Podcast appearances and mentions of houston astrodome

In Episode 5, State of Texas v. Yolanda Saldivar, Lisa and Kyle talked about the 1995 murder of Selena Quintanilla-Perez, an American singer-songwriter who was known as the “Queen of Tejano Music.” By the age of 23, Selena had broken barriers in the Tejano music industry, which until then, had been dominated by men (even in the minds of the audiences). In 1994, she won a Grammy Award and launched what would become a multi-million dollar fashion business. In early 1995, she was about to make her crossover debut as a solo pop artist in the English-language market. In February, 1995, she performed at a record breaking, sold-out concert at the Houston Astrodome. On March 31, 1995, Selena's life was taken by Yolanda Saldivar, a fan who wormed her way into Selena's inner circle and then took advantage of Selena's trust.

In 1965, the world's first full enclosed sports facility, the Houston Astrodome, was opened to the public.  The Astrodome itself was a marvel of engineering, but because it was enclosed, the grass that was initially planted soon died.  It was replaced with artificial grass, which was basically a synthetic carpet that looked like grass but played and behaved totally differently.  Today, the next generations of that artificial grass can be found in stadiums all over the world. Learn more about artificial turf, how it was created and improved over time on this episode of Everything Everywhere Daily. Sponsors Mint Mobile Cut your wireless bill to 15 bucks a month at mintmobile.com/eed Quince Go to quince.com/daily for 365-day returns, plus free shipping on your order! Stitch Fix Go to stitchfix.com/everywhere to have a stylist help you look your best Tourist Office of Spain Plan your next adventure at Spain.info  Stash Go to get.stash.com/EVERYTHING to see how you can receive $25 towards your first stock purchase and to view important disclosures. Subscribe to the podcast!  https://everything-everywhere.com/everything-everywhere-daily-podcast/ -------------------------------- Executive Producer: Charles Daniel Associate Producers: Austin Oetken & Cameron Kieffer   Become a supporter on Patreon: https://www.patreon.com/everythingeverywhere Update your podcast app at newpodcastapps.com Discord Server: https://discord.gg/UkRUJFh Instagram: https://www.instagram.com/everythingeverywhere/ Facebook Group: https://www.facebook.com/groups/everythingeverywheredaily Twitter: https://twitter.com/everywheretrip Website: https://everything-everywhere.com/  Learn more about your ad choices. Visit megaphone.fm/adchoices

In the spotlight is Amy Daughters, author of the books “Dear Dana” and “You Cannot Mess This Up.” She is also a keynote speaker and a “spreader of the hope.”>> Writing letters>> Facebook connections>> Her appearance on the Kelly Clarkson Show>> Comedic writing>> The Houston Astrodome>> The Texas panhandle>> Her time in England>> Writing for the Bleacher Report>> Etc.Learn more about Amy Daughters here: https://www.amydaughters.com Novelist Spotlight is produced and hosted by Mike Consol. Check out his novels here: https://snip.ly/yz18noWrite to Mike Consol at novelistspotlight@gmail.com  

Rick Reiff is our guest this week to discuss his essay in the Fall 2024 Baseball Research Journal, "Gavy Cravath's Hall-Worthy 200 Home Runs."  Cravath, a late arrival, played 11 seasons in the Major Leagues and led the National League in home runs in six of those seasons, from 1913 to 1919. Cravath also led the Senior Circuit in RBI twice, in on base percentage twice and slugging percentage three times. Despite being the preeminent home run hitter in the Deadball Era, Cravath remains on the outside looking in for Hall of Fame induction. Reiff makes the case to remedy this.In part 2, Craig and Rex talk about the Rays playing their 2025 regular season at the Yankees' spring training home, the latest billion-dollar boondoggle to return the Houston Astrodome, an aging eyesore, to usefulness and how to turn a juice box to an ice box.Errata: Craig, its the Donner Party, not the Bonner Party.You can support Hooks & Runs by purchasing books through our store at Bookshop.org. Here's the link. https://bookshop.org/shop/hooksandruns Hooks & Runs - www.hooksandruns.com Email: hooksandruns@protonmail.com Hooks & Runs on TwitterCraig at Bluesky (@craigest.bsky.social)Rex (Krazy Karl's Music Emporium) on Facebookhttps://www.facebook.com/people/Krazy-Karlz-Music-Emporium/100063801500293/ Hosts Emeriti:Andrew Eckhoff on Tik TokEric on FacebookMusic: "Warrior of Light" by ikolics (via Premium Beat)     This podcast and this episode are copyright Craig Estlinbaum, 2024.   

Crassostrea virginica, in Galveston Bay. These oysters have been integral to the ecosystem and local economies for centuries, even playing a surprising role in building the Houston Astrodome. We look into the challenges faced due to overfishing and environmental pressures, and the promising solutions being implemented today.Galveston Unscripted What is Galveston Unscripted?Follow Galveston Unscripted on Spotify or Apple Podcasts! More history content on Visit Galveston!

Episode: 1234 The biggest domed structure before the Houston Astrodome.  Today, who were we in 1900?

Sarah teams up with writer and editor Julie Kliegman—author of the hotly anticipated book MIND GAME—to look back at tennis's Battle of the Sexes, between Billie Jean King and Bobby Riggs (aka the Libber and the Lobber). No pigs were harmed in the making of this episode or in the Houston Astrodome on September 20, 1973.You can find Julie (and MIND GAME) online here. Support You're Wrong About:Bonus Episodes on PatreonBuy cute merchWhere else to find us:Sarah's other show, You Are GoodLinks:https://juliekliegman.com/https://rowman.com/ISBN/9781538168066/Mind-Game-An-Inside-Look-at-the-Mental-Health-Playbook-of-Elite-Athleteshttp://patreon.com/yourewrongabouthttps://www.teepublic.com/stores/youre-wrong-abouthttps://www.paypal.com/paypalme/yourewrongaboutpodhttps://www.podpage.com/you-are-goodSupport the show

A Morning News Update That Takes Into Account The News Stories You Deem 'Highly Conversational' Today's Sponsor: AppSumohttps://thisistheconversationproject.com/appsumo Today's Rundown:‘Sound of Freedom' Team Silent on New Allegations Against Real-Life Subject Tim Ballardhttps://www.hollywoodreporter.com/movies/movie-news/sound-of-freedom-team-silent-tim-ballard-1235593044/ YouTube suspends Russell Brand from making money off his channelhttps://www.nbcnews.com/news/world/russell-brand-youtube-suspends-monetization-rape-sexual-assault-rcna105750 Suspect in L.A. deputy killing heard voices, had attempted suicide, mother sayshttps://abc7.com/palmdale-deputy-shot-mental-illness-schizophrenia-kevin-cantaneo-salazar/13798244/ Phil Mickelson admits he 'crossed the line' in becoming a gambling addicthttps://www.usatoday.com/story/sports/golf/2023/09/19/phil-mickelson-vows-to-get-back-on-track-not-bet-on-football-games/70898554007/ Danny Masterson's wife, Bijou Phillips, files for divorce days after he's sentenced to prison for rapehttps://www.nbcnews.com/news/us-news/danny-masterson-wife-bijou-phillips-divorce-rape-conviction-rcna105920 Elon Musk Suggests He Will Charge All X/Twitter Users a Fee to Be on the Platformhttps://variety.com/2023/digital/news/elon-musk-charge-all-x-twitter-users-fee-1235726693/?fbclid=IwAR04P7idPG69xksgmtm8iONuWbhFvORvddb7bDwD6-9MQAcZG3xqO4iDaTQ Tiger Woods' ex-girlfriend files 53-page brief in effort to revive public lawsuithttps://www.usatoday.com/story/sports/golf/2023/09/18/tiger-woods-erica-herman-appeal-brief/70893834007/ Woman Screams and Curses Getting Kicked Off Plane, Tells Passengers She's 'Instagram Famous'https://www.yahoo.com/entertainment/woman-bodysuit-gets-kicked-off-161345235.html Website: http://thisistheconversationproject.com Facebook: http://facebook.com/thisistheconversationproject Twitter: http://twitter.com/th_conversation TikTok: http://tiktok.com/@theconversationproject YouTube: http://thisistheconversationproject.com/youtube Podcast: http://thisistheconversationproject.com/podcasts #yournewssidepiece #coffeechat #morningnews ONE DAY OLDER ON SEPTEMBER 20:George R.R. Martin (75)Joe Bernthal (47)Aldis Hodge (37) WHAT HAPPENED TODAY:1969: John Lennon left The Beatles.1973: Billie Jean King beat Bobby Riggs in a battle-of-sexes tennis match at the Houston Astrodome in Houston, Texas.1998: Cal Ripken Jr. of the Baltimore Orioles took a day off after playing a record 2,632 consecutive games. PLUS, TODAY WE CELEBRATE: Fried Rice Dayhttps://nationaldaycalendar.com/national-fried-rice-day-september-20/

'STUFF MOM NEVER TOLD YOU' is the name of the book & podcast by Anney Reese & Samantha McVey:about the Feminist Past, Present, and Future.  They explore the history, strategy, and emotion that went into several milestones & issues of the recent feminist movement-'Battle of the Sexes' Billie Jean King vs Bobby Riggs -it was 1973, held at the Houston Astrodome between 55-year-old Bobby Riggs and 29-year-old Billie Jean King.  Billie Jean won in three sets-The problems still linger today-Women being accepted in the workforce in the 70's-Women could not get a line of credit in the 70's-Women and suits they wear to work -Why is 'Feminism' a 'dirty' word-Television shows that changed the dynamic  

The Great Pyramid at Giza is twice the volume of the Houston Astrodome, a gigantic multi-purpose domed sports stadium. The largest American flag is one and a half football fields long and an entire football field wide. Each star on the flag is 17 ft high! The largest creature that's ever taken flight on our planet weighed more than a piano. And its wings were longer than 6 queen-size beds! We're keeping to amaze you with interesting facts about this world. Today we're going to talk about the biggest things on Earth. Do you know, for example, what's the world's highest uninterrupted waterfall? Or which plane can hold 50 cars? Or that there's a haul truck that can carry the weight equal to more than two fully grown blue whales? The average person wouldn't even reach the top of a vehicle's huge wheel. The giant's almost twice as tall as a giraffe! Let's measure and compare the real sizes of different objects. Some of these cool facts will definitely impress you. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dinn Mann | Founder of Goatnet a social/streaming and IP development platformBio: Didn't mean to write this like a book. Yet, that's part of what I'm here to tell you. Our stories matter. Our qualifications matter. How we tick matters. Where we can go together is limitless if the course is charted and navigated with strengthGrandfather, Judge Roy Hofeinz - Helped develop and form the original Houston Sports AuthorityGreatest professional achievement - Build and subsequently fill the Houston Astrodome, helped develop “Astroturf”, 1967 purchased the Ringling Bros CircusAstroworld Hotel - Penthouse, known as the Celestial Suite, was home of grandfather from 1969 to 1973entertained Elvis Presley, Frank Sinatra, Lyndon Johnson, and Muhammad Ali.One of Judge Roy Hofheinz's admirers, fabled judge Leon Jaworski (Special Prosecutor for Watergate scandal), wrote in The Grand Huckster: “He was a dreamer up to a certain point, but his weren't idle dreams. They were dreams that had substance. Houston and Texas owe Roy Hofheinz muchAstros owners - The Judge & Jim Crane, Pitcher for the Central Missouri State MulesFamily “tragedies, scandals, hilarity, business lessons?” - Father, incarceration; mother's lover burned aliveLived in Kansas City in late 1990sMLBAM - MLB Advanced Media - MLB Advanced Media (MLBAM) is a limited partnership of the club owners of Major League Baseball (MLB) based in New York City and is the Internet and interactive branch of the league.spent 17 years as an executive at MLBAM and had the honor of leading hundreds of colleagues and working in a formidable brain trust that created billions of dollars of value on top of a magnificent foundation called Major League Baseball.Multipurpose ballpark metaphor - Astrodome of the 60's to MLBAM of 2000sA Who's-Who of IP royalty - WWE, HBO Max, NHL Network, CBS Sports and ESPN were among the world-class clients benefiting from our technology and associated services.Bad News Bears - Dinn turned down the opportunity to be an extraDeparture from MLBAM - “Was not without some attention.”BAMTech - Dinn was 2% owner in BamTech“Despite the fact that Mr. Mann is a 2 percent owner of BAMTech, he received no compensation when Disney recently paid approximately $2.6 billion over two transactions to purchase 75 percent of BAMTech,” the suit allegedTech purchased goes onto become Disney+ and ESPN+ for $6 Billion.  Dinn centralized digital rights and identified strategic relationshABC PodcastFacebook: https://www.facebook.com/alwaysbecoolpodcastTwitter: https://twitter.com/thebobbykerrInstagram: https://www.instagram.com/alwaysbecoolpodcast/TikTok: https://www.tiktok.com/@thebobbykerrYouTube: https://www.youtube.com/@alwaysbecoolSummit LendingFacebook: https://www.facebook.com/SummitLendingUSATwitter: https://twitter.com/SummitLendingUSInstagram: https://www.instagram.com/summitlendingusa/LinkedIn: https://www.linkedin.com/company/summitlendingkc/YouTube: https://www.youtube.com/user/loantipskc

Established in 1962 (like the Mets) the Astros were originally the Houston Colt 45's and played in Colt Stadium. The Astrodome opened in 1965 as the self-proclaimed 8th wonder of the world.   The first 20+ years of the franchise did not go very well but since 1997 things have gone better and the 'Stros have only missed the playoffs once since 2015. We've added a YouTube Channel and are still working out our own kinks.  No videos yet but if you care to listen from YouTube here is the link to the Almost Cooperstown channel.Please subscribe to our podcast and thanks for listening! If you have a suggestion for an episode please drop us a line via email at Almostcooperstown@gmail.com.  You can also follow us on Twitter @almostcoop or visit the Almost Cooperstown Facebook page or YouTube channel.  If you can please give the podcast 4 or 5 star rating! www.almostcooperstown.com

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it.   Robert Altman's O.C. and Stiggs.   As always, before we get to the O.C. and Stiggs, we will be going a little further back in time.   Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry.   Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world.   After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot.   Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier.   Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended.   Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment.   But his next film would change everything.   Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war.    Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes.   This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again.   And Altman would give them exactly that.   MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s.   After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy.   MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade.   1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen.   1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure.   Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946.   Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come.   1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal.   The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales.   1975 would bring what many consider to be the quintessential Robert Altman movie to screens.   The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn.   Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years.   And we're going to stop here for a second and take a look at that list of films again.   MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville   Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations.   And we're still only in the middle of the 1970s.   But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact,  Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant.   His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness.   That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later.   I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game.   While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit.   And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt.   And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office.   Altman's next film for Fox, 1979's Quintet, would not be as fortunate.   Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline.   Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt.    In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack.   But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way.   But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as  Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band.   Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated.   That worry would continue with his next film, Health.   A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves.   But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf.   Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood.   And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray.   I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon.   After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade.   Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k.   Which, finally, after half an hour, brings us to our featured movie.   O.C. and Stiggs.   Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs  was from any other project he had made to date.   O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it.   So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck.   As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film.    A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself.   Despite hating studio executives for doing stuff like buying a script he's attached to  then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m.   Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern?   The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves.   The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage.    But here's the funny thing about dailies.   Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women.   After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night.   A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent.   At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.”   Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf.   More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year.   That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been  either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all.   Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out.   How long would O.C. and Stiggs be left in a void?   It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day.   The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career.   In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor.   And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson.   On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there.   But May would come and go, without a hint of the film.   Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend.   There would not be a second weekend of reported grosses.   But to MGM's credit, they didn't totally give up on the film.   On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie.   I don't know how well the film did at the Nick, suffice it to say the film was gone after a week.   But to MGM's credit, they still didn't give up on the film.   On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles.   MGM did not report grosses, and the film was gone from the new multiplex after a week.   But to MGM's credit, they still didn't give up on the film.   The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988.   MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen.   O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus.   But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar.   In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years.   Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career.   Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist.   He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries.     Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

The 1965 season saw the opening of the Houston Astrodome, and the first Major League Baseball games to be played indoors. For Opening Day, the Yankees were invited to the Astros for an exhibition game to open the Dome. With recordings available for both team broadcasts we can contrast two different legends behind the microphone. In this episode, our second visit to this game, we can hear the Astros Radio broadcast of the exhibition, with Harry Kalas, Loel Passe, and Gene Elston. This game was played on April 9th, 1965. --- Send in a voice message: https://podcasters.spotify.com/pod/show/classicbaseballradio/message

The 1965 season saw the opening of the Houston Astrodome, and the first Major League Baseball games to be played indoors. For Opening Day, the Yankees were invited to the Astros for an exhibition game to open the Dome. With recordings available for both team broadcasts we can contrast two different legends behind the microphone. In this episode, the Yankee's broadcasting team of Red Barber, Phil Rizzuto, Jerry Coleman and Joe Garagiola, for WCBS. This game was played on April 9th, 1965. --- Send in a voice message: https://podcasters.spotify.com/pod/show/classicbaseballradio/message

Rich and the guys marvel over the G League debut of 7'5” Frenchman Victor Wembanyama and workshop a nickname for the future NBA lottery pick.  Actor/comedian Mo Amer joins Rich in-studio to discuss his new Netflix show, reveals how he discovered stand-up comedy at the age of 10…in the Houston Astrodome??, compares his Astros' history of cheating to Rich's Yankees, and reveals what Dwayne ‘The Rock' Johnson told him in the first day of shooting ‘Black Adam' and what it's like to play golf with former 007 James Bond Pierce Brosnan. Rich and the guys react to the latest Bill Belichick Press Conference moment where the Patriots head coach was asked which QB will start this Sunday.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Houston Astrodome was dubbed "the eighth wonder of the world" when it opened in 1965, and dome enthusiast (and former Houston Astros team historian) Mike Acosta keeps its path-breaking legacy alive through his collection of dome memorabilia, including stadium seats, lights from the huge scoreboard, pieces of AstroTurf, items from its presidential suite, and much more. Mike's Twitter feed (full of dome photos and history): www.twitter.com/astrostalk The Astrodome Conservancy: www.astrodomeconservancy.org Opening theme: "Keepers" by Still Flyin' Closing theme: "Slow Draw/Feeling In My Heart" by Eric Frisch Additional music by Magic in the Other and Dan Lebowitz www.forkeepspodcast.com

Painting the windows of the Astrodome significantly improved the situation for the players, but in turn led to the grass inside dying from a lack of light. It was replaced with an artificial alternative, which became known as ...

[A September 2017 archive re-release favorite with the production wizard behind behind early network TV coverage of the World Football League & North American Soccer League of the 1970s!] On January 20, 1968, a frenzied crowd of 52,693 packed the Houston Astrodome to witness the #2-ranked University of Houston Cougars nip the #1 (and previously undefeated) UCLA Bruins in a college basketball spectacle that legendarily became the sport's “Game of the Century.”  In addition to the record-sized gate, it was the first-ever college game to be televised nationally in prime time – and it was sports entrepreneur Eddie Einhorn's scrappy little independent network of affiliated stations called the TVS Television Network that brought it to millions of TV viewers.  Calling all the shots from the production truck was veteran TV sports director Howard Zuckerman – who quickly became the backbone for the fledgling ad hoc network's subsequent coverage of not only college hoops, but also two of the most colorful pro sports leagues of the 1970s – the World Football League and the North American Soccer League.  Zuckerman joins host Tim Hanlon to recount some of his most memorable (and forgettable) moments in TVS history, including: Surviving a power outage in the middle of the WFL's first-ever national telecast from Jacksonville; Managing a motley crew of rotating guest commentators for WFL broadcasts, including the likes of George Plimpton, Burt Reynolds and McLean Stevenson; Hastily reorienting weekly WFL production travel plans as teams suddenly relocated or folded; Faking on-field injuries during NASL telecasts to allow for ad hoc commercial breaks; The origins of the specially-composed TVS theme song and its orchestral big band sound; and Post-TVS work, including the Canadian Football League's Las Vegas Posse, and the worldwide music landmark event Live Aid. 

When I was a teenager, I spent entirely too much time at the Pontiac Silverdome watching the Detroit Pistons play basketball. In all the games I watched, it never occurred to me to wonder why a professional basketball team was playing in a cavernous, multi-purpose stadium entirely unsuited to basketball. Frank Andre Guridy begins his wonderful book The Sports Revolution: How Texas Changed the Culture of American Athletics (U Texas Press, 2021) by examining the Houston Astrodome as both a result of and a contributor to dramatic changes in sports and society in the United States. Guridy is recognizes that the games we watch and the athletes who play them are valuable in and of themselves and the book is full of lyrical descriptions of games and athletes. But he is mostly interested in the ways sports reflected and formed American society. He argues that the economic and social forces reshaping America in the 1960s and 70s provided the context for a change in the ways sports were played, produced and consumed and that Texas served as an incubator for these changes. His book is always insightful and interesting. But his examination of the intersection of race and economics in the emergence of the NBA's San Antonio Spurs is particularly strong, as is a chapter examining the emergence of the Dallas Cowboy Cheerleaders as a national phenomenon. In a world where sports is again undergoing a transformation, The Sports Revolution offers a valuable lens through which to view both the dramatic changes of the 1970s and those so prominent in today's society. Kelly McFall is Professor of History and Director of the Honors Program at Newman University. Learn more about your ad choices. Visit megaphone.fm/adchoices

When I was a teenager, I spent entirely too much time at the Pontiac Silverdome watching the Detroit Pistons play basketball. In all the games I watched, it never occurred to me to wonder why a professional basketball team was playing in a cavernous, multi-purpose stadium entirely unsuited to basketball. Frank Andre Guridy begins his wonderful book The Sports Revolution: How Texas Changed the Culture of American Athletics (U Texas Press, 2021) by examining the Houston Astrodome as both a result of and a contributor to dramatic changes in sports and society in the United States. Guridy is recognizes that the games we watch and the athletes who play them are valuable in and of themselves and the book is full of lyrical descriptions of games and athletes. But he is mostly interested in the ways sports reflected and formed American society. He argues that the economic and social forces reshaping America in the 1960s and 70s provided the context for a change in the ways sports were played, produced and consumed and that Texas served as an incubator for these changes. His book is always insightful and interesting. But his examination of the intersection of race and economics in the emergence of the NBA's San Antonio Spurs is particularly strong, as is a chapter examining the emergence of the Dallas Cowboy Cheerleaders as a national phenomenon. In a world where sports is again undergoing a transformation, The Sports Revolution offers a valuable lens through which to view both the dramatic changes of the 1970s and those so prominent in today's society. Kelly McFall is Professor of History and Director of the Honors Program at Newman University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-south

When I was a teenager, I spent entirely too much time at the Pontiac Silverdome watching the Detroit Pistons play basketball. In all the games I watched, it never occurred to me to wonder why a professional basketball team was playing in a cavernous, multi-purpose stadium entirely unsuited to basketball. Frank Andre Guridy begins his wonderful book The Sports Revolution: How Texas Changed the Culture of American Athletics (U Texas Press, 2021) by examining the Houston Astrodome as both a result of and a contributor to dramatic changes in sports and society in the United States. Guridy is recognizes that the games we watch and the athletes who play them are valuable in and of themselves and the book is full of lyrical descriptions of games and athletes. But he is mostly interested in the ways sports reflected and formed American society. He argues that the economic and social forces reshaping America in the 1960s and 70s provided the context for a change in the ways sports were played, produced and consumed and that Texas served as an incubator for these changes. His book is always insightful and interesting. But his examination of the intersection of race and economics in the emergence of the NBA's San Antonio Spurs is particularly strong, as is a chapter examining the emergence of the Dallas Cowboy Cheerleaders as a national phenomenon. In a world where sports is again undergoing a transformation, The Sports Revolution offers a valuable lens through which to view both the dramatic changes of the 1970s and those so prominent in today's society. Kelly McFall is Professor of History and Director of the Honors Program at Newman University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

When I was a teenager, I spent entirely too much time at the Pontiac Silverdome watching the Detroit Pistons play basketball. In all the games I watched, it never occurred to me to wonder why a professional basketball team was playing in a cavernous, multi-purpose stadium entirely unsuited to basketball. Frank Andre Guridy begins his wonderful book The Sports Revolution: How Texas Changed the Culture of American Athletics (U Texas Press, 2021) by examining the Houston Astrodome as both a result of and a contributor to dramatic changes in sports and society in the United States. Guridy is recognizes that the games we watch and the athletes who play them are valuable in and of themselves and the book is full of lyrical descriptions of games and athletes. But he is mostly interested in the ways sports reflected and formed American society. He argues that the economic and social forces reshaping America in the 1960s and 70s provided the context for a change in the ways sports were played, produced and consumed and that Texas served as an incubator for these changes. His book is always insightful and interesting. But his examination of the intersection of race and economics in the emergence of the NBA's San Antonio Spurs is particularly strong, as is a chapter examining the emergence of the Dallas Cowboy Cheerleaders as a national phenomenon. In a world where sports is again undergoing a transformation, The Sports Revolution offers a valuable lens through which to view both the dramatic changes of the 1970s and those so prominent in today's society. Kelly McFall is Professor of History and Director of the Honors Program at Newman University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sports

When I was a teenager, I spent entirely too much time at the Pontiac Silverdome watching the Detroit Pistons play basketball. In all the games I watched, it never occurred to me to wonder why a professional basketball team was playing in a cavernous, multi-purpose stadium entirely unsuited to basketball. Frank Andre Guridy begins his wonderful book The Sports Revolution: How Texas Changed the Culture of American Athletics (U Texas Press, 2021) by examining the Houston Astrodome as both a result of and a contributor to dramatic changes in sports and society in the United States. Guridy is recognizes that the games we watch and the athletes who play them are valuable in and of themselves and the book is full of lyrical descriptions of games and athletes. But he is mostly interested in the ways sports reflected and formed American society. He argues that the economic and social forces reshaping America in the 1960s and 70s provided the context for a change in the ways sports were played, produced and consumed and that Texas served as an incubator for these changes. His book is always insightful and interesting. But his examination of the intersection of race and economics in the emergence of the NBA's San Antonio Spurs is particularly strong, as is a chapter examining the emergence of the Dallas Cowboy Cheerleaders as a national phenomenon. In a world where sports is again undergoing a transformation, The Sports Revolution offers a valuable lens through which to view both the dramatic changes of the 1970s and those so prominent in today's society. Kelly McFall is Professor of History and Director of the Honors Program at Newman University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

When I was a teenager, I spent entirely too much time at the Pontiac Silverdome watching the Detroit Pistons play basketball. In all the games I watched, it never occurred to me to wonder why a professional basketball team was playing in a cavernous, multi-purpose stadium entirely unsuited to basketball. Frank Andre Guridy begins his wonderful book The Sports Revolution: How Texas Changed the Culture of American Athletics (U Texas Press, 2021) by examining the Houston Astrodome as both a result of and a contributor to dramatic changes in sports and society in the United States. Guridy is recognizes that the games we watch and the athletes who play them are valuable in and of themselves and the book is full of lyrical descriptions of games and athletes. But he is mostly interested in the ways sports reflected and formed American society. He argues that the economic and social forces reshaping America in the 1960s and 70s provided the context for a change in the ways sports were played, produced and consumed and that Texas served as an incubator for these changes. His book is always insightful and interesting. But his examination of the intersection of race and economics in the emergence of the NBA's San Antonio Spurs is particularly strong, as is a chapter examining the emergence of the Dallas Cowboy Cheerleaders as a national phenomenon. In a world where sports is again undergoing a transformation, The Sports Revolution offers a valuable lens through which to view both the dramatic changes of the 1970s and those so prominent in today's society. Kelly McFall is Professor of History and Director of the Honors Program at Newman University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

When I was a teenager, I spent entirely too much time at the Pontiac Silverdome watching the Detroit Pistons play basketball. In all the games I watched, it never occurred to me to wonder why a professional basketball team was playing in a cavernous, multi-purpose stadium entirely unsuited to basketball. Frank Andre Guridy begins his wonderful book The Sports Revolution: How Texas Changed the Culture of American Athletics (U Texas Press, 2021) by examining the Houston Astrodome as both a result of and a contributor to dramatic changes in sports and society in the United States. Guridy is recognizes that the games we watch and the athletes who play them are valuable in and of themselves and the book is full of lyrical descriptions of games and athletes. But he is mostly interested in the ways sports reflected and formed American society. He argues that the economic and social forces reshaping America in the 1960s and 70s provided the context for a change in the ways sports were played, produced and consumed and that Texas served as an incubator for these changes. His book is always insightful and interesting. But his examination of the intersection of race and economics in the emergence of the NBA's San Antonio Spurs is particularly strong, as is a chapter examining the emergence of the Dallas Cowboy Cheerleaders as a national phenomenon. In a world where sports is again undergoing a transformation, The Sports Revolution offers a valuable lens through which to view both the dramatic changes of the 1970s and those so prominent in today's society. Kelly McFall is Professor of History and Director of the Honors Program at Newman University. 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

Historically Speaking Sports is part of the https://sportshistorynetwork.com/ (Sports History Network - The Headquarters For Your Favorite Sport's Yesteryear). Host: Dana Auguster Taking place in the Houston Astrodome, the top ranked UCLA Bruins, led by Lew Alcindor took on University of Houston's Elvin Hayes which changed the landscape of college basketball for years to come. Basketball History 101 Podcast host Rick Loayza joins the show to breakdown this historic game.

What do the flying car, the Stanley Steamer, and the Titanic all have in common? These inventions were all ultimately responsible for the death of their inventors! We have gathered up some of the most interesting, and often times extremely sad, instances of an inventor being killed by their inventions. Whether it was the result of an unknown side-effect from groundbreaking research, as in the case of Marie Curie, or an oversight in calculation when dropping from a barrel off of the top of the Houston Astrodome, these are all interesting stories in their own right.

Ralph, Joseph, and Nathan Miranda share memories of and review MLB stadiums they've visited in the American League, including Fenway Park (8:01), the original Yankee Stadium (20:09), and the Houston Astrodome (38:19).

We chat with legendary Honda racer Mickey Fay in this episode. Mickey talks about growing up competing against Ricky Graham, what it was like racing at the Houston Astrodome and some thoughts on the professional level today.

We chat with legendary Honda racer Mickey Fay in this episode. Mickey talks about growing up competing against Ricky Graham, what it was like racing at the Houston Astrodome and some thoughts on the professional level today.

The man now known as “First Guide & Explorer of Mammoth Cave," had been enslaved in the 19th century and sent to explore what was becoming a hot tourist site. He set the bar for every guide who came after him. Plus: today in 1976, a baseball game at the Houston Astrodome was called off... due to weather?!? Enslaved Tour Guide Stephen Bishop Made Mammoth Cave the Must-See Destination It Is Today (Smithsonian) Hoffman: Astros made history with a rainout (Houston Chronicle) Help make more episodes of this show as a backer on Patreon! --- Send in a voice message: https://anchor.fm/coolweirdawesome/message

Our journey in the BTSC Delorean to Steeler yesteryear begins in a time when Honeymoon in Vegas introduced “The Flying Elvises” to the world and “The End of the Road” by Boys II Men was the hottest song on the radio. Meanwhile, the Steelers were beginning an exciting new era with a 35-year old local man at the helm after 23 years of Charles Henry Noll. Welcome to September 6, 1992 Flash back to an awesome classic on the Steelers Retro Show and join BTSC’s Tony Defeo and Bryan Anthony Davis as they go back in time and relive another memorable game. This time it’s the Steelers visiting The Houston Astrodome and the Oilers. Learn more about your ad choices. Visit podcastchoices.com/adchoices

I am joined this week on the podcast by Dr. Frank Andre Guridy, historian of sport and society at Columbia University.  Frank is also the author of the new book, The Sports Revolution: How Texas Changed the Culture of American Athletics.Frank provides a  well-researched and historical analysis of how Texas revolutionized sports in the U.S. during the civil rights era. For example, the University of Houston and Southern Methodist University (SMU) in Dallas embraced the end of Jim Crow by integrating their football and basketball teams; while powerhouse football programs such as the University of Texas and Texas A&M were slow to integrate their programs. Frank also explained the importance of the Houston Astrodome in not only Texas but in the US during the 1960s and 70s; The "Eighth Wonder of the World" hosted legendary sporting events that revolutionized the culture of American athletics, such as the "Battle of the Sexes" tennis match between Billy Jean King and Bobby Riggs, at the height of the second-wave feminist movement. Frank also talks to me about the connection between the San Antonio Spurs and the working-class Tejano/Mexican community of South Texas, plus much more. I also award this episode's Molotov MVP to former Dallas Cowboys Cheerleader and Xicana Tina Jimenez. In the summer of 1978, Jimenez and other ex-Cowboys cheerleaders started their own professional cheerleader organization known as the Dallas Cowgirls, Inc., to seek better opportunities and pay for their labor. To end the podcast, I introduce a new segment, "Xicano Sports History." As always, you can listen, subscribe, and download the podcast on Spotify, Apple Podcasts, Google Podcasts, Deezer...and now on Amazon Music, iHeart Radio, Stitcher, and Pandora!Follow us on:Facebook: fb.com/SportsasaweaponpodcastIG: @SportsAsAWeaponPodcastTwitter: @sportsasaweaponYouTube: Sports As a Weapon Podcast

Things that aren’t supposed to happen in a domed baseball stadium: -A rain out -A luxury apartment complete with a bowling alley and a gun range -A radio announced calling a game from a box suspended above second base All of these things, as odd as they sound, took place in the Houston Astrodome. This week we look at the history and the oddities of baseball’s first domed stadium. Plus, players who die at sea, Jay Bruce equals Cecil & Prince Fielder before retiring & Mel Ott facts. And as always, we do some junk wax era combat in Wax Pack Heroes with a couple of packs of 1988 Topps. Twitter - @twostrikenoise Instagram - @twostrikenoise Two Strike Noise on YouTube - https://www.youtube.com/channel/UCvh7epD-mqT9qCIV7CNqhog Twitch - https://www.twitch.tv/twostrikenoise We pull ALOT of commons in Wax Pack Heroes. If you've got those Tom Foley or Ernest Riles cards just sitting around you can donate those commons to charity and maybe spark a child's interest in baseball and collecting. Find out more here: http://commons4kids.org/ #podernfamily #podnation #baseball #mlb #history #podcast #baseballcards

Two design students have come up with an idea to turn the stretchy, plasticky parts of chewing gum into new wheels for skateboards, so the gum isn't wasted. It's the kind of idea that just might stick. Plus: today in 1965, the Houston Astrodome opened. They had a plan to grow grass indoors, but they also had a Plan B. These Students Designed A Way Of Repurposing Chewing Gum To Make Skateboard Wheels! (Yanko Design) 9 things you didn't know about the once-majestic Astrodome (USA Today) Our Patreon backers have discovered a way to turn money into great podcasts --- Send in a voice message: https://anchor.fm/coolweirdawesome/message

On this Uh-Oh Edition of Larry's New Wrestling Podcast and Stuff.  We take you back to the Houston Astrodome in Houston,Texas  #WrestleManiaX7 .  It is the  #The Rock  #DwayneJohnson Versus #StoneColdSteveAustin in the Main Event that took place on April 1st, 2001 & has the Most Shocking Ending in #WrestleMania History in my opinion. Along with a Review of the Academy Award Winning Movie #RainMan, Covid-19 Updates, and the Current State of #ProfessionalWrestling on this Counting Cards Edition of Larry's New Wrestling Podcast & Stuff.

In the second episode of "Dave Ward & Friends", the legendary Houston TV anchor sits down with his friend and Houston Astros Hall of Fame first baseman, Jeff Bagwell. The episode starts with Dave's personal revelation about his heart attack and the 'ride-or-die' friend who got him out of bed and coached him to his first lap down the hall since his brush with death, Jeff Bagwell.Jeff talks about what he thought of Houston before arriving as a young rookie from Boston, and how his rookie career developed with teammates along the way. The two remember the Houston Astrodome and Dave asks how Bagwell liked playing there.Dave remembers how Jeff predicted to him that the 2017 team would win the franchise's first World Series, and Jeff reveals that team's distinguishing characteristics that led him to that prediction. Jeff also talks about the team's current skipper, Dusty Baker, his longtime teammate, the great Craig Biggio, and his Hall of Fame induction.

We sit down with Legendary Explorer, Detroit Unseen (Bob) who is respected as one of the biggest legends in the urban exploring community. He has gone from heroin addict to urban exploring addict traveling all across the country to hit the top abandoned spots in nearly all 50 states. From sneaking into the iconic Houston Astrodome to stumbling across a dead body in an abandoned Detroit building, he has seen it all. Bob's passion for exploring and history clearly shines through as he tells his unbelievable stories.

Off we go to a trying time in Pittsburgh Steelers history. On this very day... Chicago was tops on the radio with “Look Away”, The Naked Gun: Files From Police Squad was No. 1 with movie goers, actor Gary Busey miraculously survived a motorcycle accident — and the Steelers were reeling with a dreadful 3-10 record and visiting the Houston Astrodome (a.k.a. the House of Pain) to take on the playoff-bound Oilers. Welcome to December 4, 1988 and a black-and-yellow rose blooming in a season of thorns. Flash back to that awesome classic on the Steelers Retro Show and join BTSC’s Tony Defeo and Bryan Anthony Davis as they go back in time and relive this memorable matchup. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 5! Today I'm joined by my good friend Colby Marshall to talk about one of his favorite events and truthfully one of the premier events inside the Houston Astrodome. A building that still stands to this day and has housed so many big events throughout its history! On November 7th 1987 this event had a very unique racing course, Jim Kramer on commentary, and one legendary final round of racing for the Monster Trucks! --- Support this podcast: https://anchor.fm/retro-monster-truck-review/support

Trump supporters caravan through Ketchikan ahead of Wednesday's electoral certification deadline — plus, what happens when enough rock to halfway fill the Houston Astrodome comes tumbling down a mountain.

In a career that has spanned more than 60 years, and which began in an era when film was still used by photographers, Neil Leifer has taken some of the most iconic sports images -- Muhammad Ali glowering over Sonny Liston; Ali and Joe Frazier with promoter Don King; an overhead shot at the Houston Astrodome of the 1966 Ali-Cleveland Williams fight after Williams was KO'd -- when he worked for Sports Illustrated and later Time magazine. In this latest "Stories with Street CRed" podcast, I talk with Leifer about his life and legendary career, and we discuss his latest book, "Leifer. Boxing. 60 years of Fights and Fighters," published by Taschen.

Anna and Ben convene in a fallout shelter under the Houston Astrodome to discuss the fiftieth anniversary of Robert Altman's dark fable. They discuss whether commercial art can be "High Art", whether fairy tales need to make sense, and the great Marshmallow Test of all our lives.

The Christmas Train beings in Alvin this month and an incredible Astros fan made a chicken coop that's a pretty accurate replica of our Houston Astrodome

Ep #113 - This week on the podcast, the Marketing Geeks are joined by Dan Mannix, the CEO of CSM North America, an integrated sports marketing agency based in New York City. In today’s conversation, we discuss the world of sports marketing, the rise of eSports, how to adapt your business in the time of COVID 19 and Dan’s principles for success as an entrepreneur. Dan’s agency, CSM, was named as the ‘Best in Sports Event and Experiential Marketing’ by Sports Business Journal in 2016. Dan started this agency, originally called LeadDog Marketing Group, when he was just 18 years old, growing it into a global agency of 200+ ‘make it happen,’ passionate people. CSM has developed longstanding relationships with partners, creating, marketing, and activating brand experiences for major companies like Coca-Cola, Intel, NFLPA, NCAA, Netflix, Oath, REI, Square, Susan G. Komen, Reebok, USGA, WWE, and Audi. As a past Sports Business Journal ‘Forty Under 40’ honoree, Dan brings more than 20 years of strategic marketing and partnership development for signature brand experiences and extensive work with innovation-led start-ups. After starting his career in sports marketing at the Houston Astrodome, Dan transitioned to the NBA where he worked on key events and ran team operations for the launch of the WNBA. Additionally, Dan spearheaded the basketball competition at the 1996 Atlanta Olympics. Dan serves as Board Chair for ‘Up2Us Sports,’ a national coaching initiative, and is a founding partner and board member of ‘One Team Collective,’ the venture accelerator of the NFLPA. He is a graduate of the University of Richmond and lives in Brooklyn with his amazing wife, Michelle, and energetic son, Jackson. Learn More About Dan Mannix and CSM: Visit the Website for CSM at: https://www.csm.com/ Connect with Dan Mannix on LinkedIn: https://www.linkedin.com/in/dan-mannix-4ab0152/ Follow Dan Mannix on Instagram at: https://www.instagram.com/danmannix/ ----- Please support the show by subscribing, rating and leaving a written review. We really appreciate receiving written reviews from listeners that enjoy the show and get value from it. Pre-Register For Access To Our Upcoming LinkedIn Mastery Course: https://marketinggeekspodcast.com/linkedin-mastery-course/ Connect & message the Marketing Geeks, Justin Womack and Andros Sturgeon, on LinkedIn: Justin Womack: https://www.linkedin.com/in/justinwomack1/ Andros Sturgeon: https://www.linkedin.com/in/androssturgeon We are looking to feature guest voicemails on the show so please send us your voicemail for consideration. (See bottom of show notes for link to leave voice messages). Want to be a guest on the Marketing Geeks Podcast or suggest someone? Please email us at info@marketinggeekspodcast.com Visit our website www.MarketingGeeksPodcast.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/marketing-geeks/message Support this podcast: https://anchor.fm/marketing-geeks/support

Jimmy Wynn was one of baseball’s most feared sluggers of the 1960s and early 1970s. Playing for the Houston Astros, however, muzzled just how powerful a hitter he was. Wynn and the Astros called the Houston Astrodome home, and it was by far one of the most difficult stadiums in baseball history to launch home runs in. Yet, Wynn, still put up remarkable numbers. In fact, Wynn produced nearly all of the power the Astros possessed. In 1967 he walloped 37 homeruns, while the rest of the Astros managed to hit just 56. In 1968 he hit 26 homeruns, while the rest of the team hit just 40; and in 1969, Wynn hit another 33 homeruns while the rest of his teammates hit 71. Wynn’s relationship with the team and manager Harry Walker was not exactly great. In fact, despite Wynn’s power, Walker tried to change Wynn’s approach at the plate which would have reduced his power and made him into more of a line drive and opposite field hitter. Wynn fought back and never acquiesced. Of course, this put a strain on the whole team and ultimately, the Astros fired Walker and eventually traded Wynn to the Los Angeles Dodgers … and it was with the Dodger where Jimmy Wynn enjoyed his happiest and best season. In 1974, Wynn hot a Los Angeles record 32 homeruns, a career-high 108 RBI and batted .271 to help lead L.A. into the World Series against the Oakland A’s. Wynn, by the way, also started the All Star game in 1974. Known as the “Toy Cannon” a nickname he did not appreciate at first, Wynn was small in stature (just 5-feet-9) but loomed large at the plate. For his career he slugged 291 homeruns, knocked in 964 and hit .250. By today’s standards, not overwhelming. But if you consider the fact that Jimmy Wynn played most of his games in the Houston Astrodome, the site where fly balls went to die, and the fact that he out homered his team at home on a routine basis, then you would understand just how dangerous a hitter the “Toy Cannon” was. Mark Armour, one of the founders of the baseball biography project for SABR, joins the podcast to talk about the great Jimmy Wynn. Links: Sports' Forgotten Heroes website Sports' Forgotten Heroes Patreon Page Sports' Forgotten Heroes twitter © 2020 Sports' Forgotten Heroes

1995 was supposed to be a breakout year for Selena Quintanilla-Pérez. Already a multi-platinum recording artist and Grammy Award winner who was dubbed the “Queen of Tejano Music,” Selena and her band played to a sold-out Houston Astrodome in February, and an upcoming crossover album was set to launch her into mainstream superstardom. Yet there were long-simmering tensions in Selena’s personal and business life that were about to alter the course of her life. On March 31, 1995, in a motel room in Corpus Christi, Selena was gunned down by her close friend and fan club manager Yolanda Saldívar. 25 years later, VAULT Studios brings these events to life in “Selena: A Star Dies in Texas,” a new podcast series that dives deep into Selena’s life, death and legacy. Learn more about your ad choices. Visit megaphone.fm/adchoices

1995 was supposed to be a breakout year for Selena Quintanilla-Pérez. Already a multi-platinum recording artist and Grammy Award winner who was dubbed the “Queen of Tejano Music,” Selena and her band played to a sold-out Houston Astrodome in February, and an upcoming crossover album was set to launch her into mainstream superstardom. Yet there were long-simmering tensions in Selena’s personal and business life that were about to alter the course of her life. On March 31, 1995, in a motel room in Corpus Christi, Selena was gunned down by her close friend and fan club manager Yolanda Saldívar. 25 years later, VAULT Studios brings these events to life in “Selena: A Star Dies in Texas,” a new podcast series that dives deep into Selena’s life, death and legacy. Learn more about your ad choices. Visit megaphone.fm/adchoices

Wisdom from the Wizard of UCLA (Part 1) - John WoodenWisdom from the Wizard of UCLA (Part 2) - John WoodenWisdom from the Wizard of UCLA (Part 3) - John WoodenFamilyLife Today® Radio TranscriptReferences to conferences, resources, or other special promotions may be obsolete. Growing Up With WoodenDay 1 of 3 Guest:                    John Wooden From the series:   True Success:  A Personal Visit with John Wooden  Bob:                It was the 1920s in rural Indiana.  The Depression had not yet rocked America.  John Wooden was a young boy growing up on a farm, a high school student who loved basketball but who was about to meet the real love of his life. John:              I noticed this one little gal, and I didn't know, but she had noticed me, too, but I didn't know that.  Somehow, on the first day of classes my freshman year, we happened to be in the same class, and I knew right then, and we knew we were going to be married by the time I got out of high school, and August 8th it would have been 70 years since last August 8th, we would have been married. Bob:                Today you'll hear the first part of a conversation with a man who grew up to be one of the greatest coaches of all time as we talk about his faith, his family, and basketball.  Stay tuned as we talk with Coach John Wooden on FamilyLife Today.                         And welcome to FamilyLife Today, thanks for joining us on the Wednesday edition.  I can't help but smile as I listen to that excerpt from our interview with Coach John Wooden.  Of course, a lot of people are smiling right about now because this is the time of the year when March madness really takes over.  There is a lot of basketball ahead for us. Dennis:          Semis are this weekend, Final Four on Monday. Bob:                It's got to bring back lots of memories for you from your college days, doesn't it? Dennis:          Well, high school.  You know, going back to high school, Bob, those were my glory days.  My college days, I had several splinters. Bob:                Sitting on the bench, huh? Dennis:          I got the 15th uniform out of 15 in college.  I learned what it was like to be a substitute. Bob:                But your team almost went to the Final Four, didn't it? Dennis:          Well, not THE Final Four.  We almost went to the Junior College National Championships in Kansas, and I'm trying to remember where in Kansas. Bob:                But that's like the Final Four for Junior Colleges, right? Dennis:          Oh, yeah, absolutely.  In fact, I started that game – the last game of my college career, I started. Bob:                You poured in what – 15, 20 points? Dennis:          Now, wait a second – hold it, just one second, because they put me on an All American.  This is a true story.  The coach had watched me.  It was the only game I started in my college career, but my coach was so impressed with me never quitting and just staying out there and being tenacious – he started me.  And he put me on the quickest guy I've ever played against. Bob:                Man-to-man defense. Dennis:          Man-to-man defense, and did you know, when I left the game in the first half – I played about six or seven minutes – I had scored more points … Bob:                … than the All American, and the reason was this:  He was so fast and I was so slow, he would fake three or four times, and by the time I had taken his first fake, I was back to where he was really going.  And so I would post up underneath the bucket, and the guy didn't like to play defense, and I'd post up on him and score.  And so when I left the game, I had actually scored more points than him. Bob:                Now, some of our listeners are wondering what are you talking about Dennis' glory days of basketball on FamilyLife Today? Dennis:          Because we really don't have anything else to talk about.  No, that's not true.  We have a guest today – well, Bob, a dream of mine, and I sent you a note one day.  I said, "Bob, you know, one of the people I would really like in all the world to interview for FamilyLife Today and for our listeners and give them a glimpse of what a great human being he is, what many have described as the greatest coach of any sport of all time – Coach John Wooden."  Now, there are a number of our listeners who have no idea who John Wooden is, but a ton do.  Bob:                Coach Wooden coached the UCLA Bruins back in the '60s and the '70s. Dennis:          Well, actually, he started coaching in 1948.  That's what most people don't realize is.  He didn't build that national championship dominant team in the '60s and '70s.  He built it in obscurity beginning in 1948 throughout all the '50s and early '60s before he won his first national championship in 1964. Bob:                And after he won his first one, then he won his second and his third and his fourth and his fifth and his sixth.  Over a 12-year period he won 10 national championships. Dennis:          That's right, including winning 88 games in a row before they were knocked off at the Houston Astrodome, and I remember watching this game as a young man, where Lew Alcindor was playing against Elvin Hayes, and Houston beat them 71-69, and the Astrodome had, like, 49,000 people in it.  It was nationally televised.  It was an event, and there are few coaches that could claim the accomplishments that – in any sport – what he has accomplished.  But in basketball, he is the ultimate. Bob:                Well, we're going to hear a little bit about that game and about a lot of other games as we talk with Coach Wooden over the next few days.  A while back, you and I sat down with him in a studio in Los Angeles and just had a great opportunity to find out about the man who grew up to be "The Coach."  Here is part 1 of our conversation with Coach John Wooden: Dennis:          Tell us about life in the Wooden household when you were growing up as a young lad. John:              We had a small farm, and I learned a lot, I think, of things that helped me later on.  You had to work hard.  Dad felt there was time for play but always after the chores and the studies were done.  Dad would read to us every night from the Scriptures and poetry, and I think that created a love of poetry, which I've always had, liked to dabble in it a little bit.  My dad was a wonderful person.  I never heard him speak an ill word of anybody; never blamed anybody for anything; I never heard him use a word of profanity.  I think that his reading to us of a night later caused all four sons to get through college, though he had no financial means to help and there were no athletic scholarships.  All four sons graduated from college and all majored or minored in English, and all got advanced degrees, and I think Dad had a lot to do with that. Dennis:          Your dad had, as you've already mentioned, a profound impact on your life.  In fact, I was so looking forward to this interview with you, because I've quoted you about something that you said you carried around in your pocket.  Or – it, first of all, was carried around in your father's pocket, is that right?  And then you started carrying it around – it was your dad's creed – and then a poem by a pastor by the name of Henry Van Dyke. John:              My father gave to me, when I graduated from high school – excuse me – from grade school, from the eighth grade, he gave me a $2 bill – one of those large $2 bills and said, "Son, as long as you keep this you'll never be broke."  Then he also gave me a card, and on one side was the verse by Reverend Van Dyke that said, "Four things a man must learn to do if he would make his life more true; to think without confusion clearly; to love his fellow man sincerely; to act from honest motives purely; to trust in God and heaven securely." And on the other side was a seven-point creed, and the seven-point creed insisted, first of all, I think it was, "Be true to yourself," and I think we know if we're true to ourselves, we'll be true to others; and the second was "Help others."  There is no greater joy than a person can have than do something for someone else, especially when you do it with no thought of something in return. Another one was "Make friendship a fine art."  Work at it, don't take it for granted, work at making friends and making friendships flourish.  And then was one, I think, stood out to me a great deal was, "Make me today your masterpiece," and I tried to teach from that, as time went by, to my players and my English students, to just try and do the best you can each day.  Just make each day a masterpiece.  It's the only thing over which you have control.  You have no control over yesterday.  That will never change.  The only way you can affect tomorrow is today.  And then another one was to "Drink deeply from good books, especially the Bible;" and then was "Build a shelter against a rainy day," and he wasn't thinking about a physical shelter, he was thinking about a more lasting shelter.  When I think about that, I often think of when Socrates was unjustly imprisoned and was facing imminent death and the jailers who were mean people, they couldn't understand his serenity, and they said, "Why aren't you preparing for death?"  And his statement was, "I've been preparing for death all my life by the life I've led," and when I think of building a shelter against a rainy day, I think that's what Dad had in mind. Then the last was – the seventh was "Give thanks for your blessings and pray for guidance every day," and I've carried that with me in one form or another since those days, yes. Bob:                Those core convictions are so bedrock with you, that's a part of how your mom and dad raised you.  I think some people – we hear those things in the 21st century and some people go, "That sounds kind of old-fashioned, kind of corny," but that's so ingrained into who you are and who you've been, and you would say that's been a part of what has made you successful as a coach, right? John:              Well, I would hope so, but I know, too, if someone said, "I'm not what I ought to be and not what I want to be and not what I'm going to be, but I think those things have made me better than I would have been. Dennis:          Your dad read the Bible every day. John:              Yes, he did. Dennis:          How did you see him live out his faith in Christ every day, as a father?  What are the most indelible memories that you have, as a boy, watching your dad?  Because, undoubtedly, for him to have the influence he had on you as a man, his character has to resonate even today in your life. John:              Perhaps I wasn't realizing it at the time, but as I look back on my dad and the fact that he never spoke an ill word of anyone and just was a good person.  You don't realize it so much of the time, and many of the things – one of the things he said was never try to be better than someone else.  You have no control over that, and if you get too involved and engrossed and concerned – maybe these weren't his exact words, but things over which you have no control will adversely affect the things over which you have control.                         Now, years later, I remember that.  So somewhere in the hidden recesses of the mind, they stuck there, but it was things like that.  Mr. Lincoln said there is nothing stronger than gentleness, and my father was gentle man – working with animals and things.  I remember reading to us nights over the Scriptures, and I can still close my eyes and hear him reading "Hiawatha."  I can still hear "By the shores of Gitchigoomie, by the Shining Big Sea Water, Stood the wigwam of Nokomis," and so on, and things of that sort. Bob:                You didn't have any TV, any radio, so in the evening reading was the primary form of entertainment, wasn't it? John:              You're correct – by a coal oil lamp or candles. Bob:                Was your dad – as you think back on his life, you've talked about this tender side of him, and yet he was still whipping you when you did the wrong thing.  Was he a strict disciplinarian? John:              Well, I would say yes but not in a physical point of way.  I know – oh, I didn't want to get an unkind word from my dad, you know, a strong word.  I don't know, you just hated to hurt him in any way.  You just had that feeling about him. Dennis:          As you followed your dad, you undoubtedly watched how he'd love your mother.  Tell us about what you observed there and his commitment to her, as a woman and to his wife, over their years together. John:              Well, I think Dad's first concern was always for Mother.  He was looking out for her the best he could in every way but in a gentle way, in a gentle way.  I can picture them together – not at all the romantic way that you might think, but there was just something between them that was very, very special.  I don't know how to describe it. Dennis:          You said of yourself in your book, "They Call Me Coach," that as you moved into your high school years, you were shy, you were reserved, especially with the opposite sex. John:              Yes, I suppose, not being exposed much – no sisters – and I'm on the farm, and I suppose that's the reason, I don't know, but I was a little shy. Bob:                But here you were, this star basketball player on the high school team.  I mean, the girls, the cheerleaders, had to notice Johnny Wooden, didn't they?  Did they call you Johnny back then or was it John? John:              They called me lots of things. (laughter)                          You'd be surprised, the more they think it was John Bob. Bob:                John Bob. Dennis:          John Bob. John:              And Nellie and I had been married for many years when her sister came out here to California one time, and she said, "Don't you think you and John have been married long enough that you should quit calling him John Bob?" Bob:                But didn't the girls start to notice you as you were draining those jump shots on the basketball teams? Dennis:          Yeah, he kind of skirted your answer there.  I was watching him about that. John:              Well, I'll tell you, my freshman year, I was still living on the farm.  We didn't lose the farm until after my freshman year, and then we commuted from this little town of Center, and we lived about a half a mile out of that to Martinsville, and I noticed this one little gal, and I didn't know that she had noticed me, too, but I didn't know that, and that summer she brought the brother of her closest friend, who became very dear to me, to drive up.  Her brother had a car, and they drove up, and I was working in the field plowing corn with a team, and they parked in the road and motioned for me to come over, and I wouldn't go over.  I just kept on. Bob:                Why wouldn't you go over?  Here's this cute girl on the side of the road … Dennis:          … and you even liked her, too. John:              Oh, yeah, but I was dirty and somehow on the first day of classes, we happened to be in the same class.  She said, "Why didn't you come over to see us?"  I said, "Well, I was dirty and perspiring, and you would have just made fun of me."  And Nellie said – I can still see her, she said, "I would never make fun of you," and I knew right then … Dennis:          … there was a spark in her eyes. John:              And this is the only girl I ever really went with. Bob:                So by your junior year in high school, did you think, "This is the girl I'll marry?" John:              I did. Bob:                And you all started going together? John:              We did. Bob:                So you waited to marry until you got to college? John:              Yes, until I graduated.  I was glad to be married and graduated and got my first job, yes. Bob:                Coach, that's a long courtship – from your junior year in high school until you've graduated from college and got your first job.  That must have been hard. Dennis:          But, Bob, the rest of the story is, if Nellie hadn't put her foot down … Bob:                … he might still be dragging it on today? Dennis:          Well, there is the rest of the story here, because he really had promised her that he was going to marry her upon graduation, but then the war came along. John:              Yes.  Well, I had an appointment to West Point, and she said it would be six more years, and "I'm not going to wait.  I'm going to a convent."  So I didn't go to West Point. Bob:                She said she wouldn't wait on you? John:              That's right. Dennis:          And so what did you do? John:              Well, I finished at Purdue.  Dennis:          So you were married then? John:              We were married on August 8th.  It would have been 70 years just last August 8th that we would have been married.  We were married on August 8, 1932. Dennis:          You were, in those days, All American three years in a row, you were named the College Player of the Year your senior year, and as I was doing this research, I was thinking – I was talking to Bob.  I said, "I don't remember Coach Wooden being that tall, to be College Player of the Year.  He must have been 6'3" or 6'4".  On the sidelines you looked a little small around those big guys at UCLA.  But you were only 5'10" in those days. John:              But, you know, the teams weren't as big then, either, as they are now, too.  Our center at Purdue, Stretch Murphy, was 6'8", and he was a giant.  I only had the pleasure of playing with him one year.  I had the displeasure of playing against him one year when I was a sophomore in high school for the Indiana State Championship, he was the center on the opposing team, and he was good. Bob:                Did you just have what it takes as an athlete?  Were you just a naturally gifted – something about the way God made you that you turned out to be a good basketball player?  Or did you work really hard to be a good ball player? John:              Well, I hope I did the latter, but He provided the former.  I had natural quickness, and I couldn't do much about my height, but I could do something about my condition, and I always wanted to be in the best possible condition and hoped that would be better than others, hoped others wouldn't work as hard at it as I did do that, and I think I carried that throughout, and I think that helped.  And I think it probably come from my earlier grade school days on the farm of working hard, and I like to feel that no one is going to be in better condition, then I have no control over it.  I should have control over myself. Bob:                Well, we've been listening to a conversation with Coach John Wooden – actually, part 1 of a conversation that we're going to hear the remainder of over the next couple of days. Dennis:          What a sweet time, huh? Bob:                It was a great time. Dennis:          Bob, you and I just had a great time.  I'd look over at you occasionally, and you'd be sitting there grinning, and I'd be grinning, and the reason is, is when we interviewed Coach, he was 91 years old.  He's now at his 92nd birthday, and I'm told that he knows where 180 of his players are – his past players.  He's kept in touch with them.  I heard about a coach the other day whose players never go back to visit him – none of them.  It's common knowledge that his players don't want to have anything to do with him, and I think about Coach Wooden and the wisdom that he passed on, and it reminds me, really, of Proverbs, chapter 4, where a father is imploring and exhorting a son to "Listen, my son, and acquire wisdom."   And I'll tell you, just hanging with the Coach for the interview we did over an hour and a half, we're not going to be able to air all of it here on the broadcast over the next couple of days, but just hanging with him, you thought, "What would it have been like to have played for a coach like that?"  And then it hit me, you know, that's what our children need to be expressing about us as parents.  You know, we learned, we sat under the greatest mom, the greatest dad, the greatest coach, the greatest teacher the world has ever known.  Yeah, they're going to be biased, but the idea is that we, as parents, we're impacting the next generation just like Coach Wooden did. Bob:                That's right.  You mentioned the entire interview going more than an hour and a half long.  We've actually taken the complete interview and put it on two CDs, and I got some early copies of these CDs, and I'll tell you what I found – you can pass these out to lots of folks.  You can pass them out to the high school coach at the high school where your kids go. Dennis:          Oh, let me tell you something, I've been doing this, and I've had friends doing this – any coach of any sport – Laura's volleyball coach – I gave her a copy of this, and she grabbed hold of it like it was gold, and the reason is it is gold.  Bob:                It's thoughts on life from a great coach but it's also thoughts on faith and character and what really matters.  You can use this as a way to begin a dialog and to open doors evangelistically with fans of the game, with coaches, with players, with friends.  We have the two-CD set that features the entire – I think it's about an hour-and-45-minute-long conversation with Coach John Wooden.                          It's available in our FamilyLife Resource Center.  You can call 1-800-FLTODAY to request as many copies as you want. Dennis:          It even looks like a basketball on one side and a net on the other. Bob:                1-800-F-as-in-family, L-as-in-life, and then the word TODAY.  You can also order online at FamilyLife.com.  Ask for the two-CD set of our conversation with Coach John Wooden when you contact us, and there's a second resource we want to mention to you as well – Coach Wooden has put together a course that is designed to teach his principles of success in business, in athletics, in school.  We have a videocassette where Coach lays out the Pyramid of Success that he put together, and we have the Pyramid on our website at FamilyLife.com, but we also have it on a mousepad that you can have by your computer just to review the character qualities that go into success in any endeavor.  Along with the video and the mousepad, we've got a wallet card. Dennis:          Not just any wallet card. Bob:                No, it's a laminated … Dennis:          … a laminated … Bob:                … that's right, and it has some of the Coach's philosophy on it – never lie, never cheat, never steal, don't whine, don't complain, don't make excuses – pretty simple stuff but profound nonetheless.                           Ask for these resources when you call 1-800-FLTODAY.  Again, it's 1-800-F-as-in-family, L-as-in-life, and then the word TODAY or go online at FamilyLife.com, and you can see some of the resources there, and you can order online as well.  Again, our website is FamilyLife.com.                          When you do get in touch with us, someone is likely to ask if you'd like to help with a donation to FamilyLife Today, and we hope when they ask, if you are able, you'll say yes and be able to add a donation to the work of this ministry.  We're a nonprofit organization, and we depend on those contributions to keep doing what we're doing.  So if you can't help with a donation, you can donate online at FamilyLife.com.  You can call 1-800-FLTODAY or you can write a check and mail it to us at FamilyLife Today, Box 8220, Little Rock, Arkansas.  The zip code is 72221.  Once again, it's FamilyLife Today at Box 8220, Little Rock, Arkansas, and our zip code is 72221.                          Well, tomorrow we're going to find out how the UCLA dynasty almost never happened and how it might have been the Minnesota dynasty if it hadn't been for a snowstorm. Dennis:          Yeah, this is a great story about lost opportunity. Bob:                We'll hear that tomorrow as we continue our conversation with Coach John Wooden.  I hope you can be with us for that.                           I want to thank our engineer today, Robbie Neal [sp], and our entire broadcast production team.  On behalf of our host, Dennis Rainey, I'm Bob Lepine.  We'll see you back tomorrow for another edition of FamilyLife Today.                          FamilyLife Today is a production of FamilyLife of Little Rock, Arkansas, a ministry of Campus Crusade for Christ.    We are so happy to provide these transcripts for you.  However, there is a cost to transcribe, create, and produce them for our website.  If you've benefited from the broadcast transcripts, would you consider donating today to help defray the costs? Copyright © FamilyLife.  All rights reserved. www.FamilyLife.com 

On this episode of Ghost League we investigate the history and possible hauntings of three abandoned stadiums: the Coliseum of Rome, the Houston Astrodome, and the Miami Marine Stadium. Are they haunted or just plain spooky? Also, what’s worse: a stadium full of ghosts or a stadium full of drunk club kids?

Today, college basketball is a multi-billion dollar business - and the Final Four is the 2nd most popular sporting event in America, more popular even than the NBA Finals or the World Series. But in 1968, that wasn’t the case.   Before the January 20th, 1968 regular season contest played between the UCLA Bruins and the University of Houston Cougars, which became known as THE GAME OF THE CENTURY, no college basketball regular season game had EVER been broadcast nationally. It had all the drama you could ask for - two undefeated teams ranked #1 and #2, with UCLA on one of the longest winning streaks in NCAA history, the two best players in the country in Lew Alcindor (aka Kareem Abdul-Jabbar) and Elvin Hayes, and a venue in the Houston Astrodome that was literally the largest stage in America. Hear all about how this amazing game came to be and went on to change not only college basketball, but the American sports industry as we know it. With guest Ron Rapoport. Only on REWIND, your pop culture time machine.

It rose against the Texas sun in all its architectural audacity: a domed stadium big enough to cover a baseball field. When it opened in 1965, the Houston Astrodome defied engineering precedent and forever changed professional sports. Today, its legacy today is complicated, and its future remains uncertain. Robert Trumpbour and Kenneth Womack tell the story of this groundbreaking building in The Eighth Wonder of the World The Life of Houston's Iconic Astrodome (University of Nebraska Press, 2016). The book won the Seymour Medal from the Society for American Baseball Research in 2017. Trumpbour is professor of communications at Penn State University. He is also the author of The New Cathedrals: Politics and Media in the History of Stadium Construction (Syracuse Univ. Press, 2006). Womack is a dean and professor of English at Monmouth University, and the author of several books, including Long and Winding Roads: The Evolving Artistry of the Beatles (Bloomsbury, 2007). Learn more about your ad choices. Visit megaphone.fm/adchoices

It rose against the Texas sun in all its architectural audacity: a domed stadium big enough to cover a baseball field. When it opened in 1965, the Houston Astrodome defied engineering precedent and forever changed professional sports. Today, its legacy today is complicated, and its future remains uncertain. Robert Trumpbour and Kenneth Womack tell the story of this groundbreaking building in The Eighth Wonder of the World The Life of Houston's Iconic Astrodome (University of Nebraska Press, 2016). The book won the Seymour Medal from the Society for American Baseball Research in 2017. Trumpbour is professor of communications at Penn State University. He is also the author of The New Cathedrals: Politics and Media in the History of Stadium Construction (Syracuse Univ. Press, 2006). Womack is a dean and professor of English at Monmouth University, and the author of several books, including Long and Winding Roads: The Evolving Artistry of the Beatles (Bloomsbury, 2007). Learn more about your ad choices. Visit megaphone.fm/adchoices

It rose against the Texas sun in all its architectural audacity: a domed stadium big enough to cover a baseball field. When it opened in 1965, the Houston Astrodome defied engineering precedent and forever changed professional sports. Today, its legacy today is complicated, and its future remains uncertain. Robert Trumpbour and Kenneth Womack tell the story of this groundbreaking building in The Eighth Wonder of the World The Life of Houston's Iconic Astrodome (University of Nebraska Press, 2016). The book won the Seymour Medal from the Society for American Baseball Research in 2017. Trumpbour is professor of communications at Penn State University. He is also the author of The New Cathedrals: Politics and Media in the History of Stadium Construction (Syracuse Univ. Press, 2006). Womack is a dean and professor of English at Monmouth University, and the author of several books, including Long and Winding Roads: The Evolving Artistry of the Beatles (Bloomsbury, 2007). Learn more about your ad choices. Visit megaphone.fm/adchoices

It rose against the Texas sun in all its architectural audacity: a domed stadium big enough to cover a baseball field. When it opened in 1965, the Houston Astrodome defied engineering precedent and forever changed professional sports. Today, its legacy today is complicated, and its future remains uncertain. Robert Trumpbour and Kenneth Womack tell the story of this groundbreaking building in The Eighth Wonder of the World The Life of Houston's Iconic Astrodome (University of Nebraska Press, 2016). The book won the Seymour Medal from the Society for American Baseball Research in 2017. Trumpbour is professor of communications at Penn State University. He is also the author of The New Cathedrals: Politics and Media in the History of Stadium Construction (Syracuse Univ. Press, 2006). Womack is a dean and professor of English at Monmouth University, and the author of several books, including Long and Winding Roads: The Evolving Artistry of the Beatles (Bloomsbury, 2007). Learn more about your ad choices. Visit megaphone.fm/adchoices

It rose against the Texas sun in all its architectural audacity: a domed stadium big enough to cover a baseball field. When it opened in 1965, the Houston Astrodome defied engineering precedent and forever changed professional sports. Today, its legacy today is complicated, and its future remains uncertain. Robert Trumpbour and Kenneth Womack tell the story of this groundbreaking building in The Eighth Wonder of the World The Life of Houston's Iconic Astrodome (University of Nebraska Press, 2016). The book won the Seymour Medal from the Society for American Baseball Research in 2017. Trumpbour is professor of communications at Penn State University. He is also the author of The New Cathedrals: Politics and Media in the History of Stadium Construction (Syracuse Univ. Press, 2006). Womack is a dean and professor of English at Monmouth University, and the author of several books, including Long and Winding Roads: The Evolving Artistry of the Beatles (Bloomsbury, 2007). Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael Ross Albert is the author of several plays including Miss (FringeNYC; Unit 102 Actors Company); The Farmers Lit the Fields on Fire (Edinburgh Fringe Festival); The Grass is Greenest at the Houston Astrodome (FringeNYC, published by Applause in Best American Short Plays 2014-2015); and Karenin’s Anna (Toronto Fringe Festival, “Outstanding New Play,” — NOW Magazine).Along with the Storefront Theatre, Michael produced the sold-out world premiere production of his play Tough Jews in the heart of Toronto’s Kensington Market. The production was nominated for 6 Dora Mavor Moore Awards, including Outstanding New Play and Outstanding Production.His play Starfishes opened Off-Broadway at the Theatre at Dance New Amsterdam and is included in Best American Short Plays 2010-2011. It has since been performed across the United States and Canada.Michael received an MFA in Playwriting from the Actors Studio Drama School at Pace University. Michael is an associate member of the Dramatists Guild of America, and a member of the Playwrights Guild of Canada.Michael is the playwright of two shows in the 2018 Toronto Fringe: Anywhere and The Grass is Greenest at the Houston Astrodome.

The Golden Brothers of Jimmy Blitz and David are back with the latest happenings within the world of Indie Wrestling. Why David is calling this age of Wrestling 'Choreograph Sports Combact'. The Houston Astrodome was named a Historical Landmark because it was host to WrestleMania X-Seven. The wrestling fan and origin story of Jimmy BLITZ. The brothers review the Best of the Super Jrs tournament during local house shows and superstars standing out. David breaks down the WWE UK Tournament bracket. The NWA Worlds Championship vs. The ROH Worlds Championship. The brothers look back at the highlights on Monday Night Raw including Samoa Joe winning his spot in the Ladder Match and Seth Rollins getting the Jeff Jarret treatment by Elias. Follow us on our Twitt/Face @ADDWrestling. Comments, Complaints and Donations at addwrestling@gmail.com

On the second hour Judge. Ed Emmett he gives an update about the Houston Astrodome and talks about the recent decesion to make it a historical landmark.

The Boys discuss if Matt Groening actually has a Time Machine to make Simpsons episodes. David's story about a Blind Date who trashed $300,000 worth of Art at Rich Man's House. Then Spirals out of control. The Boys wants to run an Underground Cock Fights in the Houston Astrodome. What will make Nick watch Impact Wrestling again? David and Jimmy gives the new Powers of Scott D'Amore and Don Callis a shot at Impact Wrestling. American Wrestling promotions as compared to American Cellular providers. Former WWE Superstars, where are they booked now? The Boys tease a BuzzFeed-like list of the Best European Championships. The Winners of RAW and Losers of Smackdown Live! The Boys book the Final moments of the Men's Royal Rumble in stunning fashion. Braun Strowman Year in Destruction. The one day happening of #BillsMafia where people were smashing through Tables.

Back in 1977 I went to see my first professional baseball game at the Houston Astrodome. It was a reward for attending all 5 days of VBS at Kirby Baptist Church. Although my parents were both Massachusetts natives and I was and am a Boston Red Sox fan, it was a day I have never forgotten. It was at the old Astrodome and it was the first time I had seen professional baseball live and in person. I will never forsake the Red Sox, but I am happy for the Astros fans and could not help thinking about that day in 1977 before cell phones, social media and the internet last night when H-Town won it all. 

Doug talks about the Astros win last night and the amazing atmosphere at the Houston Astrodome. Dear blind educate and gun safety. A bit on fishing and some favorite spots.

On January 20, 1968, a frenzied crowd of 52,693 packed the Houston Astrodome to witness the #2-ranked University of Houston Cougars nip the #1 (and previously undefeated) UCLA Bruins in a college basketball spectacle that legendarily became the sport’s “Game of the Century.”  In addition to the record-sized gate, it was the first-ever college game to be televised nationally in prime time – and it was sports entrepreneur Eddie Einhorn’s scrappy little independent network of affiliated stations called the TVS Television Network that brought it to millions of TV viewers.  Calling all the shots from the production truck was veteran TV sports director Howard Zuckerman – who quickly became the backbone for the fledgling ad hoc network’s subsequent coverage of not only college hoops, but also two of the most colorful pro sports leagues of the 1970s – the World Football League and the North American Soccer League.  Zuckerman joins host Tim Hanlon to recount some of his most memorable (and forgettable) moments in TVS history, including: Surviving a power outage in the middle of the WFL’s first-ever national telecast from Jacksonville; Managing a motley crew of rotating guest commentators for WFL broadcasts, including the likes of George Plimpton, Burt Reynolds and McLean Stevenson; Hastily reorienting weekly WFL production travel plans as teams suddenly relocated or folded; Faking on-field injuries during NASL telecasts to allow for ad hoc commercial breaks; The origins of the specially-composed TVS theme song and its orchestral big band sound; and Post-TVS work, including the Canadian Football League’s Las Vegas Posse, and the worldwide music landmark event Live Aid.  Thank you Audible and Podfly for supporting this episode!

Hosted by Coni Koepfinger: Hurricane Katrina destroys the town of LakelandMississippi, Hannah and her mother are separated. Hoping to reachthe Houston Astrodome and safety, Hannah receives urgently needed help from a right-wing wrestler, a reporter,Greek waitress, God, and God’s son, Jessie.This story of a young mother and daughter losing and finding each other explores the consequences of global human displacement. GEOGRAPHY was a finalist in the Contra Costa Times NewPlay Competition and a winner in the Solano Repertory Competition.Read by Christy Donahue

Hosted by Coni Koepfinger: Hurricane Katrina destroys the town of LakelandMississippi, Hannah and her mother are separated. Hoping to reachthe Houston Astrodome and safety, Hannah receives urgently needed help from a right-wing wrestler, a reporter,Greek waitress, God, and God’s son, Jessie.This story of a young mother and daughter losing and finding each other explores the consequences of global human displacement. GEOGRAPHY was a finalist in the Contra Costa Times NewPlay Competition and a winner in the Solano Repertory Competition.Read by Christy Donahue

Welcome back to the Mat Madness Wrestling Podcast and welcome to the first installment of Road To WrestleMania! Each member of the crew picked a WrestleMania to review, starting with Aaron Lloyd's selection of WrestleMania 17. Ron Pasceri and Eric Trembicki join Aaron in breaking down this classic Mania from the Houston Astrodome. We saw Stone Cold Steve Austin's controversial heel turn against The Rock at the height of their powers. Triple H battled The Undertaker and TLC 2 was waged between the Dudley Boyz, the Hardy Boyz and Edge & Christian. Join us for a journey to WrestleMania's past!

Welcome to "When They Was Fab" (WTWF), the podcast formerly known as "Beatling About."    This week, the first part of our interview with Dean Ken Womack of Monmouth University about the commercial rerelease of his "Beatles Encyclopedia", and his forthcoming two-volume George Martin biography "Maximum Volume".      Along the way, we touch on George Martin's 1962 visit to the Cavern, whether "Please Please Me" could have been a live album, that other sixties icon, the Houston Astrodome and whether Sonny and Cher blocked a Beatles appearance in 1964.      From there to here, Happy New Year!  

“This is a tough park for a hitter when the air conditioning is blowing in.”  -Bob Boone When it opened in 1965, the Houston Astrodome -- nicknamed the Eighth Wonder of the World -- captured the attention of a nation, bringing pride to the city and enhancing its reputation across the country. It was a Texas-sized vision of the future, an unthinkable feat of engineering with premium luxury suites, theater-style seating, and the first animated scoreboard.  Yet there were memorable problems such as outfielders’ inability to see fly balls and failed attempts to grow natural grass -- which ultimately led to the development of Astroturf.  The Astrodome nonetheless changed the way people viewed sports, putting casual fans at the forefront of a user-experience approach that soon became the standard in all American sports. On the day after the completion of this year's wonderful World Series, authors Robert Trumpbour and Kenneth Womack tore back the Astrodome's facade while discussing the building’s pivotal fifty years in existence and the ongoing debate about its preservation.  Listen in to our intimate Clubhouse conversation...

Mike Acosta goes to the ballpark everyday and pinches himself. As the historian and authentication manager for the Houston Astros, Mike gets to sift through stadium memorabilia dating back to the Astrodome. Mike reflects back on the night the dome experienced baseball's first ever "rain-in." Our Talking Shop segment looks at a new playing surface for the Baltimore Ravens; how the NFL is getting serious about field surfaces across the league; and what hockey fans are saying about the new T-Mobile Arena in Las Vegas. 

Only 6,000 fans attended the final Brooklyn Dodgers game at Ebbets Field. Just more than 11,000 New York Giants fans said goodbye to the historic Polo Grounds. Neil deMause of Field of Schemes has chronicled the strange swan songs of ballparks of yesteryear.  Including how the White Sox started the trend of marketing stadium goodbyes.  Later, we take a nostalgic ride in from the bullpen in the long forgotten bullpen car.  Writer Paul Lukas looks back on the trend that saw relief pitchers hitching a ride to the mound and how some teams are looking to bring bullpen cars back.  Our Talking Shop segment examines expansion and renovation at the Pro Football Hall of Fame; how Southwest Airlines is flying against a Raiders stadium in Las Vegas; and a new plan to keep the Houston Astrodome alive.

Has there ever been a more fascinating time to follow the economics of sport? Escalating player salaries, billion dollar stadiums and growing broadcast rights fees are driving the conversation. We dive into stadium money with Drexel University Sports Management Professor Joel Maxcy. Later, Stadiums USA President Mark Madorin looks at NFL stadiums dilemmas in Oakland and Buffalo. Plus, how the Houston Astrodome robbed Mike Schmidt back in 1974. 

Dan Mannix joins hosts Joe and Tom this week to tell the story of LeadDog Marketing, the company he founded and grew into one of the biggest industry players in North America. Dan explains how the idea for LeadDog stemmed in part from a project in his twenties to try and bring 1994 FIFA World Cup matches to the Houston Astrodome. He also explains why LeadDog has been proactive in the hiring of women - more than half of the company's partners are female - and gives his advice to graduates and newcomers to the sports industry on what skills and talents he looks for in his staff. The Facts The CUSP Show is a production by the faculty of Sports Management at Columbia University. You can get in touch with the program on Twitter @CUSportsBiz. Our presenters are Joe Favorito and Tom Richardson.

Episode 41! On this special show we look at what the WNR voted the greatest WrestleMania of all time! From the Houston Astrodome see the end of Attitude as Stone Cold and the Rock go face to face for the WWE Championship.Undertaker goes up against Triple H and we have TLC 2 ! Get our thoughts on why X-Seven is the best Mania and find out what our fans voted for as there best match of the event. Also this is a chance to relive some of the greatest Mania moments and see how it changed wrestling history forever! Enjoy!!

A special two-part episode highlights two recent Urban Edge articles. First, Andrew Keatts explores why the bicycling community often fails to pay attention to its most vulnerable members. Then, Ryan Holeywell discusses his recent trip inside Houston's Astrodome, which has sat vacant for 16 years.

Mando talks about growing up in a military family, the Houston Astrodome, Dome Foam, Otis’ disdain for the Cubs, Hayes Carll stories, Robert Earl Keen stories, dipping Copenhagen, Kim Richey stories, Stoney LaRue stories, co-writing in Nashville, Black Sabbath’s new… Continue Reading →

Lubetkin's Other Blog Podcast #17: PRSA/Philadelphia Breakfast Panel on Hurricane Katrina, 2/16/2006 In this edition of our podcast, we present a panel discussion conducted February 16, 2006 at the Cherry Hill Hilton Hotel. Philadelphia PRSA February Program: "Hurricane Katrina: Surmounting the Communications and Public Relations Obstacles" Panelists Steve Rosen, President, Star/Rosen Public Relations, the PR division of The Star Group. Steve and his team at The Star Group helped Touro Infirmary, one of New Orlean's oldest hospital, with all aspects of marketing communications before, during, and after Hurricane Katrina. Activities included crisis media relations, creating and hosting a Hurricane Information website, assisting with employee, patient and physician communications, as well as producing a new multi-media advertising campaign to ensure a bright future for the hospital post-Katrina. Owen Edmonston, Senior Director, Internal Communications, ARAMARK and Dave Freireich, Senior PR Manager, ARAMARK. ARAMARK played an integral role in the relief effort by providing facility services and hundreds of thousands of meals for Hurricane Katrina victims in multiple locations throughout the country. Owen and Dave were on site at the Houston Astrodome and discussed the victories and challenges experienced by the ARAMARK staff, as well as the communications vehicles used to apprise employees, the community, and the media of what was happening inside the walls of the relief efforts. Jeff Brody, President, Omni Video Creations. Jeff Brody, a video production professional, spent a good portion of his career with NFL films and shooting/editing for the major networks. In 1987, he founded Omni Video Creations and became a one-man production house, doing his own shooting, writing, editing, graphics, and narrations. Last fall, Jeff had the privilege of documenting Hurricane Katrina's impact on the Jewish community in New Orleans.