Podcast appearances and mentions of Herman Wouk

On this, the 69th anniversary of the passing of a great radio humorist, we present the NBC program Biography in Sound,  This episode was broadcast two days prior to what would have been his 62nd birthday, May 29, 1956.  Ironically that was just 10 days following my birth.  And yes, I chose this picture because of another irony.  Until I graduated college, I played the tuba.  Here's a partial list of those apart of Fred that you will hear in this 55 minute program.Kenny Delmar, Tallulah Bankhead, Doc Rockwell, Jack Benny, Herman Wouk, Jim Harkins, Francis Spellman, Donald Voorhees, Peter Donald, Bill Mullen, James Mason, Jimmy Durante, Goodman Ace, Henry Tugan, Joe DeGray, Mike Jakes, Minerva Pious, Jack Haley, Ed Herlihy, Edgar Bergen, Herb Shriner, Benny Droan, Clifton Webb, George Jessel, John Royal, Roger White, Pat Weaver, Harry Von Zell, John Crosby, Stanley Trablinsky, Morton Green, George Foster, Su Chan, Max Asgur, Alan Reed, and Parker Fennelly.  Each paying tribute with remembrances of Fred Allen.And yes, writer Earl Hamner wrote much of the continuity of this program.  The same Earl Hamner who created The Waltons and Falcon Crest.  One more amazing talent who influenced so many more.  May he rest in peace and know that even today, he is remembered for all the laughs he gave all of us.  

The Torah portion Yitro (Exodus 18:1-20:23) introduces key themes such as the Jewish people at Sinai and the accepting of the ten commandments, leadership, authority, the importance of law, which resonates with the conflict at the heart of The Caine Mutiny by Herman Wouk. In Yitro, Moses, overwhelmed by the responsibility of judging the Israelites alone, learns from his father-in-law, Yitro, that effective leadership involves delegating authority to trusted individuals to avoid burnout and ensure justice is served. This lesson mirrors the dynamic between Lieutenant Commander Queeg and his subordinates aboard the USS Caine, where Queeg's inability to delegate and his erratic behavior lead to a breakdown in command. In both the Torah portion and the novel, the proper exercise of power and trust in leadership is central to maintaining order. Additionally, both works explore the consequences of misguided authority—while Moses' willingness to accept guidance fosters harmony and fairness, Queeg's refusal to listen to his crew results in a tense mutiny, highlighting the dangers of authoritarianism when leaders fail to recognize their limitations.

The Torah portion Yitro (Exodus 18:1-20:23) introduces key themes such as the Jewish people at Sinai and the accepting of the ten commandments, leadership, authority, the importance of law, which resonates with the conflict at the heart of The Caine Mutiny by Herman Wouk. In Yitro, Moses, overwhelmed by the responsibility of judging the Israelites alone, learns from his father-in-law, Yitro, that effective leadership involves delegating authority to trusted individuals to avoid burnout and ensure justice is served. This lesson mirrors the dynamic between Lieutenant Commander Queeg and his subordinates aboard the USS Caine, where Queeg's inability to delegate and his erratic behavior lead to a breakdown in command. In both the Torah portion and the novel, the proper exercise of power and trust in leadership is central to maintaining order. Additionally, both works explore the consequences of misguided authority—while Moses' willingness to accept guidance fosters harmony and fairness, Queeg's refusal to listen to his crew results in a tense mutiny, highlighting the dangers of authoritarianism when leaders fail to recognize their limitations.

Willkommen zu einer neuen Folge König, Bube, Dame, Gast! Wir machen weiter mit Basar der Bösen Träume. Heute:  Ur, Herman Wouk lebt noch und Ein bisschen angeschlagen mit Julia. Die Shownotes:

December 12, 1948 - Jack Tries to Relax at Home, Eddie Cantor stops by briefly. References include the Pumpkin Papers, "White Christmas" and "Who Threw The Overalls In Mrs. Murphy's Chowder" by Bing Crosby, bandleader Spike Jones, and the books "City Boy" by Herman Wouk and "Wine, Women and Words" by Billy Rose.

Frank Lavin talks about the mid-east with Bucky Apisdorf, President and CEO of the Israeli charity, Let's Do Something, formed after the tragic attacks of Oct 7, 2023. We discuss how this calamity affected Israel, the Palestinians, and prospects for peace. Bucky recommend's Herman Wouk's magisterial novels of World War II, “The Winds of War,” and “War and Remembrance.”

The Caine Mutiny (1954) is based on Herman Wouk's bestselling Pulitzer Prize winning novel of the same name. The film, directed by Edward Dmytryk and produced by Stanley Kramer, portrays the fictitious events on board the U.S.S. Caine, a Navy destroyer-minesweeper in the Pacific during World War II. Executive officer, Lt. Stephen Maryk (Van Johnson), relieves the seemingly unstable Lt. Commander Philip Francis Queeg, Captain of the USS Caine, of his command after Queeg (Humphrey Bogart) endangers the ship and its crew during a cyclone. The ship returns to the U.S. and Maryk is court-martialed for mutiny. He is represented by Navy lawyer, Lt. Barney Greenwald (José Ferrer), who despite disapproving of Maryk's actions, believes Maryk was misled by the ship's communications officer, Lt. Tom Keefer (Fred MacMurray), into believing Queeg was mentally unfit for command. Maryk is acquitted after Greenwald effectively places Queeg on trial by his exposing Queeg's erratic and paranoid behavior. The Caine Mutiny Court-Martial (2023), directed by the late William Friedkin, is based on Wouk's adaption of his own 1951 novel for the stage. In contrast to the 1954 film, The Caine Mutiny Court-Martial covers only the court-martial. The cast includes Jake Lacy as Maryk, Jason Clarke as defense attorney Greenwald, Monica Raymund as prosecutor Lt. Commander Katherine Challee, the late Lance Reddick as the presiding judge Captain Luther Blakley, and Kiefer Sutherland in a phenomenal performance as Queeg. The films are not only gripping courtroom dramas, but also explore larger themes around military justice, ethics, and morality.  With me to discuss these films is Eugene (Gene) Fidell, a visiting Lecturer in Law at Yale Law School and co-founder of the National Institute of Military Justice.Timestamps:0:00     Introduction3:58     What's a court-martial?9:14     The crime of mutiny17:48   Relieving Queeg of his command27:36   Putting Queeg on trial29:33   Taking some poetic license with a court-martial34:44   The defense lawyer's post-trial critique of the mutiny41:21   The dramatic changes in the Navy and armed forces since the original movie 47:12   More context for the two Caine Mutiny movies50:21   Other great movies about military justice    Further reading:“The Humphrey Bogart Blogathon: ‘The Caine Mutiny' (1954),” Dec. 23, 2016, https://back-to-golden-days.blogspot.com/2016/12/the-humphrey-bogart-blogathon-caine.htmlKelly, Kevin M., “You Murdered Queeg: Lawyers, Ethics, Military Justice, and ‘The Caine Mutiny,'” 1991 Wis. L. Rev. 543 (1991)Melville, Herman, Billy Budd (1924)Rosenberg, Norman L., “‘The Caine Mutiny': Not Just One But Many Legal Dramas,” 31 J. Mar. L. & Com. 623 (2000)Wouk, Herman, The Caine Mutiny (1951)Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. For more information about Jonathan, here's a link to his bio: https://law.shu.edu/faculty/full-time/jonathan-hafetz.cfmYou can contact him at jonathanhafetz@gmail.comYou can follow him on X (Twitter) @jonathanhafetz You can follow the podcast on X (Twitter) @LawOnFilmYou can follow the podcast on Instagram @lawonfilmpodcast

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 38 of the Director Watch Podcast, the boys discuss the final film in their William Friedkin series, The Caine Mutiny Court-Martial (2023). After a 12-year absence from making a feature film, William Friedkin returned with a faithful, reverent adaption of one of the most celebrated plays of all time, The Caine Mutiny Court-Martial. Being a movie he'd wanted to make his entire career, the film came together over the course of two months in early 2023; a modern, relevant version of Herman Wouk's classic text, only to sadly pass away before the film premiered at the 2023 Venice Film Festival. For a final film, it is a perfect end to a celebrated career by one of Hollywood's most unique directorial talents. With an extraordinary cast lead by incredible performances from Kiefer Sutherland and Jason Clarke, Ryan and Jay break down Friedkin's last film, the modern setting of his adaption, Lance Reddick's career, the film's explosive ending, favorite court room dramas, and they give their definitive rankings of William Friedkin's filmography. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 1h48m. The guys will be back next week to begin their new series covering the films of Sofia Coppola with a review of her debut film, The Virgin Suicides. You can stream the film on Pluto TV. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Hollywood-Legende Humphrey Bogart lieferte 1954 mit seiner Darstellung des peniblen Lieutenant Commander Queeg, Kapitän des US-Minensuchzerstörers Caine, eine der besten Leistungen seiner Karriere ab. Nur drei Jahre später starb Bogart im Alter von 57 Jahren an Speiseröhrenkrebs. Sein filmisches Erbe bleibt unbestritten. 1988 wurde der Stoff für das US-Fernsehen verfilmt.Die TV-Version mit Jeff Daniels basierte jedoch nicht wie der Filmklassiker auf dem Roman von Herman Wouk, sondern auf seinem Bühnenstück "Die Caine-Meuterei vor Gericht". Dieses Bühnenstück nahm auch "Der Exorzist"-Regisseur William Friedkin als Grundlage für seinen letzten Film. "Die Caine-Meuterei vor Gericht" - zu streamen bei Paramount+ - mit einem bravourösen Kiefer Sutherland ist ein Paradebeispiel für schnörkelloses Kino.Eine ausführliche Kritik zu "Die Caine-Meuterei vor Gericht" von Ronny Rüsch und Axel Max - jetzt in einer neuen Folge des ntv-Podcasts "Oscars & Himbeeren". Außerdem dabei: der Motorsportfilm "Gran Turismo", das Filmdrama "Rustin" sowie der Action-Thriller "Hypnotic" mit Ben Affleck."Oscars & Himbeeren" - der ntv-Podcast - wo sich jeden Freitag alles rund um Streamingdienste wie Netflix, RTL+, Amazon Prime & Co. dreht.Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://datenschutz.ad-alliance.de/podcast.htmlUnsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

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Murió Elizabeth Hoffman, actriz que interpretó a la señorita Mason en la serie La casa de la pradera o La Familia Ingalls. Tenía 97 años. Apareció en series populares, como El gran héroe americano o El equipo A, época en la que destacó como Eleanor Roosevelt en las miniseries de Herman Wouk de 1983 y 1988 Vientos de guerra y Recuerdos de guerra,

WBZ's Jordan Rich takes a look at this film based on the 1952 Pulitzer Prize-winning novel by Herman Wouk.

This week, we're comparing the most beloved movie ever made by William Friedkin and one of the last movies made by William Friedkin. That's right, The Exorcist: Believer came out recently as a reboot sequel of The Exorcist, which ignores all the subsequent sequels in true Halloween (2018). In addition to our review of that film, we discuss Friedkin's The Caine Mutiny Court-Martial, an adaptation of a 50s play (originally a novel and also a film) set in the modern day. Despite being a "TV movie," it's actually fantastic? Show Notes 00:00:00 – The Exorcist: Believer 00:30:15 – The Caine Mutiny Court-Martial The Exorcist: Believer was directed by David Gordon Green, who co-wrote the screenplay with Peter Sattler and story credits that include Green, Scott Teems, and Danny McBride. The cast includes Leslie Odom Jr., Lidya Jewett, Olivia O‘Neill, Jennifer Nettles, Norbert Leo Butz, Ann Dowd, and Ellen Burstyn. The film came out on October 6 through Universal Pictures and Blumhouse Productions, and it has a 111-minute runtime. The Caine Mutiny Court-Martial was directed and written by William Friedkin, based on Herman Wouk's eponymous 1953 play, itself based on Wouk's 1952 novel The Caine Mutiny. The cast includes Kiefer Sutherland, Jason Clarke, Jake Lacy, Monica Raymund, and Lance Reddick. Additionally, the film premiered at the Venice International Film Festival on September 3 and came out on Paramount+ with Showtime on October 6. It has a 109-minute runtime. Our intro music this week is “Which One?” by Glimlip & .multibeat. Links: Email your feedback for the show to cinemaholicspodcast [at] gmail.com Join our Discord! We have a Cinemaholics channel here. Follow us on Twitter: Jon Negroni, Will Ashton Check out our Cinemaholics Merch! Check out our Patreon to support Cinemaholics! Connect with Cinemaholics on Facebook and Instagram. Support our show on Patreon: https://www.patreon.com/cinemaholicsSee omnystudio.com/listener for privacy information.

"The Caine Mutiny Court-Martial, originariamente scritto da uno dei maestri del suo tempo, Herman Wouk, è un film che ho a lungo atteso di realizzare. Sapevo di voler creare una situazione molto tesa e concitata, in grado di svilupparsi con la velocità di un fulmine.Ho scelto di proposito di lasciare avvolta nella massima ambiguità la questione di cosa sia giusto e cosa sia sbagliato" - William Friedkin

On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- 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. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- 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. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

On Wednesday March 12th, 1952 at 9:30PM eastern time, Bogie and Bacall guest-starred on Bing Crosby's CBS Chesterfield Show. Two days later, Bogart's next film, Deadline – U.S.A premiered in New York City. Bogie plays Ed Hutcheson, a newspaper editor who exposes a gangster's crimes, while also trying to reconcile with his ex-wife. His performance was well-received. Bogart and Bacall's appearance on The Bing Crosby Show pulled a rating of 9.1. On August 23rd, 1952 Lauren Bacall gave birth to their second child, a daughter, Leslie Howard Bogart, named in honor of actor Leslie Howard who got Bogart his first major film role in The Petrified Forest. The next day Bogart spoke to George Fisher about the experience. Both were soon back working as Bogart made Battle Circus and Bacall made How To Marry a Millionaire. Bogart's next big role and final Academy Award nomination came in an adaptation of Herman Wouk's Pulitzer Prize-winning 1951 novel, The Caine Mutiny. Bogart plays Captain Queeg. In 1954 Bogart starred opposite Audrey Hepburn and the just-heard William Holden in Billy Wilder's Sabrina. Bogart and Holden are brothers — Linus and David Larabee, competing for the love of Sabrina Fairchild. Bogart agreed to it on a handshake with Wilder, although the script wasn't finished. It was not a happy set. Bogart didn't get along with Holden nor Hepburn, and didn't like Wilder's hands-on approach. There were also numerous last-minute script changes. Bogart later said “I got sick and tired of who gets Sabrina.” But the film proved to be a hit. The New York Times particularly praised Bogart's performance. In the mid-1950s Bogart and Bacall's social circle began to be jokingly known as the "Holmby Hills Rat Pack." The original members included Frank Sinatra, pack master; Judy Garland, first vice-president; Sid Luft, Judy's husband, the cage master; agent Swifty Lazar, recording secretary; novelist Nathaniel Benchley pack historian; and Bacall, den mother. Bogart simultaneously made The Barefoot Contessa opposite Rita Hayworth and Sinatra's ex-wife Ava Gardner. Then in 1955 he made We're No Angels, The Left Hand of God, and The Desperate Hours. Just before Christmas in 1955, Bogart was honored with a roast at the Friar's Club. But by then Bogart's persistent cough and difficulty eating became too serious to ignore. He went for a battery of tests in January of 1956. The results were bleak: He had esophageal cancer. He still managed to make his final film, The Harder They Fall opposite Rod Steiger. Bogart plays a newspaper man turned boxing PR writer, bent on exposing the corruption he sees. Critics gave the film, and his performance, especially considering his condition glowing reviews. This is the last scene Humphrey Bogart ever did in any film. On March 1st, 1956 Humphrey Bogart had surgery to remove his esophagus, two lymph nodes and a rib. It was unsuccessful. Chemotherapy followed. He had another surgery in November. Although he became too weak to walk up and down stairs, he joked despite the pain: "Put me in the dumbwaiter and I'll ride down to the first floor in style. Frank Sinatra, Katharine Hepburn, and Spencer Tracy visited him on January 13th, 1957. In a later interview, Hepburn said: Spence patted him on the shoulder and said, "Goodnight, Bogie." Bogie turned his eyes to Spence very quietly and with a sweet smile covered Spence's hand with his own and said, "Goodbye, Spence." Spence's heart stood still. He understood. Bogart lapsed into a coma and died the following day, January 14th, 1957, twenty days after his fifty-seventh birthday. At the time of his death he weighed only eighty pounds. His funeral was held at All Saints Episcopal Church. It seemed like all of Hollywood came to mourn his passing. Spencer Tracy was to give the eulogy, but he was too moved to do so. John Huston spoke instead.

Today's episode we take a break from philosophy and divert our attention to The American Masterpiece.   America's number one written novel.   Much like Russia has War and Peace as that great classic treasure of world literature so too must America have her own masterpiece.Today we share that American masterpiece as the Winds of War, the great historical fiction novel written my Herman Wouk.  Its sweeping narrative and epic writing about spelling binding events of World War II whips the reader around the world on the ever-changing winds of a Europe erupting into war.Key Points from the Episode:Why the Winds of War and its sequel War and Remembrance is America's masterpiece--The Great American Novel.Great history can be told through great historical fictionHerman Wouk's brilliant writing is a treasure to read.Other resources: More goodnessGet our top book recommendations listWant to leave a review? Click here, and if we earned a five-star review from you **high five and knuckle bumps**, we appreciate it greatly, thank you so much!Because we care what you think about what we think and our website, please email David@teammojoacademy.com, or if you want to leave us a quick FREE, painless voicemail, we would appreciate that as well.Be sure to check out our very affordable Academy Review membership program at http:www.teammojoacademy.com/support

DNF Summary: Don't Stop the Carnival is a 1965 novel by American writer Herman Wouk. It is a comedy about escaping middle-age crisis to the Caribbean, a heaven that quickly turns into a hell for the main character. The novel was turned into a short-lived musical and later, album by Jimmy Buffett in 1997. IG, Tiktok, Youtube, FB: BooksandSoca website --- Support this podcast: https://podcasters.spotify.com/pod/show/ilovemyshelfpodcast/support

Bernard Malamud. Saul Bellow. Philip Roth. Joseph Heller. Herman Wouk. J.D. Salinger. Norman Mailer. E.L. Doctorow. Chaim Potok. Leon Uris. That is a partial list of American Jewish writers of the recent past -- all of them lions of literature, and all of them now dead. There is one woman who belongs on that list, and she is the only one left of that generation. I refer to Cynthia Ozick, who last week celebrated her 95th birthday. Cynthia Ozick's literary output has been prodigious. Not only fiction, but non-fiction and literary criticism -- at a dizzying intellectual level. Cynthia Ozick is not only our greatest surviving literary figure from that generation; she is also one of American Jewry's and America's preeminent public intellectuals.

Act II of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 12th (?) Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices

Act II of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 12th (?) Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices

Act I of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 13th Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices

Act I of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 13th Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Breaking Walls episode 137 we celebrate the Irish by focusing on St. Patrick's Day on the air. —————————— Highlights: • Fred Allen — The End and the Beginning • Beat the Band • Burns and Allen at the NYC Parade • Bill Stern's Sports Newsreel • Dennis Day Returns from the Navy • Fred Allen is King For a Day • Elliott Lewis and Broadway Is My Beat • The Death of Fred Allen • Ending with Jean Shepherd • Looking Ahead to Opening Day —————————— The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers —————————— The reading material for today's episode was: • Treadmill to Oblivion and Much Ado About Me — By Fred Allen • On The Air — By John Dunning • Network Radio Ratings — By Jim Ramsburg • The Museum of Broadcast Communications Encyclopedia of Radio — By Christopher H. Sterling As well as articles from • The New York Daily News • The New York Times —————————— On the interview front: • Fred Allen was interviewed by Tex and Jinx on NBC Radio — November 24th, 1954 • Goodman Ace, Tallulah Bankhead, Jack Benny, Mort Greene, Jim Harkins, George Jessel, Doc Rockwell, Donald Vorhees, Pat Weaver, Roger White, and Herman Wouk spoke for Biography In Sound — May 29th, 1956 • Dennis Day and Phil Harris spoke to Chuck Schaden. Hear these full chats at SpeakingOfRadio.com • Dennis Day and Elliott Lewis spoke to John Dunning for his 71KNUS program from Denver. • Morton Fine was with Dan Haefele • Jack Kruschen with Jim Bohannan in 1987. • Orson Welles on The Tonight Show with Johnny Carson • George Burns spoke to Barbara Walters —————————— Selected music featured in today's episode was: • The Sails of Galway — By W.B. Snuffy Walden • Overture on Hebrew Themes, Opus 34 — By Andre Moisan • Someone To Watch Over Me — By Blossom Dearie • The Minstrel Boy — By Jacqueline Schwab • Swing into Spring — By Benny Goodman —————————— A special thank you to Ted Davenport, Jerry Haendiges, and Gordon Skene. For Ted go to RadioMemories.com, for Jerry, visit OTRSite.com, and for Gordon, please go to PastDaily.com. —————————— Thank you to: Tony Adams Steven Allmon Orson Orsen Chandler Phil Erickson Jessica Hanna Perri Harper Briana Isaac Thomas M. Joyce Ryan Kramer Earl Millard Gary Mollica Barry Nadler Christian Neuhaus Aimee Pavy Ray Shaw Filipe A Silva John Williams —————————— WallBreakers Links: Patreon - patreon.com/thewallbreakers Social Media - @TheWallBreakers

In 1922 a twenty-eight-year-old Fred Allen, already a vaudeville veteran, was hired by J.J. Shubert for his broadway production of The Passing Show of 1922. Allen was gaining fame as a monologist. He was in charge of writing his own material. One popular gag was the "Old Joke Cemetery." Allen had a curtain painted as a graveyard, on the tombstones were the punch lines to forty-six old jokes. When Allen moved with the show to Chicago, he met a dancer named Portland Hoffa. There the producers told Allen to drop the cemetery gag. The show was moving to Hollywood. Allen quit. Back in New York he demanded royalties from the Shuberts when the gag turned up in their other acts. They re-hired him, to emcee Artists and Models. In the revue, the chorus women were topless. Allen came on after the women were finished. The Shuberts and Allen soon came to a mutual release. Fred and Portland were married in 1927 and Allen starred in similar revues until Portland joined him on stage. Together they were a hit. Four years later Allen was contemplating radio. By 1932 big names like Ed Sullivan, Ed Wynn, and George Jessel were on radio. Jessel convinced Allen to audition. Allen felt that writing a sketch show centered around characters in different business backgrounds would appeal. The Corn Products Company hired him. Their Linit Beauty Powder would be the featured product. Allen was paid one-thousand dollars per week, but he had to produce the show out of his own pocket. He co-wrote it with Harry Tugent. Producer Roger White remembered that time. The Linit Bath Club Review premiered on Sunday, October 23rd, 1932 over CBS. Right from the beginning Allen had trouble with his sponsors. The season rating was 11.9, thirty-ninth overall. Roughly five million people tuned in and the show bested the Manhattan Merry-Go-Round opposite on NBC. But, the program was canceled after six months. Fred returned to radio on Friday August 4th, 1933 over NBC. His new show was The Salad Bowl Review for Hellmann's Mayonnaise. It would mark the beginning of a six-year relationship with the National Broadcasting Company. Allen was paid four-thousand dollars per week. Minerva Pious joined the cast. She'd later be known for her ethnic character portrayals. Allen introduced the Etiquette Department and the Question box. People could write in to have questions answered on-air, with instructions to try to slip things by the censors. He started a newsreel. It was the forerunner to the satirical comedy that would become a program staple. The ad agency who held the Helmann's account liked the program so much that they aired it through autumn, long-passed mayonnaise's shelf-life in a time when it was a seasonal condiment for salads. However, by December 1st, 1933 the show had to exit the air. Now Sal Hepatica laxatives from Bristol Myers wanted in. Beginning on January 4th, 1934, Fred Allen debuted as emcee for The Sal Hepatica Review. On March 21st, 1934 the broadcast was expanded to an hour. It now included Ipana Toothpaste and was called The Hour of Smiles. Allen was given no additional budget and each show had to be performed twice—once for each coast. Allen hired a couple of script-writers to help. One of them was Herman Wouk, who'd later win a Pulitzer Prize for his 1951 novel, The Caine Mutiny. By then, the program had become a local review with news. On July 11th the show was retitled Town Hall Tonight. The tight budget left no room for big guest stars. Allen had to develop plot lines. Things were running smoothly until Allen was called into the agency offices. They objected to some of his jokes and didn't like the concept of a running gag—something Allen had begun to develop. Allen later explained that running gags were very important because they stimulated a listener's memory and interest. The ad agency disagreed. Allen paid them no mind.

Our 99th podcast, and we're almost done with another cycle of writing-editing-publishing a book with "From Tundra to Tiara" being released tomorrow, Monday, January 9. We talk at length about what we learned from our collaborative effort in writing a book, along with the challenges of contrasting writing styles and the English language itself. We segue over to the biggest roadblock for independent writers: getting the word about our new book. Marketing is pushing that big rock up the mountain with no certainty that our efforts or money are producing good results (but we keep pushing). We cite Sisyphus, Ernest Hemingway, Herman Wouk, and Billy Mack from "Love Actually" in this podcast (no spoilers). There's a range of characters for you. This is a heck of an episode. Check us out on carsonhume.com and take care of you. TIA! LYL!

Jeopardy! recaps from the week of July 18th, 2022. We call out Henry David Thoreau, Emily revisits the cringe of mixing up Deadwood and Torchwood, and she educates LITERALLY EVERYONE about Herman Wouk. Find us on Facebook (Potent Podables) and Twitter (@potentpodables1). Check out our Patreon (patreon.com/potentpodables). Email us at potentpodablescast@gmail.com. Continue to support social justice movements in your community and our country. www.communityjusticeexchange.org https://www.gofundme.com/c/act/stop-aapi-hate www.rescue.org  www.therebelsproject.org www.abortionfunds.org 

Act II of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 12th (?) Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices

Act I of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 12th (?) Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices

Act I of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 12th (?) Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices

Act II of The Narada Radio Company presentation of a remake of the BBC adaptation of THE CAINE MUTINY COURT-MARTIAL, kicking off the 12th (?) Season of Sonic Summerstock Playhouse! Herman Wouk's moving novel of World War Two was condensed by the author into a two-act play, which the BBC broadcast in the 1950s. This remake for Sonic Summerstock was recorded over Zoom and comprised of actors from California, Texas, Illinois, and the United Kingdom. Learn more about your ad choices. Visit megaphone.fm/adchoices

Typhoons and other storms were a real danger for naval vessels during the Pacific War, and many ships were lost to them. The Caine Mutiny, based on the novel of the same name by Herman Wouk, tells the story of a tyrannical destroyer captain whose decision to sail right through a typhoon motivates his executive officer to relieve him of command, leading to a court martial. In this episode, James and Sean discuss this exciting film which is part war story and part courtroom drama.

Welcome to the Instant Trivia podcast episode 392, where we ask the best trivia on the Internet. Round 1. Category: Read American 1: "O'Hara's Choice" is the final novel by this author who made his own exodus from this world in 2003. Leon Uris. 2: In 2003 he said he had completed the last 3 volumes of his "Dark Tower" series and had revised the first volume. Stephen King. 3: A werebeaver turns up in Thomas Pynchon's 1997 novel on this famous pair of surveyors. Mason and Dixon. 4: He was all at sea with 1951's "The Caine Mutiny" and back on board 20 years later with "The Winds of War". (Herman) Wouk. 5: In "Dodsworth" by Sinclair Lewis, Sam Dodsworth is president of a car co. in this town that was "at its peak". Zenith. Round 2. Category: National Rhyme Time 1: An unmarried young woman from Bern. a Swiss miss. 2: A live animal park in Lima. a zoo Peru (or Peru zoo). 3: A Havana horn. a Cuba tuba. 4: Central American ricotta. Belize cheese. 5: Southeast Asian country's ointment. Vietnam balm. Round 3. Category: Oh, Craps! 1: The combo that totals one shy of "boxcars". 5 and 6. 2: Craps roll known as "ace-deuce". 1 and 2. 3: 4, easy. 3 and 1. 4: Hard 8. 4 and 4. 5: 10, easy. 4 and 6. Round 4. Category: Geographic Pairs 1: Name of a famous hill in Cuba, or the Puerto Rican capital. San Juan. 2: You can chalk up the fact these towns in Delaware and England share the same name. Dover. 3: Nevada's oldest permanent white settlement, or the birthplace of Columbus. Genoa. 4: Name of the "twin cities" on the Arkansas-Texas border. Texarkana. 5: Island off New Jersey or Argentina, but Argentines call it "Isla de los Estados". Staten Island. Round 5. Category: Primary Colors 1: Paul Bunyan's Babe was a giant ox of this color. blue. 2: Tom Clancy's first 2 novels had this color in their titles. red. 3: It's the color mentioned in the title of the following. yellow. 4: In the election of 1892, the Populist Party supported "free" this mineral (also a color). silver. 5: The group known as "Code" this calls itself a "women-initiated grassroots peace and social justice movement". Code Pink. Thanks for listening! Come back tomorrow for more exciting trivia!

O que a Torá espera de quem não é judeu? Nesta curta reflexão de 2 minutos, vamos falar um pouco sobre a universalidade do Judaísmo. O que Deus espera de nós como seres humanos, independente da religião que nós seguimos? E qual o não-judeu que exemplifica mais esta conduta, a tal ponto de ser retratado na Bíblia Hebraica como uma das pessoas mais íntegras da humanidade? ***** A reflexão foi extraída da obra Este é Meu Deus: A Maneira Judaica de Viver, de Herman Wouk. Através de uma linguagem direta e cristalina, leva o leitor a um inesquecível passeio pela história dos judeus e do judaísmo - das tendas do patriarca Abrahão ao moderno Estado de Israel. De forma surpreendente, estabelece um escopo que aborda todos os tópicos essenciais da identidade judaica, tornando-a plenamente acessível, ao demolir mitos e estereótipos. Recomendadíssimo! Para mais informações, clique aqui.

In this episode, your hosts sit down with Air University Law Chair Lt Col Charles Gartland and discuss The Caine Mutiny, the 1951 Pulitzer-prize winning novel by Herman Wouk. We'll discuss this monumental work of World War II historical fiction and extract its lessons for today on leadership, followership, and the nature of military command.

Welcome to the Instant Trivia podcast episode 363, where we ask the best trivia on the Internet. Round 1. Category: Metals 1: Photography accounts for almost half the industrial use of this metal in the U.S.. silver. 2: This liquid metal is added to paints to make them mildew proof. Mercury. 3: Of the current penny, nickel, and dime the one which contains the most copper. nickel. 4: This liquid metal is 13.6 times heavier than an equal volume of water. mercury. 5: This alloy metal popular for bathroom rails gets softer as it includes more copper and less zinc. brass. Round 2. Category: The United States Of Advertising 1: This "advanced medicine for pain" was the first nonprescription brand of ibuprofen in the U.S.. Advil. 2: Julie London sang, "Where there's a man there's" this brand of cigarette; I wonder if he was riding his horse?. Marlboros. 3: Caffeine and taurnine are the main ingredients in this popular energy drink that "gives you wings". Red Bull. 4: Bausch and Lomb introduced the "Wayfarer" style of these in 1952. sunglasses. 5: This product gives you "speedy" relief the morning after. Alka-Seltzer. Round 3. Category: Driving The Green 1: "Because you've got better things to do than plug in and wait", the battery of this co.'s Civic Hybrid recharges itself. Honda. 2: At 55 MPG, you could get from L.A. to Vegas on a bout 5 gallons driving a Prius from this company. Toyota. 3: The Altra EV from this company that also makes the Altima can hit 75 MPH; what a (non) gas!. Nissan. 4: The Escape Hybrid from this company claims to have a "range of well over 400 miles on a single tank". Ford. 5: The EV1 got a fantastic 0 MPG, as it was a no-gas vehicle from this U.S. co. organized by William Durant in 1908. General Motors. Round 4. Category: World Theatre 1: This "War and Peace" author's play "The Power of Darkness" was once banned in his native Russia. Leo Tolstoy. 2: Conor McPherson's haunting play "The Weir" is set in a pub in this country. Ireland. 3: Israeli playwright Nathan Alterman called his first play "Kineret, Kineret...", Kineret being Hebrew for the Sea of this. Sea of Galilee. 4: The "Chushingura", about a band of avenging Ronin, is one of the most famous plays in this form of Japanese drama. Kabuki. 5: Juliette Binoche starred in the 2000 Broadway revival of this British playwright's 1978 classic "Betrayal". Harold Pinter. Round 5. Category: Books Of The '70s 1: In a 1972 book, Hunter S. Thompson sent Raoul Duke and Dr. Gonzo to this city to cover the Mint 400 race. Las Vegas. 2: This prolific British mystery writer's last published novel was 1976's "Sleeping Murder". Agatha Christie. 3: Victor Henry of the U.S. Navy and his family are at the center of this 1971 Herman Wouk epic. Winds of War. 4: A book by Flora Screiber says, Mary, Peggy Lou, Vicky and Vanessa were 4 of this title character's 16 personalities. Sybil. 5: A review said this 1979 William Styron novel "belongs on that small shelf reserved for American masterpieces". Sophie's Choice. Thanks for listening! Come back tomorrow for more exciting trivia!

Welcome to the Instant Trivia podcast episode 305, where we ask the best trivia on the Internet. Round 1. Category: Declaration Of Independence Signers 1: We all know John Hancock signed it, but how many of you know he did it representing this state. Massachusetts. 2: He's the only signer the World Almanac lists with the occupation "printer, publisher". Benjamin Franklin. 3: Francis Lewis was the only signer born in this U.K. country--he was from Llandaff. Wales. 4: Before Benjamin Harrison landed the job of signer, he was getting his hands dirty in this occupation. farmer. 5: Elder statesman John Witherspoon was the only clergyman to sign; he was part of this church of "Elders". Presbyterian. Round 2. Category: A"Ha" 1: Its nicknames include the "Paradise of the Pacific" and "The Pineapple State". Hawaii. 2: Well, Praise the Lord! It means "Praise the Lord". Hallelujah. 3: In 1640 Henry Dunster became this university's first president; he was also the entire faculty. Harvard. 4: Type of men's store once owned by Harry Truman. Haberdashery. 5: This king's reign has been referred to as the Golden Age of Babylon. Hammurabi. Round 3. Category: Nations Of Africa 1: Add 2 letters to Niger to get the name of this country just south of it. Nigeria. 2: In a song title, this country whose capital is Nairobi might come before "Feel the Love Tonight". Kenya. 3: In a song title, this country whose capital is Accra might come before "Fly Now". Ghana. 4: (Hi, I'm NBA All-Star Dikembe Mutombo) One of the many languages I speak is this official one of my birthplace, Congo. French. 5: Milton Obote, no bargain either, ran this country before and after Idi Amin. Uganda. Round 4. Category: Jon Stewart's America 1: "This follow-up to 'The Articles of Confederation' is the rare sequel that's more bicameral than the original!". the Constitution. 2: He was "quoted" as saying, "the only thing we have to fear is fear itself...oh, and starvation. We might all starve". Franklin Roosevelt. 3: This D.C. building's rotunda "was made famous by the Stephen Baldwin/Pauly Shore vehicle Bio-Rotunda". the Capitol. 4: This 1215 document "served as a wake-up call that Europe would be forced to answer...in about 500 years". the Magna Carta. 5: This mascot "is like Uncle Sam, only shorter and fatter, clearly playing to the British infatuation with stoutness". John Bull. Round 5. Category: American Novelists 1: Tired of whaling, he jumped ship in the Marquesas Islands in July 1842 and lived there for a month. (Hermann) Melville. 2: Having served on a mine-sweeper during World War II, he wrote about one in "The Caine Mutiny". Herman Wouk. 3: This author of "The Good Earth" wrote 5 books using the pseudonym John Sedges. Pearl Buck. 4: This "tasty" author bakes her novels a while: 1992's "The Secret History" was her 1st, and "The Goldfinch" from 2013 is her 3rd. Donna Tartt. 5: This "tasty" author bakes her novels a while: 1992's "The Secret History" was her 1st, and "The Goldfinch" from 2013 is her 3rd. Donna Tartt. Thanks for listening! Come back tomorrow for more exciting trivia!

In this episode, we discuss “Herman Wouk is Still Alive” by Stephen King. What can we learn from a short story by a master storyteller? How can we develop plot in a short story? How can we establish character? If you enjoy this episode, consider subscribing to our newsletter at http://www.napleswritersworkshop.com For daily writing tips, […]

Steven Strogatz is the Jacob Gould Schurman Professor of Applied Mathematics at Cornell University. Early in his career, he worked on a variety of problems in mathematical biology, including the geometry of supercoiled DNA, the dynamics of the human sleep-wake cycle, the topology of three-dimensional chemical waves, and the collective behavior of biological oscillators, such as swarms of synchronously flashing fireflies. In the 1990s, his work focused on nonlinear dynamics and chaos applied to physics, engineering, and biology. Several of these projects dealt with coupled oscillators, such as lasers, superconducting Josephson junctions, and crickets that chirp in unison. In the past few years, this has led him into such topics as the role of crowd synchronization in the wobbling of London's Millennium Bridge on its opening day, and the dynamics of structural balance in social systems. His best-known research contribution is his 1998 Nature paper on "small-world" networks, co-authored with his former student Duncan Watts. It's the sixth most highly cited paper—on any topic—in physics. Strogatz's writing includes five books. His book Sync was chosen as a Best Book of 2003 by Discover Magazine. His 2009 book The Calculus of Friendship was called "a genuine tearjerker" and "part biography, part autobiography and part off-the-beaten-path guide to calculus". His 2012 book, The Joy of x, won the 2014 Euler Book Prize. His latest book is Infinite Powers, which, recounts the history of calculus and explains how it works and why it makes our lives immeasurably better. http://www.stevenstrogatz.com/ 00:00:00 Intro 00:03:20 Who was Herman Wouk and why do you start you book with him? 00:08:38 Should we train mathematicians to be good communicators? 00:16:19 On the significance of time, and the entropy of happiness. Is time the emotional dimension? 00:17:51 Small world theory, and one of the most cited papers of all time. 00:21:30 The thermodynamics of happiness and family size. 00:30:10 Can anyone understand infinity? 00:46:33 Are we becoming too connected? 00:53:44 What do you think about the idea that God in science? 00:57:03 The history of science! Carefully. 01:08:22 Intuition first, rigor later. 01:13:21 Is string theory to beautiful to be wrong? 01:17:12 Final Thrilling Three: Ethical Will, Billion Year Monument, Advice to your younger self. Join this channel to get access to perks: https://www.youtube.com/channel/UCmXH_moPhfkqCk6S3b9RWuw/join Support the podcast: https://www.patreon.com/drbriankeating And please join my mailing list to get resources and enter giveaways to win a FREE copy of my book (and more) http://briankeating.com/mailing_list.php

Tony Incontrera is the head lacrosse coach and a history teacher at Gilman School. He won three national championships at Salisbury University and has coached at Marriotts Ridge and Mt. Hebron HS. As a head coach at Marriotts Ridge, Tony led the Mustangs to the state championship in 2018 and Howard County titles in 2017 & 2019. // On Episode #57 of the Path to Follow Podcast, Jake and Tony discuss the origins of Tony's love for lacrosse and history, the legacy of Salisbury's Jim Berkman, the college recruiting process, H.I.T., what inspired Tony to get into coaching, Marriotts Ridge High School, visions for the Gilman Lacrosse program, off-season training, run tests, the Oregon Trail, the challenges of winning, teaching history, and Tony's book recommendations: 'The Winds of War' (2011) and 'War of Remembrance' by Herman Wouk (1987). // Enjoy the episode? Please follow @pathtofollowpod on all platforms. More to come! // Many thanks to the wizard Cesare Ciccanti for all of his efforts on podcast production. //

Links1. War in 2034: A Novel of the Next War, by James Stavridis and Elliot Ackerman, Penguin Press, 2021.2. Partnership for the Americas: Western Hemisphere Strategy and U.S. Southern Command, by James Stavridis, National Defense University Press, 2010.3. The Bedford Incident, by Mark Raskovich, Thunderchild Publishing (reprint, 2016).4. Destined for War: Can America and China Escape the Thucydides Trap? by Graham Allison, Mariner Books (reprint, 2017).5. Winds of War, by Herman Wouk, Hodder & Stoughton, 2013.6. Ender’s Game, by Orson Scott Card, Tor Books (reprint, 2017).7. Man’s Fate, by Andre Malraux, Vintage, 1990.8. Red Storm Rising, by Tom Clancy and Larry Bond, Berkeley (reprint, 2009).9. Admiral James Stavridis Official Website10. Elliot Ackerman Official Website

The USS Plunkett was a US Navy destroyer that sustained the most harrowing attack on any Navy ship by the Germans during World War II, that gave as good as it got, and that was later made famous by John Ford and Herman Wouk.Plunkett’s defining moment was at Anzio, where a dozen-odd German bombers bore down on the ship in an assault so savage, so prolonged, and so deadly that one Navy commander was hard-pressed to think of another destroyer that had endured what Plunkett had. After a three-month overhaul and with a reputation rising as the “fightin’est ship” in the Navy, Plunkett (DD-431) plunged back into the war at Omaha Beach on D-Day, and once again into battle during the invasion of Southern France – perhaps the only Navy ship to participate in every Allied invasion in the European theatre.Today's guest is James Sullivan, author of "Unsinkable: Five Men and the INdomitable Run of the USS Plunkett." Featuring five incredibly brave men — the indomitable skipper, who will receive the Navy Cross; the gunnery officer, who bucks the captain every step of the way to Anzio; a first lieutenant, who’s desperate to get off the ship and into the Pacific; a 17-year-old water tender, who’s trying to hold onto his hometown girl against all odds, and another water tender, who mans a 20mm gun when under aerial assault — the dramatic story of each plays out on the decks of the Plunkett as the ship’s story escalates on the stage of the Mediterranean.

Father's Day edition. What do Jewish children call their parents? How do they show respect to their father? An interesting father story from the Talmud. The joy of the father's day nap. "This is My God" by Herman Wouk.

Rabbi Doctor Zev Eleff is Chief Academic Officer of Hebrew Theological College and Associate Professor of Jewish History at Touro College. He is the author of nine books. His most recent isAuthentically Orthodox: A Tradition-Bound Faith in American Life.In a wide ranging discussion with Rabbi Kivelevitz,Rabbi Eleff recounts how the"Yeshiva-h"as H.T.C. is referred to, was able to manage through the worst days of thepandemic.While praising the technology of teleconferencing ,Eleff highlights aspects ofweaknesses in the model over and abovethose that have been pointed out by other educators.He applauds the dedicated veteran instructors who have forced themselves to learn newskills, providing an upgrade in the edification of future students.In the latter part of the episode, Rabbi Kivelevitz references Eleff'srecent article in Jewish Action Rabbi Leo Jung, Herman Wouk and their Little-Known Orthodox Societyand asks the author if the suggestion floated by the group highlighted in thearticle in the late 1940's-mainly that Orthodox institutions would be helped ifthey would be brought under one central head to make the appeal for allYeshivos, should be 2020's model.Kivelevitz wonders if this is the only realistic chance for religious schooling tocontinue unabated in the face of the economic depression the experts are predicting.Rabbi Eleff's elegant response is built on his expertise in the communal history ofAmerican Orthodoxy.In a similarly cogent vein, Eleff applies the crucial lesson that his articleunderscores,the power of laypeople, beyond the purview of an organizational umbrella, to make a pivotal mark on Jewish history in post Covid-19 life.The Rabbi supplies us with practical directives and examples that,if implemented,will unify our communities and enhance our religious sensibilities.Please leave us a review or email us at ravkiv@gmail.comFor more information on this podcast visityeshivaofnewark.jewishpodcasts.org See acast.com/privacy for privacy and opt-out information. This podcast is powered by JewishPodcasts.org. Start your own podcast today and share your content with the world. Click jewishpodcasts.fm/signup to get started.

Rabbi Doctor Zev Eleff is Chief Academic Officer of Hebrew Theological College and Associate Professor of Jewish History at Touro College. He is the author of nine books. His most recent is Authentically Orthodox: A Tradition-Bound Faith in American Life. In a wide ranging discussion with Rabbi Kivelevitz,Rabbi Eleff recounts how the"Yeshiva-h"as H.T.C. is referred to, was able to manage through the worst days of thepandemic.While praising the technology of teleconferencing ,Eleff highlights aspects ofweaknesses in the model over and above those that have been pointed out by other educators.He applauds the dedicated veteran instructors who have forced themselves to learn newskills, providing an upgrade in the edification of future students.In the latter part of the episode, Rabbi Kivelevitz references Eleff's recent article in Jewish Action Rabbi Leo Jung, Herman Wouk and their Little-Known Orthodox Societyand asks the author if the suggestion floated by the group highlighted in thearticle in the late 1940's-mainly that Orthodox institutions would be helped ifthey would be brought under one central head to make the appeal for all Yeshivos, should be 2020's model.Kivelevitz wonders if this is the only realistic chance for religious schooling tocontinue unabated in the face of the economic depression the experts are predicting.Rabbi Eleff's elegant response is built on his expertise in the communal history ofAmerican Orthodoxy.In a similarly cogent vein, Eleff applies the crucial lesson that his articleunderscores,the power of laypeople, beyond the purview of an organizational umbrella, to make a pivotal mark on Jewish history in post Covid-19 life.The Rabbi supplies us with practical directives and examples that,if implemented,will unify our communities and enhance our religious sensibilities.Please leave us a review or email us at ravkiv@gmail.comFor more information on this podcast visityeshivaofnewark.jewishpodcasts.org See acast.com/privacy for privacy and opt-out information.

Sri explores paleo child-rearing and a$$h**$ in the workplace. notesThe Art of War by Sun Tzu —> The Kindle version right now is only 49 cents :)  (The audiobook is a mere 66 cents, but I doubt it's possible to get the value without slowly pondering each line — which is challenging with the audio format.) The Caine Mutiny by Herman Wouk. Nothing describes ship life as accurately as this bestselling classic. (I highly recommend the audiobook. I couldn't stop listening.)Vitamin String Quartet performs “How Soon Is Now” by the Smiths, aka that “I am human” song (Youtube) The only video I could find of Mike Tyson actually saying his most famous quote (which I believe was originally said to a journalist off-camera) (Youtube)Habits: Check out author James Clear — love his insights!Intro and/or outro music in most episodes is by Paul Sridhar ( Spotify ). Disclaimer: Any audio clips are included with every intent and steps taken to abide by Fair Use and serve the purpose(s) of illustration, education, augmentation, or promotion of source content.

Van digs into the epic World War II TV miniseries THE WINDS OF WAR and its sequel WAR AND REMEMBRANCE from the 1980s, as well as the Herman Wouk novels on which they were based. Be a part of the White Rocket Entertainment family by becoming a patron of the shows: https://www.patreon.com/vanallenplexico Brought to you by White Rocket Entertainment. http://www.plexico.net

Joe Zahm “Don’t Let Them See You Sweat — The Celebrity Halo Effect" on Global Luxury Real Estate Mastermind with Michael Valdes Podcast #102Joe Zahm has 60 percent of the market share in Turks & Caicos. He has represented celebrities such as Prince, Bruce Willis and Donna Karan, just to name a few and we examine the traits necessary to enter the ultra-elite world of "celebrity agent". The conversation focuses on the super luxury market, how to break into it, and how to succeed in it. More About Joe ZahmReal Estate Professional in Grace Bay, Providenciales Turks And Caicos IslandsA native Philadelphian, Joe has been involved in virtually every aspect of real estate and resort development, marketing, sales and management since he began his career as staff attorney for Keystone Resort, Colorado in 1985. After attending Denver University Executive MBA program, Joe came to the Turks and Caicos Islands in January 1989 (22 below to 82 degrees!) at the behest of a family friend to manage the now highly successful Ocean Club Resort, a condominium resort project that led the way for the concept in the region. Today, over 20 years later, Joe’s track record is among the most impressive in the jurisdiction. During Joe’s first six years at Ocean Club, he committed his efforts to the development of tourism and real estate in the Turks and Caicos Islands – leading the fish out of water lifestyle of Norman Paperman, the central character in Herman Wouk’s hilarious novel “Don’t Stop the Carnival”. He co-founded the Turks and Caicos Resort Association, served on the nation's Tourist Board, and even penned the hit island song "Beautiful By Nature." Joe went on to serve as Sales Manager for the Mansions on Grace Bay, then co-founded Point Grace, where he continued until 1998. Joe then formed Connolly Zahm Properties, which has been the vehicle for his involvement in many successful projects, including The Sands at Grace Bay, Coral Gardens, Royal West Indies, The Renaissance on Grace Bay, and more recently, Le Vele, The Villas at Grace Bay Club, The Estate at Grace Bay Club, Seven Stars, West Bay Club and Gansevoort. These projects represent the cream of development in the Turks and Caicos Islands. In his 20 years involved in real estate in these islands, Joe has managed, consulted, marketed, and brokered well over $350 Million U.S. Dollars in condominium and real estate product. Looking towards the second decade of the new century, Joe recently merged Connolly Zahm Properties with Turks & Caicos Sotheby’s International Realty to form the premier luxury real estate brand in the Turks & Caicos. Joe is also an active singer – songwriter and producer, and resides on Provo with his wife, Gosia, daughters Isabella and Aleksandra, and son Dylan. A fish out of water no more. Joe ZahmPresident / BrokerTurks & Caicos Sotheby's International Realtywww.turksandcaicossir.comC: 649.231.6188 TCIC: 610.715.0506 US More About Michael ValdesMichael Valdes is the Senior Vice President of Global Servicing for Realogy Corporation. In that role he oversees the international servicing platform for all Realogy brands including Century 21, Coldwell Banker, ERA, Better Homes & Garden, Corcoran, Climb and Sotheby’s International Realty in 113 countries. He has been with Realogy in a variety of roles for the past 14 years. Prior to joining the firm, Mr. Valdes was Director of Private Banking at Deutsche Bank for just under a decade where he oversaw a book of business of just under $1 billion. He has the distinction of being the first Director in the United States of Latino descent.Mr. Valdes is the Chair of the AREAA Global Advisory Board and co-host of the 2020 AREAA Global Luxury Summit. He is also a current member of the NAHREP Corporate Board of Governors. Additonally, he is a member of the Realogy Diversity Board as well as the Executive Chair of the ONE VOZ, Hispanic ERG for the firm. He is a former Board Member of Mount Sinai Hospital in Miami Beach as well as the Shanti Organization in San Francisco. Michael was also a Board Member of Pink & Blue for 2, an organization started by Olivia Newton-John to promote breast and prostate cancer awareness. He currently resides in New York City and has a home in Miami. 

82 years ago this show was broadcast on CBS on December 22... 1937. Comedian Fred Allen was the host of "Town Hall Tonight" which was the prelude to his "Allen's Alley" comedy show. His wife, Portland Hoffa was also featured on the program along with the Mighty Allen Art Players. Fred Allen was an incredibly good comedian and he knew how to entertain radio audiences. He developed many different and very entertaining characters who would "drop in" for a short visit on the show. On this program though, he welcomes Jack Benny who was his competition on NBC. In fact Allen and Benny had a mock feud going in competition with their shows. They made fun of each others programs and the "feud" simply raised the size of the listening audience, so they kept it up for years with some very funny results. Allen was born and in Cambridge, Massachusetts and graduated from Boston University. (Side note: Fred Allen (John Florence Sullivan was his real name) was in my grandmother's high school class!) Fred Allen was the most admired and frequently censored comedian on radio... he did a lot of ad-libbing that got him in trouble with sponsors and network executives. President Franklin Roosevelt was an avowed Fred Allen fan as were James Thurber, William Faulkner, John Steinberg, and Herman Wouk. Allen has stars on the Hollywood Walk of Fame and was inducted into the National Radio Hall of Fame in 1988. He was born in 1884 and died in 1956 at the age of 61. This show is in two playlists "Comedy" and "Christmas"

Hey CFL Family! I hope you guys enjoy this podcast and got to know two of our amazing members a little bit better! Book Recommendations: Chrystal - 1. Unbroken by Laura Hillenbrand 2 .In Order to Live by Yeonmi Park 3. The Tattooist of Auschwitz by Heather Morris Bryan - 1. The Wins of War by Herman Wouk

Welcome to The Jewish Hour with Rabbi Finman, for June 2, 2019. In this episode, Rabbi Finman talks to Dovid Margolin about the life and times of Herman Wouk. How do you listen to The Jewish Hour? You have a lot of options you know? iTunes, Spotify, Google Play, Stitcher, RSS, it’s your choice!

First up, Steve gives listeners a heads up on the economy, healthcare and trade....And, what kinds of societies allow for ideas to flourish? Deirdre McCloskey, economics and history scholar and author of 17 books, talks with Steve about why the human race has experienced unprecedented prosperity in the past 200-300 years. What were the forces that brought about innovation in some societies but not others? What were the reasons the merchant class, once looked down upon by aristocrats, came into having respect? Why did the evolution of societal well-being in countries and empires with tremendous wealth and success, suffer? Hear why when people have the freedom to have a go, and only then, can society thrive.Lastly, Steve's Read of the Week are two articles. From the Wall Street Journal about women's fashion designing for an array of body types: https://www.wsj.com/articles/high-fashion-is-no-longer-just-for-tall-thin-women-11558463793 and Commentary Magazine about the American writer, Herman Wouk: https://www.commentarymagazine.com/culture-civilization/herman-wouk-1915-2019/

Herman Wouk and his Zaidy - Parshat Behar

Pictured: Judith Kerr Matthew Bannister on Niki Lauda, the fearless racing driver who survived a terrible crash to make a dramatic comeback on the track. Judith Kerr, the author of much-loved children's books including the Mog series and The Tiger Who Came to Tea. I.M. Pei, the architect best known for the glass pyramid outside the Louvre in Paris. Herman Wouk, the American novelist and screenwriter who won the Pulitzer Prize for The Caine Mutiny. Interviewed guest: Simon Taylor Interviewed guest: Julia Eccleshare Contributor: Michael Goldfarb Interviewed guest: Professor Eric Homberger Producer: Neil George Archive clips from: South African Grand Prix 1976, BBC Sound Archives; Rush, directed by Ron Howard, Working Title Films/Imagine Entertainment/Cross Creek Pictures/DNEG/Revolution Films/ Exclusive Media Group 2013; Hunt/Lauda, Radio 4 24/03/2013; The World At One, Radio 4 12/11/1981; BBC News, 28/05/1991; Desert Island Discs, Radio 4 29/02/2004; When Hitler Stole Pink Rabbit, read by Rosemary Leach, Radio 4 Extra 02/10/2017; The 60 Minutes Interview: I.M. Pei, CBS News 1987; Readings by Herman Wouk, University of California TV 24/01/2008.

In another recording from the Fortress of Proopitude, Greg and Jennifer hail The Harder They Come, Hagia Sophia and Herman Wouk.

Tony opens the show by talking about Brooks Koepka winning the PGA Championship. Michael Wilbon calls in to talk about the NBA playoffs (and Drake), and Nigel gives the news.  During Old Guy Radio, Tony talks about the Golden State Warriors, the Preakness, the passing of Herman Wouk, and his golf outing with Michael and Kip Scheeman over the weekend.  Lastly, they close out the show by opening up the Mailbag. Songs : The Petty War Club "Call Me By Your Name" ; "Old Grand-Dad"

The clock is ticking as we quickly bring you all the news fit to cast in the world of nerdy entertainment! This week, we've stories about Disney, Patman, Game of Thrones spoilers, trailers for Batwoman and His Dark Materials, a review of the DS9 documentary What We Left Behind, and sendoffs for Tim Conway, Doris Day, Herman Wouk, and Grumpy Cat! Then, we confront the terrifying reality of a police state that criminalizes abortion. And we watch 4 Months, 3 Weeks and 2 Days!DAMMIT, CHLOE! WE'RE RUNNING OUT OF TIME!Get 4 Months, 3 Weeks and 2 Days on Amazon!https://amzn.to/2Wgpo9TPick up JET merch for 30% off on our Teepublic store!http://www.teepublic.com/user/justenoughtropeCelebrate guilty pleasure movies with Kal on Craft Disservices!http://www.craftdisservices.comComplain with us about GoT on Facebook and Twitter!http://www.facebook.com/justenoughtropehttp://www.twitter.com/justenoughtropeFollow our live stream adventures on YouTube!https://www.youtube.com/channel/UCv_yQ1TlPULKRSrlZa6JgtA/videosBuy us a pack of Kents on Patreon!http://www.patreon.com/justenoughtrope

With the Nebula Award winners about to be announced, we took a look this week at the question of whether science fiction has demonstrated much continuity of theme and style since the 1969 Nebulas, or whether the field has essentially reinvented itself in the last few decades. But before we even get around to that, we note the death of bestselling author Herman Wouk, whose only science fiction work was the relatively undistinguished The "Lomokome” Papers, which raised the issue of mainstream writers who attempted SF with limited success vs. those who approached the material with respect. Then we spent some time talking about the different generations of science fiction writers, the role of nostalgia in science fiction, the value of differing perspectives even on familiar themes, and somehow touched upon the New Wave somewhere in there as well. As usual, we started with interesting ideas and ended up with a farrago.  

The U.S. and Iran. Alabama's pro-life legislation. Tevi Troy, Presidential Historian and Author, on the death of Herman Wouk at age 103, and his summer reading picks for 2019. See omnystudio.com/listener for privacy information.

In this week’s episode, special guest Brian Asman joins us to talk about the short story Stephen King only wrote because he lost a bet. “Herman Wouk is Still Alive” demonstrates many things, especially the fact that even in 2011 Stephen King still suffered from an embarrassing case of fat-phobia. Also, what the hell is with the children’s first names in this story? Was that also part of the bet? SK NEWS (w/ substitute co-host Betty Rocksteady): The Dark Tower TV show casts its two leads, and Joe Hill has a new story collection coming out. [SHOW NOTES] Purchase Brian Asman's I'm Not Even Supposed to Be Here Today. Tickets for Max Booth's Los Angeles werewolf show. Browse the books we publish. Support us on Patreon. Buy a Castle Rock Radio T-shirt.

Mark Koegel earned a Bachelor of Science degree in Civil Engineering from the University of Notre Dame and works as consultant engineer for Kleinfelder. He works as a Civil Site Engineer with an expertise in storm water and spends about 25% of his time out of the office in the field and focused now on Business Development. Mark is really fired up about the ASCE Grand-Challenge and is open to anyone. I loved Mark’s Ah-Ha moment talking to a complete stranger in the airport that changed his mindset, “The past is the past you can make your own outcome” and some advice is to get comfortable with being uncomfortable and just try. His favorite book is the “the Caine Mutiny” by Herman Wouk. You can get a free book from Audible at www.stemonfirebook.com and can cancel within 30 days and keep the book of your choice with no cost. Free Audio Book from Audible.

Loren DeJonge Schulman and Bob Scher sit down with Perry World House's Michael Horowitz to discuss careers in national security, global threats, and the blue whale. Ms. Schulman is the Deputy Director of Studies at the Center for a New American Security. Before that, she served as Senior Advisor to National Security Advisor Susan Rice. Mr. Scher is the head of International Affairs, BP America. Prior to that, Scher served as Assistant Secretary of Defense for Strategy, Plans, and Capabilities in the Department of Defense.  (0:50) – How did you get interested in international affairs? (5:00) – Transitioning from government service to the private sector. (5:50) – What is the role of academics and academic institutions in the policy world?   (8:50) – What skill or trait has made you successful in the policy world? (12:50) – What are the two biggest challenges that the world will face over the next year? (15:20) – What the two biggest challenges that the world will face over the next 20 years (17:10) – Mike forecasts the implications of weaponized AI through the prism of Wall-E getting a gun. (20:50) – Interesting global facts segment (22:25) – Advice for college students interested in engaging the policy world Episode Readings: Bombshell (Podcast), Loren DeJonge Schulman, Radha Iyengar, & Erin Simpson, War on the Rocks, (https://itunes.apple.com/us/podcast/bombshell/id1195698408?mt=2) Washington Is Never Quite Sure Where It Is at War, Loren DeJonge Schulman, The Atlantic, (https://www.theatlantic.com/international/archive/2017/11/niger-aumf-war-terrorism/544652/) The Necessity of Questioning the Military, Loren DeJonge Schulman, The Atlantic, (https://www.theatlantic.com/politics/archive/2017/10/necessity-of-questioning-military/543576/) The Winds of War, Herman Wouk, (https://www.amazon.com/Winds-War-Herman-Wouk/dp/0316952664) Music and Produced by Tre Hester

Today’s movie is The Caine Mutiny (1954) starring among others, Humphrey Bogart, Van Johnson, Fred MacMurray, and José Ferrer. This great movie covers two of my favorite genres, war movies, and trial movies. What can be better than a military court martial movie? This film was directed by Edward Dmytryk and based on a Herman Wouk novel. Rough Script - The Caine Mutiny (1954) We would love to get your feedback! Email SPREAD THE WORD! If you enjoyed this episode head on over to iTunes and kindly leave us a rating, a review, and subscribe! Ways to subscribe to Classic Movie Reviews with Snark Click here to subscribe via iTunes Read more at snarkymoviereviews.com  

For the foreseeable future, we’ll be scaling back our episodes on Tuesdays and Thursdays.  We’ll still bring you all the features that usually run in the second half of the show. Today is Pi Day, in celebration of the mathematical constant pi, the ratio of a circle’s circumference to its diameter. In several Asian countries, it’s White Day, where men give gifts to women in a reversal of local Valentine’s Day customs. It’s unofficially Learn About Butterflies Day, National Potato Chip Day, and National Save a Spider Day. It’s the birthday of scientist Albert Einstein, who was born in 1879; actor Michael Caine, who is 84; and actor Billy Crystal, who is 69. This week in 1972, the top song in the U.S. was “Heart of Gold” by Neil Young. The No. 1 movie was “What’s Up, Doc?,” while the novel “The Winds of War” by Herman Wouk topped the New York Times Bestsellers list.  Weekly question: Pluto was originally the pet dog of which Disney character? Submit your answer at triviapeople.com/test and we’ll add the name of the person with the first correct answer to our winner’s wall … at triviapeople.com. We'll have the correct answer on Friday’s episode. Thanks for listening to the Trivia Minute, please rate the show on iTunes, or support it at triviapeople.com/support. For other details, visit triviapeople.com We'll be back with a full show tomorrow.

On this date in 1947, Edwin Land demonstrated the first instant camera. Here are some things you may not have known about the Polaroid Land Camera. Edwin Land was born in 1909 in Bridgeport, Connecticut. After one year of studying chemistry at Harvard, he dropped out to move to New York and work on his own. While in New York, he invented an inexpensive way of polarizing light for sunglasses and scientific work. He did this despite not having a laboratory of his own by sneaking into Columbia University late at night and doing his reading in the New York Public Library. After inventing the polarizing film, which he called Polaroid film, he returned to Harvard. Land, however, wasn’t motivated by earning a degree, he was interested in solving problems. His wife would get him to answer homework answers, write it up, and turn it in so he wouldn’t fail the course. He left Harvard again to start a new company with his physics instructor George Wheelwright. The company, called the Polaroid Corporation, worked to commercialize Land’s previous invention and find new uses for it. This included jukebox displays, 3D glass and photographic filters. In 1947, Land demonstrated his instant camera, which he called the Land Camera. The original camera used a process called diffusion transfer to move dyes from a negative image to a positive image using a reagent. The negative would be exposed inside the camera, then aligned with a positive sheet and squeezed through rollers with a chemical between the layers that would develop the image. After a minute, the back of the camera was opened and the positive could be peeled away from the negative. The first commercial batch of the Land Camera went on sale for Christmas in 1948. 60 cameras were manufactured, 57 of them sold at the Jordan Marsh department store in Boston. All 57 of the cameras sold out on the first day. They cost $89.75 each. Land was driven in his research. He took few breaks and had to be reminded to eat. He had teams of assistants working with him that would rotate in and out through the day. It was said that he wore the same clothes for 18 straight days while focused on overcoming a problem with one of his inventions. Eventually, Land and Polaroid improved on the developing process, which had fewer steps and worked faster. The 1 millionth Polaroid camera was sold in 1956. Color film was introduced in 1963. In 1978, Polaroid introduced an instant color motion picture system, just as videotape-based systems were debuting. Polaroid’s entry was not a success. Land retired as CEO of Polaroid in 1980. He died in 1991 at the age of 82. Over his lifetime, he amassed 535 patents.  In 2001, Polaroid filed for Chapter 11 bankruptcy. The company name survives today, but it stopped making instant cameras in 2007 and stopped making film in 2009. Our question: Who was hired as Polaroid’s first film consultant in 1949? Today is Armed Forces Day in South Africa and the Birthday of King Harald V in Norway. It’s unofficially Single Tasking Day, and National Sticky Bun Day. It’s the birthday of civil rights leader and U.S. Congressman John Lewis, who is 77; actor Alan Rickman, who was born in 1946; and writer David Foster Wallace, who was born in 1962. Because our topic happened before 1960, we’ll spin the wheel to pick a year at random. This week in 1972, the top song in the U.S. was “Without You” by Harry Nilsson. The No. 1 movie was “Cabaret,” while the novel “The Winds of War” by Herman Wouk topped the New York Times Bestsellers list.  Weekly question: What’s the name of the most prolific inventor, in terms of total number of patents? Submit your answer at triviapeople.com/test and we’ll add the name of the person with the first correct answer to our winner’s wall … at triviapeople.com. We'll have the correct answer on Friday’s episode.  Links Follow us on Twitter, Facebook or our website. Also, if you’re enjoying the show, please consider supporting it through Patreon.com Please rate the show on iTunes by clicking here. Subscribe on iOS: http://apple.co/1H2paH9  Subscribe on Android: http://bit.ly/2bQnk3m  Sources https://en.wikipedia.org/wiki/February_21 https://en.wikipedia.org/wiki/Instant_camera https://en.wikipedia.org/wiki/Polaroid_Corporation https://en.wikipedia.org/wiki/Edwin_H._Land https://www.bu.edu/prc/forms/polatimeline.pdf https://www.checkiday.com/2/21/2017 http://www.biography.com/people/groups/born-on-february-21 http://www.bobborst.com/popculture/numberonesongs/ https://en.wikipedia.org/wiki/List_of_1972_box_office_number-one_films_in_the_United_States https://en.wikipedia.org/wiki/The_New_York_Times_Fiction_Best_Sellers_of_1972

Finalist, 2015 National Jewish Book Award In her new book Young Lions: How Jewish Authors Reinvented the American War Novel (Northwestern University Press, 2015), Leah Garrett, the Loti Smorgon (Professor of Contemporary Jewish Life and Culture at Monash University in Australia) takes the reader through best-selling novels of World War II. These novels became source material for American’s popular perceptions of that war and a mirror on American society back home. Garrett tells the back story of how each novel was written, how much they reveal of their famous authors’ war experiences and how they reflect the politics of each authors perspective on America. Manyof the great American war novels published during the 1940s, 1950s, and 1960s were written by Jewish authors. Listen to Garrett’s explanation to understand why that was the case.You don’t need to have read Norman Mailer’s The Naked and the Dead, Herman Wouk’s The Caine Mutiny, Leon Uris’s Battle Cry or Joseph Heller’s Catch 22 to enjoy this book. Garrett walks you through what you need to know to enjoy the findings she’s unearthed in her research.Reaching across disciplines, Garrett’s book about American war novels casts light on American culture at home. Learn more about your ad choices. Visit megaphone.fm/adchoices

Finalist, 2015 National Jewish Book Award In her new book Young Lions: How Jewish Authors Reinvented the American War Novel (Northwestern University Press, 2015), Leah Garrett, the Loti Smorgon (Professor of Contemporary Jewish Life and Culture at Monash University in Australia) takes the reader through best-selling novels of World War II. These novels became source material for American’s popular perceptions of that war and a mirror on American society back home. Garrett tells the back story of how each novel was written, how much they reveal of their famous authors’ war experiences and how they reflect the politics of each authors perspective on America. Manyof the great American war novels published during the 1940s, 1950s, and 1960s were written by Jewish authors. Listen to Garrett’s explanation to understand why that was the case.You don’t need to have read Norman Mailer’s The Naked and the Dead, Herman Wouk’s The Caine Mutiny, Leon Uris’s Battle Cry or Joseph Heller’s Catch 22 to enjoy this book. Garrett walks you through what you need to know to enjoy the findings she’s unearthed in her research.Reaching across disciplines, Garrett’s book about American war novels casts light on American culture at home. Learn more about your ad choices. Visit megaphone.fm/adchoices

Finalist, 2015 National Jewish Book Award In her new book Young Lions: How Jewish Authors Reinvented the American War Novel (Northwestern University Press, 2015), Leah Garrett, the Loti Smorgon (Professor of Contemporary Jewish Life and Culture at Monash University in Australia) takes the reader through best-selling novels of World War II. These novels became source material for American’s popular perceptions of that war and a mirror on American society back home. Garrett tells the back story of how each novel was written, how much they reveal of their famous authors’ war experiences and how they reflect the politics of each authors perspective on America. Manyof the great American war novels published during the 1940s, 1950s, and 1960s were written by Jewish authors. Listen to Garrett’s explanation to understand why that was the case.You don’t need to have read Norman Mailer’s The Naked and the Dead, Herman Wouk’s The Caine Mutiny, Leon Uris’s Battle Cry or Joseph Heller’s Catch 22 to enjoy this book. Garrett walks you through what you need to know to enjoy the findings she’s unearthed in her research.Reaching across disciplines, Garrett’s book about American war novels casts light on American culture at home. Learn more about your ad choices. Visit megaphone.fm/adchoices

Finalist, 2015 National Jewish Book Award In her new book Young Lions: How Jewish Authors Reinvented the American War Novel (Northwestern University Press, 2015), Leah Garrett, the Loti Smorgon (Professor of Contemporary Jewish Life and Culture at Monash University in Australia) takes the reader through best-selling novels of World War II. These novels became source material for American’s popular perceptions of that war and a mirror on American society back home. Garrett tells the back story of how each novel was written, how much they reveal of their famous authors’ war experiences and how they reflect the politics of each authors perspective on America. Manyof the great American war novels published during the 1940s, 1950s, and 1960s were written by Jewish authors. Listen to Garrett’s explanation to understand why that was the case.You don’t need to have read Norman Mailer’s The Naked and the Dead, Herman Wouk’s The Caine Mutiny, Leon Uris’s Battle Cry or Joseph Heller’s Catch 22 to enjoy this book. Garrett walks you through what you need to know to enjoy the findings she’s unearthed in her research.Reaching across disciplines, Garrett’s book about American war novels casts light on American culture at home. Learn more about your ad choices. Visit megaphone.fm/adchoices

Finalist, 2015 National Jewish Book Award In her new book Young Lions: How Jewish Authors Reinvented the American War Novel (Northwestern University Press, 2015), Leah Garrett, the Loti Smorgon (Professor of Contemporary Jewish Life and Culture at Monash University in Australia) takes the reader through best-selling novels of World War II. These novels became source material for American’s popular perceptions of that war and a mirror on American society back home. Garrett tells the back story of how each novel was written, how much they reveal of their famous authors’ war experiences and how they reflect the politics of each authors perspective on America. Manyof the great American war novels published during the 1940s, 1950s, and 1960s were written by Jewish authors. Listen to Garrett’s explanation to understand why that was the case.You don’t need to have read Norman Mailer’s The Naked and the Dead, Herman Wouk’s The Caine Mutiny, Leon Uris’s Battle Cry or Joseph Heller’s Catch 22 to enjoy this book. Garrett walks you through what you need to know to enjoy the findings she’s unearthed in her research.Reaching across disciplines, Garrett’s book about American war novels casts light on American culture at home. Learn more about your ad choices. Visit megaphone.fm/adchoices

Finalist, 2015 National Jewish Book Award In her new book Young Lions: How Jewish Authors Reinvented the American War Novel (Northwestern University Press, 2015), Leah Garrett, the Loti Smorgon (Professor of Contemporary Jewish Life and Culture at Monash University in Australia) takes the reader through best-selling novels of World War II. These novels became source material for American’s popular perceptions of that war and a mirror on American society back home. Garrett tells the back story of how each novel was written, how much they reveal of their famous authors’ war experiences and how they reflect the politics of each authors perspective on America. Manyof the great American war novels published during the 1940s, 1950s, and 1960s were written by Jewish authors. Listen to Garrett’s explanation to understand why that was the case.You don’t need to have read Norman Mailer’s The Naked and the Dead, Herman Wouk’s The Caine Mutiny, Leon Uris’s Battle Cry or Joseph Heller’s Catch 22 to enjoy this book. Garrett walks you through what you need to know to enjoy the findings she’s unearthed in her research.Reaching across disciplines, Garrett’s book about American war novels casts light on American culture at home. Learn more about your ad choices. Visit megaphone.fm/adchoices

November 16, 2015 - Today, we travel back 75 years to a dark period of the Second World War. But the battlefield where liberty and tyranny clash isn't Midway or Normandy Beach. It's the hallowed halls of the United States Supreme Court. Our guide into this world is Kermit Roosevelt. His novel is Allegiance, a legal thriller built around the internment of Americans with Japanese ancestry -- 62% of them American citizens -- under Franklin Roosevelt's infamous Executive Order 9066. Kermit Roosevelt happens to be distantly related to FDR through his great-great grandfather, Theodore Roosevelt. He's also a constitutional law professor at the University of Pennsylvania, winner of the Philadelphia Athenaeum Literary Award for his previous novel, In the Shadow of the Law, and a former clerk for Supreme Court Justice David Souter. Nelson DeMille wrote, "My favorite World War II historical novel was Herman Wouk's The Winds of War. Now I have two favorites. Kermit Roosevelt's Allegiance is an instant classic." We also mentioned our interview with David O. Stewart, and his book on the Father of the Constitution: Madison's Gift: Five Partnerships That Built America.    

Herman Wouk's 1985 novel "War and Remembrance" has a most prophetic minor character buried within its 1300 pages. This character is a philosophical and definitely sweet English aristocrat named Duncan Burne-Wilke, whom we meet in the "CBI" or "China Burma India" theater of the Second World War. Burne-Wilke envisages the end of Western colonialism on account of a massive disillusionment caused by the War. But he also thinks in religious terms concerning the future of America and England. He sees the future in terms of the "Bhagavad gita", and a "turning East" of which we are now aware and in relation to which the Christian churches are having to live, defensively. My podcast speaks of one small voice within a large contemporary epic. Burne-Wilke's disenchanted words are "crying to be heard" (Traffic), and also responded to. He haunts the bittersweet narrative of Wouk's marvelous book.

Weekly JourneywithJesus.net postings, read by Daniel B. Clendenin. Essay: *An "Acute Embarrassment"? The Baptism of Jesus* for Sunday, 9 January 2011; book review: *The Language God Talks; On Science and Religion* by Herman Wouk (2010); film review: *The Beaches of Agnes* (2008); poem review: *Ode: Intimations of Immortality from Recollections of Early Childhood* by William Wordsworth; music review: *Reverie* by David Wilcox (2010).

clickhere Visit the Radio America Store web site.Buy your 50 mp3 for &5.00 Fred Allen hated television. Allen was a radio comedian for nearly two decades who, as early as 1936, had a weekly radio audience of about 20 million. When he visited The Jack Benny Show to continue their long running comedy feud, they had the largest audience in the history of radio, only to be later outdone by President Franklin Roosevelt during a Fireside Chat. The writer Herman Wouk said that Allen was the best comic writer in radio. His humor was literate, urbane, intelligent, and contemporary. Allen came to radio from vaudeville where he performed as a juggler. He was primarily self-educated and was extraordinarily well read. Allen's world of radio was highly competitive and commercial, just as TV would be many years later. He wrote most of the material for his weekly shows himself, usually working 12 hour days, 6 days a week. Most comedians, like Bob Hope, had an office filled with writers, but Allen used only a few assistants in writing his comedy. And some of these assistants went on to have successful careers in literature and comedy, such as Herman Wouk author of The Caine Mutiny and The Winds of War, and Nat Hiken who created Phil Silver's The Phil Silvers Show for TV. Allen's program was imbued with literate, verbal slapstick. He had ethnic comedy routines in Allen's Alley, appearances by celebrities such as Alfred Hitchcock, musical numbers with talent from the likes of Richard Rodgers and Oscar Hammerstein, and social commentaries on every conceivable subject, especially criticisms of the advertising and radio industry.