Podcast appearances and mentions of John Houseman

Content Warning for sexual assault. The next spy film is The Spy Who Dumped Me (2018).

This episode was originally released on 5/1/2018. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes beginning with this episode on the birth of radio. ___________ In Breaking Walls Episode 79, we present a detailed look at Orson Welles' radio career through the end of 1941. Highlights: • Beginnings in Illinois and China — How they helped shape Orson • The Todd Seminary School — His first exposure to theater and Radio • Connections and Early Breaks — How his mentor Roger Hill, Thornton Wilder, Alexander Woollcott, and Katharine Cornell helped Orson get to Broadway • Orson meets John Houseman and Archibald MacLeish, and first appears on the March of Time • 1935-1937 — From the March of Time to the Columbia Workshop, and how Irvin Reis taught Orson how to create for radio • How the US Government shaped the opportunity for Orson to write, direct, and star in Les Misérables on the Mutual Broadcasting System in 1937
 • The Shadow Knows! — Agnes Moorehead and Orson Welles' one season on The Shadow • The birth of the Mercury Theater on the Air as First Person singular. • How it's success led to the most infamous night in radio in October of 1938 • Mainstream success with Campbell's Soups • Orson goes to Hollywood, and signs the greatest autonomous film contract in history at 24 • Citizen Kane — How William Randolph Hearst and RKO shaped the film • Lady Esther Presents — Orson comes back to radio in the autumn of 1941 • Pearl Harbor Day and collaborating with Norman Corwin • Joseph Cotton introduces Orson to Rita Hayworth The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers The reading material used in today's episode was: • Citizen Welles: A Biography of Orson Welles by Frank Brady • This is Orson Welles by Welles and Peter Bogdanovich • The Encyclopedia of Old-Time Radio by John Dunning • Discovering Orson Welles by Jonathan Rosenbaum Other materials included: • http://www.wellesnet.com - an incredibly comprehensive website on Orson's career • Orson Welles on the Air, 1938-1946 at https://orsonwelles.indiana.edu • The Radio Preservation Task Force also has a great Facebook group headed by Josh Shepperd Selected Interviews in this episode were: • Orson Welles with Dick Cavett, Johnny Carson, and Huw Wheldon, • Agnes Moorehead and Alan Reed were with radio Hall of Fame Member Chuck Schaden, who interviewed over 200 members of the radio community during his 39 year career. Chuck's interviews can be streamed for free at SpeakingofRadio.com. • William Robson was with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio in January of 1976 and Kenny Delmare was with John Dunning in 1983. Those interviews can be found at the Old Time Radio Researcher's Group at Otrrlibrary.org • William Herz was with Walden Hughes and John and Larry Gassman in 2013 for their program on the Yesterday USA Radio Network, which you can visit at http://www.yesterdayusa.com.

Colin suggests we form a secret society to tell a Ghost Story (1981), an adaptation of Peter Straub's novel about a 50 year old secret that binds together a group of elderly men in a snowy small town in New England, played by some of Hollywood's legendary stars, including Fred Astaire and John Houseman. Listen as we pay tribute to makeup artist Dick Smith, talk about sexy ghosts, and tell each other ghost stories on this week's exciting episode! Hosted on Acast. See acast.com/privacy for more information.

Tread Perilously's 1980s flashback months leads them, finally, to Silver Spoons with an episode called "A Family Affair." When Ricky meets Jeannie -- who goes to the nearby all-girls school -- at the local hangout, he discovers that she's pretty rad. Soon, she becomes his prom date. Meanwhile, Edward, Kate, and Dexter Stuffins face the threat of a strike at the toy factory. But when Ricky and Jeannie get into an argument, he calls off the prom date only for Dexter to tell Edward that her father might be mobbed up. And when her father comes around to the house, Edward faces a difficult decision. Erik and Justin almost immediately make their way into a '90s flashback. Erik also declares Dexter Stuffins to be one of the great names in '80s TV. It leads to a lot of praise for actor Franklyn Seales. A wild Alfonso Ribeiro appears. Justin mentions his fixation on Erin Gray. A bevy of guest stars leads to conversations of '80s bands, underrated actors, an old Tread Perilously favorite, and the best Star Wars knock-off. The pair try to figure out why '80s sitcoms still have soda shops. Erik ends up in a Godfather Part III rabbit hole and John Houseman gets referenced despite not being in the episode.

In this episode of the Expositors Collective Podcast, Mike Neglia speaks with Dr. Wayne Baxter, Associate Professor of New Testament and Greek at Heritage College & Seminary in Cambridge, Ontario. With a Ph.D. in Early Christianity from McMaster University and an M.Div. from Trinity Evangelical Divinity School, Wayne combines academic expertise with years of pastoral experience, having served churches in Windsor, Ottawa, and Toronto. He's the author of several books, including Preparing Sermons from the Page to the Pulpit: Exegesis to Exposition in Seven Steps, a practical guide to sermon preparation. Wayne shares his journey from a non-church background to full-time ministry, reflecting on how his preaching has evolved from being overly technical to more accessible and engaging. He emphasizes the importance of situating Scripture within its broader context (co-text) and how this approach strengthens sermon preparation. Wayne also shares insights into sermon rehearsal, creative illustrations, and connecting Scripture to the daily lives of congregants. Mike and Wayne discuss the challenges of itinerant preaching, the state of expository preaching today, and how pastors can balance theological depth with relevant application. Wayne's heartfelt hope is that his book will bridge the gap between biblical study and impactful preaching, equipping pastors and seminarians to proclaim God's Word faithfully. Whether you're a seasoned preacher or just beginning your journey, this episode is packed with practical tools and encouragement to help you grow in your craft. Links:  9 Marks Application Grid: https://simeontrust.org/application-grid-9marks/  30 Day Shred: https://www.bible.com/reading-plans/13745-30-day-shred John Houseman: https://www.imdb.com/name/nm0002144/ Philip Nation on how to be a good guest preacher: https://cgnmedia.org/podcast/expositors-collective/episode/how-to-be-a-good-guest-speaker-how-much-you-should-tell-your-kids-about-church-drama-and-so-much-more Wayne teaches at Heritage College & Seminary  https://discoverheritage.ca/  You can find his book (and other Lexham Press authors who have been on the show here: https://lexhampress.com/Expositors ---- For information about our upcoming training events visit ExpositorsCollective.com  The Expositors Collective podcast is part of the CGNMedia, Working together to proclaim the Gospel, make disciples, and plant churches. For more content like this, visit https://cgnmedia.org/ Join our private Facebook group to continue the conversation: https://www.facebook.com/groups/ExpositorsCollective Donate to support the work of Expositors Collective, in person training events and a free weekly podcast: https://cgn.churchcenter.com/giving/to/expositors-collective

PREVIEW: MACBETH: FEDERAL THEATRE: Professor James Shapiro, author "The Playbook," presents the national excitement at the Federal Theatre production of Macbeth in 1936- and how it launched the talents of two young actors, Orson Welles and John Houseman. More tonight. 1936 Macbeth at the Lafayette thetr in Harlem

We're deep into our second annual Christmas movie theme and we haven't mined any material from, or inspired by, the Charles Dickens classic “A Christmas Carol”. Fuck it, this year we'll do two adaptations and maybe catch an old version of the story next year. This particular adaptation was prime basic cable Christmas break material when we were kids and in many ways it holds up and even impresses in certain ways. Bill Murray could carry a comedy in the 80s and his leading role of a stingy TV executive Scrooge-stand-in does deliver some quality jokes bouncing off of an extended comedic cast. Richard Donner's 1988 Christmas comedy “SCROOGED” remains pretty worthy holiday cheer and there's no shortage of prime 80s stars including Bobcat Goldthwait, Carol Kane, David Johansen, Alfre Woodard and Karen Allen. There's also some nice appearances from veteran actors of TV and film such as Robert Mitchum, John Forsythe, John Houseman and Buddy Hackett. Miles Davis is even in this thing. Folks, you gotta bring out the bells and whistles when you're adapting a story that everybody knows. You gotta throw some horror in there. Maybe even a little sadism. Just go with it. You might like it. Subscribe to us on YOUTUBE: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact us here: MOVIEHUMPERS@gmail.com Check our past & current film ratings here: https://moviehumpers.wordpress.com Hear us on podcast: https://open.spotify.com/show/6o6PSNJFGXJeENgqtPY4h7 Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/culturewrought

This week we have a look at the 1981 horror film Ghost Story directed by John Irvin.  This is Episode #448! Ghost Story is a 1981 American supernatural horror film directed by John Irvin and starring Fred Astaire, Melvyn Douglas, Douglas Fairbanks Jr., John Houseman, Craig Wasson, and Alice Krige. Based on the 1979 novel of the same name by Peter Straub, it follows a group of elderly businessmen in New England who gather to recount their involvement in a woman's death decades prior when one of them suspects her ghost has been haunting him.Ghost Story was the final film for Astaire and Fairbanks, the final completed film for Douglas and the first film to feature Michael O'Neill. The film was shot in Woodstock, Vermont; Saratoga Springs, New York; and at Stetson University in DeLand, Florida. Ghost Story was released in the United States on December 18, 1981.Become a supporter of this podcast: https://www.spreaker.com/podcast/castle-of-horror-podcast--4268760/support.

EPISODE 59 - "POLITICS: THROUGH THE LENS OF CLASSIC CINEMA" - 10/28/2024 As we all get ready to go to the polls and vote in what might be the most important election of our lives, we wanted to take a look at politics in the films of old Hollywood. This week, we explore the movies that reflected the politics and the issues of the day and left an indelible mark on cinema. From labor wars in New Mexico to a mayor's race in New England to the early years of Abraham Lincoln, join us as we take a look at some great political movies.  SHOW NOTES:  Sources: Hearst Over Hollywood (2002), by Louis Pizzitola; Pictures at A Revolution: Five Movies and the Birth of a New Hollywood (2008), by Mark Harris;  Hollywood's White House (2010), by Peter C. Rollins and John E. O'Connor; The Great Depression on Film (2022), by David Luhrssen;   “The Best Man Took On Cutthroat Campaigning,” August 21, 2024, The Hollywood Reporter; “How Blacklisted Hollywood Artists Joined Forces to Make a Truly Subversive film,” June 6, 2024, forward.com; “Subversives: Salt of the Earth,” UCTV TCM.com; IMDBPro.com; IBDB.com; Wikipedia.com; Movies Mentioned:  Gabriel Over the White House (1933), starring Walter Huston, Karen Morely, Franchot Tone, Dickie Moore, David Landau, Arthur Byron, Jean Parker, and C. Henry Gordon; Salt of the Earth (1954), starring Juan Chacón, Rosaura Revueltas, Mervin Williams, Henrietta Williams, and Virginia Jencks; The Great McGinty (1940), starring Brian Donlevy, Muriel Angelus, Akim Tamiroff, William Demarest, Allyn Joslyn, Louis Jean Heydt, Thurston Hall, Jimmy Conlin, and Arthur Hoyt; The Best Man (1964), starring Henry Fonda, Cliff Robertson, Edie Adams, Margaret Leighton, Ann Sothern, Lee Tracy, Shelley Berman, Kevin McCarthy, and Gene Raymond; The Last Hurrah (1958), starring Spencer Tracy, Jeffery Hunter, Dianne Foster, Pat O'Brien, Basil Rathbone, Donald Crisp, James Gleason, John Carradine, Willis Bouchey, Ricardo Cortez, Ken Curtis, Frank Albertson, Anna Lee, and Jane Darwell; The Parallax View (1974), starring Warren Beatty, Paula Prentiss, William Daniels, Walter McGinn, and Hume Cronyn; Three Days of the Condor (1975), starring Robert Redford, Faye Dunaway, Cliff Robertson, Max von Sydow, John Houseman, Addison Powell, Tina Chen, Walter McGinn, Michael Kane, Carlin Glynn, and Hank Garrett; Abe Lincoln in Illinois (1940), starring Raymond Massey, Ruth Gordon, Gene Lockhart, Mary Howard, Minor Watson, Howard Da Silva, and Alan Baxter; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode! Episode! Listen all about it. Tune in this month as Austin and Big T discuss the 1941 classic, Citizen Kane. Pull out that puzzle and listen as we discuss some of our favorite cinematography techniques in this film and share why Kane is such an intriguing character. We explore how the camera serves almost as another character and, of course, answer the classic question: what does “Rosebud” really mean?So grab a highball and join us this month then tune in next month when we discuss the action film, Gladiator. Content warning: We do briefly discuss suicide in this episode. Write into us at layersoffilmpod@gmail.comFollow us on Instagram, Twitter, and TikTok: @layersoffilmpod

Send us a textThe Fog is a sleeper in John Carpenter's canon. The soundtrack is not! This 1980 movie demands your attention with a stacked cast (see what I did there) of Adrienne Barbeau, Jamie Lee Curtis, Hal Holbrook, Tom Atkins, Janet Leigh, John Houseman, and of course Tommy Lee Wallace. Beautifully shot and scored on a modest budget, this movie has aged like a fine wine. So many films that were critically panned have become classics over time, and John Carpenter has his share in that column. Which is a shame. I'm sure that had he been embraced as the master he was/is, we'd have more of these gems to enjoy. Creeping death to us all. 

We continue Sci-HIGH-ence Theater Month. The Month where we ask "What the hell were they on?"

Welcome to the Instant Trivia podcast episode 1248, where we ask the best trivia on the Internet. Round 1. Category: Manimals 1: In 1883 he opened his Wild West Show in Omaha, Nebraska. Buffalo Bill Cody. 2: In 1997 he broke Jack Nicklaus' 32-year-old Masters record of 17 under par. Tiger Woods. 3: In the victory column, this Alabamian has 4 more than Pop Warner. Bear Bryant. 4: On "Another Saturday Night" you'll find him "Sitting" on a "Peace Train" until "Morning Has Broken". Cat Stevens. 5: This "Good Morning, Vietnam" star once studied drama with John Houseman. Robin Williams. Round 2. Category: C In Music. With C in quotes 1: It's defined as a traditional song of joy; the "Christmas" type is the most popular. a carol. 2: Isaac Stern led the fight to save this NYC concert hall while Lincoln Center was being built. Carnegie Hall. 3: To play the hi-hat type of this percussion instrument, you clash the metal plates together with a pedal. cymbal. 4: This symbol found at the start of a line of music can be treble or bass. a clef. 5: Mozart introduced this single reed wind instrument to the symphony orchestra. a clarinet. Round 3. Category: Tough Tv 1: Arte Johnson was the only performer to win an Emmy for his work on this comedy-variety series. Rowan and Martin's Laugh-In. 2: First name of the character played by Faith Ford on "Murphy Brown". Corky. 3: Jon Provost, who played this dog's second owner 1957-1964, returned for a "new" 1989-1991 series. Lassie. 4: Nickname of the character played by Chris Burke on "Life Goes On". Corky. 5: Nantucket Memorial Airport doubled for the fictional Tom Nevers Field on this sitcom. Wings. Round 4. Category: I Stand Before The Country 1: Before "Timor". East. 2: Before "Verde". Cape. 3: Before "Sudan". South. 4: Before "Islands"--1 of the 2 U.N. members. Marshall (or Solomon). 5: Before "Darussalam". Brunei. Round 5. Category: Best Actor Oscar Winners 1: 1971:As "Popeye" Doyle. Gene Hackman. 2: 1986:As a slower "Fast Eddie" Felson. Paul Newman. 3: 1994:Tom Hanks for this modern parable. Forrest Gump. 4: 1964 for "My Fair Lady". Rex Harrison. 5: 1987:As Gordon Gekko. Michael Douglas. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Madolyn Smith Osborne had the kind of fairy tale show business beginning that most can only fantasize about. While still in school at The University of Southern California, she won her first paycheck with a serendipitous audition before famed choreographer, Gower Champion, when a lead dancer and understudy had to be replaced in the Broadway-bound production of Pal Joey starring Lena Horne.  Madolyn's passion for musical theater as well as her training with beloved choreographers Bill and Jacqui Landrum, prepared her well for the opportunity. A year later, on the eve of graduating from USC's School of Dramatic Arts., her mentor, the late, iconic theatre and film producer and Academy Award-winning actor, John Houseman, launched a swan song of sorts for her with a production of Shakespeare's All's Well That Ends Well, in which Madolyn starred in the role of Helena. Mr. Houseman had invited various industry professionals to see the show in the 99-seat Stop Gap Theater on campus, including his former protege, film director, Jim Bridges, who, upon seeing Madolyn's performance, invited her to play the role of John Travolta's mistress, Pam, in the cult classic, Urban Cowboy. Madolyn went on to give multiple award-winning performances in the L.A. theater scene. Among her triumphs, she created the title role of Emily in Stephen Metcalfe's play of the same name, which was directed by the renowned producer-director, Jack O'Brien, during its premiere at San Diego's revered Old Globe Theatre.  When Madolyn was studying with legendary actress, Kim Stanley, and opera singer, Gloria Lane, she became a founding member of L.A. Theatre Works.  Madolyn also enjoyed a terrific TV and film career in which she found herself starring in features opposite the likes of no less than Steve Martin in All of Me, Roy Scheider in 2010: The Year We Make Contact, Chevy Chase in Funny Farm, Joe Pesci in The Super, and in TV shows like Due South, Cheers, If Tomorrow Comes, and Sadat. But at the height of her powers, all of that was abruptly interrupted by a chronic illness that she fights to this day.Madolyn resides in Toronto, Canada with her husband, former NHL hockey great, Mark Osborne, and 2 adult daughters who live nearby.            For the record, Madolyn and I have known one another for more years than either of us will admit, having met and worked together on a few productions while we were both in drama school at the USC. 

Book Vs. Movie: The Paper ChaseThe 1971 Book vs. The 1973 FilmIn the episode, the Margos discuss the 1971 novel "The Paper Chase" by John Jay Osbourn Jr. and compare it to the 1973 film directed by James Bridges. The story follows James Hart (played by Timothy Bottoms), a first-year law student at Harvard who faces challenges when he clashes with the formidable contracts professor Charles W. Kingsfield Jr. (played by John Houseman). Despite the difficulties, James perseveres and even starts dating the professor's daughter, Susan (played by Lindsay Wagner). Which did we (the Margos) prefer? Have a listen to find out. In this ep, the Margos discuss:Harvard Law School as a cultural institution The Paper Chase's popularity in the 1970sThe differences between the novel and film. The 1973 film's cast includes Timothy Bottoms (James T. Hart,) Lindsay Wagner (Susan Fields,) John Houseman (Charles W. Kingsfield, Jr,) Graham Beckel (Ford,) James Naughton (Kevin Brooks,) Edward Herrmann (Anderson,) Craig Richard Nelson (Bell,) and Blair Brown as Miss Farranti. Clips used:“Here's a dime…”The Paper Chase (1973 movie trailer)“Socratic reasoning”“What's the difference?”“Hart & Susan”“Pimp scene”Music by John Williams (The Paper Chase theme)Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog  https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Book Vs. Movie: The Paper ChaseThe 1971 Book vs. The 1973 FilmIn the episode, the Margos discuss the 1971 novel "The Paper Chase" by John Jay Osbourn Jr. and compare it to the 1973 film directed by James Bridges. The story follows James Hart (played by Timothy Bottoms), a first-year law student at Harvard who faces challenges when he clashes with the formidable contracts professor Charles W. Kingsfield Jr. (played by John Houseman). Despite the difficulties, James perseveres and even starts dating the professor's daughter, Susan (played by Lindsay Wagner). Which did we (the Margos) prefer? Have a listen to find out. In this ep, the Margos discuss:Harvard Law School as a cultural institution The Paper Chase's popularity in the 1970sThe differences between the novel and film. The 1973 film's cast includes Timothy Bottoms (James T. Hart,) Lindsay Wagner (Susan Fields,) John Houseman (Charles W. Kingsfield, Jr,) Graham Beckel (Ford,) James Naughton (Kevin Brooks,) Edward Herrmann (Anderson,) Craig Richard Nelson (Bell,) and Blair Brown as Miss Farranti. Clips used:“Here's a dime…”The Paper Chase (1973 movie trailer)“Socratic reasoning”“What's the difference?”“Hart & Susan”“Pimp scene”Music by John Williams (The Paper Chase theme)Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog  https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Welcome to the Instant Trivia podcast episode 1173, where we ask the best trivia on the Internet. Round 1. Category: Historic Classifieds 1: "FSBO." this "vast region including Aleutian Islands. $7.2 million OBO". Alaska. 2: In 431 he would have jumped at the ad "Bishop needed for Celtic island. Must have shamrock". St. Patrick. 3: Situation wanted: this "ex-naval minister seeks post, nothing to offer but blood, toil, tears, sweat". Winston Churchill. 4: In 1508 he may have successfully responded to "Chapel painter needed. Strong neck a must". Michelangelo. 5: In the 1660s she could have advertised, "Experienced queen seeks throne. Catholic countries only". Queen Christina of Sweden. Round 2. Category: 1995 Cars 1: This company has a new ragtop Celica. Toyota. 2: Pontiac's Sunfire replaced this other "Sun" model. the Sunbird. 3: Its new XJ6 sedan has a base price of $53,450; its XJ12, $77,250. Jaguar. 4: This Japanese automaker's Odyssey is its first minivan. Honda. 5: Its Integra LS is Consumer Reports' top recommended small car. Acura. Round 3. Category: Tough Chicks 1: Yvonne Craig on TV and Alicia Silverstone on film played this hero. Batgirl. 2: This New Zealander hung up her chakram in 2001. Lucy Lawless. 3: As this hero, Lynda Carter was in her satin tights, fighting for her rights. Wonder Woman. 4: She was played on TV by Diana Rigg and on film by Uma Thurman. Emma Peel. 5: She was a kick as Yu Shu Lien in "Crouching Tiger" and Wai Lin in "Tomorrow Never Dies". Michelle Yeoh. Round 4. Category: Comedians 1: Comic whose "trial by fire" fueled his comedy routines. Richard Pryor. 2: Michael Palin was one of "the knights who say 'Ni'" in a 1975 film by this comedy troupe. Monty Python. 3: His teaming with Dean Martin lasted 10 years - 1946 to 1956. Jerry Lewis. 4: Before he became Mork from Ork, he studied acting with John Houseman at Juilliard. Robin Williams. 5: After walking the beat with Nick Nolte, he's on his own in "Beverly Hills Cop". Eddie Murphy. Round 5. Category: Transportation In Song 1: In "The Christmas Song, "They know that Santa's on his way, he's loaded lots of toys and goodies on" this. his sleigh. 2: A hotel party inspired Steven Tyler to write, "Love In" one of these, "livin' it up when I'm goin' down". an elevator. 3: In "Dead Man's Curve" the driver of a Jaguar XK-E challenged the driver of this Chevy sports car to a drag race. a (Stingray) Corvette. 4: Day-o! This Harry Belafonte calypso favorite was featured in a raucous dinner scene in the film "Beetlejuice". the "Banana Boat" (song). 5: In "The Letter" the Box Tops didn't have "time to make the fast train", so they got a ticket on this. an airplane. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Henry Fonda and John Houseman talk about working with one another on "Clarence Darrow: A One-Man Play". Houseman is in awe of Fonda's portrayal of Clarence Darrow, explaining that in the play, the audience can really see the growth of Clarence Darrow, from a young lawyer to an experienced, wise one. Fonda talks about the opening scene when Darrow recalls his father talking to him when he was a young boy. Fonda reflects on times when his father talked to him. Fonda recalls being taught not to hate individuals.

Saturday April 8th, 1944. New York City. It's a rainy day before Easter and World War II news is dominating consciousness. There are cracks in Germany's foundation. On Tuesday April 4th, allied surveillance aircrafts photographed the Auschwitz concentration camp. Knowing this, the Nazis will spend the next four months using the gas chambers and incinerators to their full capacity. Twenty-thousand people could be murdered each day. The Germans have lost five u-boats in three days on both fronts while simultaneously facing heavy fighting against the Soviets in Ukraine. They've been repeatedly forced to retreat. On Good Friday, April 7th, Adolph Hitler suspended all law in Berlin and made Joseph Goebbels the sole administrator of the city. On this day, April 8th, The Battle of the Tennis Court began in Burma, while Soviet forces invaded Romania. At the same time, U.S. bombers shelled Brunswick. The early 1944 Bombings of German cities gave German citizens their first hard evidence that the tide of the war had turned. And everyone in Europe knew a full scale Allied western invasion was coming. Amidst the gloom, at 1:45PM from WEAF in New York, John McVane took to the air with NBC's War Telescope looking at both war news and peacetime negotiation. Saturday's New York Daily News reported on the U.S. navy's recent sinking of forty-six Japanese ships, while they shot down more than two hundred planes in a three day period. Inflation hadn't risen in an entire year, as Americans looked forward to international air travel after the war. It made for an interesting Easter Sunday forecast. ___________ It's 11:30AM on a rainy Easter Sunday, April 9th, 1944 in New York. We're taking a ride inside a 1942 Oldsmobile B44 coupe. There have been no new automobiles manufactured in the U.S. since February 1942. All resources have been put towards the war effort. We've just switched on the radio to CBS's New York affiliate. Invitation To Learning is about to air. First taking to the air on May 26th, 1940, it was chaired by Lyman Bryson with a rotating panel. Based on a class at St. John's College in Annapolis, Invitation To Learning was developed at the suggestion of Stringfellow Barr, school president, who also served on the CBS Adult Education board. By exploring classic literature, Barr contended that radio could be a keynote in liberal education. Three or four people had a spontaneous discussion about a particular book. For twenty-four years and more than twelve-hundred episodes, the show sparked as much debate amongst listeners and rival networks as the programs themselves. Notable guests included Norman Corwin, John Houseman, Eva LeGallienne, Herbert Hoover,, Hans Conried, and Lillian Gish. Opposite on NBC's WEAF was a commentary from Don Hollenbeck, while Mutual's WOR broadcast an Easter Sunrise Service from the Hollywood Bowl, and The Blue Network's WJZ broadcast The Hour of Faith.

It's Jan Carpenter's In The Month Of Madness again! In this episode, our hosts dissect the fog-enshrouded narrative, exploring the spine-tingling atmosphere, masterful cinematography, and the unforgettable characters that make "The Fog" a timeless gem in Carpenter's repertoire. We're talking about The Fog (1980) with guest Ben Mason. Please remember to like, comment, subscribe and click that notification bell for all our updates! It really helps us out! Starring: Adrienne Barbeau, Jamie Lee Curtis, John Houseman, Janet Leigh & Hal Holbrook Directed By: John Carpenter Synopsis: Strange things begin to occurs as a tiny California coastal town prepares to commemorate its centenary. Inanimate objects spring eerily to life; Rev. Malone (Hal Holbrook) stumbles upon a dark secret about the town's founding; radio announcer Stevie (Adrienne Barbeau) witnesses a mystical fire; and hitchhiker Elizabeth (Jamie Lee Curtis) discovers the mutilated corpse of a fisherman. Then a mysterious iridescent fog descends upon the village, and more people start to die. Watch LIVE at: https://www.twitch.tv/heydidyouseethisone every Thursday at 8 PM EST Audio version of the show: Spotify - https://podcasters.spotify.com/pod/show/heydidyouseethisone Apple Podcasts - https://podcasts.apple.com/us/podcast/hey-did-you-see-this-one/id1712934175 #TheFog1980 #CarpenterClassics #HorrorPodcast #CinematicMysteries #FilmDiscussion #HeyDidYouSeeThisOne #ClassicCinema #FilmAnalysis #HiddenGems #SubscribeNow #heydidyouseethisone --- Send in a voice message: https://podcasters.spotify.com/pod/show/heydidyouseethisone/message

  Marieete Hartley and Jerry Sroka's screenplay tells the slightly fictionalized details of their later-in-life romance and marriage. Directed and executive produced by Don Scardino, executive produced by Hartley and Sroka, co-executive produced Matthew Bennett, produced by Jeff Hardwick and Tim Mann, associate produced by Dana L. Williams. The film will open in limited theatrical release on December 8, 2023 at Theatrikos Theatre Company in Flagstaff and Sedona Film Festival Theatre in Arizona, The Village East Angelika in New York City, Reading Cinemas Town Square in San Diego, CA, and Galaxy Theatres Monroe in WA. Watch the trailer HERE Humor drives the rom-com's themes, including on-line dating, technology use, and Hollywood humiliation especially for aging actors, anchored by poignant and serious life issues derived from For more information, please visit: www.ouralmostcompletelytruestory.com Mariette began acting at the age of ten with the legendary Eva Gallienne and John Houseman. Her numerous theatre appearances, Lion in Winter at the Colony, Cabaret, Broadway, Sylvia, MTC, Ancestral Voices, Lincoln Center, Enchanted April, Pasadena Playhouse, Measure for Measure, King John, Public Theatre. She toured with Copenhagen and The Sisters Rosenzweig for which she earned a Helen Hayes Award and the League of American Theatres National Touring Award. She made her screen debut in Sam Peckinpah's classic western, Ride the Country with Randolph Scott and Joel McCrea. Her best-selling autobiography, Breaking The Silence is available at Amazon and Barnes & Noble.  Jerry Sroka  played mostly witches. Short witches. A graduate of the American Academy of Dramatic Arts, he appeared in the film version of Godspell and in the Broadway and Boston stage productions.  He has appeared at the Woodstock Playhouse among many others

Orson Remembered by Friends | Mercury Theatre Remembered | Date: 1988 Featuring: Leonard Maltin and members of Mercury Theater -- Richard Wilson; Peggy Weber, Cliff Thornsdon (SFX), William Allen, John Houseman, and other former Welles performance cast members and production members, etc.: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr

“Game? This wasn't meant to be a game. Never!”James Caan stars as Jonathan E., a legendary athlete in the brutal sport of Rollerball in Norman Jewison's 1975 dystopian sci-fi thriller. With a screenplay by William Harrison based on his short story, Jewison intended the film as a critique of exploitative sports and their dehumanizing effects. However, audiences were enthralled by the violent future sport depicted. Rollerball entered a crowded field of 1970s dystopian sci-fi, alongside classics like A Clockwork Orange. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Rollerball.Here's a hint at what we talk about:We discuss Rollerball as an early example of dystopian sports cinema, designed to make a point about authoritative control. Though we find flaws, like some pacing issues, we agree that Rollerball was prescient in its corporate allegory. We also touch on the fascinating real-world attempts to turn the fictional sport of Rollerball into a reality.Here are a few other points in our discussion: The minimalist performance of a subdued James Caan – does it work? John Houseman as the chilling corporate overlord Appreciation for the practical stunt work (and that they recognized it in the credits!) How audiences often miss the point of satirical films The abysmal 2002 remake In the end, we find Rollerball an imperfect but thought-provoking 1970s sci-fi film. Despite its uneven pacing, we have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries Watch this on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Original Short Story Roller Ball Murder by William Harrison Letterboxd Visit our ORIGINALS PAGE to find source material that movies we've talked about on the shows that are part of The Next Reel's family of podcasts were based on. Books, plays, video games, even other movies and TV series! By doing so, you can find a great read or something to watch, and help us out in the process as a portion comes back our way. Enjoy! Start your own podcast journey with the best host in the business. Try TRANSISTOR today! Want to upgrade your LETTERBOXD account? Use our PROMO CODE to get a DISCOUNT and help us out in the process! Join the conversation with movie lovers from around the world on The Next Reel's DISCORD channel! Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or sign up for AUDIBLE.

“Game? This wasn't meant to be a game. Never!”James Caan stars as Jonathan E., a legendary athlete in the brutal sport of Rollerball in Norman Jewison's 1975 dystopian sci-fi thriller. With a screenplay by William Harrison based on his short story, Jewison intended the film as a critique of exploitative sports and their dehumanizing effects. However, audiences were enthralled by the violent future sport depicted. Rollerball entered a crowded field of 1970s dystopian sci-fi, alongside classics like A Clockwork Orange. Join us – Pete Wright and Andy Nelson – as we continue the 1976 Hugo Awards Best Dramatic Presentation Nominees series with a conversation about Rollerball.Here's a hint at what we talk about:We discuss Rollerball as an early example of dystopian sports cinema, designed to make a point about authoritative control. Though we find flaws, like some pacing issues, we agree that Rollerball was prescient in its corporate allegory. We also touch on the fascinating real-world attempts to turn the fictional sport of Rollerball into a reality.Here are a few other points in our discussion: The minimalist performance of a subdued James Caan – does it work? John Houseman as the chilling corporate overlord Appreciation for the practical stunt work (and that they recognized it in the credits!) How audiences often miss the point of satirical films The abysmal 2002 remake In the end, we find Rollerball an imperfect but thought-provoking 1970s sci-fi film. Despite its uneven pacing, we have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries Watch this on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Original Short Story Roller Ball Murder by William Harrison Letterboxd Visit our ORIGINALS PAGE to find source material that movies we've talked about on the shows that are part of The Next Reel's family of podcasts were based on. Books, plays, video games, even other movies and TV series! By doing so, you can find a great read or something to watch, and help us out in the process as a portion comes back our way. Enjoy! Start your own podcast journey with the best host in the business. Try TRANSISTOR today! Want to upgrade your LETTERBOXD account? Use our PROMO CODE to get a DISCOUNT and help us out in the process! Join the conversation with movie lovers from around the world on The Next Reel's DISCORD channel! Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete  Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or sign up for AUDIBLE.

RMR 0242: Special Guest, Mark from the Mastering McConaughey Podcast, joins your hosts Dustin Melbardis and Russell Guest for the Retro Movie Roundtable as they revisit Scrooged (1988) [PG-13] Genre: Comedy, Drama, Romance, Holiday Starring:  Bill Murray, Karen Allen, John Forsythe, John Glover, Bobcat Goldthwait, David Johansen, Carol Kane, Robert Mitchum, Nicholas Phillips, Michael J. Pollard, Alfre Woodard, Mabel King, John Murray, Jamie Farr, Robert Goulet, Buddy Hackett, John Houseman, Lee Majors, Pat McCormick, Brian Doyle-Murray, Mary Lou Retton   Director: Richard Donner Recorded on 2023-11-16

Your Film Freaks put their feet up on their private eye desk, slip a gat in their pocket, and light a Chesterfield, see? Mark Jordan Legan and Phoef Sutton discuss six of their favorite crime noirs—some well known and some rather obscure—the films cover the time period of 1940 through 1959. Everyone from Peter Lorre to Ida Lupino to Robert Ryan to Lucille Ball show up in these tough, fast-talking flicks where bad guys and dangerous dames stay back in the shadows and plan their next moves. Directors like Henry Hathaway, Richard Fleischer, Nicholas Ray, and even producer John Houseman are discussed. Like always, lots of fun, fascinating audio clips are played throughout this episode. Come join us or take a slap across the mouth or a one-way ride to the river, get me? This episode is sponsored by: Libro.fm (FILMFREAKSFOREVER) | 2 audiobooks for the price of 1 when you start your membership The Writer's Bone Podcast Network

In the Season One finale, we take a look inside one of the top training programs for actors in the country, the Drama Division at Juilliard, created in 1968 by John Houseman and Michel Saint-Denis. It features conversations with Michael Kahn (the first person to take charge of acting at Juilliard), Evan Yionoulis (current Head of the Drama Division), and Mary Lou Rosato (graduate of the legendary Group 1), along with an archived raw and unedited interview from an American Masters series with highly influential mask teacher Pierre Lefevre. --- Send in a voice message: https://podcasters.spotify.com/pod/show/storyofacting/message

This episode Nez and Brian help out a college professor try and track down a phone killing madman in the 1982 thriller/mystery MURDER BY PHONE. A Toronto teacher (Richard Chamberlain), an artist (Sara Botsford), and a communications consultant (John Houseman) trace a crank caller who kills by phone.   Hit up E Society on Facebook. https://www.facebook.com/ESocietyPodcast/ Check out our ESP Spotify For Podcasters feed: https://podcasters.spotify.com/pod/show/esoc E Society YouTube: https://www.youtube.com/channel/UCliC6x_a7p3kTV_0LC4S10A E Society and Mac-Nez t-shirts Tee Public: http://tee.pub/lic/9ko9r4p5uvE X: @esocietypod @macnezpod @TheoZissou Instagram: @esocietypod @thezissou @macnezpod Nez and Taylor Blu-ray IG pages: @bluraynez @blurayterror TikTok: @esocietypod  

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

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

Broadcast originally aired Monday, May 15, 2023, 9:30 am, on WRCR AM1700We explored the new book by local author Tom Stratford titled Along Came Zita.The book has been described as “a story of one man's journey with Hollywood Gold”: Zita Johann  (1904–1993), who lived for many years in Rockland County. A stage and screen actress, Johann is best known for her role opposite Boris Karloff in the film The Mummy. She debuted on Broadway in 1924 and made her first film appearance in D. W. Griffith's 1931 film The Struggle. After seven films, she quit movie acting to work in the theater, collaborating with John Houseman, to whom she was married from 1929 to 1933.  About the author: Tom Stratford is an actor and author who resides in the Hudson Valley. He has appeared in more than forty film and television productions. Along Came Zita is his first book. It follows the life of a famous classic movie star and the enthusiastic young man that came to know Zita Johann and whose teachings impacted him to this day. This is a story that involves Hollywood history, spiritualism, trust, theft, drama, and an ongoing pursuit for justice.Along Came Zita is available now at  BOOKBABY.  After May 29, 2023, it will be available wherever books are sold. Tom Stratford will be giving a virtual author talk on Sunday, May 21, 2023, at 7 pm. The event is free and open to all. Details and registration info are here: https://www.suffrageforward.org/upcoming-events.***Crossroads of Rockland History, a program of the Historical Society of Rockland County, airs on the third Monday of each month at 9:30 am, right after the Jeff and Will morning show, on WRCR Radio 1700 AM and www.WRCR.com. Join host Clare Sheridan as we explore, celebrate, and learn about our local history, with different topics and guest speakers every month. Our recorded broadcasts are also available for streaming on all major podcasts platforms.  The Historical Society of Rockland County is a nonprofit educational institution and principal repository for original documents and artifacts relating to Rockland County. Its headquarters are a four-acre site featuring a history museum and the 1832 Jacob Blauvelt House in New City, New York.www.RocklandHistory.org

A silent movie star speaks out. Douglas Fairbanks Jr made his movie debut 100 years ago this month, in a silent movie called Stephen Steps out. Even long after the silent movie era had ended, Fairbanks was a major motion picture star. In this 1988 interview, Fairbanks talks about his career, his family, and the future motion pictures. Get The Salad Days by Douglas Fairbanks Jr You may also enjoy my interviews with John Houseman and Ginger Rogers For more vintage interviews with celebrities, leaders, and influencers, subscribe to Now I've Heard Everything on Spotify, Apple Podcasts. or wherever you listen to podcasts.

DJ & Toppie discuss the trivia behind the 1973 Comedy, Drama "The Paper Chase" starring Timothy Bottoms, Lindsay Wagner and John Houseman. Join us Live on Fri 4/7 at 9pm EST with returning guest D'Manda Nartini Write to DJ & Toppie at matineeminutiae@gmail.com Leave a comment on our page at matineeminutiae.com Follow the show on Twitter. View our our videos on YouTube. Friend DJ on Facebook This podcast is powered by Pinecast.

Dakin Matthews is familiar to audiences the world over.  He's an actor, playwright, dramaturge, teacher, director, translator, emeritus English professor, and Shakespeare scholar. He's been a leading actor in over 250 professional plays—eight on Broadway, including recently Waitress and To Kill a Mockingbird. Dakin is a member of both the Motion Picture and the Television Academies and has appeared in over 30 feature films, including: True Grit, Bridge of Spies, and Lincoln; and over three hundred television episodes, including shows such as: The Gilded Age, The King of Queens, Desperate Housewives, The Office, and Gilmore Girls. He's been the Artistic Director of four professional theatre companies. His multiple award-winning scripts – adaptations, translations, and originals – have been performed across the country. Dakin won a Drama Desk Award for his Broadway adaptation of Shakespeare's Henry IV. His eleven rhyming verse translations of Golden Age comedies are currently being published by LinguaText. He's taught and directed across the U.S., and has dramaturged Shakespeare for the country's leading directors. Dakin's also given workshops in Shakespearean verse-speaking across the country and around the world, based on his handbook Shakespeare Spoken Here.Dakin was a Founding Member of John Houseman's The Acting Company and of Sam Mendes' Bridge Project and The Antaeus Theatre Company. 

Burt Weissbourd is a novelist, screenwriter, and producer of feature films. He was born in 1949 and graduated cum laude from Yale University, with honors in psychology. During his student years, he volunteered at the Museum of Modern Art in Paris and taught English to college students in Thailand. After he graduated, he wrote, directed, and produced educational films for Gilbert Altschul Productions. He began a finance program at the Northwestern University Graduate School of Business but left in his final semester to start his own film production company in Los Angeles. He managed that company from 1977 until 1986, producing films including Ghost Story starring Fred Astaire, Melvyn Douglas, John Houseman, and Douglas Fairbanks Jr, and Raggedy Man starring Sissy Spacek and Sam Shepard, which The New York Times called "a movie of sweet, low-keyed charm." In 1987, he founded an investment business, which he still runs. Burt's novels include the thrillers Danger in Plain Sight, The Corey Logan Trilogy (Inside Passage, Teaser and Minos), and In Velvet, which is set in Yellowstone National Park. Rough Justice, the sequel to Danger in Plain Sight, is out now. For more visit, burtweissbourd.com.

Thanks to work and COVID, this month's theme is being abbreviated to just three movies. The first of the three Ghost of Christmas Movies Past is John Irvin's 1981 classic Ghost Story with Fred Astaire, Melvyn Douglas, Douglas Fairbanks, Jr., John Houseman, Craig Wasson, and Alice Krige. Nothing to say other than “ENJOY!” ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages

Orson Welles, fue un director, productor, guionista y actor de cine estadounidense. Hijo de un hombre de negocios y de una pianista, Welles fue un niño prodigio que a los dieciséis años comenzó su carrera teatral en Dublín y en 1936 debutó como actor y director en Nueva York. Durante su etapa teatral alcanzó notoriedad gracias a diversos montajes shakespearianos, como el de Macbeth producida por la misma compañía que él fundó con su socio John Houseman en 1937. Hoy reflexionamos con esta frase: “En el cine, como en la vida, aparte de un buen actor necesitas una cámara que vea el mundo con poesía”

Returning guest Burt Weissbourd is a novelist, screenwriter, and producer of feature films. Today he talks about ROUGH JUSTICE, the latest book in his "Callie & Cash" thriller series, his thoughts on streaming TV as the place for writers to direct their efforts, the role of food in his writing, and much more. He was born in 1949 and graduated cum laude from Yale University with honors in psychology. During his student years, he volunteered at the Museum of Modern Art in Paris and taught English to college students in Thailand. After he graduated, he wrote, directed, and produced educational films for Gilbert Altschul Productions. He began a finance program at the Northwestern University Graduate School of Business but left in his final semester to start his own film production company in Los Angeles. He managed that company from 1977 until 1986, producing films including Ghost Story starring Fred Astaire, Melvyn Douglas, John Houseman, and Douglas Fairbanks Jr, and Raggedy Man starring Sissy Spacek and Sam Shepard, which The New York Times called "a movie of sweet, low-keyed charm." In 1987, he founded an investment business, which he still runs. Burt's novels include the thrillers Danger in Plain Sight, The Corey Logan Trilogy (Inside Passage, Teaser, and Minos), and In Velvet, which is set in Yellowstone National Park. Listen to his previous appearances on MGO; in December 2020 and in July 2020. Visit his website (and don't miss his blog!): Burtweissbourd.com MYSTERIOUS GOINGS ON NAMED TOP 5 LITERATURE PODCAST! Learn more here. Need a super easy website & store builder? Try Strikingly! Visit Alex's new author website: JAlexanderGreenwood.com. Buy Alex Greenwood's books on Amazon.com or email him to order your autographed copies here or visit https://jalexandergreenwood.com/shop. This Mysterious Goings On Podcast episode was recorded and mixed at Green Shebeen Studios in beautiful Kansas City, Missouri. Copyright 2022, all rights reserved. No reproduction, excerpting, or other use without written permission. We are an Amazon Associates seller; some of our links may earn us a commission. --- Send in a voice message: https://anchor.fm/j-alexander-greenwood/message Support this podcast: https://anchor.fm/j-alexander-greenwood/support

On this episode, we travel back to 1984, and the days when a "young adult" novel included lots of drugs and partying and absolutely no sparkly vampires or dystopian warrior girls. We're talking about Jay McInerney's groundbreaking novel, Bright Lights, Big City, and its 1988 film version starring Michael J. Fox and Keifer Sutherland. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. The original 1984 front cover for Jay McInerney's Bright Lights, Big City If you were a young adult in the late 1980s, there's a very good chance that you started reading more adult-y books thanks to an imprint called Vintage Contemporaries. Quality books at an affordable paperback price point, with their uniform and intrinsically 80s designed covers, bold cover and spine fonts, and mix of first-time writers and cult authors who never quite broke through to the mainstream, the Vintage Contemporary series would be an immediate hit when it was first launched in September 1984. The first set of releases would include such novels as Raymond Carver's Cathedral and Thomas McGuane's The Bushwhacked Piano, but the one that would set the bar for the entire series was the first novel by a twenty-nine year old former fact checker at the New Yorker magazine. The writer was Jay McInerney, and his novel was Bright Lights, Big City. The original 1984 front cover for Raymond Carver's Cathedral Bright Lights, Big City would set a template for twenty something writers in the 1980s. A protagonist not unlike the writer themselves, with a not-so-secret drug addiction, and often written in the second person, You, which was not a usual literary choice at the time. The nameless protagonist, You, is a divorced twenty-four year old wannabe writer who works as fact-checker at a major upscale magazine in New York City, for which he once dreamed of writing for. You is recently divorced from Amanda, an aspiring model he had met while going to school in Kansas City. You would move to New York City earlier in the year with her when her modeling career was starting to talk off. While in Paris for Fashion Week, Amanda called You to inform him their marriage was over, and that she was leaving him for another man. You continues to hope Amanda will return to him, and when it's clear she won't, he not only becomes obsessed with everything about her that left in their apartment, he begins to slide into reckless abandon at the clubs they used to frequent, and becoming heavily addicted to cocaine, which then affects his performance at work. A chance encounter with Amanda at an event in the city leads You to a public humiliation, which makes him starts to realize that his behavior is not because his wife left him, but a manifestation of the grief he still feels over his mother's passing the previous year. You had gotten married to a woman he hardly knew because he wanted to make his mother happy before she died, and he was still unconsciously grieving when his wife's leaving him triggered his downward spiral. Bright Lights, Big City was an immediate hit, one of the few paperback-only books to ever hit the New York Times best-seller chart. Within two years, the novel had sold more than 300,000 copies, and spawned a tidal wave of like-minded twentysomething writers becoming published. Bret Easton Ellis might have been able to get his first novel Less Than Zero published somewhere down the line, but it was McInerney's success that would cause Simon and Schuster to try and duplicate Vintage's success, which they would. Same with Tana Janowitz, whose 1986 novel Slaves of New York was picked up by Crown Publishers looking to replicate the success of McInerney and Ellis, despite her previous novel, 1981's American Dad, being completely ignored by the book buying public at that time. While the book took moments from his life, it wasn't necessarily autobiographical. For example, McInerney had been married to a fashion model in the early 1980s, but they would meet while he attended Syracuse University in the late 1970s. And yes, McInerney would do a lot of blow during his divorce from his wife, and yes, he would get fired from The New Yorker because of the effects of his drug addiction. Yes, he was partying pretty hard during the times that preceded the writing of his first novel. And yes, he would meet a young woman who would kinda rescue him and get him on the right path.  But there were a number of details about McInerney's life that were not used for the book. Like how the author studied writing with none other than Raymond Carver while studying creative writing at Syracuse, or how his family connections would allow him to submit blind stories to someone like George Plimpton at the Paris Review, and not only get the story read but published. And, naturally, any literary success was going to become a movie at some point. For Bright Lights, it would happen almost as soon as the novel was published. Robert Lawrence, a vice president at Columbia Pictures in his early thirties, had read the book nearly cover to cover in a single sitting, and envisioned a film that could be “The Graduate” of his generation, with maybe a bit of “Lost Weekend” thrown in. But the older executives at the studio balked at the idea, which they felt would be subversive and unconventional. They would, however, buy in when Lawrence was able to get mega-producer Jerry Weintraub to be a producer on the film, who in turn was able to get Joel Schumacher, who had just finished filming St. Elmo's Fire for the studio, to direct, and get Tom Cruise, who was still two years away from Top Gun and megastardom, to play the main character. McInerney was hired to write the script, and he and Schumacher and Cruise would even go on club crawls in New York City to help inform all of the atmosphere they were trying to capture with the film. In 1985, Weintraub would be hired by United Artists to become their new chief executive, and Bright Lights would be one of the properties he would be allowed to take with him to his new home. But since he was now an executive, Weintraub would need to hire a new producer to take the reigns on the picture. Enter Sydney Pollack. By 1985, Sydney Pollack was one of the biggest directors in Hollywood. With films like They Shoot Horses, Don't They?, Jeremiah Johnson, Three Days of the Condor, The Electric Horseman and Tootsie under his belt, Pollock could get a film made, and get it seen by audiences. At least, as a director. At this point in his career, he had only ever produced one movie, Alan Rudolph's 1984 musical drama Songwriter, which despite being based on the life of Willie Nelson, and starring Nelson, Kris Kristofferson and Rip Torn, barely grossed a tenth of its $8m budget. And Pollock at that moment was busy putting the finishing touches on his newest film, an African-based drama featuring Meryl Streep and longtime Pollock collaborator Robert Redford. That film, Out of Africa, would win seven Academy Awards including Best Picture and Best Director, in March 1986, which would keep Pollock and his producing partner Mark Rosenberg's attention away from Bright Lights for several months. Once the hype on Out of Africa died down, Pollock and Rosenberg got to work getting Bright Lights, Big City made. Starting with hiring a new screenwriter, a new director, and a new leading actor. McInerney, Schumacher and Cruise had gotten tired of waiting. Ironically, Cruise would call on Pollock to direct another movie he was waiting to make, also based at United Artists, that he was going to star in alongside Dustin Hoffman. That movie, of course, is Rain Man, and we'll dive into that movie another time. Also ironically, Weintraub would not last long as the CEO of United Artists. Just five months after becoming the head of the studio, Weintraub would tire of the antics of Kirk Kerkorian, the owner of United Artists and its sister company, MGM, and step down. Kerkorian would not let Weintraub take any of the properties he brought from Columbia to his new home, the eponymously named mini-major he'd form with backing from Columbia. With a new studio head in place, Pollock started to look for a new director. He would discover that director in Joyce Chopra, who, after twenty years of making documentaries, made her first dramatic narrative in 1985. Smooth Talk was an incredible coming of age drama, based on a story by Joyce Carol Oates, that would make a star out of then seventeen-year-old Laura Dern. UA would not only hire her to direct the film but hire her husband, Tom Cole, who brilliantly adapted the Oates story that was the basis for Smooth Talk, to co-write the screenplay with his wife. While Cole was working on the script, Chopra would have her agent send a copy of McInerney's book to Michael J. Fox. This wasn't just some random decision. Chopra knew she needed a star for this movie, and Fox's agent just happened to be Chopra's agent. That'd be two commissions for the agent if it came together, and a copy of the book was delivered to Fox's dressing room on the Family Ties soundstage that very day. Fox loved the book, and agreed to do the film. After Alex P. Keaton and Marty McFly and other characters he had played that highlighted his good looks and pleasant demeanor, he was ready to play a darker, more morally ambiguous character. Since the production was scheduled around Fox's summer hiatus from the hit TV show, he was in. For Pollock and United Artists, this was a major coup, landing one of the biggest stars in Hollywood. But the project was originally going to be Toronto standing in for New York City for less than $7m with a lesser known cast. Now, it was going to be a $15m with not only Michael J. Fox but also Keifer Sutherland, who was cast as Tad, the best friend of the formerly named You, who would now known as Jamie Conway, and would be shot on location in New York City. The film would also feature Phoebe Cates as Jamie's model ex-wife, William Hickey, Kelly Lynch. But there was a major catch. The production would only have ten weeks to shoot with Fox, as he was due back in Los Angeles to begin production on the sixth season of Family Ties.  He wasn't going to do that thing he did making a movie and a television show at the same time like he did with Back to the Future and Family Ties in 1984 and 1985. Ten weeks and not a day more. Production on the film would begin on April 13th, 1987, to get as much of the film shot while Fox was still finishing Family Ties in Los Angeles. He would be joining the production at the end of the month. But Fox never get the chance to shoot with Chopra. After three weeks of production, Chopra, her husband, and her cinematographer James Glennon, who had also shot Smooth Talk, were dismissed from the film. The suits at United Artists were not happy with the Fox-less footage that was coming out of New York, and were not happy with the direction of the film. Cole and Chopra had removed much of the nightlife and drug life storyline, and focused more on the development of Jamie as a writer. Apparently, no one at the studio had read the final draft of the script before shooting began. Cole, the screenwriter, says it was Pollock, the producer, who requested the changes, but in the end, it would be not the Oscar-winning filmmaker producing the movie that would be released but the trio of newer creatives. Second unit footage would continue to shoot around New York City while the studio looked for a new director. Ironically, days after Chopra was fired, the Directors Guild of America had announced that if they were not able to sign a new agreement with the Producers Guild before the end of the current contract on June 30th, the directors were going on strike. So now United Artists were really under the gun. After considering such filmmakers as Belgian director Ulu Grosbard, who had directed Meryl Streep and Robert De Niro in Falling in Love, and Australian director Bruce Beresford, whose films had included Breaker Morant and Tender Mercies, they would find their new director in James Bridges, whose filmography included such critical and financial success as The Paper Chase, The China Syndrome and Urban Cowboy, but had two bombs in a row in 1984's Mike's Murder and 1985's Perfect. He needed a hit, and this was the first solid directing offer in three years. He'd spend the weekend after his hiring doing some minor recasting, including bringing in John Houseman, who won a Best Supporting Actor Oscar for his role in The Paper Chase, as well as Swoosie Kurtz, Oscar-winning actors Jason Robards and Dianne Weist, and Tracy Pollan, Fox's co-star on Family Ties, who would shortly after the filming of Bright Lights become Mrs. Michael J. Fox, although in the film, she would be cast not as a love interest to her real-life boyfriend's character but as the wife of Keifer Sutherland's character. After a week of rewriting McInerney's original draft of the screenplay from the Schumacher days, principal photography re-commenced on the film. And since Bridges would be working with famed cinematographer Gordon Willis, who had shot three previous movies with Bridges as well as the first two Godfather movies and every Woody Allen movie from Annie Hall to The Purple Rose of Cairo, it was also decided that none of Chopra's footage would be used. Everything would start back on square one. And because of the impending Directors Guild strike, he'd have only thirty-six days, a tad over five weeks, to film everything. One of the lobby cards from the movie version of Bright Lights, Big City And they were able to get it all done, thanks to some ingenious measures. One location, the Palladium concert hall on the Lower East Side of Manhattan, would double as three different nightclubs, two discotheques and a dinner club. Instead of finding six different locations, which would loading cameras and lights from one location to another, moving hundreds of people as well, and then setting the lights and props again, over and over, all they would have to do is re-decorate the area to become the next thing they needed. Bridges would complete the film that day before the Directors Guild strike deadline, but the strike would never happen. But there would be some issue with the final writing credits. While Bridges had used McInerney's original screenplay as a jumping off point, the writer/director had really latched on to the mother's death as the emotional center of the movie. Bridges' own grandmother had passed away in 1986, and he found writing those scenes to be cathartic for his own unresolved issues. But despite the changes Bridges would make to the script, including adding such filmmaking tropes as flashbacks and voiceovers, and having the movie broken up into sections by the use of chapter titles being typed out on screen, the Writers Guild would give sole screenwriting credit to Jay McInerney. As post-production continued throughout the fall, the one topic no one involved in the production wanted to talk about or even acknowledge was the movie version of Bret Easton Ellis's Less Than Zero that rival studio 20th Century Fox had been making in Los Angeles. It had a smaller budget, a lesser known filmmaker, a lesser known cast lead by Andrew McCarthy and Jami Gertz, and a budget half the size. If their film was a hit, that could be good for this one. And if their film wasn't a hit? Well, Bright Lights was the trendsetter. It was the one that sold more copies. The one that saw its author featured in more magazines and television news shows. How well did Less Than Zero do when it was released into theatres on November 6th, 1987? Well, you're just going to have to wait until next week's episode. Unless you're listening months or years after they were published, and are listening to episodes in reverse order. Then you already know how it did, but let's just say it wasn't a hit but it wasn't really a dud either. Bridges would spend nearly six months putting his film together, most of which he would find enjoyable, but he would have trouble deciding which of two endings he shot would be used. His preferred ending saw Jamie wandering through the streets of New York City early one morning, after a long night of partying that included a confrontation with his ex-wife, where he decides that was the day he was going to get his life back on track but not knowing what he was going to do, but the studio asked for an alternative ending, one that features Jamie one year in the future, putting the finishing touches on his first novel, which we see is titled… wait for it… Bright Lights, Big City, while his new girlfriend stands behind him giving her approval. After several audience test screenings, the studio would decide to let Bridges have his ending. United Artists would an April 1st, 1988 release date, and would spend months gearing up the publicity machine. Fox and Pollan were busy finishing the final episodes of that season's Family Ties, and weren't as widely available for the publicity circuit outside of those based in Los Angeles. The studio wasn't too worried, though. Michael J. Fox's last movie, The Secret of My Success, had been released in April 1987, and had grossed $67m without his doing a lot of publicity for that one, either. Opening on 1196 screens, the film would only manage to gross $5.13m, putting it in third place behind the previous week's #1 film, Biloxi Blues with Matthew Broderick, and the Tim Burton comedy Beetlejuice, which despite opening on nearly 200 fewer screens would gross nearly $3m more. But the reviews were not great. Decent. Respectful. But not great. The New York-based critics, like David Ansen of Newsweek and Janet Maslin of the Times, would be kinder than most other critics, maybe because they didn't want to be seen knocking a film shot in their backyard. But one person would actually would praise the film and Michael J. Fox as an actor was Roger Ebert. But it wouldn't save the film. In its second week, the film would fall to fifth place, with $3.09m worth of tickets sold, and it would drop all the way to tenth place in its third week with just under $1.9m in ticket sales. Week four would see it fall to 16th place with only $862k worth of ticket sales. After that, United Artists would stop reporting grosses. The $17m film had grossed just $16.1m. Bright Lights, Big City was a milestone book for me, in large part because it made me a reader. Before Bright Lights, I read occasionally, mainly John Irving, preferring to spend most of my free time voraciously consuming every movie I could. After Bright Lights, I picked up every Vintage Contemporary book I could get my hands on. One of the checklists of Vintage Contemporary books listed in the back of a Vintage Contemporary book. And one thing that really helped out was the literal checklist of other books available from that imprint in the back of each book. Without those distinct covers, I don't know if I would have discovered some of my favorite authors like Raymond Carver and Don DeLillo and Richard Ford and Richard Russo. Even after the Vintage Contemporary line shut down years later, I continued to read. I still read today, although not as much as I would prefer. I have a podcast to work on. I remember when the movie came out that I wasn't all that thrilled with it, and it would be nearly 35 years before I revisited it again, for this episode. I can't say it's the 80s as I remember it, because I had never been to New York City by that point in my life, I had never, and still never have, done anything like cocaine. And I had only ever had like two relationships that could be considered anything of substance, let alone marriage and a divorce. But I am certain it's an 80s that I'm glad I didn't know. Mainly because Jamie's 80s seemed rather boring and inconsequential. Fox does the best he can with the material, but he is not the right person for the role. As I watched it again, I couldn't help but wonder what if the roles were reversed. What if Keifer Sutherland played Jamie and Michael J. Fox played the friend? That might have been a more interesting movie, but Sutherland was not yet at that level of stardom. Thank you for joining us. We'll talk again next week, when Episode 95, on the novel and movie version of Less Than Zero is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Bright Lights, Big City, both the book and the movie, as well as other titles in the Vintage Contemporary book series. The full cover, back and front, of Richard Ford's 1986 The Sportswriter, which would be the first of four novels about Frank Bascombe, a failed novelist who becomes a sportswriter. The second book in the series, 1995's Independence Day, would win the Pulitzer Prize for Fiction, as well as the PEN/Faulkner Award for Fiction, the first of only two times the same book would win both awards the same year. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.  

Today, I am so honored to announce my episode with Pulitzer Prize Winner Alfred Uhry. Alfred Uhry recently enjoyed great success with a revival of his musical Parade at Encores!, and he joins me today for a conversation about his legendary career, including what it was like being mentored by Frank Loesser, how he met Terrence McNally through John Steinbeck, when John Houseman introduced him to Patti LuPone, how figures from his childhood reacted to characters based on themselves, the art to writing a screenplay, why he admires A Strange Loop and Hamilton, the process of casting Driving Miss Daisy, why Alex Timbers is a brilliant director, the play that was about his parents, why Parade is relevant today, the dance piece that required a lot of research, and so much more. A Note: This interview was recorded in April 2022, so all viewpoints reflect that time.

Before Citizen Kane and The War of the Worlds, leading Broadway actress Rose McClendon and producer John Houseman convince a gifted but untested 20-year-old Orson Welles to direct Shakespeare's Macbeth with an all-Black cast in Harlem. Reimagined in a Haitian setting, this revolutionary 1936 production, which came to be known as “Voodoo Macbeth,” would change the world forever, but the road to opening night proves to be a difficult one. Orson and Rose – who is to play Lady Macbeth – clash over everything from scene blocking to crew hires, while Houseman contends with a congressman hell-bent on shutting down what he deems “communist propaganda.” Welles and McClendon must overcome political pressure, personal demons, and protests to realize their groundbreaking vision. Fresh of an award-winning film festival run Voodoo MacBeth is being released for a theatrical run through Lightyear Entertainment. Co-producer Jason Phillips, lead actors Inger Tudor and Jewell Wilson Bridges join us to talk about the story behind the story making a film in which ten directors, six producers and eight writers seamlessly collaborated, how the USC School of Cinematic Arts and USC Originals factor into the making of the film, re-discovering this little known chapter in the life of a filmmaking giant Orson Wells, and the importance of publicly support funding for the arts, including the Federal Theatre Project and its support for Harlem's Negro Theatre Unit. For more go to: voodoomacbethfilm.com Screenings go to: voodoomacbethfilm.com/screenings

Four old men hold a dark secret, and the past is coming back to haunt them in this 1981 adaptation of the popular, labyrinthine Peter Straub novel. Grant is back to talk about Ghost Story, as our 13 Days of Halloween series continues.

By late spring in 1937, the Federal Theater Project was under intense scrutiny for staging what some felt were too many left-leaning labor plays. In Washington, there were rumors funds would be cut. At the same time, Welles and John Houseman were rehearsing a production of The Cradle Will Rock. The play took place in "Steeltown, USA.” It followed the efforts of Larry Foreman to unionize the town's workers. This was to combat the wicked Mister Mister, who controls Steeltown's factory, press, church, and social organizations. Less than three weeks before the play was to open on June 23rd, The WPA shut down the project. Welles went to Washington to argue his case. He failed. Next, he threatened to open the play himself. The government's response was severe. A dozen uniformed guards took over the building. They stood at the front entrance, the box office, and in the alley outside the dressing rooms to ensure no government property was touched. But, John Houseman discovered an out. As U.S. citizens, the actors were free to enter as audience members and rise from their seats to speak their lines, so long as they weren't on stage. The Cradle Will Rock played in the aisles. The next day everyone was fired, but it was front-page news. That summer NBC featured a series of Shakespeare dramas with John Barrymore, while CBS aired Shakespeare adaptations featuring Humphrey Bogart and Leslie Howard. To battle for listeners, Mutual scheduled a seven-week take on Victor Hugo's Les Misérables, hiring Orson Welles to write, direct, and star in the production. Les Misérables debted on Friday, July 23rd, 1937 at 10PM, over WOR in New York. The production also marked the radio debut of the Mercury Theatre troupe. Martin Gabel was Javert. Alice Frost, Fantine. Virginia Nicolson, the adult Cosette, and it also featured soon-to-be radio mainstays like Ray Collins, Everett Sloane, Betty Garde, Hiram Sherman, Frank Readick, Richard Widmark, and Welles' good friend, Agnes Moorehead. From July 23rd through September 3rd, Les Misérables captured public interest. In a press release, Welles referred to the broadcast as a “projection” of what radio could dramatically evolve into. The series had begun solely on the east coast, but audience reaction induced Mutual's officials to give it full coast-to-coast coverage. It cemented Welles as someone who could write, produce, direct, and act for radio.

Charles Bronson stars as a crime reporter hired by an eccentric millionaire (John Houseman) to recover five stolen ledgers for him.  Co-starring Jacqueline Bisset and directed by J. Lee Thompson.

In the spring of 1935, nineteen year-old Orson Welles was living in New York, appearing on stage in Katharine Cornell's stock company and workin on CBS' American School of the Air and The March of Time. The next year, Welles was on the debut episode of CBS's Columbia Workshop. The program's creator Irving Reiss recognized Orson's talent, while Welles studied the creative risks The Workshop took. He began to assemble his Mercury Theater troupe just as FDR launched the Federal Theater Project. John Houseman invited Welles to be part of an African-American theater unit in Harlem. Their first co-production was an adaptation of Shakespeare's Macbeth. Welles changed the setting to a mythical island. Voodoo took the place of Scottish witchcraft. The play opened on April 14th, 1936, at the Lafayette Theater in Harlem. It received incredible reviews. By that autumn, Welles was traveling between Chicago and New York, appearing on Mutual Broadcasting's Wonder Show, and on The Columbia Workshop. On Sunday April 11th, 1937 The Workshop broadcast a verse-play written especially for radio by Archibald MacLeish. It was called The Fall of the City. It was an allegory on the rise of fascism. The broadcast took place at the massive Seventh regiment armory on 67th street and Park avenue in New York. Reiss used over one-hundred fifty extras, and entrusted Welles to be the narrator. To get proper sonic differentiation, they built radio's first narration booth. The Fall of The City was selected by The New York Times as one of the outstanding broadcasts of 1937. Time magazine noted that it proved to listeners radio was science's gift to poetry and poetic drama. The Fall of the City made Orson Welles a star. Mutual Broadcasting was about to give him the opportunity of a lifetime.

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

In today's episode we look at how it all started.  George Lucas, Thor Heyerdahl, Warren Buffet, James Marshall, Roger Cook, Mt. St. Helens, John Houseman, Elmendorf Air Force Base, Michael Jackson, and Wynton Marsalis all come together for one purpose.  Grab the Star Wars Radio Drama here: https://www.dropbox.com/sh/kkl2tsaf7tskc2m/AABr6AFIukEYAq7kZitrQERHa?dl=0

William Shatner and Patty Duke let a strange teenager into their house to help destroy their rocky marriage. High jinks ensue! Fish are beaten to death! Hosted on Acast. See acast.com/privacy for more information.

Steve Cuden was the co-creator of the hit Broadway musical "Jekyll & Hyde", writing the show's original book and lyrics. He's spent a lifetime in the Broadway theater world and has wonderful insights and experiences to share with people like John Houseman, Frank Wildhorn and Leslie Bricusse. He's also the host of the StoryBeat podcast featuring many creative types including Bryan Cranston, and even a recent interview with me. You will learn all the ins and outs of writing, producing and opening a hit Broadway show!My featured song in this episode is “The Night Was A Mystery” from Robert's solo album Summer Of Love (2020). Spotify link HERE.---------------------------------------In this episode, Steve and Robert discuss:His dream to be in the theaterJekyll & HydeWhat it takes to produce a Broadway showHis Storybeat podcast   If you enjoyed the show, please Subscribe, Rate, and Review. Just Click Here. “The Shakespeare Concert” is the new album by Robert's band, Project Grand Slam. It's been praised by famous musicians including Mark Farner of Grand Funk Railroad, Jim Peterik of the Ides Of March, Joey Dee of Peppermint Twist fame, legendary guitarist Elliott Randall, and celebrated British composer Sarah Class. The music reviewers have called it “Perfection!”, “5 Stars!”, “Thrilling!”, and “A Masterpiece!”. The album can be streamed on Spotify, Apple and all the other streaming services. You can watch the Highlight Reel HERE. And you can purchase a digital download or autographed CD of the album HERE.  Robert's “Follow Your Dream Handbook” is an Amazon #1 Bestseller. It's a combination memoir of his unique musical journey and a step by step how-to follow and succeed at your dream. Available on Amazon and wherever books are sold. Get your Complimentary DREAM ROADMAP with Robert's 5 steps to pursue and succeed at YOUR dream. Just click here: https://www.followyourdreampodcast.com/DreamRoadmap Connect with Steve at:http://www.storybeat.nethttp://www.stevecuden.comhttp://www.stevecuden.comhttps://www.youtube.com/channel/UCHma_-cNqkrYC6EsGyFmIeA/videos Connect with the Follow Your Dream Podcast:Website: www.followyourdreampodcast.comInstagram: https://www.instagram.com/fydpodcastFacebook: www.facebook.com/FollowYourDreamPodcastEmail Robert: robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website: https://www.projectgrandslam.comStore: https://www.thepgsstore.com/  YouTube: https://www.youtube.com/user/PGSjazzFacebook: https://www.facebook.com/projectgrandslam/Spotify: https://open.spotify.com/artist/04BdGdJszDD8WtAFXc9skWApple Music: https://music.apple.com/us/artist/project-grand-slam/274548453Email: pgs@projectgrandslam.com 

This week we have the pleasure of interviewing Ashley Houseman a Realtor, Mom and Wife that is going to give us some of her Success secrets to work life balance. We discuss a mulitude of subjects that i think will be incredibly helpful on getting a better outlook on the busy lives we all live when owning a business and being being able to juggle all that life throws at us! Immediately after achieving a real estate sales associate license, Ashley dove right into new construction and land acquisition for a local builder, after all, it was the height of the building industry - writing 25+ contracts her first summer!! After graduating (fun fact: she was a 4 year NCAA Division I college athlete with the Lady Owls Golf Team) she was excited to “use” that Bachelors Degree in Marketing, Management from Florida Atlantic University for her “work”. This led her to compile a marketing plan in which she pitched the building company's CEO and COO that landed her a marketing position on the spot. As the Marketing Director for a real estate company that advertised all over the country, it gave her the ability to obtain extensive knowledge in real estate from both the agent's and consumers perspective on a national level. Her dedication to increase her real estate knowledge led her to obtain her Florida's Brokers License and own her own company by the age of 25!! Although she loved maintaining her own brokerage, her passion for sales, interaction with customers and quality marketing on an international level brought her to Coldwell Banker for the next 8 years. As of November 1st, 2014, Ashley has welcomed her husband, John Houseman, to form their team. Together, they will have the opportunity to help serve their buyers and sellers - both local and far- with twice the marketing power, quality service and of course selling and finding just the right homes for customers!! #Realestate #mom #golf #success #business #mindset #disney --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/wayne-weathersby/message Support this podcast: https://anchor.fm/wayne-weathersby/support