Podcasts about huac

Do you pair bright yellow shirts with red neckerchiefs? Do you have a secret lair hidden behind a waterfall? Do you love campy, colorful, queer-coded, feminist, HUAC protestin' westerns? Then Johnny Guitar (1954) is the movie for you! Check out this operatic and unconventional Scorsese approved classic directed by Nicholas Ray, starring Joan Crawford, Sterling Hayden, and Mercedes McCambridge. Host Sara Greenfield and her guests Drew Burnett Gregory and Tirosh Schneider chat about all this and more on a brand new episode of Talk Classic To Me.-----------------------------------------------------------------Want to become a subscriber? Use the link below to support the show!https://creators.spotify.com/pod/show/sara-greenfield/subscribe

En este episodio de Valor Compartido Podcast, conversamos con Andrés Vélez, coordinador adjunto Impulsa Programa de Liderazgo en Compromiso Social de la Universidad Anáhuac, México.Descubre cómo este programa, activo desde 2004, combina formación en criterios ASG, negocios sostenibles y gestión del tercer sector con proyectos prácticos que impactan positivamente en la sociedad. Andrés nos comparte ejemplos inspiradores de proyectos reales liderados por estudiantes, el perfil del líder que buscan formar y cómo estos egresados están ya acompañando desde dentro a empresas e instituciones en su camino hacia la sostenibildiad.Si te interesa el futuro de la RSE, la sostenibilidad y la formación de agentes de cambio, este episodio es para ti. ¡No te lo pierdas!Descubre más sobre Impulsa en  https://www.anahuac.mx/mexico/VidaUniversitaria/liderazgo-y-excelencia/programas/ImpulsaDescubre todas nuestras entrevistas y reportajes suscribiéndote a nuestro canal. Opina qué te pareció el episodio en los comentarios y no te olvides de dejarnos tantas estrellas como creas que merecemos, nos ayudarás mucho a seguir contando historias sobre RSE y Sostenibilidad. Te dejamos nuestra web: valor-compartido.com

VivaAerobus y Volaris avanzan en actualización de seguridad en sus AirbusExplosión por pirotecnia en Pesquería, NL, deja tres muertos y seis heridosMás información en nuestro Podcast

En un año disminuye 37% el homicidio doloso CDMX instala centro de recolección de cempasúchil Panamá decomisa 12 mil kilos de cocaína en el Pacifico 

Chicago attorney Chet Kamin joins host Amy Gunn to discuss his role in the landmark Stamler v. Willis litigation, which helped bring about the end of the House Un-American Activities Committee. Arguing that Dr. Jeremiah Stamler was targeted for his political beliefs, Kamin and his colleagues challenged the committee's activities as unconstitutional and a violation of free expression. He reflects on the turbulent 1960s and 70s – marked by the Cold War, the Civil Rights movement, and a widespread public distrust of authority – and how societal change helped shape the judiciary's role in protecting individual rights. Kamin also examines how threats to the Rule of Law persist today and emphasizes the importance of lawyers acting with integrity and courage to defend the Constitution.

The Fracture of Reagan's First Marriage, Hollywood's Red Scare, and the Appearance of Nancy Davis. Max Boot discusses the marriage between Ronald Reagan and Jane Wyman, which was considered an "odd combination." Wyman was drawn to Reagan because he was a "nice guy" and a "white knight," though Reagan was "very hard to get to commit." By the eve of World War II, Reagan was professionally ascending, but the war derailed his commercial film career as he spent the entire conflict in Hollywood making training and propaganda films. When the war ended, there was diminished demand for his services, while Jane Wyman's career soared after the war. Reagan became increasingly active in the Screen Actors Guild (SAG) and Hollywood politics, still an "idealistic liberal" and New Dealer, while Wyman became uninterested in politics, leading them to drift apart. The political climate was dominated by Congress's search for communists in Hollywood. Reagan served as the unpaid president of SAG and navigated the "treacherous politics" of the McCarthy era skillfully, appearing liberal when testifying before HUAC while quietly acting as an FBI informant. Jane Wyman initiated the divorce in 1948, shocking Reagan and leaving him adrift. Nancy Davis then entered his life, leading to a marriage that made sense, as Nancy wanted to be a wife and mother and threw herself into the role of the "perfect wife." Reagan needed a strong woman, and Nancy became absolutely integral to his career advancement, acting as a shrewd political figure who often handled hiring and firing.

En esta entrevista Mario Fernando Díaz Méndez - Co-Founder & CEO empresa TGK y Jesús Salvador Hernández Frías - Director de Posgrados Ingeniería Universidad Anáhuac, nos hablan sobre la ciberseguridad. 

5. Monsieur Verdoux Flop and HUAC Persecution Scott Eyman Charlie Chaplin versus America: When Art, Sex, and Politics Collided Chaplin purchased the idea for Monsieur Verdoux from Orson Welles, but the 1947 film—a dark comedy about a serial killer—became his first commercial failure, released at an inopportune moment following World War II. Though the FBI had surveilled Chaplin and confirmed he was not a Communist, they sought to remove him due to his politics and what they deemed his "flamboyant sex life." HUAC avoided calling him to testify in order to maintain their narrative. Gossip columnist Hedda Hopper personally pursued a negative campaign against him, projecting her loathing of her ex-husband onto Chaplin. 1921

Javidú, quien actualmente está preso por lavado de dinero y asociación delictuosa, afirmó que la emergencia en Veracruz es consecuencia del desmantelamiento de las políticas públicas implementadas durante su gobierno

Un recorrido por el Tláhuac revolucionario a través de entrevistas, narraciones, investigación y "chismecito" como nos dice nuestra anfitriona Dei Rod. En esta ocasión estará acompañada de Dr. Baruc Martínez, Doctor en historia por la UNAM, profesor de Náhuatl y originario de Tláhuac. PRODUCCIÓN Y LOCUCIÓNDEI ROD

Air Date: October 8, 2025 (Live at 10 p.m. ET) Host: Sam Whitfield (@SamW_NGC) Co-Hosts: - Mortheous (@Mortheous) - Max Sand (@BlameMaxSand) Episode OverviewIn this fiery installment of *The Whitfield Report*, host Sam Whitfield teams up with co-hosts Mortheous and Max Sand to tackle the escalating chaos in American politics and culture. Kicking off with the shocking assassination of conservative activist Charlie Kirk—founder of Turning Point USA—by sniper fire during a speech at Utah Valley University on September 10, 2025, the panel unpacks the backlash against left-wing figures who celebrated the tragedy, including viral clips of Twitch streamer Hasan Piker mocking the event. The discussion heats up as they pivot to Piker's recent PETA condemnation for allegedly using a shock collar on his dog Kaya, igniting debates on animal welfare amid political influencer scandals. Tying it all together, the trio makes a bold case for reviving the House Un-American Activities Committee (HUAC)—the infamous congressional body formed in 1938 and disbanded in 1975 to probe alleged communists and fascists—as a tool against modern domestic extremism like ANTIFA. Expect unfiltered takes on free speech limits, national security, and why it's time to dust off the gavel. Key Topics:- **Hasan Piker Under Fire** From death-celebrating streams to the dog yelp heard 'round the internet—PETA's response and Piker's defense that it was just a vibrating training collar. Is this hypocrisy or overreach? - **The Case for Reviving HUAC** A deep dive into HUAC's history of targeting subversives, with calls echoing on X for its return to combat today's radicals. Co-hosts debate pros, cons, and modern applications. - **Listener Q&A & Closing Rants** Audience questions on extremism, animal rights in politics, and where America goes from here. ### Additional Material- **Related Reading:** - [PETA's Statement on Hasan Piker](https://www.hollywoodreporter.com/news/general-news/peta-responds-hasan-piker-dog-abuse-controversy-1236396303/) - [HUAC History Primer](https://www.trumanlibrary.gov/education/presidential-inquiries/house-un-american-activities-committee) Please Support The Show:Sam's Substack: https://samwhitfield.substack.com/Rumble: https://rumble.com/user/TheWhitfieldReportYouTube: https://www.youtube.com/@WhitfieldReportReloadedKick Channel: https://kick.com/whitfieldreportWhitfield Report Guilded server: https://www.guilded.gg/r/zzzE8b61qR?i=AYwozWndSam's Amazon Author Page: https://www.amazon.com/stores/Sam-Whitfield/author/B00M1DNU88?ref=ap_rdr&store_ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=trueSpotify: https://open.spotify.com/show/4DIcoDO0BIDyuH7SWIsAB8?si=8c06106f817d4eebAmerican Instinct Pulp Adventures: https://americaninstinct.substack.comFollow Sam on X and Instagram @SamW_NGCFollow Right To Offend Media on X @RTOMediaBuy Me A Coffee: https://buymeacoffee.com/whitfieldreport

The following article of the Tech industry is: “‘Common People:' The Real-World Risks of AI and Innovation” by Laura Coronado, Professor and Researcher at the School of Global Studies, Universidad Anáhuac.

Brugada presume baja en delitos de alto impacto en la CDMX CFE Fibra E prepara colocación de bono internacionalIsrael veta entrada a dos ministras del Gobierno españolMás información en nuestro podcast

Anders tells Jake about the legacy of McCarthyism and the problems with its modern implications and Jake says "HUAC Tuah" a lot. full ep at PATREON.COM/PODDAMNAMERICA

Lluvias en CDMX detienen temporalmente vuelos en el AICM  Edomex dona inmuebles al IMSS-BienestarEU lanza medalla para tropas en la frontera con MéxicoMás información en nuestro Podcast

Un juez federal vinculó a proceso a Jareth Roberto N, presunto implicado en elasesinato del delegado de la FGR en Tamaulipas, Ernesto Cuitláhuac Vázquez.La FGR informó que el sujeto fue detenido en flagrancia en Reynosa y poseíaarmas de fuego, cargadores, cartuchos y droga. El juez destacó que ladetención fue legal y dictó prisión preventiva, por lo que el acusado fueenviado al Centro de Reinserción Social Número Uno del Altiplano.See omnystudio.com/listener for privacy information.

Hey everyone, James Scully here, producer and host of Breaking Walls, the docu-podcast on the history of US Network Radio Broadcasting. I wanted to let you know about a new webinar I'm doing next Thursday August 14th at 7PM eastern time. It's the final part of a 3-part mini series on Orson Welles' life and career. "Orson Welles' Career, Part 3: Welles In Europe (1948 - 1956)," is on an often-forgotten and underrated part of Orson Welles' career during his years living and working in Europe. It will focus on the radio, screen, and stage work he was involved in during this time, complete with visuals and audio clips. Here's a link to register — https://www.eventbrite.com/e/orson-welles-career-part-3-welles-in-europe-1948-1956-webinar-tickets-1445320836529?aff=oddtdtcreator If you can't make, don't worry, I'll be emailing all who register a video of the webinar once its done so you can watch it later. And if you missed the first two parts of this webinar series (Part 1 was on his early career and Part 2 focused on late 1941 through 1948), I'll email you a video link to watch the first two presentations (for free) when you register for the Part 3 event. Here's an overview of the webinar: Throughout the last one-hundred years of American entertainment, few people have gotten as strong a reaction as Orson Welles. A rare quadruple threat: writer, director, actor, producer, Welles found immense success on stage, in films, on television, and in radio. In fact, he took center stage in the United States on more than one occasion… and not always to a positive reaction, but always with pushing the creative envelope in mind. Welles managed to alienate the newspaper industry, the Hollywood studio system, and occasionally even the broadcasting networks, but he rarely had a door closed in his face. Welles was known to work himself to the bone, and party even harder. He had romances with some of the most famous and attractive women in the country, including Virginia Nicholson, Dolores del Rio, and Rita Hayworth. He was hailed as a genius, a charlatan, a magician, an incredible friend, an a***hole, a hard-driver, a steady worker, and a man who drank too much. Welles liked to joke that he began his career on top and spent the rest of his life working his way down. Such a strong-willed, creative person deserves an in-depth look. Join James Scully — Radio historian and producer/host of Breaking Walls, the docu-podcast on the history of U.S. network radio broadcasting for the last of a three-part webinar that deeply explores the life and career of Orson Welles, with a strong focus on his two decades working in American and British radio. In Part 3: Orson Welles In Europe (1948 - 1956) we'll explore Welles' time in Europe from the late 1940s through the mid 1950s, with audio clips and highlights including: • HUAC and Leaving the U.S • Harry Alan Towers, and Harry Lime • Othello and The Black Museum • Song of Myself and Theatre Royal • The Adventures of Sherlock Holmes and Moriarity • The BBC Sketchbook and Moby Dick • Mr Lincoln and Mr Arkadin • Returning to the U.S. • Tomorrow and Yesterday Afterward, I'll do a Q&A — any and all questions are welcomed and encouraged! Can't attend live? Not to worry! I'll be recording the event and sending the video out to all guests who register so you can watch it later. See you (virtually) there!

En entrevista para MVS Noticias con Luis Cárdenas, Javier Roldán, activista y periodista, habló sobre el caso Irma Hernández.See omnystudio.com/listener for privacy information.

Anuncian precios de los paquetes Descubre el Mundo Maya Confirman que ex secretario de seguridad de Adán Augusto huyó del país 

No hay crisis de agua en CDMX afirma Brugada INE entrega constancias a magistrados electos por voto popularPutin rechaza llamado de Trump y mantiene ofensiva en UcraniaMás información en nuestro podcast 

Part of our mission is to introduce MMTers to socialism and socialists to MMT. We've had a few metaphorical doors slammed in our faces along the way. Former friends from the MMT community now delight in slinging accusations worthy of a HUAC hearing, while some socialists suspect modern monetary theory is just a sideshow of bourgeois economics. So, we didn't know what to expect when we reached out to Justin and Jeremy, co-hosts of a podcast we've long admired. Compared to the vicious rejection we sometimes encounter, their good faith skepticism felt like a warm embrace. They invited Steve and Virginia to come onto Proles Pod and make a case for the radicalizing potential of MMT. The conversation goes into the role of the state in currency issuance, the coercive nature of taxation, and how MMT can critique and unveil the inherent power dynamics within capitalism. Austerity, that devastating weapon of class warfare, is not a glitch; it's a feature. Virginia asks that listeners stop using the expression taxpayer money. “Even if you're not ready to wrap your mind around MMT, just start calling it public money. You might not believe where it comes from but just stop. It's public money.” Given the classist, racist implications of relying on taxpayers to fund the government, a change in language is a good first step. Steve adds: “Whatever you tax, you immortalize. Whatever you tax, if you believe it's funding, you need forever.” The state is the source of currency; let's stop elevating billionaires. They look at the relationship between currency manipulation, inflation, and global economic dominance. They also touch on Gramsci and the impact of cultural hegemony. Ultimately, they agree on the necessity of a class-based analysis as a prerequisite for revolutionary change. Proles Pod is a podcast about history, politics, and culture... without the liberalism Find their work at prolespod.libsyn.com/ Support them at patreon.com/prolespod Follow them @ProlesPod on X

1947's Crossfire, directed by Edward Dmytryk, is based on the novel The Brick Foxhole by Richard Brooks.  In Brooks' novel, a gay man is murdered by a soldier on leave but the film had to adhere to a Hays Code which didn't allow for depictions of homosexuality so anti-Jewish sentiment became the reason for the killing.  Ironically, it was the film's theme of anti-semitism that put it's makers in the crosshairs of Senator Joseph McCarthy's anti-communist HUAC hearings.  It's director and writer John Paxton ended in prison for their views.  The film stars the Robert dream team of Robert Ryan, Robert Young and Robert Mitchum. Dan and Vicky discuss the noir thriller and lots of recently seen including Babygirl, The Damned, Thunderbolts, Nonnas, Lilo and Stitch, horror classics (!) Nekromantick and Nekromantick 2 and comedian Mateo Lane. Our socials:  hotdatepod.com FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

Desquiciada la México-Toluca tras choque e incendio de dos tractocamiones en La MarquesaPonen en marcha “Sendero Seguro” en la colonia Potrero Chico, en Ecatepec, donde se instalaron 210 luminariasEl INE definió una muestra del 2% del total de las casillas para estimar el porcentaje de participación ciudadana el uno de junioMás información en nuestro Podcast

Bloquean vialidades al AIFA para exigir la localización de una menor Llegan más brigadistas para combatir incendio forestal en Madera, Chihuahua.Desmantelan un narcolaboratorio y detienen a un mexicano en Guatemala Más información en nuestro Podcast

In this episode of the Explaining History podcast we speak with the writer Dennis Broe whose new book The Dark Ages, explores the second Hollywood anti communist purge of 1951. We talk about Hollywood and Los Angeles as a site of ongoing class struggle, the role of the media and the LAPD in the development of modern Los Angeles and the role of dissenting writers and film makers in challenging the power of the studios.You can join Dennis for a zoom class on Darkest LA: Film Noir, Greed and Corporate Graft in LaLa Land Friday Nights 7-8:30 ETFive-week online course begins May 2, then 9, 16, 23, June 6$100 For the Course includes a special “bonus” sixth week June 13 Register for the course at https://radicalimagination.info/A Zoom link will be sent to all subscribersSponsored by Institute for the Radical Imagination, Marxist Education Program,LA Progressive and People's WorldWeek 1 – Left of Eden, about the beginning of the Cold War and its intrusion into Hollywood at the moment of the beginning of the breakup of the studio system which had been so prosperous over the previous two decades. We'll see the echoes of the Cold War ethos in today's foreign policy.Week 2 – A Hello To Arms, about the renewal of the arms industry after the war in what was nominally a time of peace and how that affected the African-American community as wartime opportunities vanished. This will be an occasion to examine the current state of relations in the African-American community as well as the US “defense” industry, a behemoth that today is utterly out of control and that dictates global wars.Week 3 – The Precinct With The Golden Arm about the LAPD and its changing modes of surveillance, particularly of the Mexican-American community is this period starting to dominate Boyle Heights, an area that is now being gentrified. This novel also looks at Big Pharma and its relation to drugs in these communities and will prompt an examination of the origin of street drugs, of surveillance by what Mike Davis calls “the space police,” and of continued struggle and resistance in the city's Latinx population.Week 4 – The House That Buff Built about the LA real estate industry and the design and spatial allocation of the city and its sprawling suburbs. This will be an examination of racial discrimination in housing and especially of the history and exploitation of the Chinese population as well as the role of the LA Times and its owners The Chandlers in divvying up the city.Week 5 – The Dark Ages about the second and more destructive devastation caused by McCarthyism in the form of HUAC in Hollywood. We will look at the history of unions in the entertainment industry and in the city as a whole and posit that it was union activity in the industry that brought HUAC to Hollywood. We'll then look further at the history of unions in the city both in the past and today.Bonus 6th Week, Pornocopia, on corporate America's penetration into the mob industries of porn in LA and gambling in Las Vegas. Become a member at https://plus.acast.com/s/explaininghistory. Hosted on Acast. See acast.com/privacy for more information.

HUAC's continued targeting of activists spread to Jewish Americans and others at the forefront of the anti-Vietnam War movement. In 1967 - a year that would become one of the deadliest for U.S. military casualties as more than 11,000 American soldiers perished - counterculture activists Abbie Hoffman and Jerry Rubin were among those subpoenaed. In response, Hoffman and Rubin were openly defiant, and their highly visible antics, which included arriving dressed in outrageous costumes and waving toy guns, helped to further erode the public's trust in the committee. Narrated by Rebecca Naomi Jones and featuring Gemma R. Birnbaum, executive director of the American Jewish Historical Society. Episode Image: Yippie activists Abbie Hoffman (left) and Jerry Rubin arrive at the House Un-American Activities Committee (HUAC) hearing October 1, 1968 investigating the clashes at the 1968 Democratic Convention. Photograph by Joseph Silverman. The image is courtesy of the D.C. Public Library Washington Star Collection © Washington Post. The Wreckage is made possible by funding from the Ford Foundation. Additional funding is provided through the American Jewish Education Program, generously supported by Sid and Ruth Lapidus.

By 1957, Joseph McCarthy was dead and HUAC's power and influence was on the decline, with former President Harry Truman calling it “the most un-American thing in the country today.” Increasingly, organizations and individuals alike began to speak out against the committee, but rather than back down, committee members escalated their targeting of activist groups and individuals, with particular emphasis on Civil Rights leaders. As the Red Scare continued unabated, prominent Jewish and Black activists found themselves subjected to a new level of interrogation and scrutiny. Narrated by Rebecca Naomi Jones and featuring Dr. Jelani Cobb, Dean of Columbia Journalism School and scholar of the Cold War. Image: Bayard Rustin and James Baldwin at the Montgomery March, 1965. From the American Jewish Congress records at the American Jewish Historical Society, I-77. The Wreckage is made possible by funding from the Ford Foundation. Additional funding is provided through the American Jewish Education Program, generously supported by Sid and Ruth Lapidus.

The House Un-American Activities Committee marks a dark chapter for Congress. In targeting some advocacy groups for scrutiny, is HUAC making a comeback? Patrick Eddington comments. Hosted on Acast. See acast.com/privacy for more information.

Link para el show de Iván ⁠⁠https://linktr.ee/soyivanmendozaa⁠⁠Link para el show de Alex Quiroz⁠⁠ https://arema.mx/e/9538⁠⁠Link para el show de Solin⁠⁠ https://app.recurrente.com/⁠⁠Link de la merch oficial⁠ ⁠https://semesubioelmuerto.myshopify.com/⁠⁠Link de boletos tour 2025⁠⁠ https://linktr.ee/semesubioelmuerto⁠⁠https://www.instagram.com/soyivanmendOZA https://www.instagram.com/soyalexquiroz/ https://www.instagram.com/solinstandup/SMSEM CREW: https://www.instagram.com/flaquimediosLa flaquita: https://www.instagram.com/putzulbrizuelaFlaquito: https://www.instagram.com/albertoo_brizuelaFlaquiMich: https://www.instagram.com/mich_xhSilvia: https://www.instagram.com/_silviasiu/Joch: https://www.instagram.com/elmismojoch/

There is no doubt that this film has a backstory that is fairly controversial. Director Elia Kazan testified to Congress and the HUAC hearings, and named names. There are many people who became his enemy, and never forgave him. However, undoubtedly, his film On the Waterfront is a true classic. A great story about redemption, incredible direction, and amazing performances by the entire cast, including a legendary one by one of the greatest actors of all time, Marlon Brando in his Oscar-winning role.  The film doesn't feel dated at all, but revisiting it over seven decades later, should it still be regarded as the best of 1954?Listen to film critic Jack Ferdman's take on it as he analyzes everything about On the Waterfront, as well as many other films from that year, and hear which film he gives his Rewatch Oscar of 1954.Download, listen, and share ALL Rewatching  Oscar episodes.SUBSCRIBE and FOLLOW Rewatching Oscar:Website: https://rewatchingoscar.buzzsprout.comApple Podcasts/iTunesSpotifyGoogle PodcastsiHear RadioPodchaserPodcast AddictTuneInAlexaAmazon Overcasts Podcast Addict Player FMRSS Feed: https://feeds.buzzsprout.com/1815964.rssWebsite: https://rewatchingoscar.buzzsprout.comSocial Media Links: Facebook, Twitter, LinkedIn, Instagram, BlueSkyShare your thoughts and suggestions with us through:Facebook Messanger or email us atjack@rewatchingoscar.com or jackferdman@gmail.comMusic by TurpacShow Producer: Jack FerdmanPodcast Logo Design: Jack FerdmanMovie (audio) trailer courtesy of MovieClips Classic TrailersMovie (audio) clips courtesy of YouTubeSupport us by downloading, sharing, and giving us a 5-star Rating.  It helps our podcast continue to reach many people and make it available to share more episodes with everyone.Send us a text

Join Tyler as he talks about a surprsingly strong year for the best film West Side Story and the nominees Fanny, Judgement at Nuremberg, The Hustler and The Guns of Navaronne. And listen as he talks about the life of the powerhouse known as Rita Moreno.

In November 1947, ten Hollywood writers and directors were cited for contempt of court for their refusal to testify before HUAC. Criminal charges were issued against the group that would become known as “the Hollywood Ten,” and the first systematic Hollywood blacklist had begun. Of the ten, six were Jewish - John Howard Lawson, Herbert Biberman, Alvah Bessie, Albert Maltz, Samuel Ornitz, and Lester Cole - as were many of the studio executives who voted to blacklist them. Narrated by Rebecca Naomi Jones and featuring Thomas Doherty, author of Show Trial: Hollywood, HUAC, and the Birth of the Blacklist. Image: Anticommunist group protests the release of "Exodus" in 1960, written by Hollywood Ten "unfriendly" Dalton Trumbo. From the Abraham Shoenfeld Papers at AJHS, P-884. The Wreckage is part of the American Jewish Education Program, generously supported by Sid and Ruth Lapidus.

Grab your sandals and sword and get philosophical with Jason, Tony, and our guest Paul Klein, as we unpack the wonders of Stanley Kubrick's Spartacus (1960). The film was adapted from Howard Fast's novel of the same title by Dalton Trumbo, and it is considered a major step in the end of the notorious Hollywood blacklist. The film is also read as an allegory for civil rights stuggles, the HUAC hearings, and "Third World" struggles. All of this and more is discussed in the episode.  Books and articles mentioned: Who Paid the Piper: The CIA and the Cultural Cold War by Frances Stonor Saunders The Final Victim of the Blacklist: John Howard Lawson, Dean of the Hollywood Ten by Gerald Horne Aesthetic Theory by Theodor Adorno “Fascinating Fascism” by Susan Sontag As always, please suscribe to the podcast, and don't forget to leave a review! And follow Jason on Twitter (X) at @JasonAChristian, Anthony at @tonyjballas, and Paul at @ptklein, and the same handles at BlueSky. Paul's handle on Letterboxd is https://letterboxd.com/ptklein/; Jason's is https://letterboxd.com/exilemagic/. Our logo is by Jason Christian  The theme music for this episode and all forthcoming episodes is by DYAD (Charles Ballas and Jeremy Averitt).  Please drop us a line at coldwarcinemapod@gmail.com. Happy listening!

The film, television, and theater industries were represented by some of the largest unions in the United States, and in the late 1940s, with the full cooperation of Screen Actors Guild President Ronald Reagan, organizations like the Motion Picture Alliance for the Preservation of American Values sought to root out what they deemed the communist threat in entertainment. Unions from other industries were also targeted, and a narrative that communist infiltration was the true root cause of contemporary labor conflicts was embraced by a number of American politicians. Narrated by Rebecca Naomi Jones and featuring Thomas Doherty, author of Show Trial: Hollywood, HUAC, and the Birth of the Blacklist.  Image: Strikers on the picket line at Warner Bros., in the early morning hours before violence broke out, October 5, 1945. Photo by Keystone-France/Gamma-Keystone via Getty Images The Wreckage is part of the American Jewish Education Program, generously supported by Sid and Ruth Lapidus.

Ahora Pizza Hut cierra sucursal Culiacán por inseguridad  A pesar de la violencia Sinaloa "se vive perfectamente bien": Rocha Moya  FBI cerró su Oficina de Diversidad e Inclusión a días de la llegada de Trump  Más información en nuestro podcast

73% de medicamentos solicitados en el Sector Salud ya están disponibles: Eduardo Clark Ejército llega a reforzar seguridad en Tabasco Más información en nuestro podcast

This episode was originally released on March 1, 2016. Listen to help prep for the next episode of our new season,The Old Man is Still Alive. In the late 1940s, as the country was moving to the right and there was pressure on Hollywood to do the same, Katharine Hepburn, Humphrey Bogart and John Huston all protested HUAC in ways that damaged their public personas and their ability to work in Hollywood. Hepburn's outspokenness resulted in headlines branding her a "Red" and, allegedly, audiences stoning her films. Bogart and Huston were prominent members of the Committee For the First Amendment, a group of Hollywood stars who came to Washington to support the Hollywood Ten -- and lived to regret it. With their career futures uncertain, the trio collaborated on the most difficult film any of them would ever make, The African Queen. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In 1938, as fascism continued to spread across Europe and Asia, the Dies Committee was formed to investigate “subversive activities” within the United States. The committee, headed by Texas Democrat Martin Dies, was tasked with targeting Nazi sympathizers, but soon shifted its primary focus to rooting out those they believed to have communist ties, and paved the way for a second American red scare. Narrated by Rebecca Naomi Jones and featuring Matthew Dallek, author of Birchers: How the John Birch Society Radicalized the American Right. Episode Image: American Nazi Party marches in support of HUAC. From the Abraham Shoenfeld Papers at AJHS, P-884 The Wreckage is part of the American Jewish Education Program, generously supported by Sid and Ruth Lapidus.

El diésel aumentó un 8.8% debido al incremento del IEPS  En la página “planeando juntos” dentro de gob.mx ciudadanos podrán subir sus propuestas para PND  Cuba denuncia impunidad del genocidio israelí en Gaza  Más información en nuestro podcast

Planet of the Apes was a franchise spawning phenomenon in the late 60s. Living in the center of the sci fi spectrum, it wore its b-movie camp on its sleeve right next to relevant social commentary. With Charlton Heston playing opposite some revolutionary make up effects, off a script by Twilight Zone creator Rod Serling and a former HUAC blacklist-er, Planet of the Apes took everyone by surprise. Clint, Alex and CineFix's senior Apes Correspondent Scott Collura talk about the impossibility of watching this movie in proper context, the genius and often overlooked score, how The Simpsons lovingly spoils classic film and creative new ways to pronounce Orangutan. Meanwhile, Dan's algorithm hates every ape it sees, from chimpan-A to chimpanzee... CineFix Top 100's FIRST T-SHIRT IS HERE - https://store.ign.com/products/cinefix-this-is-how-i-win-t-shirt - Get the Ikiru / Uncut Gems mash-up you never knew you needed until right this very moment! CineFix Top 100 was created by Clint Gage and Dan Parkhurst and is produced by Tayo Oyekan, with Director of Photography, Jamie Parslow and Technical Producers, Marhyan Franzen and Amir Rakib. Our Executive Producers are Clint Gage and Corrado Caretto. Logo and graphic design by Eric Sapp and title animations by Casey Redmon. CineFix Top 100 is available on all your podcast networks including: Spotify https://open.spotify.com/show/02lznfKZ2gCnBwFoTgKlYr Apple Podcasts https://podcasts.apple.com/us/podcast/cinefix-top-100/id1693413490 Amazon Music https://music.amazon.com/podcasts/80256cff-2174-4d69-a9c7-8b565e96e39b Learn more about your ad choices. Visit megaphone.fm/adchoices

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  5/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935 FEDERAL THEATER

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 8 /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal.

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  7/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal.

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  6/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 FEDERAL THEATER 

PREVIEW: FEDERAL THEATER: Author James Shapiro, "The Playbook," reminds us that before HUAC assaulted Hollywood, the committee condemned the Federal Theater Project, 1935-39. More tonight. 1853 BROADWAY THEATER

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 4 /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1953 HUAC

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER: 3 /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 "IT CAN'T HAPPEN HERE"

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  2/8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1935-39 FEDERAL THEATER

HUAC'S FIRST TARGET WAS THE FEDERAL THEATER:  /8:  The Playbook: A Story of Theater, Democracy, and the Making of a Culture War by  James Shapiro  (Author) https://www.amazon.com/Playbook-Theater-Democracy-Making-Culture-ebook/dp/B0CGTQFQ8H From 1935 to 1939, the Federal Theatre Project staged over a thousand productions in 29 states that were seen by thirty million (or nearly one in four) Americans, two thirds of whom had never seen a play before. At its helm was an unassuming theater professor, Hallie Flanagan. It employed, at its peak, over twelve thousand struggling artists, some of whom, like Orson Welles and Arthur Miller, would soon be famous, but most of whom were just ordinary people eager to work again at their craft. It was the product of a moment when the arts, no less than industry and agriculture, were thought to be vital to the health of the republic, bringing Shakespeare to the public, alongside modern plays that confronted the pressing issues of the day—from slum housing and public health to racism and the rising threat of fascism. The Playbook takes us through some of its most remarkable productions, including a groundbreaking Black production of Macbeth in Harlem and an adaptation of Sinclair Lewis's anti-fascist novel It Can't Happen Here that opened simultaneously in 18 cities, underscoring the Federal Theatre's incredible range and vitality. But this once thriving Works Progress Administration relief program did not survive and has left little trace. For the Federal Theatre was the first New Deal project to be attacked and ended on the grounds that it promoted “un-American” activity, sowing the seeds not only for the McCarthyism of the 1950s but also for our own era of merciless polarization. It was targeted by the first House un-American Affairs Committee, and its demise was a turning point in American cultural life—for, as Shapiro brilliantly argues, “the health of democracy and theater, twin born in ancient Greece, have always been mutually dependent.” A defining legacy of this culture war was how the strategies used to undermine and ultimately destroy the Federal Theatre were assembled by a charismatic and cunning congressman from East Texas, the now largely forgotten Martin Dies, who in doing so pioneered the right-wing political playbook now so prevalent that it seems eternal. 1940 HUAC

cw: language Dave and Alonso are thrilled to welcome legendary author (and friend of the pod) Stephen Rebello to talk about his new book A CITY OF HAWKS, about the making, and ongoing legacy, of the 1954 classic film On the Waterfront. Join our club, won't you?