Podcasts about huac

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.

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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.

David Fuentes informa sobre un caso estremecedor en Tláhuac, donde un joven de 23 años fue acusado de asesinar a sus padres y a su hermana en la madrugada del lunes. El sospechoso fue detenido tras el hallazgo de los cuerpos en su hogar, y las autoridades investigan los motivos detrás del ataque. Este incidente ha generado conmoción en la comunidad y un llamado a reflexionar sobre la violencia intrafamiliar. Programa transmitido el 07 de enero de 2025. Escucha el Noticiero de Nacho Lozano, en vivo de lunes a viernes de 1:00 p.m. a 2:00 p.m. por el 105.3 de FM. Esta es una producción de Radio Chilango.

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

À l'occasion du Festival d'Automne, carte blanche à la metteuse en scène Lina Majdalanie avec notamment la création «Quatre murs et un toit». En 1947, a lieu aux États-Unis le procès du dramaturge allemand Bertolt Brecht devant le Comité des activités anti-américaines (HUAC) chargé de lutter contre l'activisme communiste. Dans ces circonstances, Brecht avait rédigé une déclaration qu'il lui fut interdit de lire. Les minutes du procès, ainsi que cette déclaration, constituent l'un des axes de ce spectacle foisonnant.Invitée : Lina Majdalanie, actrice, autrice et metteuse en scène libanaise résidant à Berlin.Son spectacle «Quatre murs et un toit» au 104 jusqu'au 8 décembre 2024. 

À l'occasion du Festival d'Automne, carte blanche à la metteuse en scène Lina Majdalanie avec notamment la création «Quatre murs et un toit». En 1947, a lieu aux États-Unis le procès du dramaturge allemand Bertolt Brecht devant le Comité des activités anti-américaines (HUAC) chargé de lutter contre l'activisme communiste. Dans ces circonstances, Brecht avait rédigé une déclaration qu'il lui fut interdit de lire. Les minutes du procès, ainsi que cette déclaration, constituent l'un des axes de ce spectacle foisonnant.Invitée : Lina Majdalanie, actrice, autrice et metteuse en scène libanaise résidant à Berlin.Son spectacle «Quatre murs et un toit» au 104 jusqu'au 8 décembre 2024. 

De ser un estado inseguro, García convirtió a Veracruz en una llamarada de criminalidad; de ser un gobierno con serios problemas de corrupción, lo volvió una administración trapacera de grandes desvíos de dineros públicos...

Join hosts Jason Christian, Anthony Ballas, and Tim Jones as they discuss the celebrated socially conscious Hollywood director, Martin Ritt (1914–1990). Ritt is known for a number of critically aclaimed movies, among them Paris Blues (1961), Hud (1963), and The Spy Who Came In from the Cold (1965). In this episode, we focus on four of Ritt's explicitly pro-worker films: The Molly Maguires (1970), Sounder (1972), The Front (1976), and Norma Rae (1979). Ritt was never brought before HUAC, but he nevertheless blacklisted after his name was mentioned in the right-wing anticommunist newsletter Counterattack, along with 150 of other Hollywood workers. These experiences were satirized in The Front, the first film that confronts the blacklist era directly.  Sally Field, the star of Norma Rae, once wrote of Ritt that "he felt it was important to stand for something, to have a moral point of view—especially if you work in the arts." That committment to justice is present all through Ritt's work. He boldly tackled labor issues and racism in a number of films, going as far as critiquing the all-white suburbian "utopias" in the overlooked gem No Down Payment (1957).  As always, please suscribe to the podcast, and don't forget to leave us a review! Drop us a line at coldwarcinemapod@gmail.com Happy listening!

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:  /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

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: 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:  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:  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 

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: 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.

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

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?

Presenta Clara Brugada iniciativas para fomentar la participación de la mujer en el sector económico Asesinan a la directora de Seguridad Pública de Angamacutiro, MichoacánCIDH visita a Jorge Glas en la cárcelMás información en nuestro Podcast

1 de noviembre concluye el pago de apoyos a los damnificados por el huracán John en AcapulcoOaxaca en recuperación tras huracán Jhon: Salomón Jara   Denuncia Papa Francisco "masacre" de "demasiados niños" en las guerras  Más información en nuestro Podcast

Elegant. That was the adjective used by Team Vintage Sand's own Michael Edmund to describe why the films of Joseph Losey are so important to him, and why he has been such a huge fan of Losey's for nearly all of his film-going life. Losey's was a name that seemed to keep popping up in a wide variety of contexts over the course of the podcast, so, after many delays, we are proud to present Episode 54—Director's Cut: Joseph Losey. Losey's is a unique career in the sense that it really was two distinct careers. After growing up in a life of privilege in Wisconsin (where he was a high school classmate of another pretty good director, Nicholas Ray) and an education at Harvard and Dartmouth, Losey made his way to Hollywood and directed a couple of interesting, low-budget films. Among these were the stilted but prescient "The Boy with Green Hair" (1948), and the rather senseless remake of Lang's "M" (1951), the latter replete with awful soundtrack music and LA sunshine. One possible reason that Losey might have gotten involved with this misguided effort might have been to give actors (Luther Adler, Martin Gabel) and other creatives (screenwriter Waldo Salt), who had been or were about to be blacklisted, a shot at getting some work. Losey himself, an unapologetic member of the Communist Party and an important creative associate of Bertolt Brecht, knew that when Brecht was called before HUAC, it was only a matter of time before he would meet the same fate. So before he could be summoned, he fled to London, and never again worked in the United States for the remaining three decades of his life. He began his English period with some low budget films, some of which, like 1954's "The Sleeping Tiger", still hold some interest. It was during this period, however, that he met two men who were going to help him create the reputation that he still carries to this day, that of a director of great style whose films, not surprisingly given his own life experience, were always political without ever dealing directly with politics: the actor Dirk Bogarde, and the legendary playwright Harold Pinter. Their first work together, 1963's "The Servant", is generally regarded as Losey's masterpiece. It is an absolute evisceration of a rotting class system that has yet to realize its time has passed and that the empire on which it was founded has disintegrated. The complex, ever-changing relationship between upper class twit Tony (the wonderful James Fox) and Barrett, the manservant Tony hires (Bogarde), is cold, chilling and surprising right to the very end. Losey continued his obsession with social class in the World War I drama "King and Country" (1964), a film with a setup similar to "Paths of Glory" that in some ways is an even more powerful anti-war statement than Kubrick's film. Losey teamed up again, somewhat less successfully, with Pinter and Bogarde for 1967's "Accident", and with Pinter for one more masterpiece, 1971's "The Go-Between", a gorgeous period piece featuring pitch-perfect performances by Alan Bates, Margaret Leighton, newcomer Dominic Guard as the titular young man, and especially by the never-more-luminous Julie Christie. There are no easy answers when it comes to Losey, but two things come to mind. As John notes in the episode, had Losey not fled persecution and stayed in America, he probably would have been nothing more than a more-talented-than-average studio hack. Exile turned out to be the best thing that could have happened to him, and it may be a direct result of his outsider status that Losey was able to cast an even sharper eye on the follies and perils of the dying English class system more effectively even than the great native British directors of the 1960's. Whatever your thoughts on his work, in the end, it is that aforementioned elegance and intelligence that make Losey's best films worth watching today.

El jefe de Gobierno capitalino señaló que se han puesto en marcha diversas obras para evitar contingencias por inundaciones  Presentará el PAN su propuesta de Reforma al Poder Judicial  Más información en nuestro podcast

"The only film to ever be blacklisted!" Kyle Lampar steps out of the producer role to join us for a conversation about HUAC, the Hollywood Ten, and the only film to ever be blacklisted, Salt of the Earth (1954). Since this unique film was made by creatives caught up in the Red Scare, we begin our episode with a quick history of the Hollywood Blacklist, before getting into the merits, and the flaws, of this landmark work of cinema. Follow the Show:TwitterInstagramWebsite Music by Mike Natale

“I coulda been a contender, I coulda been somebody.” Sophia and Nick are back to discuss another Best Picture-winning classic, On the Waterfront, which is also celebrating its 70th anniversary. Marlon Brando's career-defining performance earned him his first Oscar and one of eight for the film. Listen as they talk about the film's other wins and if it was (or could've been) snubbed elsewhere, Elia Kazan's role with testifying to HUAC and the film's not so subtle hints, and of course their favorite scenes, quotes, and performances. Did the Academy get it right? Which one Oscar would they award the film? Find out and comment with your thoughts! Follow us on Twitter, Instagram, and TikTok @oscarwildpodFollow Sophia @sophia_cimFollow Nick @sauerkraut27Music: “The Greatest Adventure” by Jonathan Adamich

Se busca mitigar riesgos en la actividad Minera: Laura Velazquez Anuncian programa Código Mariposa en el  Hospital Civil de GuadalajaraNo hay manera de que Madura fuera reelecto, asegura ONG 

Femsa reactivó el servicio en sus tiendas y gasolineras en Nuevo Laredo  Mexicanos en Guatemala ¡No quieren volver a México! Alicia Bárcena  Kamala Harris obtiene votos para su nominación presidencial   Más información en nuestro podcast

Join hosts Jason Christian, Anthony Ballas, and Tim Jones as they discuss Irving Pichel's 1950 crime thriller Quicksand, starring Mickey Rooney, Peter Lorre, Jeanne Cagney, and Barbara Bates. The film's plot revolves around Rooney's character making one bad decision after another, shattering his moral compass along the way. The implicit message, heavy-handed in its delivery, is that poverty breeds crime. Pichel was one of the so-called "unfriendly nineteen" brought before HUAC hearings in 1947. That group was whittled down to ten and later dubbed the Hollywood Ten. Pichel was  blacklisted along with the others who refused to testify.  We hope you enjoy this episode and, as always, please subscribe and rate the show if you feel so inclined!

Auto queda prensado entre camiones de carga en CEM Sismo de 4.1 en La Crucecita, OaxacaEn París exigen dejar de utilizar animales en industria cosméticaMás información en nuestro podcast

"Boy, I sure wish there was a sequel to the 1991 HBO Original Movie CAST A DEADLY SPELL, only more of a reboot than a sequel, and with Dennis Hopper taking over the role of detective H. Phillip Lovecraft from Fred Ward, and I hope it's mostly a fumbled metaphor for McCarthyism," you're probably saying to yourself all the time. Well, you will not believe your luck: there is one of those, and for some goddamn reason Paul Schrader directed it! Today we're talking 1994's WITCH HUNT, a film noir pastiche about an alternate postwar Los Angeles where magic is real and the HUAC hearings are about literal witchcraft. Returning to the show from our remarkably similar CASPER episode is Twitter scoundrel Jack Sinclair! Join us for a conversation about, frankly, the 1994 film WITCH HUNT. Wacky ep! Further Reading: "Exorcising His Dark Side" by Daniel Cerone "Once Again, the History of Witch Trials Has Inspired the World's Most Annoying Merch" by Eleanor Janega Snakes In Movies: Witch Hunt (1994) Further Viewing: CAST A DEADLY SPELL (Campbell, 1991)   Follow Jack: https://x.com/LazlosGhost   https://www.podcastyforme.com/ Follow Pod Casty For Me: https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart  

Join hosts Jason Christian, Anthony Ballas, and Tim Jones as they discuss Michael Gordon's 1951 drama I Can Get It for You Wholesale, a film that explores the cutthroat fashion industry in New York City's garment district. It was written by Abraham Polonsky and Vera Caspary and stars Susan Hayward, Dan Dailey, and George Sanders. Gordon and Polonsky were blacklisted during the infamous HUAC anti-communist hearings. After the blacklist lifted, Gordon returned to Hollywood to direct several light-hearted comedies. We hope you enjoy this episode and, as always, please subscribe and rate the show if you feel so inclined!

-Se realiza el desfogue controlado de la presa El Cuchillo en NL -Sheinbaum llama a construir un país juntas como aliadas y como compañeras-Gobierno de Venezuela acusó a la oposición de supuesto plan para derribar un puente -Más información en nuestro podcast

No te pierdas el paseo dominical Muévete en Bici Participa en la bici escuela dominical 

Heavens to Murgatroyd! We're back with another Pride Month episode. This week we are covering Mark Russell's extraordinary 2018 miniseries Exit, Stage Left!: The Snagglepuss Chronicles that sees the effete pink lion turned Tennessee Williams-esque playwright drinking at the Stonewall and battling HUAC. We also talk Snagglepuss (and Hanna Barbara's origins), the character's first animated appearances and what else we want to see from DC's Hanna Barbara Beyond universe.  Ep. 136 What if Snagglepuss (the pink Hanna Barbera cartoon lion) was gay (and also an iconic American playwright)?from Exit, Stage Left!: The Snagglepuss Chronicles (2018 Hanna Barbera / DC Comics)Find us at https://linktr.ee/dearwatchersBefore you exit stage left, be sure to catch this week's Snagglepuss themed episode focusing on Mark Russell and Mike Feehan's remarkable 2018 miniseries. We talk the history of Snagglepuss & Hanna Barbera cartoons, Mark Russell's amazing catalogue of work, Mike Feehan's striking art, the links between this comic and the recent tv miniseries Fellow Travelers, why DC is so good at exploring their characters and multiple ways, the possible Jim Parson future of Snagglepuss and more. Reading / Watch List:"Major Operation" segment, Yogi Bear Show (Hanna Barbera, 1961)Suicide Squad / Banana Splits #1 (DC Comics, May 2017)Exit, Stage Left!: The Snagglepuss Chronicles #1-6 (2018 Hanna Barbera / DC Comics, 2018)Email Podcast@DearWatchers.comFind us & support us at https://linktr.ee/dearwatchersTheme music is Space Heroes by MaxKoMusic (Creative Commons Attribution-ShareAlike 3.0) ★ Support this podcast ★

On this edition of Parallax Views, Rutgers University's Director of the Center for Security, Race, and Rights, Sahar Aziz, returns to the program to discuss the recent House Committee on Education and the Workforce hearings on antisemitism and why they resemble something more akin to the McCarthyite witch hunts of the House on American Activities during the Cold War than an honest effort to combat antisemitism. These hearings, she argues, are more about shutting down political criticism of Israel than fighting antisemitism. We'll also delve into some of the key points covered in Sahar's book The Racial Muslim: When Racism Quashes Religious Freedom and discuss the Islamophobia-industrial complex that's especially been prevalent in America since 9/11 and the Global War on Terror. Moreover, Prof. Aziz will offer her thoughts on the Anti-Defamation League, which has received harsh criticism in recent years with Jonathan Greenblatt at its head, and its activities against pro-Palestinian and Arab American political activists. Most importantly, however we focus on how the House Commitee on Education and the Workforce investigations into antisemitism, which involves figures like Rep. Elise Stefanik and Rep. Virginia Fox, have attacked the Center for Security, Race, and Right as well as academics like Noura Erakat and Juan Cole. Sahar will address some of the allegations made by the House Commitee against CSRR and delve into how this is connected to broader Republican Party efforts to tamper down academic freedom and discourse (ie: how it connects to GOP attacks on DEI and CRT, right-wing promotion of book-banning, etc.).

•⁠ ⁠Eugenio Derbez lanza mensaje electoral y la 4T le dice ¡¡OÍGAME NO!! •⁠ ⁠Alejandra del Moral se va a Morena y desata cólera del PRI •⁠ ⁠Cuitláhuac García le copia las mañas a Javier Duarte

Last week, we discussed the political and legal framework of McCarthyism, but far more important is how it impacted ordinary citizens who were not Soviet agents. McCarthy and HUAC regularly labeled Americans as threats simply for their political beliefs, which were often countercultural at the time. Whether or not their views were correct, they did not deserve the loss of reputation, income, and even personal safety that accompanied a subversive accusation. Hundreds of people lost their jobs, had to move, and even faced legal sanctions for dissenting viewpoints. Some later repaired their reputations as the “Red Scare” faded and its moral panic subsided, but many felt McCarthyism's lingering effects for the rest of their lives. This week, we cover part two of our series on McCarthyism. --- Support this podcast: https://podcasters.spotify.com/pod/show/15minutehistory/support

[originally published on Patreon Dec 18, 2022] Today's the third episode examining the life of Leon Trotsky, and I'm joined by Comrade Chad. We discuss Trotsky's activities in exile including work with the Soviet Opposition Bloc, terrorist actions, and the ensuing show trials. We particularly discuss the curious case of Genrikh Lyushkov, who overlaps with some of the Japanese intrigue from prior episodes, as well as more about the Promethean League, and everyone's favorite topic: outright collaboration with the fascists.  We cover the French Turn, touch on the Chinese and Vietnamese Trots, try not to relitigate the Spanish Civil War, and introduce the cast of characters (pay attention) who will become important in the US Trotskyist movement. Finally, we discuss Trotsky's time in Mexico, including the very impartial American Committee for the Defense of Leon Trotsky and some outright snitch shit for HUAC. Not the end of the Trotskyism series but the end for Leon Trotsky. Premium Episode 55 Songs: Сталину Слава! by Dolmatovsky / Shostakovich War of the Gods by Amon Amarth No More Heroes by the Stranglers Survival by Shakewell and Fat Nick

[originally published on Patreon Nov 7, 2022] Today's the second of two episodes on the hardboiled novelist Dashiell Hammett. Today I discuss several Hammett's wartime experiences, his tuberculosis, the tail end of his private detective career, and his writing career. Hammett went to Hollywood and became a committed communist, and was targeted by McCarthy and HUAC. Fundamentally, though, we can learn much from Hammett. Songs: I'm No Communist by Lulu Belle & Scotty When I'm Gone by Phil Ochs