Podcast appearances and mentions of Howard Koch

De pronto estalló el pánico en Nueva Jersey. A la gente le temblaban las piernas, y gritaba. Mujeres se desmayaban, y hombres se echaban a las calle esa noche, según dice el New York Times. Las líneas de teléfono estaban colapsadas, y a las dos horas la Cruz Roja y la Guardia Nacional se movilizaba en muchas zonas del este de Estados Unidos. Todo esto ocurrió el 30 de octubre de 1938, a causa de una emisión por radio que hizo Orson Welles en un teatro de Nueva York, dando la impresión que los marcianos estaban invadiendo en la Tierra. Bajo la forma y lenguaje de un informativo, los actores de la CBS, convertidos en locutores de noticias, anunciaron la llegada de una avalancha de platillos volantes, con conexiones a hipotéticas unidades móviles que narraban el aterrizaje de las naves y describían a aquellos temibles extraterrestres. Se calcula que casi dos millones de oyentes creyeron que la invasión era cierta, El texto dramatizado por Howard Koch estaba basado en la novela clásica de ciencia-ficción, La guerra de los mundos (1898) de H. G. Wells (1866-1946). En este programa de radio "Al Trasluz" escuchamos fragmentos del programa de Welles y el libro de Wells, leído por Eugenio Barona. Oímos algunas reacciones a la emisión de Welles, así como diálogos de escenas de las películas sobre el libro de Byron Haskin en 1953 y Steven Spielberg en 2005. La música es de la banda sonora original de John Williams para el film de Spielberg y las composiciones inspiradas en esta obra de Jack Hallam y Jeff Wayne. La narración es de José de Segovia y el sonido de Daniel Panduro.

In which the Mister joins me in reviewing CASABLANCA (1942), from writers Julius J Epstein and Howard Koch from the play by Murray Burnett and Joan Alison, the film is directed by Michael Curtiz.  During WWII, in the Moroccan city of Casablanca, nightclub owner Rick Blaine's (Humphrey Bogart) entire world is shaken when the woman (Ingrid Bergman) who broke his heart years ago walks into his club with her husband, Victor (Paul Henreid).  The film clocks in at 1 h and 42 m, is rated PG and is currently streaming on Max but is also available to buy/rent on Prime Video.  Please note there are SPOILERS in this review.#Casablanca  #MichaelCurtiz  #JuliusJEpstein  #HowardKoch  #MurrayBurnett  #JoanAlison  #HumphreyBogart  #Rick  #IngridBergman  #Ilsa  #PaulHenreid  #Victor  #ClaudeRains  #CaptainRenault  #ConradVeidt  #MajorStrasser  #SydneyGreenstreet  #SignorFerrari  #PeterLorre  #Ugarte  #DooleyWilson  #Sam  #SZSakall  #Carl  #Drama  #Romance  #War  @StreamOnMax  @PrimeVideo  #FridayFamilyFilmNightOpening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library

Something different for Halloween. The War of the Worlds radio play adapted by Providence Rhode Island radio in 1974 from an adaptation by Buffalo NY radio in 1971 and 1968 and at some point adapted from the Orson Welles play by Howard Koch back in 1938. Got all that? This one is rare indeed. You'll hear the title intoned reassuringly by one of the great reassuring voices who the kids all loved on snow days. Enjoy - especially the jingles and ads, my fellow radio nerds.

This Friday, we dive deep into the mysterious and chilling world of 'The Murder of Roger Ackroyd', a captivating episode from 'The Campbell Playhouse', originally broadcasted on November 12th, 1939. This radio play, starring the legendary Orson Welles and the marvelous Edna May Oliver, transports us back in time to unravel a perplexing murder mystery. Sit back and relish in Agatha Christie's masterful storytelling as Orson Welles brings to life the brilliant but eccentric Belgian detective, Hercule Poirot, in a race against time to solve the mysterious death of Roger Ackroyd. Intriguingly, Welles also voices the prime suspect, Dr. Sheppard, ensuring a tumultuous ride full of suspense and unexpected turns. This play, a representation of modern mystery murder novels of its time, showcases the genius of Orson Welles in adapting and broadcasting one of Agatha Christie's renowned works. Joining Orson Welles, we have Edna May Oliver unfolding the story as Caroline Sheppard, Alan Napier in the role of the doomed Roger Ackroyd, Brenda Forbes as Mrs. Ackroyd, Mary Taylor as the charming Flora, George Coulouris as Inspector Hamstead, Ray Collins portraying Mr. Raymond, and Everett Sloane as Parker. This thrilling episode was adapted by Howard Koch and Wyllis Cooper, with Orson Welles and John Houseman as producers, and directed by the maestro, Orson Welles himself. Join us this Friday to experience a journey back in time, and witness the unraveling of 'The Murder of Roger Ackroyd' on Vintage Classic Radio's 'Friday Night Noir'. Vintage Classic Radio presents Friday Night Noir where we bring to life timeless classic detective noir, mystery and suspense from the golden age of radio between the 1930s and the 1960s.

The Mercury Theatre on the Air | The War of the Worlds (ep. 17) | Broadcast date: Sunday, October 30, 1938No need for a description, it's a classic we all know. Enjoy :-)Home station: CBS RadioStarring: Orson Welles; Frank Readick; Kenny Delmar; Ray CollinsAnnouncer: Dan SeymourWritten by: H.G. Wells (novel); Howard Koch(adaptation)Directed by: Orson Welles; Produced by: John Houseman; Orson WellesExecutive producer: Davidson TaylorNarrated by: Orson WellesRecording studio: Columbia Broadcasting Building, 485 Madison Avenue, New York, 9 pm ESTOpening theme: Piano Concerto No. 1, by Pyotr Ilyich Tchaikovsky: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

Dana and Tom welcome in returning guest, Allyson Techmeier, to again revisit Casablanca (1942): directed by Michael Curtiz, written by Julius J. Epstein, Philip G. Epstein and Howard Koch, music by Max Steiner, starring Humphrey Bogart, Ingrid Bergman, Claude Rains, Peter Lorre, and Sydney Greenstreet.Plot Summary: In the exotic melting pot of Casablanca during World War II, Rick Blaine (Humphrey Bogart), a jaded and enigmatic American expatriate, runs a swanky nightclub that attracts a colorful cast of characters seeking refuge from the chaos of war.When a mysterious and beautiful woman from his past, Ilsa Lund (Ingrid Bergman), walks into his club with her husband, resistance leader Victor Laszlo (Paul Henreid), Rick's life takes an unexpected turn. As the flames of romance reignite, Rick finds himself torn between personal desires and a higher sense of duty forcing him to navigate a treacherous web of loyalty, love, and sacrifice.In this timeless tale of heartache and redemption, Casablanca proves to be more than just a backdrop; it becomes a crucible of emotions where the fate of individuals and nations hang in the balance. Acclaimed for its unforgettable dialogue, poignant performances, and a hauntingly beautiful score, Casablanca captures the essence of love's complexities in the midst of turbulent times. This cinematic masterpiece, directed by Michael Curtiz, remains an enduring symbol of classic Hollywood storytelling and continues to resonate with audiences worldwide.You can now follow us on Instagram, Twitter, or TikTok (@gmoatpodcast) or find our Facebook page at Greatest Movie of All-Time Podcast.For more on the episode, go to: https://www.ronnyduncanstudios.com/post/casablanca-1942-revisit-2For the entire rankings list so far, go to:Full Graded List - Greatest Movies of All-Time Ronny Duncan Studios

by Jessica Best Isn't there anyone on the air? Big questions WHO AM I Content Advisories for this episode can be found here. A Transcript for this episode can be found here. Support Unwell and HartLife NFP on Patreon at www.patreon.com/hartlifenfp This episode features: Anuja Vaidya as Norah, Kat Hoil as Abbie, and Amelia Bethel as Marisol. The chorus of Echoes in this episode is played by: James Ferrero, Lauren Grace Thompson, Nicole Knudsen, Jeffrey Nils Gardner, Tina Muñoz Pandya, Eric Eilersen, Adam Raymonda, Daniel Millhouse, Mark Soloff, Newt Schottelkotte, and Rob Kauzlaric. The War of the Worlds radio broadcast was adapted by Howard Koch from the novel by H.G. Wells, and directed by Orson Welles. You can find complete credits here. Written by Jessica Best, sound design by Jeffrey Nils Gardner, directed by Lauren Grace Thompson, theme music composed by Stephen Poon, recording engineer Mel Ruder, associate producer Ani Enghdahl, Theme performed by Stephen Poon, Lauren Kelly, Gunnar Jebsen, Travis Elfers, Mel Ruder, and Betsey Palmer, produced by haydée r. souffrant, Unwell lead sound designer Eli Hamada McIlveen, Executive Producers Eleanor Hyde and Jeffrey Nils Gardner, by HartLife NFP. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode 2, Part 2 delivers a deep dive into the state of American and European climbing before the war, as well as how the rise of the Third Reich caused some of the best German and Austro-Hungarian mountaineers to emigrate, influencing climbing and skiing in America and contributing to 10th Mountain Division's fighting skills.  Show notes and resources: https://christianbeckwith.com/ninety-pound-rucksack-episodes/the-state-of-the-art-climbing-part-2/ The episode, which is told through the experiences of John Andrew McCown II, includes interviews with Patagonia founder Yvon Chouinard; Chris Jones, the author of Climbing in North America; and Howard Koch, a veteran of the 10th who learned to climb with fellow 10th soldier David Brower before the war, and who fought alongside John McCown on Italy's Riva Ridge during it. Please consider becoming a patron. Patrons allow us to pursue the show's journalistic and educational objectives as we inform and inspire the public about the Division's living legacy. In return, patrons receive access to all Unabridged episodes, including exclusive content, supporting documentation, historic imagery and unique interviews.  

Campbell Playhouse does an adaptation of Williams Archer's 1921 play, The Green Goddess. Adapted by Howard Koch. This episode aired February 10, 1939.Cast: Morris Ankrum, Ray Collins, Alfred Shirley, Robert Spaeth, Orson Welles, Eustace WyattStory: Flying on a British airplane in thick fog, Pricilla is frightened, since they can't see the mountains ahead. The fuel is low and suddenly the engines cease. The plane crashes into an isolated Himalayan Kingdom, where they face a nearing and horrible doom. Written by: William Archer.Originally The Green Goddess was a 1930 American pre-Code film directed by Alfred E. Green. It was a remake of the 1923 silent film, which was based on the play of the same name by William Archer.: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

Bryan, Carlos and Caden stop into the KFGO studios to explain how they re-created Howard Koch's "War of the Worlds" on stage. Playing Orson Welles, building all the live sound effects and directing a show almost 85 years old!See omnystudio.com/listener for privacy information.

Episode 2.06 ("Pumpkin Spice Caulk").  Written by Lori Furth, Lyssa Graham, Dale Leopold and Jack Mooney.  Construction at Lyssa's house has entered the Caulk Joke Phase. An investigative news show books one hell of a guest. Dracula faces his scariest challenge: step-fatherhood! Bleh! And Dr. Frankenstein reunites with his old student body. Featuring the vocal talents of the Suffolk & Goode Players: Rebecca Davis  (Herself, MAGA Girl, Mrs. Dracula, Concilwoman Marsh) Dustin Ebaugh (Jay, Class Reunion Emcee, Brayden, Fairvale Mayor) Lori Furth (Herself, Tina) Lyssa Graham (Herself, MAGA Girl Announcer, Drac Dad Announcer) Dale Leopold (Himself, Announcer, Greg, Dracula, Orson Welles) Chris Mezzolesta (Randall, himself, Behind the Curtain Announcer, Igor, Mike Pence, Mr. Wilmuth, Radio Operator) Karyn O'Bryant (Jake, Herself, Emily Starr, MAGA Girl mom, Fairvale Woman) and George Washington III (Himself, The Devil, Victor Frankenstein, Fairvale Man). Original Music composed, performed and produced by Chris Mezzolesta. The song, "War of the Worldviews," was written by Dale Leopold and Chris Mezzolesta (with apologies to Howard Koch and Orson Welles), and featured Dale Leopold and Chris Mezzolesta. Editing, sound design and audio production by Dale Leopold Artwork by Richard McMurry

If you missed WKWC and Theatre Workshop of Owensboro's presentation of War of the Worlds, now's your chance to listen in podcast form! War of the Worlds is adapted for radio by Howard Koch for CBS Radio from the original story by H.G. Wells. Directed by Todd Reynolds and produced by Derik Hancock and Mason Leech at WKWC Radio.   Cast: Joe Berry as Dr. Clayton Forrester Melissa Goodall as Sylvia Van Buren Wes Bartlett as General Mann Joseph Acquisto as the Sheriff David Roark as Colonel Heffner Bea Westerfield as Professor Lucille Duprez Reed Roberts as Professor Bilderbeck …and featuring the vocal talents of: Tom Pope Jim Parr Derek Van Tuyl Joshua Orion Alex Vanover Eric Huskisson P.J. Starks Brett Mills Shelby Christensen Mike Quig Todd Reynolds

"The War of the Worlds" Adapted from the novel by H. G. Wells Cast: Orson Welles (producer, director, host, performer: Professor Richard Pierson), Dan Seymour (announcer), Paul Stewart (associate producer, adaptor, performer: Studio announcer, Third Studio Announcer), Frank Readick (Reporter Carl Phillips, Radio operator 2X2L), Kenny Delmar (Policeman at farm, Captain Lansing, Secretary of the Interior, Bayonne radio operator), Ray Collins (Farmer Wilmuth, Harry McDonald the radio VP, Rooftop radio announcer), Carl Frank (Second studio announcer, Fascist stranger), Richard Wilson (Brig. General Montgomery Smith, Officer 22nd Field Artillery, Langham Field), William Alland (Meridian room announcer, Field artillery gunner), Stefan Schnabel (Field artillery observer), William Herz (Newark radio operator, Radio operator 8X3R), Howard Smith (Bomber Lt. Voght), Bernard Herrmann (composer, conductor), John Houseman (producer, adaptor, script editor), Howard Koch (adaptor), Davidson Taylor (production supervisor), Ora Nichols (sound effects), Ray Kremer (sound effects), Jim Rogan (sound effects), John Dietz (sound engineer). The Mercury Theatre on the Air is a radio series of live radio dramas created and hosted by Orson Welles. The weekly hour-long show presented classic literary works performed by Welles's celebrated Mercury Theatre repertory company, with music composed or arranged by Bernard Herrmann. The series began July 11, 1938, as a sustaining program on the CBS Radio network, airing Mondays at 9 pm ET. On September 11, the show moved to Sundays at 8 pm. The show made headlines with its "The War of the Worlds" broadcast on October 30, one of the most famous broadcasts in the history of radio due to the panic it allegedly caused, after which the Campbell Soup Company signed on as sponsor. The Mercury Theatre on the Air made its last broadcast on December 4 of that year, and The Campbell Playhouse began five days later, on December 9. --- Send in a voice message: https://anchor.fm/waldina/message

Our third season starts with three interviews where we discuss the making of one of the most revered New Hollywood classics, Roman Polanski’s CHINATOWN, originally released in 1974 and now considered to be one of the best American movies of all time. Today’s episode features my conversation with Hawk Koch, who worked on CHINATOWN as an assistant director and had previously worked with Polanski as a dialogue coach on ROSEMARY’S BABY in 1968. Hawk Koch is the son of Hollywood producer Howard Koch, best known as the producer of THE MANCHURIAN CANDIDATE and THE ODD COUPLE. Originally known as Howard… The post Talking Pictures #19: Hawk Koch, Assistant Director of CHINATOWN appeared first on Talking Pictures.

AROUND THE WORLD IN 80 DAYS - Originally released 10/2/20 Project Audion's live-transcribed cross-continental Zoom-based production for October [2020] is an episode from Orson Welles' Mercury Theatre On the Air from 1938. No, not the "War of the Worlds" which everyone knows, but "Around the World in 80 Days" which aired the week before. Welles, John Houseman, and Howard Koch condensed Jules Verne's 1872 novel into a fast-paced 60 minutes, and fewer than 20 characters (which we handle by doubling each actor's part.) Phileas Fogg's journey started October 2, 1872 at about 9 PM: Project Audion's recreation premieres exactly 148 years later! In our sterling cast: Paul Arbisi / Illinois John Bell / Alabama Norman Cline / Kentucky Aileen Corpos / Texas Dana Gonsalves / Texas Larry Groebe / Texas Pete Lutz / Texas Les Marsden / California Pete Lutz directed, and Larry Groebe produced

Dana and Tom revisit Dana's selection for the third season, Casablanca (1942): directed by Michael Curtiz, written by Julius J. Epstein, Philip G. Epstein and Howard Koch, starring Humphrey Bogart, Ingrid Bergman, Claude Rains, and Peter Lorre. Plot Summary: With the outbreak of war in Europe, refugees make their way to Casablanca in French Morocco, attempting to obtain visas which will allow them to travel to Lisbon and eventually America. Two such visas or letters of transit-obtained under questionable circumstances-end up in the hands of Rick Blaine (Humphrey Bogart), an American running the most popular cafe in Casablanca. When Victor Laszlo (Paul Henreid), a resistance leader to the German war effort in Europe, shows up with his wife Ilsa Lund (Ingrid Bergman) attempting to secure the letters to escape the clutches of the Vichy French Police Captain Louis Renault and Major Heinrich Strasser of the SS, Rick is forced to relive his heartbreak over Ilsa all over again. Caught between helping Laszlo escape and wanting to rekindle his affair with Ilsa, Rick is forced to choose between his own happiness and the fate of the world. Please follow, rate, and review the show wherever you get your podcasts. You can now follow us on Instagram, Twitter, or TikTok (@gmoatpodcast). For more on the episode, go to: https://tj3duncan.wixsite.com/ronnyduncanstudios/post/casablanca-1942-revisit (https://tj3duncan.wixsite.com/ronnyduncanstudios/post/casablanca-1942-revisit) For more on the original episode, go to: https://tj3duncan.wixsite.com/ronnyduncanstudios/post/50-casablanca-1942 (https://tj3duncan.wixsite.com/ronnyduncanstudios/post/50-casablanca-1942) For the entire list so far, go to: https://tj3duncan.wixsite.com/ronnyduncanstudios/post/greatest-movie-of-all-time-list (https://tj3duncan.wixsite.com/ronnyduncanstudios/post/greatest-movie-of-all-time-list)

This week marks the 80th anniversary of the start of principal photography on Casablanca, the 1942 film that would win Academy Awards for Best Picture, Best Director (Michael Curtiz), and Best Adapted Screenplay (Philip Epstein, Julius Epstein, and Howard Koch). Often ranked by critics and the general public in the top five films of all time, Casablanca was first screened just as the city in French Morocco was hitting headlines because of the Allies' Operation TORCH invasion of North Africa during World War II.To talk about the movie, the city's wartime history, and the veracity of Casablanca's representations about Casablanca, David Priess chatted with Meredith Hindley--who back in 2017, wrote the richly entertaining book Destination Casablanca: Exile, Espionage, and the Battle for North Africa in World War II. Their conversation covers her advocacy for the humanities and history, unexpected discoveries in archival research, an appreciation of the film, American and French resistance intelligence operations in French Morocco, intersections between wartime Casablanca and personalities from Franklin Roosevelt to Josephine Baker, and what the film got right and wrong about the experiences of refugees and many others in this vibrant city.Chatter is a production of Lawfare and Goat Rodeo. This episode was produced and edited by Cara Shillenn of Goat Rodeo. Podcast theme by David Priess, featuring music created using Groovepad. Works discussed in this episode:The book Why We Fight: The Roots of War and the Paths to Peace, by Christopher BlattmanThe movie CasablancaMeredith Hindley's book Destination Casablanca: Exile, Espionage, and the Battle for North Africa in World War IIMeredith's other writingsMegan Kate Nelson, Saving Yellowstone: Exploration and Preservation in Reconstruction AmericaWoody Holton, LIberty is Sweet: The Hidden History of the American RevolutionRush, "Freewill" Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Les ofrecemos nuestra versión de la producción más icónica de todos los tiempos -sí de producciones radiofónicas hablamos- tomada en su momento del inspirado Howard Koch por el genial Orson Wells, un trabajo conjunto de todos los alumnos de podcast PREPA/UCEM, que la disfruten, se emocionen y compartan.

AROUND THE WORLD IN 80 DAYS - Originally released 10/2/20 Project Audion's live-transcribed cross-continental Zoom-based production for October [2020] is an episode from Orson Welles' Mercury Theatre On the Air from 1938. No, not the "War of the Worlds" which everyone knows, but "Around the World in 80 Days" which aired the week before. Welles, John Houseman, and Howard Koch condensed Jules Verne's 1872 novel into a fast-paced 60 minutes, and fewer than 20 characters (which we handle by doubling each actor's part.) Phileas Fogg's journey started October 2, 1872 at about 9 PM: Project Audion's recreation premieres exactly 148 years later! In our sterling cast: Paul Arbisi / Illinois John Bell / Alabama Norman Cline / Kentucky Aileen Corpos / Texas Dana Gonsalves / Texas Larry Groebe / Texas Pete Lutz / Texas Les Marsden / California Pete Lutz directed, and Larry Groebe produced

A LOT has happened since “Scandal Water” launched on October 12th! So what better way to end our 2021 podcast year than with an update episode? Here are just a few of the questions that will be explored: Where are Daniel Wozniak and Rachel Buffet now? How are people comparing the tragic accident on the “Rust” movie set to what happened to Brandon Lee? What's the antidote to the curse if you accidentally say the name of “the Scottish play” while in a theater? How exactly did Ashley end up seated at a table with a celebrity we've mentioned on one of our previous episodes, and what did they discuss? What happened when one of our listeners contacted Howard Koch's lawyer about doing a production of “War of the Worlds”?  A big ‘thank you' to those listeners who offered questions and comments these last few months! A few of you might even find that you played a small role in this final episode of 2021...

We bid Margaret Sullavan a sad farewell with her two final films, Cry 'Havoc' (1943), a very dark WWII propaganda film with an all-female main cast in which the Battle of Bataan meets Stage Door, and No Sad Songs for Me (1950), a peak-crazy woman's picture in the mode of The Shining Hour with a slyly progressive screenplay by Howard Koch. Sullavan manages to make having your man stolen from under your nose while dying and fighting fascists/propping up the empty shell-men of post-war America into a triumphant art form. Then: we give our Top 5 Sullavan performances. And in the Fear and Moviegoing in Toronto segment, we discuss and spoil Verhoeven's lesbian nuns/nympho mystic movie, Benedetta (2021), and Preminger's glorious film noir Fallen Angel (1945).   Time Codes: 0h 01m 00s:                CRY HAVOC (1943) [dir. Richard Thorpe]  0h 20m 16s:                NO SAD SONGS FOR ME (1950) [dir. Rudolph Maté] 0h 38m 54s:                Margaret SullavanTop Fives 0h 00m 00s:                Fear and Moviegoing in Toronto – BENEDETTA (2021) and FALLEN ANGEL (1945)                                                                                      +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com

Book Vs Movie: “The War of the Worlds” The H.G. Wells Science Fiction Classic Vs the 2005 Steven Spielberg Movie The Margos go back to both the world of science fiction and the film work of Steven Spielberg talking about the H.G. Wells classic novel The War of the Worlds (1898) which has been adapted as a successful radio program, films, and a TV series.  The novel is about a martian invasion that hits London and an unnamed narrator who escapes, is separated from his wife, and then has up close and traumatic interactions with the Martians who are taking over England. They use heat rays as a weapon and depend on human blood to feed themselves. The narrator meets with people underground on his way back home who want to fight the invaders. He eventually gets home (after being taken care of by a kindly family) and reunites with his wife who somehow survives the alien attacks. In the end, the Martians were killed by “earthly pathogens.”  Considered one of the first novels that supposed that otherworldly creatures could be smarter than humans--the story is a classic and the basis/inspiration for science fiction work for decades afterward.  In 1938, Orson Welles's radio program, created a one-hour play based on the story (which Welles most likely never read) and included some of his favorite writers and produces for The Mercury Theatre on the Air including John Houseman and Howard Koch. The setting was central New Jersey and the resulting panic was caused by an unsuspecting audience who thought the drama was real. Welles had to perform a mea culpa for the press (which he loved!) and it is considered one of the best radio dramas ever produced.  In this episode, we focus more on 2005's The War of the Worlds directed by Spielberg which stars Tom Cruise, Dakota Fanning, and Tim Robbins and is set in New Jersey and New England. Two other members of the cast were in the 1953 adaptation--Ann Robinson and Gene Barry.  So, between the novel, radio program, and the movie--which did we prefer? Have a listen and find out!  In this ep the Margos discuss: The life of author H.G. Wells and how he changed science fiction Orson Welles's influence on the storytelling of the 1938 radio play The major differences between the novel and the movie The cast: Tom Cruise (Ray Ferrier,) Dakota Fanning (Rachel Ferrier,) Justin Chatwin (Robbie Ferrier,) Mirando Otto (Mary Ann Ferrier,) Tim Robbins (Harlan Ogilvy,) Ann Robinson (Grandmother,) and Gene Barry (Grandfather)  Clips used: The Mercury Theatre 1938 production The War of the Worlds trailer “Ferry Disaster” “Fight on the Hill”  “No Shield” Music by John Williams Book Vs Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie  Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/ Twitter @bookversusmovie www.bookversusmovie.com Email us at bookversusmoviepodcast@gmail.com Brought to you by Audible.com You can sign up for a FREE 30-day trial here http://www.audible.com/?source_code=PDTGBPD060314004R Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.com Margo P. @ShesNachoMama https://coloniabook.weebly.com/  Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Book Vs Movie: “The War of the Worlds” The H.G. Wells Science Fiction Classic Vs the 2005 Steven Spielberg Movie The Margos go back to both the world of science fiction and the film work of Steven Spielberg talking about the H.G. Wells classic novel The War of the Worlds (1898) which has been adapted as a successful radio program, films, and a TV series.  The novel is about a martian invasion that hits London and an unnamed narrator who escapes, is separated from his wife, and then has up close and traumatic interactions with the Martians who are taking over England. They use heat rays as a weapon and depend on human blood to feed themselves. The narrator meets with people underground on his way back home who want to fight the invaders. He eventually gets home (after being taken care of by a kindly family) and reunites with his wife who somehow survives the alien attacks. In the end, the Martians were killed by “earthly pathogens.”  Considered one of the first novels that supposed that otherworldly creatures could be smarter than humans--the story is a classic and the basis/inspiration for science fiction work for decades afterward.  In 1938, Orson Welles's radio program, created a one-hour play based on the story (which Welles most likely never read) and included some of his favorite writers and produces for The Mercury Theatre on the Air including John Houseman and Howard Koch. The setting was central New Jersey and the resulting panic was caused by an unsuspecting audience who thought the drama was real. Welles had to perform a mea culpa for the press (which he loved!) and it is considered one of the best radio dramas ever produced.  In this episode, we focus more on 2005's The War of the Worlds directed by Spielberg which stars Tom Cruise, Dakota Fanning, and Tim Robbins and is set in New Jersey and New England. Two other members of the cast were in the 1953 adaptation--Ann Robinson and Gene Barry.  So, between the novel, radio program, and the movie--which did we prefer? Have a listen and find out!  In this ep the Margos discuss: The life of author H.G. Wells and how he changed science fiction Orson Welles's influence on the storytelling of the 1938 radio play The major differences between the novel and the movie The cast: Tom Cruise (Ray Ferrier,) Dakota Fanning (Rachel Ferrier,) Justin Chatwin (Robbie Ferrier,) Mirando Otto (Mary Ann Ferrier,) Tim Robbins (Harlan Ogilvy,) Ann Robinson (Grandmother,) and Gene Barry (Grandfather)  Clips used: The Mercury Theatre 1938 production The War of the Worlds trailer “Ferry Disaster” “Fight on the Hill”  “No Shield” Music by John Williams Book Vs Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie  Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/ Twitter @bookversusmovie www.bookversusmovie.com Email us at bookversusmoviepodcast@gmail.com Brought to you by Audible.com You can sign up for a FREE 30-day trial here http://www.audible.com/?source_code=PDTGBPD060314004R Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.com Margo P. @ShesNachoMama https://coloniabook.weebly.com/  Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Don’t miss this Episode of EZ TALK LIVE join our group to follow and watch the show! Download our eZWay Family App free on Apple Store or Google Play. FEATURED GUEST Olympia Gellini The idea to establish an organization that would truly celebrate and unite the film world began when Dr. Olympia Gellini, at 17, was a participant at the Berlin Film Festival. From there, Dr. Olympia took part in and attended a multitude of international film festivals, film markets and entertainment industry events. The dedication and passion Dr. Olympia demonstrated over the years distinguished him in the international film community. Dr. Olympia efforts caught the attention of the renowned television production company Dick Clark Productions (dcp), in 1994. Dick Clark joined in Dr. Olympia ’s vision by agreeing to produce television awards shows for the World Film Institute (WFI), honoring the world entertainment community. In 1995 Tichi Wilkerson Kassel, former owner, publisher and editor-in-chief for The Hollywood Reporter and CEO of Hollywood Reporter Industries (publisher of over 70 magazines annually) became acquainted with Dr. Olympia through various international industry events and film festivals. A generous patron of the arts, Tichi over the years has promoted and recognized excellence in all areas of the entertainment industry. She founded Women in Film, the Hollywood Report Key Arts Awards and Marketing Concept Awards, all of which benefit the entertainment and motion pictures industry around the world. Tichi, became aware of Dr. Olympia’s vision and discovered that they shared similar interest and goals so she agreed to assist Dr. Olympia in his life long quest. Dr. Olympia and Tichi established the World Film Institute as an official non-profit organization to recognize outstanding achievements of the motion picture industry. Tichi was made the World Film Institutes President Emritus and Dr. Olympia Gellini, its Founder and President. In October 1995, the WFI held its very own film festival, the “Best of the Fest,” at Universal Studios, as part of the semi-annual “Creativity in America Exposition.” At the Gala festival dinner, the WFI honored Helen Harris for her work in the development of “Theater Vision,” an innovative technology designed to enhance motion picture experience for the visually impaired. In April 1996, WFI presented its first scholarship to UCLA’s School of Cinema. At his Paramount Studios offices, WFI’s Scholarship Committee co-Chairman, Howard Koch made the presentation, generously accepted on the university’s behalf by Dean Gil Cates. In 1996 Atonio Gellini, Dick Clark Productions (dcb) and Direct TV/Primestar produced the highly success Family Film Awards. This award show was attended by celebrities such as Ron Howard, Tom Hanks, Julia Roberts, and many more. Join us 4-5 pm pst live every tues. at http://eztalk.live TEXT EZWAY TO 55678 to follow our shows and network yourself to success!

Don't miss this Episode of EZ TALK LIVE join our group to follow and watch the show! Download our eZWay Family App free on Apple Store or Google Play. FEATURED GUEST Olympia Gellini The idea to establish an organization that would truly celebrate and unite the film world began when Dr. Olympia Gellini, at 17, was a participant at the Berlin Film Festival. From there, Dr. Olympia took part in and attended a multitude of international film festivals, film markets and entertainment industry events. The dedication and passion Dr. Olympia demonstrated over the years distinguished him in the international film community. Dr. Olympia efforts caught the attention of the renowned television production company Dick Clark Productions (dcp), in 1994. Dick Clark joined in Dr. Olympia 's vision by agreeing to produce television awards shows for the World Film Institute (WFI), honoring the world entertainment community. In 1995 Tichi Wilkerson Kassel, former owner, publisher and editor-in-chief for The Hollywood Reporter and CEO of Hollywood Reporter Industries (publisher of over 70 magazines annually) became acquainted with Dr. Olympia through various international industry events and film festivals. A generous patron of the arts, Tichi over the years has promoted and recognized excellence in all areas of the entertainment industry. She founded Women in Film, the Hollywood Report Key Arts Awards and Marketing Concept Awards, all of which benefit the entertainment and motion pictures industry around the world. Tichi, became aware of Dr. Olympia's vision and discovered that they shared similar interest and goals so she agreed to assist Dr. Olympia in his life long quest. Dr. Olympia and Tichi established the World Film Institute as an official non-profit organization to recognize outstanding achievements of the motion picture industry. Tichi was made the World Film Institutes President Emritus and Dr. Olympia Gellini, its Founder and President. In October 1995, the WFI held its very own film festival, the “Best of the Fest,” at Universal Studios, as part of the semi-annual “Creativity in America Exposition.” At the Gala festival dinner, the WFI honored Helen Harris for her work in the development of “Theater Vision,” an innovative technology designed to enhance motion picture experience for the visually impaired. In April 1996, WFI presented its first scholarship to UCLA's School of Cinema. At his Paramount Studios offices, WFI's Scholarship Committee co-Chairman, Howard Koch made the presentation, generously accepted on the university's behalf by Dean Gil Cates. In 1996 Atonio Gellini, Dick Clark Productions (dcb) and Direct TV/Primestar produced the highly success Family Film Awards. This award show was attended by celebrities such as Ron Howard, Tom Hanks, Julia Roberts, and many more. Join us 4-5 pm pst live every tues. at http://eztalk.live TEXT EZWAY TO 55678 to follow our shows and network yourself to success!

This year for Rock the Clock I put on a production of H.G. Wells' War of the Worlds (radio play by Howard Koch). Donate to Rock the Clock on Radio DePaul's website. This episode features: Morgan Kail-Ackerman as Professor Pierson. Liam McKee as Carl Phillips Connor Mudd as Himself, Commander, General Montgomery Smith, Mr. Wilmuth, and Operator 4 Justyna Lepa as Announcer 1 and Operator 1 Tori Mudd as Announcer 2, Policeman, Operator 3 and Secretary of Interior Matthew Candre as Announcer 3 and Harry McDonald Chinyere Ibeh as Announcer 4 and Operator 2 Garret Neal as Announcer 5 and Operator 5 Spencer Bolding as Captain Natalie Walsher as Observer Nathalie Hoste as Officer Bryce Alford as Gunner Charlotte Meffe as the Stranger --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

The wireless is interrupted by a special bulletin. “Professor Farrell of the Mount Jennings Observatory reports observing several explosions of incandescent gas occurring at regular intervals on the planet Mars. The spectroscope indicates the gas to be hydrogen which is moving towards the earth at enormous velocity”. What is this unexplained phenomena? Most definitely the most famous radio drama ever broadcast and still as gripping today as ever. Author: H.G.Wells Adapted for radio by Howard Koch & John Houseman Duration: 51:18 Starring: Orson Welles Broadcast Date: 30th October 1938 --- Notes --- The after effects of a radio program that unfortunately not everyone realized was just that a radio program. This broadcast happened during the worlds unrest as they heard; and didn't want to believe what was happening in Europe by the mad man that we know of as Adolf Hitler. This is the radio broadcast that helped change how radio stations (and later TV stations) aired warnings that programs are just that programs, and that it's not really going on in real life. https://www.history.com/news/inside-the-war-of-the-worlds-broadcast

It's one of the first books written about the 1938 Broadcast of “The War of the Worlds” and it was from the script writer himself, Howard Koch. In this special...

It’s one of the first books written about the 1938 Broadcast of “The War of the Worlds” and it was from the script writer himself, Howard Koch. In this special “book report” episode, Matt take a look at “The Panic Broadcast” and shares some highlights leading up to his final review of the book

It’s one of the first books written about the 1938 Broadcast of “The War of the Worlds” and it was from the script writer himself, Howard Koch. In this special “book report” episode, Matt take a look at “The Panic Broadcast” and shares some highlights leading up to his final review of the book

It’s one of the first books written about the 1938 Broadcast of “The War of the Worlds” and it was from the script writer himself, Howard Koch. In this special “book report” episode, Matt take a look at “The Panic Broadcast” and shares some highlights leading up to his final review of the book

It’s one of the first books written about the 1938 Broadcast of “The War of the Worlds” and it was from the script writer himself, Howard Koch. In this special “book report” episode, Matt take a look at “The Panic Broadcast” and shares some highlights leading up to his final review of the book

War of the Worlds changed history in 1938. Now, we share 20/20 in 2020. We are more awake and aware in this Ascension Age, Golden Age of Cosmology, and the ERA of A.I., Join TJ Morris ET Radio Weekly Shows. We can talk about our situation on lockdown. We need action and jobs. We are all in this together. How to stay motivated while world leaders decide how to keep a balance of food, clothing, shelter, and action We need to breathe clean air, drink clean water, eat good natural from seeds food of the earth from mother nature. We need to stay active to live. We can travel in the oceans to explore. We can travel in space to explore. We can learn of all that humans in the past had on planet earth as artifacts. We can work together. Believe in humanity and a creator. We at one time were fooled by a radio show. The Radio host was Orson Welles', War of the Worlds. We share Fake Radio as we now use this as an excuse not to tell people about what may be true. This is an attempt to share that we share stories and ACE Folklife. What is true and what is fake depends on what we think. This radio show had sounds, bells, and whistles so to speak.  This was an actual broadcast by the Mercury Theatre on the Air .as heard over the Columbia Broadcasting System, October 30, 1938. This is created from the Howard Koch script. Now, we share topics on the radio. Theresa J Thurmond Morris sponsors this broadcast for her ACO Club. This is a time to come together, this is a learning planet. God Bless American soil and the USA. God Bless earth, galaxy, universe, and all living things. I do I have the will to live so check in once in a while and join my ACO CLUB or UAP Associates on patreon.com/theresajmorris. I am alone.

Description Worried about catching the Novel Corona Virus? Well, Christopher Walkin’s got a message for you. “Guess what? I got a feva’,  and the only prescription is more cowbell.” Walkin’s character knew instinctively how to apply what the academic community is still struggling to implement: a Growth Mindset. Walkin knew that to make a good song great takes many iterations; that we must not accept just good enough as we work our way to greatness. We, too, embrace learning as an iterative process as we ask, can we really be Growth Mindset oriented if we simply change what we say without also changing what we do? Recently released research reveals radical rethinking results in rapid remediation of Fixed Mindset practices. Lessons Learned Dennis -  Screencastify - full features now free for videos under 5 min. https://www.screencastify.com/buy Daniel -  Reader View Chris - A app that removes all ambiguity and makes everything you say crystal clear … does not exist. Oh, how I want that app. Fun Fact Fun Fact:  Casablanca Casablanca was shot in sequential order for the sole reason that the script was not finished; often writer Howard Koch would deliver recently typed scenes the same day they would be shot. Source: https://www.westword.com/arts/five-things-you-may-not-know-about-casablanca-5815141 Notes & Links Articles for discussion: Debate Arises over Teaching “Growth Mindsets” to Motivate Students “Austin’s Butterfly”

Best Pick with John Dorney, Jessica Regan, Tom Salinsky and special guest Deborah Frances-White Episode 28: Casablanca Released 13 February 2019 For this episode, we watched Casablanca, live at the Cinema Museum in London. The screenplay was credited to Julius and Philip Epstein and Howard Koch, and it was directed by Michael Curtiz, based on the unproduced play Everybody Comes to Rick’s by Murray Burnett and Joan Alison. It starred Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre and Madeleine Lebeau. As well as Best Picture, it won for its screenplay and direction. Many thanks to our hosts, the Cinema Museum in Kennington. http://www.cinemamuseum.org.uk Next time we will be discussing Gone with the Wind. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n

It is our annual posting of the 1938 Orson Welles and The Mercury Theater on the Air's performance of Howard Koch's adaptation H.G. Wells “The War of the Worlds”! This...

It is our annual posting of the 1938 Orson Welles and The Mercury Theater on the Air’s performance of Howard Koch’s adaptation H.G. Wells “The War of the Worlds”! This wraps up our 2018 “War of the Worlds Week” event, our biggest and longest War of the Worlds Week event yet! We hope you’ve enjoyed this year all new War of the Worlds Week’s specials and look forward to returning next October. Our War of the Worlds Week event is made possible boy our generous patreon supporters. Support starts at just 1 dollar a month and all our patreon supporters can access our exclusive patreon episodes released on our patreon page. To learn more about support through patreon, please visit https://www.patreon.com/neozaz Get all the latest from NeoZAZ from our social media pages: Follow NeoZAZ on Facebook. Follow Neozaz on Twitter. Follow Neozaz on Instagram.

It is our annual posting of the 1938 Orson Welles and The Mercury Theater on the Air’s performance of Howard Koch’s adaptation H.G. Wells “The War of the Worlds”! This wraps up our 2018 “War of the Worlds Week” event, our biggest and longest War of the Worlds Week event yet! We hope you’ve enjoyed this year all new War of the Worlds Week’s specials and look forward to returning next October. Our War of the Worlds Week event is made possible boy our generous patreon supporters. Support starts at just 1 dollar a month and all our patreon supporters can access our exclusive patreon episodes released on our patreon page. To learn more about support through patreon, please visit https://www.patreon.com/neozaz Get all the latest from NeoZAZ from our social media pages: Follow NeoZAZ on Facebook. Follow Neozaz on Twitter. Follow Neozaz on Instagram.

It is our annual posting of the 1938 Orson Welles and The Mercury Theater on the Air’s performance of Howard Koch’s adaptation H.G. Wells “The War of the Worlds”! This wraps up our 2018 “War of the Worlds Week” event, our biggest and longest War of the Worlds Week event yet! We hope you’ve enjoyed this year all new War of the Worlds Week’s specials and look forward to returning next October. Our War of the Worlds Week event is made possible boy our generous patreon supporters. Support starts at just 1 dollar a month and all our patreon supporters can access our exclusive patreon episodes released on our patreon page. To learn more about support through patreon, please visit https://www.patreon.com/neozaz Get all the latest from NeoZAZ from our social media pages: Follow NeoZAZ on Facebook. Follow Neozaz on Twitter. Follow Neozaz on Instagram.

Best Pick with John Dorney, Jessica Regan, Tom Salinsky and special guest Deborah Frances-White Episode 28: Casablanca Released 13 February 2019 For this episode, we watched Casablanca, live at the Cinema Museum in London. The screenplay was credited to Julius and Philip Epstein and Howard Koch, and it was directed by Michael Curtiz, based on the unproduced play Everybody Comes to Rick's by Murray Burnett and Joan Alison. It starred Humphrey Bogart, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre and Madeleine Lebeau. As well as Best Picture, it won for its screenplay and direction. Many thanks to our hosts, the Cinema Museum in Kennington. http://www.cinemamuseum.org.uk Next time we will be discussing Gone with the Wind. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (UK) or iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n

Metabolic Studio's IOU THEATRE presented “WAR OF THE WORLDS” at the Double L Saloon in Lone Pine, CA on December 7, 2014 at 7:00 pm. The original live radio drama was written by Howard Koch, directed and narrated by Orson Welles in 1938, and inspired by the H.G. Wells story written in 1897. The 1938 CBS radio broadcast performed on Halloween caused a historic fracas across the nation. The “War of the Worlds” script was adapted by Jon Klusmire to be set in contemporary Owens Valley and Los Angeles. C A S T : ORSON WELLES, PROFESSOR PIERSON, COMMANDER – Max Rosan PHILLIPS RADIO REPORTER, STRANGER, OFFICER, OPERATOR 2 & 5 – Jim Shallcross ANNOUNCER 1, POLICEWOMAN, VICE ADMIRAL MONTGOMERY SMITH, GUNNER, OPERATOR 4 – Judyth Greenburgh ANNOUNCER 2, CAPTAIN LANSING, OBSERVER, OPERATOR 3, LA ANNOUNCER – Jeanie Smith MS. WILMUTH, ANNOUNCER 3, McDONALD (RADIO STATION BOSS), SECRETARY OF THE INTERIOR, OPERATOR 1 – Mary Winchester Script Adaptation: Jon Klusmire and Rochelle Fabb Community Announcements: Jon Klusmire SFX/Foley artists: Rochelle Fabb in collaboration with Metabolic Studio’s Sonic Division and PPG Director: Jon Klusmire HOST: Kent Ramlose and the Double L Bar Stabilized Lakebed Brick Oven Bread from the IOU Garden: Jane McDonald IOU Espresso: Betty Alvarado Torres STONE SOUPS: Beverly Vander Wall, Rochelle Fabb & the Community

Metabolic Studio's IOU Theatre performed their annual radio play “WAR OF THE WORLDS” on December 13, 2015 at 7:00 pm at the Double L Saloon in Lone Pine, CA. This live radio drama was written by Howard Koch, directed and narrated by Orson Welles in 1938, and inspired by the H.G. Wells story written in 1897. The 1938 CBS radio broadcast performed on Halloween caused a historic fracas across the nation. The “War of the Worlds” script has been adapted by Jon Klusmire to be set in contemporary Owens Valley and Los Angeles. C A S T : ORSON WELLES, PROFESSOR PIERSON, COMMANDER: Max Rosan PHILLIPS RADIO REPORTER, STRANGER, ARMY OFFICER, OPERATOR 2 & 5: Jim Shallcross ANNOUNCER 1, POLICEWOMAN, VICE ADMIRAL MONTGOMERY SMITH, GUNNER, OPERATOR 4: Judyth Greenburgh ANNOUNCER 2, CAPTAIN LANSING, OBSERVER, OPERATOR 3, LA ANNOUNCER: Jeanie Smith MS. WILMUTH, HARRIET McDONALD (RADIO STATION BOSS), SECRETARY OF HOMELAND SECURITY, OPERATOR 1: Mary Winchester LONE PINE RADIO ANNOUNCER: Jon Klusmire Community Announcements and Ads written and performed by: Jon Klusmire SFX/Foley artists: Lauren Bon Dani Lunn Script Adaptation & Director Jon Klusmire Music selections for this production: Terry Riley – A Rainbow In Curved Air (IOU Radio Theme); Dwight Yoakam – Honky Tonk Man; Johnny Cash – Sunday Morning Coming Down; Merle Haggard – If We Make It Thru December; Little Big Town – Girl Crush; Toby Keith/Willie Nelson – Beer For My Horses. Why IOU Theatre? Since 1914 Los Angeles has been exporting water from the Owens Valley. Metabolic Studio has been working to transform resources into actions that support life in the Owens Valley. The Metabolic Studio IOU Theatre joins the IOU Garden (2009-present) as a way to add additional culture to what's on offer in the Owens Valley.  The Metabolic Studio hosted “IOU THEATRE” in 2014 and presented a series of radio plays that had relevance to the Owens Valley at the Double L Saloon on Main Street and broadcast live in the IOU Garden next door and also on IOURADIO.org and 89.9FM in the Owens Valley. Special thanks to our host: Kent Ramlose and the Double L Saloon and Jaque Hickman and Boulder Creek for the folding chairs!

Edición número 110 de La gran Evasión. De todos los garitos de todos los pueblos del mundo; ella entra en el mío. Ya es mala suerte, Rick. Sentado en tu bar, esconde el rictus entre la penumbra y el humo de otro cigarrillo, y le pide a su fiel Sam que la toque una vez más, que toque esa maldita canción. Si ella pudo resistirla él también. Aquellos acordes han vuelto a sonar y tuvo que ser precisamente en su bar. Esa tarde ella, más radiante que nunca, entró con su marido y pidió dos Cointreaus. En plena segunda Guerra Mundial en la ciudad de Casablanca se juntan toda clase de pelajes. Refugiados como Victor Laszlo y su esposa Ilsa, Ugarte, el sospechoso de robar los salvoconductos, el capitán de policía Renault, ese francés que se deja llevar por el viento aunque éste sople desde Vichy, el oficial nazi Strasser, o el señor Ferrari, el gordinflón propietario de El loro azul. El propio Michael Curtiz era de ascendencia húngara y sabía bien que significa el exilio. El inflexible director plasmó a la perfección la angustia de unas vidas cuya libertad o miseria dependía de un visado. La fuerza de los diálogos del guión de los hermanos Epstein y Howard Koch, el idealismo, el romanticismo, la atmósfera creada pocas veces se ha superado en la historia del cine. Pocos tipos hechos de la pasta de Rick. Hombre cínico a primera vista, idealista en el fondo, su figura se engrandece más y más a lo largo del metraje. Rick no quiere ver alejarse a Ilsa en el aeropuerto, su decisión no tiene vuelta atrás, París queda en el recuerdo. Ni las lágrimas serenas de su amante, ni las copas de Bourbon cerrarán la herida del solitario héroe que conoce bien su sitio. Su tren partió una noche lluviosa hace mucho tiempo ya. Raúl Gallego Esta noche en Radiópolis cantamos la Marsellesa, nos tomamos un agua de Vichy, y tiramos la botella a la papelera... Raúl Gallego, Gervi Navío, Isabel Moncada, Mamen Torres y nuestro crítico César Bardés desde Madrid.

Meghan and Jose realize there’s more to Casablanca than love, intrigue and drama. There are beautiful rugs available for rock bottom prices! Casablanca (1942) Written by Julius & Philip Epstein and Howard Koch. Directed by Michael Curtiz. Podcast music by Michael Kramer http://michaelkramermusic.com  Logo art by Garret Ross http://garrettross.net Send comments and suggestions on Twitter … Continued

Of all the podcasts in all the world, 1942's Casablanca had to be talked about on this episode of Zach on Film. Casablanca is a 1942 American romantic drama film directed by Michael Curtiz and based on Murray Burnett and Joan Alison's un-produced stage play Everybody Comes to Rick's. The film stars Humphrey Bogart, Ingrid Bergman, and Paul Henreid; and features Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, and Dooley Wilson. Set during World War II, it focuses on a man torn between, in the words of one character, "love and virtue". He must choose between his love for a woman and helping her Czech Resistance leader husband escape the Vichy-controlled Moroccan city of Casablanca to continue his fight against the Nazis. Story editor Irene Diamond convinced producer Hal Wallis to purchase the film rights to the play in January 1942. Brothers Julius J. and Philip G. Epstein were initially assigned to write the script. However, despite studio resistance, they left after the attack on Pearl Harbor to work on Frank Capra's Why We Fight series. Howard Koch was assigned to the screenplay until the Epsteins returned. Casey Robinson assisted with three weeks of rewrites, but his work would later go uncredited. Wallis chose Curtiz to direct the film after his first choice, William Wyler, became unavailable. Filming began on May 25, 1942, and ended on August 3, and was shot entirely at Warner Bros. Studios in Burbank, with the exception of one sequence at Van Nuys Airport in Van Nuys. Although Casablanca was an A-list film with established stars and first-rate writers, no one involved with its production expected it to be anything out of the ordinary. It was just one of hundreds of pictures produced by Hollywood every year. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers VIP. It will help ensure Zach on Film continues far into the future! A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

Of all the podcasts in all the world, 1942's Casablanca had to be talked about on this episode of Zach on Film. Casablanca is a 1942 American romantic drama film directed by Michael Curtiz and based on Murray Burnett and Joan Alison's un-produced stage play Everybody Comes to Rick's. The film stars Humphrey Bogart, Ingrid Bergman, and Paul Henreid; and features Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, and Dooley Wilson. Set during World War II, it focuses on a man torn between, in the words of one character, "love and virtue". He must choose between his love for a woman and helping her Czech Resistance leader husband escape the Vichy-controlled Moroccan city of Casablanca to continue his fight against the Nazis. Story editor Irene Diamond convinced producer Hal Wallis to purchase the film rights to the play in January 1942. Brothers Julius J. and Philip G. Epstein were initially assigned to write the script. However, despite studio resistance, they left after the attack on Pearl Harbor to work on Frank Capra's Why We Fight series. Howard Koch was assigned to the screenplay until the Epsteins returned. Casey Robinson assisted with three weeks of rewrites, but his work would later go uncredited. Wallis chose Curtiz to direct the film after his first choice, William Wyler, became unavailable. Filming began on May 25, 1942, and ended on August 3, and was shot entirely at Warner Bros. Studios in Burbank, with the exception of one sequence at Van Nuys Airport in Van Nuys. Although Casablanca was an A-list film with established stars and first-rate writers, no one involved with its production expected it to be anything out of the ordinary. It was just one of hundreds of pictures produced by Hollywood every year. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers VIP. It will help ensure Zach on Film continues far into the future! A big Thank You goes out to everyone who downloads, subscribes, listens, and supports this show. We really appreciate you taking the time to listen to our ramblings each week. Tell your friends about the podcast, get them to subscribe and, be sure to visit the Major Spoilers site and forums.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.THIS EPISODE:January 6, 1939. CBS network. "Counselor At Law". Sponsored by: Campbell's Soup. A good story about a powerful attorney with a secret past. Announced as the first radio performance by Gertrude Berg in a program other than, "The Goldbergs." Attorney Sam Liebowitz also appears. Orson Welles, Gertrude Berg, Aline MacMahon, Elmer Rice (author), Sam Liebowitz, Joseph Cotten. 58:26.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch. THIS EPISODE: May 19, 1939. CBS network. "The Bad Man". Sponsored by: Campbell's Soup. Comedy-Adventure about a Mexican Bandito and the mixed bag of Americans who cross his path. Bernard Herrmann (composer, conductor), Diana Stevens, Edwin Jerome, Ernest Chappell (announcer), Everett Sloane, Frank Readick, Ida Lupino, Orson Welles (host), Ray Collins (narrator), William Alland. 59:55.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch. THIS EPISODE: September 24, 1939. CBS net. "What Every Woman Knows". Sponsored by: Campbell's Soup. Drama about an Irish M.P. and his plain and apparently useless wife. Agnes Moorehead, Alfred Shirley, Bernard Herrmann (composer, conductor), Ernest Chappell (announcer), Eustace Wyatt, Everett Sloane, Helen Hayes (narrator), Naomi Campbell, Orson Welles (host), Ray Collins (narrator). 55:24.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.THIS EPISODE:Andrew Manson, a young, enthusiastic doctor takes his first job in a Welsh mining town, and begins to wonder at the persistent cough many of the miners have. When his attempts to prove its cause are thwarted, he moves to London. His new practice does badly. But when a friend shows him how to make a lucrative practice from rich hypochondriacs, it will take a great shock to show him what the truth of being a doctor really is. January 21, 1940. CBS net. "The Citadel". Sponsored by: Campbell's Soup. A. J. Cronin (author), Edgar Barrier, Ernest Chappell (announcer), Everett Sloane, George Coulouris, Geraldine Fitzgerald, Orson Welles (host), Ray Collins (narrator). 53 minutes.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.THIS EPISODE:Samuel Dodsworth (Walter Huston) is an ambitious automobile designer, who builds his fortunes in Zenith. In addition to his success in the business world, he succeeds in winning the hand of Fran Voelker (Ruth Chatterton), a beautiful socialite. At the age of fifty, he sets out to do what he had always wanted - take a leisurely trip to Europe with his wife. His forty-one year old wife, however, is dissatisfied with married life and wants to live in Europe, not just visit. Passing up advancement in his company, Dodsworth leaves for Europe with Fran. Soon, both Sam and Fran are caught up in vastly different lifestyles. Fran falls in with a crowd of frivolous socialites. Sam meets Edith Cortright (Mary Astor), a woman who is everything his wife is not: self-assured, self-confident, and able to take care of herself. As they follow their own pursuits, their marriage is strained to the breaking point. Both Sam and Fran are forced to choose between marriage and the new lifestyles they have pursued.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.

The Campbell Playhouse was a sponsored continuation of the Mercury Theater on the Air, a direct result of the instant publicity from the War of the Worlds panic. The switch occurred on December 9, 1938. In spite of using the same creative staff, the show had a different flavor under sponsorship, partially attributed to a guest star policy in place, which relegated the rest of the Mercury Players to supporting cast for Orson Welles and the Hollywood guest of the week. There was a growing schism between Welles, still reaping the rewards of his Halloween night notoriety, and his collaborator John Houseman, still in the producer's chair but feeling more like an employee than a partner. The writer, as during the unsponsored run, was Howard Koch.

click here Visit the Radio America Store web site. Buy your 50 mp3 for &5.00 Affordable Web Hosting $5.99 A month The most famous radio broadcast of all time is still considered to be "The War of the Worlds", by Orson Welles and the Mercury Theater on the Air, October 30, 1938. Produced by John Houseman, it caused a near-panic, and lots and lots of press coverage. It also spurred legislation banning the "news" format from radio drama for years following. And although Orson Welles himself said they had no idea they were causing such an uproar, he actually knew it was happening and was thrilled with all the attention. The script, by the late Howard Koch (who also won an Academy Award for the screenplay of "Casablanca"), was actually titled "The Invasion From Mars", but was based on H.G. Wells' novella. The story goes like this: That October evening most Americans tuned in to the "The Edgar Bergen-Charlie McCarthy Show", which was the most popular radio show of the time. Twelve minutes into the show they went to their usual musical break. At that point many people changed the channel, and came upon reporter Carl Philips in the field near Grover's Mills, New Jersey. By the time the break came, with the announcement that this was just a play, most of them had already gone off screaming. The "War" became famous, and the Bergen-McCarthy Show opposite it seems to have vanished. "The War of the Worlds" story itself has been performed on radio many times since 1938, in a variety of formats. Gordon Payton claims to have 25 different audio versions of the story. The NBC Network anthology series Dimension X and X Minus One each offered a few alien invasion stories. (See "The Embassy", "The Seventh Order", "The Last Martian", and "Zero Hour", for example.