Podcast appearances and mentions of Joe Esposito

Sayville varsity baseball manager Joe Esposito has his alma mater two wins away from the schools first State Title. We welcome manager in studio, to discuss this weekend's upcoming semifinal game as well the road they took to get here #SavilleBaseball #SayvilleHighschool #statechampionship #HighschoolBaseball #GoldenFlashers

Is it time we all arm ourselves with the meters necessary to monitor the radio frenquencies around us daily? Joe and Ken Wone definitely say HELL YES. The smart meter is the final blow.

Nesta edição do podcast cinematório café, nós finalizamos nosso especial "Karatê Kid" com a análise do filme "Karatê Kid: Lendas" (Karate Kid: Legends, 2025), de Jonathan Entwistle, e da série "Cobra Kai" (2018-2025), criada por Josh Heald, Jon Hurwitz e Hayden Schlossberg. É um complemento do episódio do De Volta Para o Sofá no qual relembramos os quatro primeiros filmes da franquia. - Visite a página do podcast no site e confira material extra sobre o tema do episódio - Junte-se ao Cineclube Cinematório e tenha acesso a conteúdo exclusivo de cinema Em "Karatê Kid: Lendas", Daniel Larusso (Ralph Macchio) e o Sr. Han (Jackie Chan), mestre de kung fu do remake de 2010, unem forças como mentores do jovem chinês Li Fong (Ben Wang), recém-chegado aos Estados Unidos. O filme é ao mesmo tempo continuação, refilmagem e reboot da franquia. Já "Cobra Kai" é uma sequência direta dos filmes dos anos 80, mas tendo Johnny Lawrence (William Zabka) como protagonista. Sem dinheiro e ainda assombrado pela derrota no torneio de karatê de All Valley, Johnny decide reabrir o dojô Cobra Kai décadas depois, após reencontrar Daniel, que se tornou um empreendedor bem-sucedido. A série, que teve seus últimos episódios lançados em 2025, renova o legado da franquia ao propor novos olhares e possibilidades para seus personagens. O cinematório café é produzido e apresentado por Renato Silveira e Kel Gomes. A cada episódio, nós propomos um debate em torno de filmes recém-lançados e temas relacionados ao cinema, sempre em um clima de descontração e buscando refletir sobre imagens presentes no nosso dia a dia. Quer mandar um e-mail? Escreva seu recado e envie para contato@cinematorio.com.br. A sua mensagem pode ser lida no podcast! Este episódio contém trechos das músicas "You're the Best" (1984), de Joe Esposito, "The Karate Kid Main Title" (1984), de Bill Conti, e "Strike First" (2018), de Leo Birenberg & Zach Robinson. Todos os direitos reservados aos artistas.

Diddy Case: The Diddy case is making headlines, we got a homeless transient screaming at reporters and sexy texts about freak offs being unveiled in court. Is Cassie to blame? Joey Swoll: Joey Swoll puts us on game to people putting on down syndrome filters to get new subscribers to their OnlyFans. Call Ins: We get some call ins! Staunch calls in to make amends!? We also get a call from Dash THE BEAR!, FUCK YOU, WATCH THIS!, YOU'RE THE BEST AROUND!, JOE ESPOSITO!, KARATE KID!, STREAMATHON!, DONATIONS!, DIDDY CASE!, REPORTER!, VAGRANT!, CRAZY MAN!, SCREAMING!, FBI!, FEDERAL CASE!, CASSIE!, DIDDY!, TEXT MESSAGES!, LAWYER!, PROSECUTION!, FO!, PISS!, SEMEN!< EJACULATE!, NIPPLES!, STOMACH!, RUB!, DEVIANTS!, TRAFFICKING!, RACKETEERING!, TIKTOK REPORTER!, LAWSUIT!, HOTEL!, SETTLEMENT!, JOEY SWOLL!, DOWN SYNDROME FILTER!, WILD!, OF!, ONLYFANS!, GYM ETIQUETTE!, HALLE BERRY!, LUBE!, AD!, SEX!, MOTHER'S DAY!, CONTROVERSY!, CANNE!, JEFFREY WRIGHT!, STAUNCHTV!, CALL IN!, APOLOGY!, BEEF!, JAKE PERRY!, EDITOR!, COREY FELDMAN ARTIST!, ZACK!, CALIFORNIA!, DASH RENDARR!, UNIVERSAL STUDIOS!, SCAREACTOR!, FAN!, RECOGNIZED!, AWESOME!  You can find the videos from this episode at our Discord RIGHT HERE!

Dr. Joe Esposito/Health Plus Wellness Centers Health Plus Wellness Centers works with the nervous system, digestive system, and diet. With offices located in Marietta, Stockbridge, and Duluth, renowned nutritional consultant and health and longevity pioneer Dr. Joseph Esposito wants to get to the cause of your health issues, not just treat the symptoms. The host […] The post Dr. Joe Esposito with Health Plus Wellness Centers appeared first on Business RadioX ®.

Joe Esposito Associate Men's Head Basketball Coach for Kansas City  joins The Insiders - February 6th, 2025

In this episode, you'll discover:Freedom Warriors, the SHF Values will be fundamental to the MAHA movementAccess to accurate and uncensored data to make health decisions is a constitutionally guaranteed basic human right and fundamental medical ethic.Religious freedom: Personal religious beliefs are constitutionally guaranteed and must be fully honored as we make health decisions for ourselves and our children.Parental rights: Parents know their kids best and have the god-given right and responsibility to direct the health, education, and faith formation of their minor children.Free speech: The ability to access information and share it freely with others is essential for informed consent.Personal privacy: Our personal health information should be kept private and not disclosed to anyone other than our medical providers or those we choose.Put your money where your month is…show your support today. Click this link to give your support: https://standforhealthfreedom.com/donate/Episode Highlights01:18 - Learn about the personal and professional backgrounds of Leah Wilson, including her work connecting health freedom with legal and public policy initiatives.03:11 - The importance of sharing truthful, holistic health information while maintaining legal and ethical boundaries in practice.06:35 - The origin story of Stand for Health Freedom and its mission to address systemic health and legal challenges.09:11 - The early obstacles the organization faced and how it expanded into legislative victories and cultural shifts for health freedom.12:48 - The organization's principles and learn how common sense drives their policy and advocacy efforts.16:03 - The influence of information platforms like Google on public perception and decision-making.18:58 - The importance of grassroots community efforts to combat misinformation and empower informed decision-making.24:53 - The critical role of parental rights in healthcare decisions and the threats posed by systemic overreach.28:04 - Challenges parents face in defending their choices, including the pushback from schools and medical institutions.33:43 - The significance of privacy in protecting health freedoms and the risks of centralized control over personal data.36:47 - Practical ways to support the organization's mission and empower communities with education and advocacy tools.40:49 - Specific initiatives and collaborations aimed at expanding health freedom education and support for practitioners and patients.45:12 - Dr. Sebastion Bonnin is joined by Success Partner, Dr. Joe Esposito from Aceva about integrating nutrition into chiropractic care without managing it. Dr. Esposito discusses Aceva's approach to providing high-quality supplements designed to complement chiropractic treatments by addressing deficiencies and inflammation. Highlighting the importance of standardized care plans for simplicity and profitability, he underscores Aceva's commitment to business strategy, quality, and easy implementation.  Resources MentionedLearn more about Leah Wilson and the Stand for Health Freedom Advocacy Center at https://standforhealthfreedom.com/Register Now for the TRP Remarkable Team Building Immersion - January 31 and Feb 1, 2025 in Tampa, FL and Feb 28 and Mar 1, 2025 in Brisbane, AUS - https://theremarkablepractice.com/upcoming-events/To learn more about the REM CEO Program, please visit:  http://www.theremarkablepractice.com/rem-ceoFor more information about Aceva please visit: https://aceva.com/Subscribe to our newest podcast "Build Your Remarkable Practice" here: https://podcasts.apple.com/us/podcast/build-your-remarkable-practice-for-chiropractors/id1734107477  Schedule a Brainstorming call with Dr. PeteDr. Stephen's LinkedInDr. Peter's LinkedInThe Remarkable CEO WebsiteDr. Stephen's Book – The Remarkable Practice: The Definitive Guide to Build a Thriving Chiropractic Business

2024 has come and gone. Leah and Leah are together for the first TMBDOS! of 2025 to talk about their best and worst first-time watches during the past year. Lee also has some honourable mentions to get through as well. Of note, this episode was recorded during a live stream, so there's some brief moments where the hosts are interacting with the chat as well. It made for a long but fun show! Lee's Honourable Mentions: 6. "Strange Darling" (2023) 5. "The Beach Bum" (2019) 4. "Sonny Boy" (1989) 3. "Infested" (2023) 2. "Run and Kill" (1993) 1. "Enter the Clones of Bruce" (2023) Leah's Best-of: 10. "Safe" (2012) 9. "Deadpool and Wolverine" (2024) 8. "Carry-On" (2024) 7. "Dungeons & Dragons: Honor Among Thieves" (2023) 6. "The Passion of Joan of Arc" (1928) 5. "Alien" (1979) 4. "Wait Until Dark" (1967) 3. "Persepolis" (2007) 2. "Last Night in Soho" (2021) 1. "Wicked" (2024) Lee's Best-of: 10. "Love Lies Bleeding" (2024) 9. "Day of the Cobra" (1980) 8. "A Haunted Turkish Bathhouse" (1975) 7. "Targets" (1968) 6. "Wolf Guy" (1975) 5. "Wait Until Dark" (1967) 4. "Ace in the Hole" (1951) 3. "Persepolis" (2007) 2. "Exhuma" (2024) 1. "I Saw the TV Glow" (2024) Leah's Worst-of: 9. "The Misfits" (2021) 8. "My Big Fat Greek Wedding 3" (2023) 7. "Red One" (2024) 6. "Hard Target 2" (2016) 5. "The Babysitters" (2007) 4. "Something Borrowed" (2011) 3. "Beetlejuice Beetlejuice" (2024) 2. "Marry Me" (2022) 1. "Solomon Kane" (2009) Lee's Worst-of: 9. "The Sea Serpent" (1985) 8. "The Swamp of the Ravens" (1974) 7. "Renfield" (2023) 6. "Evils of the Night" (1985) 5. "America 3000" (1986) 4. "Snake Eater II: The Drug Buster" (1989) 3. "Joker: Folie à Deux" (2024) 2. "Terrifier 2" (2022) 1. "Terrifier" (2016) Featured Music: Excerpts from "Gonna Fly Now" by Bill Conti; "Tell Me Something Good" by Chaka Khan & Rufus; & "You're the Best" by Joe Esposito. "The Silent Screen" & "At the Movies" by Hot Butter, and "In the Year 2525 (Exordium & Terminus)" by Zager & Evans.

In this episode, you'll discover:Every leader worth following walks with a limp, from a life full of failures and lessons learned that in turn lead to a life of remarkable growth. Listen in as Dr Pete share's his 7 lessons learned in 2024, lessons that are guaranteed to transform his and have the potential to transform your life. Dr Stephen unpacks his big 5 lessons learned, and how he is positioned perfectly to make 2025 his best year yet. This is the real, raw Dr Pete and Dr Stephen, unpacking their challenges and struggles, loaded with insights that are guaranteed to help you navigate and elevate your business and life. Enjoy! Episode Highlights01:05 - Learn how "last to now" reflections provide momentum, build confidence, and prepare you to tackle the opportunities and challenges of the next year.03:08 - Discover why focusing on lessons learned rather than just wins reveals the most valuable growth opportunities in both personal and professional life.05:50 - Understand the power of gratitude as a transformative perspective.08:24 - Why preparation is the ultimate success hack and how being proactive rather than reactive allows you to serve at a higher level.12:27 - How calculating capacity in your business reveals untapped potential for growth.16:31 - The significance of creating margin and increasing capacity intentionally to foster growth and improve operational efficiency.20:15 - How focus differentiates busyness from productivity and helps build a sustainable, scalable business model.24:08 - The importance of mindset and attitude in controlling your physiology and improving both performance and outcomes.27:30 - The value of real, face-to-face connections with your team, fostering trust and stronger relationships that enhance collaboration.33:46 - Insights into the critical role of rest—mental, emotional, and physical—in aligning with sustainable growth and leadership success.37:12 - How operationalizing, professionalizing, and optimizing your business systems create scalability and durability for future growth.41:10 - The importance of relationships as the foundation of all success, impacting your team, patients, and the broader community.44:39 - Why leaders must balance work seriousness with personal joy, using humor and fun to enhance team morale and personal satisfaction.47:01 - Hear how great leaders inspire hope and personal responsibility.50:35 - The power of aligning proven systems with accountability, ensuring transformational growth through disciplined execution.53:10 - Why mentorship and following proven systems across all areas of life are key to achieving alignment, growth, and long-term success.55:39 - Dr. Sebastion Bonnin is joined by Success Partner, Dr. Joe Esposito from Aceva about integrating nutrition into chiropractic care without managing it. Dr. Esposito discusses Aceva's approach to providing high-quality supplements designed to complement chiropractic treatments by addressing deficiencies and inflammation. Highlighting the importance of standardized care plans for simplicity and profitability, he underscores Aceva's commitment to business strategy, quality, and easy implementation.  Resources MentionedRegister Now for the TRP Remarkable Team Building Immersion - January 31 and Feb 1, 2025 in Tampa, FL and Feb 28 and Mar 1, 2025 in Brisbane, AUS - https://theremarkablepractice.com/upcoming-events/To learn more about the REM CEO Program, please visit:  http://www.theremarkablepractice.com/rem-ceoFor more information about Aceva please visit: https://aceva.com/Subscribe to our newest podcast "Build Your Remarkable Practice" here: https://podcasts.apple.com/us/podcast/build-your-remarkable-practice-for-chiropractors/id1734107477  Schedule a Brainstorming call with Dr. PeteDr. Stephen's LinkedInDr. Peter's LinkedInThe Remarkable CEO WebsiteDr. Stephen's Book – The Remarkable Practice: The Definitive Guide to Build a Thriving Chiropractic Business

#73 HeartBeatHero Radio Christmas Special 2024 Axl Rhodes, Hesdy, Jefferson Rift, Joe Esposito, Rene, Sequenza, Warlock all epsiodes https://soundcloud.com/heartbeathero/sets/heartbeathero-radio-all more info soon featuring @eightecs @_sequenza_ @axlrhodesmusic @ozoneartfoundry @jeffersonrift @warlock.music.82 @hesdy1986 and Rene Tracks featured on the show Turbo Knight - We Wish You A Merry Christmas feat. Turbo Kids BARx - Sleigh Drive (Xmas Retrowave) Chromeo - Lost and Found (The Midnight Remix) Emil Rottmayer - Ultraviolet Zane Alexander - Minutes 88bit a.k.a. Rob Kovacs - Radical Dreamers (solo piano) - Chrono Cross Mowelan - Rubenson Colored Lights CLMC music - Last Christmas - Wham (EPIC Piano Version with Orchestra) CLMC music - Star Trek The Next Generation x Airwolf (Epic Theme Song Mashup 2024) Mellow Fields - Pulse master Arwelone - Windlands Fusion Square - DX-27 l' Avenue - Sun and the moon ft Elise Devane (The nocturnal mix) M I R A G E & Neon Galaxy - Supernova (Trivia) Nicolas - We Three Kings Xander Phillips - Happily Never After On A Friday Night AXL RHODES - OMEGA (Break) Albatrauss - In My Mind George Ergemlidze - Strangers HeartBeatHero - Diamond Roads Hotel Pools - Moonrise (Trivia) Rene Iova - We Are One Warlock - Js Theme [Christmas Time Is Here] Mayah Camara x SelloRekt LA Dreams - Jingle Jingle Massive Z - Other World The Lightning Kids - Fast Car (The Last Concorde Remix) (Pre2) Promethex - Mall Central Johnatron feat. MEGAS - 1260 (Girlfriend Records) Glenn Main - Calima Landing Mark Dee - Record Breaker Downtown Binary - Summit (Pre3) Legacy FM - We Were Happy Lyst - Treasure Mitch Murder - Cyan Skyway Rocco Destro - Prologue Request by Keith Atherton - Wham - Last Christmas (Synthwave Dreamwave Cover Omen Ahead) Wolftron - O Holy Night (last track) HeartBeatHero - The best day of my life

Dr. Joe Esposito and I have a shared passion for chiropractic care, and we know it's so much more than just adjusting your back. It's about treating the whole body. We explore how adjustments, nutrition, and nervous system health work together to address pain, boost digestion, and promote overall wellness. Don't miss our latest podcast episode where we dive deep into these topics and more—tune in now to unlock more secrets to better health! Key Takeaways: Chiropractic care addresses both pain and digestive issues, emphasizing integrative health solutions. The nervous system and digestive system are intertwined, often at the root of many common ailments. Supplements play a vital role in achieving optimal health, with emphasis on quality and composition. The healthcare landscape is shifting towards integration, with increasing collaboration between medical doctors and chiropractors. Dr. Esposito's practice focuses on the three pillars of health: a functioning nervous system, effective digestion, and proper nutrition.   More of  Dr. Joe Esposito: Dr. Joe Esposito is the host of The Dr. Joe Show, a nationally recognized radio program that reaches tens of thousands of listeners each week. With each broadcast, he shares his wealth of knowledge on health and wellness, and the overwhelming positive feedback speaks to the impact of his work. Education & Credentials Graduating magna cum laude from Life University in Marietta, Georgia, Dr. Joe discovered early on that chiropractic care, when combined with proper nutrition, forms the "whole package of health." He believes that by removing interference from the nervous system and providing the body with the essential nutrients it needs, optimal health and vitality can be achieved. With over 40 years of clinical experience, Dr. Joe has earned multiple prestigious certifications: Diplomate, Chiropractic Board of Clinical Nutrition Diplomate, American Board of Chiropractic Orthopedists Diplomate, American Academy of Pain Management Diplomate, College of Clinical Nutrition BS in Clinical Nutrition Certified in Traumatic Brain Injuries Licensed Dietitian (retired) Dr. Joe's dedication to patient care has earned him numerous awards, including Health Provider of the Year in Georgia. He has also made appearances on major health platforms, including The Dr. Oz Show. Website Instagram Connect with me!: Website Instagram Facebook YouTube

¡Vótame en los Premios iVoox 2024! Llegó la hora de otro Sopapo Oriental, con RE: señas de dos comics de artes marciales que Eze nos trae directamente desde Asia. Primero, Legend of The Northern Blade, un manhwa (comic coreano) de venganza y lucha contra la.oscuridad. Después, Tsuyoshi: Daremo Katena (Contra Él, Nadie Puede Ganar), un manga de Japón mismo, con un protagonista que no quiere pelear, pero al que todos quieren desafíar, aunque no podrán vencerlo. Con música de Emil Chou, Joe Esposito, y Stan Bush. Próximo programa: Empatía Por El Diablo / Entrevista Con Lubrio Y Seba Sala.

Assistant head coach of the University of Missouri-Kansas City basketball team and former coach for the UNLV Rebels, Joe Esposito joins Cofield & Co. to talk about Kansas City as a sports town, building up the KC Roos' roster, and talks about Dan Hurley's impact on college basketball after winning back-to-back championships with UCONN. Former UNLV Rebel QB, Caleb Herring joins Cofield & Co. to talk Deion Sanders and the Colorado band drama, Tyreek Hill's altercation with Miami law enforcement, and to review the debut of Chicago Bears' QB Caleb Williams. Sports betting best picks for Thursday Night Football between the Miami Dolphins and Buffalo Bills  

On this week's episode we are joined by Joe Esposito. Joe Esposito, also known by his nickname "Bean," is an American singer, songwriter, and musician. He formed the vocal group Brooklyn Dreams in the 1970s, alongside Eddie Hokenson and Bruce Sudano. The trio quickly gained recognition for their harmonious sound and songwriting abilities with their big break coming when they collaborated with disco queen Donna Summer. While Esposito found success with Brooklyn Dreams, his solo career also flourished. He became well-known for his powerful and emotive voice, which led to numerous opportunities in both the recording studio and the realm of film music. One of his most famous solo tracks is "You're the Best," featured in the 1984 film "The Karate Kid." This song, known for its motivational lyrics and catchy melody, has become an enduring anthem of triumph and perseverance. Joe has worked with a variety of renowned artists. Notably, he co-wrote the hit "Lady, Lady, Lady," which was performed by Giorgio Moroder and featured in the film "Flashdance." His ability to craft memorable melodies and poignant lyrics has made him a sought-after collaborator in the music industry. Let Christy Take It are proud to bring you Joe Esposito. If you enjoy our show please like and subscribe wherever you listen to your podcasts. Thanks to our sponsor Irish Woodcraft. Please check them out at ⁠⁠https://irishwoodcraft.ie⁠⁠

Send us a Text Message.As we celebrate our 2nd birthday, we have a special announcement. Following our Top 40 of 80's songs from movies, we our now opening it up to the listeners again for the Top 40 from the 90's songs! If you would like to take part send in your Top 10 songs in order, your number one will get 10 points, number two 9 points etc. The totals will then get counted up and will be released in a future episode later in the year.Originally, this episode came out as a two parter, 40-21 and 20-1. The list was inspired by our Karate Kid episode, and influenced by the majestic "You're the best" song by Joe Esposito that featured in the tournament montage, we reached out to the beautiful Reunited listenership, asking for their Top 10 songs from the 80's.We then gathered all the lists, put them on a point system, and collated a top 40 chart. With over 105 individual songs, there are surprises, a few misses, but mostly all killer. Listen back, as we count it down!  Huge thanks goes to our contributors to the charts: Saliah Williams, Keith Berry, Stuart Houston, JapanArab, Daisy McGarry, Mark McKay, Rob Williams, Paul MacFarlane, Shamim Ahmed, Rob Harvilla, Sofia McGarry, Scott McEwan, Ronny Costello, David from Jaws the Revenge appreciation page, Carrie Ross, Steve McDonald, Thomas Stewart, Leana Thorpe, Sean Read, Carlos Jones and Gwen Mauny.Spotify Playlist for the Top 40:https://open.spotify.com/playlist/4mtWX61ST6SLmKMdjatMhE?si=Jqf6Qb1_TwSDkIXX4Qh9nA&pi=e-TdXXY1KfRi-FSpotify Playlist for all the songs nominated: https://open.spotify.com/playlist/0MykGJB31XT0vggMiCXLMW?si=niI1iG4wQXOAJ8FW7CiNVg&pi=e-noGhfzqeRY6wIf you would like to be involved in a future episode, then please just get in touch on the socials. Rate and review, share with friends, all that other good stuff.

#69 Joe Esposito - Jefferson Rift, Rene Iova, Nick Rixon, and Andy Last August 3rd 2024 more info soon... The Lightning Kids - Fast Car (The Last Concorde Remix) Hills And Valleys - Glide (World Wide Premiere) Mitch Murder - Product Line 0:18:57 Beautiful Machines - Angelica AXL RHODES - PEOPLE w ADAM FORD MicroMatscenes - Synthscotheque SHINE - The Best Is Yet To Come Ravenhall - A Travelling Story Live HeartBeatHero - Searching for a Hero Sequenza - HMBH Marc Moran - Right Side Of Heaven Hills And Valleys - Landed The Harbours - So Sweet Sebastian Gampl - Resurrection Feat Tommy Reeves Tommy Countach - 10000 hours Shirobon - Ridin (feat Tanuki) Albatrauss - Follow The Dopamine Sub Neon ft. Shred Krueger - Nightbreed HeartBeatHero and Sequenza - Mission Starlink HighSpeed Remix Greg is Back - High Hopes (Panic at the Disco Cover A Cappella) Rene Iova - We are one Mak Angelo - Pole Position Nicolas - Lockheart HeartBeatHero - Pacman Pleasure The Goondock Saint - Aexorcism Workout Eternal Empire - Revenge Of The Son Flash Arnold - The Pump Highway Superstar - Gentle Breeze DreamPocket - Outrun The Night (Memory Design Remix) LAU & AKRAS - Drifting Away (Aztec Records) Mondmann - Summer of Love (Aztec Records)

Episode 022: Get ready to dive into the world of sports, music, and a little bit of crazy! This week, we're gearing up for the Olympics with a deep dive into the ultimate soundtrack for athletic glory: sports songs and montage music. Join Geoff, Dave, and Russ as we explore the anthems of champions, from Eminem's raw energy to the White Stripes' garage rock grit as well as Wolfmother, Soul Coughing, Joe Esposito, and John Cafferty. We'll also touch on the world of VIP experiences, the challenges of fatherhood, and a mind-boggling nose spray discovery. Whether you're a sports fanatic or just love a good pump-up jam, this Olympic-sized episode is sure to get you in the spirit of the games. Apple Podcasts Instagram Spotify Playlist YouTube Playlist Tidal Playlist Official Site Listener Listens - The Wheelwrights - Spotify Page

By now you've probably seen a dozen Elvis Presley impersonators. But what you took is a very good singer/songwriter, that sounds just like "the King." Put him with Elvis's best friend and Road Manager, Joe Esposito. Add in that famous "Memphis Sound," featuring Elvis's famous Jordanairs, the TCB Band, and the American Sound Studio Band. Well, then you'd have something really special that would teleport you back to the late 60s and early 70s.  Well close your eyes and turn up the volume. Today's podcast guest is CDX Records Sony Music and The Orchard recording artist John Krondes, Someone You Should Know.Click here to buy the host a cold one.Show Links: Click here to go to John's InstagramClick here to go to John's WebpageClick here to go to John's FacebookClick here to go to John's Twitter / XClick here to go to John's YouTube ChannelClick here to go to John's Linked InAll music used by permission from the artistSomeone You Should Know 2024 // CatGotYourTongueStudios 2024How 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.

WABC Host Curtis Sliwa joins Sid live in-studio to cover the top local headlines of the day and to share an eerie story regarding his late friend, the great Joe Esposito. Learn more about your ad choices. Visit megaphone.fm/adchoices

WABC Host Rudy Giuliani calls in to recognize the life of Joe Esposito who passed away last night, before he dives into the top national headlines of the day and why 2024 is the year we save our country. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this Tuesday edition of Sid & Friends in the Morning, Sid dedicates today's program to his great friend and former police chief Joe Esposito, who passed away last night after his long battle with cancer. Joe was a great man and an even better cop, and he'll forever be recognized as such on these airwaves. In other news of the day, a 60-day shelter limit has been issued for current asylum seekers residing in NYC, Department of Homeland Security head Alejandro Mayorkas visits the border again without a plan that might fix it, over 300 pro-Palestinian protesters were arrested yesterday after blocking traffic into New York City, Donald Trump heads back to court today this time regarding his immunity claims, and the University of Michigan wins the College Football Playoff National Title over the University of Washington. Rachel Goldberg, Mazi Pilip, Joe Benigno, Rudy Giuliani and Kaz Daughtry join Sid on this Tuesday installment of Sid & Friends in the Morning. Learn more about your ad choices. Visit megaphone.fm/adchoices

The mayor remembers former NYPD Chief Joe Esposito who died from cancer, plus the Trump immunity case, Lloyd Austin and Fani Willis should be prosecuted Learn more about your ad choices. Visit megaphone.fm/adchoices

Greg talks with James Flippin about the Jimmy Kimmel and Aaron Rodgers feud. Plus Lloyd Austin has cancer, Nikki Haley is not ready and Joe Esposito has died Learn more about your ad choices. Visit megaphone.fm/adchoices

Learn more about your ad choices. Visit megaphone.fm/adchoices

East Coast multi-talented singer/songwriter John Krondes talks about his latest release “The End (At the End Of The Rainbow)” with the Jordanaires re-establishing the adored Memphis sound with a new recording of his father's song (Jimmy Krondes) co-written with Sid Jacobsen becoming a big hit for Earl Grant in 1958, and Elvis Presley sang the classic to Priscilla Beaulieu on the piano the night they met in Germany! John also talks about how he started in his amazing career influenced by his legendary father Jimmy, his previous releases “You Only Hear What You Want to Hear”, “Let It Be Me”, “A Dream for Peace” plus how he became connected to Elvis' best friend Joe Esposito bringing all of Elvis' musicians & singers to make nearly 100 of the 1st new recordings with the Elvis Presley Hit Team, plus find out what cartoon theme song he sang in! Check out the amazing John Krondes on all streaming platforms (including his latest!) and www.johnkrondes.com today! #johnkrondes #jimmykrondes #singer #songwriter #theend #attheendoftherainvow #jordanaires #elvispresley #memphissound #sidjacobsen #priscillabeaulieu #earlgrant #elvispresleyhitteam #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerjohnkrondes #themikewagnershowjohnkrondes --- Send in a voice message: https://podcasters.spotify.com/pod/show/themikewagnershow/message Support this podcast: https://podcasters.spotify.com/pod/show/themikewagnershow/support

East Coast multi-talented singer/songwriter John Krondes talks about his latest release “The End (At the End Of The Rainbow)” with the Jordanaires re-establishing the adored Memphis sound with a new recording of his father's song (Jimmy Krondes) co-written with Sid Jacobsen becoming a big hit for Earl Grant in 1958, and Elvis Presley sang the classic to Priscilla Beaulieu on the piano the night they met in Germany! John also talks about how he started in his amazing career influenced by his legendary father Jimmy, his previous releases “You Only Hear What You Want to Hear”, “Let It Be Me”, “A Dream for Peace” plus how he became connected to Elvis' best friend Joe Esposito bringing all of Elvis' musicians & singers to make nearly 100 of the 1st new recordings with the Elvis Presley Hit Team, plus find out what cartoon theme song he sang in! Check out the amazing John Krondes on all streaming platforms (including his latest!) and www.johnkrondes.com today! #johnkrondes #jimmykrondes #singer #songwriter #theend #attheendoftherainvow #jordanaires #elvispresley #memphissound #sidjacobsen #priscillabeaulieu #earlgrant #elvispresleyhitteam #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerjohnkrondes #themikewagnershowjohnkrondes --- Send in a voice message: https://podcasters.spotify.com/pod/show/themikewagnershow/message Support this podcast: https://podcasters.spotify.com/pod/show/themikewagnershow/support

East Coast multi-talented singer/songwriter John Krondes talks about his latest release “The End (At the End Of The Rainbow)” with the Jordanaires re-establishing the adored Memphis sound with a new recording of his father's song (Jimmy Krondes) co-written with Sid Jacobsen becoming a big hit for Earl Grant in 1958, and Elvis Presley sang the classic to Priscilla Beaulieu on the piano the night they met in Germany! John also talks about how he started in his amazing career influenced by his legendary father Jimmy, his previous releases “You Only Hear What You Want to Hear”, “Let It Be Me”, “A Dream for Peace” plus how he became connected to Elvis' best friend Joe Esposito bringing all of Elvis' musicians & singers to make nearly 100 of the 1st new recordings with the Elvis Presley Hit Team, plus find out what cartoon theme song he sang in! Check out the amazing John Krondes on all streaming platforms (including his latest!) and www.johnkrondes.com today! #johnkrondes #jimmykrondes #singer #songwriter #theend #attheendoftherainvow #jordanaires #elvispresley #memphissound #sidjacobsen #priscillabeaulieu #earlgrant #elvispresleyhitteam #spreaker #iheartradio #spotify #applemusic #youtube #anchorfm #bitchute #rumble #mikewagner #themikewagnershow #mikewagnerjohnkrondes #themikewagnershowjohnkrondes

16 sierpnia 1977 – dzień śmierci Elvisa Presleya zszokował wszystkich fanów i nie tylko. Tyle że już chwilę później niosły się głosy, że to wszystko było jednym wielkim oszustwem. Elvis od tamtego czasu mieszkał już na Hawajach, żył pod imieniem swoje3go brata bliźniaka, stołował się w Burger Kingu, dawał się fotografować na własnej posiadłości, a nawet kupił ciało człowieka, który miał go udawać w trumnie. Ile jest prawdy w teorii, że Elvis żyje? ______ Spiski Hollywood to zamknięta seria podcastu „nagle, ostatniej nocy.” dotycząca najpopularniejszych teorii spiskowych związanych z celebrytami. Poprzednie odcinki z serii: #1 James Dean: https://bit.ly/3zZ1ItQ #2 Brandon Lee: https://bit.ly/3Q6yTkC #3 Grace Kelly: http://bit.ly/3Mmp42g  ______ Źródła   Książki i prasa R. West, S. West, D. Hebler, Elvis What Happened? (1977) W. Jima, Elvis Presley Dead or Alive (1977) Gazeta „National Enquirer”, 1977-1978 B. Battle, artykuł „Graceland: Palace or Prison” w magazynie “Hit Parader Presents The Immortal Elvis” (1978) G. Brewer-Giorgio, Orion (1978) S. Chanzes, 1935? Where Are You? (1981) A. Jeffries, Elvis, Where Are You? (1982) B. Smith, Memphis Mystery (1987) G. Brewer-Giorgio, The Most Incredible Elvis Presley Story Ever Told (1988) retitled as Is Elvis Alive? Gazeta „Weekly World News” 1988 G. Brewer-Giorgio, The Elvis Files: Was His Death Faked? (1990) J. Parker, Elvis Presley: Kto zabił króla? (1995) T. Fensch, The FBI Files on Elvis Presley (2001) B. Beeny, Elvis' DNA Proves He's Alive (2005) P. Lacy, Elvis Decoded: A Fan's Guide to Deciphering the Myths and Misinformation (2006) R.S. Denisoff, G. Plasketes, True Disbelievers (2018)     Dokumenty i reportaże telewizyjne: Geraldo Rivera, The Elvis Cover-Up, ABC 20/20 TV (1979) https://www.youtube.com/watch?v=8akomiF0YXk&ab_channel=jaygordon1033 Wywiad z doktorem Nickiem, Elvis: His Doctor Speaks Out (1983) https://www.youtube.com/watch?v=K5rlvSCD-q4&ab_channel=jaygordon1033 The Elvis Files a TV special (1991) https://www.youtube.com/watch?v=O09eOxp1H8A&t=1965s&ab_channel=ajgherts2 Elvis Presley - The last 24 hours (2005) https://www.youtube.com/watch?v=3ZR2ViKtbkA&ab_channel=KR-M Zbiór materiałów Fox 8 News https://www.youtube.com/watch?v=nANf_Lj73kg&ab_channel=LindaHoodSigmon David Darlock w programie Geraldo Riviery (1989) https://youtu.be/WzhzdX09D_o?t=1576  Program Larry King Live – konfrontacja G. Brewer Giorgio z Joe Esposito (1988) https://www.youtube.com/watch?v=CofdoHdXQxY&ab_channel=jaygordon1033 The Elvis Conspiracy TV Secial (1991) https://www.youtube.com/watch?v=6-XQNpc61EE&t=1367s&ab_channel=SnugglepawDigitalStudios  Wywiad z Priscillą Presley (The other day) https://www.youtube.com/watch?v=XeEpN7fOvdY&ab_channel=ElvisStillAliveYouDecide  Strony internetowe: http://www.elvisinfonet.com/conspiracy.html https://elvisdecoded.com/ http://elvisownia.blogspot.com/ https://fbiretired.com/retired-fbi-agents-talk-about-opfopen-case/ https://www.theguardian.com/culture/interactive/2013/oct/12/elvis-presley-richard-nixon-letter (treść listu Elvisa do prezydenta Richarda Nixona) https://vault.fbi.gov/Elvis%20Presley%20 (akta FBI Elvisa Presleya) https://lindahoodsigmonstruth.com/ (strona Lindy Hood) https://www.youtube.com/@lindahoodsigmon1625/videos (kanał na YT Lindy Hood) https://www.probatelawyerblog.com/elvis-presley/ (sprawa Elizy Presley, blog prawnika) _______ Fragmenty utworów należą do ich prawnych właścicieli i zostały wykorzystane wg prawa cytatu (art.29 ust.1 ustawy o prawie autorskim i prawach pokrewnych). _______ Posłuchaj na: Spotify: https://bit.ly/nagleostatniejnocySpotify YouTube: https://bit.ly/nagleostatniejnocyYouTube _______ Intro Cool Vibes - Film Noire by Kevin MacLeod https://incompetech.filmmusic.io/song/3553-cool-vibes https://filmmusic.io/standard-license Fragment filmu “Dom na Przeklętym Wzgórzu”, 1959 _______ Muzyka: Unanswered questions by Kevin MacLeod You have doubts by Kevin MacLeod I knew a guy by Kevin MacLeod Walking Along by Kevin MacLeod Dreams become real by Kevin MacLeod https://incompetech.com/ License: http://creativecommons.org/licenses/by/4.0/ Sacred - Haunting Atmospheric Soundscape by CO.AG Music _______ Kontakt: kinolityka@gmail.com

16 sierpnia 1977 – dzień śmierci Elvisa Presleya zszokował wszystkich fanów i nie tylko. Tyle że już chwilę później niosły się głosy, że to wszystko było jednym wielkim oszustwem. Elvis od tamtego czasu mieszkał już na Hawajach, żył pod imieniem swoje3go brata bliźniaka, stołował się w Burger Kingu, dawał się fotografować na własnej posiadłości, a nawet kupił ciało człowieka, który miał go udawać w trumnie. Ile jest prawdy w teorii, że Elvis żyje? ______ Spiski Hollywood to zamknięta seria podcastu „nagle, ostatniej nocy.” dotycząca najpopularniejszych teorii spiskowych związanych z celebrytami. Poprzednie odcinki z serii: #1 James Dean: https://bit.ly/3zZ1ItQ #2 Brandon Lee: https://bit.ly/3Q6yTkC #3 Grace Kelly: http://bit.ly/3Mmp42g  ______ Źródła   Książki i prasa R. West, S. West, D. Hebler, Elvis What Happened? (1977) W. Jima, Elvis Presley Dead or Alive (1977) Gazeta „National Enquirer”, 1977-1978 B. Battle, artykuł „Graceland: Palace or Prison” w magazynie “Hit Parader Presents The Immortal Elvis” (1978) G. Brewer-Giorgio, Orion (1978) S. Chanzes, 1935? Where Are You? (1981) A. Jeffries, Elvis, Where Are You? (1982) B. Smith, Memphis Mystery (1987) G. Brewer-Giorgio, The Most Incredible Elvis Presley Story Ever Told (1988) retitled as Is Elvis Alive? Gazeta „Weekly World News” 1988 G. Brewer-Giorgio, The Elvis Files: Was His Death Faked? (1990) J. Parker, Elvis Presley: Kto zabił króla? (1995) T. Fensch, The FBI Files on Elvis Presley (2001) B. Beeny, Elvis' DNA Proves He's Alive (2005) P. Lacy, Elvis Decoded: A Fan's Guide to Deciphering the Myths and Misinformation (2006) R.S. Denisoff, G. Plasketes, True Disbelievers (2018)     Dokumenty i reportaże telewizyjne: Geraldo Rivera, The Elvis Cover-Up, ABC 20/20 TV (1979) https://www.youtube.com/watch?v=8akomiF0YXk&ab_channel=jaygordon1033 Wywiad z doktorem Nickiem, Elvis: His Doctor Speaks Out (1983) https://www.youtube.com/watch?v=K5rlvSCD-q4&ab_channel=jaygordon1033 The Elvis Files a TV special (1991) https://www.youtube.com/watch?v=O09eOxp1H8A&t=1965s&ab_channel=ajgherts2 Elvis Presley - The last 24 hours (2005) https://www.youtube.com/watch?v=3ZR2ViKtbkA&ab_channel=KR-M Zbiór materiałów Fox 8 News https://www.youtube.com/watch?v=nANf_Lj73kg&ab_channel=LindaHoodSigmon David Darlock w programie Geraldo Riviery (1989) https://youtu.be/WzhzdX09D_o?t=1576  Program Larry King Live – konfrontacja G. Brewer Giorgio z Joe Esposito (1988) https://www.youtube.com/watch?v=CofdoHdXQxY&ab_channel=jaygordon1033 The Elvis Conspiracy TV Secial (1991) https://www.youtube.com/watch?v=6-XQNpc61EE&t=1367s&ab_channel=SnugglepawDigitalStudios  Wywiad z Priscillą Presley (The other day) https://www.youtube.com/watch?v=XeEpN7fOvdY&ab_channel=ElvisStillAliveYouDecide  Strony internetowe: http://www.elvisinfonet.com/conspiracy.html https://elvisdecoded.com/ http://elvisownia.blogspot.com/ https://fbiretired.com/retired-fbi-agents-talk-about-opfopen-case/ https://www.theguardian.com/culture/interactive/2013/oct/12/elvis-presley-richard-nixon-letter (treść listu Elvisa do prezydenta Richarda Nixona) https://vault.fbi.gov/Elvis%20Presley%20 (akta FBI Elvisa Presleya) https://lindahoodsigmonstruth.com/ (strona Lindy Hood) https://www.youtube.com/@lindahoodsigmon1625/videos (kanał na YT Lindy Hood) https://www.probatelawyerblog.com/elvis-presley/ (sprawa Elizy Presley, blog prawnika) _______ Fragmenty utworów należą do ich prawnych właścicieli i zostały wykorzystane wg prawa cytatu (art.29 ust.1 ustawy o prawie autorskim i prawach pokrewnych). _______ Posłuchaj na: Spotify: https://bit.ly/nagleostatniejnocySpotify YouTube: https://bit.ly/nagleostatniejnocyYouTube _______ Intro Cool Vibes - Film Noire by Kevin MacLeod https://incompetech.filmmusic.io/song/3553-cool-vibes https://filmmusic.io/standard-license Fragment filmu “Dom na Przeklętym Wzgórzu”, 1959 _______ Muzyka: Unanswered questions by Kevin MacLeod You have doubts by Kevin MacLeod I knew a guy by Kevin MacLeod Walking Along by Kevin MacLeod Dreams become real by Kevin MacLeod https://incompetech.com/ License: http://creativecommons.org/licenses/by/4.0/ Sacred - Haunting Atmospheric Soundscape by CO.AG Music _______ Kontakt: kinolityka@gmail.com

JOHN KRONDES AND ELVIS PRESLEY HIT TEAM BRING BACK MEMPHIS SOUND WITH 1ST NEW RECORDINGS SINCE 1977. ROCK 'N ROLL HEAVEN HAS SPOKEN AND THE SILENCE IS BROKEN! SHOCKINGLY, THE MEMPHIS ROCK IS BACK ON THE WORLD'S AIRWAVES. JOHN KRONDES UNITES WITH ELVIS PRESLEY AND ROLLS OUT NEW MUSIC WITH THE ORIGINAL ELVIS PRESLEY MUSICIANS AND SINGERS. John Krondes dazzles radio and fans worldwide with new recordings with all the King's music entourage. Fans re-mourning the loss of Elvis Presley after THE END of the movie ELVIS are now celebrating The Return Of The Memphis Sound! A DREAM FOR PEACE medley includes a new recording of "If I Can Dream" the song Elvis Presley sang in the '68 Comeback Special, along with "Classical Dream". REALLY FOLKS, accompanying Singer John Krondes on the record is the American Sound Studio Band that recorded "Suspicious Minds" and other hits with Elvis Presley, together with the Jordanaires, Stamps, Imperials, Sweet Inspirations, Millie Kirkham, Elvis Horns, and more. Singer/Songwriter John Krondes wondrously has near 100 New Recordings with all the original Elvis Presley musicians and singers. The recordings are continuing with even more legends gravitating to Krondes to create this New Memphis Rock Music. Elvis Presley's Best Friend and Road Manager Joe Esposito took control and spearheaded the John Krondes and Elvis Hit Making Team project until his 2016 death. The lost Memphis Sound has been found, and there's a lot more music in the works. Some of Elvis Presley's musicians and vocalists have died in the process making the new John Krondes recordings a gift from Rock 'N Roll Heaven. A Dream For Peace (Medley) consists of the full song "If I Can Dream" together with "Classical Dream", a beautiful instrumental piece written by John Krondes which opens and closes the "If I Can Dream" song. "If I Can Dream" was a big featured song in the New Elvis Movie that came out in June. John mentioned he explained some of the history and detail on the new recording of this song "If I Can Dream". Ironically, this new recording is ready to go thanks to Joe Esposito, and is in the ELVIS Movie. The new recording by John Krondes and the Elvis Hit Making Team has a stellar roster of all of Elvis Presley's original musicians and singers. If promoted correctly to Radio Stations around the world, this song is going to shock the music world. This is the first release with the entire Elvis Presley music entourage together on a new song. The track, along with John Krondes on lead includes: The American Sound Studio Band that recorded "Suspicious Minds" for Elvis, along with The Jordanaires, Stamps, Imperials, Sweet Inspirations, Millie Kirkhim, and Elvis Horns.www.johnkrondes.com

JOHN KRONDES AND ELVIS PRESLEY HIT TEAM BRING BACK MEMPHIS SOUND WITH 1ST NEW RECORDINGS SINCE 1977. ROCK 'N ROLL HEAVEN HAS SPOKEN AND THE SILENCE IS BROKEN! SHOCKINGLY, THE MEMPHIS ROCK IS BACK ON THE WORLD'S AIRWAVES. JOHN KRONDES UNITES WITH ELVIS PRESLEY AND ROLLS OUT NEW MUSIC WITH THE ORIGINAL ELVIS PRESLEY MUSICIANS AND SINGERS. John Krondes dazzles radio and fans worldwide with new recordings with all the King's music entourage. Fans re-mourning the loss of Elvis Presley after THE END of the movie ELVIS are now celebrating The Return Of The Memphis Sound! A DREAM FOR PEACE medley includes a new recording of "If I Can Dream" the song Elvis Presley sang in the '68 Comeback Special, along with "Classical Dream". REALLY FOLKS, accompanying Singer John Krondes on the record is the American Sound Studio Band that recorded "Suspicious Minds" and other hits with Elvis Presley, together with the Jordanaires, Stamps, Imperials, Sweet Inspirations, Millie Kirkham, Elvis Horns, and more. Singer/Songwriter John Krondes wondrously has near 100 New Recordings with all the original Elvis Presley musicians and singers. The recordings are continuing with even more legends gravitating to Krondes to create this New Memphis Rock Music. Elvis Presley's Best Friend and Road Manager Joe Esposito took control and spearheaded the John Krondes and Elvis Hit Making Team project until his 2016 death. The lost Memphis Sound has been found, and there's a lot more music in the works. Some of Elvis Presley's musicians and vocalists have died in the process making the new John Krondes recordings a gift from Rock 'N Roll Heaven. A Dream For Peace (Medley) consists of the full song "If I Can Dream" together with "Classical Dream", a beautiful instrumental piece written by John Krondes which opens and closes the "If I Can Dream" song. "If I Can Dream" was a big featured song in the New Elvis Movie that came out in June. John mentioned he explained some of the history and detail on the new recording of this song "If I Can Dream". Ironically, this new recording is ready to go thanks to Joe Esposito, and is in the ELVIS Movie. The new recording by John Krondes and the Elvis Hit Making Team has a stellar roster of all of Elvis Presley's original musicians and singers. If promoted correctly to Radio Stations around the world, this song is going to shock the music world. This is the first release with the entire Elvis Presley music entourage together on a new song. The track, along with John Krondes on lead includes: The American Sound Studio Band that recorded "Suspicious Minds" for Elvis, along with The Jordanaires, Stamps, Imperials, Sweet Inspirations, Millie Kirkhim, and Elvis Horns.www.johnkrondes.com

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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.

It's one of our favorite episodes of the year. We are sharing what we consider to be the best albums of 2022. Every year we discover new music we missed and get into debates about which albums we think should be consider amongst the best rock albums for the year. Anyone who thinks rock is dead, need only listen to this episode. WE NEED YOUR HELP!! It's quick, easy, and free - Please consider doing one or all of the following to help grow our audience: Leave Us A Five Star Review in one of the following places: Apple Podcast Podchaser Connect with us  Email us growinuprock@gmail.com Contact Form  Like and Follow Us on FaceBook Follow Us on Twitter Leave Us A Review On Podchaser Join The Growin' Up Rock Loud Minority Facebook Group Do You Spotify? Then Follow us and Give Our Playlist a listen. We update it regularly with kick ass rock n roll Spotify Playlist Buy and Support Music From The Artist We Discuss On This Episode Growin' Up Rock Amazon Store Music in this Episode Provided by the Following: Thundermother, Dorothy, Halestorm, Stryper, Jeff Scott Soto, Devil's Train, Crobot, The New Roses, Girish And The Chronicle, Dan Reed Network, The Dead Daisies, Chez Kane, HEAT, Fortune Child, Corey Taylor, A-Z, Kings Of Mercia, Tuk Smith & The Restless Hearts, Styx, Van Halen, Foo Fighters, Joe Esposito, Queensryche, Ratt, Pat Benatar, Kiss, And Skid Row Crank It Up New Music Spotlight A-Z and Kings of Mercia If you dig what you are hearing, go pick up the album or some merch., and support these artists. A Special THANK YOU to Restrayned for the Killer Show Intro and transition music!! Restrayned Website

Laruso. Lawrence. Diaz. Keene. Nichols. Moskowitz. For 5 glorious seasons these names have been synonymous with THE BEST in The Valley and with season 4's re-emergence of Terry Silver there has been new dominance attached to Cobra Kai. Last season had it's own set of cliffhangers and AA and CM couldn't wait to get back in fighting form for the latest season of Cobra Kai! What did you see that you loved, maybe hated? What new questions arose for you?? Has Cobra Kai maintained it's punch?? We are def going to tell you all that we thought about this latest season! And when the hell are we going Joe Esposito?!? --- Send in a voice message: https://anchor.fm/jafnpodcast/message Support this podcast: https://anchor.fm/jafnpodcast/support

Dr. Esposito has extensive post-graduate academic accomplishments, as well as 15 years of experience managing successful chiropractic clinics in multiple states. He also is founder and CEO of Aceva LLC, a service-based nutritional company providing products and services to the AlignLife clinics, which actively have over 35 locations with the intention to reach 100 locations in the near future. In this knowledge dense episode, Dr. Joe and Jeff discuss how Dr. Joe started and built the AlignLife Franchise, biggest career lessons and how to scale the valuation of your personal clinic. To connect with Dr. Joe and learn more about his story and mission, check out the following links: Alignlifeopportunity.com Aceva.com

One million chairs is nothing to sneeze at and the folks at Gary Platt Manufacturing are justifiably proud of reaching that milestone. Founded by Gary Platt more than 30 years ago, the company basically invented the concept of chairs at slot machines and made the table game experience that much more comfortable. Despite the million chairs, Joe Esposito, the CEO of Gary Platt Manufacturing, explains why quality always trumps quantity in his company and how it is ramping up to reach the 2 million mark a lot sooner than 1 million. He spoke with GGB Publisher Roger Gros via Zoom from the Gary Platt offices in Reno in June.

Interview with current University of Missouri, Kansas City Basketball Assistant Coach Joe Esposito.

We're gonna crane-kick today's podcast off by discussing “You're The Best” by Joe “Bean” Esposito from The Karate Kid (1984) with special guest Shane Norton from the podcast Sports Card Nobody! :00 | Intro 7:04 | Movie Discussion 31:16 | Song Discussion 53:14 | Answerable Questions 1:06:53 | YouTube Comments   Need more The Song Will Go On in your life? Follow us @thesongwillgoon on Twitter and Instagram, and check out http://www.thesongwillgoon.com/ (www.thesongwillgoon.com) Get access to exclusive content and extra perks by supporting us through Patreon. https://www.patreon.com/thesongwillgoon

All of the songs from this week's Song of the Night segment. Artists include: The Ataris, Joe Esposito, Richard Marx, and the Velvet Revolver.

Former Commissioner Joe Esposito joins Bernie and Sid to discuss the shooting in Uvalde, rules of engagement, his time as Commissioner, dealing with criminals and more! Learn more about your ad choices. Visit megaphone.fm/adchoices

I was joined by writer Fred Topel, Pi'ilani, Kerri, and Ken who were all in attendance at the event. We discussed the S5 release date, the S5 trailer, the costume contest, the surprise appearance from Yuji Okumoto and Joe Esposito!  Twitter: @CobraKaiPod / Instagram: @CobraKaiKompanion Ph: (424) 262-7284 [424-COBRA-84] / Email: CobraKaiPod@gmail.com Cobra Kai Kompanion Website Merch store: ckkompanion.threadless.com www period Cobra Kai period C-O-M slash Kompanion Podcast Contenders Clothing Link: https://contendersclothing.com/?rfsn=5377037.325ffd  20% off Promo code: CKPODCAST

One of the most common questions we get asked is regarding compensation – how to compensate yourself as the Owner. In this episode, we explain exactly how you should be paid 3 ways. Setting up your compensation correctly today pays you now - and later.  If you do this right, you will spend your “Scale Season” building the asset value of your practice. When's the best time to plant an oak tree?  50 years ago! What's the second-best time?  Today!  Starting today, you need to begin planning for your Exit, even if it's long before you plan to exit because when you begin with the end in mind, you will Build and Scale a practice that has the highest market value and one that people will compete to buy!  Episode Highlights0:51 - A special recognition and thank you to all of the listeners that have been reaching out,  connecting, and inspiring Dr. Pete and Dr. Stephen07:53 - An introduction to today's subject including the value of money and how money works in launch vs. build scale. 09:38 - A quick review of the Rule of 40, the metric to answer the question “How is it going?”13:51 - There are three ways chiropractors get paid; salary/compensation, distributions, and the asset value of the business when you sell14:53 - Determining what you get paid requires being organized and identifying the roles you play on your accountability chart.  This is especially important to understand when you are looking at selling your business.20:24 - A look at acquiring your distributions quarterly as you analyze your profits for that time period. 24:08 - Building your value in each season of your career, from launch to exit.27:11 - Building an asset value as part of your remarkable exit strategy. 30:59 - Dr. Stephen sits down with Success Partner, Dr. Joe Esposito from Aceva.  Aceva is an international brand and leader in the natural healthcare arena.  Join the conversation as they discuss how Dr. Joe started in the supplemental industry, Dr. Stephen's personal experience with these nutraceuticals, and bringing into alignment how nutrition fits into the principle of chiropractic care.  Resources MentionedTo register for the Conversion Retention Immersion, please visit our site here: https://theremarkablepractice.com/upcoming-events/For more information about Aceva please visit:  https://www.aceva.comSchedule a Brainstorming call with Dr. PeteDr. Stephen's LinkedInDr. Peter's LinkedInThe Remarkable CEO WebsiteDr. Stephen's Book – The Remarkable Practice: The Definitive Guide to Build a Thriving Chiropractic Business

Listen to this interview of Joe Esposito, Senior Partner of Clarke & Esposito. We talk about the space between academic research and consumer markets, and we travel in space to the metaverse! Joe Esposito : "The thing that's at issue when a field of study begins publishing more in journals and less in books is another aspect of the audience. If you're a scientist, you write short articles because this is what gets you tenure, this is what gets you a promotion, this is what allows you to go to grants-making bodies and get money to hire postdoctoral students and to build out your laboratory. So the aspect of audience I'm talking about here is broader than just your fellow experts in your field — it's broader than just the readers of your communications, because it includes, too, the business model that these communications are placed into. There is money in articles in the sciences. There is very little money in books in the sciences. But switch over to history, anthropology, literary criticism, and the whole situation gets turned on its head. There the tenure promotion committees are looking for books, preferably published with a university press. So, when we talk about questions like where the book is going, where text is going, or whether digital or print, we can't escape the fact that all these things live within an environment of people pursuing their own personal interests, which itself has a economic basis as well." Clarke & Esposito have an excellent newsletter on scholarly communication and publishing. You can read and subscribe here. Joe is also a regular contributor to The Scholarly Kitchen, which you can read and subscribe to here.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Diane and Sean discuss the movie that taught all of us how to wax cars, paint fences and houses, and sand floors...The Karate Kid. Episode music is, "You're the Best", by Bill Conti and Allee Willis, performed by Joe Esposito from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  IG: @whydoweownthisdvd-  Twitter: @whydoweownthis1-  Follow Sean's Plants on IG: @lookitmahplantsSupport the show (https://www.buymeacoffee.com/dvdpod)

Today we will be talking with Dr Joe Esposito. He is the founder and CEO of Vitalogics, Aceva, and Alignlife. He holds multiple post-grad certifications in nutrition, and he is a Gonstead Diplomate. As such, he is an avid businessman with a passion for nutrition and Gonstead Chiropractic. Today, we have the opportunity to talk with him about all of these things and much more. You won't want to miss it! --- Support this podcast: https://anchor.fm/david-fowler/support