our history with the franchise and video games, struggle to figure out "arcana", and hypothesize about future installments!  Along the way, we also reveal everything we learned from watching. For more from us, check us out at the following spots: Twitter: Tyler - @MisterSiye Dan - @aDapperDanMan Letterboxd: Dan - @aDapperDanMan Twitch: https://www.twitch.tv/mrsiye See omnystudio.com/listener for privacy information.

Greg Russo has worked as a professional screenwriter for more than a decade. His first produced feature “Mortal Kombat” was released in 2021 from Warner Bros and New Line Cinema. The film broke pandemic box office records and was the most-streamed film release in HBO Max history. Greg has sold multiple specs, pitches, and TV pilots and written films for Universal, Paramount, Sony, Fox, and Warner Bros. Recently, he adapted the classic video game "Space Invaders" for New Line Cinema and "Saints Row" for director F. Gary Gray. He is currently writing "Death Note 2" for Netflix, based on the best-selling Japanese manga among other unannounced projects. Follow Greg on Twitter https://twitter.com/writerrusso Listen to his wife's podcast on episode 11 here: Tricia Russo and find out about her documentary featuring the miracle of their son's birth: https://linktr.ee/lovealwaysmomthemovie --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/bravemaker/support

Joey Cage, The ManBeast Gabe and CJK mother FUUUUCKER to the max talk.... Mortal Kombat a 2021 American martial arts fantasy film based on the video game franchise of the same name and a reboot of the Mortal Kombat film series. The film stars Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Joe Taslim, and Hiroyuki Sanada. It is directed by Simon McQuoid (in his feature directorial debut), from a screenplay by Greg Russo and Dave Callaham and a story by Russo and Oren Uziel. Mortal Kombat is a 2021 American martial arts fantasy film based on the video game franchise of the same name and a reboot of the Mortal Kombat film series. The film stars Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Joe Taslim, and Hiroyuki Sanada. It is directed by Simon McQuoid (in his feature directorial debut), from a screenplay by Greg Russo and Dave Callaham and a story by Russo and Oren Uziel.

Episode 27 of So Here’s What Happened LaNeysha and Carolyn return from a brief hiatus to share their thoughts on films, books, and TV for the month of May. On this new episode the ladies dive into discussion and review of all the things they have watched and read. For this month that includes Blue Flag Volume 7, Falcon and the Winter Soldier, and Mortal Kombat.Book: Blue Flag Volume 7 Blue Flag Volume 7 is a romantic drama manga written and drawn by mangaka KAITO. The English release is published by VIZ Media. The plot of Blue Flag follows a group of friends entering their last year of high school who are in an unpredicted love quadrangle. In Volume 7, rumors spread like wildfire after Toma’s shocking confession during the culture festival. Taichi is left feeling confused and uncertain. While other people in their circle of friends are soon affected as well. Meanwhile, Toma’s brother Seiya sits him down for a frank talk. All the thoughts and emotions everyone has kept hidden are finally coming to light, and relationships begin to change.TV: Falcon and the Winter Soldier An American television miniseries created by Malcolm Spellman for the streaming service Disney+, featuring the Marvel Comics characters Sam Wilson (Falcon) and Bucky Barnes (Winter Soldier). Set in the Marvel Cinematic Universe , it shares continuity with the films of the franchise. Following the events of Avengers: Endgame (2019) Sam Wilson and Bucky Barnes team up in a global adventure that tests their abilities and patience with one another. The series was produced by Marvel Studios, with Spellman serving as head writer and Kari Skogland directing.Film: Mortal Kombat (2021)This martial arts fantasy film based on the video game franchise of the same name and a reboot of the Mortal Kombat film series stars Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Joe Taslim, and Hiroyuki Sanada. Directed by Simon McQuoid in his feature directorial debut, from a screenplay written Greg Russo and Dave Callaham and a story by Russo and Oren Uziel. MMA fighter Cole Young finds himself and his family being hunted by the fearsome warrior Sub-Zero. Cole is able to find sanctuary at Lord Raiden's temple. Training with experienced fighters Liu Kang, Kung Lao and the rogue mercenary Kano, Cole prepares to stand with Earth's greatest champions to take on the enemies from Outworld in a high-stakes battle for the universe. See acast.com/privacy for privacy and opt-out information.

Greg Russo is the screenwriter of the new MORTAL KOMBAT film, which opened Friday, April 23rd, as well as the upcoming films Saints Row, Space Invaders, and Death Note 2. MORTAL KOMBAT recently broke the record for most Red Band trailer views in a week, dethroning Deadpool. https://twitter.com/WriterRusso

Chris and Taylor review the new action film "Mortal Kombat," written by Greg Russo and Dave Callham with Simon McQuoid making his directorial debut. Based on the popular video game franchise, Earth's greatest champions must stand together and fight against the enemies of Outworld in a high stakes battle for the universe. The film stars Lewis Tan, Jessica McNamee, Josh Lawson, Joe Taslim, Mehcad Brooks, Ludi Lin, Chin Han and Hiroyuki Sanada.

TWITTER: @DesvariosFrikis INSTAGRAM: desvariosfrikispodcast FACEBOOK: @Desvafrikispodcast Mortal Kombat es una película de fantasía oscura de artes marciales y gore estadounidense de 2021 dirigida por Simon McQuoid, en su debut como director, a partir de un guion de Greg Russo y Dave Callaham y una historia de Oren Uziel y Russo. Se basa en la franquicia de videojuegos del mismo nombre creada por Ed Boon y John Tobias, que sirve como reinicio de la serie de películas Mortal Kombat. La película está protagonizada por Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Joe Taslim e Hiroyuki Sanada. Tras el fracaso crítico y comercial de la película de 1997 Mortal Kombat: Aniquilación, el estudio decidió parar la producción de una tercera película por mas de 20 años y no fue si no hasta finales de 2010 que Warner Bros. Pictures (cuya empresa matriz adquirió por completo la franquicia de Midway Games a mediados del 2009), y en el 2010 se comenzó a desarrollar una nueva película, con Kevin Tancharoen como director a partir de un guion escrito por Uziel a raíz de su cortometraje Mortal Kombat: Rebirth. James Wan fue anunciado como productor en agosto de 2015 y McQuoid fue contratado como director en noviembre de 2016 por el abandono de Tancharoen en la dirección un año antes. La producción se llevó a cabo en Adelaide Studios en Adelaida y en otros lugares del sur de Australia. La fotografía principal ocurrió de septiembre a diciembre de 2019. Mortal Kombat fue lanzada por Warner Bros. Pictures y New Line Cinema a nivel internacional el 8 de abril de 2021, y está programado para ser lanzada en los Estados Unidos el 23 de abril, simultáneamente en cines en 3D y en el servicio de transmisión HBO Max.

This week the boys cover the newest installment in the Mortal Kombat franchise which serves as a reboot to the film series! Get ready for some fatalities and flawless victories in this wild ride of a video game adaptation! Mortal Kombat is a 2021 American martial arts fantasy film directed by Simon McQuoid (in his feature directorial debut), from a screenplay by Greg Russo and Dave Callaham and a story by Russo and Oren Uziel. It is based on the video game franchise of the same name created by Ed Boon and John Tobias, serving as a reboot to the Mortal Kombat film series. Follow us! Instagram: @BoxOfficeLosers Twitter: @BoxLosers Youtube: Box Office Losers Hunter; Instagram & Twitter: @ScruffyMooseMan Comic Book Podcast - Android's Amazing Podcast: @androidsamazingpodcast Star Wars Podcast - Farthest Galaxy: @farthestgalaxy Zach; Instagram & Twitter: @DarkShadowZake Sports Show Youtube - The Sports Hit List: @TheSportsHitList

This weeks movie review has blood... guts... and some R rated stuffs with the blockbuster reboot of the Mortal Kombat series. Are you a fan of the games or just intrigued? We take a stab at deciding who this movie is aimed at and if it fully succeeded in their objective! Who should and shouldn't see Mortal Kombat (~3:00) Rotten Tomato Score Predictions (~4:30) Spoilers Review for Mortal Kombat (https://www.imdb.com/title/tt0293429/) (~8:05) Rotten Tomatoes Score Reveal and Reactions (~32:00) Send off Songs Join in and listen to the Critically Aroused send-off song playlist on Spotiy (https://open.spotify.com/playlist/24jYcGOPMTB0Qhj3s5wPNe?si=-TEISBDzQVSC2zhhjCs48Q) Grabbitz - King / Ghost in a Song Abhi The Nomad - Mexico Briston Maroney - Rollercoaster Next weeks podcast will be... decided latter haha! Instagram @CriticallyAroused (https://www.instagram.com/criticallyaroused/) Twitter @arousedmedia (https://twitter.com/ArousedMedia) Facebook @CriticallyAroused (https://www.facebook.com/CriticallyAroused/) _Credits _ Our beautiful podcast logo come via Aubrey Troutman http://aubreytroutmancreative.com/ Our intro and outro music comes from https://ketsamusic.com/

The Bloody Awesome Movie Podcast in its new format. In the past, we did a monthly episode where we looked back at four big movies released in the prior month. From now on, we focus on a single film, usually a new release (hopefully theatrically at some point) giving a spoiler free review. Then Matt Hudson (@wiwt_uk) from What I Watched Tonight and Jonathan Berk (@berkreviews) from Berkreviews.com will introduce a variety of movies or pop-culture related topics in a series of segments. Review of Mortal Kombat (2021) Directed by Simon McQuoid (McKoid) Written by Greg Russo and Dave Callaham Starring Lewis Tan, Jessica McNamee, Josh Lawson, Joe Taslim, Mehcad Brooks, Matilda Kimber, Laura Brent, Tadanobu Asano, and Hiroyuki Sanada. IMDb.com Synopsis: MMA fighter Cole Young seeks out Earth's greatest champions in order to stand against the enemies of Outworld in a high-stakes battle for the universe. RT 55 % critic, 44 Metascore, and 6.4 IMDb user score 87% RT audience score RELEASE location / DATE: HBO Max / Sky Chuffed Headlines Movie/Pop culture news that caught our attention Matt’s Headline: OSCARS Jon’s Headline: OSCARS Media Consumption Movies, TV, Video Games, Music, Podcasts (not ours), etc that we use to pass the time Matt’s others: 30 Days of Night, Nobody, Chaos Walking, ANOES series Falcon and the Winter Soldier E6, Invincible E7 Jon’s others: Blank Check Podcast - Ishtar Missing Link, Ishtar, Psycho Goreman (embargo) Falcon and the Winter Soldier E6, Invincible 1-7 BAMP on Twitter | BAMP on Instagram | TeePublic Merchandise Jon on Twitter | Jon on IG | Jon on Letterboxd.com Matt on Twitter | Matt on IG | Matt on Letterboxd.com Berkreviews.com | WhatIWatchedTonight.co.uk --- Send in a voice message: https://anchor.fm/bloody-awesome/message Support this podcast: https://anchor.fm/bloody-awesome/support

Every Wednesday 8pm PT, Tony Becerra (@TonyBToeKnee) and I (@PhilSvitek) discuss a new movie on Clubhouse with audience members. (You're welcome to join us on future episodes). This is our Mortal Kombat (2021) recorded spoiler conversation. Mortal Kombat is a martial arts fantasy film directed by Simon McQuoid (in his feature directorial debut), from a screenplay by Greg Russo and Dave Callaham and a story by Russo and Oren Uziel. It is based on the video game franchise of the same name created by Ed Boon and John Tobias, serving as a reboot to the Mortal Kombat film series. The film stars Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Joe Taslim, and Hiroyuki Sanada. The plot is: Hunted by the fearsome warrior Sub-Zero, MMA fighter Cole Young finds sanctuary at the temple of Lord Raiden. Training with experienced fighters Liu Kang, Kung Lao and the rogue mercenary Kano, Cole prepares to stand with Earth's greatest champions to take on the enemies from Outworld in a high-stakes battle for the universe. If you've seen it, listen to our take on it. And afterwards, please share some thoughts or questions. RESOURCES/LINKS: -Coach or Consultant Services: https://philsvitek.com/lets-work-together/ -Podcast Services: http://philsvitek.com/podcastservices -Patreon: https://www.patreon.com/philsvitek -Merchandise: https://shop.spreadshirt.com/phil-svitek---360-creative-coach/ -Adorama Affiliate Link: https://www.adorama.com/?utm_source=rflaid914115 -Instagram: http://instagram.com/philsvitek -Facebook: http://facebook.com/philippsvitek -Twitter: http://twitter.com/philsvitek -Master Mental Fortitude Book: http://mastermentalfortitude.com -Idyll Film: http://philsvitek.com/idyll -Elan, Elan Book: http://philsvitek.com/elan-elan -In Search of Sunrise Film: http://philsvitek.com/in-search-of-sunrise

O Podcast Heroico desta quarta-feira (28) comenta o anúncio do próximo DC FanDome. O evento digital da DC que começou a ser realizado em 2020, terá uma nova edição em 16 de outubro. A programação ainda não foi divulgada. Na segunda parte, Death Note. O mangá ganhará uma nova adaptação live-action na Netflix. Depois da rejeição do primeiro filme, o escritor Greg Russo afirma que aproximará o novo longa da obra original. Acesse: heroico.com.br

#mortalkombat #mortalkombatmovie #mortalkombat2021 #mortalkombatreview #hbo #hbomax #mortalkombathbomax #mortalkombattrailer #mortalkombatspoilerfree #talkintv #talkintvmortalkombat #mortalkombattrailer #mortalkombatreaction Mortal Kombat is a 2021 American martial arts fantasy film directed by Simon McQuoid (in his feature directorial debut), from a screenplay by Greg Russo and Dave Callaham and a story by Russo and Oren Uziel. It is based on the video game franchise of the same name created by Ed Boon and John Tobias, serving as a reboot to the Mortal Kombat film series. The film stars Lewis Tan as newcomer Cole Young, Jessica McNamee as Sonya Blade, Josh Lawson as Kano, Tadanobu Asano as Raiden, Mehcad Brooks as Jackson "Jax" Briggs, Ludi Lin as Liu Kang, Chin Han as Shang Tsung, Joe Taslim as Bi-Han/Sub Zero and Hiroyuki Sanada as Hanzo Hasashi/Scorpion. The film premiered simultaneously in theaters and on HBO Max on Friday, April 23rd. In this spoiler free review, the #talkintv boys break down their initial thoughts on the movie, how it compares to the original and what it is they thought going in versus coming out. Stay tuned for the rest of their thoughts throughout the week, it's all covered here on the #talkintvpodcast --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/talkintvpodcastgmailcom/support

This week we’re chatting about the Oscars before battling to the death, as we discuss the latest blockbuster video-game reboot ‘Mortal Kombat’. Mortal Kombat is a 2021 American martial arts fantasy film directed by Simon McQuoid (in his feature directorial debut), from a screenplay by Greg Russo and Dave Callaham and a story by Russo and Oren Uziel. It is based on the video game franchise of the same name created by Ed Boon and John Tobias, serving as a reboot to the Mortal Kombat film series. The film stars Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Joe Taslim, and Hiroyuki Sanada. We Watched A Thing is supported by Dendy Cinemas Canberra. The best Australian cinema chain showing everything from blockbusters to arthouse and indie films. Find them at https://www.dendy.com.au/ If you like this podcast, or hate it and us and want to tell us so - You can reach us at wewatchedathing@gmail.com Or, Twitter - @WeWatchedAThing Facebook - @WeWatchedAThing Instagram - @WeWatchedAThing and on iTunes and Youtube If you really like us and think we’re worth at least a dollar, why not check out our patreon at http://patreon.com/wewatchedathing. Every little bit helps, and you can get access to bonus episodes, early releases, and even tell us what movies to watch.

O Podcast Heroico desta quarta-feira (28) comenta o anúncio do próximo DC FanDome. O evento digital da DC que começou a ser realizado em 2020, terá uma nova edição em 16 de outubro. A programação ainda não foi divulgada. Na segunda parte, Death Note. O mangá ganhará uma nova adaptação live-action na Netflix. Depois da rejeição do primeiro filme, o escritor Greg Russo afirma que aproximará o novo longa da obra original. Acesse: heroico.com.br

MOVIE FIRST LOOKMortal Kombat Website: HBO MaxSynopsis: Why has Outworld's emperor sent his best warrior, Sub-Zero, to hunt down MMA fighter Cole Young? In search of answers, Cole finds his way to the temple of Lord Raiden and begins unlocking the secrets of his heritage. As Outworld’s threat to Earthrealm grows, Cole joins warriors Liu Kang, Kung Lao, and Kano in a high-stakes battle for the soul of the universe.Release Date: In theaters April 23, 2021 and available on HBO Max through May 23, 2021Directed by: Simon McQuoidScreenplay by: Greg Russo and Dave CallahamStory by: Oren Uziel and Greg RussoStarring: Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Joe Taslim, and Hiroyuki SanadaDistributor: Warner Bros. PicturesGenre: Action, Adventure, FantasyRunning Time: 1 hour 50 minutesRated RTV FINALEThe Falcon and the Winter SoldierWebsite: Disney+ See acast.com/privacy for privacy and opt-out information.

The Nerds discuss more Mortal Kombat ahead of it's release on HBO Max, and how writer Greg Russo is already distancing himself from the finished product. Also on the show: round 2 of the Mortal Kombat vs Street Fighter Bracket Battle, a Quan Chi HBO Max series?, Zack Snyder in the MCU and more!

In this special episode,  Lesko and The Crew talk about the new Mortal Kombat (2021) movie. Directed by Simon McQuoid and written by Greg Russo and Dave Callaham. Spoiler Warning!!!!!!

Just over 25 years after the release of the original adaptation of the beloved video game series, we get a new version of Mortal Kombat. Ashley and Dylan share their thoughts on the story, characters and action of the filmMORTAL KOMBAT (2021)Director: Simon McQuoidScreenplay by: Greg Russo, Dave CallahamStory by: Oren Uziel, Greg RussoBased on Mortal Kombat by: Ed Boon, John TobiasStarring: Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Joe Taslim, Hiroyuki SanadaHosts:Ashley Hobley: https://twitter.com/ashleyhobleyDylan Blight: https://twitter.com/vivaladilFollow our Trakt:Ashley - https://trakt.tv/users/ashleyhobleyDylan - https://trakt.tv/users/vivaladilAll Episodes:https://explosionnetwork.com/what-do-you-wanna-watchSupport Us:http://www.ko-fi.com/explosion

Awards season is in full swing - we think. This week, Danny, Blake, and Nathaniel review this year's Chainsaw Awards. They also look forward and preview the upcoming Academy Awards. Fangoria's Chainsaw Awards were handed out this past weekend and the three talk about all the winners. From the big night for The Invisible Man to the nature of fan voted events, the guys discuss what they thought of the show.The week, the guys look at The Marijuana Conspiracy. Based on true events, the movie is about a wild experiment conducted by the Canadian government in which the the effects of marijuana were tested on women. It is a great premise, but does it work as a movie?Mortal Kombat is one of the most anticipated movies of the year. Nathaniel interviews screenwriter Greg Russo about the film. We talk about how to make a good video game movie, too much violence, and the importance of being rated R.With the Academy Awards coming up, the guys thought it would be a great time to look back on last year. These awards are not just limited to the shortlisted nominees, however. Danny, Blake, and Nathaniel give their picks best movie, performances, and documentary. They also give their thoughts on the movies of 2020.Adventures in Movies! is a part of the Morbidly Beautiful Podcast Network. Morbidly Beautiful is your one stop shop for all your horror needs. From the latest news and reviews to interviews and old favorites, it can be found at Morbidly Beautiful.Adventures in Movies! is hosted by Nathaniel Muir, Blake, and Danny. You can find Nathaniel on Instagram at nathaninpoortaste. Danny can be found on Twitter @default_player and on Instagram at default_player. Blake can be found on Twitter @foureyedhorror and on Instagram at foureyedhorror. You can reach us personally or on Twitter @AdventuresinMo1.Intro by Julio Mena https://grooveasaurus.bandcamp.com/album/master-of-thieves-vol-iv Instagram https://www.instagram.com/grooveasaurus/?hl=en 

In “Mortal Kombat,” MMA fighter Cole Young, accustomed to taking a beating for money, is unaware of his heritage—or why Outworld's Emperor Shang Tsung has sent his best warrior, Sub-Zero, an otherworldly Cryomancer, to hunt Cole down. Fearing for his family's safety, Cole goes in search of Sonya Blade at the direction of Jax, a Special Forces Major who bears the same strange dragon marking Cole was born with. Soon, he finds himself at the temple of Lord Raiden, an Elder God and the protector of Earthrealm, who grants sanctuary to those who bear the mark. Here, Cole trains with experienced warriors Liu Kang, Kung Lao and rogue mercenary Kano, as he prepares to stand with Earth's greatest champions against the enemies of Outworld in a high stakes battle for the universe. But will Cole be pushed hard enough to unlock his arcana—the immense power from within his soul—in time to save not only his family, but to stop Outworld once and for all?FOLLOW USFollow Daniel on Twitter, Instagram, and LetterboxdFollow Shahbaz on Twitter, Instagram, and LetterboxdFollow Anthony on Twitter, Instagram, and LetterboxdFollow The Movie Podcast on Twitter, Instagram, Discord, and YouTube

In which the Mister and Monsters join me in reviewing MORTAL KOMBAT (2021) currently on HBO Max. Based on the video game series created by Ed Boon and John Tobias, with screenplay credits to Greg Russo and Dave Callaham with Simon McQuoid helming directing duties, the film tells the story of a roup of champions, chosen to defend Earth from the evils of Outworld. The film is rated R and clocks in at 1 h 50 m. Please note there are a few SPOILERS in this review. Opening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library --- Support this podcast: https://anchor.fm/jokagoge/support

Mortal Kombat 110 Minutes, Rated R Written by Greg Russo and Dave Callaham Directed by Simon McQuoid Synopsis: MMA fighter Cole Young seeks out Earth’s greatest champions in order to stand against the enemies of Outworld in a high stakes battle for the universe. After the ill-received 1995 adaptation of the beloved video game (and … Continue reading Mortal Kombat

Our official review of the 2021 reboot of Mortal Kombat.Director: Simon McQuoid.Writers: Oren Uziel & Greg Russo.Screenplay: Greg Russo & Dave Callaham.Producers: James Wan, Todd Garner, Simon McQuoid & E. Bennett Walsh.Starring: Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Joe Taslim & Hiroyuki Sanada.Music:Benjamin Wallfisch.Production companies: New Line Cinema, Atomic Monster & Broken Road.Distributor:Warner Bros. Pictures.Budget: 95 million USD.Release dates: April 8, 2021 (International), April 23, 2021 (United States).Running time: 110 minutes.Language: English, Japanese, Chinese.Countries: Australia, United States.(Warning: There are a few spoilers in this review. Nothing too intense, but the warning is there for you, just in case)Official IMDb Page

Mortal Kombat is a martial arts fantasy film that focuses on MMA fighter Cole Young who seeks out Earth's greatest champions to stand against the enemies of Outworld in a high stakes battle for the universe. Directed by Simon McQuoid, in his feature directorial debut, from a screenplay by Greg Russo and Dave Callaham and a story by Oren Uziel and Russo, the film is based on the video game franchise of the same name created by Ed Boon and John Tobias, serving as a reboot to the Mortal Kombat film series. The film stars Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Joe Taslim, and Hiroyuki Sanada.

Episode 469 Greg Russo is a First Class Father and Screenwriter. He is the screenwriter of MORTAL KOMBAT which is based on the classic video game of the same name. Greg grew up in New Jersey and was always a huge fan of video arcade games. He parlayed his passion for writing with his childhood video game experiences and the result is the major motion picture MORTAL KOMBAT. In this Episode, Greg shares his Fatherhood journey which includes one child. He discusses the challenges and lengthy process of having his first child via surrogacy after his wife battled with cancer. He describes how his mom was the biggest influence in helping him become a screenwriter. He talks about MORTAL KOMBAT as well as other video game movie adaptations he is working on. He offers some great advice for new or about to be Dads and more! SPONSORS: Strike Force Energy - https://www.strikeforceenergy.com Promo Code: Fatherhood Save 15% MY PILLOW - https://www.mypillow.com Promo Code: Fatherhood Save Up To 66% Off 1-800-875-0219 Subscribe on YouTube - https://www.youtube.com/channel/UCCD6cjYptutjJWYlM0Kk6cQ?sub_confirmation=1 More Ways To Listen - https://linktr.ee/alec_lace First Class Fatherhood Merch - https://shop.spreadshirt.com/first-class-fatherhood-/we+are+not+babysitters-A5d09ea872051763ad613ec8e?productType=812&sellable=3017x1aBoNI8jJe83pw5-812-7&appearance=1 Follow me on instagram - https://instagram.com/alec_lace?igshid=ebfecg0yvbap For information about becoming a Sponsor of First Class Fatherhood please hit me with an email: FirstClassFatherhood@gmail.com --- Support this podcast: https://anchor.fm/alec-lace/support

Mortal Kombat is a martial arts fantasy film that focuses on MMA fighter Cole Young who seeks out Earth's greatest champions to stand against the enemies of Outworld in a high stakes battle for the universe. Directed by Simon McQuoid, in his feature directorial debut, from a screenplay by Greg Russo and Dave Callaham and a story by Oren Uziel and Russo, the film is based on the video game franchise of the same name created by Ed Boon and John Tobias, serving as a reboot to the Mortal Kombat film series. The film stars Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Joe Taslim, and Hiroyuki Sanada.

Episode 118 of A History of Rock Music in Five Hundred Songs looks at "Do-Wah-Diddy-Diddy" by Manfred Mann, and how a jazz group with a blues singer had one of the biggest bubblegum pop hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on "Walk on By" by Dionne Warwick. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ ----more---- Resources No Mixcloud this week due to the number of tracks by Manfred Mann. Information on the group comes from Mannerisms: The Five Phases of Manfred Mann, by Greg Russo, and from the liner notes of this eleven-CD box set of the group's work. For a much cheaper collection of the group's hits -- but without the jazz, blues, and baroque pop elements that made them more interesting than the average sixties singles band -- this has all the hit singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript: So far, when we've looked at the British blues and R&B scene, we've concentrated on the bands who were influenced by Chicago blues, and who kept to a straightforward guitar/bass/drums lineup. But there was another, related, branch of the blues scene in Britain that was more musically sophisticated, and which while its practitioners certainly enjoyed playing songs by Howlin' Wolf or Muddy Waters, was also rooted in the jazz of people like Mose Allison. Today we're going to look at one of those bands, and at the intersection of jazz and the British R&B scene, and how a jazz band with a flute player and a vibraphonist briefly became bubblegum pop idols. We're going to look at "Do Wah Diddy Diddy" by Manfred Mann: [Excerpt: Manfred Mann, "Do Wah Diddy Diddy"] Manfred Mann is, annoyingly when writing about the group, the name of both a band and of one of its members. Manfred Mann the human being, as opposed to Manfred Mann the group, was born Manfred Lubowitz in South Africa, and while he was from a wealthy family, he was very opposed to the vicious South African system of apartheid, and considered himself strongly anti-racist. He was also a lover of jazz music, especially some of the most progressive music being made at the time -- musicians like Ornette Coleman, Charles Mingus, and John Coltrane -- and he soon became a very competent jazz pianist, playing with musicians like Hugh Masakela at a time when that kind of fraternisation between people of different races was very much frowned upon in South Africa. Manfred desperately wanted to get out of South Africa, and he took his chance in June 1961, at the last point at which he was a Commonwealth citizen. The Commonwealth, for those who don't know, is a political association of countries that were originally parts of the British Empire, and basically replaced the British Empire when the former colonies gained their independence. These days, the Commonwealth is of mostly symbolic importance, but in the fifties and sixties, as the Empire was breaking up, it was considered a real power in its own right, and in particular, until some changes to immigration law in the mid sixties, Commonwealth citizens had the right to move to the UK.  At that point, South Africa had just voted to become a republic, and there was a rule in the Commonwealth that countries with a head of state other than the Queen could only remain in the Commonwealth with the unanimous agreement of all the other members. And several of the other member states, unsurprisingly, objected to the continued membership of a country whose entire system of government was based on the most virulent racism imaginable. So, as soon as South Africa became a republic, it lost its Commonwealth membership, and that meant that its citizens lost their automatic right to emigrate to the UK. But they were given a year's grace period, and so Manfred took that chance and moved over to England, where he started playing jazz keyboards, giving piano lessons, and making some money on the side by writing record reviews. For those reviews, rather than credit himself as Manfred Lubowitz, he decided to use a pseudonym taken from the jazz drummer Shelly Manne, and he became Manfred Manne -- spelled with a silent e on the end, which he later dropped. Mann was rather desperate for gigs, and he ended up taking a job playing with a band at a Butlin's holiday camp. Graham Bond, who we've seen in several previous episodes as the leader of The Graham Bond Organisation, was at that time playing Hammond organ there, but only wanted to play a few days a week. Mann became the substitute keyboard player for that holiday camp band, and struck up a good musical rapport with the drummer and vibraphone player, Mike Hugg. When Bond went off to form his own band, Mann and Hugg decided to form their own band along the same lines, mixing the modern jazz that they liked with the more commercial R&B that Bond was playing.  They named their group the Mann-Hugg Blues Brothers, and it initially consisted of Mann on keyboards, Hugg on drums and vibraphone, Mike Vickers on guitar, flute, and saxophone, Dave Richmond on bass, Tony Roberts and Don Fay on saxophone and Ian Fenby on trumpet. As their experiences were far more in the jazz field than in blues, they decided that they needed to get in a singer who was more familiar with the blues side of things. The person they chose was a singer who was originally named Paul Pond, and who had been friends for a long time with Brian Jones, before Jones had formed the Rolling Stones. While Jones had been performing under the name Elmo Lewis, his friend had taken on Jones' surname, as he thought "Paul Pond" didn't sound like a good name for a singer. He'd first kept his initials, and performed as P.P. Jones, but then he'd presumably realised that "pee-pee" is probably not the best stage name in the world, and so he'd become just Paul Jones, the name by which he's known to this day. Jones, like his friend Brian, was a fan particularly of Chicago blues, and he had occasionally appeared with Alexis Korner. After auditioning for the group at a ska club called The Roaring 20s, Jones became the group's lead singer and harmonica player, and the group soon moved in Jones' musical direction, playing the kind of Chicago blues that was popular at the Marquee club, where they soon got a residency, rather than the soul style that was more popular at the nearby Flamingo club, and which would be more expected from a horn-centric lineup. Unsurprisingly, given this, the horn players soon left, and the group became a five-piece core of Jones, Mann, Hugg, Vickers, and Richmond. This group was signed to HMV records by John Burgess. Burgess was a producer who specialised in music of a very different style from what the Mann-Hugg Blues Brothers played. We've already heard some of his production work -- he was the producer for Adam Faith from "What Do You Want?" on: [Excerpt: Adam Faith, "What Do You Want?"] And at the time he signed the Mann-Hugg Blues Brothers, he was just starting to work with a new group, Freddie and the Dreamers, for whom he would produce several hits: [Excerpt: Freddie and the Dreamers, "If You Gotta Make a Fool of Somebody"] Burgess liked the group, but he insisted that they had to change their name -- and in fact, he insisted that the group change their name to Manfred Mann. None of the group members liked the idea -- even Mann himself thought that this seemed a little unreasonable, and Paul Jones in particular disagreed strongly with the idea, but they were all eventually mollified by the idea that all the publicity would emphasise that all five of them were equal members of the group, and that while the group might be named after their keyboard player, there were five members. The group members themselves always referred to themselves as "the Manfreds" rather than as Manfred Mann. The group's first single showed that despite having become a blues band and then getting produced by a pop producer, they were still at heart a jazz group. "Why Should We Not?" is an instrumental led by Vickers' saxophone, Mann's organ, and Jones' harmonica: [Excerpt: Manfred Mann, "Why Should We Not?"] Unsurprisingly, neither that nor the B-side, a jazz instrumental version of "Frere Jacques", charted -- Britain in 1963 wanted Gerry and the Pacemakers and Freddie and the Dreamers, not jazz instrumentals. The next single, an R&B song called "Cock-A-Hoop" written by Jones, did little better. The group's big breakthrough came from Ready, Steady, Go!, which at this point was using "Wipe Out!" by the Surfaris as its theme song: [Excerpt: The Surfaris, "Wipe Out"] We've mentioned Ready, Steady, Go! in passing in previous episodes, but it was the most important pop music show of the early and mid sixties, just as Oh Boy! had been for the late fifties. Ready, Steady, Go! was, in principle at least, a general pop music programme, but in practice it catered primarily for the emerging mod subculture. "Mod" stood for "modernist", and the mods emerged from the group of people who liked modern jazz rather than trad, but by this point their primary musical interests were in soul and R&B. Mod was a working-class subculture, based in the South-East of England, especially London, and spurred on by the newfound comparative affluence of the early sixties, when for the first time young working-class people, while still living in poverty, had a small amount of disposable income to spend on clothes, music, and drugs. The Mods had a very particular sense of style, based around sharp Italian suits, pop art and op art, and Black American music or white British imitations of it. For them, music was functional, and primarily existed for the purposes of dancing, and many of them would take large amounts of amphetamines so they could spend the entire weekend at clubs dancing to soul and R&B music. And that entire weekend would kick off on Friday with Ready, Steady, Go!, whose catchphrase was "the weekend starts here!" Ready, Steady, Go! featured almost every important pop act of the early sixties, but while groups like Gerry and the Pacemakers or the Beatles would appear on it, it became known for its promotion of Black artists, and it was the first major British TV exposure for Motown artists like the Supremes, the Temptations, and the Marvelettes, for Stax artists like Otis Redding, and for blues artists like John Lee Hooker and Sonny Boy Williamson. Ready Steady Go! was also the primary TV exposure for British groups who were inspired by those artists, and it's through Ready Steady Go! that the Animals, the Yardbirds, the Rolling Stones, Them, and the Who, among others reached national popularity -- all of them acts that were popular among the Mods in particular. But "Wipe Out" didn't really fit with this kind of music, and so the producers of Ready Steady Go were looking for something more suitable for their theme music. They'd already tried commissioning the Animals to record something, as we saw a couple of weeks back, but that hadn't worked out, and instead they turned to Manfred Mann, who came up with a song that not only perfectly fit the style of the show, but also handily promoted the group themselves: [Excerpt: Manfred Mann, "5-4-3-2-1"] That was taken on as Ready, Steady, Go!s theme song, and made the top five in the UK. But by the time it charted, the group had already changed lineup. Dave Richmond was seen by the other members of the group as a problem at this point. Richmond was a great bass player, but he was a great *jazz* bass player -- he wanted to be Charles Mingus, and play strange cross-rhythms, and what the group needed at this point was someone who would just play straightforward blues basslines without complaint -- they needed someone closer to Willie Dixon than to Mingus. Tom McGuinness, who replaced him, had already had a rather unusual career trajectory. He'd started out as a satirist, writing for the magazine Private Eye and the TV series That Was The Week That Was, one of the most important British comedy shows of the sixties, but he had really wanted to be a blues musician instead. He'd formed a blues band, The Roosters, with a guitarist who went to art school with his girlfriend, and they'd played a few gigs around London before the duo had been poached by the minor Merseybeat band Casey Jones and his Engineers, a group which had been formed by Brian Casser, formerly of Cass & The Cassanovas, the group that had become The Big Three. Casey Jones and his Engineers had just released the single "One Way Ticket": [Excerpt: Casey Jones and His Engineers, "One-Way Ticket"] However, the two guitarists soon realised, after just a handful of gigs, that they weren't right for that group, and quit. McGuinness' friend, Eric Clapton, went on to join the Yardbirds, and we'll be hearing more about him in a few weeks' time, but McGuinness was at a loose end, until he discovered that Manfred Mann were looking for a bass player. McGuinness was a guitarist, but bluffed to Paul Jones that he'd switched to bass, and got the job. He said later that the only question he'd been asked when interviewed by the group was "are you willing to play simple parts?" -- as he'd never played bass in his life until the day of his first gig with the group, he was more than happy to say yes to that. McGuinness joined only days after the recording of "5-4-3-2-1", and Richmond was out -- though he would have a successful career as a session bass player, playing on, among others, "Je t'Aime" by Serge Gainsbourg and Jane Birkin, "Your Song" by Elton John, Labi Siffre's "It Must Be Love", and the music for the long-running sitcoms Only Fools and Horses and Last of the Summer Wine. As soon as McGuinness joined, the group set out on tour, to promote their new hit, but also to act as the backing group for the Crystals, on a tour which also featured Johnny Kidd and the Pirates and Joe Brown and his Bruvvers.  The group's next single, "Hubble Bubble Toil and Trouble" was another original, and made number eleven on the charts, but the group saw it as a failure anyway, to the extent that they tried their best to forget it ever existed. In researching this episode I got an eleven-CD box set of the group's work, which contains every studio album or compilation they released in the sixties, a collection of their EPs, and a collection of their BBC sessions. In all eleven CDs, "Hubble Bubble Toil and Trouble" doesn't appear at all. Which is quite odd, as it's a perfectly serviceable, if unexceptional, piece of pop R&B: [Excerpt: Manfred Mann, "Hubble Bubble Toil and Trouble"] But it's not just the group that were unimpressed with the record. John Burgess thought that the record only getting to number eleven was proof of his hypothesis that groups should not put out their own songs as singles. From this point on, with one exception in 1968, everything they released as an A-side would be a cover version or a song brought to them by a professional songwriter. This worried Jones, who didn't want to be forced to start singing songs he disliked, which he saw as a very likely outcome of this edict. So he made it his role in the group to seek out records that the group could cover, which would be commercial enough that they could get hit singles from them, but which would be something he could sing while keeping his self-respect. His very first selection certainly met the first criterion. The song which would become their biggest hit had very little to do with the R&B or jazz which had inspired the group. Instead, it was a perfect piece of Brill Building pop. The Exciters, who originally recorded it, were one of the great girl groups of the early sixties (though they also had one male member), and had already had quite an influence on pop music. They had been discovered by Leiber and Stoller, who had signed them to Red Bird Records, a label we'll be looking at in much more detail in an upcoming episode, and they'd had a hit in 1962 with a Bert Berns song, "Tell Him", which made the top five: [Excerpt: The Exciters, "Tell Him"] That record had so excited a young British folk singer who was in the US at the time to record an album with her group The Springfields that she completely reworked her entire style, went solo, and kickstarted a solo career singing pop-soul songs under the name Dusty Springfield. The Exciters never had another top forty hit, but they became popular enough among British music lovers that the Beatles asked them to open for them on their American tour in summer 1964. Most of the Exciters' records were of songs written by the more R&B end of the Brill Building songwriters -- they would record several more Bert Berns songs, and some by Ritchie Barrett, but the song that would become their most well-known legacy was actually written by Jeff Barry and Ellie Greenwich. Like many of Barry and Greenwich's songs, it was based around a nonsense phrase, but in this case the phrase they used had something of a longer history, though it's not apparent whether they fully realised that. In African-American folklore of the early twentieth century, the imaginary town of Diddy Wah Diddy was something like a synonym for heaven, or for the Big Rock Candy Mountain of the folk song -- a place where people didn't have to work, and where food was free everywhere. This place had been sung about in many songs, like Blind Blake's "Diddie Wah Diddie": [Excerpt: Blind Blake, "Diddie Wah Diddie"] And a song written by Willie Dixon for Bo Diddley: [Excerpt: Bo Diddley, "Diddy Wah Diddy"] And "Diddy" and "Wah" had often been used by other Black artists, in various contexts, like Roy Brown and Dave Bartholomew's "Diddy-Y-Diddy-O": [Excerpt: Roy Brown and Dave Bartholomew, "Diddy-Y-Diddy-O"] And Junior and Marie's "Boom Diddy Wah Wah", a "Ko Ko Mo" knockoff produced by Johnny Otis: [Excerpt: Junior and Marie, "Boom Diddy Wah Wah"]  So when Jeff Barry and Ellie Greenwich wrote "Do-Wah-Diddy", as the song was originally called, they were, wittingly or not, tapping into a rich history of rhythm and blues music. But the song as Greenwich demoed it was one of the first examples of what would become known as "bubblegum pop", and is particularly notable in her demo for its very early use of the fuzz guitar that would be a stylistic hallmark of that subgenre: [Excerpt: Ellie Greenwich, "Do-Wah-Diddy (demo)"] The Exciters' version of the song took it into more conventional girl-group territory, with a strong soulful vocal, but with the group's backing vocal call-and-response chant showing up the song's resemblance to the kind of schoolyard chanting games which were, of course, the basis of the very first girl group records: [Excerpt: The Exciters, "Do-Wah-Diddy"] Sadly, that record only reached number seventy-eight on the charts, and the Exciters would have no more hits in the US, though a later lineup of the group would make the UK top forty in 1975 with a song written and produced by the Northern Soul DJ Ian Levine. But in 1964 Jones had picked up on "Do-Wah-Diddy", and knew it was a potential hit. Most of the group weren't very keen on "Do Wah Diddy Diddy", as the song was renamed. There are relatively few interviews with any of them about it, but from what I can gather the only member of the band who thought anything much of the song was Paul Jones. However, the group did their best with the recording, and were particularly impressed with Manfred's Hammond organ solo -- which they later discovered was cut out of the finished recording by Burgess. The result was an organ-driven stomping pop song which had more in common with the Dave Clark Five than with anything else the group were doing: [Excerpt: Manfred Mann, "Do Wah Diddy Diddy"] The record reached number one in both the UK and the US, and the group immediately went on an American tour, packaged with Peter & Gordon, a British duo who were having some success at the time because Peter Asher's sister was dating Paul McCartney, who'd given them a hit song, "World Without Love": [Excerpt: Peter and Gordon, "World Without Love"] The group found the experience of touring the US a thoroughly miserable one, and decided that they weren't going to bother going back again, so while they would continue to have big hits in Britain for the rest of the decade, they only had a few minor successes in the States. After the success of "Do Wah Diddy Diddy", EMI rushed out an album by the group, The Five Faces of Manfred Mann, which must have caused some confusion for anyone buying it in the hope of more "Do Wah Diddy Diddy" style pop songs. Half the album's fourteen tracks were covers of blues and R&B, mostly by Chess artists -- there were covers of Muddy Waters, Howlin' Wolf, Bo Diddley, Ike & Tina Turner, and more. There were also five originals, written or co-written by Jones, in the same style as those songs, plus a couple of instrumentals, one written by the group and one a cover of Cannonball Adderly's jazz classic "Sack O'Woe", arranged to show off the group's skills at harmonica, saxophone, piano and vibraphone: [Excerpt: Manfred Mann, "Sack O'Woe"] However, the group realised that the formula they'd hit on with "Do  Wah Diddy Diddy" was a useful one, and so for their next single they once again covered a girl-group track with a nonsense-word chorus and title -- their version of "Sha La La" by the Shirelles took them to number three on the UK charts, and number twelve in the US. They followed that with a ballad, "Come Tomorrow", one of the few secular songs ever recorded by Marie Knight, the gospel singer who we discussed briefly way back in episode five, who was Sister Rosetta Tharpe's duet partner, and quite possibly her partner in other senses. They released several more singles and were consistently charting, to the point that they actually managed to get a top ten hit with a self-written song despite their own material not being considered worth putting out as singles. Paul Jones had written "The One in the Middle" for his friends the Yardbirds, but when they turned it down, he rewrote the song to be about Manfred Mann, and especially about himself: [Excerpt: Manfred Mann, "The One in the Middle"] Like much of their material, that was released on an EP, and the EP was so successful that as well as making number one on the EP charts, it also made number ten on the regular charts, with "The One in the Middle" as the lead-off track. But "The One in the Middle" was a clue to something else as well -- Jones was getting increasingly annoyed at the fact that the records the group was making were hits, and he was the frontman, the lead singer, the person picking the cover versions, and the writer of much of the original material, but all the records were getting credited to the group's keyboard player.  But Jones wasn't the next member of the group to leave. That was Mike Vickers, who went off to work in arranging film music and session work, including some work for the Beatles, the music for the film Dracula AD 1972, and the opening and closing themes for This Week in Baseball. The last single the group released while Vickers was a member was the aptly-titled "If You Gotta Go, Go Now". Mann had heard Bob Dylan performing that song live, and had realised that the song had never been released. He'd contacted Dylan's publishers, got hold of a demo, and the group became the first to release a version of the song, making number two in the charts: [Excerpt: Manfred Mann, "If You Gotta Go, Go Now"] Before Vickers' departure, the group had recorded their second album, Mann Made, and that had been even more eclectic than the first album, combining versions of blues classics like "Stormy Monday Blues", Motown songs like "The Way You Do The Things You Do", country covers like "You Don't Know Me", and oddities like "Bare Hugg", an original jazz instrumental for flute and vibraphone: [Excerpt: Manfred Mann, "Bare Hugg"] McGuinness took the opportunity of Vickers leaving the group to switch from bass back to playing guitar, which had always been his preferred instrument. To fill in the gap, on Graham Bond's recommendation they hired away Jack Bruce, who had just been playing in John Mayall's Bluesbreakers with McGuinness' old friend Eric Clapton, and it's Bruce who played bass on the group's next big hit, "Pretty Flamingo", the only UK number one that Bruce ever played on: [Excerpt: Manfred Mann, "Pretty Flamingo"] Bruce stayed with the band for several months, before going off to play in another band who we'll be covering in a future episode. He was replaced in turn by Klaus Voorman. Voorman was an old friend of the Beatles from their Hamburg days, who had been taught the rudiments of bass by Stuart Sutcliffe, and had formed a trio, Paddy, Klaus, and Gibson, with two Merseybeat musicians, Paddy Chambers of the Big Three and Gibson Kemp of Kingsize Taylor and the Dominoes: [Excerpt: Paddy, Klaus, and Gibson, "No Good Without You Baby"] Like Vickers, Voorman could play the flute, and his flute playing would become a regular part of the group's later singles. These lineup changes didn't affect the group as either a chart act or as an act who were playing a huge variety of different styles of music. While the singles were uniformly catchy pop, on album tracks, B-sides or EPs you'd be likely to find versions of folk songs collected by Alan Lomax, like "John Hardy", or things like "Driva Man", a blues song about slavery in 5/4 time, originally by the jazz greats Oscar Brown and Max Roach: [Excerpt: Manfred Mann, "Driva Man"] But by the time that track was released, Paul Jones was out of the group. He actually announced his intention to quit the group at the same time that Mike Vickers left, but the group had persuaded him to stay on for almost a year while they looked for his replacement, auditioning singers like Rod Stewart and Long John Baldry with little success. They eventually decided on Mike d'Abo, who had previously been the lead singer of a group called A Band of Angels: [Excerpt: A Band of Angels, "(Accept My) Invitation"] By the point d'Abo joined, relations  between the rest of the group and Jones were so poor that they didn't tell Jones that they were thinking of d'Abo -- Jones would later recollect that the group decided to stop at a pub on the way to a gig, ostensibly to watch themselves on TV, but actually to watch A Band of Angels on the same show, without explaining to Jones that that was what they were doing – Jones actually mentioned d'Abo to his bandmates as a possible replacement, not realising he was already in the group. Mann has talked about how on the group's last show with Jones, they drove to the gig in silence, and their first single with the new singer, a version of Dylan's "Just Like a Woman", came on the radio. There was a lot of discomfort in the band at this time, because their record label had decided to stick with Jones as a solo performer, and the rest of the group had had to find another label, and were worried that without Jones their career was over. Luckily for everyone involved, "Just Like a Woman" made the top ten, and the group's career was able to continue. Meanwhile, Jones' first single as a solo artist made the top five: [Excerpt: Paul Jones, "High Time"] But after that and his follow-up, "I've Been a Bad, Bad, Boy", which made number five, the best he could do was to barely scrape the top forty. Manfred Mann, on the other hand, continued having hits, though there was a constant struggle to find new material. d'Abo was himself a songwriter, and it shows the limitations of the "no A-sides by group members" rule that while d'Abo was the lead singer of Manfred Mann, he wrote two hit singles which the group never recorded. The first, "Handbags and Gladrags", was a hit for Chris Farlowe: [Excerpt: Chris Farlowe, "Handbags and Gladrags"] That was only a minor hit, but was later recorded successfully by Rod Stewart, with d'Abo arranging, and the Stereophonics. d'Abo also co-wrote, and played piano on, "Build Me Up Buttercup" by the Foundations: [Excerpt: The Foundations, "Build Me Up Buttercup"] But the group continued releasing singles written by other people.  Their second post-Jones single, from the perspective of a spurned lover insulting their ex's new fiancee, had to have its title changed from what the writers intended, as the group felt that a song insulting "semi-detached suburban Mr. Jones" might be taken the wrong way. Lightly retitled, "Semi-Detached Suburban Mr. James" made number two, while the follow-up, "Ha Ha! Said the Clown", made number four. The two singles after that did significantly less well, though, and seemed to be quite bizarre choices -- an instrumental Hammond organ version of Tommy Roe's "Sweet Pea", which made number thirty-six, and a version of Randy Newman's bitterly cynical "So Long, Dad", which didn't make the charts at all. After this lack of success, the group decided to go back to what had worked for them before. They'd already had two hits with Dylan songs, and Mann had got hold of a copy of Dylan's Basement Tapes, a bootleg which we'll be talking about later. He picked up on one song from it, and got permission to release "The Mighty Quinn", which became the group's third number one: [Excerpt: Manfred Mann, "The Mighty Quinn"] The album from which that came, Mighty Garvey, is the closest thing the group came to an actual great album. While the group's earlier albums were mostly blues covers, this was mostly made up of original material by either Hugg or d'Abo, in a pastoral baroque pop style that invites comparisons to the Kinks or the Zombies' material of that period, but with a self-mocking comedy edge in several songs that was closer to the Bonzo Dog Doo-Dah Band. Probably the highlight of the album was the mellotron-driven "It's So Easy Falling": [Excerpt: Manfred Mann, "It's So Easy Falling"] But Mighty Garvey didn't chart, and it was the last gasp of the group as a creative entity. They had three more top-ten hits, all of them good examples of their type, but by January 1969, Tom McGuinness was interviewed saying "It's not a group any more. It's just five people who come together to make hit singles. That's the only aim of the group at the moment -- to make hit singles -- it's the only reason the group exists. Commercial success is very important to the group. It gives us financial freedom to do the things we want." The group split up in 1969, and went their separate ways. d'Abo appeared on the original Jesus Christ Superstar album, and then went into writing advertising jingles, most famously writing "a finger of fudge is just enough" for Cadbury's. McGuinness formed McGuinness Flint, with the songwriters Gallagher and Lyle, and had a big hit with "When I'm Dead and Gone": [Excerpt: McGuinness Flint, "When I'm Dead and Gone"] He later teamed up again with Paul Jones, to form a blues band imaginatively named "the Blues Band", who continue performing to this day: [Excerpt: The Blues Band, "Mean Ol' Frisco"] Jones became a born-again Christian in the eighties, and also starred in a children's TV show, Uncle Jack, and presented the BBC Radio 2 Blues Programme for thirty-two years. Manfred Mann and Mike Hugg formed another group, Manfred Mann Chapter Three, who released two albums before splitting. Hugg went on from that to write for TV and films, most notably writing the theme music to "Whatever Happened to the Likely Lads?": [Excerpt: Highly Likely, "Whatever Happened to the Likely Lads?"] Mann went on to form Manfred Mann's Earth Band, who had a number of hits, the biggest of which was the Bruce Springsteen song "Blinded by the Light": [Excerpt: Manfred Mann's Earth Band, "Blinded by the Light"] Almost uniquely for a band from the early sixties, all the members of the classic lineup of Manfred Mann are still alive. Manfred Mann continues to perform with various lineups of his Earth Band. Hugg, Jones, McGuinness, and d'Abo reunited as The Manfreds in the 1990s, with Vickers also in the band until 1999, and continue to tour together -- I still have a ticket to see them which was originally for a show in April 2020, but has just been rescheduled to 2022. McGuinness and Jones also still tour with the Blues Band. And Mike Vickers now spends his time creating experimental animations.  Manfred Mann were a band with too many musical interests to have a coherent image, and their reliance on outside songwriters and their frequent lineup changes meant that they never had the consistent sound of many of their contemporaries. But partly because of this, they created a catalogue that rewards exploration in a way that several more well-regarded bands' work doesn't, and I wouldn't be at all surprised to see a major critical reassessment of them at some point. But whether that happens or not, almost sixty years on people around the world still respond instantly to the opening bars of their biggest hit, and "Do Wah Diddy Diddy" remains one of the most fondly remembered singles of the early sixties.

Episode 118 of A History of Rock Music in Five Hundred Songs looks at “Do-Wah-Diddy-Diddy” by Manfred Mann, and how a jazz group with a blues singer had one of the biggest bubblegum pop hits of the sixties. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a thirteen-minute bonus episode available, on “Walk on By” by Dionne Warwick. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt’s irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ —-more—- Resources No Mixcloud this week due to the number of tracks by Manfred Mann. Information on the group comes from Mannerisms: The Five Phases of Manfred Mann, by Greg Russo, and from the liner notes of this eleven-CD box set of the group’s work. For a much cheaper collection of the group’s hits — but without the jazz, blues, and baroque pop elements that made them more interesting than the average sixties singles band — this has all the hit singles. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript: So far, when we’ve looked at the British blues and R&B scene, we’ve concentrated on the bands who were influenced by Chicago blues, and who kept to a straightforward guitar/bass/drums lineup. But there was another, related, branch of the blues scene in Britain that was more musically sophisticated, and which while its practitioners certainly enjoyed playing songs by Howlin’ Wolf or Muddy Waters, was also rooted in the jazz of people like Mose Allison. Today we’re going to look at one of those bands, and at the intersection of jazz and the British R&B scene, and how a jazz band with a flute player and a vibraphonist briefly became bubblegum pop idols. We’re going to look at “Do Wah Diddy Diddy” by Manfred Mann: [Excerpt: Manfred Mann, “Do Wah Diddy Diddy”] Manfred Mann is, annoyingly when writing about the group, the name of both a band and of one of its members. Manfred Mann the human being, as opposed to Manfred Mann the group, was born Manfred Lubowitz in South Africa, and while he was from a wealthy family, he was very opposed to the vicious South African system of apartheid, and considered himself strongly anti-racist. He was also a lover of jazz music, especially some of the most progressive music being made at the time — musicians like Ornette Coleman, Charles Mingus, and John Coltrane — and he soon became a very competent jazz pianist, playing with musicians like Hugh Masakela at a time when that kind of fraternisation between people of different races was very much frowned upon in South Africa. Manfred desperately wanted to get out of South Africa, and he took his chance in June 1961, at the last point at which he was a Commonwealth citizen. The Commonwealth, for those who don’t know, is a political association of countries that were originally parts of the British Empire, and basically replaced the British Empire when the former colonies gained their independence. These days, the Commonwealth is of mostly symbolic importance, but in the fifties and sixties, as the Empire was breaking up, it was considered a real power in its own right, and in particular, until some changes to immigration law in the mid sixties, Commonwealth citizens had the right to move to the UK.  At that point, South Africa had just voted to become a republic, and there was a rule in the Commonwealth that countries with a head of state other than the Queen could only remain in the Commonwealth with the unanimous agreement of all the other members. And several of the other member states, unsurprisingly, objected to the continued membership of a country whose entire system of government was based on the most virulent racism imaginable. So, as soon as South Africa became a republic, it lost its Commonwealth membership, and that meant that its citizens lost their automatic right to emigrate to the UK. But they were given a year’s grace period, and so Manfred took that chance and moved over to England, where he started playing jazz keyboards, giving piano lessons, and making some money on the side by writing record reviews. For those reviews, rather than credit himself as Manfred Lubowitz, he decided to use a pseudonym taken from the jazz drummer Shelly Manne, and he became Manfred Manne — spelled with a silent e on the end, which he later dropped. Mann was rather desperate for gigs, and he ended up taking a job playing with a band at a Butlin’s holiday camp. Graham Bond, who we’ve seen in several previous episodes as the leader of The Graham Bond Organisation, was at that time playing Hammond organ there, but only wanted to play a few days a week. Mann became the substitute keyboard player for that holiday camp band, and struck up a good musical rapport with the drummer and vibraphone player, Mike Hugg. When Bond went off to form his own band, Mann and Hugg decided to form their own band along the same lines, mixing the modern jazz that they liked with the more commercial R&B that Bond was playing.  They named their group the Mann-Hugg Blues Brothers, and it initially consisted of Mann on keyboards, Hugg on drums and vibraphone, Mike Vickers on guitar, flute, and saxophone, Dave Richmond on bass, Tony Roberts and Don Fay on saxophone and Ian Fenby on trumpet. As their experiences were far more in the jazz field than in blues, they decided that they needed to get in a singer who was more familiar with the blues side of things. The person they chose was a singer who was originally named Paul Pond, and who had been friends for a long time with Brian Jones, before Jones had formed the Rolling Stones. While Jones had been performing under the name Elmo Lewis, his friend had taken on Jones’ surname, as he thought “Paul Pond” didn’t sound like a good name for a singer. He’d first kept his initials, and performed as P.P. Jones, but then he’d presumably realised that “pee-pee” is probably not the best stage name in the world, and so he’d become just Paul Jones, the name by which he’s known to this day. Jones, like his friend Brian, was a fan particularly of Chicago blues, and he had occasionally appeared with Alexis Korner. After auditioning for the group at a ska club called The Roaring 20s, Jones became the group’s lead singer and harmonica player, and the group soon moved in Jones’ musical direction, playing the kind of Chicago blues that was popular at the Marquee club, where they soon got a residency, rather than the soul style that was more popular at the nearby Flamingo club, and which would be more expected from a horn-centric lineup. Unsurprisingly, given this, the horn players soon left, and the group became a five-piece core of Jones, Mann, Hugg, Vickers, and Richmond. This group was signed to HMV records by John Burgess. Burgess was a producer who specialised in music of a very different style from what the Mann-Hugg Blues Brothers played. We’ve already heard some of his production work — he was the producer for Adam Faith from “What Do You Want?” on: [Excerpt: Adam Faith, “What Do You Want?”] And at the time he signed the Mann-Hugg Blues Brothers, he was just starting to work with a new group, Freddie and the Dreamers, for whom he would produce several hits: [Excerpt: Freddie and the Dreamers, “If You Gotta Make a Fool of Somebody”] Burgess liked the group, but he insisted that they had to change their name — and in fact, he insisted that the group change their name to Manfred Mann. None of the group members liked the idea — even Mann himself thought that this seemed a little unreasonable, and Paul Jones in particular disagreed strongly with the idea, but they were all eventually mollified by the idea that all the publicity would emphasise that all five of them were equal members of the group, and that while the group might be named after their keyboard player, there were five members. The group members themselves always referred to themselves as “the Manfreds” rather than as Manfred Mann. The group’s first single showed that despite having become a blues band and then getting produced by a pop producer, they were still at heart a jazz group. “Why Should We Not?” is an instrumental led by Vickers’ saxophone, Mann’s organ, and Jones’ harmonica: [Excerpt: Manfred Mann, “Why Should We Not?”] Unsurprisingly, neither that nor the B-side, a jazz instrumental version of “Frere Jacques”, charted — Britain in 1963 wanted Gerry and the Pacemakers and Freddie and the Dreamers, not jazz instrumentals. The next single, an R&B song called “Cock-A-Hoop” written by Jones, did little better. The group’s big breakthrough came from Ready, Steady, Go!, which at this point was using “Wipe Out!” by the Surfaris as its theme song: [Excerpt: The Surfaris, “Wipe Out”] We’ve mentioned Ready, Steady, Go! in passing in previous episodes, but it was the most important pop music show of the early and mid sixties, just as Oh Boy! had been for the late fifties. Ready, Steady, Go! was, in principle at least, a general pop music programme, but in practice it catered primarily for the emerging mod subculture. “Mod” stood for “modernist”, and the mods emerged from the group of people who liked modern jazz rather than trad, but by this point their primary musical interests were in soul and R&B. Mod was a working-class subculture, based in the South-East of England, especially London, and spurred on by the newfound comparative affluence of the early sixties, when for the first time young working-class people, while still living in poverty, had a small amount of disposable income to spend on clothes, music, and drugs. The Mods had a very particular sense of style, based around sharp Italian suits, pop art and op art, and Black American music or white British imitations of it. For them, music was functional, and primarily existed for the purposes of dancing, and many of them would take large amounts of amphetamines so they could spend the entire weekend at clubs dancing to soul and R&B music. And that entire weekend would kick off on Friday with Ready, Steady, Go!, whose catchphrase was “the weekend starts here!” Ready, Steady, Go! featured almost every important pop act of the early sixties, but while groups like Gerry and the Pacemakers or the Beatles would appear on it, it became known for its promotion of Black artists, and it was the first major British TV exposure for Motown artists like the Supremes, the Temptations, and the Marvelettes, for Stax artists like Otis Redding, and for blues artists like John Lee Hooker and Sonny Boy Williamson. Ready Steady Go! was also the primary TV exposure for British groups who were inspired by those artists, and it’s through Ready Steady Go! that the Animals, the Yardbirds, the Rolling Stones, Them, and the Who, among others reached national popularity — all of them acts that were popular among the Mods in particular. But “Wipe Out” didn’t really fit with this kind of music, and so the producers of Ready Steady Go were looking for something more suitable for their theme music. They’d already tried commissioning the Animals to record something, as we saw a couple of weeks back, but that hadn’t worked out, and instead they turned to Manfred Mann, who came up with a song that not only perfectly fit the style of the show, but also handily promoted the group themselves: [Excerpt: Manfred Mann, “5-4-3-2-1”] That was taken on as Ready, Steady, Go!s theme song, and made the top five in the UK. But by the time it charted, the group had already changed lineup. Dave Richmond was seen by the other members of the group as a problem at this point. Richmond was a great bass player, but he was a great *jazz* bass player — he wanted to be Charles Mingus, and play strange cross-rhythms, and what the group needed at this point was someone who would just play straightforward blues basslines without complaint — they needed someone closer to Willie Dixon than to Mingus. Tom McGuinness, who replaced him, had already had a rather unusual career trajectory. He’d started out as a satirist, writing for the magazine Private Eye and the TV series That Was The Week That Was, one of the most important British comedy shows of the sixties, but he had really wanted to be a blues musician instead. He’d formed a blues band, The Roosters, with a guitarist who went to art school with his girlfriend, and they’d played a few gigs around London before the duo had been poached by the minor Merseybeat band Casey Jones and his Engineers, a group which had been formed by Brian Casser, formerly of Cass & The Cassanovas, the group that had become The Big Three. Casey Jones and his Engineers had just released the single “One Way Ticket”: [Excerpt: Casey Jones and His Engineers, “One-Way Ticket”] However, the two guitarists soon realised, after just a handful of gigs, that they weren’t right for that group, and quit. McGuinness’ friend, Eric Clapton, went on to join the Yardbirds, and we’ll be hearing more about him in a few weeks’ time, but McGuinness was at a loose end, until he discovered that Manfred Mann were looking for a bass player. McGuinness was a guitarist, but bluffed to Paul Jones that he’d switched to bass, and got the job. He said later that the only question he’d been asked when interviewed by the group was “are you willing to play simple parts?” — as he’d never played bass in his life until the day of his first gig with the group, he was more than happy to say yes to that. McGuinness joined only days after the recording of “5-4-3-2-1”, and Richmond was out — though he would have a successful career as a session bass player, playing on, among others, “Je t’Aime” by Serge Gainsbourg and Jane Birkin, “Your Song” by Elton John, Labi Siffre’s “It Must Be Love”, and the music for the long-running sitcoms Only Fools and Horses and Last of the Summer Wine. As soon as McGuinness joined, the group set out on tour, to promote their new hit, but also to act as the backing group for the Crystals, on a tour which also featured Johnny Kidd and the Pirates and Joe Brown and his Bruvvers.  The group’s next single, “Hubble Bubble Toil and Trouble” was another original, and made number eleven on the charts, but the group saw it as a failure anyway, to the extent that they tried their best to forget it ever existed. In researching this episode I got an eleven-CD box set of the group’s work, which contains every studio album or compilation they released in the sixties, a collection of their EPs, and a collection of their BBC sessions. In all eleven CDs, “Hubble Bubble Toil and Trouble” doesn’t appear at all. Which is quite odd, as it’s a perfectly serviceable, if unexceptional, piece of pop R&B: [Excerpt: Manfred Mann, “Hubble Bubble Toil and Trouble”] But it’s not just the group that were unimpressed with the record. John Burgess thought that the record only getting to number eleven was proof of his hypothesis that groups should not put out their own songs as singles. From this point on, with one exception in 1968, everything they released as an A-side would be a cover version or a song brought to them by a professional songwriter. This worried Jones, who didn’t want to be forced to start singing songs he disliked, which he saw as a very likely outcome of this edict. So he made it his role in the group to seek out records that the group could cover, which would be commercial enough that they could get hit singles from them, but which would be something he could sing while keeping his self-respect. His very first selection certainly met the first criterion. The song which would become their biggest hit had very little to do with the R&B or jazz which had inspired the group. Instead, it was a perfect piece of Brill Building pop. The Exciters, who originally recorded it, were one of the great girl groups of the early sixties (though they also had one male member), and had already had quite an influence on pop music. They had been discovered by Leiber and Stoller, who had signed them to Red Bird Records, a label we’ll be looking at in much more detail in an upcoming episode, and they’d had a hit in 1962 with a Bert Berns song, “Tell Him”, which made the top five: [Excerpt: The Exciters, “Tell Him”] That record had so excited a young British folk singer who was in the US at the time to record an album with her group The Springfields that she completely reworked her entire style, went solo, and kickstarted a solo career singing pop-soul songs under the name Dusty Springfield. The Exciters never had another top forty hit, but they became popular enough among British music lovers that the Beatles asked them to open for them on their American tour in summer 1964. Most of the Exciters’ records were of songs written by the more R&B end of the Brill Building songwriters — they would record several more Bert Berns songs, and some by Ritchie Barrett, but the song that would become their most well-known legacy was actually written by Jeff Barry and Ellie Greenwich. Like many of Barry and Greenwich’s songs, it was based around a nonsense phrase, but in this case the phrase they used had something of a longer history, though it’s not apparent whether they fully realised that. In African-American folklore of the early twentieth century, the imaginary town of Diddy Wah Diddy was something like a synonym for heaven, or for the Big Rock Candy Mountain of the folk song — a place where people didn’t have to work, and where food was free everywhere. This place had been sung about in many songs, like Blind Blake’s “Diddie Wah Diddie”: [Excerpt: Blind Blake, “Diddie Wah Diddie”] And a song written by Willie Dixon for Bo Diddley: [Excerpt: Bo Diddley, “Diddy Wah Diddy”] And “Diddy” and “Wah” had often been used by other Black artists, in various contexts, like Roy Brown and Dave Bartholomew’s “Diddy-Y-Diddy-O”: [Excerpt: Roy Brown and Dave Bartholomew, “Diddy-Y-Diddy-O”] And Junior and Marie’s “Boom Diddy Wah Wah”, a “Ko Ko Mo” knockoff produced by Johnny Otis: [Excerpt: Junior and Marie, “Boom Diddy Wah Wah”]  So when Jeff Barry and Ellie Greenwich wrote “Do-Wah-Diddy”, as the song was originally called, they were, wittingly or not, tapping into a rich history of rhythm and blues music. But the song as Greenwich demoed it was one of the first examples of what would become known as “bubblegum pop”, and is particularly notable in her demo for its very early use of the fuzz guitar that would be a stylistic hallmark of that subgenre: [Excerpt: Ellie Greenwich, “Do-Wah-Diddy (demo)”] The Exciters’ version of the song took it into more conventional girl-group territory, with a strong soulful vocal, but with the group’s backing vocal call-and-response chant showing up the song’s resemblance to the kind of schoolyard chanting games which were, of course, the basis of the very first girl group records: [Excerpt: The Exciters, “Do-Wah-Diddy”] Sadly, that record only reached number seventy-eight on the charts, and the Exciters would have no more hits in the US, though a later lineup of the group would make the UK top forty in 1975 with a song written and produced by the Northern Soul DJ Ian Levine. But in 1964 Jones had picked up on “Do-Wah-Diddy”, and knew it was a potential hit. Most of the group weren’t very keen on “Do Wah Diddy Diddy”, as the song was renamed. There are relatively few interviews with any of them about it, but from what I can gather the only member of the band who thought anything much of the song was Paul Jones. However, the group did their best with the recording, and were particularly impressed with Manfred’s Hammond organ solo — which they later discovered was cut out of the finished recording by Burgess. The result was an organ-driven stomping pop song which had more in common with the Dave Clark Five than with anything else the group were doing: [Excerpt: Manfred Mann, “Do Wah Diddy Diddy”] The record reached number one in both the UK and the US, and the group immediately went on an American tour, packaged with Peter & Gordon, a British duo who were having some success at the time because Peter Asher’s sister was dating Paul McCartney, who’d given them a hit song, “World Without Love”: [Excerpt: Peter and Gordon, “World Without Love”] The group found the experience of touring the US a thoroughly miserable one, and decided that they weren’t going to bother going back again, so while they would continue to have big hits in Britain for the rest of the decade, they only had a few minor successes in the States. After the success of “Do Wah Diddy Diddy”, EMI rushed out an album by the group, The Five Faces of Manfred Mann, which must have caused some confusion for anyone buying it in the hope of more “Do Wah Diddy Diddy” style pop songs. Half the album’s fourteen tracks were covers of blues and R&B, mostly by Chess artists — there were covers of Muddy Waters, Howlin’ Wolf, Bo Diddley, Ike & Tina Turner, and more. There were also five originals, written or co-written by Jones, in the same style as those songs, plus a couple of instrumentals, one written by the group and one a cover of Cannonball Adderly’s jazz classic “Sack O’Woe”, arranged to show off the group’s skills at harmonica, saxophone, piano and vibraphone: [Excerpt: Manfred Mann, “Sack O’Woe”] However, the group realised that the formula they’d hit on with “Do  Wah Diddy Diddy” was a useful one, and so for their next single they once again covered a girl-group track with a nonsense-word chorus and title — their version of “Sha La La” by the Shirelles took them to number three on the UK charts, and number twelve in the US. They followed that with a ballad, “Come Tomorrow”, one of the few secular songs ever recorded by Marie Knight, the gospel singer who we discussed briefly way back in episode five, who was Sister Rosetta Tharpe’s duet partner, and quite possibly her partner in other senses. They released several more singles and were consistently charting, to the point that they actually managed to get a top ten hit with a self-written song despite their own material not being considered worth putting out as singles. Paul Jones had written “The One in the Middle” for his friends the Yardbirds, but when they turned it down, he rewrote the song to be about Manfred Mann, and especially about himself: [Excerpt: Manfred Mann, “The One in the Middle”] Like much of their material, that was released on an EP, and the EP was so successful that as well as making number one on the EP charts, it also made number ten on the regular charts, with “The One in the Middle” as the lead-off track. But “The One in the Middle” was a clue to something else as well — Jones was getting increasingly annoyed at the fact that the records the group was making were hits, and he was the frontman, the lead singer, the person picking the cover versions, and the writer of much of the original material, but all the records were getting credited to the group’s keyboard player.  But Jones wasn’t the next member of the group to leave. That was Mike Vickers, who went off to work in arranging film music and session work, including some work for the Beatles, the music for the film Dracula AD 1972, and the opening and closing themes for This Week in Baseball. The last single the group released while Vickers was a member was the aptly-titled “If You Gotta Go, Go Now”. Mann had heard Bob Dylan performing that song live, and had realised that the song had never been released. He’d contacted Dylan’s publishers, got hold of a demo, and the group became the first to release a version of the song, making number two in the charts: [Excerpt: Manfred Mann, “If You Gotta Go, Go Now”] Before Vickers’ departure, the group had recorded their second album, Mann Made, and that had been even more eclectic than the first album, combining versions of blues classics like “Stormy Monday Blues”, Motown songs like “The Way You Do The Things You Do”, country covers like “You Don’t Know Me”, and oddities like “Bare Hugg”, an original jazz instrumental for flute and vibraphone: [Excerpt: Manfred Mann, “Bare Hugg”] McGuinness took the opportunity of Vickers leaving the group to switch from bass back to playing guitar, which had always been his preferred instrument. To fill in the gap, on Graham Bond’s recommendation they hired away Jack Bruce, who had just been playing in John Mayall’s Bluesbreakers with McGuinness’ old friend Eric Clapton, and it’s Bruce who played bass on the group’s next big hit, “Pretty Flamingo”, the only UK number one that Bruce ever played on: [Excerpt: Manfred Mann, “Pretty Flamingo”] Bruce stayed with the band for several months, before going off to play in another band who we’ll be covering in a future episode. He was replaced in turn by Klaus Voorman. Voorman was an old friend of the Beatles from their Hamburg days, who had been taught the rudiments of bass by Stuart Sutcliffe, and had formed a trio, Paddy, Klaus, and Gibson, with two Merseybeat musicians, Paddy Chambers of the Big Three and Gibson Kemp of Kingsize Taylor and the Dominoes: [Excerpt: Paddy, Klaus, and Gibson, “No Good Without You Baby”] Like Vickers, Voorman could play the flute, and his flute playing would become a regular part of the group’s later singles. These lineup changes didn’t affect the group as either a chart act or as an act who were playing a huge variety of different styles of music. While the singles were uniformly catchy pop, on album tracks, B-sides or EPs you’d be likely to find versions of folk songs collected by Alan Lomax, like “John Hardy”, or things like “Driva Man”, a blues song about slavery in 5/4 time, originally by the jazz greats Oscar Brown and Max Roach: [Excerpt: Manfred Mann, “Driva Man”] But by the time that track was released, Paul Jones was out of the group. He actually announced his intention to quit the group at the same time that Mike Vickers left, but the group had persuaded him to stay on for almost a year while they looked for his replacement, auditioning singers like Rod Stewart and Long John Baldry with little success. They eventually decided on Mike d’Abo, who had previously been the lead singer of a group called A Band of Angels: [Excerpt: A Band of Angels, “(Accept My) Invitation”] By the point d’Abo joined, relations  between the rest of the group and Jones were so poor that they didn’t tell Jones that they were thinking of d’Abo — Jones would later recollect that the group decided to stop at a pub on the way to a gig, ostensibly to watch themselves on TV, but actually to watch A Band of Angels on the same show, without explaining to Jones that that was what they were doing – Jones actually mentioned d’Abo to his bandmates as a possible replacement, not realising he was already in the group. Mann has talked about how on the group’s last show with Jones, they drove to the gig in silence, and their first single with the new singer, a version of Dylan’s “Just Like a Woman”, came on the radio. There was a lot of discomfort in the band at this time, because their record label had decided to stick with Jones as a solo performer, and the rest of the group had had to find another label, and were worried that without Jones their career was over. Luckily for everyone involved, “Just Like a Woman” made the top ten, and the group’s career was able to continue. Meanwhile, Jones’ first single as a solo artist made the top five: [Excerpt: Paul Jones, “High Time”] But after that and his follow-up, “I’ve Been a Bad, Bad, Boy”, which made number five, the best he could do was to barely scrape the top forty. Manfred Mann, on the other hand, continued having hits, though there was a constant struggle to find new material. d’Abo was himself a songwriter, and it shows the limitations of the “no A-sides by group members” rule that while d’Abo was the lead singer of Manfred Mann, he wrote two hit singles which the group never recorded. The first, “Handbags and Gladrags”, was a hit for Chris Farlowe: [Excerpt: Chris Farlowe, “Handbags and Gladrags”] That was only a minor hit, but was later recorded successfully by Rod Stewart, with d’Abo arranging, and the Stereophonics. d’Abo also co-wrote, and played piano on, “Build Me Up Buttercup” by the Foundations: [Excerpt: The Foundations, “Build Me Up Buttercup”] But the group continued releasing singles written by other people.  Their second post-Jones single, from the perspective of a spurned lover insulting their ex’s new fiancee, had to have its title changed from what the writers intended, as the group felt that a song insulting “semi-detached suburban Mr. Jones” might be taken the wrong way. Lightly retitled, “Semi-Detached Suburban Mr. James” made number two, while the follow-up, “Ha Ha! Said the Clown”, made number four. The two singles after that did significantly less well, though, and seemed to be quite bizarre choices — an instrumental Hammond organ version of Tommy Roe’s “Sweet Pea”, which made number thirty-six, and a version of Randy Newman’s bitterly cynical “So Long, Dad”, which didn’t make the charts at all. After this lack of success, the group decided to go back to what had worked for them before. They’d already had two hits with Dylan songs, and Mann had got hold of a copy of Dylan’s Basement Tapes, a bootleg which we’ll be talking about later. He picked up on one song from it, and got permission to release “The Mighty Quinn”, which became the group’s third number one: [Excerpt: Manfred Mann, “The Mighty Quinn”] The album from which that came, Mighty Garvey, is the closest thing the group came to an actual great album. While the group’s earlier albums were mostly blues covers, this was mostly made up of original material by either Hugg or d’Abo, in a pastoral baroque pop style that invites comparisons to the Kinks or the Zombies’ material of that period, but with a self-mocking comedy edge in several songs that was closer to the Bonzo Dog Doo-Dah Band. Probably the highlight of the album was the mellotron-driven “It’s So Easy Falling”: [Excerpt: Manfred Mann, “It’s So Easy Falling”] But Mighty Garvey didn’t chart, and it was the last gasp of the group as a creative entity. They had three more top-ten hits, all of them good examples of their type, but by January 1969, Tom McGuinness was interviewed saying “It’s not a group any more. It’s just five people who come together to make hit singles. That’s the only aim of the group at the moment — to make hit singles — it’s the only reason the group exists. Commercial success is very important to the group. It gives us financial freedom to do the things we want.” The group split up in 1969, and went their separate ways. d’Abo appeared on the original Jesus Christ Superstar album, and then went into writing advertising jingles, most famously writing “a finger of fudge is just enough” for Cadbury’s. McGuinness formed McGuinness Flint, with the songwriters Gallagher and Lyle, and had a big hit with “When I’m Dead and Gone”: [Excerpt: McGuinness Flint, “When I’m Dead and Gone”] He later teamed up again with Paul Jones, to form a blues band imaginatively named “the Blues Band”, who continue performing to this day: [Excerpt: The Blues Band, “Mean Ol’ Frisco”] Jones became a born-again Christian in the eighties, and also starred in a children’s TV show, Uncle Jack, and presented the BBC Radio 2 Blues Programme for thirty-two years. Manfred Mann and Mike Hugg formed another group, Manfred Mann Chapter Three, who released two albums before splitting. Hugg went on from that to write for TV and films, most notably writing the theme music to “Whatever Happened to the Likely Lads?”: [Excerpt: Highly Likely, “Whatever Happened to the Likely Lads?”] Mann went on to form Manfred Mann’s Earth Band, who had a number of hits, the biggest of which was the Bruce Springsteen song “Blinded by the Light”: [Excerpt: Manfred Mann’s Earth Band, “Blinded by the Light”] Almost uniquely for a band from the early sixties, all the members of the classic lineup of Manfred Mann are still alive. Manfred Mann continues to perform with various lineups of his Earth Band. Hugg, Jones, McGuinness, and d’Abo reunited as The Manfreds in the 1990s, with Vickers also in the band until 1999, and continue to tour together — I still have a ticket to see them which was originally for a show in April 2020, but has just been rescheduled to 2022. McGuinness and Jones also still tour with the Blues Band. And Mike Vickers now spends his time creating experimental animations.  Manfred Mann were a band with too many musical interests to have a coherent image, and their reliance on outside songwriters and their frequent lineup changes meant that they never had the consistent sound of many of their contemporaries. But partly because of this, they created a catalogue that rewards exploration in a way that several more well-regarded bands’ work doesn’t, and I wouldn’t be at all surprised to see a major critical reassessment of them at some point. But whether that happens or not, almost sixty years on people around the world still respond instantly to the opening bars of their biggest hit, and “Do Wah Diddy Diddy” remains one of the most fondly remembered singles of the early sixties.

Halligan welcomed back Greg Russo, Community Manager for Kamcord mobile streaming service. Listen as they talk about how far they'd come since last we spoke, and goes over new features. This episode was originally recorded 2016-04-24.

Mortal Kombat is currently set for release in the US on April 16 in cinemas and on HBO Max (where it will be available for a month). UK fans are also hoping for a streaming release, as HBO Max is only available in the US, but nothing has been confirmed yet. The Mortal Kombat movie is on its way and fans are hyped to see the video game played out on the big screen again. Many have been pleasantly surprised by the teaser, which was recently released, with the clip not shying away from the gore and R-Rated fatalities needed to make it an authentic adaptation. All in all, it looks like a pretty brutal take, with the film set to focus on the original character line-up including Sub-Zero, Scorpion, Lui Kang, Sonya Blade, Shang Tsung, Raiden, and Goro. Joe Taslim will be appearing as Sub-Zero, alongside Hiroyuki Sanada as Scorpion, Max Huang as Kung Lao, Sisi Stringer as Mileena, Daniel Nelson as Kabal, and Elissa Cadwell as Nitara. Meanwhile, the film is being helmed by director Simon McQuoid and will be his feature debut, having previously directed adverts. Writer Greg Russo previously urged fans to have faith in the filmmaker, telling them: ‘If anyone has concerns if our director, Simon McQuoid, will stay faithful to MK, I urge you to go back and look at some of the VG commercials he directed. His PS3 “Michael” spot still gets me every time I watch it.' Meanwhile, Greg Russo and David Callaham have written the screenplay. What's going on Internet, Analytic here aka Dreamz and I would like to welcome you to mine, which I call the Notorious Mass Effect Podcast! I am your Hip-Hop / Gaming News source with a little bit of R&B mixed in. For Episode 38: “TEKASHI 6IX9INE VS LIL REESE” “RIHANNA” “MORTAL KOMBAT: THE MOVIE” & ending with “KANYE & KIM KARDASHIAN” But before that make sure to Click my Linktree in my bio to access my social medias and follow, to keep up with my latest activities, if you want to financially support the show click my cash app link located towards the top of my linktree as it helps the show overall, also make sure to share this podcast as this helps the show reach more people so we can grow together and effect the masses! --- Support this podcast: https://anchor.fm/masseffect/support

In the first episode of a three-part series, BRG Managing Directors Roger Kaiser, Greg Russo, and Charles Cicchetti join the podcast to discuss potential ways to forecast the COVID-19 pandemic's effect on the economy and the energy sector. They weight in on factors companies and policymakers should consider in taking a first step towards normalcy.

In this episode of our monthly series on fraud and abuse issues, Kevin Raphael, Partner, Pietragallo Gordon Alfano Bosick & Raspanti LLP and Greg Russo, Managing Director, Berkley Research Group (BRG) discuss best practices in the use of digital forensic services in defending against government civil investigative demands. The speakers examine issues related to data usage through two hypothetical examples. The podcast is moderated by Matthew Wetzel, Associate General Counsel, Compliance Officer, GRAIL. From AHLA's Fraud and Abuse Practice Group. Sponsored by BRG.

Today we enter the Sour world of beer with Smash Smash Sour Mash IPA by Blue Owl brewing company and chat about the Casting for the Mortal Kombat reboot coming out in 2021 from the mind of James Wan and Greg Russo, featuring newer director Simon McQuoid !   be sure to join the Opinions and Beer Group on Facebook . Be sure to Subscribe to the Opinions and Beer podcast to stay up to date with the latest episodes . 

Taika Waititi is ready for Thor once more for Thor 4, but is Thor ready for all the Love and Thunder that Waititi brings?! 0:09:11 One Million Moms protesting Toy Story 4 for lesbian couple inclusion. 0:20:37 Scarlett Johansson wants to be allowed to do her job 0:28:04 Asian fans excited to get chinese actor for Marvel hero Shang-Chi 0:33:21 Taika Waititi to direct Thor 4 0:37:12 Mortal Kombat writer Greg Russo says to expect the movie to be R-Rated with graphic fatalities 0:39:48 Greg also slated to write WB's Space Invaders movie 0:42:10 Gamestop to redesign some stores into arcade-style experiences 0:56:14 Amazon keeps all your recordings....for-eh-vur 0:57:59 Deepfake and Corridor Digital 1:03:10 CES defines rules for innovative and technology-forward sexual devices The Mighty Links of Thor WRITE YOUR STUFF FOR US, PLEASE! Interested in writing geek-centric articles? Got a fever to let your inner writer out? Email us with an article to be published for thousands of readers to see! CHECK OUT OUR AWESOME merch! We have four astonishing graphics available to show your love for Dueling Ogres! Wear it loud and proud or silent and deadly. Heh, fart jokes. Or if you want to support us another way, consider becoming a ! For just pennies a day, you can feed and clothe these poor, destitute, abused ogres. (Quick, someone queue "In the Arms of an Angel") https://www.duelingogres.com/bazaar-dueling-ogres-store/ SMASH ALL THOSE social media LIKES AND SHARES AND retweets and pins and SUBSCRIBES FOREVER! They help us stay alive one more day! Literally, there are larger ogres over us. They're ruthless and terrifying. We cry tears of blood! CALL or TEXT us so we can play/read your question on air @ !! (Intro uses the "" track by Kevin Macleod (). Licensed under . Outtro: , licensed under .)

Jon Favreau writing Mandalorian Season 2, Greg Russo writing Space Invaders movie, Disney rolling back FX+, Cristoph Walz returns to Bond Films. See acast.com/privacy for privacy and opt-out information.

Michael interviews Peter Caspersz from Chelsea Basketball (0.44), Dylan Steed from Carrum Cricket Club (10.11) and Greg Russo from Little Athletics Chelsea (18.14)

With the most recent news of the Resident Evil film series being rebooted, Anthony, JJ, and Jon all discuss the ideas for a new reboot and what could possibly come from the new film series. Discussing what we know so far from the news and covering what can make or break the new reboot series! The producer has been confirmed as James Wan and the writer was confirmed as Greg Russo. 

Sorry it's been a Month since the last episode. We forgot we had our own podcast and we suck; but we're back and geeking out harder than ever before! Take a listen and enjoy! Site Notes Marvel Tom Hardy Venom Silver & Black - Gina Prince-Bythewood (Cloak and Dagger) to direct Reworking Yost’s screenplay None of these connected to Spider-Man movie New Mutants- horror? Rosario Dawson as Dr Cecilia Reyes? Black Tom Cassidy as villain in Deadpool 2? Jack Kesy set to play possibly DC Wonder Woman gets stellar early reviews, Alamo women only showing Snyder/Whedon JL Batman Harley animated Doug liman leaves JL dark Black Lightning not set in Arrowverse? Valiant Icons Rapture  Break Video Games Injustice 2 impressions F13th released LEGO Marvel SH 2 Red Dead 2 delayed Other Dark Universe Dark Crystal: Age of Resistance Castlevania trailer Chuck Wendig writing turok comic for Dynamite Resident Evil Reboot - James Wan to produce, Greg Russo to script Tom Holland cast as Young Nathan Drake for Sony Star Wars Vanity Fair photos Be sure to check out our other great podcasts: Those Geeks You Know, Gourmet Scum Radio, and the Pursuit of Plastic. Make sure to subscribe to us on iTunes or  Stitcher and rate and review us! If you wanna interact with us you can follow 

Sorry it's been a Month since the last episode. We forgot we had our own podcast and we suck; but we're back and geeking out harder than ever before! Take a listen and enjoy! Site Notes Marvel Tom Hardy Venom Silver & Black - Gina Prince-Bythewood (Cloak and Dagger) to direct Reworking Yost’s screenplay None of these connected to Spider-Man movie New Mutants- horror? Rosario Dawson as Dr Cecilia Reyes? Black Tom Cassidy as villain in Deadpool 2? Jack Kesy set to play possibly DC Wonder Woman gets stellar early reviews, Alamo women only showing Snyder/Whedon JL Batman Harley animated Doug liman leaves JL dark Black Lightning not set in Arrowverse? Valiant Icons Rapture  Break Video Games Injustice 2 impressions F13th released LEGO Marvel SH 2 Red Dead 2 delayed Other Dark Universe Dark Crystal: Age of Resistance Castlevania trailer Chuck Wendig writing turok comic for Dynamite Resident Evil Reboot - James Wan to produce, Greg Russo to script Tom Holland cast as Young Nathan Drake for Sony Star Wars Vanity Fair photos Be sure to check out our other great podcasts: Those Geeks You Know, Gourmet Scum Radio, and the Pursuit of Plastic. Make sure to subscribe to us on iTunes or  Stitcher and rate and review us! If you wanna interact with us you can follow @dfatowel on Twitter and Instagram. We also have a donation page HERE where any support you can give us goes right back into the site for better equipment and podcast hosting. Thanks for listening and Don't Forget a Towel!

Está no ar mais uma edição do Lokinews, o seu apanhado de notícias da semana em formato podcast! Se você está gostando, colabore da maneira que mais importa: divulgue por aí! o/ Não deixe de ouvir também o último Papo de Loki e o Zerei + O post EDIÇÃO #7 – CONAN DESTROI MACQUEEN POR USAR FRALDA QUE ERA DO PERSONAGEM KEVIN SMITH DO MORTAL KOMBAT PARA NINTENDINHO apareceu primeiro em Papo de Loki.

When Tricia and Greg Russo were researching their options on becoming parents after Trica's breast cancer diagnosis, they were discouraged not to find any helpful video resources online. So, they picked up a camera, assembled a team, and started filming "The Story of Us". Tricia and Greg join us along with Producer/Director Craig to discuss the film project and Tricia and Greg's journey to becoming parents through surrogacy. Survivor Spotlight on young adult ovarian cancer survivor Jen Rachman. 

When Tricia and Greg Russo were researching their options on becoming parents after Trica's breast cancer diagnosis, they were discouraged not to find any helpful video resources online. So, they picked up a camera, assembled a team, and started filming "The Story of Us". Tricia and Greg join us along with Producer/Director Craig to discuss the film project and Tricia and Greg's journey to becoming parents through surrogacy. Survivor Spotlight on young adult ovarian cancer survivor Jen Rachman.  See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Go all the way (back) with the ZappaCast! In this episode, we take a look at the earliest (musical) workings of FZ with the help of Zappa scholar extraordinaire Greg Russo. Lots of rare music abounds in this one, folks. And we get the first installment of Mick Ekers' new segment ZAPPA'S GEAR--looking at the equipment used by FZ through the years. And Denny Walley—our first FZ alumnus—drops by to say hi to us mere mortals! And but also more surprises abound (like an exclusive interview with The Tornadoes…however we digress). A bright, snappy ZappaCast. Hotcha! Check out Greg Russo's PAUL BUFF PRESENTS: THE PAL AND ORIGINAL SOUND STUDIO ARCHIVES: THE COLLECTION, now available at www.crossfirepublications.com