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4 episodes with Houseman
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2 episodes with Houseman
6 episodes with Houseman
2 episodes with Houseman
2 episodes with Houseman
2 episodes with Houseman
2 episodes with Houseman
2 episodes with Houseman
Special Guest: Actor Matthew Amira (@MatthewAmira)Spending the summer at a Catskills resort with her family, Frances "Baby" Houseman falls in love with the camp's dance instructor, Johnny Castle.Director: Emile ArdolinoCast: Patrick Swayze, Jennifer Grey, Jerry Orbach, Kelly Bishop, Cynthia Rhodes=====Follow The Tracklist on Instagram @tracklistshowFollow Chris Saunders on Instagram @chrissaunders_musicFollow Daron Jenkins on Instagram @thedaronjenkins=====Support the podcast - Grab one of our stylish Hoodies or T-Shirts!Visit our Merch Shop: https://tracklist-shop.fourthwall.com
Hold your breath, Osaka—there's a new sake bar in town! After much anticipation, Julian Houseman has taken the leap and opened Sake House in Osaka! For those unfamiliar with Julian, he is a long-time friend of the Sake On Air team - a voice behind the scenes, a sake industry journalist, and a brilliant musician among his many other talents. Now, he's bringing his passion for sake to life with his very own venue, creating a space where sake lovers can gather, explore, and enjoy the incredible world of Japan's iconic beverage in a small intimate setting just a stone's throw away from Umeda Station. In this week's episode, John Gauntner and Cindy Bissig sit down with Julian to talk about Sake House. From the logistics of opening a sake bar to the passion that drives it, they dive into what it's like to stock the fridges, line up the glasses, turn on the music, and finally open the doors to the public. Of course, if you're visiting Osaka, we highly recommend stopping by Sake House - not only for its stellar selection of sake but also for Julian's expert guidance in helping you find the perfect pour. Whether you're a seasoned sake enthusiast or just discovering it for the first time, Julien is there to navigate you through the experience. Join us as we celebrate this exciting new addition to Osaka's sake scene! In other news, we have a newsletter! Subscribe here: https://sakeonair.substack.com/ If you have questions or comments share them with us at questions@sakeonair.com or head over to our Instagram, Facebook, or Substack as we would love to hear from you! We'll be back very soon with plenty more Sake On Air. Until then, kampai! Sake On Air is made possible with the generous support of the Japan Sake & Shochu Makers Association and is broadcast from the Japan Sake & Shochu Information Center in Tokyo. Sake on Air was created by Potts K Productions and is produced by Export Japan. Our theme, “Younger Today Than Tomorrow” was composed by forSomethingNew for Sake On Air.
In this episode of the Hospitality Mentor Podcast, host Steve Turk interviews Bryan Tubaugh, the founder of Aligned Hospitality Management. Brian shares his unique journey starting from his early days growing up in a hospitality family to founding his own management company. He discusses the valuable lessons learned from his first job as a houseman at DoubleTree, and how pivotal moments and mentors shaped his path. Brian also talks about the challenges and rewards of starting Aligned Hospitality Management during the COVID-19 pandemic, the importance of vision and mentorship in the industry, and his plans for the future growth of his company.00:00 Introduction to the Hospitality Mentor Podcast00:35 Meet Bryan Tubaugh of Aligned Hospitality Management01:15 Brian's Early Days in Hospitality02:55 College and Early Career Moves04:34 Breaking Away and Finding Independence06:31 First Leadership Role and Learning Experiences11:25 Transition to Luxury Hospitality14:40 Pivotal Moments and Entrepreneurial Aspirations18:11 Leading a Team at Hilton Elcon KiOR21:45 The Importance of People Over Profit22:19 A Fortunate Opportunity23:35 The Start of a New Venture24:45 Navigating Challenges and Growth25:58 Launching the Business During COVID27:09 Building the Business from Scratch32:54 First Clients and Early Success33:33 The Value of Hospitality Management37:20 Future Plans and Mentorship41:13 Final Thoughts and Contact Information
In this episode we talk with our friend and author Brian Houseman about how we can help our kids and teens navigate technology and social media. It's a great conversation about so much more than technology but about leading our children in their faith.
In this episode, Reuben Saltzman and Tessa Murray discuss the growing trend of four-point inspections in Minnesota with guests Eric Houseman and John Bolton. They explore the history and origin of four-point inspections, particularly in Florida, and the challenges homeowners face in securing insurance. The conversation delves into the implications of these inspections on home buying and selling, the differences between four-point inspections and traditional home inspections, and the importance of educating consumers about the inspection process. The episode concludes with insights on navigating the evolving landscape of home inspections and insurance requirements.TakeawaysFour-point inspections are becoming more common in Minnesota.The history of four-point inspections dates back to Hurricane Andrew in 1992.Insurance companies in Florida are increasingly selective about coverage.Homeowners face significant challenges in obtaining insurance due to inspection results.Four-point inspections focus on plumbing, electrical, HVAC, and roofing systems.There is a growing trend of using four-point inspections as a substitute for full home inspections.Consumer education is crucial to avoid misconceptions about inspection reports.The insurance landscape is changing, making it harder for older homes to get coverage.Home inspectors must navigate pressure from agents and consumers regarding inspection results.The future of home inspections may involve more detailed requirements from insurance companies.Chapters00:00 Introduction to the Show and Guests02:08 The Rise of Four-Point Inspections in Minnesota08:44 History and Origin of Four-Point Inspections11:41 Insurance Challenges in Florida16:12 The Impact of Four-Point Inspections on Home Insurance22:20 The Future of Home Inspections and Insurance29:11 Comparing Four-Point Inspections to Traditional Home Inspections37:27 Consumer Education and Misconceptions46:19 Navigating the Challenges of Inspections and Insurance55:20 Conclusion and Final Thoughts
When eighteen-year-old recent high school graduate Tiffany Valiante was struck and killed by a train in July 2015, the news came as a shock to friends and family, who couldn't fathom why the teenager had been out walking the tracks that night. Their shock and confusion quickly turned to outrage and disbelief when, less than twenty-four hours later, Tiffany's death was ruled a suicide by the New Jersey Transit Police, who were tasked with investigating the incident. As far as everyone knew, Tiffany was a happy, outgoing girl with a bright future and a sports scholarship to Mercy College in the fall—they couldn't think of a single reason why she would have wanted to end her life. Despite the official conclusions about her death, the Valiante family have never believed Tiffany intentionally stepped in front of the train that night, and in the months and years that have passed since her death, many other people have come to a similar conclusion. In fact, they're confident the evidence and numerous unanswered questions suggest Tiffany had not gone into the woods voluntarily and that her death is at best suspicious, and at worst a murder. Thank you to the incredible Dave White of Bring Me The Axe Podcast for research and writing support! ReferencesConklin, Eric. 2023. "Family of Tiffany Valiante marks 8 years since teen's death with 2nd docuseries in the works." Press of Atlantic City, July 24.Daily Beast. 2022. "Was high school grad being chased before grisly train death?" Daily Beast, July 16.D'Amato Law. 2017. "“It's just not the Tiffany I knew,” said Allison Walker, head women's volleyball coach at Stockton University who coached Valiante in the East Coast Crush Volleyball Club, a junior travel volleyball team. “The time of night really didn't sit right with me." D'Amato Law. July 17. Accessed August 20, 2024. https://damatolawfirm.com/in-the-news/who-killed-tiffany-valiante-questions-persist-as-family-marks-the-third-anniversary-of-her-mysterious-death/.—. 2022. Mishandling Key Evidence In 2015 Tiffany Valiante Suspicious Death Case Impeded Independent Forensic DNA Analysis, Reports Renowned Lab. March 29. Accessed August 20, 2024. https://damatolawfirm.com/in-the-news/mishandling-key-evidence-in-2015-tiffany-valiante-suspicious-death-case/.DeAngelis, Martin. 2016. "Death of teen not suicide, suit says." Press of Atlantic City, July 20: 3.DiFilippo, Dana, and Joe Hernandez. 2017. Family of N.J. teen killed by train disputes suicide ruling, sues to prove kidnap-murder plot. July 19. Accessed August 19, 2024. https://whyy.org/articles/family-of-nj-teen-killed-by-train-disputes-suicide-ruling-sues-to-prove-kidnap-murder-plot/.Houseman, H. Louise. 2017. Investigative report submitted by H. Louise Hoiusman, Senior Medical Investigator. Investigative Report, Egg Harbor, NJ: D'Amato Law.Huba, Nicholas. 2015. "Suicides shock, sadden teens." Press of Atlantic City, July 19: 1.Jason, Dr. Donald. 2018. Re: Death of Tiffany Valiante. Forensic evaluation, Egg Harbor, NJ: D'Amato Law.Low, Claire. 2018. "A walk thgrough hell." Press of Atlantic City, December 16: 1.Morgan, Kate. 2022. Tiffany Valiante's last night. November. Accessed August 15, 2024. https://sjmagazine.net/featured/tiffany-valiantes-last-night.Stephen F. Valiante and Diane F. Valiante v. Does et al. 2017. ATL-L-1411-17 (Superior Court of New Jersey, Law Division, July 18).Sterling, Stephen, and S.P. Sullivan. 2017. Death and dysfunction: HGow N.J. fails the dead, betrays the living and is a national disgrace. December 14. Accessed August 19, 2024. https://death.nj.com/.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Spending the summer at a Catskills resort with her family, Frances "Baby" Houseman falls in love with the camp's dance instructor, Johnny Castle.Support the Show.
Hilary and Kanani talk about the Lavender Festival and exploits with Rossa and crystal grids. They then welcome Wendy Mata Houseman to talk about Mexican Folk Magick. Join Us On Patreon to hear an ad-free version of this episode. Support The Podcast Save 20% on Tarot Every Witch Way by Lilith Dorsey when you use coupon DORSEY0724 at Llewellyn.com. Coupon valid 07/01/24 through 07/31/24; not valid in conjunction with other discounts or previously placed orders. Note that you do need to be logged in to your llewellyn.com account for coupon to apply. Check out the phenomenal tea blends at thejasminepearl.com and save 10% with coupon code WITCH2024. Free shipping on orders over $35. Make sure you let them know you heard about them on That Witch Life Podcast! You can find Luna & Co Soapery on instagram @lunacosoap and at their website lunacosoap.com. Luna & Co Soapery ships domestically. For international shipping, please contact Luna & Co Soapery directly prior to purchasing. Receive 15% off your order when you use code LUNAWITCH15.
Madolyn Smith Osborne had the kind of fairy tale show business beginning that most can only fantasize about. While still in school at The University of Southern California, she won her first paycheck with a serendipitous audition before famed choreographer, Gower Champion, when a lead dancer and understudy had to be replaced in the Broadway-bound production of Pal Joey starring Lena Horne. Madolyn's passion for musical theater as well as her training with beloved choreographers Bill and Jacqui Landrum, prepared her well for the opportunity. A year later, on the eve of graduating from USC's School of Dramatic Arts., her mentor, the late, iconic theatre and film producer and Academy Award-winning actor, John Houseman, launched a swan song of sorts for her with a production of Shakespeare's All's Well That Ends Well, in which Madolyn starred in the role of Helena. Mr. Houseman had invited various industry professionals to see the show in the 99-seat Stop Gap Theater on campus, including his former protege, film director, Jim Bridges, who, upon seeing Madolyn's performance, invited her to play the role of John Travolta's mistress, Pam, in the cult classic, Urban Cowboy. Madolyn went on to give multiple award-winning performances in the L.A. theater scene. Among her triumphs, she created the title role of Emily in Stephen Metcalfe's play of the same name, which was directed by the renowned producer-director, Jack O'Brien, during its premiere at San Diego's revered Old Globe Theatre. When Madolyn was studying with legendary actress, Kim Stanley, and opera singer, Gloria Lane, she became a founding member of L.A. Theatre Works. Madolyn also enjoyed a terrific TV and film career in which she found herself starring in features opposite the likes of no less than Steve Martin in All of Me, Roy Scheider in 2010: The Year We Make Contact, Chevy Chase in Funny Farm, Joe Pesci in The Super, and in TV shows like Due South, Cheers, If Tomorrow Comes, and Sadat. But at the height of her powers, all of that was abruptly interrupted by a chronic illness that she fights to this day.Madolyn resides in Toronto, Canada with her husband, former NHL hockey great, Mark Osborne, and 2 adult daughters who live nearby. For the record, Madolyn and I have known one another for more years than either of us will admit, having met and worked together on a few productions while we were both in drama school at the USC.
Henry Fonda and John Houseman talk about working with one another on "Clarence Darrow: A One-Man Play". Houseman is in awe of Fonda's portrayal of Clarence Darrow, explaining that in the play, the audience can really see the growth of Clarence Darrow, from a young lawyer to an experienced, wise one. Fonda talks about the opening scene when Darrow recalls his father talking to him when he was a young boy. Fonda reflects on times when his father talked to him. Fonda recalls being taught not to hate individuals.
The Cherry tree that Houseman wrote about in his poem is commonly known as bird cherry, which alas do not grow well for us in zone 6. A white tree that is a lovely substitute, however, is the white dogwood.
Frank is alarmed by AE Houseman's A Shropshire Lad.
In this episode, Amber covers a case of a man who was so enraged at young boys playing a harmless prank, that it cost 3 of them their lives.Then, Naomi tells us about the worst industrial disaster of all time, the effects of which are still felt today.Amber pulled her source from:Man found guilty of murdering teens who 'ding-dong-ditched' his houseMan gets life sentence for crashing into teens over ‘doorbell ditch' prank - The Washington PostDing-Dong-Ditch Horror: Calif. Man Convicted of Murdering 3 Teens After Becoming Enraged by Doorbell PrankCalifornia man sentenced to life in prison for killing teens after a doorbell prankNaomi got her info from:https://en.wikipedia.org/wiki/Bhopal_disaster Support the showGo check out our patreon page athttps://www.patreon.com/crimewineandchaosFor more information about Crime, Wine & Chaos, or to simply reach out and say "hi,"https://www.crimewineandchaos.comhttps://www.facebook.com/crimewineandchaoshttps://www.instagram.com/crimewineandchaospodhttps://twitter.com/crimewinechaosCrime, Wine & Chaos is produced by 8th Direction Records.Amber is the vocalist, and attempted mandolin player in the band, Tin Foil Top Hat. You can find more of her work on all of the music streaming platforms or athttps://www.tinfoiltophat.comNaomi is a Co-Founder and head of xDev at Shrapnel Studio. You can follow her work at www.shrapnel.com You can also follow her on Twitter @MissGnomers
Episode 108: Potpourri for $200, Alex is our first potpourri episode, wherein neither host knows what the other is going to discuss before recording starts. Thus, you will hear about A.E. Houseman, Edwin Way Teale and nature poetry and the case for the poet/Jack the Ripper suspect. A potpourri for the senses!
Edith Hamilton (1867-1963) didn't publish her first book until she was sixty-two. But over the next three decades, this former headmistress would become the twentieth century's most famous interpreter of the classical world. Today, Hamilton's Mythology (1942) remains the standard version of ancient tales and sells tens of thousands of copies a year. During the Cold War, her influence even extended to politics, as she argued that postwar America could learn from the fate of Athens after its victory in the Persian Wars. In American Classicist: The Life and Loves of Edith Hamilton (Princeton UP, 2023), Victoria Houseman tells the fascinating life story of a remarkable classicist whose ideas were shaped by--and aspired to shape--her times. Hamilton studied Latin and Greek from an early age, earned a BA and MA at Bryn Mawr College, and ran a girls' prep school for twenty-six years. After retiring, she turned to writing and began a relationship with the pianist and stockbroker Doris Fielding Reid. The two women were partners for more than forty years and entertained journalists, diplomats, and politicians in their Washington, D.C., house. Hamilton traveled extensively around the world, formed friendships with Gertrude Stein and Ezra Pound, and was made an honorary citizen of Athens. While Hamilton believed that the ancient Greeks represented the peak of world civilization, Houseman shows that this suffragist, pacifist, and anti-imperialist was far from an apologist for Western triumphalism. An absorbing narrative of an eventful life, American Classicist reveals how Hamilton's Greek and Roman worlds held up a mirror to midcentury America even as she strived to convey a timeless beauty that continues to enthrall readers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Edith Hamilton (1867-1963) didn't publish her first book until she was sixty-two. But over the next three decades, this former headmistress would become the twentieth century's most famous interpreter of the classical world. Today, Hamilton's Mythology (1942) remains the standard version of ancient tales and sells tens of thousands of copies a year. During the Cold War, her influence even extended to politics, as she argued that postwar America could learn from the fate of Athens after its victory in the Persian Wars. In American Classicist: The Life and Loves of Edith Hamilton (Princeton UP, 2023), Victoria Houseman tells the fascinating life story of a remarkable classicist whose ideas were shaped by--and aspired to shape--her times. Hamilton studied Latin and Greek from an early age, earned a BA and MA at Bryn Mawr College, and ran a girls' prep school for twenty-six years. After retiring, she turned to writing and began a relationship with the pianist and stockbroker Doris Fielding Reid. The two women were partners for more than forty years and entertained journalists, diplomats, and politicians in their Washington, D.C., house. Hamilton traveled extensively around the world, formed friendships with Gertrude Stein and Ezra Pound, and was made an honorary citizen of Athens. While Hamilton believed that the ancient Greeks represented the peak of world civilization, Houseman shows that this suffragist, pacifist, and anti-imperialist was far from an apologist for Western triumphalism. An absorbing narrative of an eventful life, American Classicist reveals how Hamilton's Greek and Roman worlds held up a mirror to midcentury America even as she strived to convey a timeless beauty that continues to enthrall readers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography
Edith Hamilton (1867-1963) didn't publish her first book until she was sixty-two. But over the next three decades, this former headmistress would become the twentieth century's most famous interpreter of the classical world. Today, Hamilton's Mythology (1942) remains the standard version of ancient tales and sells tens of thousands of copies a year. During the Cold War, her influence even extended to politics, as she argued that postwar America could learn from the fate of Athens after its victory in the Persian Wars. In American Classicist: The Life and Loves of Edith Hamilton (Princeton UP, 2023), Victoria Houseman tells the fascinating life story of a remarkable classicist whose ideas were shaped by--and aspired to shape--her times. Hamilton studied Latin and Greek from an early age, earned a BA and MA at Bryn Mawr College, and ran a girls' prep school for twenty-six years. After retiring, she turned to writing and began a relationship with the pianist and stockbroker Doris Fielding Reid. The two women were partners for more than forty years and entertained journalists, diplomats, and politicians in their Washington, D.C., house. Hamilton traveled extensively around the world, formed friendships with Gertrude Stein and Ezra Pound, and was made an honorary citizen of Athens. While Hamilton believed that the ancient Greeks represented the peak of world civilization, Houseman shows that this suffragist, pacifist, and anti-imperialist was far from an apologist for Western triumphalism. An absorbing narrative of an eventful life, American Classicist reveals how Hamilton's Greek and Roman worlds held up a mirror to midcentury America even as she strived to convey a timeless beauty that continues to enthrall readers. Learn more about your ad choices. Visit megaphone.fm/adchoices
Edith Hamilton (1867-1963) didn't publish her first book until she was sixty-two. But over the next three decades, this former headmistress would become the twentieth century's most famous interpreter of the classical world. Today, Hamilton's Mythology (1942) remains the standard version of ancient tales and sells tens of thousands of copies a year. During the Cold War, her influence even extended to politics, as she argued that postwar America could learn from the fate of Athens after its victory in the Persian Wars. In American Classicist: The Life and Loves of Edith Hamilton (Princeton UP, 2023), Victoria Houseman tells the fascinating life story of a remarkable classicist whose ideas were shaped by--and aspired to shape--her times. Hamilton studied Latin and Greek from an early age, earned a BA and MA at Bryn Mawr College, and ran a girls' prep school for twenty-six years. After retiring, she turned to writing and began a relationship with the pianist and stockbroker Doris Fielding Reid. The two women were partners for more than forty years and entertained journalists, diplomats, and politicians in their Washington, D.C., house. Hamilton traveled extensively around the world, formed friendships with Gertrude Stein and Ezra Pound, and was made an honorary citizen of Athens. While Hamilton believed that the ancient Greeks represented the peak of world civilization, Houseman shows that this suffragist, pacifist, and anti-imperialist was far from an apologist for Western triumphalism. An absorbing narrative of an eventful life, American Classicist reveals how Hamilton's Greek and Roman worlds held up a mirror to midcentury America even as she strived to convey a timeless beauty that continues to enthrall readers. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies
Edith Hamilton (1867-1963) didn't publish her first book until she was sixty-two. But over the next three decades, this former headmistress would become the twentieth century's most famous interpreter of the classical world. Today, Hamilton's Mythology (1942) remains the standard version of ancient tales and sells tens of thousands of copies a year. During the Cold War, her influence even extended to politics, as she argued that postwar America could learn from the fate of Athens after its victory in the Persian Wars. In American Classicist: The Life and Loves of Edith Hamilton (Princeton UP, 2023), Victoria Houseman tells the fascinating life story of a remarkable classicist whose ideas were shaped by--and aspired to shape--her times. Hamilton studied Latin and Greek from an early age, earned a BA and MA at Bryn Mawr College, and ran a girls' prep school for twenty-six years. After retiring, she turned to writing and began a relationship with the pianist and stockbroker Doris Fielding Reid. The two women were partners for more than forty years and entertained journalists, diplomats, and politicians in their Washington, D.C., house. Hamilton traveled extensively around the world, formed friendships with Gertrude Stein and Ezra Pound, and was made an honorary citizen of Athens. While Hamilton believed that the ancient Greeks represented the peak of world civilization, Houseman shows that this suffragist, pacifist, and anti-imperialist was far from an apologist for Western triumphalism. An absorbing narrative of an eventful life, American Classicist reveals how Hamilton's Greek and Roman worlds held up a mirror to midcentury America even as she strived to convey a timeless beauty that continues to enthrall readers.
Edith Hamilton (1867-1963) didn't publish her first book until she was sixty-two. But over the next three decades, this former headmistress would become the twentieth century's most famous interpreter of the classical world. Today, Hamilton's Mythology (1942) remains the standard version of ancient tales and sells tens of thousands of copies a year. During the Cold War, her influence even extended to politics, as she argued that postwar America could learn from the fate of Athens after its victory in the Persian Wars. In American Classicist: The Life and Loves of Edith Hamilton (Princeton UP, 2023), Victoria Houseman tells the fascinating life story of a remarkable classicist whose ideas were shaped by--and aspired to shape--her times. Hamilton studied Latin and Greek from an early age, earned a BA and MA at Bryn Mawr College, and ran a girls' prep school for twenty-six years. After retiring, she turned to writing and began a relationship with the pianist and stockbroker Doris Fielding Reid. The two women were partners for more than forty years and entertained journalists, diplomats, and politicians in their Washington, D.C., house. Hamilton traveled extensively around the world, formed friendships with Gertrude Stein and Ezra Pound, and was made an honorary citizen of Athens. While Hamilton believed that the ancient Greeks represented the peak of world civilization, Houseman shows that this suffragist, pacifist, and anti-imperialist was far from an apologist for Western triumphalism. An absorbing narrative of an eventful life, American Classicist reveals how Hamilton's Greek and Roman worlds held up a mirror to midcentury America even as she strived to convey a timeless beauty that continues to enthrall readers. Learn more about your ad choices. Visit podcastchoices.com/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/lgbtq-studies
Edith Hamilton (1867-1963) didn't publish her first book until she was sixty-two. But over the next three decades, this former headmistress would become the twentieth century's most famous interpreter of the classical world. Today, Hamilton's Mythology (1942) remains the standard version of ancient tales and sells tens of thousands of copies a year. During the Cold War, her influence even extended to politics, as she argued that postwar America could learn from the fate of Athens after its victory in the Persian Wars. In American Classicist: The Life and Loves of Edith Hamilton (Princeton UP, 2023), Victoria Houseman tells the fascinating life story of a remarkable classicist whose ideas were shaped by--and aspired to shape--her times. Hamilton studied Latin and Greek from an early age, earned a BA and MA at Bryn Mawr College, and ran a girls' prep school for twenty-six years. After retiring, she turned to writing and began a relationship with the pianist and stockbroker Doris Fielding Reid. The two women were partners for more than forty years and entertained journalists, diplomats, and politicians in their Washington, D.C., house. Hamilton traveled extensively around the world, formed friendships with Gertrude Stein and Ezra Pound, and was made an honorary citizen of Athens. While Hamilton believed that the ancient Greeks represented the peak of world civilization, Houseman shows that this suffragist, pacifist, and anti-imperialist was far from an apologist for Western triumphalism. An absorbing narrative of an eventful life, American Classicist reveals how Hamilton's Greek and Roman worlds held up a mirror to midcentury America even as she strived to convey a timeless beauty that continues to enthrall readers. Learn more about your ad choices. Visit megaphone.fm/adchoices
“The Spook House,” an 1899 short story by Ambrose Bierce is suitably spooky for the season, but not in the way you expect.It was a favorite of H. P. Lovecraft, who praised its “terrible hints of a shocking mystery.” Also, a macabre bit of poetic whimsy from A.E. Houseman, and an intruder is welcomed in … Read More Read More The post The Spook House appeared first on Bone and Sickle.
Excellent communication is a perpetual pursuit. Leveraging over 25 years of experience in education and coaching, Marci Houseman joins Dr. Paul Jenkins for this episode of Live On Purpose Radio to help create messages and...
Concluding this year's Summer of Blockbusters we watched the 1987 dance classic Dirty Dancing. Written by Eleanor Bergstein and directed by Emile Ardolino. The film stars Patrick Swayze and Jennifer Grey, and tells the story of Frances "Baby" Houseman, a young woman who falls in love with dance instructor Johnny Castle at a vacation resort. Come join us!!! Website : http://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod
RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next in his regular Connect Radio theatre reviews. This week Vidar was reviewing Dirty Dancing - The Classic Story On Stage as the UK and Ireland touring production visited the Alexandra Theatre in Birmingham on Saturday 22 July at 2.30pm with description by professional Audio Describer Anne Hornsby. The Story It's the summer of 1963, and 17 year-old Frances ‘Baby' Houseman is about to learn some major lessons in life as well as a thing or two about dancing. On holiday in New York's Catskill Mountains with her older sister and parents, she shows little interest in the resort activities, and instead discovers her own entertainment when she stumbles across an all-night dance party at the staff quarters. Mesmerised by the raunchy dance moves and the pounding rhythms, Baby can't wait to be part of the scene, especially when she catches sight of Johnny Castle the resort dance instructor. Her life is about to change forever as she is thrown in at the deep end as Johnny's leading lady both on-stage and off, and two fiercely independent young spirits from different worlds come together in what will be the most challenging and triumphant summer of their lives. The Music Dirty Dancing – The Classic Story On Stage features hit songs including ‘Hungry Eyes', ‘Hey! Baby', ‘Do You Love Me?' and the heart-stopping ‘(I've Had) The Time Of My Life'. Many favourite original masters feature within this stage sensation which blends the movie soundtrack seamlessly with live performances by our cast. Some of these classic tracks include ‘Cry To Me' by the larger-than-life rhythm & blues singer Solomon Burke, the No.1 hit single ‘Hey! Baby' by Bruce Channel and ‘These Arms of Mine', Otis Redding's first solo record. Other artists featured include Gene Chandler, The Chantels, The Drifters, Marvin Gaye, Lesley Gore, Mickey & Sylvia, The Surfaris and Django Reinhardt. The History Dirty Dancing – The Classic Story On Stage originally opened at London's Aldwych Theatre in 2006 with a record-breaking advance of £15 million, making it the fastest ever selling show in West End theatre history. The production became the longest running show in the history of the Aldwych Theatre and played to over 2 million people during its triumphant 5 year run. Since its Australian debut in 2004, Dirty Dancing – The Classic Story On Stage has become a worldwide phenomenon, with productions staged in the USA, Canada, Germany, the Netherlands, Sweden, South Africa, Hong Kong, Singapore and throughout Europe, consistently breaking box office records. Recent sell out tours include France, Germany and Australia. The first ever UK tour of Dirty Dancing – The Classic Story On Stage launched in 2011 and then returned to the West End in 2013 playing at the Piccadilly Theatre in London, prior to launching a second UK and Ireland tour. A further tour and West End Christmas season followed in 2016/17. It went on to embark on a 2018/19 tour, entertaining audiences up and down the country. More details about the current UK and Ireland tour of Dirty Dancing - The Classic Story on Stage along with performance venues, dates and times can be found on the following website - https://dirtydancingonstage.co.uk/uk-and-ireland/tour-dates/ Image: RNIB Connect Radio Bright Green 20th Anniversary Logo
Recorded at EThOs Small Business Incubator and Co-working Spaces in Marion, Illinois. https://members.ethosmarion.org/ SUBSCRIBE TO THE PODCAST Our guest: https://www.facebook.com/AnnabelleMarket https://www.getcsbees.com/
In this episode, Reuben and Tessa welcome Eric Houseman, Structuretech Home Inspection's service manager, as a special guest. They discuss various topics, including truck organization for home inspectors. Eric describes his customized truck setup, making it an efficient and well-organized vehicle for inspections. He utilizes a roof rack to carry his extension ladder, while his collapsing ladder and other inspection tools are stored in ARB drawers in the bed. Eric's truck also features a modular topper, MOLLE panels for attaching gear, and a yoga mat for comfort when transporting his dog. The discussion sheds light on how a well-organized truck can optimize productivity for home inspectors. Eric's extensive knowledge and experience in the vehicle industry are evident in his innovative and effective solutions for truck organization, making his truck one of the most customized on the team. He emphasizes the importance of having a well-thought-out setup for easy access to tools and equipment during inspections. By sharing his insights, Eric provides valuable tips and ideas for fellow home inspectors looking to optimize their inspection vehicles. The episode concludes with Reuben planning to create a video tour of Eric's truck setup for interested listeners, offering valuable insights for those seeking efficient and organized ways to optimize their home inspection vehicles. Please see the link below for the said video tour.https://www.youtube.com/watch?v=9rtLZXpVjFo&ab_channel=StructureTechHomeInspection
The second of these two poems was written in response to the first. A.E.Houseman (1859-1936) was one of the leading classical scholars of his day. Today he's remembered as the author of ‘The Shropshire Lad' , one of the most well known collections of poems from the first quarter of the last century. I suspect his mercenary army owes a lot to Xenophon's classic account of how ten thousand Greek soldiers marched to the sea after their Persian paymaster was killed in battle. Hugh MacDairmid (1892-1978), one of the significant Scottish poets of the twentieth century, had a less romantic view of mercenaries. which i suspect might be shared by those unlucky enough to have encountered them.
Episode 49 features a conversation with Wendy Mata Houseman. She begins with some background on herself, her spiritual journey, and how she is a 5th generation Bruja Curandera by lineage. She explains a little about witchcraft, which is called Brujeria in Mexico, and how we can work with this knowledge in a positive way. This leads to a discussion about some common myths around witchcraft. We go on to explore moon magic and she shares some ways we can work with the new and full moons. She also talks about cord cutting and how it works on an energetic level, as well as the power of boundaries and spiritual protection. Towards the end she shares a bit on Mayan astrology, the power of discovering your elemental, and some of her upcoming workshop opportunities. Bruja Power Botanica Sacred Space Summit - Closed (witch.institute)
Ashley Houseman_ Show Notes Authenticity, no doubt, is a transformative life value. But have you ever thought of it as a necessary skill for a real estate agent? Meet Ashley Houseman, the Team Leader at Ohana Homes – Houseman Team Powered by eXp Realty, on the podcast today. After nearly 18 years of crushing it in the real estate game, Ashley attributes a large part of her success to her unique and authentic approach to business. A third-generation realtor, Ashley was pursuing marketing in junior college and was headed to real estate just like her elders did, preparing herself for the greater responsibilities that may come. What she didn't know then was how she would gain a strong liking for her job as she progressed, which has since taken her enormously forward in her career. During her conversation with Bill, Ashley touches on the many significant parts of her personal and professional life, including her Florida life as a mom of three, her serious interest in sports in her earlier days, and the values she abides by for ever-lasting success. She also discusses her experience working with and leaving Coldwell Banker, the nation's largest residential real estate brokerage company, and the lessons the period taught her. Listen in! Success clues: ● Ashley swears by authenticity for success in real estate. In her words, “try to be different, take a different approach to real estate, instead of saying– hey, look at my new listing that hits the market. Find a really cool aspect of it, and highlight that.” It all boils down to uniqueness that stems from authenticity.● Relationship-building is incredibly important in your career, especially in real estate. Ashley makes sure to spend time with her clients and followers, which includes sending birthday emails to every member of her 8000-person sphere!● In today's normalizing markets, finding yourself a good mentor is essential. You've got to find your tribe, find good people who'd help you with the fundamentals and allow you to succeed in your journey.● Make the best use of social media, not just by posting and interacting regularly, but by posting authentic, valuable, and noteworthy content and making sure to use the platforms to connect with your people. Meet The Guest! Ashley Houseman is a renowned realtor with nearly 18 years of experience in the real estate industry. She is currently the team leader at Ohana Homes – HOUSEman Team brokered by eXp Realty. Time Stamps [00:00] Intro [01:18] Meet Ashley Inman [04:41] Breaking the biggest misconception people have about Florida [07:04] Family life: the experience of bringing up her 3 children in Florida [08:41] The sport that paved Ashley's way to FAU [09:54] Life as a scholarship athlete on campus [10:54] High school and sports influence [11:39] Why Ashley says she's had the biggest and best brothers on campus [13:51] The real estate connection and building a liking for the industry [15:41] The first brokerage Ashley worked for [16:54] The training and leadership that made Ashley's experience in Coldwell banker...
We're back after a brief hiatus and trying something a little different and more laid back for this episode. It's been a busy month for Maki and Simone with travel and family commitments - some of that included visiting a few breweries in Japan together... so some good research travel... and drinking! In this episode, we welcome our friend, sake advocate and fellow Aussie (residing in Japan), Mr. Julian Houseman. Julian is no stranger to those who have followed TWTT The Project, as he was co-host and interpreter for a few TWTT Zoom sessions in 2020 and 2021. Many in the broader sake community will most likely be familiar with him or his work in publications like Sake Today, and online subscription publication, Sake Industry News. He's a man who wears many hats and we're delighted to welcome him to the TWTT Podcast family. We're stepping away from the interview style session in this episode, and basically 'just talking sake'! This episode is just a bit of fun and another excuse to talk about sake. As we mention at the start of this episode - we can't promise anything educational, or even necessarily entertaining... but if you are happy to listen to 3 sake lovers randomly talk about sake, then pour yourself a cup or a glass of sake and drink along with us as we ramble our way through episode 9 of TWTT The Podcast. If you have any sake related topics you'd like to hear us ramble on about in any future episodes, feel free to email us at tastewiththetoji@gmail.com More information about Taste with the Toji - The Project can be found on our website: https://tastewiththetoji.com/ You can subscribe to this Podcast at Patreon Music by: Kazuyoshi Sato (Koikawa Shuzo)
We discuss the eerily prescient 1975 dystopian film Rollerball, starring James Caan. Skates, motorcycles, fire, blood, murder, drugs, multivision tv and more!
Rich Houseman forged a successful career as an American mountain bike racer in the late nineties and early 2000s. Taking wins in downhill, dual slalom, 4x and dual, Rich has seen all the different trends and changes that mountain bike racing has taken over the last two-and-a-half decades. As his race career wound down, he found himself at a company called Sponsorhouse, which managed athlete and brand sponsor partnerships. Sponsorhouse changed its name to Hookit and Rich has remained an integral part of the business for 19 years. He continues to oversee athlete and sponsor relations and discusses how Hookit uses data-driven information to help companies and riders succeed in their marketing efforts.Thanks to JENSON USA and MAXXIS TIRES for supporting The Inside Line MTB podcast.Watch this podcast on YouTube Discussion Topics0:00 - Introduction and Fontana7:10 - BMX to Basketball to Downhill16:50 - World Champs DH in Cairns19:57 - First Sponsors, Racing for Tomac24:54 - Slalom, Dual & 4X30:59 - Bike Setup Back in the Day34:28 - Why Did 4X Die?35:56 - Proudest Racing Moment38:08 - Making a Living Racing MTB42:48 - Discovering Aaron Gwin54:05 - Sponsorhouse to Hookit1:00:17 - From MTB Racer to Desk Job1:06:26 - Social Media's Impact on MTB Sponsorship1:19:53 - What Makes a Successful Social Media Pt?1:32:52 - Difficulties Female Athletes Face on Social Media1:35:27 - Athletes Succeeding on Social Media1:40:14 - Leticia Bufoni using Hookit1:47:32 - Lew Buchanan Riding for OnlyFans1:51:22 - Wyn Masters' Sponsor Value1:56:11 - Dad Life#MTB #Mountainbike #bike
Welcome to the Horn and Cauldron podcast… Join us as we sit down for an amazing interview with Bruja Wendy Mata Houseman of Bruja Power Botanica. We had a fantastic and casual conversation covering a variety of topics from Brujeria to Power Vortexes. We look forward to more interviews and speaking with Bruja Wendy again. You can find Bruja Wendy at:Website: https://www.bruja.usFacebook: https://www.facebook.com/Brujapowerbotanica/Instagram: https://www.instagram.com/brujapower/
https://www.facebook.com/Brujapowerbotanica/
This interview is with Thomas Houseman, winemaker of Anne Amie Vineyards. In this interview, Thomas tells the story of how he came to love winemaking: from being a professional dancer, to brewing beer, to finally wine. He goes on to discuss how his creative side informs his winemaking, as it is very much like dancing. Thomas explains how his wines are unique—his acid driven blends can be easily spotted as a common thread throughout his wines. He then goes on to discuss the future of the Oregon wine industry.This interview was conducted by Rich Schmidt at Anne Amie Vineyards on June 19, 2018.
The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro) TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago? For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt. That was the logo of the disc's distributor. Vestron Video. A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it. But before we get there, we, as always, must go back a little further back in time. The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company. But what to call the company? It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point. At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future. Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling. The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet. Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great. Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night. For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron. They were doing pretty good. And in 1984, Vestron ended up changing the home video industry forever. When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video. It would become the second home videotape to sell a million copies, after Star Wars. Suddenly, Vestron was flush with more cash than it knew what to do with. In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made. Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies. Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build. But it costs money to build a movie production and theatrical distribution company. Lots of money. Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day. It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution. Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure. Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000. Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside. And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year. Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2. The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner. The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again. In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco. Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross. Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week. It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for. Dirty Dancing. Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname. Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle. But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it. They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise. To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special. Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget. For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials. Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny. Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role. Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming. Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released. After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th. Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance. But, to be fair, one important element of the film was still not set. The music. Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film. Vestron would spend another half a million dollars licensing the original recording. The writer nailed all ten. But even then, there was still one missing piece of the puzzle. The closing song. While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.” Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version. The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there. While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals. With all the songs added to the movie, audience test scores improved considerably. RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts. When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts. The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds. But then a funny thing happened… Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack. Its second week in theatre would only see the gross drop 6%, and the film would finish in third place. In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales. Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better. When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago. On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong. The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988. Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets. Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then. Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola. The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role. New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.” Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck. But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales. Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves. Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo. The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales. And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting. Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot. One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either. John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6. The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres. Vestron would also release two movies in 1987 through their genre Lightning Pictures label. The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film. The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them. After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run. While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school. People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years. Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was. Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right? We'll find out next episode, when we continue the Vestron Pictures story. Thank you for joining us. We'll talk again next week. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Today I'm joined by Wendy Mata Houseman, Bruja Curandera by Lineage and Initiated Shaman, founder of Bruja Power Botanica! We chat all about her journey as a hereditary practitioner and huge life change to sharing her practice with the world full time. From mindset work, training, witch travel and ceremonies, and more, we cover a lot! --- Send in a voice message: https://anchor.fm/witch-wednesdays/message
Shownotes: Today is Reconciling in Christ Sunday. All Places Together joins together with the 1002 other Reconciling in Christ churches to celebrate God's belovedness of all people. This year's theme and resources were developed by Pastor A.J. Houseman. ReconcilingWorks All Places Together (APT) is a non-geographic community, based in Virginia. APT seeks to gather individuals who are searching for God in the wilderness of life, individuals who deeply want to connect to something beyond themselves, and individuals who believe the love of Jesus is embodied in all of God's diverse creation. Thank you to our Mission Partners: Virginia Synod (www.vasynod.org) and Evangelical Lutheran Church in America (www.elca.org). To give to All Places Together, visit our website: http://www.allplacestogether.org/ Scroll to the bottom of the page and click the button "Give to All Places Together". This will take you to the APT giving page. Enter your contribution amount to the basket and follow the instructions to check out!
In this mini-episode, Pastor Colleen invites you to an online event: All Questions Together. If you've got questions about God, the bible, and living out your faith, Pastor Colleen wants to hear them. Link to Register. : https://docs.google.com/forms/d/e/1FAIpQLSdw5eRqRIK2WSrC3-76DLSRIoF2G88WZXeTbawHI_PFsN-MJg/viewform?usp=sf_link Create Whole: Reconciling in Christ SundayToday is Reconciling in Christ Sunday. All Places Together joins together with the 1002 other Reconciling in Christ churches to celebrate God's belovedness of all people. This year's theme and resources were developed by Pastor A.J. Houseman. ReconcilingWorks All Places Together (APT) is a non-geographic community, based in Virginia. APT seeks to gather individuals who are searching for God in the wilderness of life, individuals who deeply want to connect to something beyond themselves, and individuals who believe the love of Jesus is embodied in all of God's diverse creation. Thank you to our Mission Partners: Virginia Synod (www.vasynod.org) and Evangelical Lutheran Church in America (www.elca.org). To give to All Places Together, visit our website: http://www.allplacestogether.org/ Scroll to the bottom of the page and click the button "Give to All Places Together". This will take you to the APT giving page. Enter your contribution amount to the basket and follow the instructions to check out!
In today's show, we talk about specialized and expensive home inspection equipment and our preferred brands. Eric Houseman, inspection manager at Structure Tech joins the discussion. They talk about telescoping ladders, Xtend+Climb ladders, and Little Giants. Eric shares about his preferred brand, the Werner 28-foot fiberglass with the Glidesafe technology. Then they talked about combustible gas detectors or gas sniffers that work like magic. Reuben talks about infrared cameras and the new brands and features in the market like the HIKMICRO Pocket2 and B20. Reuben and Tessa discuss moisture meters and their mechanism. Other fancy tools that they talked about are combustion analyzers and flashlights. They also talk about the convenience of using suspenders during home inspections. Eric and Reuben share the tools they carry in their tool pouches during inspections. Then they talked about specific tools such as the outlet tester, voltage sniffer, and thermometers. They also share home inspector must-have tools. Reuben has written about some of these tools in his blogs, visithttps://structuretech.com/home-inspector-tool-list/. Continue to e-mail your feedback, questions, and suggestions to podcast@structuretech.com.
Dirty Dancing… a 1987 romantic drama dance film. The setting is 1963. It's the story of ‘Baby' Frances Houseman played by Jennifer Grey… a young woman on her way to a vacation resort with her parents Jack and Marjorie Houseman… Jerry Orbach and Kelly Bishop. While at this resort Baby is immediately awestruck by Johnny Castle, the resident dance instructor and all around hunk played by Patrick Swayze. Dirty Dancing is the timeless story of Baby and Johnny Castle, two people from different worlds, different lives, who collide in one fantastic romance at this vacation resort. Dirty Dancing is one of the all-time great films, it was one of the highest grossing films of the year, it was the number one video rental in 1988. It was the first FILM to sell more than a million copies on video. I've Had the Time of My Life won an Academy Award, a Golden Globe Award and a Grammy Award.See omnystudio.com/listener for privacy information.
In this episode, Phillip Lanos and Jason Miller are joined by Tricia Houseman, Founder and CEO of Land Home Biz brokered eXp Realty. Tricia Houseman, the service you deserve with the people you trust. Licensed real estate instructor, broker, and mentor. You will also uncover how to overcome a business struggle that may help save your business.Tune in to learn more!Connect:Strategic Advisor Board: www.linkedin.com/company/strategic-advisor-boardJason Miller: www.linkedin.com/in/jasontmiller-sabPhillip Lanos: www.linkedin.com/in/philliplanosTricia Houseman: www.linkedin.com/in/landhomebizeXp Realty in Florida: triciahouseman.exprealty.com
In late June 1938, Orson Welles was approached by CBS. He was offered a one-hour, network sustained time slot on Mondays at 9PM. William Paley's concept: A Mercury Theater of the air for a nine-week trial run. Unlike Welles and Houseman's theater productions which had several weeks of rehearsal, the show would begin in just two, on July 11th. Houseman was nervous. He'd never done radio. Welles would direct, narrate, and star. The Mercury theater troupe would support. Bernard Hermann would be musical director and Davidson Taylor supervisor. Welles called the show First Person Singular. A take on Bram Stoker's Dracula was selected for the first episode. Welles and Houseman had total creative control. The premiere set the tone. Over the next nine weeks, listeners heard adaptations of classics like Treasure Island, A Tale of Two Cities, The 39 Steps, The Man Who Was Thursday, The Affairs of Anatole, and The Count of Monte Cristo, for which, Welles simulated the sound of a dungeon by having the actors play their scene from the floor of the CBS restroom. He placed two dynamic microphones against the bases of the toilet seat in order to achieve realistic subterranean reverberations. After September 5th, 1938, CBS renewed the series under a new name: The Mercury Theater of The Air, moving it to Sundays at 8PM, opposite NBC's highest-rated show: Edgar Bergen's Chase and Sanborn Hour. It set the stage for a series of events which would forever alter the course of Orson Welles' life.
Rich Houseman has literally spent his entire life on two wheels. From the early days of racing as a factory BMX'er at 6 years old, to racing downhill for the legend John Tomac, Rocket Rich has more than a lifetime's worth of stories and knowledge. These days Big House spends his days working for Hookit and enjoying being on the sidelines for his two daughters soccer games. He still manages to sneak out for some rips down the trail, and good luck keeping him in sight!
Ashley Houseman_ Show Notes Authenticity, no doubt, is a transformative life value. But have you ever thought of it as a necessary skill for a real estate agent? Meet Ashley Houseman, the Team Leader at Ohana Homes - Houseman Team Powered by eXp Realty, on the podcast today. After nearly 18 years of crushing it in the real estate game, Ashley attributes a large part of her success to her unique and authentic approach to business. A third-generation realtor, Ashley was pursuing marketing in junior college and was headed to real estate just like her elders did, preparing herself for the greater responsibilities that may come. What she didn't know then was how she would gain a strong liking for her job as she progressed, which has since taken her enormously forward in her career. During her conversation with Bill, Ashley touches on the many significant parts of her personal and professional life, including her Florida life as a mom of three, her serious interest in sports in her earlier days, and the values she abides by for ever-lasting success. She also discusses her experience working with and leaving Coldwell Banker, the nation's largest residential real estate brokerage company, and the lessons the period taught her. Listen in! Success clues: ● Ashley swears by authenticity for success in real estate. In her words, "try to be different, take a different approach to real estate, instead of saying– hey, look at my new listing that hits the market. Find a really cool aspect of it, and highlight that." It all boils down to uniqueness that stems from authenticity. ● Relationship-building is incredibly important in your career, especially in real estate. Ashley makes sure to spend time with her clients and followers, which includes sending birthday emails to every member of her 8000-person sphere! ● In today's normalizing markets, finding yourself a good mentor is essential. You've got to find your tribe, find good people who'd help you with the fundamentals and allow you to succeed in your journey. ● Make the best use of social media, not just by posting and interacting regularly, but by posting authentic, valuable, and noteworthy content and making sure to use the platforms to connect with your people. Meet The Guest! Ashley Houseman is a renowned realtor with nearly 18 years of experience in the real estate industry. She is currently the team leader at Ohana Homes - HOUSEman Team brokered by eXp Realty. Time Stamps [00:00] Intro [01:18] Meet Ashley Inman [04:41] Breaking the biggest misconception people have about Florida [07:04] Family life: the experience of bringing up her 3 children in Florida [08:41] The sport that paved Ashley's way to FAU [09:54] Life as a scholarship athlete on campus [10:54] High school and sports influence [11:39] Why Ashley says she's had the biggest and best brothers on campus [13:51] The real estate connection and building a liking for the industry [15:41] The first brokerage Ashley worked for [16:54] The training and leadership that made Ashley's experience in Coldwell banker awesome [17:39] Quitting Coldwell Baker and what's in store for Ashley's career: 18 years in real estate [18:37] The transition into motherhood after birth [19:29] The skills you need to succeed in real estate [21:57] The importance of being authentic in your personal and professional life [22:53] How to maintain real-estate relationships authentically [25:43] The “softening” or “normalization” of the real-estate market [27:44] One piece of advice for real-estate agents getting started [28:54] How to connect with Ashley Connect with Ashley...
The powerhouse guitarist from the Wild Magnolias and Papa Grows Funk spent 20 years as a star of the Japanese blues and soul music world before finding a new home in New Orleans. A longtime devotee of Mardi Gras Indian music and the Meters, he quickly found his way into the very bands he’d studied from afar. After nearly three decades at the apex of the funk scene in his adopted city, June tips into an old haunt to rendezvous with the Troubled Men. They decide to do it in English, as Manny and René’s Japanese is atrocious. Topics include gunplay, a murder bet, Carlo Fest, donuts, the 4th of July, Japan, Susan Cowsill, Abe Simpson, fireworks, Tic Tacs, Theryl “the Houseman” DeClouet, that hometown smell, an athlete, American TV and radio, the Ventures, electric guitars, fake hippies, the West Road Blues Band, opening for B.B. King, funk bands, a record deal, Korean cultural dominance, Pink Lady, Chickenshack, Band of Pleasure, David T. Walker, James Gadson, the Sunset Strip, the Maple Leaf, Michael Ward and Reward, Cornell Williams, a Wild Magnolias gig, George Porter, John Gros, the Meters reunion, the Old Point Bar, the Trio with Johnny Vidacovich, the Headhunters, touring, friends back home, Kenken, “The Houseman Cometh,” upcoming dates, and much more. Intro music: Styler/Coman Additional music: "Sukiyaki" by Kyu Sakamoto Break music: "Coochie Molly" from "Life Is A Carnival" by the Wild Magnolias Outro music: "My Man" from "Mr. Patterson's Hat" by Papa Grows Funk Support the podcast: Paypal or Venmo Join the Patreon page here. Shop for Troubled Men’s Shirts here. Subscribe, review, and rate (5 stars) on Apple Podcasts or any podcast source. Follow on social media, share with friends, and spread the Troubled Word. Troubled Men Podcast Facebook Troubled Men Podcast Instagram Iguanas Tour Dates René Coman Facebook June Yamagishi Facebook
Today's episode is the last part of our interview with Barbara Houseman, and it is also the closing of the celebrations for our first year together. We dive deep into voiceover and podcasting lands in this second part of our lovely encounter. Barbara shared golden nuggets and practical examples on prepping the voice for microphone work, conversational read, resonance, female-identifying people playing male, and vice versa, and breathing while reading long phrases. In This Episode, You Will Learn: - Why we should get rid of the word "conversational" when we talk about finding authenticness - Where directing and voice recording collide and why it is not possible to do both - One thought, one breath - Barbara's advice for voiceover artists facing multiple lines sentences - What we can do to prep our voice for mic speaking I hope you enjoyed and found very useful the chats with amazing voice experts such as Barbara Houseman and Dane Chalfin during the podcast birthday celebrations! Now back to voice work and I'll see you next week. Resources: - Final call! Join The Vocal Empowerment Course Now: https://nicolaredman.com/voice-coach/vocal-empowerment-programme/ - Barbara Houseman website: https://www.barbarahouseman.com/ - Barbara Houseman Books: https://www.barbarahouseman.com/about - Nicola Harrision - Embodema https://www.nicolaharrison.co.uk
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