Podcast appearances and mentions of Johnny B Good

"Send us a Fan Mail Text Message"Do you remember the first time you watched "E.T. the Extra-Terrestrial"? For us, it was a magical journey that left an indelible mark on our childhoods and continues to influence us today. Join us as we relive the heartwarming and emotional moments of this 1982 classic, celebrating Steven Spielberg's brilliance and exploring the powerful performances of Henry Thomas, Drew Barrymore, and Dee Wallace. Our conversation is rich with personal anecdotes, reflections on the film's box office triumph, and its enduring cultural impact, drawing comparisons to other Spielberg masterpieces like "Poltergeist."What do "Stranger Things" and "E.T." have in common? Dive into our spirited discussion about the film's authentic portrayal of kids' interactions, reminiscent of the era's charm with board games and pizza delivery. We dissect the film's thrilling opening scenes and the deeper connections between Elliott and E.T., touching on Neil Diamond's song "Heartlight" and its mysterious ties to the movie. You'll also hear us laugh about childhood antics inspired by E.T. and share our evolving perceptions of the film from our youth to adulthood, including the emotional resonance of their bond and the heartache of their separation.Ever wondered about the behind-the-scenes secrets of "E.T."? We uncover fascinating details about Spielberg's creative choices, including his resistance to sequels and the iconic Reese's Pieces product placement. Reflecting on nostalgic memories, we reminisce about the various formats we watched the film on, from worn-out VHS tapes to pristine 20th anniversary DVDs. The episode wouldn't be complete without a nostalgic ride through the ET Adventure at Universal Studios and a preview of our next review: the 1980s football-themed film "Johnny B. Good." Join us for this heartfelt and nostalgic exploration of one of the most beloved movies of the 80s.Support the showSounds:https://freesound.org/people/frodeims/sounds/666222/ Door openinghttps://freesound.org/people/Sami_Hiltunen/sounds/527187/ Eerie intro music https://freesound.org/people/jack126guy/sounds/361346/ Slot machinehttps://freesound.org/people/Zott820/sounds/209578/ Cash registerhttps://freesound.org/people/Exchanger/sounds/415504/ Fun Facts Jingle Thanks to The Tsunami Experiment for the theme music!!Check them out hereSUPPORT US AT https://www.buzzsprout.com/1984311/supporters/newMERCH STORE https://ol-dirty-basement.creator-spring.comFind us at the following https://oldirtybasement.buzzsprout.com WEBSITE ...

Helen and Gavin chat about Our Flag Means Death, Frasier, The Reckoning, and Killers of the Flower Moon, and it's Week 94 from the list of Rolling Stone's 500 Best Songs Ever, numbers 35 to 31; Tutti Frutti by Little Richard, Papa's Got a Brand New Bag by James Brown, Johnny B Good by Chuck Berry, Juicy by Notorious BIG, and (I Can't Get No) Satisfaction by The Rolling Stones.

In this episode I speak about watching two Broadway Musicals: MJ and Back to the Future!  I also speak about watching the HBO series, Succession and wrap it up with another addition to our legendary segment “GOATs doing GOAT $hit” where we celebrate the true champions of greatness and highlight the phenomenal achievements of extraordinary individuals.   The Spun Today Podcast is a Podcast that is anchored in Writing, but unlimited in scope.  Give it a whirl.    Twitter: https://twitter.com/spuntoday Instagram: https://www.instagram.com/spuntoday/ YouTube: https://www.youtube.com/@spuntoday    Website: http://www.spuntoday.com/home Newsletter: http://www.spuntoday.com/subscribe   Links referenced in this episode: MJ the Musical: https://newyork.mjthemusical.com/ Michael Jackson - Dangerous Diary MTV 1992 HD: https://youtu.be/OWC5uPK93fE?si=MQpzBldf_k9gqxoO   Back to the Future the Musical: https://www.backtothefuturemusical.com/new-york/   Succession: https://www.hbo.com/succession/season-1   Rebirth of a Bad Boy: Diddy Explains Handing Over Publishing Rights & Reveals His ‘Total Truth' https://www.msn.com/en-us/music/news/rebirth-of-a-bad-boy-diddy-explains-handing-over-publishing-rights-reveals-his-total-truth/ar-AA1gEX69   Get your Podcast Started Today! https://signup.libsyn.com/?promo_code=SPUN (Use Promo code SPUN and get up to 2-months of free service!)   Check out all the Spun Today Merch, and other ways to help support this show! https://www.spuntoday.com/support   Check out my Books: Make Way for You – Tips for getting out of your own way & FRACTAL – A Time Travel Tale http://www.spuntoday.com/books/ (e-Book & Paperback are now available).   Fill out my Spun Today Questionnaire if you're passionate about your craft.  I'll share your insight and motivation on the Podcast: http://www.spuntoday.com/questionnaire/    Shop on Amazon using this link, to support the Podcast: http://www.amazon.com//ref=as_sl_pc_tf_lc?&tag=sputod0c-20&camp=216797&creative=446321&linkCode=ur1&adid=104DDN7SG8A2HXW52TFB&&ref-refURL=http%3A%2F%2Fwww.spuntoday.com%2Fcontact%2F   Shop on iTunes using this link, to support the Podcast: https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewTop?genreId=38&id=27820&popId=42&uo=10   Shop at the Spun Today store for Mugs, T-Shirts and more: https://viralstyle.com/store/spuntoday/tonyortiz   Background Music: Autumn 2011 - Loxbeats   Outro Background Music: https://www.bensound.com   Spun Today Logo by: https://www.naveendhanalak.com/   Sound effects are credited to: http://www.freesfx.co.uk   Listen on: iTunes | Spotify | Stitcher | Pocket Casts | Google Podcasts | YouTube | Website   EPISODE TRANSCRIPT [00:00:00] What up? What up, folks? What's going on? Welcome to the Spun Today podcast, the only podcast that is anchored in writing, but unlimited in scope. I'm your host, Tony Ortiz, and I appreciate you listening. This is episode 243 of the Spun Today podcast. And in this episode, I speak about two Broadway musicals, which I can't believe I took this long to mention them, especially for one in particular. So definitely stay tuned for that. I also speak about watching the Succession Series. An HBO series that I was definitely late to, but had the added benefit of being late in that it allowed me to binge the entire series. And lastly, I wrap it up with another addition to our legendary segment goats doing goat shit where we celebrate the true champions of greatness and highlight the phenomenal achievements of extraordinary individuals. Stay tuned for all that good stuff. But first I wanted to tell you [00:01:00] guys about a. Quick way that you can help support the spun today podcast. Your support is greatly appreciated. Not only can it help out financially to help keep the lights on in good old spun today studios, but it definitely adds fuel to the motivational fire that I rely on to continue putting out episodes. And even more importantly, finding time to write. Nay, making time to write. So thank you. Thank you. Thank you to each and one of you, to each and every one of you that have shown your support to date. And thank in advance to each of you that will show support in the future. Here is one quick way that you can help support the Spun Today podcast. Definitely stay tuned for the outro of the episode where I'll tell you about a bunch of other ways that you can show your support. But here is one of those ways. And we'll jump right into the episode. The first musical that I wanted to tell you guys about was MJ, the [00:02:00] musical. Here is the official synopsis. He's one of the greatest entertainers of all time. Now, Michael Jackson's unique and unparalleled artistry has finally arrived on Broadway in a brand new musical centered around the making of his 1992 dangerous world tour. And created by Tony award winning director, choreographer, Christopher And two time Pulitzer Prize winner Lynn Nottage, MJ goes beyond the singular moves and signature sound of the star, offering a rare look at the creative mind and collaborative spirit that catapulted Jackson into legendary status. I went to check this out with my best friend, Steven. Shout out to Steven's Spun Today alumni, who has been on the pod several times in the past. We thought it would be cool to check out. You know, kid touching and molestation and all that, which has obviously [00:03:00] tarnished Michael Jackson and how we view him, all that aside. And I know in and of itself, it's like a controversial topic where some folks are like, no, they're all 100 percent rumors and nothing like that ever happened. Nothing was ever proven in court. And then the other folks on the other side where say. You know, the rumors have been rumors for decades for a reason. It's all true. It was even worse. I know the audience is split when it comes to that. From an artistic body of work perspective, he's obviously, as the little synopsis says there, one of the most legendary entertainers of all time. Now from attending and, you know, watching this musical, And for someone who likes going to like Broadway plays and musicals and enjoys that genre of art and acting and singing and stuff like that as a consumer, from that perspective, [00:04:00] we had a great time. And Michael Jackson in his heyday, I was a kid for that, a little kid, but I obviously know his music and his body of work and I think you'd be hard pressed not to find. Or to find someone that wasn't aware of any of it, but I obviously never saw him live or anything like that going to see this play, though, the way they did it, you definitely get that experience, albeit at a much smaller scale, but you definitely get the, like, you feel you're watching Michael Jackson. That's how good of a performance, not just the Michael Jackson characters did with it. But just the entire cast and the world that they built and created around it. And from a storytelling perspective, it was interesting how they did it. Because it is this very, and I guess, makes sense. In terms of it being like a deliberate conscious [00:05:00] move to do it this way. So you don't have to bring in a lot of like the things we know about Michael now. The allegations and court cases and... Drug abuse and, and stuff like that. So they didn't have to bring too much of that into the story because again, from a storytelling perspective, it's a very myopic focused view of his time around his 1992 dangerous world tour, which is his biggest tour ever. One of the biggest tours ever. And it was chronicling, the buildup to that, all the practice sessions. And how he was as an artist getting ready for that performance. And in the play, there is an MTV crew that was given access to chronicle this whole thing to do a, a piece on, you know, this very much anticipated world tour, which was based on true events that MTV [00:06:00] piece. Actually exists and I'll link to it in the episode notes for you guys to check out. So we got to see this interesting view of. That MTV camera crew. Trying to put together their creative vision of this documentary. While also getting close enough. Access to Michael Jackson to see his inner workings and stuff like that and picking up on. Certain things like. The beginnings of his drug addictions, which we know now ultimately led to his death in that he had a private doctor giving him shots or like IVs of trim butyral or something like that. I forget the exact medication name of what he ultimately died of, but it's supposed to be a strong ass, sleep aid. And so much so that he was getting that shit [00:07:00] injected on a nightly basis just to be able to try to get some sleep. And ultimately that's what he died of. And the doctor that was prescribing him the medication wanted him to go to jail for a few years and losing his medical license, I believe. But in the play, it shows him getting drugs from his manager or other folks like that were part of the stage team. I think it was his manager. And you get some insight into the all too common story of, you know, people in positions of power, whether it's in our music, politics, whatever, just having a circle of yes men and women around them that do what they want and don't really check them. And we saw that through the lens of, again, the beginnings of his drug addiction. And we also saw that same dynamic playing out with his financial team and how he wanted to pay for [00:08:00] this over the top concert and do like never before happened things like him being shot out of not a cannon, but something that shoots, shoots him out and onto the stage and him running out of money. And then Pushing his accountant and his financial team to mortgage Neverland Ranch, where he lived just to continue funding this artistic vision that he had, even though all the financial folks around him, lawyers, accountants, financial advisors warned him against it, he still ultimately got his way, i. e. via these yes men. So that was definitely interesting to see. They also showed. A direct correlation between his abusive childhood with how Joseph Jackson, the father was always depicted as, you know, being super, super hard stage dad, forcing them to practice [00:09:00] all the kids when they were the Jackson five for hours and hours on end, no breaks, didn't really have a childhood. You know, they had fame when they were young. So they didn't have a, you know, especially Michael being the youngest. Of them, of the Jackson 5, or second youngest, I believe. But never really having a childhood, or traditional childhood. They showed correlations of that, instilled hard work ethic. And they kind of papered over the, physical abuse in the play. With how hard Michael Jackson was on his crew and the choreographers and everything. And the dance team around him and how they were all exhausted and he would force them to to work hours on end just like his dad did to him and kind of showing that traumatic shift, trauma shift of, you know, him being the recipient of that and then dishing it out as he got older in the same exact way [00:10:00] and then seeing himself as, you know, becoming his father in that sense. But the play did a great job in also showing different. Stages within Michael Jackson's life, they showed him as a child, you know, as a flashback scene, because the entire thing again takes place around him working up to this dangerous world tour and being interviewed by the MTV crew and them filming and interviewing him in between rehearsals, etc. But while they were interviewing him, he would flash back and tell stories of childhood, of his mother and his father, Jackson 5, transitioning, going solo. And you got to see different actors, which did a phenomenal job of playing Michael Jackson. Now we did go on an off day, I think it was like a Tuesday or Wednesday. So every cast member, including Michael Jackson, wasn't necessarily the best. Number ones, if you will. I believe the young Michael [00:11:00] was, but I don't believe the middle Michael that they showed as well as the older Michael Jackson that's being interviewed. I think he was also the understudy, but I mean, these are all top tier phenomenal actors, right? All did an amazing job. And we got to hear all the hits, all Michael Jackson's hits, all Jackson five hits. And it really did feel like a Michael Jackson concert experience as a narrative choice. Again, it does seem to me to have been a deliberate choice to tell this story from a specific point in time. And in doing so not have to, or I guess they had the ability to paper over all the negatives that we know of Michael, like the drug abuse and child molestation allegations, so on and so forth. So you definitely lose something historically. From that perspective, but as a piece of [00:12:00] entertainment, we do wind up enjoying a shitload of music and just how they put the musical together. It was definitely an entertaining watch. And I definitely recommend it. MJ the musical, check it out back to the future. The musical, if you guys know anything about me, I am a huge, Back to the Future fan. I've spoken about the movie multiple times. I've highlighted how the screenplay for Back to the Future 1 is considered a perfect screenplay and I think it's taught in theater classes. It's my personal favorite trilogy of any genre, any movies, all time. And I've also said, controversial to some, that it's one of the rare occasions where the sequel, Back to the Future 2. is even better than the first movie. And I know that's blasphemous for some folks to hear. And even I myself go back and forth [00:13:00] between that thought from time to time. But just from the creativity of it alone to delve back into the first movie through the second movie and find ways to tie into the first movie, And make things that already existed within the first movie, make them that way because of the actions of the second movie, which was filmed and created. I think it was something like five years later. It's just fucking amazing from, from that standpoint. And I'm such a fan that my debut novel fractal Available now, SpunToday. com forward slash books, so you can find all the links of all the different places where you can find it. Back to the Future is an inspiration for that story. It is a time travel tale, as I like to say. Furthermore, I dedicated that book to my first [00:14:00] born Aiden, and the quote, the very first quote after the dedication section of the book, is a quote. From back to the future, part one from George McFly to Marty McFly, stating, if you put your mind to it, you can accomplish absolutely anything in him speaking to writing his first novel. So there's a complete tie in on multiple levels there. I fucking love it. I literally have a life size replica of the hoverboard immediately to my left right now. That said, I signed up, or, like, I follow all the different Back to the Future fan pages, official, unofficial. And I saw months before that they were developing the musical. I also subscribed to a bunch of different newsletters having to do with Back to the Future and the DMC newsletter, even from the DeLorean Motor Company. And I signed up to be alerted when the pre sales went on, [00:15:00] and I bought these tickets months in advance, I think something like seven months in advance. That's how much I was anticipating going. So I copped the tickets and my wife and I, shout out to Zoila, sponsored alum, went to go see it and had an amazing time. Being such a fan holding, I'm both holding the musical to a very high bar. I don't want them to fuck it up while at the same time being completely biased and knowing that I'll find a way to love it some way or another. So holding my love for the story. And the history of the film aside, as much as is humanly possible and attempting to be objective, I personally thought they knocked it out the park. Now they clearly didn't have, I'm not sure if Back to the Future, if it's old enough, I think it came out in 89, where the story itself is public domain or if they actually got the rights to [00:16:00] retell the story in this format. Because I don't believe that Robert Zemeckis and Bob Gale were involved with the musical. I could be wrong, but I don't believe they were. And I wonder if certain choices that they made throughout the musical had to do with not having the full rights, or if they had to do with just trying to retell the story on the stage. Because although it was still very, very, very true to the original Back to the Future 1 film, which was another thing that I was curious about if they were going to try to encapsulate all three films within the musical, but it wasn't. It was just a retelling of the first one. But everything is not, you know, word for word, verbatim, although it does have a lot of the same key scenes. But then... Certain other key, certain other key scenes. For example, the famous skateboard [00:17:00] scene in front of the diner, when Biff and his crew chase Marty and wind up crashing into the manure truck and Marty's getting around the skateboard, they didn't redo that scene, but in its place, they kind of extend the scene of the lunchroom where. Marty first confronts Biff, you know, where they both kind of grab each other and make fists and they're about to punch each other, but then Strickland shows up and breaks it up, essentially. And Biff tells him, why don't you make like a tree and, and get out of here. They elongated that scene instead and made that the chase scene and made it so that Biff was chasing Marty throughout the lunchroom. He was jumping over tables and hitting him with lunch trays and running through the school. And they had an original musical number there. So they took certain liberties that way. I guess it was easier to do [00:18:00] it that way. If it wasn't a licensing issue or concern, it was easier, it must have been easier to put that together versus the actual skateboard scene and having multiple cars and etc. But it was something that I was curious about. It was kind of interactive in that, you know, like they had the enchantment on the the sea dance and during it when Marvin Barry and the Starlighters are playing Earth Angel there were in the actual theater there was Bubbles, there was a bubble machine or something. There was bubbles going all throughout so we were in the first few rows and you know, we could swat the bubbles and that kind of built the atmosphere around around the whole thing And of course he did the Johnny B. Good scene in terms of the cast, all phenomenal. The gentleman who plays doc killed it. Oh, and that was another thing also, they did not do the, you know, terrorist Libyan terrorist [00:19:00] shooting scene, which I guess to make it more PG they made it that doc was using the plutonium for the 1. 21 gigawatt reaction that he needs. Within the flux capacitor to make the time travel possible, but that he was using an old radiation suit, which wasn't completely insulated. And that's how he wound up dying initially versus getting shot by the terrorists. But yeah, the gentleman who played doc amazing, super funny, steals the show. The guy who plays Marty's spot on, did a great job. But the person who played Crispin Glover's character of George McFly dead on balls accurate to quote Marissa Tomei fucking amazing spot on like they could reshoot back to the future drop this gentleman in place of [00:20:00] Kristen Crispin Glover who legend has it was like an absolute asshole on set and that's why he wasn't in part two or three, but. Drop him into that role and you wouldn't tell the difference. He was amazing. Fucking awesome. The guy who played Biff was really good. Really looked the part. Which brings me to the number one star of the show. The DeLorean. They did it so ill that it looked like an actual real DeLorean that was up there. I guess they just, you know, it's just like the outsides or whatever, but it really looked like an actual replica real DeLorean. And it's obviously the moment that all the fans are anticipating the most, you know, when they first see the DeLorean, which they did the big reveal and like the same same way at Twin Pines mall, [00:21:00] which then becomes Lone Pines mall at the end when Marty runs over. Old Man Peabody's Pine Tree. Symbolizing how the littlest change in the past could affect have a ripple effect on the future. But they did an amazing job with the car itself and then with the actual time travel sequence. So the theater, the decor of it, can't also, this is how it also immersed the, the crowd aside from the bubbles thing from, from earlier. The decor. The balconies on the sides, on the left, on the left and the right, they were also part of the decor. Like there weren't people sitting in the seats there. Instead, they had this metal widgets and circuitry spanning all of the balconies. And during the time travel sequence, like when Marty accidentally goes back to 1955, all those start lighting up in different [00:22:00] colors and it's reminiscent of the flux capacitor and the lights around the actual DeLorean, which they also show and really immerse you and bring you into it in that way. And then at the end, which was even more amazing because they could have just done that again. They with like a crane or something, something you couldn't see, but some sort of lift, they lift up the DeLorean. For the scene where, you know, the clock tower scene when he's going back to the future. They lift up the DeLorean and push it forward into the crowd. So it's hovering above us almost. Like above, the first couple rows. Not completely, but just enough for it to be off of the stage. Can you imagine the fucking lawsuit that thing would have fallen or something? But obviously it was secure and it was just so ill the way they did it. And I couldn't have been happier with Back to the Future the musical. I definitely, definitely highly recommend.[00:23:00] If I have the chance to see it again, I definitely will. Tickets should be a lot more reasonable now. That's the only issue I had with it. Although I was willing to pay, so whatever. But apparently it's not doing well, or as well as anticipated. And the. Ticket prices. I checked the day of for my same seat and it Was like 40 percent less in terms of the actual pricing But that aside it was an amazing experience. I Loved every bit of it. If you're back to the future fan as I am you will too Back to the future the musical Check it out HBO's original series succession Is a series that ran from 2018 to 2023. Like I mentioned in the intro, I didn't start watching the series until 2023. Literally while the final season was, was airing. [00:24:00] So, that came with the benefit of being able to binge it and see it all the way through. But in terms of sharing some of my personal takeaways and tidbits here. It's it shows a bit out of the zeitgeist. And some references might be dated, but we'll share them nonetheless for posterity. Here is the official synopsis. The Roy family is known for controlling the biggest media and entertainment company in the world. However, their world changes when their father steps down from the company. And as we like to do here on the Spun Today podcast, I wanted to shout out each and every one of the writers, starting with the show's creator, Jesse Armstrong. Followed by Jamie Carragher, Susan Soon Hee Stanton, Alice Birch, Miriam Batty, She a Batty, she knows she a 10. Georgia Pritchett, Tony Roche, Nathan Elston, Callie Hirshaway, [00:25:00] John Brown, Will Tracy, Lucy Preble, Jonathan Glaser, Ted Cohen, Anna Jordan, Mary Laws, and Will Arbery. Shout out to each and every one of the writers on Succession who put together an amazing show. And I particularly want to shout out the, the writers in this particular series, because they took what is the embodiment of quote unquote evil rich people, you know, just like the vile borderline sociopathic Narcissistic archetype of, you know, the greedy, quote, unquote, greedy, rich people. And they made us, the viewers, through the strong characters that they created, that the writers created, and that the actors, which were phenomenal, and I'll speak to it in a minute, brought to life. They made us, as the audience, connect [00:26:00] with those characters, and in some cases, in a lot of cases, actually root for them to win. Which, if you take a step back and look at the ruthlessness with how they navigate the world with little to no care of who or how they affected others. When you look at it objectively through that lens, it's like, fuck these people. But since they're developed so richly as characters, and it's such a character driven show in my opinion. we still connect with them and root for them on a human level. And that I think is a testament again to just amazing writing. So shout out again to the writers there. Now the cast absolutely killed it. Kieran Culkin is one of my favorite characters. He plays Roman Roy, the youngest of the four children. Brian Cox is the matriarch, the Rupert Murdoch like character who [00:27:00] created this Conglomerate multi billion dollar company. He's just amazing. Tom Wombs Gans played by Matthew McFadden. Such a cool character. Very selfish. It turns out as, as all of them have traits of selfishness, but he was in it for himself from the jump and. He plays possum throughout, so much so that he's married to Shiv Roy, the daughter, played by Sarah Snook, also does a great job, but she's like a, you know, princess, always gets what she wants, kinda has the quote unquote trophy husband, cheats on him, and he just takes it all, and his character is such that you hate him at first, so. because he's such a pushover and you're like yo stand up for yourself you fucking pussy then you wind up rooting for [00:28:00] him then you wind up finding out that either he's been running a game the entire time or he just got caught up in it and began running a game somewhere along the line and became fed up great characters both in real life British I believe it's a good job with the American accents there Same as Logan Logan Roy's character, Brian Cox. And by British, that's just my dumb American interpretation of their accent. You know, it could be Australian, Zealand, or who knows. Conroy, the eldest half brother played by Alan Ruck. Shout out to Ferris Bueller's Day Off. Really cool character. Shout out to the Conheads out there. Jeremy Strong. Not the eldest, but the eldest of the full siblings of the three, you know, Kieran Culkin's character, Sarah Snook's character, and himself, Kendall Roy. He was the heir to the throne, if you will. And in the very [00:29:00] first episode, which sets the stage for the entire series, the first half of the episode is him going through The process of getting ready to take over the company because the father had announced his retirement. He was gonna step down Kendall Roy is gonna take over and in that very first episode the father winds up Literally fucking him over and saying nah, I changed my mind. He's like, wait, what my You changed your mind. I'm supposed to take over next week. He was like now let's give it a couple more years I decided to stay on He was like, but we announced it to the world and the, you know, it's a publicly traded company and the stock and this and that and blah blah blah. He was like, yeah, that's all bullshit. Don't worry about it. And you have this tension within the family always throughout the entire series of the son trying to take over from the father, the father trying to maintain control, the father getting sick, the other siblings trying to vie for control, sometimes being on the same page with each other, most of the time not, and just like this complete [00:30:00] dysfunction. And it was such an interesting, family dynamic that really keeps you hooked. I also thought it was particularly interesting the way that the show was shot. And I got this from some of the, not behind the scenes, but the extras of the show where they, you know, interview different characters and they also have a podcast, et cetera. So I don't remember if it's from one of the extras or from the actual podcast, but one of the directors, I think the main one Mark Millard. Maybe it was Jesse Armstrong, the creator of the show, but they were breaking down how they shot in a way where they zoom in to the actual characters for emotional exclamation points. So they called it. And you notice that throughout the entire series where they'll, you know, they'll shoot a scene and then. For the character reaction, they'll zoom in to the character's face, which is pretty interesting. And he also mentioned that on set, they [00:31:00] always kept live cameras around so that the art, the actors themselves, they didn't know when they were being shot or not. So it forced them essentially to stay in character. And he likened it to filming theater, similar to when you go see a play. How all the characters, as long as they're on stage, they're in character, you know, that whether they're the main focus of a scene or not, or a background character, they're always doing something. They're always on, if you will, then I'm going to jump to in season two, episode 10, I jetted down here. There was a dope line that Logan Roy said again, the matriarch of the family played by Brian Cox, and he was speaking to money and wealth and how most things don't exist. Or companies rather. And he said that the Ford motor company hardly exists. He said that it's just a time saving expression for a collection of financial [00:32:00] interests. Again, all the Ford motor company was to this psychopath was just a time saving expression for a collection of financial interests. I thought that was such an interesting way, such a financially motivated lens to view the world through. And I just love the way that was phrased. All the four Ford Motor Company is, is just a time saving expression for a collection of financial interests. Jesus. There's a lot of double crossing in the show the siblings with each other, the father to the, to the kids, the kids to the father. There's a point in the season two finale where you think Kendall is going to rise to the occasion and, you know, be the heir to the throne that the father, [00:33:00] you know, wants him to be, that is grooming him to be. But he winds up double crossing his father again, as he did multiple times throughout the series. And I thought it was interesting that he had a lot of ups and downs, you know, he had addiction issues in the show. They reference all the time that he had a stint in rehab. And just from a mindset perspective, he was always either completely out of it and crying and in the dumps or completely manic and on the fucking ball. He reminded me a lot of Kanye. And or the public version of Kanye that we've been seeing in. You know, recent news and media cycles and all the drama around the Kardashians and all that shit and his manic episodes. That's what he was reminiscent of to me. I loved the relationship between two main characters, both outsiders of the family in their own right, which was Tom Wamskantz, which I [00:34:00] mentioned earlier, which was the husband of the daughter, Shiv Roy. His relationship with Greg Hirsch, played by Nicholas Braun, which is a second cousin, extended cousin to the family that they barely know, but that works his way into the fold and Tom brings him under his wing kind of because he sees himself in, in Greg in some ways, you know, being an outsider of the family, but also because he wants to have someone to have power over. And he finally found someone lower than him on the totem pole, if you will, within this family structure. And they just have a back and forth, funny, quippy, really interesting dynamic throughout the entire series. And I'll wrap it up with a, a line of dialogue from Alan Ruck's character, Connor Roy, when it spoiler alert, this happened in season four, episode seven. But Connor, who decides to run for president, out of all things, of the [00:35:00] United States, and Kieran Culkin's character, Roman Roy, hilariously tells him, don't you think you should try for something smaller first? You know, maybe like running a CVS or something? But Connor gets himself in a position where... essentially his actual, you know, the two rivals for, for president, the Democrat and the Republican running, they're neck and neck, like razor sharp, you know, 49 percent to 49 percent margins. And Connor is polling at like 1 percent or something like that. It's something, something sick that pretty much put him in a position to make a deal with one of the other guys where he would drop out of the race and His supporters would vote for that person, and that person would essentially become the, the president. And he's trying to see what he can get, you know, what position he could get from the person that would ultimately win. And one of them offers him to be the diplomat of Alman, which is a [00:36:00] country that I had never heard of. And he tells him that it's an interesting thought. He'll, he'll definitely mull it over. And that Oman is the poor man's Saudi Arabia and the rich man's Yemen. And again, I just thought what an interesting way to view the world and view things. But yeah, yo succession dope show. I definitely recommend you guys check it out if you're into that type of thing. It's supposed to be loosely based on Rupert Murdoch and you know, Fox news, that type of billion dollar conglomerate company and the tension and dynamics. Within his children, for example Rupert Murdoch, I think I've spoken about here on the past. One of them is like liberal, liberal leaning, which is kind of like Shiv's character in succession. And the other one is very conservative. Then they're both vying for succession of Fox, for example. So this show is loosely based on that, or at the very least, it's like one of those are imitates life imitates art type of things. [00:37:00] But that is my little recap and review on Succession, streaming now on HBO Max. Check it out. Goat doing goat shit. And I want to create a drop for, specific to this segment of the podcast because it is a recurring one. And I have some things that I've been tinkering with and working on. But speaking it aloud to see if I can hold myself to task because I've been meaning to do that, , forever. I just haven't gotten around to it, but the goats doing goat shit segment is a segment where I like to celebrate the true champions of greatness and highlight the phenomenal achievements of extraordinary individuals, especially when they do things that they do not have to do. And in this episode's edition of goats doing goat shit, I'd like to welcome none other Then Sean P. Diddy Combs to the list. Now, for the longest time, and still, [00:38:00] Puffy is known as being a ruthless businessman, if you will. Someone who hustled and busted his ass and built and created bad boy entertainment, which has brought us countless acts and music that we all love to this day. And many, many artists, but one thing that he did in building his empire from the ground up was recreate the, what some may say myself included, archaic, traditional, let's call them music artist deals, where the label that signs an artist winds up owning their publishing their masters, essentially making the lion's share of the money that is to be made from the art created by the actual artist. And the artist is often times in doing this type of bad business left fending for scraps. And music artists, [00:39:00] historically, this has happened to across different genres since the beginning of time. Some but few and far between have had more savvy, you know, teams and lawyers and sound financial advice around them and just the foresight of ownership. of your creation, being able to reap the benefits of it in perpetuity versus, you know, taking a bigger bag up front, but then never being able to profit from it down the line. So that's definitely been the biggest knock, in my opinion, on, on Puffy over the years in this respect. As of September of 2023, it became public that Puffy was returning his publishing rights. Which, by the way, he did not legally have to do. Returning the publishing rights to the artists and songwriters that helped him build Bad Boy Entertainment. Folks like Ma$e, which was the most vocal, [00:40:00] and actually recently dropped, and by recently I mean within the last year or two, diss tracks and did a lot of interviews and references to all of this, which are actually pretty good. Faith, The Locks, which is another vocal components of, you know, Puffy's business practices, 112, and the estate of Biggie, the Notorious B. I. G. They are all getting, or have gotten, their publishing back because the paperwork and agreements have all been signed and are actually finalized. And according to Puffy, in an interview that he gave to Billboard. He had a lot of offers back in like 2021 when, you know, like folks like Justin Timberlake and Shakira and a lot of folks were selling their, their publishing, their, their catalogs for like a hundred million dollars, $300 million, et cetera. He got an offer, an alleged nine figure [00:41:00] offer. To purchase his catalog, which included all the publishing that he owned, owned legally from all these artists. And that's when he supposedly decided to not sell and give the publishing back to the respective artists. It just took a lot of time between then and now to actually execute the legal documentation, etc. But I thought that was a dope move. It wasn't something that he had to legally do. Did Puffy make, over the decades, a shitload of money off everybody's catalog? Yes, of course he did. Was he legally correct to do so? Yes, he was. Whether it was ethical or moral or not, and hypocritical in some sense, those are all valid criticisms in my opinion, but he wasn't technically or legally... it wasn't something he had to do. So I definitely applaud him for doing [00:42:00] so. I'm always of the mentality of just own your shit and be of the mindset that if someone, a publishing company, a label, if you're in music, a publishing company, if you're in, you know, writing or creating different types of art, a platform, et cetera, if they're coming to you with a bag, To purchase outright, whatever it is that you created big bag, small bag, whatever. They would also pay you for just licensing it. It'll be a smaller bag, but in my opinion, and I'm not the fucking Messiah here, but in my opinion, if you're offering me a big bag to just own my shit outright, it's because you from a financial standpoint, believe that you're going to make that money back and more over time. So it would also be a sound business move from your perspective to license [00:43:00] it for a smaller bag for a shorter period of time, because you will also make your money back within that shorter period of time. And then some, and in that type of scenario, you keep your shit then afterwards, license it out to someone else, make money off of it yourself, maintain the ownership. So you could do whatever it is that you want with it in the future. Turn your book into a movie, turn it into a TV series after that, do both at the same time, turn it into a fucking VR spectacle that hasn't even been created yet, but will exist in 10, 15 years. And since you have the ownership of your IP, you could do that instead of handing it over for a bit bigger bag now, and then the company that purchased it from you. Maintains that ability moving forward. So again, with that said, I'd like to welcome Sean P. Diddy Combs officially onto the Spuntoday goats doing goat shit list. [00:44:00] And that folks was episode 243 of the Spuntoday podcast. Thank each and every one of you very much for listening. I really, really appreciate it. Before I let you go, just wanted to tell you guys about a Few quick ways that you can help support the spun today podcast. If you so choose, you continue support is amazing. I appreciate it very, very much. Whether you're using my affiliate link to shop on Amazon, which you can find that spun today. com forward slash support, or you're buying t shirts or coffee mugs or my books sponsored. com forward slash books, or using any of my affiliate links that all can be found that spun today. com forward slash support. Which will get you a discount on whatever said thing that it is that you're looking for that I have an affiliate link for. Whichever way you choose to support, it means a ton. I really, really appreciate it and just wanted to say thank you. Here's a breakdown of a few of the different ways you can help support the [00:45:00] Spun Today podcast if you so choose. And I'll check you all out next time. Peace.

Miért nehéz a semmire gondolni, római vagy nápolyi vagy amerikai pizza, mi értelme van a hírlevélnek, ér-e családi társaságban telefonozni, illetve aszociális vagy antiszociális, mit csinál a berepülőpilóta, le kellene-e cserélni a Himnuszt, miért divat az irodalom nem ismerete, bosszant-e az éneklő kolléga, mi lett volna a világgal Lenin nélkül, miből doktorált Taylor Swift, hogyan készül a rizstészta, tud-e embert ölni a levegőbe lőtt és visszazuhanó puskagolyó, lassítva látnak-e a galambok, melyik Magyarország legsikerültebb épülete, folyamatos vagy pontszerű-e a boldogság, hibridekben ritkábban kell-e olajat cserélni, cserélik-e a hangstúdiókban a mikrofonszivacsot, létezett-e Horváth Rozi, mit isznak a jegesmedvék, könyvklub vagy edzőterem, honnan jönnek a puttók és miért nincs guggolva pisilő kövér kislányszobor, mi történik a szalagátvágás szalagjával, miért ciki sportközvetítést nézni rajongva? Zenék: Johnny B. Good by Kfir Ochaion; by Madura; by Piano Dreamland. --- Send in a voice message: https://podcasters.spotify.com/pod/show/csunyarosszmajom/message

Well, Dust My Broom if it isn't a Rock and Roll Woman reading The Good Book. Hey Gyp, Move Over! I Know You Rider, so let's Keep On Truckin.' Everydays a good day to Rock Me like Johnny B. Good. But Even in the Quietest Moments we ARE in the middle of a Monster Suicide, America. All I can do is shout Sookie Sookie.

The "Johnny B. Good" of jazz tunes! TIGER RAG has it's origins in Victorian era French Folk Music - hear how it started and how it was played by everyone from ORIGINAL DIXIELAND JASS BAND, JELLY ROLL MORTON to THE MILLS BROTHERS and many more! --- Support this podcast: https://podcasters.spotify.com/pod/show/american-grooves-hour/support

The task of discussing the appointment of John Mousinho as Pompey's new head coach lies with Jake Smith and Jeff Harris. Portsmouth's next League One fixture against Exeter City at Fratton Park is also previewed by this evening's panel.

Descripción breve del programa y playlist:Playlist:  Snatch It Back and Hold It – Junior Wells; Mojo Blues, Stranger Blues, Johnny B. Good [sic] – Johnny Winter; Smokestack Lightning, Down in the Dumps, Bad Avenue, Love Don't Love Nobody – Valerie Wellington; Howling Wolf Blues, Milk Cow Blues, Welfare Blues, Black and Evil Blues – Josh White; Eyesight To the Blind, Nine Below Zero, I Can't Do Without You – Sonny Boy Williamson II; You Can't Have My Monkey – Valerie Wellingston.Escuchar audio

This weeks episode of the James Salazar Media Podcast James talks about the amber heard and Johnny Depp trial, reviews some of the TV shows he's been watching and reads a list of shows that are coming this summer that he is eagerly anticipating.   FREE EBOOK JAMES SALAZAR MEDIA WEBSITE

Albert Camus - The Stranger - Episode 2 - The Consequences Of Meaninglessness! Hi, I'm Christy Shriver, and we're here to discuss books that have changed the world and have changed us.      And I am Garry Shriver, and this is the How to Love Lit Podcast.  This is episode 2 in our three part series in the first work of Albert Camus' great cycle of Absurdity- the novella, l”etranger or the Stranger also called The Outsider.  Last week we began discussing Camus' life, his homeland Algeria, and the events- both political and personal that made him in many ways his own outsider.  We also introduced the idea that is forever associated with Camus in literary as well as philosophical circles and that is concept of the absurd.  We tried to flesh out a little bit of what that feels like,  the world the way Camus would have us understand it.  We tried to introduce it as a feeling more than an idea- although obviously it is both.  We started with famous first line, “Maman died today.  Or yesterday maybe, I don't know.”      It's absurd!!  Today..maybe yesterday!!! It's absurd!    And the even more important idea…”I don't know”.  This itself launches us into a world from which some of us may never return- the world of the absurd, the world of Meursault, our absurd hero.      Ha!  Hopefully we will fare slightly better than Meursault who I'll tell you right now, is not famous because of the awesomeness of his outcome.  He is NOT Forrest Gump who by no design of his own winds up in the White House or making millions in the shrimp industry- although, I will say, there is something absurd about Forrest Gump.    Christy, this is an absurd tangent      I KNOW!!  Absurd is a thread I could keeping pulling, but I won't.  Instead we will pull back into the rational world because today we want to start by giving a shout out to a friend of the podcast, a man who lives far from the world of the absurd (most days, anyway), Mr. Matt Francev.  Matt teaches AP Lit and Honors English at Whittier High School in Whittier California.  His brother Dr. Peter Francev is editor of the Albert Camus Society, and a true scholar whose body of academic work focuses on the entirety of Camus' writings- of which the cycle of the absurd is just the beginning.  Anyway, Matt reached out to us a couple of months ago, gosh I guess it was right before Christmas and asked us to feature Camus and the familiar classic The Stranger, and so we have.  Matt, this series is for you. We hope we do right by an old friend of the Francev family as we do what Camus himself might not like for us to do- paradoxically- and that is attempt to break down into manageable bite-sized pieces this overwhelming experience of living the absurd.      Christy, before we do that, I do want to point out something cool about where Matt is investing his life and career.  Whittier, California,  is only about fifteen miles south of LA.  That area itself is an incredibly diverse working class community- but what is unusual about the high school there is that it has - an eclectic yet notable list of alumni.  Two names on that list many recognize is Former President Richard Nixon, but also, totally outside the world of politics, John Lasseter, the creator of Pixar.  And if that wasn't interesting enough for your average high school,  perhaps even more notably is that the school itself was the setting for Hill Valley High School – that would be the high school Michael J Fox's parents attended in his breakout movie, Back to the Future.   How fun is that?    So fun, I wonder how many times they've played Johnny B Good on the stage in the auditorium!!!      HA!  I wonder what the real auditorium even looks like.  Anyway, Thanks Matt, for reaching out and sharing a little of your world with us.  Today, our goal is to finish out our discussion of part 1 of this novel.  Christy, last week you told us we should very wait in anxious expectation for an episode filled with boredom and meaninglessness- and especially there at the beginning we meet that expectation. Chapter 2 is not filled with action that could be described as riveting.      No, not a whole lot happens in chapter 2, if you're looking for plot, and not a whole lot happens if you're looking for deep character or thematic development.  Basically…Not a whole lot happens.      NO, it starts with the day after Maman's funeral, and We meet Marie- who will become something of a girlfriend to Meursault. Camus descriptions draw particular attention to Marie's breasts, but these descriptions are vulgar not suggestive really.  This is not your typical romantic description from a harlequin romance, not that I've ever read any of those.  It clearly ends with sex but not with passion.  Sex, of course, at its minimum is an expression of excitement- even crude sit-coms go that far.   Many times, when stories feature sex, authors are expressing deep emotions.  Relationship sex is the ultimate expression of intimacy and something,  we, as humans, attach deep meaning to- but not for our absurd hero, Meursault.  For Meursault, he meets a woman, has sex with her, she goes home before he wakes, up, he smokes cigarettes in bed until 11am, he gets up to eat eggs out of a pan, and then expresses boredom with zero reflection on all that has happened over the last 48 hours to him.  Instead of reflection, his thoughts turn to the size of his apartment where he concludes it's too big for just one person.  Again, is this guy a psychopath or a nut job?    And yet, by now, we most likely have decided that he is not.  He's apathetic for sure, but in a way we somehow understand.  Meursault has understood a few truths in this world and now he's stuck- he's gotten far enough into exploring the meaning of existence to arrive at this point of lostness.  Very intuitively, he's hit upon this notion that human reasoning is insufficient in fulfilling the very human but fundamental desire to find unity in our world.  We want things to connect, to make sense.  The universe should mean something- there should be a plan.  And yet, there are needs in our hearts that aren't reasonable. Logic- the things we know for sure about the world- these things are not enough to satisfy us.  Meursault keeps voicing this with the refrain, it doesn't matter.  When he puts things in his cosmic order- he understands His mother's death doesn't matter- not in the grand scheme of things.  This relationship he has with this woman- it doesn't matter.  His job-it doesn't matter- and so his response is to detach himself from all of it.  Why should he attach himself to things that don't matter?   What's the point?  And yet, pointlessness is leaving him bored.  It's also leaving him inert.  He doesn't go anywhere or make decisions.  Why should he, nothing matters.  Camus writes, “I said the world is absurd but I was too hasty.  This world in itself is not reasonable, that is all that can be said.  But what is absurd is the confrontation of this irrational world and the wild longing for clarity whose call echoes in the human heart.  The absurd depends as much on man as it does on the world.”  In other words, it's not that nothing matters that's the problem.  The fact, that we keep looking for things TO matter- that's where the craziness happens.    In the preface of the English edition, Camus describes Meursault.  Really, he's not describing him as much as he's defending him.  Let me read what Camus has told us about his protagonist:    The hero of the book is condemned because he doesn't play the game.  In this sense he is a stranger to the society in which he lives; he drifts in the margin, in the suburb of private, solitary, sensual life.  This is why some readers are tempted to consider him as a waif.  You will have a more precise idea of this character, or one at all events in closer conformity with the intentions of the author, if you ask yourself in what way Meursault doesn't play the game.  The answer is simple: He refuses to lie.  Lying is not only saying what is not true, and as far as the human heart is concerned, saying more than one feels.  This is what we all do every day to simplify life.  Meursault, despite appearances does not wish to simplify life.  He says what is true.  He refuses to disguise his feelings, and immediately society feels threatened….” There's more and we don't have time to read it all, but Camus goes on to say that Meursault is a man who and again I quote, “is poor and naked, in love with the sun which leaves no shadows.  Far from its being true that he lacks all sensibility, a deep, tenacious passion animates him, a passion for the absolute and for truth.  It is still negative truth, that truth of being and of feeling, but one without which no victory over oneself and over the world will ever be possible”.      Again, and this is still recapping the general idea of last week.   Meursault refuses to do what Camus calls “philosophical suicide” in his companion piece, “the myth of Sisyphus”.   He won't buy into an easy answer that will keep him from facing reality.  Meurseualt wants to really see life with clarity- this is what Camus is calling honest- not because he doesn't tell lies. He will lie for Raymond, as we see and likely find despicable.  But he won't lie to Marie about loving her or to the nursing home people about wanting to see his mother.   Camus said this, and I know we're quoting Camus' other writings a lot, but I think they help tell his story.  He says this, “I understand then why the doctrines that explain everything to me also debilitate me at the same time.  They relieve me of the weight of my own life, and yet I must carry it alone.”  So, in other words, when explain or simplify the world to ourselves through religious terms, economic terms, political terms, whatever terms we want to, maybe we numb the burden of suffering to some degree, but the cost of that is personal honesty.  And that might not be something we should do.  The best way for me to understand this is to think in terms of The Matrix, as in the movie.  In that movie, some people didn't know they were basically vegtables in a machine's concoction.  But there were others that did know, but then just decided they didn't care- they plugged themselves back in.  For Camus, that is a no-go.  You must face your own reality- knowing that it is absurd.  You just have to.      The Matrix is a great example.  When Camus says Meursault doesn't lie, he means it.  Meusault won't live in the Matrix, and just like in the movie,  this is a threat.  It makes everyone uncomfortable.  Having said that in his defense, it is not possible to read this and not be uncomfortable with Meursault, with his choices, with his inertia, with his inability to exercise any agency of any kind- especially when he witnesses and even participates in some pretty horrific things culminating in an actual death.      Yes- and now we have finally reached the theme for this episode.  Last week, we laid down the premise of the absurdity of life, which we've just revisited, we laid down the premise that we're all just specks in the universe which creates this absurdity of life- life goes on with or without us and we eventually disappear completely-  another big point- but what bothers Camus the most, and we see it bothering Meursault- is not just those two things- it's this third idea- if all this is true then why the heck, can I not shake this burden of guilt that the universe has laid upon me?  That is the piece that doesn't make sense.  It's the question that threads the narrative from beginning to end, and although it's subtle, as guilt often is, it bears down mercilessly like the cruel and penetrating sun.      We pointed it out last week when it showed up on page 1 when Mersault asks off work and immediately feels compelled to justify his absence with the line, “it's not my fault.”.  Although we didn't point it out in the podcast, as you read chapter 1, we saw Mersault  feeling the need to defend his choice of putting his mother in the home, as if someone were judging him for that- and indeed, this week he finds out from Salomanno that people were actually judging him behind his back for that.  He feels judged for his decision not to see her dead body.  He feels guilty for drinking coffee and smoking a cigarette with the caretaker.  When his mother's friends come in he actually says this, “For a second I had the ridiculous feeling that they were there to judge me.”   He doesn't know his mother's exact age.  That is highlighted- something to feel guilty about.  I point these things out because they all come back as reasons to judge him when he actually in a literal trial.  At the funeral procession, with the sun glaring down, he is confronted with a woman who says this, to him, “if you go slowly, you risk getting sunstroke.  But if you go too fast, you work up a sweat and then catch a chill inside the church.”  To which Meursault thinks this thought.. “she was right.  There is no way out.”      One of those statements that true on various levels- an epiphany in a way.        Yeah, I think it's something like that.  Now we're in chapter two, Meursault tells Marie that his mom has died.  She looks at him, as if to judge him, and he wants to again justify himself with the same line he told his boss- that it wasn't his fault, but he decides not to.  Because now, he's acknowledging something a little deeper- there's been a progression here that we should follow through the story.  He says this, “you always feel a little guilty.”      What do you think that means?  Of course, it's true and extremely normal to feel guilt when someone dies, especially when someone you love dies, and Meursault did love his mother.  I think that's absolutely true, so in this case you just can't help but feel responsible and guilty.      Why do you say with such assurance that Meaursault loved his mother?  He claims that they were bored with each other, and lots of people later on are going to accuse him for exactly the opposite.     Because I'm a big believer in ignoring what people say and paying attention to what people do.  We can see from Meursault's behaviors that he did love his mother. And not just because he calls her maman.  But he provided for her.  The reason he sent her to the home was because he didn't want her sitting in that house by herself.  His concern was that she was bored- he wanted what was best.  He's clearly a man with a modest income, and yet he is her sole provider.  He provides faithfully- and there is no expression of resentment in him towards her.  He seems happy to do it.  His guilt originates in love- and I think we are going to see that there is evidence he loves Marie too, to some degree.  Meursault's problem is not that he can't feel.  Meursault definitely can feel.  He just can't get his mind to wrap around what his feelings mean.  Feelings obviously aren't rational.  That don't have a point, and for Meursault, that's a huge problem.      Honestly, Camus expressing here this idea of not conforming to society's expectations of how you express yourself is again something that resonates with so many teenagers- all of us really- but especially teenagers.  This idea of appearing apathetic when in reality, it's not apathy but numbness that you're experiencing gets people in all kinds of problems.  In my world, it manifests itself with flunking grades.  How many boys, and they usually are boys- are made to sit in a chair with their teachers, their guidance counselors, and their parents- sometimes all in the same room at the same time- and the general theme of the meeting is that they are there to tell the student he simply don't care about his learning.  They are there because they care, and they want him to understand how bad it is that he doesn't care about his education; his family, his life- all of which can be seen through a general apathy towards school, skipping, perhaps drugs, trouble-making of one sort or another.  The student sits in agreement with the behaviors, but often the point that is incorrect is the diagnosis of apathy as the culprint- it's simple  to say that the student just doesn't care. But more often than not,  the problem- paradoxically,  is the opposite.  It's the caring that causes the  jam with failing grades and the other self-sabotaging behaviors.      I've been in hundreds of those meetings myself.  And the irony is in the pointlessness of it all.  The student feels guilty.  That's never the problem.  We can see that they feel guilty.  Sometimes they may even cry.  Often they feel badly for making their mothers come up to school at 6:30 in the morning (in Memphis that's when these meetings are always held).  They feel badly for not being able to make themselves do the work.  They feel badly for the bad grades, the school skipping, the vaping in the bathroom, whatever it is.  They feel badly for the shame of the confrontation.  The feeling of guilt is definitely overwhelming, but what does that do?  When has guilt ever been a good motivator for success?  As with Meursault, guilt, especially generalized guilt, usually escalates into other things.    Camus makes our absurd hero wrestle with this absurd problem.  And if I were a character in the story, I'd be fussing at Meursault non-stop, although, I already know it would be futile.  I can already hear myself, “Treat that girl better.  Take that promotion.  Stop hanging out with that garbage of a human.”    But, in my estimation, Meursault runs hard in the wrong direction- or at least not the direction, I would want him to go if I were his mother.  He runs straight into his feelings of guilt and pushes them to their most extreme point.  Let's watch how this happens with each engagement.      Well, the next engagement of note for me is Meursault running into his old neighbor Salamano and his dog.  The relationship Salamano has with his dog is one Camus is strangely interested in>. He describes the man and his dog almost like a miserable old married couple.      Page 26-27    Christy, what are we supposed to make of this?    Well, that's always the question with Camus, isn't it?  What are we supposed to make of it.  I find myself judging this man because he's cruel to his dog.  But Meursault won't do that.  He doesn't want to be judged, so he doesn't judge Salamano- just like he won't judge Raymond- and Raymond is absolutely one of the most terrible people in all of literature.  I would stack him up against Katherine Earnshaw, or Napoleon the Pig, or Jack from Lord of the flies.      OH my, that is a lovely cast of characters.  Yes, he's a terrible person.  He's a pimp, or at least seems to be.  He beats the woman he lives with to the point that she bleeds- and yet Meursault won't judge him.  In fact, later on he helps him.     Yes, that irks me. He writes a letter for him.  He lies for him.  At one point Raymond asks Meursault what he thinks about all the horrible things he's done and plans on doing to the Moorish girl he's abusing, and Meursault flat out refuses to make any moral judgements.  He has no empathy for the girl, either.  He said he didn't think anything but thought it was interesting.  Talk about what comes across to the reader as absurd- his reaction to me is absurd.  But after all of this, Camus only observes- at the end of chapter 3, we read only this, “All I could hear was the pounding in my ears.  I stood there, motionless.  And in old Salamano's room, the dog whimpering softly.”      As Meursault absorbs what I would consider to be two very obvious expressions of evil in the world- Camus creates what he calls a “divorce between the world as it is and man's conception of the world as it ought to be”.  What he's describing here is the world as it is, and not the world as I want it to be where pets and women are held in places of tenderness- where respect for life itself is highly regarded and where raw power isn't exercised so mercilessly.        And yet, if life doesn't matter, as Meursault understands that it doesn't, if speckness is a reality, as it clearly is, if we feel guilt for things we aren't really guilty for because of some irrational force from the universe, then what difference does it make if a man abuses his dog and beats a woman he's had sex with mercilessly and violently? It just doesn't matter.   Moral distinctives don't matter.    Yikes- this is deeply negative stuff.      Oh yes, and the offense doesn't end there.  In chapter 4, we circle back to Marie.  The romance between these two is every bit as absurd as the violence we saw in chapter 3.  Meursault, wants Marie, as in the sexual sense, when he see her in a red and white dress (make of those colors what you will); he notes her breasts again, btw- and I'm not sure how to understand all of that. But anyway,  They spend the day and night together; it's all very sensual.  The next morning, instead of cutting out before Meursault wakes up, Marie sticks around.  Meursault goes out to get some meat for them and then we have an odd juxtaposition of observations.  Let's read these:    Page 35-36    I agree with Marie.  It IS terrible.  But Meursault doesn't make judgements.  He doesn't say anything.  He is an outsider.  He is a stranger.  For Meursault, he couldn't see that any of it mattered to him.  Why should it?     I think he believes that is the rational thing to believe, but I think there is something about this absurdity that refuses to let him find peace.  In chapter 6 his boss basically offers him a big promotion.  He is offered an opportunity to work in Paris, to travel, to do all the things, we would ascribe as being important.  Meursault's reaction to this offer is as apathetic as his reaction to Raymond beating the pulp out of his mistress.  He says to his boss that he isn't interested in a change of life.  He says One life is as good as another.  He's not dissatisfied with his life there in Algiers.  But here's the crux of it.  It just doesn't matter.  None of it mattered.  For the absurd hero, that's where you get to with everything.  He says this same thing when Marie revisits their relationship.      Page 41-42    It's turning into a refrain- nothing matters- nothing matters- nothing matters.  Meursault dwells in a lot of silence- for the very reason that nothing matters.  He explains nothing because there's nothing to explain.  He expresses almost no feelings to us, his readers, but ironically, as we will see during his trial, everyone that he knows defends him as being a pretty decent human being.  Fpr the most part, he does right by the people in his life: his mother, Marie, Raymond, Salomano, even Celeste the lady from the diner.  That is not the problem.  For Meaursalt, the  problem is not that whether he loved or didn't love his mother- the problem is that it doesn't matter if he did or didn.t.  He doesn't matter if he loves Marie.  He's happy to marry her if she wants, but really the fact they they love or don't love, marry or don't marry- it just doesn't matter.  And on and on he goes with everything in the world. For Camus, this reality, that can make you dizzy if you go around and around about it – has to be where you start if you want to break out of the cycle of the absurd.  You have to start at this point of being rationally honest.  The problem is, once you find yourself at this basic existential understanding that life doesn't care about you- now you have the problems Meurault is facing?  At that point, How do you prevent total boredom?  How do you even make decisions?  The outcomes don't matter.   And these are tje two constant realities we see in Meursault's life and which I find incredibly annoying.  He can't care, and he can't decide anything for himself.  He lets everyone else in the world make the decisions seemingly because he doesn't see any difference between one course of action versus another.  He feels just as guilty at every point.  He figures if I don't care, and you do, we'll just do what you want.   Why not? His goal is to escape that guilty feeling, but the universe won't let him.      This is the Meursault of part 1, and this is the Meursault that arrives on a beach, shoots a man, and then allows us to walk away from the passage, wondering if it was his fault that he just killed a man who he likely didn't know his name or hold anything againt.      Ironically, for me, the day of the murder is really the happiest day in the entire story, so much so that out of no where we see Meursault having the thought and I quote, “for the first time, maybe, I really thought I was going to get married.”  He's thinking in the future and not in the exact present moment only.    If we think about it in terms of guilt, which I think we should do, we can see this book being about three deaths for which Meursault considers in regard to his own guilt.  In the first instance, Meursault is connected to and held responsible for the death of a woman he did not kill, a woman he loved.  That is sentence one.   The second death is the death of a person that Maursault is 100% responsible for killing but for whose death he did not wish nor even intend.  In this case,  we are made to question the degree to which he is responsible for what he did.  There's no question, he pulled the trigger.   There is no question he was not provoked.  Meursault is at fault.  The final death will be his own in part two, and it is in facing this final death that Meursault finds some semblance of happiness, peace- and incredibly absolution of guilty.. and it's not because he has a secret death wish- he absolutely does not commit suicide- but he'd rather face the guillotine than live dishonestly- and it is in facing hopelessness that he finds some sort of higher calling- although, again, if I'd been his mother, I'd say, I'm glad for your higher calling, son, but play the game a little bit.  Because honestly, it seems obvious, if he had just played the game a little bit, he could have gotten out of the string events that lead to the guillotine.      For sure, as we know from history, in the context of colonialism, the murder of an Arab by a Frenchman would not have been considered a serious crime.  Again, if you read Things Fall Apart with us, we saw that play out in that book as well.  In most cases, something like this, with just a little cooperation from the defendant, would have been handled to ensure minimal penalty….but Camus won't let Meursault play the game.  He seems to want us to look at the culpability of this crime in a strange way.  We are not meant to feel sympathy for the Arab and his family- that is for sure- they don't even play into our understanding of events at all.  We are interested in only the forces at play in Meursault.  This is not a story about a man versus man conflict.  We are dealing with forces that are greater than just a man.  So why do we have a baseless and senseless murder?      Yeah, this is where I feel like I'm wading into the philosophical weeds that could get me in trouble with scholars who have so many different opinions on how to answer that question.  Dang Camus, with his description style leaves so much ambiguity.  He plays around with symbols and forces us to draw some very personal conclusions.  There is room to argue, but I will have a go at it this murder scene- because it is here that we are arrive at the fullness of absurdity.  Nothing is more absurd than death- in fact that is what defines absurdity- we yearn for life but we eventually get death.  So, let's look at this one.  For, the murderer- the name Meursaultis interesting as to how it breaks down when we translate it into English.  It literally could be translated two ways mer- means sea- salt is salt- so this name could mean sea-salt- or it could mean it could mean mer- as in the present tesne of I die.  And  salt if it doesn't meant salt as in what we put on fries could mean salt- as in I leap.  This name coule be translated “die leap”- let me just throw that at you- is the absurd hero Meursault a man who is taking a leap towards the ultimate absurdity itself- death.      Okay- let's say he is.  But why?  Why do that?  One thing you can say about Meursault is that he's not really an unhappy person.  He's not dissatisfied.  He's not greedy.  He actually expresses a great deal of satisfaction and even happiness.      True- all of that is true- but think of the first sentence of the myth of sysyphys- what does Camus think is the only question really worth asking.  Should I commit suicide?  Meursault is all those things, but at the same time,  he can't escape are guilt, boredom and inertia.  That's the trifecta.  He probably could handle a lot of suffering, people do- but they have a hard time handling guilt, boredome and inertia.  If we want to put it in terms that a Christian might understand, you might say that Camus is trying to understand, explain and overcome what Christians call “original sin”- I am guilty by my nature- not by my behavior.  This is irrational and for for Meursault it's an impasse.  He wants out of that conundrum.  It makes him extremely uncomfortable.  The scenes on the beach are full of sun and are incredible uncomfortable from the moment Raymond pulls out the gun – the sun stops the world- there is the sea, the sand, the sun, silence.  There is intense heat.      Let's read it    Page 58/59    The sun made him do it.  What does that mean?    Isn't that the million dollar question?  Camus makes Meursault innocent here.  He doesn't hold him responsible.  The sun's responsible.  And yet, he's not innocent, obviously.  He's guilty by choice.  He shoots the Arab once, then he pauses then he shoots him four more times.  Camus carefully creates a separation between the arguable involuntary shot and then the four that were absolutely on purpose.  Meursault actually stopped after the first shot and then starts up again.  This is about assuming guilt.  Meursault wants something with this.   He wants to be guilty- to understand himself as being guilty.  Where before nothing meant anything- as he said over and over again- he has now committed a specific offense for which there is a concrete association with guilt.  Meursault had not wanted to look at his mother's dead body- he didn't understand why he felt that generalized guilt, but here Meursault understands.  He looks and to use his words, He knows he has broken the equilibrium of the day.  He has come to feel responsible.      And I know I'm getting ahead, but my mind goes here, to Camus' later writing, in The Rebel, he says “Conscience comes to light with revolt.”  This feels like revolt against the universe.  Against, God, if you will.      Definitely.  It is, and it is rebellion and revolt.  These will be the themed for episode 3 as we try to break down part 2 of the book- which IS the optimistic side- and we will find one.  At the end of part one, Meursault will not say anything.  He reacts in silence. Shooting the Arab four more times was like “knocking four quick times on the door of unhappiness.”      Well, I guess he's not happy about killing the Arab.  There was no vengeance; no thrill or blood thirst.  Just the door of unhappiness on a day that had been actually pretty happy.    Yeah, I think so.  Some say there will always have to wade through unhappiness to get to consciousness and the peace on the other side.  I think Camus leans this way.  The sun, if we cannot figure out or agree on what it symbolizes- if nothing else expresses something that is subjugating our hero and from which he finally feels an overwhelming compulsion to revolt.  He knows it won't help.  He knows he can't escape the sun, but this metaphysical need to fight back is the sentiment.        And so we see, for the first time our apathetic character that can never do anything on his own accord- finally act upon the world.  It's a negative act to be sure.      A terrible act…and one which will come at a cost…but for Camus…that's the beauty of art.  Meursault's act is necessary- and not just for him, but for us as well.  We cannot confront the absurdity of our lives without assistance.  In some ways, Meursault's murder of the Arab is the act of conscious for us too, and if we can arrive at it with the aid of art, perhaps we can also push through the door into consciousness without the four condemning knocks of unhappiness-or at least without their stinging consequences.    Goodness, Christy, that is really living vicariously…I think I just heard you say, if we feel the need to murder the universe, read this book and let Camus do it for us, to avoid all the messy clean up of an Agatha Christie style detective story.      Yes, I think maybe it's something like that.    Well, there you go.  Next week, we will walk with Meursault through the long and claustrophobic trial scene and watch his world play out in yet another set of strange metaphysical contradictions.      The absurd conclusion to the absurd!!!      So, thanks for listening….yadayayada                              We cannot confront the absurd without assistance.  This is what art is designed to do.”In this universe the work of art is then the sole change of keeping this consciousness and of fixing its adventures.”  Art succeeds where reason fails. Art succeeds because it does not explain or sovle.  It just experiences and describes.”  It is inductive.      “the novel creates destintiy to suit any eventuality.  In this way it competes with creation and p, provisionally, conquers death…  “It expresses a metaphysical need.”  Art provides a sense of unity.  That's why symbols are important.  They are ambigiuous.  Camus believes we can only think in images.      In the human condition  “there is a basic absurdity as well as an implacable nobility.”  Symbols oscillate between the natural and the extraordinary- the individual and the universal.   The image as a parable: the attempt to express the undefineable nature of feeling by what is obvius and undefinable in concrete things.”    What characterizies our century is not so much the need to rebuild the world as to rethink it.”    Camus was concerned that language had become estranged from reality- like Orwell.  He quoted Isaiah from the Bible and said this, “the day when crime dons the apparel of innocence- through a curious transposition peculiar to our times- it is innocence that is called upon to justify itself”.    He wanted authentic social and political communities to have the lucity to call good and evil by their right names.    Revolt is a reaction against human suffering and injustice.  It begins in solitude but progresses into an act of solidarity in the name of all men and women.  Rebellion is constitutive of human nature.  “In order to exist, man must rebel,”.  “When rebellion, in rage or intoxication, adopts the attitude of ‘all or nothing' and the negation of all existence and all human nature, it is at this point that it denies itself…rebellion's demand is unity.”   

Back to the Future Welcome to The Guys Review, where we review media, products and experiences.   **READ APPLE REVIEWS/Fan Mail**Mention Twitter DM group - like pinned tweetRead emailsTwitter Poll   Back to the Future Directed by: Robert Zemeckis (Also did sequals, Forrest Gump, Who Framed Roger Rabbit, and more) Written by: Robert Zemeckis and Bob Gale Starring:  Michael J. FoxChristopher LloydLea ThompsonCrispin GloverThomas F. Wilson Released: July 3, 1985 Budget: $19M ($48.4M 2021) Box Office: $388.8M ($991.2M in 2021) Ratings:   IMDb 8.5/10 Rotten Tomatoes 96% (Rotten tomatos and Metacritic scores are the same for this and Halloween)Metacritic 87% Google Users 95% In the years since its release, Back to the Future has grown in esteem and is now considered to be among the greatest films of the 1980s, one of the best science-fiction films ever made, and one of the greatest films of all time. In 2007, the United States Library of Congress selected the film for preservation in the National Film Registry.  A musical theater production, Back to the Future, was announced in 2014.The musical was written by Gale and Zemeckis, with music written by Alan Silvestri and Glen Ballard. It debuted at the Manchester Opera House, England, in February 2020, to positive critical reviews. Gale said the musical was the best way to give fans more Back to the Future without adding to the film series. First time you saw the movie? Plot:In 1985, Marty McFly is a typical teenager living in Hill Valley, California. At home, Marty's meek father George is bullied by his supervisor, Biff Tannen. His mother Lorraine is a depressed alcoholic, and his older siblings are professional and social failures. Marty's band is rejected at a music contest for being too loud. He confides in his girlfriend, Jennifer Parker, about fears of becoming losers like his parents despite his ambitions.That night, Marty meets his eccentric scientist friend Emmett "Doc" Brown in the Twin Pines mall parking lot at 1:16am. Doc unveils a time machine built from a modified DeLorean, powered by plutonium he swindled from Libyan terrorists. Doc tests the Delorean with his dog, Einstein, sending him exactly one minute into the future, and showing Marty some serious shit. After he proves it works, Doc inputs a destination time of November 5, 1955—the day he first conceived the flux capacitor, which is what makes time travel possible. Just then, the terrorists arrive unexpectedly, opening fire and shooting Doc. Marty flees in the DeLorean, inadvertently activating the flux capacitor, and when he reaches 88 miles per hour, he disappears into a fireball, as the terrorists crash. S:-Huey Lewis was the teacher who told Marty he was too loud.-What would've happened if Einstein hadn't shown back up? Or if he were dead when he did?-If you could go back in time, when would you go? Why?  Arriving in 1955, Marty crashes into Old Man Peabodies barn. After being mistaken for an alien, Marty escapes, driving over one of his pine trees. Marty discovers he has no plutonium to return to 1985. While exploring a burgeoning Hill Valley, Marty encounters his teenage father and discovers Biff has been bullying him since high school. While spying on the teenage Lorraine, George falls into the path of an oncoming car, and Marty is knocked unconscious saving him. He wakes to find himself tended to by Lorraine, who becomes infatuated with him just like in Tuckers dreams. Marty tracks down a younger Doc and convinces him he is from the future, but Doc explains the only source available in 1955 capable of generating the power required for time travel is a bolt of lightening. Marty shows Doc a flyer from the future that documents an upcoming lightning strike at the town's courthouse, and with it being 1955, is the same day Chris lost his virginity. As Marty's siblings begin to fade from a photo he is carrying with him, Doc realizes Marty's actions are altering the future and jeopardizing his existence, GREAT SCOTT; Lorraine was supposed to meet George instead of Marty after the car accident. The pair try and get Lorraine interested in George, but they fail, and Lorraine's infatuation with Marty deepens. This is Heavy.Lorraine asks Marty to the school dance. He plots to feign inappropriate advances on Lorraine, allowing George to intervene and "rescue" her, but the plan goes awry when Biff's gang locks Marty in the trunk of the performing band's car, while Biff forces himself onto Lorraine. George arrives expecting to find Marty but is attacked by Biff. After Biff hurts Lorraine, an enraged George knocks him unconscious and escorts the grateful Lorraine to the dance, picking up her panties on the way. The band frees Marty from their car, but the lead guitarist injures his hand in the process. Marty takes his place and during his playing of Earth Angel, all of his siblings in the picture have disappeared, and Marty starts to fade away, when George and Lorraine finally share their first kiss; bringing back Marty and his siblings. After a rousing performance of Johnny B Good, and, with his future no longer in jeopardy, Marty heads to the courthouse to meet Doc. S:-Guess we shouldn't ask if anyone has ever been a peeping Tom...-When and who was your first kiss?-The flyer is def precurser to the sports almanac in part 2.-So besides it being his own mom, Martys idea is STILL a sexual assault, even if he didn't go through with it, but Biff did. Notice where his hand was coming from when George opened the door.  Doc discovers a note from Marty warning him about his future and destroys it, worried about the consequences. To save Doc, Marty re-calibrates the DeLorean to return ten minutes before he left the future. After some trials, Marty drives and the lightning strikes, sending him back to 1985, but the DeLorean breaks down, forcing Marty to run back to the now LONE PINE mall, much like Trey does on most nights. Lone. Pine. Ok. He arrives as Doc is being shot. While Marty grieves at his side, Doc sits up, revealing he pieced Marty's note back together and was wearing a bulletproof vest. He takes Marty home and departs to 2015 in the DeLorean.Marty wakes the next morning to discover his father is now a confident and successful science fiction author, his mother is fit and happy, his siblings are successful, and Biff is a servile valet in George's employ. As Marty reunites with Jennifer, Doc suddenly reappears in the DeLorean, insisting they return with him to the future to save their children. As they get in, Marty tells Doc he'll need more road to get to 88... When Doc tells him where they're going, they wont need, roads. The DeLorean takes off, and flies into the sky and the future. The End. S:-Again, if you could go back and change anything would you?-If you could know your future, would you?-They didn't think about the fact that Marty would crash into a theatre back in the future?-Also, this implies the whole reason Doc was "friends" with Marty, a 17 year old boy, was because he'd known for 30 years what would happen. How do you even make that introduction and start that friendship? "Hey, we've got to be friends so you go back in time and save my life by writing a letter..."?-I've read reviews of people who don't like the role reversal of George and Biff, that George has basically become the bully. Thoughts?     Top Five Trivia of the movie: 1. The role of Marty McFly was originally portrayed by Eric Stoltz. But he was fired several weeks into the shoot and replaced by Michael J. Fox.2. Thomas F. Wilson improvised some of Biff's signature catchphrases, such as butthead and make like a tree, and get out of here3. The iconic DeLorean time machine was almost a Ford Mustang.4. In early drafts, the time machine was a refrigerator.5. According to Back to the Future Part III (1990), the clock in the clock tower started running at 8:00 p.m. on September 5, 1885. The date is provided by the caption on the photograph that Doc Brown gives Marty at the end of Back to the Future Part III. The time is provided by the Mayor in 1885 in Back to the Future Part III, who starts it. The lightning strikes the clock tower at 10:04 p.m. on November 12, 1955. This means that the clock tower operated for exactly seventy years, two months, seven days, two hours, and four minutes.   TOP 5Stephen:1 Breakfast club2 T23 Sandlot4 Escape rooms ---> Back to the Future5 Mail order brides Chris:1. sandlots2. T23. trick r treat4. rocky horror picture show5. hubie halloween Trey:MeatballsBoondocks SaintsMail Order BridesSandlotLone Survivor Tucker:1. Beer review 2. T23. Gross Pointe Blank4. Mail order brides5. Escape rooms    Web: https://theguysreview.simplecast.com/EM: theguysreviewpod@gmail.comIG: @TheGuysReviewPodTW: @The_GuysReviewFB: https://facebook.com/TheGuysReviewPod/YouTube: https://www.youtube.com/channel/UCYKXJhq9LbQ2VfR4K33kT9Q Please, Subscribe, rate and review us wherever you get your podcasts from!! Thank you,-The Guys

Album de la semaine: "Let it be" Super Deluxe edition (Beatles 2021) Beatles-Morning camera/Two of us (take 4)-Let it be (Super Deluxe edition) (70-21)Beatles-Two of us (2021 mix)-Let it be (Super Deluxe edition) (70-21)P.McCartney-Every night-McCartney (70)J.Lennon-Jealous guy (Ultimate mix)-Imagine (The Ultimate collection) (70-18)G.Harrison-Behind that locked door (2020 mix)-All things must pass (Super Deluxe) (70-21)R.Starr-Beaucoups of blues-Beaucoups of blues (70)Beatles-The long and winding road (2021 mix)-Let it be (Super Deluxe edition) (70-21)Beatles-Maggie Mae/Fancy my chances with you-Let it be (Super Deluxe edition) (70-21)G.Harrison-Give me love (give me peace on Earth)-Living in the Material World (73)G.Harrison-Love comes to everyone-George Harrison (79)P.McCartney-Letting go (Single edit)-Venus and Mars (Deluxe edition) (75-14)Beatles-I've got a feeling (2021 mix)-Let it be (Super Deluxe edition) (70-21)Beatles-Can you dig it ?-Let it be (Super Deluxe edition) (70-21)R.Starr-Grow old with me-What's my name (19)J.Lennon-Rock & roll people-Menlove ave. (86)P.McCartney-Girls' school-London town (78)J.Lennon-Grow old with me-Milk and Honey (84)Beatles-One after 909 (2021 mix)-Let it be (Super Deluxe edition) (70-21)Beatles-Let it be/Please please me/Let it be (take 10)-Let it be (Super Deluxe edition) (70-21)Beatles-She came in through the bathroom window (rehearsal)-Let it be (Super Deluxe edition) (70-21)J.Lennon-I know (I know) (Ultimate mix)-Gimme some truth (Deluxe) (20)R.Starr-Don't pass me by (Re-do)-Give more love (17)Beatles-For you blue (2021 mix)-Let it be (Super Deluxe edition) (70-21)Beatles-Gimme some truth (rehearsal)-Let it be (Super Deluxe edition) (70-21)P.McCartney-I want you to fly-"Jenny Wren" single (05)G.Harrison-Mama you've been on my mind-Early takes Volume 1 (12)J.Lennon-Johnny B. good (jam)-Plastic Ono Band (Ultimate collection) (70-21)J.Lennon-Ain't that a shame (jam)-Plastic Ono Band (Ultimate collection) (70-21)Beatles-Get back (2021 mix)-Let it be (Super Deluxe edition) (70-21)Beatles-Accross the universe (1970 Glyn Johns mix)-Let it be (Super Deluxe edition) (70-21)J.Lennon-Nobody loves you (when you're down and out)-Walls and bridges (74)Traveling Wilburys-Handle with care-Traveling Wilburys vol.1 (88)R.Starr-Magic-What's my name (19)R.Starr-Thank God for music-What's my name (19)Beatles-Medley: I'm ready (aka Rocker)/Save the last dance for me/Don't let me down (1969 Glyn Johns mix)-Let it be(Super Deluxe edition) (70-21)Beatles-Don't let me down (1969 Glyn Johns mix)-Let it be (Super Deluxe edition) (70-21)P.McCartney-In a hurry-"Home tonight" single (19)P.McCartney-Station II-Egypt Station (18)P.McCartney-Hunt you down/Naked/C-link-Egypt Station (18)

Mais uma batalha épica chega ao Balaio Podcast! No corner azul, as tardes globais dos anos 90, no auge de seu "De volta para o Futuro", com a ajuda dos Goonies! No corner vermelho, aquele pós-almoço do seu Abravanel, com "Querida, encolhi as crianças" e o apoio do Hulk de tinta guache de Lou Ferrigno! Quem vai levar esse Grande Duelo? // Sinal AMARELO de aleatoriedade. // =================== Bancada #126: Ted Medeiros / Ian Costa / Alexandre Feitosa (Gominho) // Montagem: Nathan Cirino Edição e finalização: Ian Costa // Conteúdo Creative Commons. Atribuição Não Comercial - Sem Derivações 4.0 Internacional (CC BY-NC-ND 4.0) // =================== *APOIE O BALAIO! Doe pelo PicPay! (@balaio.podcast) Ou pelo PIX: balaiopodcast@gmail.com =================== Nossos contatos: Facebook: /balaiopodcast Twitter: @balaiopodcast Instagram: @balaiopodcast Telegram (canal): t.me/balaiopodcastcanal E-mail: balaiopodcast@gmail.com -------------------------- Músicas do #126 Glory of Love - Peter Cetera Alex F – Harold Faltermeyer Johnny B. Good – De Volta para o Futuro The Goonies 'R' Good Enough – Cyndi Lauper Um morto muito louco – Jack e Chocolate & DJ Marlboro I Will Always Love You - Whitney Houston Lambada – Kaoma Twist and Shoud – The Beatles/ Curtindo a Vida Adoidado Once Bitten, Twice Sky - Lori Chacko Take My Breathe Away – Berlin The Police Academy March – Brass Band Willebroek --- Send in a voice message: https://anchor.fm/balaiopodcast/message

Hoje a aula é em comemoração ao Dia Mundial do Rock, 13 de Julho!!! E para esta festa, temos um pioneiro do gênero, Chuck Berry com o clássico "Johnny B. Goode", que fez parte da trilha (e da história) do filme "De volta para o futuro". Cadastre-se para ter livre acesso à biblioteca #aicm (Aprenda Inglês com música)

It's time for some FOOTBAAAAAAALLLL as Adam, Jeff and Jeramy suit up for a Fantasy Football Film Festival. We pitch sequels to films like The Replacements with Keanu Reeves, Jerry McGuire with Cuba Gooding Jr and Johnny B. Good with Anthony Michael Hall! Listen as we take these one-off sports films into the End Zone for touchdown, the second time around.Stream our SequelQuest Back Catalogue from the links below or find the show on the NEW TRN Feed on iTunes, Stitcher, Google Play, Podbean, SoundCloud and more.SequelQuest Back Catalogue:NEW! Now on Spotify as well! https://spoti.fi/2IrmZOFiTunes http://apple.co/2qJQwuxGooglePodcasts http://bit.ly/2qwIkl7Soundcloud http://bit.ly/2p28pILTuneIn http://bit.ly/2pKRWWfStitcher http://bit.ly/2BJaBGmPodbean http://bit.ly/2nqSQHzNEW TheRetroNetwork Feed:TRN Apple Podcasts: http://bit.ly/TRNpodFeed Credits:Intro MusicMusic: "Let's Go Back" performed by Donovan RaittMusic: Bensound.com "Instinct"Exit MusicMusic: "Let's Go Back" performed by Donovan RaittTechnical Producer: Jeramy HubbardSocial Media Producer: Adam Pope & Jeramy HubbardWebsite: http://theretronetwork.comWebsite: http://sequelquestpod.comTwitter: @SQPodTwitter: @TRNsocialInstagram: @ SequelQuestFacebook: SequelquestAll rights to the individual Intellectual Properties discussed on SequelQuest are under the ownership of their respective current owners, no copyright infringement is intended.

☕ Con muchos frentes abiertos, Freddy Morozovsky es el señor gastronomía en Córdoba y el país. Originalmente fue la cara detrás de Johnny B. Good, pero hoy agrupó otras marcas (Sushi World, Peñón del Águila, Oh My Bowl y el propio Johnny) en un holding gastronómico. Por fuera de eso trabaja el lanzamiento de Juan Bautista en Buenos Aires, y de IDA en Córdoba, ambos con conceptos diferentes. Planes y novedades en esta mesa de café desde el SUM de Cardinales Nuevo Suquía.

Kleen is banging mid-day at a park on second base. Claims to have banged 642 times in a year. We play a song the gets ruined and make fun of Ditty for trying to talk GM and their shitty logo to give him money. Go Deep.  DETAILED TIMELINE  1:00 Actually over and over 2:00 No matter how faithful you are 3:00 I'm on the fence - Strip club vs Massage Parlor 4:00 Make it fair 5:00 There I ruined it - Gag on Kleen's cock.com 6:00 There I ruined it - Johnny B. Good electronic edition 7:00 Fucking Advertising 8:00 Johnny B Good (Fucking awful) 9:00 Kleen Dance Time - Ditty or P Ditty 10:00 Gotta have a cause - My legacy  11:00 Black owned media - GM catching heat  12:00 The second semester of gradient designs  13:00 How many times you have sex per week?  14:00 The plundering of the vagina  15:00 Bye Bye - nice knowing you  16:00 Lets do math 17:00 Kleen almost had the perfect woman  18:00 Banging on second base  19:00 Final Words -  Missionary mid-day Go Deep.

Johnny from “life with Johnny B Good” podcast and cohost of the Lower Left podcast talks about getting educated, Familia, lowriding, music/DJing and running a crew of folks in a not so common work place. Plus the drive to do better and “Just Bring Greatness” to everything that we do in life.

A talented but arrogant young basketball star learns to lead, to share, and to love. Johnny B. Good is at Lehigh College on a basketball scholarship for the Mountain Eagles men's team. Nancy Jones, daughter of the college president, is pursuing a degree in education and has a serious crush on Johnny. She’s there at all the games supporting him, but he seldom notices her. Shortly after being drafted into the NBA, an injury takes Johnny out of the game forever. At first, he thinks he might try to be an on-air sportscaster, but he does not have a broadcast journalism background and would have to take an unpaid internship to start the different career. Then he tries teaching business and history classes at a local community college, but is bored and uninterested in teaching students who do not take his class seriously. After he erupts at the students, he is fired. As a last resort, when Johnny is just about to move back home with his mother, Nancy’s father calls on behalf of Nancy to ask him to coach the basketball team. Nancy is now an assistant professor at the college. The president gives his condolences to Johnny for his sports injury and wishes Johnny had a long career in the NBA, but coaching the college team seems to be a perfect fit. After a moment of silence, Johnny agrees to take the job. Johnny is hard on the lax, unmotivated team; but Nancy confronts him and begs him to be friends with the team players, instead of bullying them. Her encouragement works, and Johnny actually begins to take notice of the young woman who has always been his biggest fan and now also it seems, his best friend. Little by little, Johnny’s coaching gets better, and so does the team. The college has its most successful basketball team ever. And when Nancy agrees to marry him, Johnny becomes a winner for the rest of his life.

BLUES SYNDICATE Nº 15 1- Sintonia 2- MUDDY WATERS. I can´t satisfied. 03.28 3- ALBERT COLLINS. Too tired. 02.59 4- NORA JEAN BRUSO. Spoonful. 03.15 5- GUY DAVIS. Ain´t no bluesman. 03.01 6- VLADY OLMOS & DAVID GARCIA. That´s all right. 03.30 7- ALBERT KING. Howlin for my darling. 03.02 8- BEAU JOCQUE. Baby please don´t go. 03.59 9- JOHN LEE HOOKER. Boom boom. 02.27 10- SONNY BOY WILLIANSON & THE YARDBIRDS. Little red rooster. 02.43 11- MANFRED MAN. Got my mojo working. 03.09 12- JOHNNY WINTER. Johnny B. Good. 02.43 13- B.B. KING. Shake it up and go. 03.07

BLUES SYNDICATE Nº 15 1- Sintonia 2- MUDDY WATERS. I can´t satisfied. 03.28 3- ALBERT COLLINS. Too tired. 02.59 4- NORA JEAN BRUSO. Spoonful. 03.15 5- GUY DAVIS. Ain´t no bluesman. 03.01 6- VLADY OLMOS & DAVID GARCIA. That´s all right. 03.30 7- ALBERT KING. Howlin for my darling. 03.02 8- BEAU JOCQUE. Baby please don´t go. 03.59 9- JOHN LEE HOOKER. Boom boom. 02.27 10- SONNY BOY WILLIANSON & THE YARDBIRDS. Little red rooster. 02.43 11- MANFRED MAN. Got my mojo working. 03.09 12- JOHNNY WINTER. Johnny B. Good. 02.43 13- B.B. KING. Shake it up and go. 03.07

Volvimos al pasado como Marty McFly y el Doc Brown, pero en vez de ser tan geniales como para tocar la Johnny B. Good en la graduación de nuestros papás, nos alcanzó para ver una peli de 1974 y volver. Quizás la mejor de la filmografía Francis Ford Coppola, La Conversación (The Conversation), es la historia de un espía que vive en el constante conflicto entre ser el mejor en lo que hace y su personalidad dedicada a hacer el bien. Una historia que se torna apasionante cuando tenes a una mente maestra del guión y la cinematografía tras bambalinas. Al comienzo establecimos una conexión con el concepto del "Nuevo Hollywood": ¿Qué tiene que ver con Coppola, con De Palma, con George Lucas y qué culpa tiene Spielberg? Para más contenido y cosa golda, sigannos en @benditospoiler en redes.

Welcome to First Presbyterian Church, Columbus, Georgia! We hope you will be blessed by the ministry of the Word through our Sunday morning services! Click here to view the Concise service video on Youtube

Ba'r Poull 'zo un abadenn sonerezh skignet war LaRG' 89.2FM e Gwened (56) ha war lec'hienn ar radio www.larg.fr. Kinniget eo e brezhoneg gant Panda hag Ewen ha skignet e vez sadorn kentañ pep miz da 7e noz. Pajenn FB an abadenn : https://www.facebook.com/barpoull/ Ba'r Poull is a music radio show broacast in Gwened/Vannes (Brittany) and on our website www.larg.fr. The show is run by Panda & Ewen speaking breton. Follow us on FB : https://www.facebook.com/barpoull/ Ba'r Poull est une émission musicale diffusée sur LaRG' 89.2FM à Vannes (56) et sur le site www.larg.fr. L'émission est présentée en breton par Panda et Ewen et est diffusée chaque premier samedi du mois à 19h. La page FB de l'émission : https://www.facebook.com/barpoull/ > Cabbage – Uber Capitalist Death (Dead Kennedys cover) (live) > Marilyn Manson – Sweet Dreams (Eurythmics cover) (live The Last tour on earth) > Dr Feelgood – Don’t you just know it (Huey Smith cover) (live BBC in concert) > Elle King – Folsom Prison Blues (Johnny Cash cover) (live Firefly Festival 19-06-2016) > AC/DC – Baby Please don’t go (Big Joe Williams cover) (live) > Guns N’ Roses – Live and let Die (The Wings cover) (live Saskatchewan Place, Saskatoon, Canada, 26-03-1993) > David Bowie – I can’t Explain (The Who cover) (live Marquee Club, Londrez – 16-11-1973) > Jerry Lee Lewis – Johnny B. Good (Chuck Berry cover) (live Panther Hall, Fort Worth, 1966) > Ike & Tina Turner – I heard it through the grapevine (Smokey Robinson cover) (live Street West, San Francisco – 1969) > Nick Cave and the Bad Seeds - Stagger Lee (hengounel / trad.) (Live Glastonbury, RU – 30-06-2013) > Chris Cornell – Billie Jean (Michael Jackson cover) (live Brasil)

Ba'r Poull 'zo un abadenn sonerezh skignet war LaRG' 89.2FM e Gwened (56) ha war lec'hienn ar radio www.larg.fr. Kinniget eo e brezhoneg gant Panda hag Ewen ha skignet e vez sadorn kentañ pep miz da 7e noz. Pajenn FB an abadenn : https://www.facebook.com/barpoull/ Ba'r Poull is a music radio show broacast in Gwened/Vannes (Brittany) and on our website www.larg.fr. The show is run by Panda & Ewen speaking breton. Follow us on FB : https://www.facebook.com/barpoull/ Ba'r Poull est une émission musicale diffusée sur LaRG' 89.2FM à Vannes (56) et sur le site www.larg.fr. L'émission est présentée en breton par Panda et Ewen et est diffusée chaque premier samedi du mois à 19h. La page FB de l'émission : https://www.facebook.com/barpoull/ > Cabbage – Uber Capitalist Death (Dead Kennedys cover) (live) > Marilyn Manson – Sweet Dreams (Eurythmics cover) (live The Last tour on earth) > Dr Feelgood – Don't you just know it (Huey Smith cover) (live BBC in concert) > Elle King – Folsom Prison Blues (Johnny Cash cover) (live Firefly Festival 19-06-2016) > AC/DC – Baby Please don't go (Big Joe Williams cover) (live) > Guns N' Roses – Live and let Die (The Wings cover) (live Saskatchewan Place, Saskatoon, Canada, 26-03-1993) > David Bowie – I can't Explain (The Who cover) (live Marquee Club, Londrez – 16-11-1973) > Jerry Lee Lewis – Johnny B. Good (Chuck Berry cover) (live Panther Hall, Fort Worth, 1966) > Ike & Tina Turner – I heard it through the grapevine (Smokey Robinson cover) (live Street West, San Francisco – 1969) > Nick Cave and the Bad Seeds - Stagger Lee (hengounel / trad.) (Live Glastonbury, RU – 30-06-2013) > Chris Cornell – Billie Jean (Michael Jackson cover) (live Brasil)

Ba'r Poull 'zo un abadenn sonerezh skignet war LaRG' 89.2FM e Gwened (56) ha war lec'hienn ar radio www.larg.fr. Kinniget eo e brezhoneg gant Panda hag Ewen ha skignet e vez sadorn kentañ pep miz da 7e noz. Pajenn FB an abadenn : https://www.facebook.com/barpoull/ Ba'r Poull is a music radio show broacast in Gwened/Vannes (Brittany) and on our website www.larg.fr. The show is run by Panda & Ewen speaking breton. Follow us on FB : https://www.facebook.com/barpoull/ Ba'r Poull est une émission musicale diffusée sur LaRG' 89.2FM à Vannes (56) et sur le site www.larg.fr. L'émission est présentée en breton par Panda et Ewen et est diffusée chaque premier samedi du mois à 19h. La page FB de l'émission : https://www.facebook.com/barpoull/ > Cabbage – Uber Capitalist Death (Dead Kennedys cover) (live) > Marilyn Manson – Sweet Dreams (Eurythmics cover) (live The Last tour on earth) > Dr Feelgood – Don’t you just know it (Huey Smith cover) (live BBC in concert) > Elle King – Folsom Prison Blues (Johnny Cash cover) (live Firefly Festival 19-06-2016) > AC/DC – Baby Please don’t go (Big Joe Williams cover) (live) > Guns N’ Roses – Live and let Die (The Wings cover) (live Saskatchewan Place, Saskatoon, Canada, 26-03-1993) > David Bowie – I can’t Explain (The Who cover) (live Marquee Club, Londrez – 16-11-1973) > Jerry Lee Lewis – Johnny B. Good (Chuck Berry cover) (live Panther Hall, Fort Worth, 1966) > Ike & Tina Turner – I heard it through the grapevine (Smokey Robinson cover) (live Street West, San Francisco – 1969) > Nick Cave and the Bad Seeds - Stagger Lee (hengounel / trad.) (Live Glastonbury, RU – 30-06-2013) > Chris Cornell – Billie Jean (Michael Jackson cover) (live Brasil)

Entrevistamos a Freddy Morozovsky - desde Córdoba - CEO del grupo #BrexCompany ( Johnny B. Good Buenos Aires / Peñón del Águila Cerveza / Sushiworld / Oh My Bowl / BLACK PAN / Siamo Deli Cucina ) De qué se trata la empresa que gestiona marcas franquiciables. Por qué se tomaron tanto tiempo en franquiciar por primera vez Jonhy B. Good. FRANQUICIAS QUE INSPIRAN, un formato multiplataforma conducido por Gonzalo Otalora, donde se difunden oportunidades de negocios para inversores, emprendedores y comerciantes.

Approached by an old foe seeking help, the Alpha Squad must decide how much risk to take in search of the truth.