Podcasts about Hungry Eyes

 From co-writing “(I've Had) The Time of My Life” and “Hungry Eyes” to discovering Maroon 5 in their early days, Oscar and Golden Globe winner John DeNicola has seen it all. In this episode of the Someone You Should Know Podcast, John shares the stories behind the hits, his journey from jazz bassist to label founder, and why he stepped into the spotlight with his own music decades later. John DeNicola is Someone You Should Know. Click here to buy Rik Anthony a cold one.Show Links:Click here to go to John's WebsiteClick here to go to John's FacebookClick here to go to John's InstagramClick here to go to Omad Records' YouTube ChannelClick here to go to Omad Records' FacebookClick here to go to Omad Records' InstagramClick here to go to Omad Records' WebsiteAll music used with permission from the artistSomeone You Should Know 2025 // CatGotYourTongueStudios 2025Feedback: Send us a text.How to Contact Us:Official Website: https://Someoneyoushouldknowpodcast.comGmail: Someoneyoushouldknowpodcast@gmail.comTwitter: @RIKANTHONY1Facebook: https://www.facebook.com/rikanthonyInstagram: https://www.instagram.com/someoneyoushouldknowpodcast/LinkedIn: https://www.linkedin.com/in/rik-anthony2019/TikTok: @SomeoneYouShouldKnow2023YouTube: https://www.youtube.com/@someoneyoushouldknowpodcastThank you for listening!Theme music "Welcome to the Show" by Kevin MacLeod was used per the standard license agreement.

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 11ú lá de mí an Mhárta, liomsa Lauren Ní Loingsigh. I 1985 tháinig nuacht iontach amach do chailín Éireannach darbh ainm Cathy Clair a fuair obráid iontach san ospidéal I Meiriceá. Rugadh í le ach ordóg ar a lámh chlé agus dúradh léi nach raibh dochtúirí in Éirinn ábalta aon rud a dhéanamh – ach fuair sí lámh nuair a bhí sí I Meiriceá. I 2008 bhí an costas de rudaí ag dul suas le 50% in aerfort Bhaile Átha Cliath. Bhí an costas ag ardú le seiceáil isteach ach dúradh nach raibh sé chun teacht isteach ar feadh tamall. I 1997 bhí 36 páiste ón Bhealarúis ag fáil réidh chun teacht chuig an chontae sa samhradh. Tháinig siad chuig Durlas leis an eagraíocht Children of Chernobyl. I 2005 chuid is mó de na láthair timpeall an chontae bhí siad lán mar tháinig a lán daoine chuig an chontae chun éisteacht le Johnny McEvoy, Foster and Allen agus Rebel Hearts. Sin Queen le Crazy Little Thing Called Love – an t-amhrán is mó ar an lá seo i 1980. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1997 fuair Paul McCartney an t-ainm Sir Paul ó Queen Elizabeth II de bharr go raibh sé an cáiliúil sa tionscal an cheoil. Tharla sé ag Buckingham Palace I Londain. Níor tháinig Linda McCartney – a bean chéile de bharr go raibh ailse chíche aici. I 2024 fuair amhránaí Eric Carmen bás ag aois 74. Amhráin cáiliúil a bhí aige ná Go All The Way, All By Myself, She Did It agus Hungry Eyes. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh aisteoir Terrance Howard I Meiriceá I 1969 agus rugadh aisteoir Jodie Comer sa Bhreatain ar an lá seo I 1993 agus seo chuid de na rudaí a rinne sí. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo.

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 11ú lá de mí an Mhárta, liomsa Lauren Ní Loingsigh. I 1985 tháinig nuacht iontach amach do chailín Éireannach darbh ainm Cathy Clair a fuair obráid iontach san ospidéal I Meiriceá. Rugadh í le ach ordóg ar a lámh chlé agus dúradh léi nach raibh dochtúirí in Éirinn ábalta aon rud a dhéanamh – ach fuair sí lámh nuair a bhí sí I Meiriceá. I 2008 bhí an costas de rudaí ag dul suas le 50% in aerfort Bhaile Átha Cliath. Bhí an costas ag ardú le seiceáil isteach ach dúradh nach raibh sé chun teacht isteach ar feadh tamall. I 1983 tháinig an nuacht amach go mbeadh iasachtaí de thimpeall 2.6 milliúin punt ag dul chuig tógáil agus méadú de mhonarcha sa chontae. I 2005 tháinig John Travolta chuig an chontae chuig aerfort na Sionainne. Stop sé anseo de bharr go raibh siad ag iarradh athbhreoslú a dhéanamh ar an eitleán tar éis teacht ó Londain. Sin Queen le Crazy Little Thing Called Love – an t-amhrán is mó ar an lá seo i 1980. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1997 fuair Paul McCartney an t-ainm Sir Paul ó Queen Elizabeth II de bharr go raibh sé an cáiliúil sa tionscal an cheoil. Tharla sé ag Buckingham Palace I Londain. Níor tháinig Linda McCartney – a bean chéile de bharr go raibh ailse chíche aici. I 2024 fuair amhránaí Eric Carmen bás ag aois 74. Amhráin cáiliúil a bhí aige ná Go All The Way, All By Myself, She Did It agus Hungry Eyes. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh aisteoir Terrance Howard I Meiriceá I 1969 agus rugadh aisteoir Jodie Comer sa Bhreatain ar an lá seo I 1993 agus seo chuid de na rudaí a rinne sí. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo.

Penelope [f19] has undergone a glow-up, but the results haven't been as successful as she hoped. Turns out talking to people isn't as easy as writing about them. Enter Colin [m24] who, as an aspiring travel erotica writer, knows about flirtation – and he's happy to provide some lessons. Meanwhile Fran tries to find a man, Philippa and Prudence learn about the birds and the bees, and Queen Charlotte is searching for a sparkler. It's episode two and it ends with a kiss… Featuring: - Mirrors (literal and metaphoric) - Lies - A man's boob-count - Icks (there are a few) - Freedom(?) of marriage - Personal growth - Highlighter and hyperventilation Here are is the media we talk about in this episode: - Queen Charlotte, a tv series - The Bridgerton books, a series by Julia Quinn - Romancing Mr Bridgerton, Bridgerton series 4, by Julia Quinn - Bridgerton, Season One - Bridgerton, Season Two - What Would Danbury Do, Season One, a podcast - Pride and Prejudice, a novel by Jane Austen - Jealous, a song by Nick Jonas - While You Were Sleeping, a 1995 film - JJ Abrams, a film director Our guest host this episode is the wonderfully intelligent and very funny Melanie Saward. You can hear more from Melanie by following her on instagram and tiktok. For your TBR, Mel brought two romantic comedies. She recommends The Prospects by KT Hoffman and Out on a Limb by Hannah Bonam-Young. Melanie's first rom-com, Love, Unleashed, is also available (and a delight!) Don't forget you can find us on facebook @bridgertonpod and instagram @wwddpod and join the conversation using the hashtag #WWDDpod. You can also leave us a rating or review on your favourite podcast provider. Leaving a review makes your eyes shine brighter. This episode was recorded on the traditional and unceded land of the Jagara, Yuggera, Ugarapul, Wurundjeri, and Boonwurrung people. Our editor is Ben McKenzie of Splendid Chaps Productions. If you need production work completed, you can find them here: splendidchaps.com

Travis Hunter's draft status after winning the 2024 Heisman trophy. Bad hot takes on the Buffalo Bills prior to their successful 2024 season. Live from The Front Yard inside Ellis Island Casino, SiriusXM's RJ Clifford joins Cofield & Company to talk about the Las Vegas Raiders' QB options going into the 2025 season, detail the biggest needs on the roster outside of QB for the Raiders, and recap Colby Covington's loss to Joaquin Buckley at UFC Fight Night.  

Below The Belt Show (www.belowthebeltshow.com) presents another awesome show featuring our first interviews from Awesome Con (www.awesomecon.com) in Washington DC. It a Breaking Bad special we welcome Breaking Bad actor Steven Michael Quezada and the Salamanca Twins, Luis and Daniel Moncada! In an exclusive interview Steven talks about how Breaking Bad has changed his career, working as a stand up comic and comedy club owner and much more! And in a very entertaining interview Luis Moncada along with his brother Daniel, use let's just say flowery language to talk about their Breaking Bad journey and their career, the experience on the Con circuit. Don't miss it or the Salamanca Twins will off you! BTB's host with the most Al Sotto brings to you another entertaining program! In addition it's an A-Team panel as BTB Original "The King of the 80s" Chachi McFly, Mike "The General" Zad and "The Once and Future King" Martin Lopez join the panel! The guys talk about the Oscars and much more! Song Credits Classic Cut - Eric Carmen "Hungry Eyes"

Story: Hungry Eyes Author: BrokePerception Rating: Mature Site link: https://archiveofourown.org/works/419534 Read by: kristinsauter Summary: Michaela and Sully end up lost while looking through the woods for Brian, even though the latter has returned home already. A storm is coming closer, keeping Matthew from warning both of them. Michaela/Sully ***Every effort was made to reach out to this author for permission but we weren't able to make contact. In the event they were to reach out to us and request it, this will be taken down and as such this track will NOT be available for download. Should contact be made and permission given, the option to download will be offered.***

He dreamed of something better, and my mama's faith was strong. Us kids were just too young to realize.

Fritz Leiber (1910-1992) was an influential American writer of fantasy, horror, and science fiction. He is best known for his sword-and-sorcery stories and his novel "Conjure Wife" (1943). Leiber's works often combined elements of fantasy, horror, and science fiction, and he coined the term "sword and sorcery." He is widely regarded as one of the most important figures in modern speculative fiction. "The Smoke Ghost" (1941) is a key example of urban weird fiction, blending horror, fantasy, and social commentary. The story explores themes of urban alienation and the horrors of modernity, as seen in other works like H.F. Arnold's "The Night Wire" (1926) and Leiber's "The Girl with the Hungry Eyes" (1949). These stories tap into the sense of disconnection and vulnerability that people experience in the face of rapid urbanization and technological change. Leiber's background in psychology and interest in Carl Jung's works are evident in "The Smoke Ghost." The titular entity can be interpreted as a manifestation of the Jungian Shadow archetype, representing the repressed aspects of the protagonist Catesby Wran's psyche and the collective unconscious of modern urban society. The climax of the story, in which Wran accepts the smoke ghost's dominion, can be seen as a twisted individuation process. "The Smoke Ghost" shares similarities with M.R. James's ghost stories, featuring a protagonist haunted by a supernatural entity embodying his deepest fears and anxieties. Both Leiber and James suggest that even rational individuals are not immune to the lure of the supernatural. However, Leiber's story is firmly rooted in the modern urban landscape, reflecting the anxieties of a rapidly changing world. Leiber's story also bears the influence of H.P. Lovecraft and cosmic horror. The smoke ghost can be seen as a manifestation of the cosmic horror lurking beneath the surface of modern urban life, defying easy categorization and understanding. The story's bleak ending echoes the cosmic pessimism in Lovecraft's work. However, Leiber brings the horror into the heart of the modern city, creating a kind of urban cosmic horror that transplants Lovecraftian themes into the gritty, mid-20th century metropolis. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week, hosts Jim DeRogatis and Greg Kot share some new music that's flying underneath the mainstream radar - buried treasures! They'll also pay tribute to Karl Wallinger and Eric Carmen.Join our Facebook Group: https://bit.ly/3sivr9TBecome a member on Patreon: https://bit.ly/3slWZvcSign up for our newsletter: https://bit.ly/3eEvRnGMake a donation via PayPal: https://bit.ly/3dmt9lUSend us a Voice Memo: Desktop: bit.ly/2RyD5Ah Mobile: sayhi.chat/soundops Featured Songs:Terra Black, "Black Flames of Funeral Fire," All Descend, Self-Released, 2023The Beatles, "With A Little Help From My Friends," Sgt. Pepper's Lonely Hearts Club Band, Parlophone, 1967BODEGA, "Tarkovski," Tarkovski (Single), Chrysalis, 2024New Age Healers, "The Spin Out," The Spin Out (Single), Self-Released, 2024Microwave, "Bored of Being Sad," Let's Start Degeneracy, Pure Noise, 2024Itasca, "Imitation of War," Imitation of War, Paradise of Bachelors, 2024Kneecap, "Sick In the Head," Sick In the Head (Single), Heavenly, [PIAS], 2024Mandy, "High School Boyfriend," High School Boyfriend (Single), Exploding in Sound, 2024Burnt Sugar The Arkestra Chamber, "* inna-Lisala-Over-Oakanda," Angels Over Oakanda, self-released, 2021Goat, "Raised by Hills," Medicine, Rocket, 2023Vincent Blackshadow, "I Think Not," I Think Not (Single), Former Priest Productions, 2024Destroy Boys, "Shadow (I'm Breaking Down)," Shadow (I'm Breaking Down) (Single), Hopeless, 2023Instant Crush, "A Cinematic Exit!," A Cinematic Exit! (Single), Share It Music, 2024The Anti-Queens, "Doomed Again," DISENCHANTED, Stomp!, 2024Creation Rebel, "Swiftly (The Right One)," Hostile Environment, On-U Sound, 2023World Party, "Put The Message In The Box," Goodbye Jumbo, Ensign, 1990World Party, "Ship of Fools," Private Revolution, Chrysalis, 1987The Raspberries, "Go All The Way," Raspberries, Capitol, 1972Eric Carmen, "Hungry Eyes," Dirty Dancing: Original Soundtrack from the Vestron Motion Picture, RCA, 1987Led Zeppelin, "Immigrant Song," Led Zeppelin III, Atlantic, 1970See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Author/historian David J. Schow

Author/historian Scott Skelton

Brand new one again this week as always out there!  The brothers sit down and catch up on all the the good stuff out in the world.  Robert Pattinson's Batman sequel has been delayed for over a year.  The Scream horror franchise is getting a much needed cast member back for the next movie.  The Oscars happened and we take a look at who won.  We talk about the comedy Ricky Stanicky and give our thoughts and reviews after we watched on Amazon.  We pay our respects to another music legend that left us this past week.  Then we jump in and review all of the insanity of NFL free agency and all the moves teams have made.  And there's one team that did nothing to improve their roster at all.  Jumping over we check in on the Texas Rangers spring training and who we think is going to make the team.  Then we give our Texas Rangers 2024 record predictions and how we think the team is going to do.  Ending it all on a crazy story about a man in the movie theater who did something that will make you cringe out there.  Hit that play button for us and get your laughs in with us!  Be sure you follow us on all socials and subscribe to our YouTube channel out there!  Cheers!https://linktr.ee/eskimobrotherspodcastwww.YouTube.com/@eskimobrotherspodcast

This week is a tribute to Eric Carmen. Jeff will miss him. Eric Howard Carmen "(August 11, 1949 – March 2024) was an American singer-songwriter, guitarist and keyboardist.[1] He was the lead vocalist of the Raspberries, who had a million-selling single with "Go All the Way",[2] and then as a solo artist had hits with "All by Myself", "Never Gonna Fall in Love Again", "She Did It", "Hungry Eyes", and "Make Me Lose Control".[3]" Wikipedia.Enjoy this cup of coffee with Mary B's 5th son today and everyday. But salute with black coffee this great artist.  -IF YOU LIKE THIS WEEKS EPISODE HELP US GROW THIS PODCAST BY RATING, SUBSCRIBE, AND FOLLOW US ON INSTAGRAM @MARYBS5THSON. FINALLY, PLEASE SHARE THIS PODCAST WITH THOSE YOU LOVE TO HELP US CONTINUE TO CREATE CONTENT FOR YOU TO ENJOY EVERY SUNDAY MORNING OR ANYTIME! 

Pop/Rock artist Eric Carmen, suddenly passed away weekend of 3/9-3/10. He was lucky to write, produce, play musical instruments, and sing like the music he admired. Making it as Raspberries' frontman and his own solo career, I tribute his life in 5 of these popular hits he was involved in. Theme Song: "Dance Track", composed by Jessica Ann CatenaEric Carmen's websiteTribute Playlist:"Go All the Way" - Raspberries (1972)"All By Myself" (1975)"All By Myself" - Celine Dion (1996)Celine Dion interview clip on What Happens Live (2019)"Almost Paradise (Love Theme from Footloose)" - Mike Reno & Ann Wilson"Almost Paradise" in Footloose"Almost Paradise" - Eric Carmen & Merry Clayton (1988)Footloose (1984)Footloose (2011)"Hungry Eyes" (1987-1988)"Hungry Eyes" sceneDirty Dancing (1987)"Make Me Lose Control" (1988)Related Episode: Ep. 164 - Irene Cara's Top 3 Hits

"X" marks the spot. In today's episode, it led to an ego-bruising delay of our scheduled recording. One feature of FC2.0 is that we Davids process our conflicts in real time, hoping we might bring benefit to listeners regardless of the personal pain. Or the giggles. We're ambidextrous that way…though David fancies himself a joy-eater. Maybe that's why he felt free to drag Dr Dave into yet another defense of his soon-to-be-recycled "Hungry Eyes" birthday picture. 

pWotD Episode 2506: Eric Carmen Welcome to popular Wiki of the Day where we read the summary of a popular Wikipedia page every day.With 395,694 views on Tuesday, 12 March 2024 our article of the day is Eric Carmen.Eric Howard Carmen (August 11, 1949 – March 2024) was an American singer-songwriter, guitarist and keyboardist. He was first known as the lead vocalist of the Raspberries. He had numerous hit songs in the 1970s and 1980s, first as a member of the Raspberries (who had a million-selling single with "Go All the Way"), and then with his solo career, including hits such as "All by Myself", "Never Gonna Fall in Love Again", "She Did It", "Hungry Eyes", and "Make Me Lose Control".This recording reflects the Wikipedia text as of 01:53 UTC on Wednesday, 13 March 2024.For the full current version of the article, see Eric Carmen on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Niamh Neural.

In the 8 AM Hour: Larry O'Connor and Julie Gunlock discussed: WMAL GUEST: 8:05 AM - INTERVIEW - KASH PATEL - former federal prosecutor, former Deputy Assistant to President Trump and former Chief of Staff at the Department of Defense and author of “Government Gangsters” ON FRIDAY: Jan 6 committee allegedly suppressed testimony showing Trump admin pushed for National Guard presence: report ON MONDAY: Driver says Trump didn't lunge for wheel on Jan. 6 in newly released testimony Special Counsel Robert Hur to testify publicly on findings from Biden classified records probe Lady Gaga slams critics of her International Women's Day celebration with Dylan Mulvaney: ‘Hatred is violence' Teenage girl suspect in violent viral Missouri attack arrested WMAL GUEST: 8:35 AM - INTERVIEW - JORDAN HARMON - President of Angel Studios – discussed the new Cabrini film. Website: Angel.com/Cabrini Facebook: https://www.facebook.com/AngelStudios.inc Instagram: https://www.instagram.com/cabrinifilm/ ‘Hungry Eyes' singer Eric Carmen dead at 74 Where to find more about WMAL's morning show:  Follow the Show Podcasts on Apple podcasts, Audible and Spotify. Follow WMAL's "O'Connor and Company" on X: @WMALDC, @LarryOConnor,  @Jgunlock,  @patricepinkfile and @heatherhunterdc.  Facebook: WMALDC and Larry O'Connor Instagram: WMALDC Show Website: https://www.wmal.com/oconnor-company/ How to listen live weekdays from 5 to 9 AM: https://www.wmal.com/listenlive/ Episode: Tuesday, March 12, 2024 /  8 AM Hour  O'Connor and Company is proudly presented by Veritas AcademySee omnystudio.com/listener for privacy information.

Sermon: Hungry Eyes (5.7.23) by Leon Valley Church of Christ

We're thinking big and talking miniatures, reading and listening to a book simultaneously, right-size restaurant empires, the comeback of color analysis, and a stellar Father's Day gift for all the planners out there. A new-favorite mini restaurant empire: Mason Hereford's New Orleans spots Turkey and the Wolf, Molly's Rise and Shine, and Hungry Eyes (see also: his wonderful cookbook, written with JJ Goode). Some other faves: Ann Kim's in Minneapolis, Suzanne Goin and Caroline Styne's in L.A., Nancy Silverton's (also) in L.A., Marc Vetri's in Philly, and the Hart's/Cervo's/The Fly trifecta in NYC.More on color analysis via Calin Van Paris's story for Vogue. Related: Kibbe types, c/o The Concept Wardrobe and Vox. So much on miniatures! The Guardian article “‘A place where millennials can own a home': why doll's houses are having a big moment” by Nicole Cooley, Shrunk magazine, DWR's Vitra miniatures collection and Champagne Chair Contest, Yuta Segawa's vases, Tatsuya Tanaka, and the (40th anniversary!) Marc Jacobs show. We're seeing bitsy charms on all sorts of things, including Susan Alexandra Tiny Joys Lucky Charms, Haricot Vert “Dear Diary” Charming Bag, Mother Denim Lucky Charms Beanie, and Hello Adrienne Bite Size Dangles. And let's pleeease not forget Mini Brand magnets. Share your favorite small restaurant empires, color analysis thoughts, fave minis, and more via 833-632-5463, podcast@athingortwohq.com, @athingortwohq, or our Geneva. Get your chocolate fix with Charles Chocolates—15% off your first purchase with the code ATHING15.YAY.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

On episode four of the Between Bites podcast, Nina Compton and Larry Miller are joined by Chef Mason Hereford from the acclaimed New Orleans restaurants Turkey and the Wolf, Molly's Rise and Shine, and Hungry Eyes. Chef Mason shares how he scaled his career from a bar bouncer to a restaurant entrepreneur with innovative sandwiches as the foundation. The trio talk about Mason's Iron Chef experience, the lost-at-sea supply chain issues surrounding his New York Times bestseller Turkey and the Wolf: Flavor Trippin' in New Orleans, and the mutual love and appreciation that Mason and the city share.See omnystudio.com/listener for privacy information.

The group fight their way through the cave system and attempts to make their escape!P.S. sorry for the wait love you all Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

It's another chapter in The Dialogue Series - A chill ‘n chat with authors, fellow podcasters, musicians, and more. Two very special guests joining us: Stacy Widelitz and John DeNicola.Widelitz is an Emmy nominated composer and songwriter. He co-wrote the smash hit from the soundtrack to the 1987 film Dirty Dancing – “She's Like The Wind” sung and co-written by the film's star Patrick Swayze. Widelitz was nominated for an Emmy for his contributions to ABC's World of Discovery, and has written compositions for various films and made-for-TV movies, including Disney's Pocahontas II. DeNicola is an Oscar & Golden Globe winning, Grammy-Nominated songwriter and producer. He is the co-writer behind two of the most enduringly successful songs in music history - “(I've Had) The Time of My Life” and “Hungry Eyes”, also from the Dirty Dancing soundtrack. Widelitz and DeNicola are here to talk about their amazing careers, their songwriting process, and the massive success of Dirty Dancing. Widelitz has a great story about meeting Ray Manzarek of The Doors, and his friendship with Jeff “Skunk” Baxter of Steely Dan and Doobie Brothers fame, who is also a missile defense consultant! DeNicola tells us about his love of The Beatles, how he helped to launch the career of Maroon 5, and the new documentary he's working on about on Peter Lewis of Moby Grape.StacyWidelitz.comStacy Widelitz's Instagram PageJohn-Denicola.comOmadRecords.comFourth Wall / Omad Records Merch PageWatch "Float On Hope" Featuring the 'Mouse From Manaus'Dirty Dancing Demos Facebook PageTaylorSimonKing.com----------BookedOnRock.com The Booked On Rock YouTube Channel Follow The Booked On Rock with Eric Senich:FACEBOOKINSTAGRAMTIKTOKX Find Your Nearest Independent Bookstore Contact The Booked On Rock Podcast: thebookedonrockpodcast@gmail.com The Booked On Rock Music: “Whoosh” by Crowander / “Last Train North” & “No Mercy” by TrackTribe

Aus dem Herzen der Natur begrüßen euch Manu und Michel zu dieser neuen Ausgabe von Hagrids Hütte. Ein Podcast zum hören. Und damit kommen wir auch schon zur Empfehlung des Tages: Hört euch diese Podcastfolge an. Die beiden Dösbaddel aus Darmstadt haben mit viel Spaß, Abschweifern und Spoilern das nächste Kapitel für euch aufbereitet. Wie immer auch quatsch gemacht, aber auch bisschen Ernst geblieben. Viel Freude beim Hören. Werbung: https://www.clark.de/landing/social/hagrids_huette/ Werbung: korodrogerie.de Code: HÜTTE für 5% Rabatt!

Intro song: "Girls Just Wanna Have Fun" by Cyndi Lauper (from Girls Just Want to Have Fun)5. "Hungry Eyes" by Eric Carmen (from Dirty Dancing)4. "I Am a Man of Constant Sorrow" by The Soggy Bottom Boys (from Oh Brother, Where Art Thou?)3. "Maniac" by Michael Sembello (from Flashdance)2. "The Power of Love" by Huey Lewis and the News (from Back to the Future)1. "Footloose" by Kenny Loggins (from Footloose)Countdown Wrap-Up:Decade CountGenre UpdateOutro song: "(I've Had) The Time of My Life" by Bill Medley & Jennifer Warnes (from Dirty Dancing)Vote for your favorite song from today's episodeAnd if you haven't:Vote on Episode 1Vote on Episode 2Vote on Episode 3Vote on Episode 4

Crosstalk with Mason and Ireland started things off. Then, Beto Duran and Marcas Grant, who are in for Sedano and Kap, started the show with Beto talking about his very long day where he's just eating his first meal during the 2nd segment. Also, are the Dodgers considered "underdogs?" Plus, some talk on the ESPN.com story of Antonio Brown "stiffing" the players on his National Arena League team he owns.   Learn more about your ad choices. Visit megaphone.fm/adchoices

Dirty Dancing is the Born to Watch attempt at getting out of our comfort zone, well for two of us. We will let you decide which team member isn't going to put Baby in a corner.It's rare for a film to capture the essence of a generation, to become a cultural touchstone that transcends time and speaks to audiences across generations. "Dirty Dancing," directed by Emile Ardolino and released in 1987, is one such cinematic gem that has managed to do just that. With its infectious energy, heartwarming romance, and a soundtrack that's become synonymous with the era, "Dirty Dancing" continues to sway hearts and ignite conversations even decades after its release.Set in the summer of 1963, the film whisks us away to Kellerman's, a family resort nestled in the Catskill Mountains. This seemingly idyllic retreat becomes the backdrop for the transformational journey of Frances "Baby" Houseman, portrayed brilliantly by Jennifer Grey. Baby is an idealistic young woman on the brink of adulthood, her world view shaped by her upper-middle-class upbringing and the impending societal changes of the 1960s. Her life takes a thrilling turn when she stumbles upon the staff quarters and encounters the vivacious dance instructor Johnny Castle, played by the charismatic Patrick Swayze.The film's title itself carries a provocative undertone, and indeed, dance serves as a metaphor for the hidden desires, social boundaries, and self-discovery that drive the narrative. As Baby watches the forbidden and electrifying world of "dirty dancing" unfold before her eyes, her journey from innocence to self-assuredness mirrors the societal shifts happening beyond the dance floor. The dance sequences are nothing short of mesmerising, as Swayze and Grey's chemistry ignites the screen, and their moves convey emotions that words often fail to express.What truly elevates "Dirty Dancing" beyond its dazzling dance numbers is its unapologetic exploration of class, gender, and identity. The backdrop of the early 1960s allows the film to address these issues with a subtle yet poignant touch. Baby's encounter with the working-class staff challenges her preconceived notions, and her blossoming relationship with Johnny defies societal expectations. The dance routines themselves, at times sensual and raw, are symbolic of breaking free from the constraints of traditional roles.Jennifer Grey's portrayal of Baby is a masterclass in character development. Her transition from a sheltered girl to a confident woman is believable and relatable. Grey's ability to convey vulnerability, determination, and passion draws the audience into Baby's world, making us cheer for her every step of the way. Patrick Swayze's Johnny is a complex character, harbouring dreams and burdens that go beyond his tough exterior. Swayze's magnetic presence brings depth to the character, making Johnny more than just a dance instructor – he becomes a symbol of aspiration and rebellion.The supporting cast adds layers of charm and intrigue to the film. Jerry Orbach as Dr. Jake Houseman, Baby's father, delivers a touching performance as a well-intentioned parent struggling to come to terms with the changes his daughter is experiencing. The late, great actress Kelly Bishop shines as Marjorie Houseman, portraying the matriarch with a mix of grace and quiet understanding. And who could forget the scene-stealing turn by Cynthia Rhodes as Penny, Johnny's dance partner, whose predicament becomes a catalyst for Baby's transformation?The film's soundtrack deserves special mention, as it's impossible to discuss "Dirty Dancing" without acknowledging its impact. The music not only accompanies the dance sequences but becomes an integral part of the storytelling. Tracks like "Time of My Life" by Bill Medley and Jennifer Warnes and "Hungry Eyes" by Eric Carmen infuse the film with a sense of nostalgia and romance, capturing the essence of the era and remaining etched in the memories of viewers."Dirty Dancing" is a quintessential coming-of-age story, a tale of love transcending social barriers, and a celebration of the power of dance to liberate the spirit. It's a film that reminds us that change is inevitable, that stepping out of our comfort zones can lead to remarkable transformations, and that true empowerment comes from embracing our passions and defying expectations. It's no wonder that the film's iconic line, "Nobody puts Baby in a corner," has become a rallying cry for individuality and self-expression.In conclusion, "Dirty Dancing" is a cinematic treasure that continues to captivate audiences with its timeless themes, unforgettable performances, and mesmerising dance sequences. The film's ability to bridge generations and evoke emotions speaks to its enduring relevance. Whether you're watching it for the first time or revisiting it for the umpteenth time, "Dirty Dancing" will always have the power to make you laugh, cry, and dance like nobody's watching.Please follow the Podcast and join our community at https://linktr.ee/borntowatchpodcast If you are looking to start a podcast and want a host or get guests to pipe in remotely, look no further than Riverside.fmClick the link below https://riverside.fm/?utm_campaign=campaign_1&utm_medium=affiliate&utm_source=rewardful&via=matthew

John DeNicola and Stacy Widelitz are two esteemed figures in the world of music, each leaving an indelible mark through their songwriting, musical prowess, and creative collaborations.John DeNicola, a distinguished singer-songwriter, has solidified his legacy with an Academy Award and a Golden Globe Award to his name. Recognized for his exceptional talent, he co-wrote two iconic tracks for the legendary film "Dirty Dancing" – "(I've Had) The Time Of My Life" and "Hungry Eyes," in collaboration with Franke Previte. These timeless classics have resonated with millions, becoming synonymous with the film's magic. His debut solo album featured a remarkable composition journey that began with the Roland Juno 108 keyboard, as evident in the original demo of the songs. John further enriched his musical journey by releasing a second album and engaging in collaborations with notable artists like John Waite, who brought us hits like "Missing You."In addition to his songwriting accomplishments, John DeNicola played an instrumental role in discovering the talent of Maroon 5, showcasing his ear for groundbreaking artists.Stacy Widelitz, another luminary in the music realm, co-created the beloved ballad "She's Like The Wind," a significant part of the "Dirty Dancing" soundtrack. The song, co-written with his longtime friend Patrick Swayze, achieved remarkable success, reaching the third position on the US Billboard charts and securing the number one spot on the Adult Contemporary chart. Stacy's composition skills were also behind the unforgettable theme song of the 1982 Regis Philbin Show on NBC, showcasing his early aptitude for crafting captivating melodies.Stacy's talents extended beyond songwriting, as he ventured into scoring for features and numerous made-for-TV movies, further showcasing his diverse musical abilities. His notable contributions encompass scoring and composing dance music for the film "One Last Dance," earning him a Best Music Award at the 2004 Nashville Film Festival. He even co-wrote the original version of the Beverly Hills 90210 theme song, a lesser-known but impactful part of his musical journey.Beyond music, Stacy's creative spirit led him to excel in photography, with his works exhibited globally. Drawing inspiration from film noir and classic black-and-white street photography, Stacy's photography captured the essence of unfiltered moments and natural light, creating evocative visual narratives.Stacy's commitment to the music community extended to his leadership roles, serving as president of esteemed organizations such as the Grammy-nominated ALIAS Chamber Ensemble and Nashville Opera Guild. His wide-ranging collaborations and experiences have intertwined with the fabric of musical history, making John DeNicola and Stacy Widelitz invaluable contributors to the world of entertainment. Hosted on Acast. See acast.com/privacy for more information.

There's a lot of food chatter on this episode. Talking about food from 2003 and 2023. Of course there are endless hotties to talk about. Amanda talks about learning the drums and guitar so she can be that cool badass music playing gir, and randos are trolling her on AIM. Jenae's kiss potential is hot and cold, he's a hard to read teenage boy and she's thinking she's going to move on to some fresh meat. Yur girls are going to get an IKEA soon in 2003 suburbia, and they're consumer hearts are psyched. All the teenage shade this episode is thrown at British dentistry and Hilary Duff.

Today on The Arwen Lewis Show - Arwen interviews Singer, Songwriter and producer John DeNicola! John won both an Academy Award and Golden Globe Award for writing "I've Had The Time Of My Life" from the twenty-million-selling original soundtrack to the massive hit film "Dirty Dancing. " John DeNicola was also nominated for a Grammy Award for co-writing "I've Had The Time Of My Life, " and DeNicola was named "ASCAP Songwriter Of The Year" for his hit songs in "Dirty Dancing." John DeNicola also co-wrote another massive hit single, the song "Hungry Eyes" for the "Dirty Dancing" soundtrack, which then reached Number 4 on the Billboard Singles Chart for recording artist Eric Carmen. #tunein! https://john-denicola.com/bio On Instagram - @johndenicolamusic https://linktr.ee/omadrecords/ The Arwen Lewis Show Host | Arwen Lewis Executive Producer | Jeremiah D. Higgins Producer - Sound Engineer - Richard “Dr. D” Dugan https://arwenlewismusic.com/ www.thejeremiahshow.com @jeremiahdhiggins https://linktr.ee/jeremiahdhiggins

SCP Foundation EUCLID class object, SCP-080: Hungry Eyes This podcast is sponsored by BetterHelp. Go to betterhelp.com/scp today to get 10% off your first month! This story was derived from https://scp-wiki.wikidot.com/scp-080 and is released under Creative Commons Sharealike 3.0. https://creativecommons.org/licenses/by-sa/3.0/ Author: Lucas Click Discover the Author's impressive series of SCP Tales here: https://www.amazon.com/kindle-vella/story/B0BVWJFGV3 Check out more of Mr. Click's work here: newpulptales.com DISCLAIMER: This episode contains explicit content. Parental guidance is advised for children under the age of 18. Listen at your own discretion. #thescpexperience #scp #scpfoundation #scpencounters #securecontainprotect #scpstories #scpexplained #whatisscp Learn more about your ad choices. Visit megaphone.fm/adchoices

Finally, the guys get to dissect someone that Seth has had on his creep-dar from the jump: Eric Carmen with the Dirty Dancing hit Hungry Eyes. A classic of "I know you want me, so you may as well give in" complete with having someone "in [his] sights." For the love of Christ.

THE TIME OF YOUR LIFE Nobody puts baby in the corner. And nobody ignores our review of 1980s classic Dirty Dancing. With so many songs, we narrow it down to Patrick Swayze's "She's Like the Wind", Eric Carmen's "Hungry Eyes" and Bill Medley & Jennifer Warnes' "(I've Had) The Time of My Life". Alex gets to call his close friend "TH", Ben is a gold medal dancer and Dietrich auditions for Smooth Radio. Follow us on Twitter: @TSFTMpod To Infinity, like, share and subscribe. Did you enjoy the episode? Then please consider leaving a 5 star review wherever you get your podcasts. It means a great deal to us and makes it easier for other potential listeners to find us.  Want to support us further? You can do this on Patreon from £1 ($1.50) a month: https://Patreon.com/TSFTM or via our merch store: https://TeePublic.com/user/TSFTM Thank you! Timestamps: 02:04 - What Have We Been Watching 07:43 - History10:53 - Movie Discussion24:08 - Overall Soundtrack27:00 - "She's Like the Wind" Discussion33:27 - "Hungry Eyes" Discussion40:46 - "(I've Had) The Time of My Life" Discussion52:42 - Top 5 54:51 - Movie or Song? AND Best Song?

Label: Capitol 2383Year: 1969Condition: M-Price: $25.00Have you any idea how hard it is to find a copy of this 45? Even on reissue! Here is a beautiful, Near Mint specimen of one of the most soulful and moving Country records of all time. Dave Marsh thought so, too, ranking this 45 at #316 on his list of the all time best. Enjoy! Credited to Merle Haggard and the Strangers. By the way, this was a non-album single not available on any of Haggard's contemporary LPs. Note: This beautiful copy has Mint labels and very nearly Mint vinyl and audio. It comes in a Near Mint copy of the rarely seen picture sleeve.

It's the Purple Dragon episode! Lisa and Jen discuss Emma's rebellious streak by being a Purple Dragon girl, how Mia has a hidden badminton talent, and we finally discuss who Sav has a crush on! 

MERLE HAGGARD, WHO over six decades composed and performed one of the greatest repertoires in country music, capturing the American condition with his stories of the poor, the lost, the working class, heartbroken and hard-living, lived for 79 years. In American and country music, few artists loomed larger. Haggard's career spanned 38 Number One country hits, and his rough hard-edged style influenced country and rock & roll artists from Waylon Jennings and Gram Parsons to Jamey Johnson and Eric Church. As a songwriter, Willie Nelson called him “one of the best.” “Merle Haggard has always been as deep as deep gets,” Bob Dylan told Rolling Stone in 2009. “Totally himself. Herculean.Even too big for Mount Rushmore. No superficiality about him whatsoever. He definitely transcends the country genre. If Merle had been around Sun Studio in Memphis in the Fifties, Sam Phillips would have turned him into a rock & roll star, one of the best.”Haggard didn't have to look far for material. His greatest songs – the Depression-era poverty described in “Hungry Eyes,” the prison diaries “Sing Me Back Home” and “Mama Tried,” the hard-living anthems like “I Think I'll Just Stay Here and Drink” and “Back to the Barrooms” – were all taken from the pages of his own life. He was born April 6th, 1937 near Bakersfield, California, two years after his family moved west from Oklahoma during the great dust bowl migration.Haggard's father found work on the railroad, playing fiddle in roadhouse bands on the side, and bought the family a $500 boxcar house. When Haggard was nine, he lost his father to a stroke, setting him on a path of what he called “illegal motion.” A year later, he hopped his first train with a friend, riding for 18 hours until getting caught. “I tried to explain [to my mother] that anybody could ride with a pass; it took a man to ride the way we had,” he said.

Emma, tired of being "predictable," auditions to be a model for Purple Dragon. She finds herself liking the attention she gets but soon learns of the hypocrisy of the company. Meanwhile, Mia asks Sav to help her be better at Badminton, and he agrees but only if she helps him learn how to kiss. email us at degrassijrhigh@gmail.com Connect with us on ⁠⁠⁠Twitter⁠⁠⁠, ⁠⁠⁠Facebook⁠⁠⁠, and ⁠⁠⁠Instagram⁠⁠⁠. Find The Unofficial DTNG Playlist on ⁠⁠⁠Spotify⁠⁠⁠ and ⁠⁠⁠Apple⁠⁠⁠.

The episode where Alan realizes why his Mom rented Dirty Dancing so many times back in the 80's. Hosted by @sliiiiip and @megamixdotcom, the Super Hits Podcast reviews a different retro single each episode! We're on all of the usual podcast platforms, so come find us. Come and give us a 5-star review! To correct us if we miss a fact or get something wrong, to request a single, or to just say hello, hit us up at superhitspodcast@gmail.com Here's the song: https://open.spotify.com/track/31H6au3jhblhr6MMJiXnCq?si=73469e6e55e94724 Here's our website: https://megamixdotcom.com/super-hits/ Here's our Twitter: @SuperHitsCast Here's our Instagram: @SuperHitsPodcast You can also find playlists for all of the songs we've covered on Spotify and Apple Music. Just search for Super Hits Podcast Playlist! --- Send in a voice message: https://podcasters.spotify.com/pod/show/superhitspodcast/message

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This podcast covers New Girl Season 3, Episode 21, Big News, which originally aired on April 15, 2014 and was written by Berkeley Johnson and directed by Steven K. Tsuchida. Here's a quick recap of the episode:Winston shares the “Big News” that he passed the LA Police Exam and to celebrate, demands the loft mates throw him a “Honey” Roast. However, it's also the morning after Jess and Nick break up and while they tried to keep it a secret, so as to not take away from Winston's accomplishment, they are not successful.We discuss Pop Culture References such as:Patrick Swayze / Movies He Stars In - In this episode, Nick and Jess have a couple conversations mentioning Patrick Swayze movies, including:Dirty DancingHungry Eyes - Song from Dirty Dancing sang at end of episode.GhostRoad HouseTo Wong Foo, Thanks for Everything! Julie NewmarAdditional Pop Culture References such as:Chumbawamba / Tubthumping - When Cece is studying at the bar, Schmidt said it wasn't a great place to study because Chumbawamba was playing and it wasn't even "Tubthumping.” Chumbawamba were a British rock band formed in 1982 and disbanded in 2012. They are best known for their 1997 single "Tubthumping", which was nominated for Best British Single at the 1998 Brit Awards. “Tubthumping” is the band's most successful single and topped the charts in many countries. The band had said “The song is about us – as a class and as a band. The beauty of it was we had no idea how big it would be.” Whoopi Goldberg - When talking about the Patrick Swayze movies, Nick asks which one is Whoopi in. Caryn Elaine Johnson, known professionally as Whoopi Goldberg, is an American actor, comedian, author, and television personality. She has acted in over 150 films receiving two Academy Award nominations, for The Color Purple and Ghost, winning for Ghost. She has also won an Emmy, Grammy, Oscar, and Tony, making her an “EGOT”, and she has received the Mark Twain Prize for American Humor.Superman - Jess was in the closet when Nick got up in the morning and she said she was changing in there like Superman. Superman is a superhero who appears in American comic books published by DC Comics and has been adapted to a number of other media productions, including radio serials, novels, films, television shows, theater productions, and video games. To protect his personal life, Superman changes into a colorful costume in private and uses the alias "Superman" when fighting crime."Bad Boys" - When Winston was celebrating getting into the LAPD, he was singing “Bad Boys”, which is a 1987 song by the Jamaican reggae band Inner Circle. The song is known as the opening theme to the American TV show COPS and the theme song of the Bad Boys franchise.COPS - When celebrating Winston, Coach shared that his uncle was on COPS, which is an American television documentary reality television series. It is one of the longest-running television shows in the United States. [James and the Giant Peach] - After chanting and holding hands, Jess said “Should we all try to live inside a peach or is that weird?” James and the Giant Peach is a popular children's novel written in 1961 by British author Roald Dahl. The plot centers on a young English orphan boy who enters a gigantic, magical peach, and has a wild and surreal cross-world adventure with seven magically altered garden bugs he meets.CeeLo [Green] - Winston asked for a “prominent chair” and when Nick tries to clarify if he wanted a “throne”, Winston said he's not “CeeLo”. Thomas DeCarlo Callaway - Burton, known professionally as CeeLo Green, is an American singer, songwriter, rapper, record producer and actor known for his work in hip hop and R&B, including the Gnarls Barkley single "Crazy" and his solo single "F*** You". From 2011 to 2013, Green was a judge and coach on the American reality television singing competition The Voice, appearing on four of its seasons. For our “Most Likely To” segment we discuss who is more likely to have a cat costume (or 4) laying around, keep a secret to let your friend have a moment, not know geography, and help someone study for their GED. We also cover Schmidt's entrance to the loft for the honey roast as our “Schmidtism” this episode. For “Not in the 2020s” we chat about how Coach was only okay with holding hands as long as there were women involved. Our “Yes in the 2020s” include the honey roast for Winston and the loftmates not judging the Nick & Jess breakup. We did not dive into any new guest stars this episode.Also in this episode were the following guest stars who we do not discuss in the podcast: Jamie Lee Curtis (Joan - Previously Discussed in S2E8) and Ralph Ahn (Tran - Previously Discussed in S2E7).On the podcast, we also mention how this episode came out 4 months before the movie Let's Be Cops which starred Jake Johnson and Damon Wayans Jr. and we both found the bear since “Teddy Bears buy Winstons for their kids”.This episode got a 7/10 rating from Kritika whose favorite character was Cece and Kelly rated this episode an 8/10 and her favorite character was Jess!Thanks for listening and stay tuned for Episode 22!Music: "Hotshot” by scottholmesmusic.comFollow us on Twitter, Instagram or email us at whosthatgirlpod@gmail.com!Website: https://smallscreenchatter.com/

Episodio donde Wisto nos da su reseña sobre The Callisto Protocol, Mel Gibson hará la película sobre la familia Rothschild y puede que lo desaparezcan... PERO también hay rumores sobre la secuela de La Pasión de Cristo y eso puede ser su salvación. Se iba a hacer la secuela de Forrest Gump pero se arrepintieron. No todo necesita secuela. Las personas famosas que se murieron pero que se cree que fueron "5u1c1d4d0s" y terminamos el episodio con otro gran segmento de #RolasPutonasPeroMatonas!!!! Escúchanos: Spotify / Apple Podcasts / YouTube Apóyanos: patreon.com/holamsupernova Síguenos: Instagram/ Twitter/ TikTok @holamsupernova

The dark star passed, bringing with it eternal night and turning history into incredible myth in a single generation! A Pail of Air by Fritz Leiber, that's next on The Lost Sci-Fi Podcast, with at least one lost vintage sci-fi short story in every episode.Like the author we'll hear from next week, Isaac Asimov, today's author, Fritz Leiber had a long and successful sci-fi career. But he also had a fascinating life.Fritz Leiber was born on December 24, 1910, in Chicago, Illinois, to the actors Fritz Leiber and Virginia Bronson Leiber. For a time, he seemed inclined to follow in his parents' footsteps. At just 17 years old he was touring with his parents' Shakespeare company, Fritz Leiber & Co., before entering the University of Chicago.He appeared alongside his father in uncredited parts in several movies in the 1930s including 1939'sThe Hunchback of Notre Dame.His first novel, Conjure Wife, published in 1943 has been made into feature films four times under other titles.Two Leiber short stories were filmed for TV for Rod Serling's Night Gallery. The Girl with the Hungry Eyes and The Dead Man.His first short fiction story, Riches and Power, was published in 1934. He would go on to write around 200 short stories and 10 novels. There's much more to the Fritz Leiber story which we'll save for another podcast.Today's story was published in the December 1951 issue of Galaxy Science Fiction Magazine. You'll find our story on page 56. A Pail of Air by Fritz Leiber.Next week on The Lost Sci-Fi Podcast…Consider the problems of miners who work on Ganymede, moon of Jupiter, 390,000,000 miles from earth: isolated on a world so different from our own, surrounded by beings who know nothing of our traditions, how might these men teach their alien work-mates how we celebrate Christmas? Christmas on Ganymede by Isaac Asimov. That's next week on The Lost Sci-Fi Podcast, with at least one lost vintage sci-fi short story in every episode.

Episode 214: You think Emma had a Butt Double?

Come on, the new billboards are up!!! Join the Abyss gang on Madison Avenue energy vampires as they check out Fritz Leiber's The Girl with the Hungry Eyes with special guest LL Soares. While they descend into obession they discuss The Patient, Terrifier 2, Atlanta, Cormac McCarthy's The Passenger, Hotel Iris by Yoko Ogawa, Cabinet of Curiosities, The Watcher, Daron Kappauff and Ward Nerdlo's We Are Legend, Manhunt by Gretchen Felker-Martin, and Roadgames. It's a big one folks, now dig in and avoid the eyes! Read The Girl with the Hungry Eyes

Night With A Vampire-The Girl With The Hungry Eyes https://horrortales.libsyn.com/talesofhorror  and http://oldtimeradiodvd.com

Eating with your eyeballs, Eating batteries, David Blaine, Nicole Kidman AMC ad, Least sexy words, Female anatomical mysteries, Mysteries of poop, Madonna vs Kylie Minogue, Kate Beckinsale, Jamie Lee Curtis, Kevin's weed smoking, Adam Levine, and more! -- To watch this episode in video subscribe here: https://www.youtube.com/channel/UCioxyKNRYJhYFCi85Nvnn3g Website: www.theJasonEllis.com Patreon: www.patreon.com/ellismate -- Jason Ellis @wolfmate Katie Ellis @underwearwolf Michael Tully @tullywood Kevin Kraft @kevinkraftSee omnystudio.com/listener for privacy information.

This week the Gung-Fu Super Bros. celebrate their 75th episode! Ivan talks about how much he loves She-Hulk, Connie's Kitchen, and seeing Alicia Keys in concert. The gang also talks about going to nightclubs, teenage dating rituals, and a nightclub in Australia that's also a safe space. This week the Super Bros. reviews Police Story 2. After the first movie's events, Detective Ka-Kui Chan (Jackie Chan) gets demoted. Chan must now decide between being a "super cop" and his girlfriend's well-being. However, an evil group starts targeting corporations with explosive results, forcing Chan to take on the case. Will Chan solve the case before losing the love of his life? Does Enrique think this movie is the newest entry on the "Only List That Matters?" Why are these guys discussing other things while reviewing the film?! Kick that play button and listen to this week's episode in stunning 2-Channel Stereo! Still not subscribed? Why not? We finally get to the Fireworks Factory this week! Want more Super Bros? www.linktr.ee/gungfusuperbros Our Socials: www.twitter.com/gungfusuperbros www.instagram.com/gungfusuperbrospod www.instagram.com/malofilms Please rate, review, or leave a comment on Apple Podcasts, Spotify, Google Podcasts, YouTube, or wherever you watch and listen to us! Don't forget that you can leave us a voicemail at www.gungfusuperbros.com or on our Google Voice number 661-401-5941 to be part of our show. Please rate, review, or leave a comment on Apple Podcasts, Spotify, Google Podcasts, YouTube, or wherever you watch and listen to us! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Nobody puts Opening Weekend in the corner! This week the boys mambo back to August  22, 1987 and the release of the sleeper-hit summer classic, DIRTY DANCING.  Plus, find out their Top 5 favorite movie soundtracks of all time.  You'll have the time of your life on Episode 80 of Opening Weekend!It's the Summer of '87! Fred is hangin' in Hollywood (Florida, that is) with Red (Buttons? Skelton? Foxx? No one knows.) at Century Village. Meanwhile, Jason is going to the high school dance with beautiful older women and Dan is hoping for more high-waist pants on naked older men. When we deep-dive into Dirty Dancing, will Johnny Castle lift us up by our hips, or will we fall headlong into Baby's Hungry Eyes? And which movie soundtracks will make our Top 5 lists? Bonus content alert: We finally, at long last, put to rest the “Ghostbusters” vs “I Want A New Drug” debate. And by “put to rest”, we mean “have the most epic argument we've ever had on the podcast”. How will it turn out? Well, just like Swayze and Grey, we pass this chemistry test with flying colors. And we're better kissers. Stay (Just a Little Bit Longer) for episode 80 of Opening Weekend!

Our podcast brother and author Neal E. Fischer joins us for an episode that ties in with his latest book: Being Patrick Swayze: Essential Teachings from the Master of The Mullet! [If all you know about People magazine’s “Sexiest Man Alive” of 1991 is that he didn’t want to put Baby in a corner, then you have a lot to learn.] Neal instructs us on The Ways of The Swayz through five elements: Tender Strength, Pure Adrenaline, Hungry Eyes, Peaceful Warrior, and The Mullet. Listeners of the podcast can get a 30% discount on preorders of Being Patrick Swayze with coupon code SWAYZE through Chronicle Books until April 26th. [Otherwise, grab a copy from your favorite bookseller!] . . . [Music: 1) Patrick Swayze, “She’s Like the Wind,” 1987; 2) Frau Holle, “Ascending Souls,” 2017. Courtesy of Frau Holle, CC BY-NC 3.0 license.]