Podcasts about head like

Mike talks with director Stefan MacDonald-Labelle about Head Like a Hole (2024), a microbudget psychological horror film about a man hired to monitor a mysterious hole in a basement wall. They discuss the film's existential themes, low-budget ingenuity, and the challenges of blurring reality and delusion.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Mike talks with director Stefan MacDonald-Labelle about Head Like a Hole (2024), a microbudget psychological horror film about a man hired to monitor a mysterious hole in a basement wall. They discuss the film's existential themes, low-budget ingenuity, and the challenges of blurring reality and delusion.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Season 5 starts with gettin' closer to God with Trent.    Head Like a Hole, 1,000,000, The Hall of the Mountain King    

some songs for the new year with kiri in chicagomake a mixtape is free on substack and everywhere you can get podcasts. you can support the show at https://www.paypal.com/paypalme/makeamixtape or by buying some of our coffee https://evansvillecoffee.com/products/make-a-mixtape-roastthanks for listening. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit zaclittle.substack.com

In November of 2005, tonight's guest, James Akers, was driving down a road that had been built on an old civil war trail. It was nighttime and he had a friend with him, in his car. Both of them had used that road many times before. However, neither James nor his friend had encountered a creature that stood about 7-foot tall with a head that resembled that of a hyena. Little did they know, that was about to change. We hope you'll join us for this Saturday night livestream episode of Dogman Encounters. Of course, James will be ready to answer any questions you have for him, if you're in the live chat.If you've had a Dogman encounter and would like to speak with me about it, whether you'd like to keep your encounter confidential or be interviewed on a show, please go to https://DogmanEncounters.com and submit a report.Premium memberships are now available! If you'd like to listen to the show without ads and have full access to premium content, please go to https://DogmanEncounters.com/Podcast to learn how to become a premium member.If you'd like to help support the show, by buying your own Dogman Encounters t-shirt, sweatshirt, tank top, or coffee mug, please visit the Dogman Encounters Show Store, by going to https://Dogman-Encounters.MyShopify.comIf you've had a Sasquatch sighting and would like to be a guest on My Bigfoot Sighting, please go to https://MyBigfootSighting.com and submit a report.I produce 3 other shows that are available on your favorite podcast app. If you haven't checked them out, here are links to all 3 channels on the Spreaker App...My Bigfoot Sighting...  https://spreaker.page.link/xT7zh6zWsnCDaoVa7 Bigfoot Eyewitness Radio...  https://spreaker.page.link/WbtSccQm92TKBskT8 My Paranormal Experience https://www.spreaker.com/show/my-paranormal-experience Thanks for listening!

The boys reflect on Godly greed with Gordon Gekko, get angry in a hurry with janitorial studio time, and use the scientific method to conduct an autopsy on the corpse of Nine Inch Nails' 1989 industrial hit, “Head Like a Hole.” Includes panel discussion and review of the complete eight part “Did Cleveland Kill Rock ‘n Roll?” series. --- Support this podcast: https://podcasters.spotify.com/pod/show/rocknrollautopsy/support

Today on the radio show 1 - Smoko chat. 3:30 - Head Like a Hole give-a-little - https://bit.ly/4czF7VB 6:45 - Must Watch - Gadiator 2 - https://bit.ly/460r0pz  9:20 - Trapped in a toilet and broke through the wall. 12:05 - Where did you get trapped and how did you escape? 17:22 - Mind benders. 19:19 - Take my money - https://bit.ly/3Wht6hy  21:54 - Dr Dre and Stevie Wonder. 23:27 - Late mail. 27:40 - Last drinks. Get in touch with us: https://linktr.ee/therockdriveSee omnystudio.com/listener for privacy information.

Cat and Cole go head to head like never before about Cat's rightsholding reputation

It's Samer's Birthday!  So this week he put together a mix for Matt featuring twelve of his favorite songs from the time when he was playing a lot of video games.  Even if you're not into gaming (like Matt), there's still plenty of great music to listen to:https://music.apple.com/us/playlist/sam-samers-birthday-mix-2024/pl.u-NPqWVu07qry1. Weapon of Choice by Fatboy Slim2. Paper Planes by M.I.A.3. Get Ur Freak On by Missy Elliott4. Busy Child by The Crystal Method5. Breathe by The Prodigy6. The Outsider by A Perfect Circle7. Live Again by Sevendust8. Killing In the Name by Rage Against the Machine9. Aerials By System Of A Down10. Head Like a Hole by Nine Inch Nails11. Anema by TOOL12. In the End by LINKIN PARKI'm Sorry Zero Points ~ Eurovision podcast with Adrian & Seamus.It's season 3 of I'm Sorry Zero Points. Adrian & Seamus bring...Listen on: Apple Podcasts Spotify Support the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!

Cooper was walking home the other day and got hit in the face by something More at ⁠⁠www.CooperandAnthony.com⁠⁠ #nycradio, #radio, #syndicatedradio, #podcast, #podcasting, #podcasts, #spotify, #podcastlife, #podcaster, #radio, #music, #comedy, #podcasters, #applepodcasts, #itunes, #podcastshow, #spotifypodcast, #applepodcast, #radioshow, #nycradio, #CLT,#longisland, #Listen, #pandoraPodcast, #TampaRadio,#Tampa, #LasVegas, #lasVegasRadio, #FtMyers, #FtMyersRadio --- Send in a voice message: https://podcasters.spotify.com/pod/show/cooperandanthony/message Support this podcast: https://podcasters.spotify.com/pod/show/cooperandanthony/support

Cooper was walking home the other day and got hit in the face by something More at ⁠⁠www.CooperandAnthony.com⁠⁠ #nycradio, #radio, #syndicatedradio, #podcast, #podcasting, #podcasts, #spotify, #podcastlife, #podcaster, #radio, #music, #comedy, #podcasters, #applepodcasts, #itunes, #podcastshow, #spotifypodcast, #applepodcast, #radioshow, #nycradio, #CLT,#longisland, #Listen, #pandoraPodcast, #TampaRadio,#Tampa, #LasVegas, #lasVegasRadio, #FtMyers, #FtMyersRadio --- Send in a voice message: https://podcasters.spotify.com/pod/show/cooperandanthony/message Support this podcast: https://podcasters.spotify.com/pod/show/cooperandanthony/support

Angie Harrington, RHOSLC Cast Member Alumni S2 & S3 joins me for a two part podcast.  This one will totally surprise you!  If you love Indian curses, UAPs, Interdimensional beings and secret military bases, you won't want to miss today and next weeks show. Angie and I will of course discuss her RHOSLC experience and gossip a little but more importantly we take on THE  STRANGE of UTAH!  You see, Angie Harrington and I became friends and we learned we not only have Bravo in common, but we also love mysteries, UAP and paranormal.  It was during one of our discussions about this that I discovered her trip to Skin Walker Ranch. Angie and Chris are friends with the owner, Brandon Fugal.  She shared with me her and Chris's experiences and impressions on the Ranch with Nine Inch Nails and now she will share them with you.  I tell Angie all about the new government UAP taskforce  AARO, they just announced their mission and I share what this new UAP oriented government organization has dropped. They are part of the Defense Department. BTW, the head Scientist at Skinwalker Ranch was actually on the old UAP Task force committee, Travis Taylor, so yes it all ties together.  This episode will take you on a worm whole to Bravo and and back as we take you all the strange of Utah in this 2 part series you won't want to miss!Sound Credit: Skinwalker Ranch Season 3 trailer , Head Like a HoleSupport the showDana is on Cameo!Get Dishing Drama Dana Merch!https://represent.com/store/dishing-drama-dana-wilkeyFollow Dana: @Wilkey_Dana$25,000 Song - Apple Music$25,000 Song - SpotifyTo support the show and listen to full episodes, become a member on PatreonTo learn more about sponsorships, email DDDWpodcast@gmail.comDana's YouTube Channel

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Learn more about your ad choices. Visit megaphone.fm/adchoices

Ice Spice meets Ye Ali's "Ring3x"

FRIDAY 6/23/23: The Titanic submarine saga comes to a close, and the Navy may have known all along. Shawn wants to be roasted in his obituary after reading one about a man who would be "moderately" missed. Jon Busdeker stops by to hang out in place of Moses.

Dobbo's Thoughts On Richmond Coach Damian Hardwick Resigning, What's The Newspaper Headline From Your Wild Party? New QRL CEO Ben Ikin Joins Us and Man, What Makes You Feel Like A Woman!See omnystudio.com/listener for privacy information.

All horror is psychological. Today we discuss horror movies Renfield, Evil Dead Rise, Huesera: The Bone Woman, Head Like a Hole, Yellowjackets Season 2, Kids vs. Aliens, plus our very own trivia game Horror Facts with Cath. Website: https://www.terrortalkpodcast.com Community Membership: https://www.patreon.com/terrortalk Instagram: https://www.instagram.com/terrortalkpodcast/ Twitter: https://twitter.com/TalkTerror/ Facebook: https://www.facebook.com/newterrortalkpodcast/ Music by Mannequin Uprising --- Send in a voice message: https://podcasters.spotify.com/pod/show/terrortalk/message Support this podcast: https://podcasters.spotify.com/pod/show/terrortalk/support

This week's bad boys include Julia's poopy wafts, Zoë's sniffly diffles and an update your gal on Gwyneth Paltrow, CeeLo Green and Adam Levine.

June 28, 1996: Three bodies waterlogged and badly decomposed are pulled from the waters of Illinois Bayou, Arkansas. Plastic bags had been secured over each of the victims heads. The victims, William Mueller, 52, his wife, 28 year old Nancy, and her daughter, Sarah Elizabeth Powel aged 8, had been missing from their home in Tilly  (about an hour north of where they had been found), since January 11 of that year. What no one knew or suspected at the time was that all three had been the victims of a deranged white nationalist. This week in The Crypt we're looking at the live and crimes of Chevie Kehoe. Listen Now:  https://link.chtbl.com/LniUSTnK   Become a Patreon: https://tinyurl.com/DCPatreon Buy me a cup of coffee: https://www.paypal.com/donate/ Facebook: https://www.facebook.com/The-Deathcast-102690125566672   Twitter @CorpseCreek Find my books @ https://tinyurl.com/Totten-Books   The Deathcast is a Production of Corpse Creek Publishing Visit the official website: https://www.corpsecreekpublishing.com   #truecrime #TheDeathcast #truecrimeaddict #truecrimefiend #truecrimepodcast #ChevieKehoe #Cheyne #CheyneKehoe #whitesupremacists #MuellerFamilyMurder #elohimcity

Cycle of toxicity is jealousy > intense jealousy > insecurity > hardened insecurity > hate and someone's definitely gonna get hurt.

Kyrie vents about driving. The Crew has questions about gas station libido pills. Joc comes clean on why he doesn't make fried chicken. The attempts to solve the Karz 4 Kidz mystery. Joc tells a story about a Home Depot experience that could have gone viral!

This is a song called Head Like a Cloud. 

The annual Dark Nation Radio UNDER COVER show can now be streamed and downloaded—three hours of goth/industrial (and adjacent) bands and artists covering their favorites. I hope you'll give this one a spin because it's a fun show! Included in the mix are Bauhaus, Front Line Assembly, The Cult, The Sisters of Mercy, Ego Likeness, PIG, Echo & the Bunnymen, Faith & the Muse, KMFDM, and many more—the playlist is provided below for your reference. Thank you for your support! DJ cypher's Dark Nation Radio Playlist UNDER COVER 2022 3 July 2022 Faith & the Muse, “Running Up that Hill (Kate Bush)” Anna Calvi, “Red Right Hand (Nick Cave & the Bad Seeds)” Malia J., “Smells Like Teen Spirit (Nirvana)” The Foreign Resort, “Stand Back (Stevie Nicks)” Echo & the Bunnymen, “People are Strange (The Doors)” Ego Likeness, “Down By the Water (P.J. Harvey)” KMFDM, “These Boots Were Made for Walking (Nancy Sinatra)” Alex Reed, “Hooked (Seabound)” The Sisters of Mercy, “Gimme Shelter (The Rolling Stones)” Orbital, “The Saint (TV show theme by Edwin Astley)” Tenderlash, “Zombie (The Cranberries)” Torul, “Mad World (Tears for Fears)” Front Line Assembly, “Rock Me Amadeus ft. Jimmie Urine (Falco)” Tre Lux, “I Know There's Something Going On (Frida)” Tiga & Znytherius, “Sunglasses at Night (Corey Hart)” Adoration Destroyed, “Voices Carry (Til Tuesday)” Black Rose Burning, “Red Skies at Night (The Fixx)” The Quakes, “Killing Moon (Echo & the Bunnymen)” The Hillbilly Moon Explosion, “Enola Gay (OMD)” Batavia, “Unbelievable (EMF)” Xorcist, “1999 (Prince)” The Cult, “Born to be Wild (Steppenwolf)” Love Like Blood, “Angie (The Rolling Stones)” The Blue Hour, “Cornflake Girl (Tori Amos)” Klack, “Move Any Mountain (The Shamen)” Bauhaus, “Ziggy Stardust (David Bowie)” Sshadows, “Love Like Blood (Killing Joke)” Cyanbaal, “The Soul Inside (Soft Cell)” Lost Tapes, “To Look at You (INXS)” Bigod20, “Like a Prayer (Madonna)” Clan of Xymox, “A Forest (The Cure)” Freezepop, “Photographic (Depeche Mode)” Black Needle Noise, “Walking in My Shoes (Depeche Mode)” PIG, “Head Like a Hole (NIN)” La Muerte, “Headhunter (Front 242)” NØIR, “The Chauffeur (Duran Duran)” Rosegarden Funeral Party, “Mercy Street (Peter Gabriel)” DJ CYPHER'S DARK NATION RADIO—22 years strong! **Live Broadcasts Sundays @ 9 PM Eastern US on Spirit of Resistance Radio sorradio.org **Recorded broadcasts @ http://www.mixcloud.com/cypheractive **Downloadable broadcasts @ http://www.hearthis.at/cypheractive **Questions and material for airplay consideration to darknationradio@gmail.com **Facebook @ http://www.facebook.com/groups/darknationradio

Who is your daddy and what does he do --- Support this podcast: https://anchor.fm/john831/support

Free Brain Dump Guide: https://www.simplyconvivial.com/braindumpStop using your head like a briefcase because it's making you feel overwhelmed and incapable of handling life. So much of what we do as moms at home doesn't have a tangible result at the end of the day. It's hard to recognize what we've done and be satisfied in it, but that recognition and satisfaction is the attitude adjustment we need to recapture the joy of mothering and homemaking.

Free Brain Dump Guide: https://www.simplyconvivial.com/braindumpStop using your head like a briefcase because it's making you feel overwhelmed and incapable of handling life. So much of what we do as moms at home doesn't have a tangible result at the end of the day. It's hard to recognize what we've done and be satisfied in it, but that recognition and satisfaction is the attitude adjustment we need to recapture the joy of mothering and homemaking.

Free Brain Dump Guide: https://www.simplyconvivial.com/braindumpStop using your head like a briefcase because it's making you feel overwhelmed and incapable of handling life. So much of what we do as moms at home doesn't have a tangible result at the end of the day. It's hard to recognize what we've done and be satisfied in it, but that recognition and satisfaction is the attitude adjustment we need to recapture the joy of mothering and homemaking.

In which the Curmudgeons perform a very thorough, and very personal, examination of 1991. It was a year where music fans and impressionable young listeners relearned how to find and demand meaning from the music they explored. We cover the stuff you'd expect (Nirvana, The Red Hot Chili Peppers) and the stuff you might not (Slint?!). Part 1 of 2. Songs discussed in this episode include The Misterines, "Reeling" The New Pornographers, "Brill Bruisers" Nirvana, "Smells Like Teen Spirit" Pearl Jam, "Black," U2, "Even Better Than the Real Thing" The Red Hot Chili Peppers, "Breaking the Girl" Nince Inch Nails, "Head Like a Hole"   Join Our Curmudgeonly Community today! facebook.com/curmudgeonrock    Now hosted on Podbean! curmudgeonrock.podbean.com    Subscribe to our show on the following platforms: https://open.spotify.com/show/4q7bHKIROH98o0vJbXLamB?si=c7133791d98d4ae4 https://podcasts.apple.com/us/podcast/the-curmudgeon-rock-report/id1551808911  https://podcasts.google.com/feed/aHR0cHM6Ly9hbmNob3IuZm0vcy80MWI0YTBkYy9wb2RjYXN0L3Jzcw?sa=X&ved=2ahUKEwjl7NCKtYv3AhW7lWoFHY3-BKoQ9sEGegQIARAC    

In which the Curmudgeons continue their dissection of the movements that served as a prelude to what we call The 4th Golden Age of Rock. Also known as the 1990s, and more specifically 1991 to 1997. This is the first of nine episodes in this epic series. Listen, learn, and hop in the wayback machine--and maybe rock the vote while you're at it.    Songs covered in this episode include:  The Stone Roses, "I Wanna Be Adored" Depeche Mode, "Personal Jesus Nine Inch Nails, "Head Like a Hole" Jane's Addiction, "Three Days" The Pixies, "Debaser" The Lemonheads, "It's a Shame About Ray" Sonic Youth, "Silver Rocket"   Join The Curmudgeon Rock Report's Curmudgeonly Community! facebook.com/curmudgeonrock   Now hosted on Podbean! curmudgeonrock.podbean.com   Subscribe to our show at any of these links: https://open.spotify.com/show/4q7bHKIROH98o0vJbXLamB?si=75f764aba8984b92 https://podcasts.apple.com/us/podcast/the-curmudgeon-rock-report/id1551808911 https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkLnBvZGJlYW4uY29tL2N1cm11ZGdlb25yb2NrL2ZlZWQueG1s?sa=X&ved=2ahUKEwjJovSLsOj2AhWqkGoFHeSeAOkQ9sEGegQIARAC    

Episode Summary Nat & Jesse talk about pop music they like because we are stereotypically music nerds who don’t listen a lot of pop music. Edited by Nat Shownotes by Jesse Show Links Justin Timberlake on SNL – Immigrant Tale Pharrell Williams – Wikipedia The Black Eyed Peas – “Where is the Love?” – YouTube Captain EO – Wikipedia You guys, Nat wasn’t hallucinating this. OMG. Kelly Clarkson – “Since You’ve Been Gone” – YouTube Drive Like Jehu – Wikipedia is so good, you guys. Imogen Heap – “Hide & Seek” – YouTube “mmmmmmmm whachusayyyyyyyyy”; Marissa shoots Trey on The O.C. – YouTube Frou Frou – Wikipedia Kraftwerk – Wikipedia Detroit Techno – Wikipedia Belleville Three – Wikipedia Global Underground – Wikipedia Katy Perry – “Teenage Dream” – Wikipedia The dude from Reliant K dated Katy Perry – Wikipedia Sonic Youth – “Daydream Nation” – Wikipedia Sex Pistols were a boyband Why Doesn't Pitchfork Review Artists Like Taylor Swift (Unless They're Covered by Ryan Adams)? Mountain Goats “No Children” on TikTok “Head Like a Hole” + “Call Me Maybe” mashup – YouTube (This is so good y’all) Carly Rae Jepsen – “Emotion” – Wikipedia Give Carly Rae Jepsen a sword Why grown-ass men get so emotional about Carly Rae Jepsen Tool “Stinkfist” + Taylor Swift “We are never getting back together” mashup – YouTube Justin Bieber vs. Slipknot - “Psychosocial Baby” – YouTube Joe Pera discovers The Who – YouTube Nat’s weekly pick — Apparently the entire Wire discography – Wikipedia Jesse’s weekly pick — Taylor Swift – “Red” – Wikipedia Recorded on Sunday, November 11, 2021.

Greg "Dish head" Dowling, one of the Rugby League ornaments for both the Brisbane Broncos and Queensland. Roy and HG asked the question, is his head shaped like a dish? YES!

Greg "Dish head" Dowling, one of the Rugby League ornaments for both the Brisbane Broncos and Queensland. Roy and HG asked the question, is his head shaped like a dish? YES!

A conversation with Ryan Culwell, a Texas Panhandle native and former Amarillo resident now working in Nashville as a singer-songwriter. Culwell's acclaimed album Flatlands was inspired by this area, and his recent work has won further accolades. Returning to Amarillo for a show at the Golden Light, he shares with host Jason Boyett about his career, his influences, and why he kept returning to Nine Inch Nails' "Head Like a Hole" during the pandemic. This episode is sponsored by the TEXAS Outdoor Musical, SKP Creative and Blue Handle Publishing.

On Episode 179, I'm joined by singer-songwriter Ryan Culwell. During this conversation, we talk about the Perryton, Texas native's Panhandle roots, developing a sound, style, & feel for his albums Flatlands & The Last American,  living in Nashville, recording the Nine Inch Nails song "Head Like a Hole" with Aubrie Sellers, and what's coming next for the Texas songwriter. This episode's presenting partner is Desert Door Texas Sotol and The Blue Light Live.New Slang PatreonNew Slang TwitterNew Slang InstagramNew Slang FacebookNew Slang Merch StoreThe Neon Eon PodcastThe Neon Eon Merch Store Support the show (https://www.paypal.me/ThomasMooney)

Matt and Maria start the weekend with rock (and stuff). Featuring Left or Right, Head Like a Hole, Nirvana, Nuclear Assault, Helmet, A Perfect Circle and more.

This week on Dread Media, Desmond and Tom pay tribute to their fallen friend, Derrick Ferguson, by reviewing his favorite horror film: House on Haunted Hill. Then Desmond goes solo on a Dread Media Top 5 Ways to Keep Derrick's Legacy Alive. Songs included: "Arsenic on the Rocks" by A Split Second, "Head Like a Haunted House" by Queens of the Stone Age, and "When the Going Gets Tough, The Tough Get Going" by Billy Ocean. RIP Derrick! Send feedback to: dreadmediapodcast@gmail.com. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Support the show at www.patreon.com/dreadmedia. Visit www.desmondreddick.com, www.stayscary.wordpress.com, www.dreadmedia.bandcamp.com, and www.kccinephile.com.

This week on Dread Media, Desmond and Tom pay tribute to their fallen friend, Derrick Ferguson, by reviewing his favorite horror film: House on Haunted Hill. Then Desmond goes solo on a Dread Media Top 5 Ways to Keep Derrick's Legacy Alive. Songs included: "Arsenic on the Rocks" by A Split Second, "Head Like a Haunted House" by Queens of the Stone Age, and "When the Going Gets Tough, The Tough Get Going" by Billy Ocean. RIP Derrick! Send feedback to: dreadmediapodcast@gmail.com. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Support the show at www.patreon.com/dreadmedia. Visit www.desmondreddick.com, www.stayscary.wordpress.com, www.dreadmedia.bandcamp.com, and www.kccinephile.com.

When a current artist you love pays homage to a classic song you enjoyed in your youth, it feels like magic… two forces of nature colliding to make a special song just for you. In this month's chapter, Justin and Ed share cover songs from some of their favorite artists. Send your listener submissions/ suggestions to arcanemachinepodcast@gmail.com! The Arcane Machine is a monthly show with supplemental content on Facebook, Twitter, and Discord throughout each month. If you like what you hear, please visit the artists' pages linked below and buy some music! Social Media: The Belfry: A Home for Dark Culture: The Belfry is the home of excellent podcast Cemetery Confessions, plus interviews, art, and other podcasts rooted deeply in dark/ alternative lifestyles. Join our Facebook group for discussion and bonus content: https://www.facebook.com/groups/TheArcaneMachine/ Follow The Arcane Machine on Twitter: @arcane_machine Follow The Arcane Machine on Instagram: @the_arcane_machine Use the Discord Widget on the side of the page to join our server and chat with us The Tracklist:   1 – “Angry Inch” From Hedwig & the Angry Inch, by Type O Negative from the album Life is Killing Me (2003) (Website) 2 – “Dominion” by The Sisters of Mercy, Covered by Information Society from the album Orders of Magnitude (2016) (Bandcamp) 3 – “Head Like a Hole” by Nine Inch Nails, Covered by PIG from the album Covered in Nails: A Tribute to Nine Inch Nails (2006) (Bandcamp) 4 – “Rock Me Amadeus” by Falco, Covered by Front Line Assembly feat. Jimmy Urine from the album Wake Up the Coma (2019) (Bandcamp) 5 – “Like a Prayer” by Madonna, Covered by BiGod 20 from the album It's Up to You (1993) (Website) 6 – “Supernaut (Trent Reznor Vocal Version)” by Black Sabbath, Covered by 1000 Homo DJs from the EP 1000 Homo DJs (1989) (Website) 7 – “Red Flags & Long Nights” by She Wants Revenge, Covered by Leæther Strip from the album A Tribute To She Wants Revenge (2006) (Bandcamp) 8 – “Enter Sandman” by Metallica, covered by Die Krupps from the album A Tribute to Metallica (1992)(Website) 9 – “Are Friends Electric?” by Gary Numan, covered by Information Society from the album Don't Be Afraid (1997) (Bandcamp)

This week the boys had a special guest in Moonlyte who is a artist, actor, promoter & club owner, he takes us through his journey from just starting as a artist to touring with Trey Songz, he also spoke on the highs & lows that come with being a club owner. The boys also shared their views on the Prince Harry & Meghan Markle interview.

Finally, Chris receives his Christmas/birthday gifts! Dante already received his Birthday gift when AEW and New Japan finally made a deal. We discuss that, and the less than Superb Owl from Sunday.

Mickey speaks with Sarah Symons, Founder and Director of Her Future Coalition](https://herfuturecoalition.org/), their work, and the risks and challenges of working in two continents, especially during COVID-19. Sarah’s book, Standing In The Way hit the shelves on January 11.   We welcome support of the Nonprofit SnapCast via Patreon. We welcome your questions and feedback via The Nonprofit Snapshot website.

Alexander The Podcast Ep 7Weezer - All My Favorite Songshttps://youtu.be/AGPdXYG1msgRun The Jewels - Just Ft. Pharrell and Zach De La Rocha (What So Not Remix)https://youtu.be/IuKj-1sDlt0NOFX - Linewleum Ft. Avenged Sevenfoldhttps://youtu.be/_Y3yDBklhDIDeath Cab For Cutie - King of Carrot Flowers Pt 1 (Neutral Milk Hotel Cover)https://youtu.be/Hnf0f9JCs9QDjango Django - Free From Gravityhttps://youtu.be/fZbjb7QOs_kJohnny Cosmic - Sun and the Moon ft. Collie Buddzhttps://youtu.be/1BA58gkYRvwDavid Gray - Skellighttps://youtu.be/7-GysB1qObcAugust Burns Red - Standing In the Stormhttps://youtu.be/tns_LUxPRo0Historical Shout Out - Cab Calloway https://youtu.be/u7ogK_unbqMNews:Mike Garson (keyboard for Bowie) Talking about David Bowie:https://www.dnextnow.com/podcast-s2-episode-11Genesis delay reunion tour, but air footage of rehearsalshttps://exclaim.ca/music/article/genesis_delay_reunion_tour_yet_again_share_new_rehearsal_footagePreviously unreleased music from AC/DC's late singer Bon Scott Officially Released after 50 yearshttps://www.blabbermouth.net/news/previously-unheard-music-from-late-ac-dc-singer-bon-scott-officially-released-after-50-years/Black Sabbath Drummer Bill Ward releases Happy New Year poemhttps://www.blabbermouth.n et/news/black-sabbath-drummer-bill-ward-releases-happy-new-year-poem/Listen to Nine Inch Nails' Head Like a Hole get a haunting goth makeoverhttps://www.loudersound.com/news/listen-to-nine-inch-nails-track-head-like-a-hole-get-a-haunting-goth-makeoverBiden's Cancellation of Keystone Pipeline faces mixed reactionshttps://www.npr.org/2021/01/21/959335885/biden-s-cancellation-of-permit-for-keystone-xl-pipeline-faces-mixed-reactionsVideo game of the week: HadesIndustry Commentary: Recording demos vs getting a pro producerCharity of the Week: World Central Kitchen

Today, Rob's guest is Ian Anderson Gray, the king of live video. Discover how you can create loads more impact, authority and profit with the power of confident Live Video on the big, high traffic platforms where your prospects hang out: Facebook, LinkedIn and YouTube… TRANSCRIPT: Rob Tyson: Welcome back listener. Rob Tyson here. Now, in the last episode, I talked to B2B lead generation expert Sarah Hughes about four free ways to generate B2B leads in lockdown and beyond. So, be sure to catch up on that if you missed it. But I'm here today with Ian Anderson Gray. Now, Ian, I call the king of live video, and he helps entrepreneurs create loads more impact, authority and profits through the power of confident live video. You may have seen Ian around actually. He is an in-demand speaker and he speaks at events like Social Media Marketing World in the U.S., Content Marketing World, New Media Europe. So, he is a great person to have on to talk about this topic. But before we welcome Ian and get into all that, if you're listening to this show, chances are good you have professional expertise, and it could be you'd like to monetize that through an online learning program. Well, before you do anything else, take a few moments, because I've got a free web class for you that can save you a lot of pain probably, because I would like you to forget locking yourself away, creating content for months on end, only to find no one buys it. I'd like you to forget for the moment funnels, launches, and also selling your expertise for peanuts on a course supermarket. Instead of all that, you will get my rapid method for successfully selling high margin online learning programs in 2020. So, that is all free. And all you need to do to get that is pop along to robtyson.net/class for the details. So, that is, once again, robtyson.net/class. So, with all that said, Ian, welcome. Good to have you with us. Ian: Well, thanks, Rob. It's great to be on your show. Thank you for inviting me on. Rob: No, you're very welcome. And talk to us, so, why are you so enthusiastic about live video? Ian: Well, for many reasons. Probably my favorite bit about it is the fact that we can interact with our audiences, or more importantly, they can interact with us. It's a really intimate platform, and I think we definitely need that. We can so get obsessed by communicating one-way. And this is a way that we can actually have communications both ways, be a little bit more intimate, and be raw and authentic. I know the word authenticity is probably overused, but I think with live video, it's one of the most powerful things. And also, the other thing I love about it is the fact that it is a way to get rid of that perfectionism syndrome that so many of us can get obsessed with, and produce content really quickly and easily, and then be able to repurpose that into lots of different pieces of content. So, that's something that I've found over the last year in doing a regular live video show. I've been able to create so much more content that's really valuable to my audience, and also be able to be a bit more real and engage with them. Rob: Yeah, excellent. No, and you're quite right about the procrastination thing, because I guess if we tell the world we're gonna be doing a live video on Facebook or LinkedIn or whatever at a certain time on a certain day, well, we just gotta do it, right. And it doesn't matter how we feel about it, we've gotta do it, or else we're gonna be embarrassed. And that's really powerful when you realize that you can actually harness that and make it work in your favor. That's a really, really valuable thing, I think, a forcing function like that. Ian: Definitely. Rob: So, Ian, you're gonna kinda take us through three steps to start and be successful with this. So, over to you, sir. Let's talk about those steps. Ian: Well, I've spoken with lots of people around the world, my audience, and clients. And it really...the problems with live video are the....there are three barriers, I think, that hold people back from actually embracing live video. The first really is that confidence and the camera fear. So, people really struggle with pressing that go live button, because they, quite frankly, they're worried about looking like an idiot and stumbling over their words. Maybe they don't like the way they sound or the way they look. And so, that can be a big problem. So, I suppose this is down to mindset. And the problem is that we struggle with so many different things. It could be, as I say, we don't like the way we look or the way we sound. It could be imposter syndrome. It could be perfectionism syndrome. It could be that we compare ourselves with other people. And I think we need to get beyond that. We need to start thinking about, sorry, we need to stop thinking about ourselves and start thinking about our audience. We can get a little bit self-obsessed. And actually, we forget that our audience are just patiently waiting for us to produce that content, whereas we're getting worried about getting in front of the camera. So, there are a number of things that we can do to help that process. The first thing, that's so important, which is important in anything that we do, is to ask the question, why? Why are we doing this? Why are we actually going to be doing live video? And what is the message that we're wanting to put across? You need to have a really, really good reason to do that. Otherwise, it's gonna be very difficult to persuade yourself to press that go live button. You need to be able to plan what you're going to do. So, that's the first thing. And then the second thing is to just do it. Just to practice first, and then just to press that go live button once you've obviously planned it. So, there's a... probably a good place to start here is with the likes of Instagram stories. Now, you might not be massively into Instagram, but Instagram stories are great, because they're only 15 seconds long. They're a great way for you to become more consistent with live... with getting in front of the camera. And it also means that you're going to be able to do that on a regular basis too. So, you have to commit to that. So, commit to maybe doing it every day for seven days. And the great thing about that is that, what's the worst that's gonna happen? Because Instagram stories only last for 24 hours before they disappear into the ether. So, you know, if you make a fool of yourself, it's not gonna be the end of the world. So, that's one good place to start. And then another place to start is just to try it on Facebook. So, whether you're thinking about going live on Facebook or another platform, the great thing about Facebook on the mobile app is that you can change the privacy settings to "only me." So, why not just test going live on your personal profile, nobody else is gonna see it, and just play around with that? So, those are two practical ways. And then the other thing is just to warm up your voice, warm up your body, and to practice your breathing before you go live, because all those kinds of things can really help. Because, the problem is, the camera is a little bit of an energy-sucking device. When we look at the camera, we tend to go all strange and we tend to, kind of, our energy levels go down and down and down, because the camera is sucking the energy out of us. As human beings, we're so used to interacting with other human beings, looking into another person's eyes. And a camera is an inanimate object. It's this very strange thing that I look at when I'm doing my live videos. But actually, there's nobody there. And so, actually, you need to instead of thinking about it as the camera, actually think about that as another human being. I know, some of my clients have actually printed out a picture of a good friend of theirs or one of their really good clients and stuck it just behind their cameras so that they can actually imagine they're talking to that person, and that can really help. Rob: Yeah. And I can certainly feel that. I mean, I've never really thought about it in that way before, but yeah, I've definitely, sort of, felt that energy drain when you're looking at the thing. I mean, the other thing that bothers me sometimes, and I guess it depends on the platform, is if sometimes you're seeing yourself on there, that I can find a bit freaky. But so, getting over the fear is this first step, and to what extent, I mean, we may come onto this later, Ian, but to what extent should we be preparing? Because although they're obviously live videos, you know, I find with my stuff, the more prepared I am, the less nervous I feel. And so, what do you think is the kind of sweet spot between being spontaneous and being... but also being prepared? And, you know, maybe being prepared is just, "Well, I've got some clue what the beginning, the middle, and the end is of this thing." What do you think? Ian: Yeah. Well, that's a great question because it actually depends on the type of live video that you're going to do. So, I went live just the other day on my walk, I was walking in our local park, and I was... the idea of that live video was it was gonna be a little bit more rough around the edges, it was just an opportunity for me to interact with my audience to have a bit of a chat. And so, there really was only one thing that that was gonna be, which was... I had a few ideas of what I was gonna talk about, but it was really more of a conversation between me and my audience. So, I didn't really need to do much planning. But the kind of live videos that I tend to do more often, and the ones that I advocate more, are where you're actually sharing some of your expertise. And so, those you definitely do need to plan, particularly when you start off. You can... as you get more confident with these and you become more comfortable, you can get away without planning it quite so rigidly, although don't get complacent about it. Don't get complacent. So, what I would do with the whole structure, and this is more, maybe more kind of veering into my third... the third section, but I'll just talk about this briefly because it does tie into your confidence. So, I always like to write down the first couple of sentences that I'm going to say, because it's funny what the brain does, but you press that go live button, and quite often, your brain will go complete to mush, because you're suddenly realizing, "Oh, I'm live." And so, actually writing down the first thing that you're gonna say is really, really helpful. You have to treat yourself like a complete imbecile, because your brain just can go to mush for the first few seconds. And so, make sure you plan the first things that you're going to say. Also, when you're going to be talking to your live audience, and when you're gonna be talking to your replay audience as well, and then you need to structure, well, what are the three points, if it's gonna be three, what are the three points that I want to say in this video? What is the call to action? And then, when am I next going to go live? You want to obviously tell people when you're next going to go live. And then, what's the final thing that you're going to say? So, I think you need to structure it. I definitely don't advocate writing it word for word, because then it can become really stale, really boring and robotic. And we don't want that. So, just to have a structure to it, I do that for all my live videos, because if I didn't do that, I would probably end up rambling on and forget what I was going to say. So, definitely have that. I would recommend having a Google Doc, or just write it on a piece of paper and have that very close to you. Rob: So, you, and this is gonna be my follow up question. So, you would actually have that piece of paper there, or you might have, I don't know, post-it notes stuck up or whatever it may be, just some kind of reminder to keep you on track? You'd suggest that's a good thing? Ian: Oh, definitely. I mean, I've done hundreds of shows now, and I still wouldn't do that. I still would not do without having some kind of show notes next to me, because yeah, I have done it without, and it's just ending up being really unfocused and tedious to watch. It kind of depends on you and your character and your personality. But I still even think... I think for most people, they will need that document, a structure, and also, you need to remember those key bits. For example, what is your call to action at the end? It's so easy to forget that. I've forgotten quite a few times to do that call to action, because you're so eager to press the end broadcast button and get it all done with. So, make sure you do that. Rob: Yeah, yeah, I suppose it's a bit like, you know, you go and see the Rolling Stones, but it's a live show, but it doesn't mean they don't have a setlist, right. I mean, you know, they know roughly what's gonna happen. I mean, in fact, you know, I guess with something like that, I mean, that's pretty well-choreographed, isn't it? But... Ian: Well, definitely. And then the other thing is that if you're going to be looking at repurposing your live shows, it's even more important to plan that as well, because what you don't want is... So, to give you an example of what I'm talking about here is, I tape my live shows, and the middle section of my live shows, I then turn into a podcast, and they also get turned into a blog post. And so, if my live shows are all completely unstructured, it's going to be very difficult to then take that bit and turn it into a podcast. It's going to be tedious for my listeners, because I'll be, you know, talking about the comments and talking with people that way, and then getting off on the side track, and it's going to lose that structure. So, I think it's important to have that structure so it makes repurposing for later much easier. Rob: Yeah, that's a great point, actually. And so, talk to us a little bit about repurposing, because I think that's really valuable for people. So, you say, you just said then that with your live shows, you'll repurpose into a podcast, so I get that, so you're just, you know, I guess you're pulling a piece of audio content out of the live. But also the blog post, talk to us about that. I mean, do you use a... is that a transcription service that you use to... you know, you send that off and get that transcribed, or do you use it in a different way? Ian: Yeah. So, I've been experimenting with different ways of doing this. And I'm actually in the process of changing that. So, what I'm hoping to do is actually to hire somebody to make that into a blog post for me. So, they'll listen to the podcast, and then structure that in a way, and then I'll go in and I'll edit it. I've done that on a few ones in the past. And I think that's, in my experience, has been the best way. I have used transcription services too. So, I've used the likes of rev.com. There's also a really cool tool called Descript.com, which allows you to, basically, you could just put the video into the Descript, so you can download it from Facebook, put it into Descript, or you can just put the MP3, the audio into it. It will transcribe it for you. And then you could actually go in and just take out words from the transcription, and then it will remove that from the audio. So, instead of actually editing the waveform like you would normally do in an editor, you actually just edit the words. So, that's pretty cool. And that could be one way that you could make it into the podcast. But also, at the end of that, you can then take that transcript that you've edited, and put that into the blog post. And so, what I've done there in the past is I've taken that transcription, I put headings in it, I've added links, I've added images as I've gone through, and that can work quite well too. So, it kind of depends on what you wanted to do, but I definitely see the power of creating blog posts from my podcasts and my live shows, because historically, my blog has been the main way I've actually got my business. It's been the way I've got lots of traffic to my website, and so, because of all the SEO juice that you get from it, and so, that's something that I really want to put a lot of effort into in the future. Rob: Yes, I like that a lot. I think that's a really clever idea for people, just the idea that, yes, you can do the live video, but it doesn't have to end there, and actually, it could be that if you have some nice processes around what you do, it might be that you just decide, well, I'm going to do a live video once a week, but then it's got all these spin-off benefits because, you know, we can turn that into a written article that can go on the website and on and on. So, that's really good. Yeah. All right. So, that was step one, and so just getting over the fear, you know, as you say, it's not all about you, it's about the audience, just trying to remember that, and doing some preparation. Those are the main things, right, getting over the fear? Ian: Yeah, absolutely. It's a mindset thing. But also, it's warming up your voice as well. So, actually [inaudible 00:16:52] back in the day, I trained as a professional singer, so this is... I've got a probably, [inaudible 00:16:57] about this, but it's making sure that your body is... your posture is nice and relaxed, the upper body, in particular, and warming up your voice. So, one thing is that I see some people do live videos and their voice can end up becoming a little bit of a monotone. So, making sure that you're going up and down, using different pitches in your voice is important. And also, something, what I call "heightened authenticity." So, just very briefly on that, because authenticity is really important. People want to see the real you. And people can actually tell very easily if you are putting an act on. So, don't try and be anything other than yourself, but you need to put a little bit more energy into your live videos than you probably would do normally, because, as I said, the camera is that energy-sucking device. So, what I teach my clients is this whole idea of heightened authenticity. So, it's coming up with a phrase that maybe, it could be your tagline for your business, and then practicing it at different energy levels. So, my tagline is, "Level up your impact and authority using confident live video." So, if I was just talking to you face to face, I would probably say, "Level up your impact and authority using live video." And if I was doing it speaking with a couple of people, maybe three or four people, a group, I'd be, "Level up your impact and authority using live video." If it was a workshop for, in front of 30 people, I would be, "Level up your impact and authority using live video." If I'm in front of a camera, I will want to raise my energy levels a little bit more. So, it'll be more like, "Level up your impact and authority using live video." And then, the really fun one is, imagine you're in front of 10,000 people, you're giving a keynote at a mega-conference, and you have to put even more energy in, it would be something like, "Level up your impact and authority using live video." And the reason I ask people to do that is, and a lot of people feel really uncomfortable when we get to level five, because it just feels, it feels, like, over the top. But that's kind of the point. You need to make it more over the top than you feel... you have to make it more energy than you feel comfortable, because the fact is, when you get in front of the camera, you're probably going to... your energy levels are gonna go down. So, you need to give more than you feel you need to give, whilst being yourself. You don't want to be this, like, ridiculous over-the-top person, which is unlikely to happen. So, you need to get those two things in check. Rob: Yeah, I love that. That's a great point. Many years ago, I read a book by a guy called Max Atkinson, called "Lend Me Your Ears" which is about public speaking. And he makes a similar point. He just says that, when you're up there, it will tend to come across as flat. And so, what you need to do is... it will feel over the top to you when you're doing it, but it won't to the audience, you know, it will just feel, you know, and if you don't, you know, turn it up to 11, sometimes people are just gonna be like, yeah, you know, this is kind of... this is flat, it's boring, it's dull, and as you say, a bit monotonous, so I like that. And I bet you find when you're getting... do you get people to, sort of, scream and that? You know, I mean, I bet you find when they've done that, when they've kind of experienced what it's like to do the, you know, the level five, as you put it, probably they feel a lot more comfortable doing the level three, right, I imagine? Ian: Yeah, absolutely. Yeah. And there's loads of other exercises that I get people to do. So, there are things like lip trill exercises, just to get their voices using the different pitches. So, I'll do one, it's gonna sound really silly, but it's going from the low part of your voice up to the top. So, [vocalization], like that. So, you're really putting a bit of energy into your voice. And then, things like tongue twister exercises, like, make some up, so, [vocalization], really putting lots of emphasis on each of those consonants. And then, you can even sing a song. So, I sing a song at a couple of conferences I've been speaking at and this is just to have a bit of fun. You don't have to be musical. You might have the worst singing voice in the world. But the song that I tend to teach people is, "Daddy's Got a Head Like a Ping Pong Ball" to the tune of the William Tell Overture. And the great thing about this is it helps you with your diction, with your energy, and with your pitch. And it also will, hopefully, put a smile on your face. So, it goes something like this, "Daddy's got a head like a ping pong ball, daddy's got a head like a ping pong ball, Daddy's got a head like a ping pong ball, like a ping pong ball." There you go. You probably didn't expect somebody to sing on your podcast, but there you go. Rob: I've never heard that song before. But I like it. No, that's great. And I can see, you know, if you're doing these kinds of exercises, yeah, you know, it's just gonna make you feel good and help you get past that fear, for sure. Ian: Exactly. Because you want to... when you press that go live button, it's really good to start with a smile and even start with a bit of laughter as well, and quite frankly, at the moment, we probably need a bit of that as well. So, it's good to have a bit of fun with your live videos, I think. Rob: Yeah, that's right. I mean, it's, yeah. Although it can be nerve-racking, it shouldn't... if it feels like it's a death sentence, I mean, it's just, you know, you need to, you know, it doesn't need to be like that, does it? Ian: And one final thing on that, just that I forgot to mention earlier, is that actually, I had a psychologist on my show to talk about this. And there's actually a lot of correlation between the emotion of fear and the emotion of excitement. And so, actually, if you... you might feel that fear before you go live, but actually, if you try and... it's a case of convincing your brain, saying to your brain, "Do you know what? You're not afraid, you're just excited." And so, it's doing these kind of vocal exercises that I talked about, having a plan, and then say, "Do you know what? I'm really excited because I'm gonna be delivering some real value to my audience." Don't let any of those negative voices that are probably saying, you know, I don't know, that you're rubbish, it's gonna sound awful, and all those kinds of things. Don't worry about those. Just put that to one side and just be excited. And, you know, if things go wrong, that's part of the fun. So, I went live last week, and we had a power cut 20 minutes in. So, about five minutes after that, I managed to get my mobile internet on and I had a torch, and we carried on for about three minutes after that. But, you know, people loved it actually. They love when things go wrong. And so, don't let that faze you. You'll know for next time what to do, although, if it's a power cut, there's probably not much you can do about, apart from getting a generator or get the candles out. Rob: Yeah, there we go. No, very good. So, that was the first step then, really, just getting over that fear. And just, I think, recognizing it's something that most of us have, right, I mean, unless we're a complete egomaniac. You know, we're probably all a bit afraid, but that's not a reason not to do it. Ian: Oh yeah, absolutely. I mean, I'm a lot more confident than I used to be. But I'm still quite happy to have a little bit of that fear. It just shows that I care. But I need to kind of get my mindset in check before I press that go live button. I need to know why I'm doing it, I need to make sure that I'm warming up, and that I turn that fear into excitement. Rob: Excellent. Okay. So, that's step one, was the fear and getting over it. Step two, we need to think about the gear, right. This is how you'd frame it? Ian: Yeah. The tech and the gear. So, and this is, some people... depends on your personality. Some people get really excited about this, probably they... you know, and I can understand this because, yeah, I'm a geek, I'm gonna admit it. I love playing with gear and technology. But sometimes, I just want to, just to mention this, that sometimes this, we can get so obsessed or thinking about this so much, that we end up not actually going live. Or sometimes, we can use this as an excuse not to go live. So, a quick story that happened to me about over a year ago, probably about two years ago now, is that I didn't go live for a whole month because I was concerned that my camera wasn't good enough and my background was boring. And so, I was looking for... what I was thinking, "I need to get... I need to upgrade my camera. I need to get somebody in to help me with my backgrounds." And I didn't go live for a whole month. And then it struck me. The real reason was actually I was just too nervous, or I was just... I didn't like the way I looked. And I was comparing myself to others. It was a mindset issue. So, just be aware of that. So, when it comes to tech and gear, it doesn't have to be complicated at all. And I'm a big believer in bootstrapping your live video studio. So, start small. Unless you're totally committed to live video, you know you're going to be super confident with this, and you've got a big budget, by all means, you know, spend £10,000, $10,000 on your live video studio from the start, but that's not most people. Start small and build it up over time. That's what I did. And so, probably a good place to start is to just use your smartphone, whether it's an iPhone or an Android phone. That's a good way just to build up your confidence, because it's so quick and easy. You can go live to Facebook through the Facebook app. And you can also do that to Instagram Live as well. You can't do it to YouTube unless you have over 10,000 followers. And you can't do that on LinkedIn easily. You can't do that through the LinkedIn app. But with Facebook, you can, and it's a great place to start. So, the two things you basically need to go live are first of all a device, whether that's a computer, a tablet, or a phone, a smartphone. And the other thing that you need is decent internet. And the important thing here is your upload speed. So, before you go live, it's always a good idea just to check your internet speed. There's a tool that I use. I'd recommend downloading this for your Mac or your PC or your Android or your iPhone, and it's speedtest.net, and it's... just check your internet speed. You should be looking for at least 3 or 4 Mbs upload. If you've got lower than that, you might be okay, but you might not, and there's nothing worse than going live and then it says your internet connection is unstable, and then people can't see or hear you. So, just check your internet speed. I would say 4 or 5 Mbs upload speed is a good minimum to go for. And then, yes, just start on going live from your smartphone. The next thing that you could look at is upgrading the microphone. And so, if people can hear you really well, that is gonna allow... people are going to stay and listen to you. If your audio is poor, they're gonna switch off. So, the microphone I recommend is a lapel mic. You can either go for the Rode Smartlav+, which is a really good microphone. Or there's a much cheaper version of that, a cheaper alternative, which is from BOYA, that's B-O-Y-A, and it's the BY-M1 lapel microphone. Don't you love these names? They just slip off the tongue. BY-M1. Rob: I do. Tell us those again, Ian, those two, just in case people are scrambling to write them down, please. Ian: Yeah. So, the company of the first one is Rode, R-O-D-E, and the microphone is called the smartLav+ and it's a lapel microphone. And the other one, the cheaper alternative, is the BOYA, B-O-Y-A, and it's the BY-M1. And both of them are lapel mics. Obviously, if you've got an iPhone, you will need, and you've got one of the more modern ones without the headphone jack, you'll need to get an adapter for that. But that's a really good place to start. Rob: So, just to clarify things. So, for example, just using your smartphone and, kind of, plugging one of those into it would be the next step up from just using the smartphone and the built-in mic, is that what you're saying? Ian: Yes, yeah. It really enhances the quality of the audio. And I know actually quite a few YouTubers who use that BOYA microphone, and they've been doing that for ages and get a really good quality. So, that's just a little hack just to improve the quality. So, I suppose at this point, it's a good idea then to talk about, well, what are the pros and cons? Or what's the differences between going live from your phone as opposed to your computer? Because there are big advantages and disadvantages with both. And I think going live from your computer, that's leveling things up and give you a lot more features. So, advantages with going live from your smartphone. Well, first of all, it can give that more raw and authentic feel. It's great if you're out and about and you want to be mobile. Obviously, you can't lug your computer around with you. So, that's really good. And it's just a nice, kind of, very easy way of going live. But the downsides are that if you want to bring anyone in remotely, if you want to do an interview show, you can't do that on any of the apps except for Instagram. And if you wanna share your screen, unless you hold the phone's camera in front of your screen and somehow do it that way, you can't do that. You can't schedule your live videos as well. So, if you're wanting to do what I do, which is I will schedule my shows on Facebook and YouTube, and then be able to then send the link to my email list and on social media, you can't do that if you're going live from your phone. So, that's the disadvantage. So, if you go live on your computer, you can schedule, you can bring in people remotely, you can use more professional webcams and microphones, you can share your screen, you can save the video in a higher quality format for later for repurposing, and you can also highlight comments on the screen as well. LinkedIn live, if you're lucky enough to have been granted access to LinkedIn live, that only works on the computer, although there is an app called Switcher Studio that does allow you to do it from phones. But most of the time, it's just on the computer. So, and highlighting comments and all that kind of stuff is only available if you go live from your computer. So, if you want to start on going live on your smartphone, but then progressing to doing it from your computer is the next step. And I definitely recommend doing that. And it doesn't have to be complicated or difficult. There are some great tools out there that make that really easy for you. Rob: Yeah, very good. And I get the feeling people do this less now than they used to. I mean, a few years ago, it was the norm if you were gonna do some video to, kinda, get to a green screen background and do all this kind of stuff. But my sense is people, they don't really do that so much anymore. It seems a bit out of fashion. I don't know, is that just me? Ian: Well, it's... people are... you know, everyone has a different take. And there are loads of different types of live videos out there. So, I've seen people that use green screens and people that don't. I actually do use a green screen for some of mine. And the only reason I use it, well, I use my green screen for two reasons. The honest reason is that it solves my messy office... Rob: It's terrible back there. Ian: So, it hides that. And also, it can make it fun and interesting. And second of all, it's great if you're doing, "how to" videos, because you can actually just... it's a bit difficult to explain on the podcast, but you can just have your head superimposed on the video that you're showing. So, it can look quite good. But honestly, green screen is difficult to get right, because you've gotta have good lighting, you've gotta have a good camera. And so, I wouldn't recommend that for beginners. That's something that I've only recently done in the last six months. I would again, focus on audio first, get a nice microphone. So, the one I would recommend to start off would be the Samson Q2U microphone is a good one. But seriously, there are so many. There's also the Blue Yeti microphone is a very good one too. But yeah, get a nice microphone that's going to give you good quality. And then, cameras. If you can, don't just use the inbuilt one on your laptop. Try and get an external one. At the moment, there's a total worldwide shortage of these, but any of the Logitech webcams are good. And if you want to level things up even more, and you've got a bit more budget, then you could get a DSLR or a mirrorless camera. So, this is what I've got. I've got a Canon M50. And then, if you have a Mac, you can plug that directly in. If you're on a PC, there's extra software you need to get called... what's it called again? I'm gonna forget the name of it. It'll come back to me in a minute. SparkoCam is the one for PCs. And you can plug that directly in there. And that will give you a much better quality. But again, bootstrap it, you know, you don't need to get all the expensive stuff right from the start. Rob: You don't need it all on day one, no. And what about lighting, Ian? Because if I were to try, in my current office to do something at my current desk, the lighting is... the natural lighting, I should say, is all wrong for me. It's just in completely the wrong place. So, I look, kind of, shadowed out most of the time. So, I kind of feel like I could do with some kind of light on me, but what are your thoughts on that? Is that something we could... what I'm after is, kind of, you know, low level, like, I don't want it to be like Wembley Stadium, you know, but, you know, is there some kind of small light or something that you can recommend that we could use just to get a bit of something going? Ian: Yeah. Lighting is really difficult, and I'm gonna admit, it's not something that I've... I'm still trying to work out the best way that I light my setup. But so, it's a case of playing around with the different solutions that you could have for your office. So, if you have... if you can get in front of a window, and you have good, consistent light, actually, that can work really well for you. Obviously, not in your case, because, depending on your office. So, the other thing is to... you can buy softboxes very cheaply, on the likes of Amazon and other places. The problem with those is they're quite big. And although they're cheap, they're big. And they can also, they're very hot. And so, the ones I would recommend looking for are LED lights. So, I've got ones, they're by a company called Neewer, that's N-E-E-W-E-R, and they do have a variety of different ones. I've got, I think, what do they call this, the... forget the name of them, I think they're the 480 set. So, I think there are 480 LED lights on each one. So, you could probably get by with just one of those or two of those in front of you. And they're really good. If you've got more of a budget, the ones that I absolutely adore, and I haven't got them myself, but I've seen... I've tried not to be too jealous of my friends who've gotten these, and there's a company called Elgato. So, definitely check out Elgato because pretty much all of the products that they produce are amazing. They're not sponsoring me, by the way, I just love what they do. And their light, they've got something called the Key Light. They've got two different key lights. They've got a desk one, so that just sits on your desk. And the great thing with this is that you can adjust the color temperature from your computer, so you can adjust it remotely and get the perfect light for you. So, you can either get one or two of these, and they are lovely. And if you buy, they've got these little programmable keyboards called Stream Decks. Bit difficult to explain, but every key has its own little display that you can customize. And you can use those to program the key lights as well, you could get really geeky. Which, I'd better stop before I go on too much. But yeah, lighting, the Elgato key lights are great as well. Rob: That's nice. No, a lot of ideas there for us to explore if we're so minded. All right. So, that's good. So, we've talked about getting over the fear. And we've talked about the gear and how you can get going with a basic setup and some of the more advanced stuff if you're into that. So, we've got over the fear, we've got the right gear. Now, what do we... Ian: Well, there is one other thing [inaudible 00:37:31] that I forgot to mention. [inaudible 00:37:33] is actually really important. If you're going live from your computer, you need a tool, you need a live video tool. So, you could use Zoom. If you're used to using Zoom, you can actually go live with Zoom. It's not the best, the most, the easiest solution or the most fancy one, but Zoom is good. If you're on a Mac, I highly recommend checking out Ecamm Live. It's a really easy-to-use streaming software, allows you to go live to Facebook and YouTube and all the different platforms. Sorry, Ecamm. Rob: Is that E-C-A-M-M? Is that the one? Am I thinking the right one? Yeah. Ian: Yes. That's right. Ecamm Live. Yeah. That's a really good one. And one that's available for Macs and PCs, because it works in the browser, is called StreamYard, StreamYard. And that has a free version and a paid version, so that works really well. You can bring in guests remotely, and that's a really good one. There are so many. I won't go through all of them. But certainly Ecamm Live, StreamYard are probably two of my recommendations for you. Rob: No, well, you're absolutely right, and we'd have been a bit stuck if we'd forgotten those. So, that's good. So, with those, you know, with that software, and, you know, the camera, the mic, and all the good things that we talked about, so we're ready to go. And then the question, of course, is what do we say on our live videos? You know, what kind of content do we create? Ian: Yeah. So, it really depends on this kind of live video that you're going to be producing. So, the format that I really like and see a lot of value in, and I've been doing regularly every single week, sometimes twice a week for the last year, is the show format. And this can either be a solo show, it can be a guest show, so you can bring in somebody remotely, that, who you're going to interview, or you could even do a co-hosted show, so there's two of you that you either just talk with each other, or you bring in a guest. So, it kind of depends on what you're wanting to do. For me, for my show, I either do them solo, shows, or I bring in a guest. And so, my show is all about how to be more confident with live videos. So, that is the theme. So, I would say, what is the theme going to be for your show? And then you... it's like how you create any other kind of content. So, every time you go on, you're going to have your theme, but then you're gonna have a particular piece of content that you're gonna be talking about. So, what is that going to be, and then breaking it up into those two or three or four sections, and talk about that. And then within those sections, you can then bring in comments, answer questions that people have, so that you're not getting too distracted by those comments. So, you need to, first of all, know what you're gonna be talking about. What's the theme? What is good, are you actually gonna be talking about per episode? And obviously, then you gotta think about, is it gonna be just me? Is it a solo show? Or am I going to bring in a guest, or is it a co-hosted show? And, I think for beginners, for people who are new to this, I actually think interview shows, or a co-hosted show, yes, it does have its own set of problems, but it's actually a good place to start, because it feels more like a conversation, like what we're doing today is a conversation. It's like, you know, we're not in the same room, but we're having a conversation with each other. That's a little bit easier than just doing it on your own, because then you really, really need to know your stuff and you need to make sure that you're not stuttering over your words and getting distracted. So, I would maybe think about doing an interview show first, and using a tool like StreamYard or Ecamm Live makes that very, very easy for you. Rob: Yeah. And the other thing with the interview type format is, again, it's a kind of forcing function, isn't it? Because, you know, if you've booked a guest and, or you have a co-host, then that's a commitment in the diary that you can't easily get out of. Whereas if it's just, it it's the Robert Tyson show, you know, gosh, actually, I feel a bit tired today, maybe I won't do that. So, that's another benefit, I suppose. Ian: Absolutely. Oh my goodness. And I'm laughing because I've been there. I think we all have, you know. And so, actually, if you have a guest, you've got to do it. So, and I think from the beginning, the first probably dozen videos that you do, I hate to say this, the first dozen live videos that you're gonna do, they're not gonna be that great. They're not gonna your best... Rob: [crosstalk 00:42:10]. Ian: Yeah. Okay. Well, you're actually saying it how it really is, you know. It's true. And so... and your confidence levels are gonna be low. And so, I like to draw this graph which basically goes up. It has a few ups and downs along the way. Sometimes your confidence will go up. Sometimes you'll have a tech disaster and that rattles your confidence, but you've gotta keep going and get better. So, it's a good place to start with, with having an interview. Rob: Yeah, I like it. And talk to us, you have a model, or a checklist, a process, The 5 P's. Talk to us a little bit about that. Ian: Yeah. So, The 5 P's, I mean, this just takes you through all the elements that you need to think about. So the first element, we kind of talked about it already, is the planning. So, this also includes, you need to have a tech check... if I can say the word, a tech checklist, of all the things that you need to do. So, check your audio, check your internet. Make sure all the tools are working really well. Know what you're gonna talk about, so have a document that has got all the stuff that you need. So, that's the first thing that you need to do. Second thing is pre-promotion. Let everyone know out there that you're going to go live next Tuesday at 2:00. If you're gonna schedule that live video, that makes it a lot easier, so you can send the link out to your list. You can send it out on social media. You can send that information to your guests for them to be able to do that promotion. You can create videos and you can create all that kind of information to promote your live show next Tuesday, because if you don't tell people about it, then, you know, no one's gonna turn up, or it's gonna be... you're gonna be very disappointed in your numbers. So, pre-promotion, really important. Then it comes to the day that you're going to go live. And this is all to do with production. We've talked a lot about that before. It's how you structure the show, it's warming your voice up before you go live. It's pressing that go live button, knowing what you're going to say. It's being able to use the software confidently and making sure that you've obviously tested that before. Then, once you press the end broadcast button, it's at that point that most people go and have a lie-down, and think that's the end of it. But of course, it's not. We want to turn that live video into a piece of evergreen content that's going to last for a long time. And so, it's at that point that you need to think about the post promotion. And here, it's down to getting people to listen and watch the replay of it, because you might only have 10 people watching your live, but you might have 30, 40, 50, even 100 people who are watching that live video later. And so, you want to get people watching that. You might want to, again, do, send people that from your email, through social media, get your guests to share it with their audience too. So, that's the post promotion. And then the bit that I get really excited about is, which we've already talked about, is the repurposing of your live shows, turning that maybe into a podcast, into short little snippets to share on social media, into a blog post, into an infographic. And there's so many things you can do there, from that one piece of content. You can turn that into a plethora of different content that's going to, hopefully, explode across the interwebs and allow you to focus on running your business without having to worry about creating so much content, because it's a lot easier doing it from that one live show. Rob: Yeah, I love that. And I suppose, would you agree, it's usually a smart choice if you decide that what you're gonna do with your content is have a few things in there that are going to be really evergreen, so that you can get the most mileage out of them, because I suppose this is one of the issues. If you're doing something that's very topical, you know, things change. Ian: Yeah, absolutely. I mean, I did a podcast many, many years ago. It was the "Social Media News" podcast, not the most exciting one. I spent ages editing it, and because I was talking about the latest that was happening in the social media world, it was out of date after a week. So, it's not to say that doing those kinds of episodes is a bad thing, because occasionally, it is a good idea to, if there's a hot topic to talk about at the moment, then, by all means, talk about that. But I am more into creating evergreen content that's gonna last for a long time, because it just means you're creating less work for yourself and it's going to last a lot longer for you. Rob: Yeah, I think I'm in your camp. As you say, I mean, sometimes you can catch a wave with the really topical stuff and that helps you, but I think on balance, yeah, I'd rather be in the evergreen, evergreen gotta camp, you know, to the degree that I can be. Ian: Definitely. Yeah. Rob: Yeah. Well, look, Ian, this has been so good. So, there's... you shared a wealth of stuff with us. If listeners just took one nugget or piece of advice away, what would that be? Ian: So difficult to say one thing, but it's really to press that button, to just go live. Obviously, plan and prepare and do all that kind of stuff, but don't procrastinate. You know, because I've been there. It took me, like, probably one or two years to actually get round to producing my own live show. Don't be like me. Just do it. And now is a really good time to do it, because so many more people are doing it. And so, yeah. That's what I'd say to people. Rob: Just get it done. So, maybe, pick a date, pick a time, tell your network that it's happening, and just get out there and do it, perhaps. Ian: Absolutely. Rob: Yeah. Awesome. Ian, as I said, it's been great. Where's the best place for people to get more from you? Ian: So, the best place is my website. I've got loads of guides on how to improve your confidence. I've got tech guides and things like that. And I've also got my podcast, it's, "The Confident Live Marketing Podcast" which can be found, my website is iag.me, and my podcast is at iag.me/podcast. Rob: Ian, I just wanna say thank you. This has been great. Loads of fantastic information for people. I do appreciate it. Thank you so much. Ian: Thanks Rob, it's been great to be on.

Today, Rob's guest is Ian Anderson Gray, the king of live video. Discover how you can create loads more impact, authority and profit with the power of confident Live Video on the big, high traffic platforms where your prospects hang out: Facebook, LinkedIn and YouTube… TRANSCRIPT: Rob Tyson: Welcome back listener. Rob Tyson here. Now, in the last episode, I talked to B2B lead generation expert Sarah Hughes about four free ways to generate B2B leads in lockdown and beyond. So, be sure to catch up on that if you missed it. But I'm here today with Ian Anderson Gray. Now, Ian, I call the king of live video, and he helps entrepreneurs create loads more impact, authority and profits through the power of confident live video. You may have seen Ian around actually. He is an in-demand speaker and he speaks at events like Social Media Marketing World in the U.S., Content Marketing World, New Media Europe. So, he is a great person to have on to talk about this topic. But before we welcome Ian and get into all that, if you're listening to this show, chances are good you have professional expertise, and it could be you'd like to monetize that through an online learning program. Well, before you do anything else, take a few moments, because I've got a free web class for you that can save you a lot of pain probably, because I would like you to forget locking yourself away, creating content for months on end, only to find no one buys it. I'd like you to forget for the moment funnels, launches, and also selling your expertise for peanuts on a course supermarket. Instead of all that, you will get my rapid method for successfully selling high margin online learning programs in 2020. So, that is all free. And all you need to do to get that is pop along to robtyson.net/class for the details. So, that is, once again, robtyson.net/class. So, with all that said, Ian, welcome. Good to have you with us. Ian: Well, thanks, Rob. It's great to be on your show. Thank you for inviting me on. Rob: No, you're very welcome. And talk to us, so, why are you so enthusiastic about live video? Ian: Well, for many reasons. Probably my favorite bit about it is the fact that we can interact with our audiences, or more importantly, they can interact with us. It's a really intimate platform, and I think we definitely need that. We can so get obsessed by communicating one-way. And this is a way that we can actually have communications both ways, be a little bit more intimate, and be raw and authentic. I know the word authenticity is probably overused, but I think with live video, it's one of the most powerful things. And also, the other thing I love about it is the fact that it is a way to get rid of that perfectionism syndrome that so many of us can get obsessed with, and produce content really quickly and easily, and then be able to repurpose that into lots of different pieces of content. So, that's something that I've found over the last year in doing a regular live video show. I've been able to create so much more content that's really valuable to my audience, and also be able to be a bit more real and engage with them. Rob: Yeah, excellent. No, and you're quite right about the procrastination thing, because I guess if we tell the world we're gonna be doing a live video on Facebook or LinkedIn or whatever at a certain time on a certain day, well, we just gotta do it, right. And it doesn't matter how we feel about it, we've gotta do it, or else we're gonna be embarrassed. And that's really powerful when you realize that you can actually harness that and make it work in your favor. That's a really, really valuable thing, I think, a forcing function like that. Ian: Definitely. Rob: So, Ian, you're gonna kinda take us through three steps to start and be successful with this. So, over to you, sir. Let's talk about those steps. Ian: Well, I've spoken with lots of people around the world, my audience, and clients. And it really...the problems with live video are the....there are three barriers, I think, that hold people back from actually embracing live video. The first really is that confidence and the camera fear. So, people really struggle with pressing that go live button, because they, quite frankly, they're worried about looking like an idiot and stumbling over their words. Maybe they don't like the way they sound or the way they look. And so, that can be a big problem. So, I suppose this is down to mindset. And the problem is that we struggle with so many different things. It could be, as I say, we don't like the way we look or the way we sound. It could be imposter syndrome. It could be perfectionism syndrome. It could be that we compare ourselves with other people. And I think we need to get beyond that. We need to start thinking about, sorry, we need to stop thinking about ourselves and start thinking about our audience. We can get a little bit self-obsessed. And actually, we forget that our audience are just patiently waiting for us to produce that content, whereas we're getting worried about getting in front of the camera. So, there are a number of things that we can do to help that process. The first thing, that's so important, which is important in anything that we do, is to ask the question, why? Why are we doing this? Why are we actually going to be doing live video? And what is the message that we're wanting to put across? You need to have a really, really good reason to do that. Otherwise, it's gonna be very difficult to persuade yourself to press that go live button. You need to be able to plan what you're going to do. So, that's the first thing. And then the second thing is to just do it. Just to practice first, and then just to press that go live button once you've obviously planned it. So, there's a... probably a good place to start here is with the likes of Instagram stories. Now, you might not be massively into Instagram, but Instagram stories are great, because they're only 15 seconds long. They're a great way for you to become more consistent with live... with getting in front of the camera. And it also means that you're going to be able to do that on a regular basis too. So, you have to commit to that. So, commit to maybe doing it every day for seven days. And the great thing about that is that, what's the worst that's gonna happen? Because Instagram stories only last for 24 hours before they disappear into the ether. So, you know, if you make a fool of yourself, it's not gonna be the end of the world. So, that's one good place to start. And then another place to start is just to try it on Facebook. So, whether you're thinking about going live on Facebook or another platform, the great thing about Facebook on the mobile app is that you can change the privacy settings to "only me." So, why not just test going live on your personal profile, nobody else is gonna see it, and just play around with that? So, those are two practical ways. And then the other thing is just to warm up your voice, warm up your body, and to practice your breathing before you go live, because all those kinds of things can really help. Because, the problem is, the camera is a little bit of an energy-sucking device. When we look at the camera, we tend to go all strange and we tend to, kind of, our energy levels go down and down and down, because the camera is sucking the energy out of us. As human beings, we're so used to interacting with other human beings, looking into another person's eyes. And a camera is an inanimate object. It's this very strange thing that I look at when I'm doing my live videos. But actually, there's nobody there. And so, actually, you need to instead of thinking about it as the camera, actually think about that as another human being. I know, some of my clients have actually printed out a picture of a good friend of theirs or one of their really good clients and stuck it just behind their cameras so that they can actually imagine they're talking to that person, and that can really help. Rob: Yeah. And I can certainly feel that. I mean, I've never really thought about it in that way before, but yeah, I've definitely, sort of, felt that energy drain when you're looking at the thing. I mean, the other thing that bothers me sometimes, and I guess it depends on the platform, is if sometimes you're seeing yourself on there, that I can find a bit freaky. But so, getting over the fear is this first step, and to what extent, I mean, we may come onto this later, Ian, but to what extent should we be preparing? Because although they're obviously live videos, you know, I find with my stuff, the more prepared I am, the less nervous I feel. And so, what do you think is the kind of sweet spot between being spontaneous and being... but also being prepared? And, you know, maybe being prepared is just, "Well, I've got some clue what the beginning, the middle, and the end is of this thing." What do you think? Ian: Yeah. Well, that's a great question because it actually depends on the type of live video that you're going to do. So, I went live just the other day on my walk, I was walking in our local park, and I was... the idea of that live video was it was gonna be a little bit more rough around the edges, it was just an opportunity for me to interact with my audience to have a bit of a chat. And so, there really was only one thing that that was gonna be, which was... I had a few ideas of what I was gonna talk about, but it was really more of a conversation between me and my audience. So, I didn't really need to do much planning. But the kind of live videos that I tend to do more often, and the ones that I advocate more, are where you're actually sharing some of your expertise. And so, those you definitely do need to plan, particularly when you start off. You can... as you get more confident with these and you become more comfortable, you can get away without planning it quite so rigidly, although don't get complacent about it. Don't get complacent. So, what I would do with the whole structure, and this is more, maybe more kind of veering into my third... the third section, but I'll just talk about this briefly because it does tie into your confidence. So, I always like to write down the first couple of sentences that I'm going to say, because it's funny what the brain does, but you press that go live button, and quite often, your brain will go complete to mush, because you're suddenly realizing, "Oh, I'm live." And so, actually writing down the first thing that you're gonna say is really, really helpful. You have to treat yourself like a complete imbecile, because your brain just can go to mush for the first few seconds. And so, make sure you plan the first things that you're going to say. Also, when you're going to be talking to your live audience, and when you're gonna be talking to your replay audience as well, and then you need to structure, well, what are the three points, if it's gonna be three, what are the three points that I want to say in this video? What is the call to action? And then, when am I next going to go live? You want to obviously tell people when you're next going to go live. And then, what's the final thing that you're going to say? So, I think you need to structure it. I definitely don't advocate writing it word for word, because then it can become really stale, really boring and robotic. And we don't want that. So, just to have a structure to it, I do that for all my live videos, because if I didn't do that, I would probably end up rambling on and forget what I was going to say. So, definitely have that. I would recommend having a Google Doc, or just write it on a piece of paper and have that very close to you. Rob: So, you, and this is gonna be my follow up question. So, you would actually have that piece of paper there, or you might have, I don't know, post-it notes stuck up or whatever it may be, just some kind of reminder to keep you on track? You'd suggest that's a good thing? Ian: Oh, definitely. I mean, I've done hundreds of shows now, and I still wouldn't do that. I still would not do without having some kind of show notes next to me, because yeah, I have done it without, and it's just ending up being really unfocused and tedious to watch. It kind of depends on you and your character and your personality. But I still even think... I think for most people, they will need that document, a structure, and also, you need to remember those key bits. For example, what is your call to action at the end? It's so easy to forget that. I've forgotten quite a few times to do that call to action, because you're so eager to press the end broadcast button and get it all done with. So, make sure you do that. Rob: Yeah, yeah, I suppose it's a bit like, you know, you go and see the Rolling Stones, but it's a live show, but it doesn't mean they don't have a setlist, right. I mean, you know, they know roughly what's gonna happen. I mean, in fact, you know, I guess with something like that, I mean, that's pretty well-choreographed, isn't it? But... Ian: Well, definitely. And then the other thing is that if you're going to be looking at repurposing your live shows, it's even more important to plan that as well, because what you don't want is... So, to give you an example of what I'm talking about here is, I tape my live shows, and the middle section of my live shows, I then turn into a podcast, and they also get turned into a blog post. And so, if my live shows are all completely unstructured, it's going to be very difficult to then take that bit and turn it into a podcast. It's going to be tedious for my listeners, because I'll be, you know, talking about the comments and talking with people that way, and then getting off on the side track, and it's going to lose that structure. So, I think it's important to have that structure so it makes repurposing for later much easier. Rob: Yeah, that's a great point, actually. And so, talk to us a little bit about repurposing, because I think that's really valuable for people. So, you say, you just said then that with your live shows, you'll repurpose into a podcast, so I get that, so you're just, you know, I guess you're pulling a piece of audio content out of the live. But also the blog post, talk to us about that. I mean, do you use a... is that a transcription service that you use to... you know, you send that off and get that transcribed, or do you use it in a different way? Ian: Yeah. So, I've been experimenting with different ways of doing this. And I'm actually in the process of changing that. So, what I'm hoping to do is actually to hire somebody to make that into a blog post for me. So, they'll listen to the podcast, and then structure that in a way, and then I'll go in and I'll edit it. I've done that on a few ones in the past. And I think that's, in my experience, has been the best way. I have used transcription services too. So, I've used the likes of rev.com. There's also a really cool tool called Descript.com, which allows you to, basically, you could just put the video into the Descript, so you can download it from Facebook, put it into Descript, or you can just put the MP3, the audio into it. It will transcribe it for you. And then you could actually go in and just take out words from the transcription, and then it will remove that from the audio. So, instead of actually editing the waveform like you would normally do in an editor, you actually just edit the words. So, that's pretty cool. And that could be one way that you could make it into the podcast. But also, at the end of that, you can then take that transcript that you've edited, and put that into the blog post. And so, what I've done there in the past is I've taken that transcription, I put headings in it, I've added links, I've added images as I've gone through, and that can work quite well too. So, it kind of depends on what you wanted to do, but I definitely see the power of creating blog posts from my podcasts and my live shows, because historically, my blog has been the main way I've actually got my business. It's been the way I've got lots of traffic to my website, and so, because of all the SEO juice that you get from it, and so, that's something that I really want to put a lot of effort into in the future. Rob: Yes, I like that a lot. I think that's a really clever idea for people, just the idea that, yes, you can do the live video, but it doesn't have to end there, and actually, it could be that if you have some nice processes around what you do, it might be that you just decide, well, I'm going to do a live video once a week, but then it's got all these spin-off benefits because, you know, we can turn that into a written article that can go on the website and on and on. So, that's really good. Yeah. All right. So, that was step one, and so just getting over the fear, you know, as you say, it's not all about you, it's about the audience, just trying to remember that, and doing some preparation. Those are the main things, right, getting over the fear? Ian: Yeah, absolutely. It's a mindset thing. But also, it's warming up your voice as well. So, actually [inaudible 00:16:52] back in the day, I trained as a professional singer, so this is... I've got a probably, [inaudible 00:16:57] about this, but it's making sure that your body is... your posture is nice and relaxed, the upper body, in particular, and warming up your voice. So, one thing is that I see some people do live videos and their voice can end up becoming a little bit of a monotone. So, making sure that you're going up and down, using different pitches in your voice is important. And also, something, what I call "heightened authenticity." So, just very briefly on that, because authenticity is really important. People want to see the real you. And people can actually tell very easily if you are putting an act on. So, don't try and be anything other than yourself, but you need to put a little bit more energy into your live videos than you probably would do normally, because, as I said, the camera is that energy-sucking device. So, what I teach my clients is this whole idea of heightened authenticity. So, it's coming up with a phrase that maybe, it could be your tagline for your business, and then practicing it at different energy levels. So, my tagline is, "Level up your impact and authority using confident live video." So, if I was just talking to you face to face, I would probably say, "Level up your impact and authority using live video." And if I was doing it speaking with a couple of people, maybe three or four people, a group, I'd be, "Level up your impact and authority using live video." If it was a workshop for, in front of 30 people, I would be, "Level up your impact and authority using live video." If I'm in front of a camera, I will want to raise my energy levels a little bit more. So, it'll be more like, "Level up your impact and authority using live video." And then, the really fun one is, imagine you're in front of 10,000 people, you're giving a keynote at a mega-conference, and you have to put even more energy in, it would be something like, "Level up your impact and authority using live video." And the reason I ask people to do that is, and a lot of people feel really uncomfortable when we get to level five, because it just feels, it feels, like, over the top. But that's kind of the point. You need to make it more over the top than you feel... you have to make it more energy than you feel comfortable, because the fact is, when you get in front of the camera, you're probably going to... your energy levels are gonna go down. So, you need to give more than you feel you need to give, whilst being yourself. You don't want to be this, like, ridiculous over-the-top person, which is unlikely to happen. So, you need to get those two things in check. Rob: Yeah, I love that. That's a great point. Many years ago, I read a book by a guy called Max Atkinson, called "Lend Me Your Ears" which is about public speaking. And he makes a similar point. He just says that, when you're up there, it will tend to come across as flat. And so, what you need to do is... it will feel over the top to you when you're doing it, but it won't to the audience, you know, it will just feel, you know, and if you don't, you know, turn it up to 11, sometimes people are just gonna be like, yeah, you know, this is kind of... this is flat, it's boring, it's dull, and as you say, a bit monotonous, so I like that. And I bet you find when you're getting... do you get people to, sort of, scream and that? You know, I mean, I bet you find when they've done that, when they've kind of experienced what it's like to do the, you know, the level five, as you put it, probably they feel a lot more comfortable doing the level three, right, I imagine? Ian: Yeah, absolutely. Yeah. And there's loads of other exercises that I get people to do. So, there are things like lip trill exercises, just to get their voices using the different pitches. So, I'll do one, it's gonna sound really silly, but it's going from the low part of your voice up to the top. So, [vocalization], like that. So, you're really putting a bit of energy into your voice. And then, things like tongue twister exercises, like, make some up, so, [vocalization], really putting lots of emphasis on each of those consonants. And then, you can even sing a song. So, I sing a song at a couple of conferences I've been speaking at and this is just to have a bit of fun. You don't have to be musical. You might have the worst singing voice in the world. But the song that I tend to teach people is, "Daddy's Got a Head Like a Ping Pong Ball" to the tune of the William Tell Overture. And the great thing about this is it helps you with your diction, with your energy, and with your pitch. And it also will, hopefully, put a smile on your face. So, it goes something like this, "Daddy's got a head like a ping pong ball, daddy's got a head like a ping pong ball, Daddy's got a head like a ping pong ball, like a ping pong ball." There you go. You probably didn't expect somebody to sing on your podcast, but there you go. Rob: I've never heard that song before. But I like it. No, that's great. And I can see, you know, if you're doing these kinds of exercises, yeah, you know, it's just gonna make you feel good and help you get past that fear, for sure. Ian: Exactly. Because you want to... when you press that go live button, it's really good to start with a smile and even start with a bit of laughter as well, and quite frankly, at the moment, we probably need a bit of that as well. So, it's good to have a bit of fun with your live videos, I think. Rob: Yeah, that's right. I mean, it's, yeah. Although it can be nerve-racking, it shouldn't... if it feels like it's a death sentence, I mean, it's just, you know, you need to, you know, it doesn't need to be like that, does it? Ian: And one final thing on that, just that I forgot to mention earlier, is that actually, I had a psychologist on my show to talk about this. And there's actually a lot of correlation between the emotion of fear and the emotion of excitement. And so, actually, if you... you might feel that fear before you go live, but actually, if you try and... it's a case of convincing your brain, saying to your brain, "Do you know what? You're not afraid, you're just excited." And so, it's doing these kind of vocal exercises that I talked about, having a plan, and then say, "Do you know what? I'm really excited because I'm gonna be delivering some real value to my audience." Don't let any of those negative voices that are probably saying, you know, I don't know, that you're rubbish, it's gonna sound awful, and all those kinds of things. Don't worry about those. Just put that to one side and just be excited. And, you know, if things go wrong, that's part of the fun. So, I went live last week, and we had a power cut 20 minutes in. So, about five minutes after that, I managed to get my mobile internet on and I had a torch, and we carried on for about three minutes after that. But, you know, people loved it actually. They love when things go wrong. And so, don't let that faze you. You'll know for next time what to do, although, if it's a power cut, there's probably not much you can do about, apart from getting a generator or get the candles out. Rob: Yeah, there we go. No, very good. So, that was the first step then, really, just getting over that fear. And just, I think, recognizing it's something that most of us have, right, I mean, unless we're a complete egomaniac. You know, we're probably all a bit afraid, but that's not a reason not to do it. Ian: Oh yeah, absolutely. I mean, I'm a lot more confident than I used to be. But I'm still quite happy to have a little bit of that fear. It just shows that I care. But I need to kind of get my mindset in check before I press that go live button. I need to know why I'm doing it, I need to make sure that I'm warming up, and that I turn that fear into excitement. Rob: Excellent. Okay. So, that's step one, was the fear and getting over it. Step two, we need to think about the gear, right. This is how you'd frame it? Ian: Yeah. The tech and the gear. So, and this is, some people... depends on your personality. Some people get really excited about this, probably they... you know, and I can understand this because, yeah, I'm a geek, I'm gonna admit it. I love playing with gear and technology. But sometimes, I just want to, just to mention this, that sometimes this, we can get so obsessed or thinking about this so much, that we end up not actually going live. Or sometimes, we can use this as an excuse not to go live. So, a quick story that happened to me about over a year ago, probably about two years ago now, is that I didn't go live for a whole month because I was concerned that my camera wasn't good enough and my background was boring. And so, I was looking for... what I was thinking, "I need to get... I need to upgrade my camera. I need to get somebody in to help me with my backgrounds." And I didn't go live for a whole month. And then it struck me. The real reason was actually I was just too nervous, or I was just... I didn't like the way I looked. And I was comparing myself to others. It was a mindset issue. So, just be aware of that. So, when it comes to tech and gear, it doesn't have to be complicated at all. And I'm a big believer in bootstrapping your live video studio. So, start small. Unless you're totally committed to live video, you know you're going to be super confident with this, and you've got a big budget, by all means, you know, spend £10,000, $10,000 on your live video studio from the start, but that's not most people. Start small and build it up over time. That's what I did. And so, probably a good place to start is to just use your smartphone, whether it's an iPhone or an Android phone. That's a good way just to build up your confidence, because it's so quick and easy. You can go live to Facebook through the Facebook app. And you can also do that to Instagram Live as well. You can't do it to YouTube unless you have over 10,000 followers. And you can't do that on LinkedIn easily. You can't do that through the LinkedIn app. But with Facebook, you can, and it's a great place to start. So, the two things you basically need to go live are first of all a device, whether that's a computer, a tablet, or a phone, a smartphone. And the other thing that you need is decent internet. And the important thing here is your upload speed. So, before you go live, it's always a good idea just to check your internet speed. There's a tool that I use. I'd recommend downloading this for your Mac or your PC or your Android or your iPhone, and it's speedtest.net, and it's... just check your internet speed. You should be looking for at least 3 or 4 Mbs upload. If you've got lower than that, you might be okay, but you might not, and there's nothing worse than going live and then it says your internet connection is unstable, and then people can't see or hear you. So, just check your internet speed. I would say 4 or 5 Mbs upload speed is a good minimum to go for. And then, yes, just start on going live from your smartphone. The next thing that you could look at is upgrading the microphone. And so, if people can hear you really well, that is gonna allow... people are going to stay and listen to you. If your audio is poor, they're gonna switch off. So, the microphone I recommend is a lapel mic. You can either go for the Rode Smartlav+, which is a really good microphone. Or there's a much cheaper version of that, a cheaper alternative, which is from BOYA, that's B-O-Y-A, and it's the BY-M1 lapel microphone. Don't you love these names? They just slip off the tongue. BY-M1. Rob: I do. Tell us those again, Ian, those two, just in case people are scrambling to write them down, please. Ian: Yeah. So, the company of the first one is Rode, R-O-D-E, and the microphone is called the smartLav+ and it's a lapel microphone. And the other one, the cheaper alternative, is the BOYA, B-O-Y-A, and it's the BY-M1. And both of them are lapel mics. Obviously, if you've got an iPhone, you will need, and you've got one of the more modern ones without the headphone jack, you'll need to get an adapter for that. But that's a really good place to start. Rob: So, just to clarify things. So, for example, just using your smartphone and, kind of, plugging one of those into it would be the next step up from just using the smartphone and the built-in mic, is that what you're saying? Ian: Yes, yeah. It really enhances the quality of the audio. And I know actually quite a few YouTubers who use that BOYA microphone, and they've been doing that for ages and get a really good quality. So, that's just a little hack just to improve the quality. So, I suppose at this point, it's a good idea then to talk about, well, what are the pros and cons? Or what's the differences between going live from your phone as opposed to your computer? Because there are big advantages and disadvantages with both. And I think going live from your computer, that's leveling things up and give you a lot more features. So, advantages with going live from your smartphone. Well, first of all, it can give that more raw and authentic feel. It's great if you're out and about and you want to be mobile. Obviously, you can't lug your computer around with you. So, that's really good. And it's just a nice, kind of, very easy way of going live. But the downsides are that if you want to bring anyone in remotely, if you want to do an interview show, you can't do that on any of the apps except for Instagram. And if you wanna share your screen, unless you hold the phone's camera in front of your screen and somehow do it that way, you can't do that. You can't schedule your live videos as well. So, if you're wanting to do what I do, which is I will schedule my shows on Facebook and YouTube, and then be able to then send the link to my email list and on social media, you can't do that if you're going live from your phone. So, that's the disadvantage. So, if you go live on your computer, you can schedule, you can bring in people remotely, you can use more professional webcams and microphones, you can share your screen, you can save the video in a higher quality format for later for repurposing, and you can also highlight comments on the screen as well. LinkedIn live, if you're lucky enough to have been granted access to LinkedIn live, that only works on the computer, although there is an app called Switcher Studio that does allow you to do it from phones. But most of the time, it's just on the computer. So, and highlighting comments and all that kind of stuff is only available if you go live from your computer. So, if you want to start on going live on your smartphone, but then progressing to doing it from your computer is the next step. And I definitely recommend doing that. And it doesn't have to be complicated or difficult. There are some great tools out there that make that really easy for you. Rob: Yeah, very good. And I get the feeling people do this less now than they used to. I mean, a few years ago, it was the norm if you were gonna do some video to, kinda, get to a green screen background and do all this kind of stuff. But my sense is people, they don't really do that so much anymore. It seems a bit out of fashion. I don't know, is that just me? Ian: Well, it's... people are... you know, everyone has a different take. And there are loads of different types of live videos out there. So, I've seen people that use green screens and people that don't. I actually do use a green screen for some of mine. And the only reason I use it, well, I use my green screen for two reasons. The honest reason is that it solves my messy office... Rob: It's terrible back there. Ian: So, it hides that. And also, it can make it fun and interesting. And second of all, it's great if you're doing, "how to" videos, because you can actually just... it's a bit difficult to explain on the podcast, but you can just have your head superimposed on the video that you're showing. So, it can look quite good. But honestly, green screen is difficult to get right, because you've gotta have good lighting, you've gotta have a good camera. And so, I wouldn't recommend that for beginners. That's something that I've only recently done in the last six months. I would again, focus on audio first, get a nice microphone. So, the one I would recommend to start off would be the Samson Q2U microphone is a good one. But seriously, there are so many. There's also the Blue Yeti microphone is a very good one too. But yeah, get a nice microphone that's going to give you good quality. And then, cameras. If you can, don't just use the inbuilt one on your laptop. Try and get an external one. At the moment, there's a total worldwide shortage of these, but any of the Logitech webcams are good. And if you want to level things up even more, and you've got a bit more budget, then you could get a DSLR or a mirrorless camera. So, this is what I've got. I've got a Canon M50. And then, if you have a Mac, you can plug that directly in. If you're on a PC, there's extra software you need to get called... what's it called again? I'm gonna forget the name of it. It'll come back to me in a minute. SparkoCam is the one for PCs. And you can plug that directly in there. And that will give you a much better quality. But again, bootstrap it, you know, you don't need to get all the expensive stuff right from the start. Rob: You don't need it all on day one, no. And what about lighting, Ian? Because if I were to try, in my current office to do something at my current desk, the lighting is... the natural lighting, I should say, is all wrong for me. It's just in completely the wrong place. So, I look, kind of, shadowed out most of the time. So, I kind of feel like I could do with some kind of light on me, but what are your thoughts on that? Is that something we could... what I'm after is, kind of, you know, low level, like, I don't want it to be like Wembley Stadium, you know, but, you know, is there some kind of small light or something that you can recommend that we could use just to get a bit of something going? Ian: Yeah. Lighting is really difficult, and I'm gonna admit, it's not something that I've... I'm still trying to work out the best way that I light my setup. But so, it's a case of playing around with the different solutions that you could have for your office. So, if you have... if you can get in front of a window, and you have good, consistent light, actually, that can work really well for you. Obviously, not in your case, because, depending on your office. So, the other thing is to... you can buy softboxes very cheaply, on the likes of Amazon and other places. The problem with those is they're quite big. And although they're cheap, they're big. And they can also, they're very hot. And so, the ones I would recommend looking for are LED lights. So, I've got ones, they're by a company called Neewer, that's N-E-E-W-E-R, and they do have a variety of different ones. I've got, I think, what do they call this, the... forget the name of them, I think they're the 480 set. So, I think there are 480 LED lights on each one. So, you could probably get by with just one of those or two of those in front of you. And they're really good. If you've got more of a budget, the ones that I absolutely adore, and I haven't got them myself, but I've seen... I've tried not to be too jealous of my friends who've gotten these, and there's a company called Elgato. So, definitely check out Elgato because pretty much all of the products that they produce are amazing. They're not sponsoring me, by the way, I just love what they do. And their light, they've got something called the Key Light. They've got two different key lights. They've got a desk one, so that just sits on your desk. And the great thing with this is that you can adjust the color temperature from your computer, so you can adjust it remotely and get the perfect light for you. So, you can either get one or two of these, and they are lovely. And if you buy, they've got these little programmable keyboards called Stream Decks. Bit difficult to explain, but every key has its own little display that you can customize. And you can use those to program the key lights as well, you could get really geeky. Which, I'd better stop before I go on too much. But yeah, lighting, the Elgato key lights are great as well. Rob: That's nice. No, a lot of ideas there for us to explore if we're so minded. All right. So, that's good. So, we've talked about getting over the fear. And we've talked about the gear and how you can get going with a basic setup and some of the more advanced stuff if you're into that. So, we've got over the fear, we've got the right gear. Now, what do we... Ian: Well, there is one other thing [inaudible 00:37:31] that I forgot to mention. [inaudible 00:37:33] is actually really important. If you're going live from your computer, you need a tool, you need a live video tool. So, you could use Zoom. If you're used to using Zoom, you can actually go live with Zoom. It's not the best, the most, the easiest solution or the most fancy one, but Zoom is good. If you're on a Mac, I highly recommend checking out Ecamm Live. It's a really easy-to-use streaming software, allows you to go live to Facebook and YouTube and all the different platforms. Sorry, Ecamm. Rob: Is that E-C-A-M-M? Is that the one? Am I thinking the right one? Yeah. Ian: Yes. That's right. Ecamm Live. Yeah. That's a really good one. And one that's available for Macs and PCs, because it works in the browser, is called StreamYard, StreamYard. And that has a free version and a paid version, so that works really well. You can bring in guests remotely, and that's a really good one. There are so many. I won't go through all of them. But certainly Ecamm Live, StreamYard are probably two of my recommendations for you. Rob: No, well, you're absolutely right, and we'd have been a bit stuck if we'd forgotten those. So, that's good. So, with those, you know, with that software, and, you know, the camera, the mic, and all the good things that we talked about, so we're ready to go. And then the question, of course, is what do we say on our live videos? You know, what kind of content do we create? Ian: Yeah. So, it really depends on this kind of live video that you're going to be producing. So, the format that I really like and see a lot of value in, and I've been doing regularly every single week, sometimes twice a week for the last year, is the show format. And this can either be a solo show, it can be a guest show, so you can bring in somebody remotely, that, who you're going to interview, or you could even do a co-hosted show, so there's two of you that you either just talk with each other, or you bring in a guest. So, it kind of depends on what you're wanting to do. For me, for my show, I either do them solo, shows, or I bring in a guest. And so, my show is all about how to be more confident with live videos. So, that is the theme. So, I would say, what is the theme going to be for your show? And then you... it's like how you create any other kind of content. So, every time you go on, you're going to have your theme, but then you're gonna have a particular piece of content that you're gonna be talking about. So, what is that going to be, and then breaking it up into those two or three or four sections, and talk about that. And then within those sections, you can then bring in comments, answer questions that people have, so that you're not getting too distracted by those comments. So, you need to, first of all, know what you're gonna be talking about. What's the theme? What is good, are you actually gonna be talking about per episode? And obviously, then you gotta think about, is it gonna be just me? Is it a solo show? Or am I going to bring in a guest, or is it a co-hosted show? And, I think for beginners, for people who are new to this, I actually think interview shows, or a co-hosted show, yes, it does have its own set of problems, but it's actually a good place to start, because it feels more like a conversation, like what we're doing today is a conversation. It's like, you know, we're not in the same room, but we're having a conversation with each other. That's a little bit easier than just doing it on your own, because then you really, really need to know your stuff and you need to make sure that you're not stuttering over your words and getting distracted. So, I would maybe think about doing an interview show first, and using a tool like StreamYard or Ecamm Live makes that very, very easy for you. Rob: Yeah. And the other thing with the interview type format is, again, it's a kind of forcing function, isn't it? Because, you know, if you've booked a guest and, or you have a co-host, then that's a commitment in the diary that you can't easily get out of. Whereas if it's just, it it's the Robert Tyson show, you know, gosh, actually, I feel a bit tired today, maybe I won't do that. So, that's another benefit, I suppose. Ian: Absolutely. Oh my goodness. And I'm laughing because I've been there. I think we all have, you know. And so, actually, if you have a guest, you've got to do it. So, and I think from the beginning, the first probably dozen videos that you do, I hate to say this, the first dozen live videos that you're gonna do, they're not gonna be that great. They're not gonna your best... Rob: [crosstalk 00:42:10]. Ian: Yeah. Okay. Well, you're actually saying it how it really is, you know. It's true. And so... and your confidence levels are gonna be low. And so, I like to draw this graph which basically goes up. It has a few ups and downs along the way. Sometimes your confidence will go up. Sometimes you'll have a tech disaster and that rattles your confidence, but you've gotta keep going and get better. So, it's a good place to start with, with having an interview. Rob: Yeah, I like it. And talk to us, you have a model, or a checklist, a process, The 5 P's. Talk to us a little bit about that. Ian: Yeah. So, The 5 P's, I mean, this just takes you through all the elements that you need to think about. So the first element, we kind of talked about it already, is the planning. So, this also includes, you need to have a tech check... if I can say the word, a tech checklist, of all the things that you need to do. So, check your audio, check your internet. Make sure all the tools are working really well. Know what you're gonna talk about, so have a document that has got all the stuff that you need. So, that's the first thing that you need to do. Second thing is pre-promotion. Let everyone know out there that you're going to go live next Tuesday at 2:00. If you're gonna schedule that live video, that makes it a lot easier, so you can send the link out to your list. You can send it out on social media. You can send that information to your guests for them to be able to do that promotion. You can create videos and you can create all that kind of information to promote your live show next Tuesday, because if you don't tell people about it, then, you know, no one's gonna turn up, or it's gonna be... you're gonna be very disappointed in your numbers. So, pre-promotion, really important. Then it comes to the day that you're going to go live. And this is all to do with production. We've talked a lot about that before. It's how you structure the show, it's warming your voice up before you go live. It's pressing that go live button, knowing what you're going to say. It's being able to use the software confidently and making sure that you've obviously tested that before. Then, once you press the end broadcast button, it's at that point that most people go and have a lie-down, and think that's the end of it. But of course, it's not. We want to turn that live video into a piece of evergreen content that's going to last for a long time. And so, it's at that point that you need to think about the post promotion. And here, it's down to getting people to listen and watch the replay of it, because you might only have 10 people watching your live, but you might have 30, 40, 50, even 100 people who are watching that live video later. And so, you want to get people watching that. You might want to, again, do, send people that from your email, through social media, get your guests to share it with their audience too. So, that's the post promotion. And then the bit that I get really excited about is, which we've already talked about, is the repurposing of your live shows, turning that maybe into a podcast, into short little snippets to share on social media, into a blog post, into an infographic. And there's so many things you can do there, from that one piece of content. You can turn that into a plethora of different content that's going to, hopefully, explode across the interwebs and allow you to focus on running your business without having to worry about creating so much content, because it's a lot easier doing it from that one live show. Rob: Yeah, I love that. And I suppose, would you agree, it's usually a smart choice if you decide that what you're gonna do with your content is have a few things in there that are going to be really evergreen, so that you can get the most mileage out of them, because I suppose this is one of the issues. If you're doing something that's very topical, you know, things change. Ian: Yeah, absolutely. I mean, I did a podcast many, many years ago. It was the "Social Media News" podcast, not the most exciting one. I spent ages editing it, and because I was talking about the latest that was happening in the social media world, it was out of date after a week. So, it's not to say that doing those kinds of episodes is a bad thing, because occasionally, it is a good idea to, if there's a hot topic to talk about at the moment, then, by all means, talk about that. But I am more into creating evergreen content that's gonna last for a long time, because it just means you're creating less work for yourself and it's going to last a lot longer for you. Rob: Yeah, I think I'm in your camp. As you say, I mean, sometimes you can catch a wave with the really topical stuff and that helps you, but I think on balance, yeah, I'd rather be in the evergreen, evergreen gotta camp, you know, to the degree that I can be. Ian: Definitely. Yeah. Rob: Yeah. Well, look, Ian, this has been so good. So, there's... you shared a wealth of stuff with us. If listeners just took one nugget or piece of advice away, what would that be? Ian: So difficult to say one thing, but it's really to press that button, to just go live. Obviously, plan and prepare and do all that kind of stuff, but don't procrastinate. You know, because I've been there. It took me, like, probably one or two years to actually get round to producing my own live show. Don't be like me. Just do it. And now is a really good time to do it, because so many more people are doing it. And so, yeah. That's what I'd say to people. Rob: Just get it done. So, maybe, pick a date, pick a time, tell your network that it's happening, and just get out there and do it, perhaps. Ian: Absolutely. Rob: Yeah. Awesome. Ian, as I said, it's been great. Where's the best place for people to get more from you? Ian: So, the best place is my website. I've got loads of guides on how to improve your confidence. I've got tech guides and things like that. And I've also got my podcast, it's, "The Confident Live Marketing Podcast" which can be found, my website is iag.me, and my podcast is at iag.me/podcast. Rob: Ian, I just wanna say thank you. This has been great. Loads of fantastic information for people. I do appreciate it. Thank you so much. Ian: Thanks Rob, it's been great to be on.

En el episodio del día de hoy se habla sobre un de los cambios radicales más significativos de los últimos años. Joshua Homme y su banda demuestran que pueden cambiar de genero las veces que sean y sonarán increíble. Tracklist: 01. Feet Don't Fail Me 02. The Way You Used to Do 03. Domesticated Animals 04. Fortress 05. Head Like a Haunted House 06. Un-Reborn Again 07. Hideaway 08. The Evil Has Landed 09. Villains of Circumstance.

Chegando a edição de número 65 do Total Distortion (a segunda em quarentena) com muito som legal pra você que tá aí, confinado, poder ouvir um som legal. Se o mundo estiver normal, ou não, o programa vai continuar rolando, pois basta uma ilha de edição, música e imaginação que o negócio aqui vai continuar saindo. Vamos com o som climático dos ingleses do Loathe e o som prog funkeado dos também britânicos do In Search of Sun, em seguida o djent-pop do One-way Mirror, da França e o hard rock moderno dos alemães do Surrender the Crown. No quatro novo da máquina do tempo temos Pearl Jam em duas épocas (94 e 2020) e no bloco de covers trazemos duas versões inusitadas de músicas famosas protagonizadas por Bloodhound Gang e Phunk Junkeez. No bloco das velharias os neozelandeses alternativos do Head Like a Hole e o pós-grunge não tão pesado, mas muito bom, do Better than Ezra. Stay safe and rock on! Tracklist: - Loathe - Two-Way Mirror; - In Search of Sun - Petrichor; - One-Way Mirror - Destination Device; - Surrender The Crown - Salvation Comes; - Pearl Jam - Corduroy; - Pearl Jam - Superblood Wolfmoon; - Bloodhound Gang - Mope (samples For Whom the Bell Tolls, Relax, Homer Simpson, Pacman, Rock Me Amadeus); - Phunk Junkeez - I Love it Loud (Injected Mix) (Kiss cover); - Head Like a Hole - A Crying Shame; - Better than Ezra - In the Blood;

This week the boys sit down with Angry Orchards and talk to Nate from Pomona, Nate from Temecula, playing along at home, pug takes Vegas, high res, its like youtube, bday champagne, Christmas beers, new laptop, beastie boys, and much much more.

Welcome to the Ultimate Fantasy Podcast - your one-stop shop for all things Fantasy. Alfie is very pleased to be joined by the #SecretJournalist, Nathan Taylor, BowstringTheCarp (AKA Matt Kearney), FPL Nymfria, and Tommy Gunn as they take an intricate and lighthearted look ahead to the upcoming gameweek. PT1: (00m00s) Intro/Contents (01m10s) General News (04m25s) Quiz Question (05m08s) Football Chat (07m17s) FPL Results (12m22s) Genius or Madperson (14m23s) Team Names (16m18s) Draft Results PT2: (21m58s) Tommy Gunn (25m44s) Tactics Truck with BowstringTheCarp (AKA Matt Kearney) PT3: (30m33s) GW22 Focus Fixtures (42m10s) FPL Nymfria (43m44s) Quicktures PT4: (50m18s) Quiz Answer A MonkeyBuns Production Original stings and material by Alfie Evers Get in touch: @UltimateFPod Join our FPL league: psdbv4 Please like & share our podcast. A little love goes a long way! Like and subscribe to the YouTube page of FPL Nymfria for your FPL tips Twitter: @FPLNym For more Fantrax info check out the web page of The Fantasy Football Chaps Twitter: @TheFFChaps Matt Kearney AKA BowstringTheCarp Twitter page: @MattKearney92 Extra music by: Ross Power The Insider Theme by The Insider An Example For by Captive Portal Soma by Teeho x VYVCH Blue Highway by Podington Bear Listen to ‘Pressure’ by Alfatron6000 - the unofficial official song of Fantasy Football Looking for a platform to host your Draft Fantasy Football needs? Visit the guys at DraftFantasy and sign up now! This episode is sponsored by Subject Six - the new novel by William J Robson Buy yours on Amazon now

Featuring Puscifer, Osaka Punch, Head Like a Hole, The Slits, The Doors and more

The battle with the champion rages on but each new round reveals new deadly powers. Can the Chimeras survive?Follow us on the social places...Twitter: @cr_awesomehttps://twitter.com/CR_AwesomeInstagram: @ChallengeRatingAwesomehttps://www.instagram.com/challengeratingawesome/Deviant Art for sketches of charactershttps://www.deviantart.com/cr-awesome/credits:Music: A Legend Will Rise (Orchestral)Author: CodemanuLink: https://opengameart.org/content/a-legend-will-rise-orchestralMusic: Epic Boss BattleAuthor: Juhani Junkalahttps://soundcloud.com/juhanijunkalaMusic from https://filmmusic.io"Fluidscape" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/by/4.0/)Music from https://filmmusic.io"Night Break" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/by/4.0/)Music from https://filmmusic.io"Bent and Broken" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/by/4.0/)Music from https://filmmusic.io"Arroz Con Pollo" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/by/4.0/)Music from https://filmmusic.io"Gathering Darkness" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/by/4.0/)Music from https://filmmusic.io"Garden Music" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/by/4.0/)

ON TODAY’S EPISODE: A Drunken Soundcloud Rapper Slurs His Way Through An Interview Is Downs Syndromecore A New Genre of Music? The Joy of Watching Others Getting Towed | WATCH Instagramming Bestiality Personal Ads Legislatively Tackling Airplane Farts Clowning Around During Your Firing Our New Post Office Box Address! Distorted View PO Box 9575 Cincinnati […]

Play Pause Support the PodcastDownloadShare var srp_player_params_67724d088ab12 = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_67724d088ab12 = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-67724d088ab12"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-67724d088ab12"); } While the Summer Edition 2019 is still burning red hot, Party Favorz isn't wasting any time bringing you a new set of of the biggest circuit house music that perfectly sets you up for the season with the Fall Edition 2019. Anyone that's followed Party Favorz for a while knows this is the time I whip out super-hot cowboys for the cover art. Not sure why I do this — but it's something I started back in 2007 that started with some cute guy in a haystack that evolved into the cowboy theme. I'm fairly certain everyone will agree — cowboys are just fucking HOT! What's even hotter is this new set of circuit house that I've meticulously hand-picked to carry you through October. Even then, many if not most of these tracks will be on heavy rotation at your local leather bar or circuit event by the next release. No need to tout any specific track because the music speaks for itself. That being said — do take a look at track #2. For those not familiar with Ashley O — that's actually Miley Cyrus' alter-ego in the Netflix "Black Mirror" season 5 episode “Rachel, Jack and Ashley Too,” which is one of the dark series' best episodes. This Nine Inch Nails rework of "Head Like a Hole" is worthy of an official release. What makes it even more special is that one of the remixers and the best of the bunch is none other than Junior Vasquez. For those that haven't heard it yet — you're in for a treat. You can also stream the remixes on Spotify and Apple Music. I have actually been kicking around a Junior Vasquez Legacy Series entry for some time now. I don't think folks realize just how in demand he was in the 90s into the early Millenium and the voluminous contributions he made to the evolution of house music. I'll just say that it's much better than you may remember. Expect something honoring the legend in the coming months. In the meantime, I decided to revisit the 80s and take the best of the alternative dance classics and the pop-dance classics with tons of new additions and create the ultimate 80's dance collection — much like I did for the Trash Disco series a while back. I'll start working on that shortly. In the meantime, I hope everyone has a fantastic weekend, and as always...ENJOY! The expanded edition contains new tracks from P!nk, Dan De Leon & Nina Flowers, and House Gospel Choir. Album: Fall Edition 2019Genre: Circuit, Tribal, HouseYear: 2019Total Time: 03:39:42 1. Thyago Furtado & Bruno Knauer - At Least (Yinon Yahel Intro Mix) 2. Ashley O - On A Roll (Junior Vasquez Extended Remix) 3. Ralphi Rosario & Frankie Catalano - Fuck Your Boyfriend (Mauro Mozart Club Mix) 4. LP - Lost On You (BeatBears Private 3AM Bootleg) 5.

Play Pause Support the PodcastDownloadShare var srp_player_params_677258c027ebd = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_677258c027ebd = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-677258c027ebd"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-677258c027ebd"); } While the Summer Edition 2019 is still burning red hot, Party Favorz isn't wasting any time bringing you a new set of of the biggest circuit house music that perfectly sets you up for the season with the Fall Edition 2019. Anyone that's followed Party Favorz for a while knows this is the time I whip out super-hot cowboys for the cover art. Not sure why I do this — but it's something I started back in 2007 that started with some cute guy in a haystack that evolved into the cowboy theme. I'm fairly certain everyone will agree — cowboys are just fucking HOT! What's even hotter is this new set of circuit house that I've meticulously hand-picked to carry you through October. Even then, many if not most of these tracks will be on heavy rotation at your local leather bar or circuit event by the next release. No need to tout any specific track because the music speaks for itself. That being said — do take a look at track #2. For those not familiar with Ashley O — that's actually Miley Cyrus' alter-ego in the Netflix "Black Mirror" season 5 episode “Rachel, Jack and Ashley Too,” which is one of the dark series' best episodes. This Nine Inch Nails rework of "Head Like a Hole" is worthy of an official release. What makes it even more special is that one of the remixers and the best of the bunch is none other than Junior Vasquez. For those that haven't heard it yet — you're in for a treat. You can also stream the remixes on Spotify and Apple Music. I have actually been kicking around a Junior Vasquez Legacy Series entry for some time now. I don't think folks realize just how in demand he was in the 90s into the early Millenium and the voluminous contributions he made to the evolution of house music. I'll just say that it's much better than you may remember. Expect something honoring the legend in the coming months. In the meantime, I decided to revisit the 80s and take the best of the alternative dance classics and the pop-dance classics with tons of new additions and create the ultimate 80's dance collection — much like I did for the Trash Disco series a while back. I'll start working on that shortly. In the meantime, I hope everyone has a fantastic weekend, and as always...ENJOY! The expanded edition contains new tracks from P!nk, Dan De Leon & Nina Flowers, and House Gospel Choir. Album: Fall Edition 2019Genre: Circuit, Tribal, HouseYear: 2019Total Time: 03:39:42 1. Thyago Furtado & Bruno Knauer - At Least (Yinon Yahel Intro Mix) 2. Ashley O - On A Roll (Junior Vasquez Extended Remix) 3. Ralphi Rosario & Frankie Catalano - Fuck Your Boyfriend (Mauro Mozart Club Mix) 4. LP - Lost On You (BeatBears Private 3AM Bootleg) 5.

While the Summer Edition 2019 is still burning red hot, Party Favorz isn't wasting any time bringing you a new set of of the biggest circuit house music that perfectly sets you up for the season with the Fall Edition 2019. Anyone that's followed Party Favorz for a while knows this is the time I whip out super-hot cowboys for the cover art. Not sure why I do this — but it's something I started back in 2007 that started with some cute guy in a haystack that evolved into the cowboy theme. I'm fairly certain everyone will agree — cowboys are just fucking HOT! What's even hotter is this new set of circuit house that I've meticulously hand-picked to carry you through October. Even then, many if not most of these tracks will be on heavy rotation at your local leather bar or circuit event by the next release. No need to tout any specific track because the music speaks for itself. That being said — do take a look at track #2. For those not familiar with Ashley O — that's actually Miley Cyrus' alter-ego in the Netflix "Black Mirror" season 5 episode “Rachel, Jack and Ashley Too,” which is one of the dark series best episodes. This Nine Inch Nails rework of "Head Like a Hole" is worthy of an official release. What makes it even more special is that one of the remixers and the best of the bunch is none other than Junior Vasquez. For those that haven't heard it yet — you're in for a treat. You can also stream the remixes on Spotify and Apple Music. I have actually been kicking around a Junior Vasquez Legacy Series entry for some time now. I don't think folks realize just how in-demand he was in the 90's into the early Millenium and the voluminous contributions he made to the evolution of house music. I'll just say that's it's much better than you may remember. Expect something honoring the legend in the coming months. In the meantime, I decided to revisit the 80's and take the best of the alternative dance classics and the pop-dance classics with tons of new additions and create the ultimate 80's dance collection — much like I did for the Trash Disco series awhile back. I'll start working on that shortly. In the meantime, I hope everyone has a fantastic weekend and as always...ENJOY! The expanded edition contains new tracks from P!nk, Dan De Leon & Nina Flowers and House Gospel Choir. Album: Fall Edition 2019 Genre: Circuit, Tribal, House Year: 2019 Total Time: 03:39:42 1. Thyago Furtado & Bruno Knauer - At Least (Yinon Yahel Intro Mix) 2. Ashley O - On A Roll (Junior Vasquez Extended Remix) 3. Ralphi Rosario & Frankie Catalano - Fuck Your Boyfriend (Mauro Mozart Club Mix) 4. LP - Lost On You (BeatBears Private 3AM Bootleg) 5. Altar & Jeanie Tracy - I Live 2 Dance (Original Mix) 6. Ani - Confession (Dirty Disco Mainroom Remix) 7. Anggun - Perfect World (Twisted Dee & Diego Fernandez Remix) 8. Pabllo Viitar feat. Charlie XCX - Flash Pose (Fernando Rocha Circuit Remix) 9. Rafael M - Disco Bitch (Bruno Knauer Remix) 10. Limahl - Neverending Story (Dani Toro & Roberto Ferrari Remix) 11. The Roc Project feat. Tina Arena - Never [Past Tense] (Tom Siher Remix Edit) 12. Taylor Swift - You Need To Calm Down (Dirty Disco Mainroom Remix) 13. Lauren Daigle - You Say (Enrico Meloni Remix) 14. Celine Dion - Flying On My Own (M. Torrez Remix) 15. Laura Angelini - Share The Love (Dirty Disco Mainroom Remix) 16. Mark Ronson feat. Lykke Li - Late Night Feelings (Chris Cox Club Mix) 17. House Gospel Choir - Salvation (Dirty Disco Mainroom Remix) 18. Dan De Leon & Nina Flowers - Money Success Fame Glamour (Edson Pride Remix) 19. Mabel - Don't Call Me Up (Rafael Barreto Remix) 20. Lara Fabian - I Will Love Again (VMC Epic Remix) 21. Toy Armada & DJ Grind feat. Brian Kent - Just Say Yes (Leo Blanco Club Mix) 22. Ralphi Rosario feat. Simbryt Dortch - Pump This (Tom Stephan Mix) 23. Crystal Waters & R-Naldo - United in Dance (James Anthony's Big Room Mix) 24.

While the Summer Edition 2019 is still burning red hot, Party Favorz isn't wasting any time bringing you a new set of of the biggest circuit house music that perfectly sets you up for the season with the Fall Edition 2019. Anyone that's followed Party Favorz for a while knows this is the time I whip out super-hot cowboys for the cover art. Not sure why I do this — but it's something I started back in 2007 that started with some cute guy in a haystack that evolved into the cowboy theme. I'm fairly certain everyone will agree — cowboys are just fucking HOT! What's even hotter is this new set of circuit house that I've meticulously hand-picked to carry you through October. Even then, many if not most of these tracks will be on heavy rotation at your local leather bar or circuit event by the next release. No need to tout any specific track because the music speaks for itself. That being said — do take a look at track #2. For those not familiar with Ashley O — that's actually Miley Cyrus' alter-ego in the Netflix "Black Mirror" season 5 episode “Rachel, Jack and Ashley Too,” which is one of the dark series best episodes. This Nine Inch Nails rework of "Head Like a Hole" is worthy of an official release. What makes it even more special is that one of the remixers and the best of the bunch is none other than Junior Vasquez. For those that haven't heard it yet — you're in for a treat. You can also stream the remixes on Spotify and Apple Music. I have actually been kicking around a Junior Vasquez Legacy Series entry for some time now. I don't think folks realize just how in-demand he was in the 90's into the early Millenium and the voluminous contributions he made to the evolution of house music. I'll just say that's it's much better than you may remember. Expect something honoring the legend in the coming months. In the meantime, I decided to revisit the 80's and take the best of the alternative dance classics and the pop-dance classics with tons of new additions and create the ultimate 80's dance collection — much like I did for the Trash Disco series awhile back. I'll start working on that shortly. In the meantime, I hope everyone has a fantastic weekend and as always...ENJOY! The expanded edition contains new tracks from P!nk, Dan De Leon & Nina Flowers and House Gospel Choir. Album: Fall Edition 2019 Genre: Circuit, Tribal, House Year: 2019 Total Time: 03:39:42 1. Thyago Furtado & Bruno Knauer - At Least (Yinon Yahel Intro Mix) 2. Ashley O - On A Roll (Junior Vasquez Extended Remix) 3. Ralphi Rosario & Frankie Catalano - Fuck Your Boyfriend (Mauro Mozart Club Mix) 4. LP - Lost On You (BeatBears Private 3AM Bootleg) 5. Altar & Jeanie Tracy - I Live 2 Dance (Original Mix) 6. Ani - Confession (Dirty Disco Mainroom Remix) 7. Anggun - Perfect World (Twisted Dee & Diego Fernandez Remix) 8. Pabllo Viitar feat. Charlie XCX - Flash Pose (Fernando Rocha Circuit Remix) 9. Rafael M - Disco Bitch (Bruno Knauer Remix) 10. Limahl - Neverending Story (Dani Toro & Roberto Ferrari Remix) 11. The Roc Project feat. Tina Arena - Never [Past Tense] (Tom Siher Remix Edit) 12. Taylor Swift - You Need To Calm Down (Dirty Disco Mainroom Remix) 13. Lauren Daigle - You Say (Enrico Meloni Remix) 14. Celine Dion - Flying On My Own (M. Torrez Remix) 15. Laura Angelini - Share The Love (Dirty Disco Mainroom Remix) 16. Mark Ronson feat. Lykke Li - Late Night Feelings (Chris Cox Club Mix) 17. House Gospel Choir - Salvation (Dirty Disco Mainroom Remix) 18. Dan De Leon & Nina Flowers - Money Success Fame Glamour (Edson Pride Remix) 19. Mabel - Don't Call Me Up (Rafael Barreto Remix) 20. Lara Fabian - I Will Love Again (VMC Epic Remix) 21. Toy Armada & DJ Grind feat. Brian Kent - Just Say Yes (Leo Blanco Club Mix) 22. Ralphi Rosario feat. Simbryt Dortch - Pump This (Tom Stephan Mix) 23. Crystal Waters & R-Naldo - United in Dance (James Anthony's Big Room Mix) 24.

Referencias: Joe Cocker - Woodstock Music from the Original Soundtrack and More (Cotillion, 1970) With A Little Help From My Friends Jimi Hendrix - Woodstock Music from the Original Soundtrack and More (Cotillion, 1970) Medley Nine Inch Nails - Pretty Hate Machine (TVT Records, 1989) Head Like a Hole (Woodstock '94)

sarinafazannews.com fantettilegal.com Subscribe, 5 ⭐ And Please Write A Review! The funniest or biggest hater reviews are likely to get a shout out on the show. Listen, Watch, Review, and Share With A Friend! Law Smith is an SMB Consultant, Digital Strategist, Stand Up Comedian and President of Tocobaga Consulting. Eric Readinger is a Website Producer, Video Editor, and Partner at Tocobaga Consulting.

Cat (@fancyfembot), Stephanie (@stephbystereo), Carl (@robominister), and Tom (@chewywater) discuss the season 5 of Netflix’s Black Mirror. Intro “Right Were It Belongs” and outro “Head Like a Hole” by Nine Continue Reading →

Striking Vipers Human sexuality The bright and exciting future of who does what with whom and how. Polar bears. How we might have handles this VR technology as teenagers. Colbert is the bear Gaming Nostalgia for days-long gaming binges with Doritos and Easy Cheese. Ubiquitous full-spectrum VR experience. Neural mapping. Popular physics plugins , game engines, and the possibility that McCallister and Striking Vipers etc run on the same software. Bodily bacteria Dirt subscription boxes. Maintaining your skin microbiome. Showring? Soap vs detergent. Probiotic yogurt: “one for me, one for the undercarriage.” Dishwashers Knife-down safety is actually important(!). Dish detergents and plate dirtiness. Clever dirtiness-measurement technologies. Smithereens Driver Rating “2 stars, car was clean” Rachel, Jack, and Ashley Too Virtual performance Virtualizing irl performers. Pepper’s Ghost. Lifelike real-time rendering technology. Real-time raytracing. Motion capture cost and complexity drops. Brains etc Machine learning vocal production. FMRI vs EEG vs whatever awesome thing they have in Black Mirror. Deep image reconstruction from human brain activity. Head Like a Hole by Devo: YouTube Human brain mapping and brain decoding by Jack Gallant: YouTube Deep image reconstruction from human brain activity: PLOS Support the show!

Moon farts, jellyfish bones, and op art abound. Night Call dives into this week in science. Plus the strange world of simulated people in pop culture and what this tells us about ourselves.  NIGHT CALL BOOK CLUB BOOK ANNOUNCED! For the book and the episode, CHECK OUT THE NIGHT CALL PATREON (https://www.patreon.com/NightCall) ! Support the show for as little as $1 a month! Call in to Night Call at 240-46-NIGHT Articles and media mentioned this episode: Article, Vice, "New Report Suggests ‘High Likelihood of Human Civilization Coming to an End’ in 2050" (https://www.vice.com/en_ca/article/597kpd/new-report-suggests-high-likelihood-of-human-civilization-coming-to-an-end-in-2050) Article, LiveScience, "Why Does the Moon Keep Flashing Us"? (https://www.livescience.com/65612-gassy-moon-flashes.html) Article, Dwell, "Discover Florida's Mysterious Dome Home Before it Sinks into the Sea" (https://www.dwell.com/article/discover-floridas-mysterious-dome-home-before-it-sinks-into-the-sea-12a0e0a0) Film, Home Movie (https://www.imdb.com/title/tt0275408/?ref_=nv_sr_4?ref_=nv_sr_4) Video, Swallowed Whole - a comb jelly praying on a comb jelly (https://www.youtube.com/watch?v=MmoChWQ6xCk) Film, The Little Mermaid (https://www.imdb.com/title/tt0097757/?ref_=nv_sr_1?ref_=nv_sr_1) Article, The New York Times, "Dementia Stopped Peter Max From Painting. For Some, That Spelled a Lucrative Opportunity" (https://www.nytimes.com/2019/05/28/business/peter-max-dementia-cruise-ship-auctions.html) TV Series, Black Mirror, "Rachel, Jack, and Ashley Too" (https://www.imdb.com/title/tt9053874/?ref_=ttep_ep3) Song, "Head Like a Hole" (https://www.youtube.com/watch?v=ao-Sahfy7Hg) by Nine Inch Nails Song, "I'm on a Roll" (https://www.youtube.com/watch?v=_ihqbMicm_s) by Ashley O Film, S1m0ne (https://www.imdb.com/title/tt0258153/?ref_=nv_sr_1?ref_=nv_sr_1) Film, Under the Silver Lake (https://www.imdb.com/title/tt5691670/?ref_=nv_sr_1?ref_=nv_sr_1) Podcast, Who? Weekly (https://www.whoweekly.us/) TV Series, Westworld (https://www.imdb.com/title/tt0475784/?ref_=fn_al_tt_1) Film, Mulholland Drive (https://www.imdb.com/title/tt0166924/?ref_=fn_al_tt_1) Actress IMDB, Rachel Roberts (https://www.imdb.com/name/nm1212051/?ref_=fn_al_nm_1) Music Video, "Bitch Better Have My Money" (https://www.youtube.com/watch?v=B3eAMGXFw1o) by Rihanna Play, Pygmalion (https://www.indiebound.org/book/9781503290907) by George Bernard Shaw Hatsune Miku/Vocaloids (https://vocaloid.fandom.com/wiki/Hatsune_Miku) Film, The Truman Show  (https://www.imdb.com/title/tt0120382/?ref_=nv_sr_1?ref_=nv_sr_1) Film, Godzilla: King of the Monsters (https://www.imdb.com/title/tt3741700/?ref_=nv_sr_1?ref_=nv_sr_1) Film, Godzilla (https://www.imdb.com/title/tt0831387/?ref_=nv_sr_2?ref_=nv_sr_2) (2014) Anime, Neon Genesis Evangelion (https://www.imdb.com/title/tt0112159/?ref_=nv_sr_1?ref_=nv_sr_1) Song, Yuji Koseki, "Mothra's Song" (https://www.youtube.com/watch?time_continue=3&v=9lmZRRqF6wA) "Night Call" by 4aStables (https://www.4astables.com/) . Additional sfx from freesound.org (https://freesound.org/) . Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Type vs Style in the Saint Bernard: Breeders’ Discussion Panel Host Laura Reeves moderated a Breeders’ Discussion Panel at the 2018 Saint Bernard Club of America National Specialty. Three long-time breeders talk type versus style in this fascinating conversation. Type defines a breed. Style informs the breeders’ understanding of the standard. A conversation with successful breeders provides information that’s applicable across all breeds. From descriptions of developing a breeding program that establishes a recognizable style, to addressing specific pieces of the standard, this wide-ranging conversation is inspiring, enlightening and entertaining. The standard defines the Saint Bernard as “proportionally tall and powerful”. What does that mean to the breeders? Interpreting the standard from three different perspectives provides unending opportunities for learning. For example, the Saint Bernard standard has no description of correct movement or gait. By understanding the breed history, these breeders apply function to form to answer the question. Listen to the Pure Dog Talk interview with breeder judge https://puredogtalk.com/101-saint-bernards-of-stoan-and-lasqueti-island-with-joan-zielinski-2/ (Joan Zelinski) for more in-depth conversation about the breed. The breed standard is included below for listeners to follow along. Official Standard of the Saint Bernard Shorthaired General Appearance: Powerful, proportionately tall figure, strong and muscular in every part, with powerful head and most intelligent expression. In dogs with a dark mask the expression appears more stern, but never ill-natured. Head: Like the whole body, very powerful and imposing. The massive skull is wide, slightly arched and the sides slope in a gentle curve into the very strongly developed, high cheek bones. Occiput only moderately developed. The supra-orbital ridge is very strongly developed and forms nearly a right angle with the long axis of the head. Deeply imbedded between the eyes and starting at the root of the muzzle, a furrow runs over the whole skull. It is strongly marked in the first half, gradually disappearing toward the base of the occiput. The lines at the sides of the head diverge considerably from the outer corner of the eyes toward the back of the head. The skin of the forehead, above the eyes, forms rather noticeable wrinkles, more or less pronounced, which converge toward the furrow. Especially when the dog is alert or at attention the wrinkles are more visible without in the least giving the impression of morosity. Too strongly developed wrinkles are not desired. The slope from the skull to the muzzle is sudden and rather steep. The muzzle is short, does not taper, and the vertical depth at the root of the muzzle must be greater than the length of the muzzle. The bridge of the muzzle is not arched, but straight; in some dogs, occasionally, slightly broken. A rather wide, well-marked, shallow furrow runs from the root of the muzzle over the entire bridge of the muzzle to the nose. The flews of the upper jaw are strongly developed, not sharply cut, but turning in a beautiful curve into the lower edge, and slightly overhanging. The flews of the lower jaw must not be deeply pendant. The teeth should be sound and strong and should meet in either a scissors or an even bite; the scissors bite being preferable. The undershot bite, although sometimes found with good specimens, is not desirable. The overshot bite is a fault. A black roof to the mouth is desirable. Nose (Schwamm) – Very substantial, broad, with wide open nostrils, and, like the lips, always black. Ears – Of medium size, rather high set, with very strongly developed burr (Muschel) at the base. They stand slightly away from the head at the base, then drop with a sharp bend to the side and cling to the head without a turn. The flap is tender and forms a rounded triangle, slightly elongated toward the point, the front... Support this podcast

Into the Void isn't the Nine Inch Nails podcast you need, but it's definitely the one that you want! Each week we select a Reznor song at random, live with the song for a week (or two) and then get together to discuss. This week we look back on 30 years of PRETTY HATE MACHINE. This episode is full. Context (2:20) and Daniel's obligatory apology (9:30) followed by the record: - "Head Like a Hole" (12:00) - "Terrible Lie" and "Down In It" (20:00) - "Sanctified" (27:00) - "Something I Can Never Have" (30:00) - "Kinda I Want To" and "Sin" (34:00) - Pretty Hate Machine Tour Series (40:00) - "That's What I Get" (45:00) - "The Only Time" (49:00) - "Ringfinger" (53:00) - "Get Down Make Love" (58:30). As always, full show notes at our website. You can also follow along with our weekly real-time Spotify playlist – Every Playlist is Exactly the Same – and join the conversation on Twitter, message us on Facebook, and like on Instagram. And if you're loving us, consider our Patreon. For as little as one dollar you get early access to every episode we do as soon as they're edited (and a dedicated feed just for you) and exclusive content that'll only ever be on Patreon. Thanks! Next week: DJ LETHAL, BRING IT ON!

The husband who narrates Amy Lee Lillard's story "Head Like a Hole" watches, puzzled, as a perfectly round hole grows in his backyard. The growing hole, and the wife's ongoing vigil, tell a poignant story of self, integrity, and, ultimately, connection.

Head Like a Hole's reunion and recording of a comeback album in 2011 is documented in warts and all fashion by Julian Boshier, reviewed by Dan Slevin.

On this Bhuja podcast Leigh & Jas discuss the possibility of female co-hosts, VHS toastie makers, losing virginity and Andrew from Head Like a Hole came in...

On this Bhuja podcast Leigh & Jas discuss the possibility of female co-hosts, VHS toastie makers, losing virginity and Andrew from Head Like a Hole came in...

This week Naki brings us Tales from the Pooplands, it's a continuation of last week’s story which means it's comedy gold.  Its a light news week but we to make up for it we roll out a new game called Don’t Get Me Started.  Its a chance for the ATGN crew do what they are best at… rant and rave.For a full rundown of the show check out our shownotes: https://goo.gl/Q3zQXJLook for us LIVE Sunday mornings (11 AM EST) by checking out http://live.atgnpodcast.com, where you will be either to participate via our chat room. You can also find us streaming live on Channel 3 of Alpha Geek Radio (http://www.alphageekradio.com/) at the same time.We are also always available via Twitter (@ATGNPodcast) Facebook (facebook.com/allthingsgoodandnerdy) e-mail (atgnpodcast(at)gonnageek.com) or our ATGN Hotline at 304-806-ATGN.  All Things Good And Nerdy is a proud member of the Gonna Geek Network.

For this week's podcast goodness we bring you a special guest in the form of returning guest star Chi Ren  (and no he's not the one with the chicken head) who joins Gavin and Iain as they review "Jackass 3D" (no explanation necessary I hope),  dramedy "Blue Valentine",  1986's Classic black comedy "Ruthless People", and Gareth Edwards creatures in Mexico flick, "Monsters". This week we also take a loook at the new "Green Lantern" footage from Wondercon,  the new trailer for "The Hangover Part II",  we talk a LOT about possible reboots and the hollywood cycle and we debut our new feature "Free Pass " in which we pick the directors/actors whose projects,  no matter how crappy sounding, we would give the benefit of the doubt, based upon the awesomeness of the rest of their body of work. Let us know who you would give a free pass to in the comments below! Show notes: Green Lantern Wonder con Footage The Hangover Part II Trailer Jeremy Renner & Gemma Arterton as "Hansel & Gretel: Witch Hunters"

Tues, Oct 23rd, 2007 8:00 PM live @ Nectar | recorded by Joshua Sherman, curated by Nathan Marion

Another entry from the archive. Geepers, it's swell to have some breathing room on both the storage and bandwidth ! "Life Imitates Art. Who's Art ? -The Best Radio You Have Never Heard Vol. 01" first appeared July, 2006 and was one of the maiden BRYHNH podcast releases. Don't forget to leave a comment with your thoughts ! 1. Eleven - Spinal Tap 2. Open My Eyes - Nazz 3. Head Like a Hole - Nine Inch Nails 4. Highway Star - Deep Purple 5. The Thrill of it All - Roxy Music 6. Wicked Game - Chris Isaak 7. Voices Carry - Til' Tuesday 8. Ball & Chain - Janis Joplin 9. Reach Down - Temple of the Dog 10. Don't Want to Know if You Are Lonely - Husker Du 11. Millennium - Killing Joke 12. Sea Lion - Jethro Tull 13. Incident On South Street - The Lounge Lizards 14. Dear God - Sarah McLachlan 15. Can't Find My Way Home - Swans 16. Sufficiently Breathless - Captain Beyond Compiled and Mixed/Edited by Perry Bax/Chicago/USA