Podcast appearances and mentions of Johnny Castle

Special Guest: Actor Matthew Amira (@MatthewAmira)Spending the summer at a Catskills resort with her family, Frances "Baby" Houseman falls in love with the camp's dance instructor, Johnny Castle.Director: Emile ArdolinoCast: Patrick Swayze, Jennifer Grey, Jerry Orbach, Kelly Bishop, Cynthia Rhodes=====Follow The Tracklist on Instagram ⁠⁠⁠@tracklistshow⁠⁠⁠Follow Chris Saunders on Instagram ⁠⁠⁠@chrissaunders_music⁠⁠⁠Follow Daron Jenkins on Instagram ⁠⁠⁠@thedaronjenkins⁠⁠⁠=====Support the podcast - Grab one of our stylish Hoodies or T-Shirts!Visit our Merch Shop: ⁠⁠⁠⁠https://tracklist-shop.fourthwall.com⁠⁠⁠⁠

Our Taurus season movie choice is such a classic! Sensuality, love, and some good ol' staying power. We get into all the reasons we think Dirty Dancing exudes Taurus & Venutian vibes! Tune in to hear:Our interpretation of Baby & Johnny Castle's Big 3ssome fun and appropriate facts about the movie release itself and Taurus sznclips of some of the most iconic music of the 80s/ever!Is this one of your favorite movies, too!? What did you think of our interpretation?? We love to hear from you! Check-in with us somehow with the info below, and until next time...Stay Curious!--Explore our first full season (Episodes 1-50) to explore our living astrological library!Ready to look at charts in the most beautiful and functional way? Look no further than → ⁠⁠LUNA Cloud Astrology Software⁠⁠ ← this link saves you 10%.Follow us on → ⁠Instagram⁠Drop us some love in the form of a 5-star review and follow. :)

¡Prepárate para emocionarte, cantar y redescubrir #LaMagiaDelMusical! En esta emocionante iniciativa, 50 pódcasts se han unido para celebrar clásicos de culto y estrenos recientes de uno de los géneros más fascinantes del séptimo arte: el cine musical. Cada día un pódcast diferente explorará la historia, canciones e impacto cultural de películas que han marcado a generaciones; toda la información de la iniciativa aquí: https://linktr.ee/IniciativasPod También lanzamos una campaña solidaria en apoyo a la Fundación Pequeño Deseo, que vela por niños y niñas con enfermedades graves; nuestro objetivo es recaudar 100 € para acercar a cada niño a su deseo. Colabora aquí, cada pequeña aportación cuenta: https://www.migranodearena.org/reto/la-magia-del-musical Preparaos para bailar y sudar, nos vamos a los años 60 y recibiremos clases de Johnny Castle. Un paseo por una película que es historia del cine, Dirty Dancing. Un milagro que pudo salir muy mal pero que fue uno de los mayores éxitos de los 80. Descubre la intrincada producción de una película mítica, revive su trama mientras disfrutas de nuestro programa. Se vienen al complejo Kellerman, Álvaro Gil y Elena Gómez. Les trata de entretener, Salva Vargas. Este programa cuenta con la producción ejecutiva de nuestr@s mecenas, l@s grandes, l@s únicos Kamy, Lobo Columbus, Enfermera en Mordor, Javier Ramírez, La Casa del Acantilado, Shinyoru, José Percius, Diana, Josemaria1975, Francisco Javier Chacón, Kal-el__80, David, Cohaggen, Elena Gómez, Álex El Cimerio, Iván Alonso y Javi. ¿Quieres ayudarnos a seguir mejorando y creciendo? Pues tienes varias opciones para ello. Dándole Me gusta o Like a este programa. Por supuesto estando suscrito para no perderte ninguno de los próximos episodios, y ya para rematar la faena, compartiendo el podcast con tus amigos en redes sociales y hablando a todo el que te cruce en la calle de nosotros…. Y todo esto encima, GRATIS!!! Y si ya nos quieres mucho, mucho, mucho y te sobra la pasta…. Puedes hacerlo económicamente de varias formas: Apoyo en iVoox: En el botón APOYAR de nuestro canal de iVoox y desde 1,49€ al mes: https://acortar.link/emR6gd Invitándonos a una birra en Ko-Fi: por solo 2€ nos puedes apoyar en: https://ko-fi.com/criterioceropodcast Patreon: por sólo 3€ al mes en: https://patreon.com/CriterioCeroPodcast PayPal: mediante una donación a criterioceropodcast@gmail.com También nos podéis ayudar económicamente de forma indirecta si tenéis pensado suscribiros a las modalidades Premium o Plus de iVoox al hacerlo desde estos enlaces: Premium Anual: https://acortar.link/qhUhCz Premium Mensual: https://acortar.link/gbQ4mp iVoox Plus Mensual: https://acortar.link/y7SDmV Con cada rupia que nos llegue sufragamos los costes del programa al mes, invertiremos en mejorar los equipos y por supuesto, nos daremos algún que otro capricho . Las recompensas por apoyarnos se explican en nuestro blog: https://criterioceropodcast.blogspot.com/2023/08/quieres-ayudar-criterio-cero-mejorar.html También puedes hacerte con algo de merchandising de Criterio Cero. Camisetas, Sudaderas, tazas o mochilas en el siguiente enlace: https://www.latostadora.com/shop/criteriocero/?shop_trk Y también puedes seguirnos en nuestras diferentes redes sociales: En Telegram en nuestro grupo: https://t.me/criteriocerogrupo En Facebook en nuestro grupo: https://www.facebook.com/groups/630098904718786 Y en la página: https://www.facebook.com/criterioceropodcast ✖️ En X (el difunto Twitter) como @criteriocero En Instagram como criterioceropodcast En TikTok como criteriocero ✉️ Para ponerte en contacto con nosotros al correo criterioceropodcast@gmail.com De paso aprovechamos para recomendaros podcasts que no debéis perderos: Hudson´s Podcast, Puede ser una charla más, Luces en el horizonte, La Catedral Atroz, La guarida del Sith, Crónicas de Nantucket, Más que cine de los 80, Fílmico, Tiempos de Videoclub, Sector Gaming , El Dátil de ET, La Casa del Acantilado, Kiosko Chispas, Just Live it, Filmotecast, La Pava y la Tetera En La Magia del Musical participan: ¡A la Velocidad Absurda!, Amity Island Podcast, Archivos Secretos Del Dr Orloff, Atalaya del Friki, Batseñales, Cafe con Podcast, Cafe de Rick, Cine Desencadenado, CineActual, Criterio Cero, Cronocine, Curioso, Destino Arrakis, Diario de Argifonte, Doble Sesión Podcast, El Acomodado, El Recuento Musical, El Rugido de mi Impala, El Secreto del Pentagrama, El sótano de Radio Belgrado, Estacion Caladan, Familia Asimétrica, FilmoteCast, Fuera de continuidad, Hablo de Cine, Just Live it, La Conversación, La Guarida del Sith, La Taberna del Irlandés, La Tardis Sobre Metropolis, La Viñeta en Disco Infierno, Maniatic Podcast, Mocking Pod, Nido de Haters Podcast, Par Impar, Perla Americana, Peskito y Medio, Pinkerton Podcast, Planeta Bob, Podcast Infinito, Policías Pelis, Psicología Plas, Puede Ser una Charla Mas, Puro Vicio, +QCine Podcast, Sagas, Sección 31, Tiempo de Culto, Torpedo Rojo, Travelcaster y Universo Enmascarado. En el apartado visual nos ha echado una mano Pike. En el apartado sonoro, las voces de las cuñas que hemos utilizado durante la promoción de la iniciativa son gracias a: Belén Ester (Filmotecast), Fercatodic (Café con Podcast), Juanan Galindo (Puro Vicio) y Nat (Cine Desencadenado). La Magia del Musical ha sido coordinada por Juan Ángel Romero (Familia Asimétrica) y Luis Millán (Just Live It).

insta : laboite2chocolat ou la_boitedechocolatPour ce 28 eme episode on part prendre des cours de danse et pas avec n'importe quel prof, en effet c'est notre bon Johnny Castle qui se charge de notre apprentissage grâce à ce film culte Dirty Dancing ! Alors ça raconte quoi ? Et bien c'est l'histoire d'une ado qui ne sait pas courir ni regarder une camera à savoir "Bébé", qui part dans un camp de vacances avec sa famille et qui va rencontrer un mec qui ne sait pas marcher MAIS qui à l'avantage de savoir danser comme un beau diable à savoir Johnny.Du coup, je te le donne en mille, elle va tomber amoureuse.Mais c'est galère, parce que notre Johnny il a une pote, Penny (alors elle c'est comme Johnny, coté danse c'est une dinguerie), qui va tomber enceinte et crois moi qu'à l'époque c'était pas la même compote qu'aujourd'hui, du coup Bébé va devoir remplacer Penny lors d'un concours de danse alors qu'elle ne sait absolument pas danser, mais heureusement pour elle, il y a son crush mi fragile mi bad boy de Johnny qui va lui apprendre à bouger en rythme.En gros c'est ça. Mais en plus kitch.Pour en discuter, on retrouve Thomas, Charlie, Jennifer et Mia.N'hésitez pas d'ailleurs à nous LAISSER DES COMMENTAIRES ET AUSSI DES BONNES ETOILES (déjà parce qu'on est des gens cool), et puis aussi suggérez nous des films, on les fera avec plaisir.VOUS ETES DE PLUS EN PLUS NOMBREUX, SOYEZ DE MOINS EN MOINS TIMIDE voici notre mail pour toutes suggestions / propositions de films : laboitedechocolatmail@gmail.com Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Ben and Rob conclude the Swayze Trilogy with ‘Point Break', Kathryn Bigelow's perfect blockbuster from the golden days of 1991. Starring Patrick Swayze, Keanu Reeves and Gary Busey, ‘Point Break' tells the tale of Johnny Utah and Bohdi as their dangerous cat and mouse relationship as cop and robber takes a radical turn. But why is Bohdi's past never discussed? How is he so physically capable and intellectually pretentious? Perhaps because he's lived a full life as first a dancer, and then a bouncer? Could it be that Bohdi is James Dalton who is in fact Johnny Castle!?CONSUUUME to find out all this and much MUCH more!PLUS! We have a Patreon with EXCLUSIVE content just for you starting at just ONE POUND a month - click the link below!Find us on your socials of choice or WATCH this episode at www.linktr.ee/everymovieeverpodcast

0:00 The Battle Begins. 0:10 Intro and Rules of the bought. 1:30 Set em up. 2:10 The Tale of the tape. 5:44 Round one: Nostalgia and Personal Opinion.  6:01 Bern Gets his 3 minutes.  9:10 Matty is on the clock with 3 minutes. 12:29 Round two: Awards and Acclaim.  13:26 Comparing Oscar Movies of 1987 to the best Movies of 1987. 15:01 Vincent Donofrio is a Chameleon.  15:48 Comparing Oscar Movies of 1989 to the best Movies of 1989. 17:20 Bring Back Matt Dillion he's Dallas Winston. 19:36 Round three: Wildcard. (Fun Facts and Recasting). 19:49 Fun Facts about the movie Road House. 20:52 Fun Facts about the Movie Dirty Dancing. 22:14 Origin of Hoagie Nose. 25:21 Recasting Road house the right way. 32:30 Recasting Dirty Dancing in incredible way. 39:29 Round four: Ask Gemini.  42:48 David Archy Robe Promo.  45:34 Bern's final thoughts. 45:49 Outro Daddy.   Nobody puts Baby in a corner... but can Dalton put up a fight against Johnny Castle?

durée : 00:19:00 - Le monde d'Elodie - par : Elodie SUIGO - Tous les jours, une personnalité s'invite dans le monde d'Élodie Suigo. Mardi 7 janvier 2025 : le danseur et comédien Michael O'Reilly. Il joue le rôle de Johnny Castle dans la comédie musicale "Dirty Dancing", au Dôme de Paris jusqu'au 26 janvier 2025.

Spending the summer at a Catskills resort with her family, Frances "Baby" Houseman falls in love with the camp's dance instructor, Johnny Castle.Support the Show.

Have the time of your life…all over again. The hits keep coming as Hot Dave's Summer Film Fest Vol. 4: Not THAT'S What I Call Dance Movies! is back with the sequel that everyone in 2004 was clamoring for: Dirty Dancing: Havana Nights. I'm your host, Dave, and joining me as we ditch this boring party and head over to La Rosa Negra for some hot, sweaty dancing are fellow cinephiles and dirty dancers Ryan, Janna, and Kara. Listen as we discuss Miramax's botched attempt at cashing in on the dance movie craze of the early 2000's; the character of Phelps gives Patrick Bateman a run for his money in the nicely groomed psycho department; and finally, the movie's end credits confirm that Patrick Swayze's character is definitely not Johnny Castle (except, he basically is). Be sure to rate, review and subscribe wherever you get your podcasts. You can also Follow Us on Twitter, Like Us on Facebook, or shoot us an email at apocalypsevideopod@gmail.com. What are your favorite dance films? Drop us a line and let us know. That'll do it for this episode, folks. The sun is setting in Cuba and we really need to get back stateside, because things are heating up in Tampa. When Hot Dave's Summer Film Fest Vol. 4: Not THAT'S What I Call Dance Movies! returns, we'll be back on the stage stripping down to our G-strings with Steven Soderbergh's Magic Mike. Be there!

“I got sucked into a riptide and I thought oh I'm dead and so I guess it could happen if you have the right ocean.” Antonio joins once more with our estrogen resurrection! The topic is female directors. Again! 0:00 -- Intro3:34 -- Aftersun33:30 -- Polite Society53:23 -- Barbie1:33:41 -- Contact information1:36:50 -- Awards and rankings2:26:52 -- Future business2:41:25 -- Outro, and outtakes Hey! Be sure to watch Savage Sam, The Monkey's Uncle, and Catalina Caper for next time! Hey! We have a Patreon (Ours, Ours, & Ours)! Hey! DON'T leave us a voicemail at (801) 896-####! Hey! Shop the Zazzle store! Hey!  Hear In Memoriam! Hey!  Hear Fantasy Murder Love Triangle! Hey! Hear J.R. Watches Star Trek for the first time! Hey! Catch Antonio on The Cultworthy podcast! Hey! Also catch Antonio on Back to the Balcony! Hey! Let's watch Jimmy Junior is Johnny Castle again! Hey! Siskel & Ebert review Malcolm X (and Dracula)! Hey! Subscribe in iTunes! Hey! Check out the Facebook page and vote on the next category! Hey! Check out Jon's YM&T Letterboxd list! Hey! Check out Roy's YM&T Letterboxd list! Hey! Email us at yoursminetheirspodcast@gmail.com! Send new topics! Send new theme songs!

“Well, prepare yourself Doctor, because she's about to dirty dance all summer long.” It was Roy's birthday recently so he now catches up and presents the world with his unseen picks.  0:00 -- Intro6:54 -- Now, Voyager29:20 -- Dirty Dancing57:12 -- Malcolm X1:25:01 -- Contact information1:29:28 -- Awards and rankings2:18:53 -- Future business2:26:47 -- Outro, and outtakes Hey! Be sure to watch Fatso, The Challenge, and The Tall Guy for next time! Hey! We have a Patreon (Ours, Ours, & Ours)! Hey! DON'T leave us a voicemail at (801) 896-####! Hey! Shop the Zazzle store! Hey!  Hear In Memoriam! Hey!  Hear Fantasy Murder Love Triangle! Hey! Hear J.R. Watches Star Trek for the first time! Hey! Sinbad speaks of Malcolm X (but mostly Dracula)! Hey! Tina driving! Hey! Let's watch Jimmy Junior is Johnny Castle again! Hey! Siskel & Ebert review Malcolm X (and Dracula)! Hey! Subscribe in iTunes! Hey! Check out the Facebook page and vote on the next category! Hey! Check out Jon's YM&T Letterboxd list! Hey! Check out Roy's YM&T Letterboxd list! Hey! Email us at yoursminetheirspodcast@gmail.com! Send new topics! Send new theme songs!

Get ready to uncover the dance magic behind The Library Aesthetic! In this episode, host Loren Dermody dives deep into a compelling conversation with visionary Josef Brown. Discover the inspiration fueling The Library Aesthetic's dance revolution, its Netflix-style subscription allure, and exclusive AcroDance insights! Tune in and let Josef Brown ignite your dance passion in this must-listen episode! About Josef Brown Josef's professional career began with the International Opera Company production of, Aida before he joined The Australian Ballet (Soloist), Modern Dans Topluluguu in Ankara, Turkey, Nomad Dance Theatre then Sydney Dance Company.He performed in the GFO Production of Man of La Mancha, was Charlie Redding in Officer and a Gentleman and developed and played the iconic role of Johnny Castle in the original stage adaptation of, Dirty Dancing - the classic story on stage, which he toured throughout Australia and New Zealand, opened on London's West End and throughout the United States as part of the pre-Broadway tour (1500+ shows over 4.5 years).Josef returned to Australia to take on the role of Patrick in the multi-Logie Award winning series, Dance Academy, Dale Canning on Home & Away, Auctus in Spartacus - Gods of the Arena, Daniel in Sam's Story before playing Matt Turner for over two years on the beloved Aussie drama, Neighbours.More recently Josef played Graham King on Ms Fisher's Modern Murder Mysteries, Dr. Mike on Home & Away and Bryce Anderson in the feature film, Buckley's Chance. Josef was Associate Producer, Writer and Camera on the ABC TV documentary, Art, During Siege, Producer/Writer on the webisode series, At the Fork, co-founded CINEMOVES - a forum for dance & movement on screen and was a sitting member of the NSW Minstry of the Arts, Dance Board. Josef was also a Writer on multiple episodes of NEIGHBOURS and has written numerous articles and interviews on dance for MDM Dancewear. https://thelibraryaesthetic.com/IG: @thelibraryaestheticFacebook: https://www.facebook.com/profile.php?id=100094376723332 If you'd like more amazing content more tips and ideas check out our Acrobatic Arts Channel on YouTube. Subscribe Now! Connect with Acrobatic Arts on your favourite social media platform: Instagram: https://www.instagram.com/acrobaticarts/ Facebook: https://www.facebook.com/Acroarts Twitter: https://twitter.com/acrobatic_arts/ Learn more and register for our programs at AcrobaticArts.com

Patrick Swayze was an American actor, dancer, and singer-songwriter who rose to fame with his roles in movies such as Dirty Dancing, Ghost, and Point Break. He was born on August 18, 1952 in Houston, Texas, to a choreographer mother and an engineer father. He started his career as a dancer and performed in Broadway shows such as Grease. He made his film debut in Skatetown U.S.A. in 1979 and gained recognition for his role in The Outsiders in 1983. He became a household name with his portrayal of Johnny Castle in Dirty Dancing in 1987, for which he received a Golden Globe nomination and co-wrote the hit song “She's Like the Wind”. He also earned a Golden Globe nomination for his role as Sam Wheat in Ghost in 1990, which was one of the highest-grossing films of all time. He continued to star in various genres of films, such as action, comedy, drama, and romance. He also returned to Broadway in 2003 to play Billy Flynn in Chicago. He was married to actress and dancer Lisa Niemi from 1975 until his death. He was diagnosed with pancreatic cancer in January 2008 and died on September 14, 2009 at the age of 57.  #love #art #podcaster #s #entrepreneur #covid #podcastshow #podcastersofinstagram #podcasters #podcast #itunes #applepodcasts #radioshow #comedy #bhfyp #motivation #interview #repost #radio #podcastlife #applepodcast #newpodcast #soundcloud #youtube #podcasting #hiphop #spotifypodcast #music #podcasts #spotify #AnneFrank #WW2 #follow#coronavirus#movies#business#instagram#beautiful#cute#fashion#likes#like#picoftheday#followme#followforfollowback#photo#instalike#myself#instadaily#happy#style#photography#nature#smile#likeforlikes#photooftheday#me#beauty#l#loveyourself#food#likesforlikes#travel#likeforlike#fitness#likeforfollow#followforfollow#sports#podcastsofinstagram#news#live#explorepage#podernfamily#media#artist#googlepodcasts#podcastaddict#truecrime#instagood#horror#rap#life#film#quarantine#entertainment#mentalhealth#inspiration#podcastlove#newepisode#podcasthost#funny#podcastinglife#selflove#believe#model#followback#followers#selfie#fun#lifestyle#makeup#photographer#happiness#quotes#india#amor#family#summer#friends#comment#girl#offensivememes#lol#memes#meme#tiktok#funnyvideos#edgymemes#dankmemes#comedian#dailymemes#jokes --- Send in a voice message: https://podcasters.spotify.com/pod/show/daniel-hudson9/message

Spending the summer at a Catskills resort with her family, Frances "Baby" Houseman falls in love with the camp's dance instructor, Johnny Castle.Alec talks being impressed watching people do things he can't. JJ dives into why he feels like this movie shouldn't be celebrated.Support us:https://www.patreon.com/whatsourverdictEmail us: hosts@whatsourverdict.comFollow us:Facebook: https://www.facebook.com/whatsourverdictTwitter: @whatsourverdictInstagram: @whatsourverdictYouTube: https://youtube.com/channel/UC-K_E-ofs3b85BnoU4R6liAVisit us:www.whatsourverdict.co

Get ready to dance the night away in this special episode of Theater Therapy, as your co-hosts, Aly and Ems, take you on a nostalgic journey into the world of one of their all-time favorite movies: "Dirty Dancing"! They dive deep into this iconic film, sharing fun facts, memorable movie quotes, and the enchanting story of how they became hyper-fixated on this timeless classic. From the sultry moves of Johnny Castle to the unforgettable music of the soundtrack, Aly and Ems leave no corner of "Dirty Dancing" unexplored. They'll uncover fascinating behind-the-scenes tidbits, the cultural impact of the film, and the reasons why it still holds a special place in their hearts. Listeners can expect passionate discussions, laughter, and heartfelt anecdotes as Aly and Ems reveal their personal connections to the movie. They'll share how they first encountered "Dirty Dancing" and why it has since become more than just a film—it's a part of their cinematic DNA. But it doesn't stop there. Aly and Ems will bring the magic of "Dirty Dancing" to life by sharing their favorite quotes, reenacting memorable scenes, and discussing the film's enduring appeal. Whether you're a die-hard fan of the movie or new to the world of Johnny and Baby, this episode promises to be a delightful journey into the world of dance, romance, and coming-of-age. So, grab your dancing shoes, put on your best '80s outfit, and join Aly and Ems for a cinematic celebration like no other. By the end of this episode, you'll be itching to rewatch "Dirty Dancing" and will understand why this film has had such a profound impact on their lives. Tune in now for a dose of pure cinematic nostalgia and passion! We'd love for you to subscribe and follow us on; Instagram: @theater.therapy TikTok: @ TheaterTherapy Spotify/Apple Podcast: Theater Therapy

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

Join host Adelia (aka Deelz) on this episode of That's OFfensive. In this revealing episode, we invite male star Johnny Castle to share his personal experiences, debunks common stereotypes and sheds light on the realities of the industry. -KEEP UP WITH US AT:https://www.thatsoffensive.co/ADD US ON:INSTAGRAM: https://www.instagram.com/thatsoffens...TIK TOK: https://www.tiktok.com/@thatsoffensiv...TWITTER: https://twitter.com/OFfensivepod_FOLLOW DEELZ: WEBSITE: https://www.itsdeelz.comFOLLOW SPENCER: INSTAGRAM: https://www.instagram.com/spencermich...FOLLOW JOHNNY:https://www.instagram.com/therealjohn...

Concluding this year's Summer of Blockbusters we watched the 1987 dance classic Dirty Dancing. Written by Eleanor Bergstein and directed by Emile Ardolino. The film stars Patrick Swayze and Jennifer Grey, and tells the story of Frances "Baby" Houseman, a young woman who falls in love with dance instructor Johnny Castle at a vacation resort. Come join us!!! Website : http://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next in his regular Connect Radio theatre reviews. This week Vidar was reviewing Dirty Dancing - The Classic Story On Stage as the UK and Ireland touring production visited the Alexandra Theatre in Birmingham on Saturday 22 July at 2.30pm with description by professional Audio Describer Anne Hornsby.  The Story It's the summer of 1963, and 17 year-old Frances ‘Baby' Houseman is about to learn some major lessons in life as well as a thing or two about dancing. On holiday in New York's Catskill Mountains with her older sister and parents, she shows little interest in the resort activities, and instead discovers her own entertainment when she stumbles across an all-night dance party at the staff quarters. Mesmerised by the raunchy dance moves and the pounding rhythms, Baby can't wait to be part of the scene, especially when she catches sight of Johnny Castle the resort dance instructor. Her life is about to change forever as she is thrown in at the deep end as Johnny's leading lady both on-stage and off, and two fiercely independent young spirits from different worlds come together in what will be the most challenging and triumphant summer of their lives. The Music Dirty Dancing – The Classic Story On Stage features hit songs including ‘Hungry Eyes', ‘Hey! Baby', ‘Do You Love Me?' and the heart-stopping ‘(I've Had) The Time Of My Life'. Many favourite original masters feature within this stage sensation which blends the movie soundtrack seamlessly with live performances by our cast. Some of these classic tracks include ‘Cry To Me' by the larger-than-life rhythm & blues singer Solomon Burke, the No.1 hit single ‘Hey! Baby' by Bruce Channel and ‘These Arms of Mine', Otis Redding's first solo record. Other artists featured include Gene Chandler, The Chantels, The Drifters, Marvin Gaye, Lesley Gore, Mickey & Sylvia, The Surfaris and Django Reinhardt. The History Dirty Dancing – The Classic Story On Stage originally opened at London's Aldwych Theatre in 2006 with a record-breaking advance of £15 million, making it the fastest ever selling show in West End theatre history. The production became the longest running show in the history of the Aldwych Theatre and played to over 2 million people during its triumphant 5 year run. Since its Australian debut in 2004, Dirty Dancing – The Classic Story On Stage has become a worldwide phenomenon, with productions staged in the USA, Canada, Germany, the Netherlands, Sweden, South Africa, Hong Kong, Singapore and throughout Europe, consistently breaking box office records. Recent sell out tours include France, Germany and Australia. The first ever UK tour of Dirty Dancing – The Classic Story On Stage launched in 2011 and then returned to the West End in 2013 playing at the Piccadilly Theatre in London, prior to launching a second UK and Ireland tour. A further tour and West End Christmas season followed in 2016/17. It went on to embark on a 2018/19 tour, entertaining audiences up and down the country. More details about the current UK and Ireland tour of Dirty Dancing - The Classic Story on Stage along with performance venues, dates and times can be found on the following website - https://dirtydancingonstage.co.uk/uk-and-ireland/tour-dates/ Image: RNIB Connect Radio Bright Green 20th Anniversary Logo

We interrupt our regular programming to share a discussion on the BUTT OUT, BABY podcast with yr grls of Whoa!mance--on the introductory scene of no less a Prince of the City than JOHNNY CASTLE from Dirty Dancing. We had SO MUCH FUN. Just in time for summer. Per Ellie of BOB: Baby gets her first glimpse into the class structure at Kellerman's ft. Morgan & Isabeau of Whoa!mance + Johnny being attractive and gracefully insolent + The female gaze + The strange all-inclusive guest experience of Kellerman's + How bad boy romance leads are introduced and whether Dirty Dancing qualifies as a romance at all! Whoa!mance: a weekly podcast about Romance Novels and Ourselves Butt Out, Baby! is a scene-by-scene study of Dirty Dancing: A film that gets a lot of love — but not enough respect. Follow on the podcaster of your choice and at IG @buttoutbabypod

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

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

NOBODY PUTS THIS MOVIE IN THE CORNER! Dirty Dancing has become one of those dancing movies that is more than just a dancing movie. Dirty Dancing impacted a generation to have the time of their life. But where did Dirty Dancing come from? Who was almost Johnny Castle? And did everyone have the time of their life doing this movie? Yes…and No. You'll find out on this episode that lasted a lifetime!Part 1: MY RETURNPart 2: IntroPart 3: Eleanor BergsteinPart 4: Back in 2008…Part 5: The work ethic of Patrick SwayzePart 6: Trouble on setPart 7: Who was almost Johnny Castle?Part 8: The lack of faith in Dirty DancingPart 9: The final dance number…emphasis on finalPart 10: After Dirty DancingPart 11: The sequels. Remakes,  and…TV series?Part 12: The Time Of Our LifePart 13: Shoutout!Part 14: The Next episode!I hope everyone has a happy Valentine's day and that you celebrate loving someone or loving yourself! My insta! - @thequeenofthescreen (Hit me up for any movie recommendations you want to hear on the show!)Tiktok - themysticalspacewitch Profile picture - Cover art by Emily Whitacre (https://teenytinycoffeebean.carrd.co/)Opening Theme - Night Rider - jiglr https://soundcloud.com/jiglrmusic Creative Commons — Attribution 3.0 Unported — CC BY 3.0 Free Download / Stream: https://bit.ly/3CmBsaH Music promoted by Audio Library https://youtu.be/u-YQBe7ZfIESupport the showMy Inglorious Ink series! - https://www.amazon.com/stores/Samantha-Parrish/author/B0BNQ2D7D1?ref=ap_rdr&store_ref=ap_rdr&isDramIntegrated=true&shoppingPortalEnabled=trueI'm on Goodreads! - https://www.goodreads.com/author/show/20042112.Samantha_ParrishHow To Support The Show! - https://ko-fi.com/queenofthescreen#linkModalArticles I've written - https://vocal.media/authors/samantha-parrishMy Linktree https://linktr.ee/themysticalspacewitch

Diana accidentally saved Dirty Dancing (1987) for her final pick and could not do it without Polina and Ryan. Polina and Diana know this movie in their bones and Ryan got to watch it for the first time for the podcast. This was the right movie for the last episode. Polina mentioned the episode of the podcast You Must Remember This about Dirty Dancing and Fatal Attraction. Polina is on Twitter @anilop and Ryan is @RyanSkonnord. The feed will be pretty quiet, but you can still reach out on Twitter and Instagram @HEAMCast, Facebook @HappilyEverAftermath. Your best bet is by e-mail at heamcast@gmail.com. Spending the summer at a Catskills resort with her family, Frances "Baby" Houseman falls in love with the camp's dance instructor, Johnny Castle. Stars Jennifer Grey, Patrick Swayze, Jerry Orbach, Cynthia Rhodes, Jack Weston, Jane Brucker, Kelly Bishop, Lonny Price, Max Cantor, Charles 'Honi' Coles, Neal Jones, and Wayne Knight. (from IMDb.com) Find other amazing podcasts by searching #ladypodsquad on Twitter, Instagram, Facebook, and all the social media platforms.

Episode Eighty-Two. The guys had the time of their lives... checking out Dirty Dancing (1987) for the first time ever with special guest, Caesar Evangelista. For this week's Double Feature, the guys put on their casting hats and reveal who they would cast as Johnny Castle and Baby Houseman in 2022. They also debate if a potential 2024 Dirty Dancing project should be a remake or a true sequel to the 1987 classic. After a quick break, the guys hand out their Weekly Reel Awards and Guess the Rotten Tomatoes Score.What is your favorite dancing movie? Email us your comments/feedback at weeklyreelpod@gmail.com. Follow The Weekly Reel Podcast on Instagram (@weeklyreel) and TikTok (@weeklyreelpod).Guest: Caesar Evangelista (@caesarevangelista)Co-host: Ken Arceo (@free_ken_a)Co-host: Jeremy Pulumbarit (@jp_flicks) / Watch The End of Yesterday (Short Film) on YouTubeSocial Media: Andrea Pilapil (@andreajpilapil) / Linktree / PatreonMusic: Cameron Penaflorida (@bamsaidcam)

Dirty Dancing… a 1987 romantic drama dance film.  The setting is 1963. It's the story of ‘Baby' Frances Houseman played by Jennifer Grey… a young woman on her way to a vacation resort with her parents Jack and Marjorie Houseman… Jerry Orbach and Kelly Bishop.  While at this resort Baby is immediately awestruck by Johnny Castle, the resident dance instructor and all around hunk played by Patrick Swayze. Dirty Dancing is the timeless story of Baby and Johnny Castle, two people from different worlds, different lives, who collide in one fantastic romance at this vacation resort.  Dirty Dancing is one of the all-time great films, it was one of the highest grossing films of the year, it was the number one video rental in 1988. It was the first FILM to sell more than a million copies on video. I've Had the Time of My Life won an Academy Award, a Golden Globe Award and a Grammy Award.See omnystudio.com/listener for privacy information.

Once upon a time there was a corner. In that corner was Johnny Castle. Why was Johnny in that corner? Because nobody puts Baby Houseman there! That's right, we're dancing all dirty-like as we grab Patrick Swayze and Abigail Breslin and spin them around the floor like we just buffered it clean. While 'Dirty Dancing' may be a classic piece of nostalgia, the made for TV film may just be a piece of something else. Turn up that amazing soundtrack and pull out your authentic, autographed Jennifer Grey cardboard standup and let's dance like there's no tomorrow. This show may just be the reason that you've had the time of your life.... or it may be why you'll never look at Fred Armisen and Eleanor Bergstein the same way again. Join us and the other listeners at our Discord here! You can follow us at our home on Facebook, Twitter and Instagram. If you'd like to join the guys in chatting about new remakes coming out, recipes for smoking meat, video games or even just cute pictures of kittens, click the Discord logo!

We had the time of our lives - and we owe it all to you.  Join your favourite TransAtlantic podcasting crew: Ian, Liam, Ethan, and Georgia as we're heading to Kellerman's for summer camp in Dirty Dancing, a film with magical powers over women (and some men) for its 35th anniversary. We're hoping to avoid chickening out of the big lift in our 136th anniversary as we discuss: Who almost played Johnny Castle but screen tested terribly against Jennifer Grey Why we think Jennifer Grey didn't have the career of Sarah Jessica Parker How much does this film line up with Marvelous Mrs Maisel (season 2) and why might that actually not be an accident Is there a religious subplot in this film that no-one talks about regarding Baby's father's disapproval of Johnny Castle How good a job does this film do using the theatre of the mind to shock us in the abortion subplot Is this the best Patrick Swayze film ever? What other film do we know Baby's father from on the pod?  How about the social convener? We need your help to settle a 3 way disagreement on the film? Whether or not Dirty Dancing is the Best Film Ever Become a Patron of this podcast and support the BFE at https://www.patreon.com/BFE We are extremely thankful to our following Patrons for their most generous support: Rev Bruce Juleen from It Goes Down In The PM Lina Oberholzer Ensign Ian Davies Chris Pedersen  Katie McRae Duane Smith (Duane Smith!) Randal Silva The Yeetmeister Nate The Great Cheezy (with a fish on a bike) Andy Dickson Holly Callen Buy some BFE merch at https://my-store-b4e4d4.creator-spring.com/ Massive thanks to Lex Van Den Berghe for the use of 'Mistake' by Luckydog.  Catch more from Lex's new band, The Maids of Honor at https://soundcloud.com/themaidsofhonor Also massive thanks to Moonlight Social for our age game theme song.  You can catch more from them at https://www.moonlightsocialmusic.com/ Timestamps for this episode: 0:00 - Opening Banter 8:00 - Reflections & Corrections 21:05 - Shoutouts 35:30 - Deep Dive 2:35:45 - Endgame

Nobody puts Brian in a corner so we're talking some more Dirty Dancing in this second part of a 2 part episode. The Foodie Films man Kyle Reinfriend is back to finish his conversation and give out hardware to the iconic movie on its 35th Anniversary. After Kyle, dance expert and Dirty Dancing superfan Rachel Shepherd joins us to discuss her (and her moms) love of the film. Both Kyle and Rachel answer that burning question everyone has been asking, is Johnny Castle a himbo?

"I'm scared of everything. I'm scared of what I saw, I'm scared of what I did, of who I am, and most of all I'm scared of walking out of this room and never feeling the rest of my whole life the way I feel when I'm with you.”DIRTY DANCING turns 35 this year, so we're having difficult conversations about Johnny Castle and Frances "Baby" Houseman's relationship, dissecting what makes Swayze such a hunky leading man, and praising the groundbreaking abortion subplot that was decades ahead of its time. As an added bonus, Momma Colangelo makes a little cameo appearance!--------Become a Patron! www.patreon.com/thisendsatprom---------Find the Show on Twitter & Instagram: @ThisEndsAtPromBJ Colangelo —Twitter & Instagram: @BJColangeloHarmony Colangelo — Twitter & Instagram: @Veloci_trap_tor----------Logo Design: Haley Doodles @HaleyDoodleDoTheme Song: The Sonder Bombs 'Title': https://thesonderbombs.bandcamp.com/

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

Welcome, one and all, to the Second Annual Hot Dave's Summer Film Fest - Live from Funderdome. Unlike last year's botched impromptu promotion, this time we're pulling out ALL THE STOPS, bringing you the best (and worst) that Hollywood has to offer. Now…strap yourselves in, get your tissues ready, and prepare to sweat like it's summer in the catskills – it's the SWAYZEASAURUS REX in…Dirty Dancing! I'm your host, Dave, and joining me as we totally whiff the lift are fellow cinephiles and Swayze-stans Mike, Jackie, Ryan, and Special Guest - Kara. Listen as we discuss the film that awoke the sexual desires of an entire generation; we raise an eyebrow at Kellerman's Mountain Resort and its practice of pairing off the staff with its young female guests; and finally, we bask in the sweaty glory that is Johnny Castle (aka Patrick Swayzeasaurus). Be sure to rate, review and subscribe wherever you get your podcasts. You can also Follow Us on Twitter, Like Us on Facebook, or shoot us an email at apocalypsevideopod@gmail.com. Got a movie you'd like us to watch? Hit us up and we'll talk about it on the show! The Second Annual Hot Dave's Summer Film Fest will return with…Speed. Be there!!!

Lori's awestruck to welcome New York Times bestselling author Jill Smokler to join her in having the time of their lives as they chat all about the forbidden passion and heartbeat of 1987's feel-good classic, Dirty Dancing starring Jennifer Grey and Patrick Swayze.  From Jill's preteen quest to see the film against her mother's wishes to Johnny Castle's woo-ability to build houses and forage a meal from the woods, the gals ask the hard questions, hate on horrible sister Lisa, swoon appropriately, and celebrate Baby's sexy coming-of-age through dance.  Get to know Jill Smokler: Jill is a New York Times bestselling author and former Scary Mommy. Her honest take on parenting has appeared in countless publications and on television programs including The Today Show, Good Morning America, Nightline, Bethenny and Fox and Friends. In 2017, Forbes magazine named Jill a top ten parenting influencer. Jill is also host of the podcast, She's Got Issues where she's taking us along on her journey of finding peace in the past, power in the present, and passion in her future. jillsmokler.com She's Got Issues podcast Jill Smokler on Facebook @jillsmokler on Instagram -- Dirty Dancing screen test Patrick Swayze with Jennifer Grey HD Kellerman's Mountain House Dirty Dancing themed weekends Dirty Dancing Festival K.I.T. www.theuntitledgenxpodcast.com Support the pod on Patreon! Instagram.com/theuntitledgenxpodcast Facebook.com/theuntitledgenxpodcast untitledgenxpodcast@gmail.com 

Semester i "Catskills" och "Baby" Houseman blir kär i Johnny Castle... För han kan dansa. En värld där någon gör abort och någon annan lär sig att de inte bara kan placera sin dotter i ett hörn gör att vi ställer oss frågan, håller den? Manus: Eleanor Bergstein Regi: Emile Ardolino I Rollerna: Patrick Swayze, Jennifer Grey, Wayne Knight m.fl. I Studion: Martin Soneby, Erik Broström, My Gudmundsdotter

The couples follow Patrick Swayze's varied roles from heartthrob Johnny Castle to the no-nonsense Dalton. (This episode contains spoilers)For more shenanigans, follow us on Instagram @couplescutpodcast or TikTok @couplescutpodcast, Twitter @couplescutpod or send us an e-mail at CouplesCutPodcast@gmail.com

Catrin Lowe and Rich Nelson from Don‘t You Want Me? podcast join Flixwatcher remotely to review Catrin's choice Dirty Dancing. Dirty Dancing is a 1987 romantic drama written by Eleanor Bergstein and directed by Emile Ardolino and stars Patrick Swayze as dance instructor Johnny Castle and Jennifer Grey as Baby. Set in the summer of 1963, Baby and her family are on vacation at Kellerman's - an American version of Butlins - in the Catskills. After Baby intervenes to help Johnny's dance partner Penny with an abortion she steps in to dance with Johnny and goes on a journey of self-discovery. Marketed as a ‘chick flick' - dancing, pink font, the mega-hit ‘(I've Had) The Time of My Life' by Bill Medley and Jennifer Warnes, peak Patrick Swayze - Dirty Dancing has much more depth and nuances than a lot of people give it credit for. For a mainstream film to include botched abortions as a major plot point in the 1980s was a brave move.   [supsystic-tables id=244] Scores for recommendability for 14 Peaks were high from guests and Flixwatcher. As with documentaries the repeat viewing score was much slower giving a very respectable overall score of 4.10. 14 Peaks: Nothing Is Impossible premieres on Netflix UK on Monday 29 November. What do you guys think? Have you seen Dirty Dancing? What did you think? Please let us know in the comments below! Episode #232 Crew Links Thanks to Episode #232 Crew of Rich Nelson (@BetamaxPod) and Catrin Lowe (@KittyCostanza) from Don't You Want Me podcast Find their Websites online at https://twitter.com/BetamaxPod And at https://twitter.com/paperworkt‎‎   Please make sure you give them some love More about Dirty Dancing For more info on Dirty Dancing, you can visit  Dirty Dancing IMDb page here or Dirty Dancing Rotten Tomatoes page here.   Final Plug! Subscribe, Share and Review us on iTunes   If you enjoyed this episode of Flixwatcher Podcast you probably know other people who will like it too! Please share it with your friends and family, review us, and join us across ALL of the Social Media links below.

Dirty Dancing Spending the summer at a Catskills resort with her family, Frances "Baby" Houseman falls in love with the camp's dance instructor, Johnny Castle. Studio Guest - Rob Felicetti (Bowling For Soup) 5 Questions w/ John Gickler, Wendy Madda, Chris Cranfill & Josh Millman     Listen to the Outtakes on Patreon! Website | Facebook  | Instagram | Patreon | YouTube | Twitch 

As humans, we crave togetherness with others. But the key to the happiest relationships (as well as peace within oneself) is learning how to hold healthy boundaries and differentiate between what is our responsibility and what is the responsibility of others. Come hear what Dr. Murray Bowen and Johnny Castle from Dirty Dancing can teach us about this liberating skill. 
 
The Rev. Joanna Fontaine Crawford is a lifelong Unitarian Universalist and a student and teacher of Bowen Family Systems Theory. She has served Live Oak UU Church in Austin, TX since 2014, following ministry at the First UU Church of Houston, and the Church of the Larger Fellowship. Her parents lived in Edgewood, NM, for many years, and she dearly misses visits there to load up on roasted green chiles and biscochitos, and to answer "Christmas!" when ordering dinner.

As humans, we crave togetherness with others. But the key to the happiest relationships (as well as peace within oneself) is learning how to hold healthy boundaries and differentiate between what is our responsibility, and what is the responsibility of others. Come hear what Dr. Murray Bowen, and Johnny Castle from Dirty ... read more.

On the surface, a fan-favourite coming-of-age movie told through the eyes of young, innocent, naïve Baby Houseman as she has the time of her life meeting sexy, "bad boy" dance instructor Johnny Castle on her family holiday to the Catskill Mountains in the summer of 1963. She learns to dance, he learns to love. It's all very romantic. It's a feeling, a heartbeat. But, underneath it's more than that. Class divides, prejudice, discrimination, illegal abortion, sex - all the things that flew over my head when I first saw it aged 11-12. Dirty Dancing took big risks to come to the big screen, and it's those risks that make it an endearing classic, adored by millions, over 30 years later. Joining me in my kinda dancing, is a brilliant partner. Mark Asquith only saw this movie for the first time last year - and loved it! He brings a unique perspective to the chat, and bizarrely, some watermelons.... Massive thanks to Mark for taking the time to guest on this podcast and make sure you check out his work! He's the CEO of https://rebelbasemedia.io/ (Rebel Base Media), and I can attest that Captivate is a brilliant podcast host, so if you're looking for a new podcast host, you can https://www.captivate.fm/signup?ref=emmcgowan (sign up to Captivate). He also hosts Star Wars podcast https://www.sparkofrebellion.com/ (Spark of Rebellion), as well as https://www.markasquith.com/podcast-accelerator/episodes/ (The Podcast Accelerator); a great show with loads of helpful hints and tips on podcasting. There's no spaghetti arms on this chap.... I would love to hear your thoughts on Dirty Dancing! GET IN TOUCH.... Twitter https://twitter.com/VerbalDiorama (@verbaldiorama) Instagram https://www.instagram.com/verbaldiorama (@verbaldiorama) Facebook https://www.facebook.com/verbaldiorama (@verbaldiorama) Letterboxd https://letterboxd.com/verbaldiorama/ (@verbaldiorama) Email verbaldiorama [at] gmail [dot] com BRAND NEW Website https://verbaldiorama.com/ (verbaldiorama.com) SUPPORT VERBAL DIORAMA.... Leave a 5-star rating/review: https://podcasts.apple.com/gb/podcast/verbal-diorama/id1453296967?mt=2 (Apple Podcasts) or https://www.podchaser.com/podcasts/verbal-diorama-803268 (Podchaser)  Join the Patreon: https://www.patreon.com/verbaldiorama (patreon.com/verbaldiorama) Thank you to all the patrons Simon E, Sade, Jardiel, Claudia, Simon B, Laurel, Derek, Jason, Kristin, Cat, Andy, Mike, Griff, Luke, Emily, Michael, Matt, Trevor, Scott, Mark and Brendan! Buy Merch! https://teespring.com/stores/verbaldiorama (https://teespring.com/stores/verbaldiorama) Tees, mugs, hoodies and totes are available! Theme Music: Verbal Diorama Theme Song Music by Chloe Enticott - https://www.facebook.com/Compositionsbychloe/ (Compositions by Chloe Facebook) Lyrics by Chloe Enticott (and me!) Production by Ellis Powell-Bevan of Ewenique Studios. Support this podcast

Spending the summer at a Catskills resort with her family, Frances "Baby" Houseman falls in love with the camp's dance instructor, Johnny Castle. --- Send in a voice message: https://anchor.fm/kelly-kassia/message

Bob Walton (Santiago Iglesias) tries to avoid podcasting via some spring cleaning but Shelley Stoker (Sam Rager) makes them push through to hear the eulogies of Spider-Man, Myrcella Baratheon, and Johnny Castle.Myq has appeared on the Tonight Show, Conan, Letterman, James Corden, Seth Meyers, Comedy Central, Last Comic Standing, and America's Got Talent. He has a one-hour standup special on Amazon, “Small, Dork, and Handsome,” and two podcasts, "The Faucet" and "Broccoli and Ice Cream." His first album, “Vegan Mind Meld,” was one of iTunes' top 10 comedy albums of the year, and his newest album, “A.K.A.,” debuted at #1. The NY Times called it “invigoratingly funny” and included it among its five “coronavirus best new comedy specials”... “to remind you of the old normal.” And now, here we are in the new weird!Twitter: @MyqKaplanInsta: @MyqKaplanShelly Smith eulogized Myrcella Baratheon. Shelly is an accomplished stand-up comedian, improviser, part-time farmer, and criminal justice reform advocate. Shelly has performed across the Midwest and hosts the podcast "Reads & Weeds."Twitter: @ReadsandWeedsInsta: @sillylittle178Lauren Bickers eulogized Johnny Castle. Lauren is the director of the Planet Ant Home Team. She is an instructor with The Planet Ant Training Center as well as The Detroit Creativity Project. Lauren has won multiple Wilde Awards and has appeared on Comedy Central's Detroiters. Insta: @BickersLauren

Ren McCormack knew the salvation of his town relied on a dance. Johnny Castle wasn't about to let anyone put baby in a corner. Films have a long standing romance with dance, whether it's Gene Kelly splashing in puddles or Kid 'n Play tearing it up at a house party. Cinematic dance scenes have spanned every decade and, as always, the 80s did it best. Today, in Part 1 we are going to rank our top 25 through 11, 80s movie dance scenes. I'm Mo Shapiro and with me as always, the Willard to my Ren, Max Sanders. And with that....I THOUGHT THIS WAS A PARTY, LET'S DANCE!!!

Nobody puts Baby in a corner! Strap on your dancing shoes and let's all learn the Merengue with Baby and Johnny Castle...it's Dirty Dancing!Then it's Back...to the Future! Hop in the DeLorean and hit 88 MPH as we all go back in time to 1985 with Marty, Doc, Biff, George and Lorraine. Great scott! Come visit us on:Our InstagramOur WebsiteOur FacebookTo support this podcast:Become a Patron at PatreonMusic : Hackers by Karl Casey @ White Bat AudioSupport the show (https://www.patreon.com/wedontwannagrowup)

Rob Lowe. Jodie Foster. Beau Bridges. Tiny baby Seth Green. With a cast like that it had to be a hit, right? Not quite. Apparently, the American public didn't embrace Susie the Bear and Sorrow the taxidermied dog in this film adaptation of John Irving's novel. Tune in to find out what our resident movie critic Carolyn Paine thinks of this movie that Rob Lowe thought would be "his Dirty Dancing" (shut your mouth, Rob Lowe... there's only one Swayze and only one Johnny Castle). Be prepared for bears...lots of them. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/midlit/support

In our final episode of Season 1, we're talking about 1987's Dirty Dancing! When Baby Houseman and her family visit a Catskills resort, she discovers a new way of dancing (and it's dirty)! She learns all the moves from a fully grown man named Johnny Castle. They dance together on stage, and then into each other's hearts. And then into each other's pants. Join us as we discuss the music, the quotable lines, the fashion, and find out Johnny Castle's actual age in this week's episode. We've had the time of our lives. Thanks so much for listening to So 5 Minutes Ago!

What are Heather and Jameson doing here? They carried a watermelon. This week our favorite Gen Xers are joined by Dirty Dancing experts Julie and Lauren and take on all the summer romance adventures of Baby and Johnny Castle. From Kellerman's to Cuba and back to Kellerman's yet again, they break down the 1987 and 2017 Dirty Dancing films and the sequely-prequel Havana Nights (2004), where everyone is just, well, sweaty.

This weeks is Dave's pick and he wanted to throw Chris under the bus but he couldn't overlook a personal favourite from the 80's. 'Nobody puts Baby in the corner' Dirty Dancing (1987) If you enjoy the show we have a Patreon, become a supporter. www.patreon.com/thevhsstrikesback Plot Summary: In 1963, Frances "Baby" Houseman, a sweet daddy's girl, goes with her family to a resort in upstate New York's Catskill Mountains. Baby has grown up in privileged surroundings and all expect her to go on to college, join the Peace Corps and save the world before marrying a doctor, just like her father. Unexpectedly, Baby becomes infatuated with the camp's dance instructor, Johnny Castle, a man whose background is vastly different from her own. Baby lies to her father to get money to pay for an illegal abortion for Johnny's dance partner. She then fills in as Johnny's dance partner and it is as he is teaching her the dance routine that they fall in love. It all comes apart when Johnny's friend falls seriously ill after her abortion and Baby gets her father, who saves the girl's life. He then learns what Baby has been up to, who with and worse, that he funded the illegal abortion. He bans his daughter from any further association with "those people". In the first deliberately willful action of her life, Baby later sneaks out to see Johnny, ostensibly to apologize for her father's rudeness, and ends up consummating her relationship with Johnny. A jealous fellow vacationer sees Baby sneaking out of Johnny's bungalow the next morning, and in an act of retribution, tells management that he is responsible for a theft the evening before, knowing he would not furnish his real whereabouts. If you want Chris and Dave to review anything from the VHS era then contact us on: www.twitter.com/vhsstrikesback thevhsstrikesback@gmail.com --- Support this podcast: https://anchor.fm/thevhsstrikesback/support

Just got off the phone with Franke Previte who wrote "I've Had the Time of My Life"... a song that was born on a highway in New Jersey! Franke is a great guy with a heart like Johnny Castle. His latest song "One World" will bring healing to many. Thank you, Franke. Saturday September 12 Franke will zoom into the drive in movie screening of Dirty Dancing and answer your questions at Putnam Golf Course in Mahopac, NY Get tickets at www.putnamcountygc.com

Patrick Swaze would have been 68 yesterday. In 1987, he played Johnny Castle in what legendary film? See omnystudio.com/policies/listener for privacy information.

Because nobody puts Baby in a corner.A "Dirty Dancing" sequel is indeed happening, courtesy of Lionsgate, Deadline reports.Studio CEO Jon Feltheimer confirmed the news on an earnings call Thursday, referring to it as "one of the worst kept secrets in Hollywood," according to the publication."It will be exactly the kind of romantic, nostalgic movie that the franchise's fans have been waiting for and that have made it the biggest-selling library title in the company's history," he reportedly said.The 1987 film starred Patrick Swayze and Jennifer Grey as dance instructor Johnny Castle and vacationer Frances "Baby" Houseman who find love (and a now-iconic dance routine) at a holiday resort.Grey is reportedly set to star in the sequel as well as executive produce it. Swayze died at age 57 in 2009 of pancreatic cancer.The original film sparked other projects including two "Dirty Dancing" TV series, a TV movie, a musical and the 2004 film "Dirty Dancing: Havana Nights."

Continue following Patrick Swayze's cinematic journey this week on AMP. Watch along as the new bouncer at the double deuce bar cleans up the establishment in Road House (1989). Finally, have the time of your life with Baby and Johnny Castle in Dirty Dancing (1987), the Apex Pick.For more Apex Mountain and exclusive content, join our Patreon group at: https://www.patreon.com/apexmountain If you like what you hear, leave us a rating and review in iTunes.Support the show (https://www.patreon.com/apexmountain)

It's the Summer of Swayze! We kick off several weeks of Swayze content with perhaps his most iconic role. Johnny Castle is dancing for the man at an upscale resort in the Catskills. Frances "Baby" Houseman is visiting said resort with her wealthy parents. Pelvic grinding, trauma, and class warfare combine to create a gripping tale of the dirtiest of dancing. Hulu link If you're enjoying Panning the Stream, consider supporting the podcast on Patreon! We keep it simple with one $5 tier that gets you an ad-free version of the podcast each week, access to our patron-only Discord server, and you'll get each episode a day early. Thanks for showing your support and helping us keep the podcast running every week! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app · Manscaped: Manscaped specializes in male grooming tools and kits to help make grooming easy and more accessible for men. https://www.manscaped.com/

Popular Opposites #001Dirty DancingOn the all-new Popular Opposites, Taryn and Shannon discuss whether or not Taryn is right about liking Dirty Dancing! Welcome to Popular Opposites, an all-new podcast that tries to figure out if it's possible for best friends to stay best friends, even if they like different types of pop culture! The answer is probably no, but let's see anyway! On the very first episode, Taryn forces Shannon to watch Dirty Dancing, which is a movie that has romance and dancing, instead of the things that Shannon likes, like dragons and aliens.Once they dive into the movie, your podcast hosts try to figure out if Dirty Dancing is actually even better than they remembered. Is Baby's arch-rival Penny actually that bad? Is Baby's sister Lisa the true star of the movie? And does Jerry Orbach seem like a good dad or a bad dad, despite trying to keep some or all of his daughters in a corner?Subscribe, rate, and review the next big deal in podcasting, where week in and week out Shannon and Taryn battle it out and figure out a way to discuss the most important pop culture of all time, despite being Popular Opposites!!!Also, don’t forget to:Visit Us!Shop With Us On Amazon!Like Us!Follow Us!Write To Us! — contact@yourpopfilter.comListen to more of Ryan on Movie of the Year

This week Matt and Mark embark on a voyage of teenage girl wish fulfillment and for our listeners, do not come up empty handed. To be as dismissive of this film as Ebert is would be to do it injustice. Just like elves and trolls are to adolescent boys, Johnny Castle is to adolescent girls. So what if the archetype is implausible? Doesn't matter. Whether it be a teenage vampire, an s&m billionaire, or a dance virtuoso at a blue blood Catskills resort, all that matters is they see Baby in the corner and lament whoever it is that put her there.Download: 152 Dirty Dancing

Otto und Sabrina reden mit Alexandra Valent, im dritten und letzten Teil der Miniserie übers Erwachsenwerden im Film, über das Tanz Magnum Opus der Achtziger bzw. - für einige - aller Zeiten: Dirty Dancing. Fragen die schon oft hinter hervorgehaltener Melone gestellt wurden, werden hier beantwort: Wie viele Regieassistenten braucht man um einen Wald umzufärben? Wie viele Hits braucht man um eine Filmproduktionsfirma in den Ruin zu treiben? Wie viele Jennifer Greys braucht man um einen Patrick Swayze zu verärgern? Bucht euren Urlaub bei Kellerman’s in den Catskills 1963/1987 und reserviert einen Platz im Mambokurs von Johnny Castle, es wird gedirty gedanced!

Welcome to the very first episode of the Energy NOW! podcast! It's far from my first media experience though. After my first podcast, The Happy Hour Effect, hit the iTunes top charts (you can still listen to past episodes there) I was hooked as a host and listener. Now after hundreds of media appearances on other podcasts, TV shows, and radio segments and my own stage and shows, sharing awesome ideas you can use RIGHT NOW is one of my favorite parts of my job!In this kickoff episode of the Energy NOW! podcast I share why mastering your energy in the moment is so powerful for both work and life AND my top tip for shifting your mindset, motivation, magnetism, and mood INSTANTLY!And I use Johnny Castle and an iconic scene from Dirty Dancing to demonstrate how your thoughts and energy go together proving that you DO have power over your mind which then impacts your physical body which then determines the vibe you're putting out to the world AND what you feel inside. The flow is real and THAT is energy mastery!Every week you will get actionable and proven ways to master your own energy both from me as an energy mastery expert AND from others I interview that have learned through their own experiences how to show up as their best at work and at home. From CEOs to business owners to athletes to health practitioners, the people you will learn from (and that I learn so much from during the interviews) will knock your socks off! Can't wait to hear what you think so please send me your thoughts and any requests you have for show topics!YOUR POWERSHOTSGo watch Dirty Dancing and see all the times Johnny Castle helps Baby and other characters master their energy through focusing their thoughts. Also a lot of examples in there about how our bodies and words betray us when we are under stress or nervous.Subscribe to the show on your favorite listening app so you don't miss an episode!Smile!! It's the number one way you can quickly and easily change your entire body and brain.THANK YOU FOR LISTENING TO THE ENERGY NOW! PODCAST!If you loved this podcast episode and want more from Energy NOW!, please leave a 5-star review wherever you listen.Please FOLLOW and SHARE on Instagram, Facebook, and LinkedIn so you can easily share the power of Energy NOW! with your friends, co-workers and loved ones!Don't forget you can get quick hits of Energy NOW! on your Amazon Echo! Just ask, "Alexa - play my Flash Briefing." CLICK HERE to learn how to add it from your Alexa app.Interested in being interviewed or sponsoring the show and getting more exposure for your business? Email me at Kristen@KristenBrownPresents.comReferral bonus for YOU!! Just send corporations or groups to me who need a speaker on performance, leadership, goal-setting, time management, stress management, or sales maximization. If they hire me, I’ll send you a nice referral bonus. Send them to my Speaking page HERE.CLICK HERE TO LEARN MORE ABOUT KRISTEN BROWN. See acast.com/privacy for privacy and opt-out information.

It's a Valentine's Special episode from "A Beer With Atlas", which means the crew finds a way to get chocolate and roses into a bottle (and can). We try a true Oregonian original with this Double Chocolate Stout brew from Rogue Ales and Spirits. And that's followed by a Rose Gose from Hoof Hearted Brewing hey, we even got "hearts" in there! Whether you have your own valentine to share an evening with, or you're going solo, there's something here for everyone. We get into the history of chocolate and how it became associated with Valentine's Day, we discuss these special brews, and we even chat about "Dirty Dancing" and the legacy of Patrick Swayze. Now that's a solid date night! Maybe nobody puts Baby in a corner, but we do recommend putting these brews on your list of beer goodness to try. Pull up your podcast service of choice, crack open a cold one, and join Johnny Castle and our crew for this special Valentine's episode.

Dirty Dancing (1987) Spending the summer in a holiday camp with her family, Frances "Baby" Houseman falls in love with the camp's dance instructor Johnny Castle.

Dirty Dancing (1987) Spending the summer in a holiday camp with her family, Frances "Baby" Houseman falls in love with the camp's dance instructor Johnny Castle.

Victoria and Stuart have the time of their lives as they see innocent “Baby” enjoying the summer of love with dirty dancer Johnny Castle

We're NOT having the time of our lives in an alternate universe Dirty Dancing where Baby is pushed into the talent director's job at her father's resort and must overcome the resentment of dance teacher Johnny Castle and gain independence from her overprotective dad. Guest starring Julie Lively!To watch the first episode of Dirty Dancing, you can find it on Dailymotion: https://www.dailymotion.com/video/x287qaq?playlist=x4wr3xContact Us!Email: pilotprojectshow@gmail.comInstagram: @pilotprojectpodFacebook: https://fb.me/pilotprojectpodTwitter: @pilotprojectpodVoicemail: (469) 573-2337Subscribe for Free!Apple Podcasts: http://apple.pilotprojectpod.comGoogle Play: http://googleplay.pilotprojectpod.comRSS: http://feeds.feedburner.com/pilotprojectpodSpotify: http://spotify.pilotprojectpod.comStitcher: http://stitcher.pilotprojectpod.com ★ Support this podcast on Patreon ★

Neither Sara or I had read this book as teens even though ALL of our friends had. We were the “too cool” girls which really meant we were painfully uncool.  Both of us recall this book being proudly displayed in the halls of our middle and high schools. V.C. Andrews was the most popular girl at any school during the 80s and 90s. She could have been crowned queen at a 114 different proms. In terms of who could generate a loyal army of teen girls it went Johnny Castle from “Dirty Dancing” and then V.C. Andrews’ for creating the “Dollanganger Series.”

This week we got our passports renewed just in time to visit Cuba to talk Dirty Dancing: Havana Nights. Amanda Kirkham joins your hosts, Justin, Eliz, and Tyler as they try to figure out what goes on during a typical night in Havana! Star ratings help us build our audience! Please rate/review/subscribe to us on Apple Podcasts or wherever you listen, and share us with beach cabana mates! Email us at sequelrights@gmail.com with feedback or suggestions on future franchises! Special Guest: Amanda Kirkham.

From cockroaches to sushi and everything in between, ] the Brothers Stew (Tim and Alex Stewart) discuss life and trials in the Big Apple as well as other ramblings including an interview with Aaron Patrick Craven about his time on tour as Johnny Castle in "Dirty Dancing" and Zach in "A Chorus Line".

Keeping your summer rollin' steady with this mix. Movie clips courtesy of Johnny Castle. Track List: Umi Copper The National Kasbo Tyler the Creator Mark Kitchen/KC Lights Faithless Nora En Pure Janelle Monae Tinlicker Tycho Portugal the Man/Passion Pit

Aaron Patrick Craven aka "Johnny Castle" was on the air this morning with Jackson & Hannah.  Aaron is the lead in the stage production of DIRTY DANCING. DIRTY DANCING is playing The Boch Center Shubert Theatre for a limited engagement from June 13-17th, 2018 See omnystudio.com/listener for privacy information.

Nobody puts Baby in a corner, but that's exactly where Anne put actor, writer, and improvisor Stacey McGunnigle when they sat down to talk about Dirty Dancing this week. Join them as they dissect the character of Johnny Castle, whether Baby is worth rooting for, and why the movie is grossly upsetting if you spend even a minute thinking about it in detail. Carry a watermelon and fall in love.   You can follow Stacey on Twitter and on Instagram, subscribe to her podcast, Regular Girls, and catch her on the Second City mainstage in Toronto.   Theme music courtesy of Harrison. Follow me on Twitter. Tell me your obsessions! Email me or leave me a voicemail. 

The show is all things Hub City as guests Matt Makowski of Hagerstown Magazine & Mr. Johnny Castle of the Hagerstown Suns minor league baseball team join the podcast crew. From the origins of the sports team to rumors (and politics) of a new stadium to a rundown of the 2018 schedule, to publishing a 'lifestyle' magazine up against established, local media. Plenty of entertainment as Chris gets a buzz and we introduce roller derby queen Helena Handbasket. Good times!

In this episode, we have the time of our lives as we discuss the 1987 smash hit "Dirty Dancing." It's a fun flick about a 17-year-old girl who raises money for a botched abortion, learns to dance and loses her virginity to a small-time male prostitute, but the gigolo has awesome hair and a six-pack, so it all works out well in the end. Jennifer Grey plays Frances "Baby" Houseman, a wannabe do-gooder whose main method of enacting change in the world appears to be begging her daddy for help while simultaneously treating him like garbage. Patrick Swayze plays Johnny Castle, a gentile who works as a dance instructor at a summer resort that is specifically all-Jewish, but he is somehow hurt and surprised when he is treated like an outsider. He also manages to paint himself as a victim when he voluntarily has sex with wealthy women for money. Jerry Orbach plays Dr. Jake Houseman, a nice-seeming physician who makes the mistake of bringing his two spoiled teenage daughters on vacation with him to a resort in upstate New York. Throughout the film, his awful girls do every possible thing they can think of to abuse him and break his will to live. Join us as we discuss how this movie seems to give up on being a period piece halfway through; as we argue with each other about if the '50s music in this is good or not; and as we come to realize that the final sequence of the film may be a dream sequence. Tell us what you think by chatting with us (@filmsnuff) on Twitter, Facebook and Instagram, or by shooting us an email over at mailbag@filmsnuff.com. This episode is sponsored by HomeWreckr. Visit our website at https://www.filmsnuff.com.

Thirty years ago, the world was first introduced to Frances "Baby" Houseman and Johnny Castle. In the years since, Dirty Dancing has spawned legions of fans, a successful musical adaptation, a misbegotten prequel and a TV remake best left forgotten, which is good going for a low-budget movie starring two relative unknowns with a plot that hinges on an abortion. Matt and Ed are joined by returning guest Michaela Livingstone-Banks to talk about Dirty Dancing as a phenomenon, their favourite moments from the movie, and what, if anything, Johnny has to do with the JFK assassination. 00:00:00 - 00:03:52 - Intro 00:03:53 - 00:24:32 - News 00:24:33 - 01:16:42 - Matt, Ed & Michaela talk about Dirty Dancing  01:16:43 - 01:22:17 - SRS Recommends & Outro

In this episode of Kid Tested, Mother Approved; Ruben and Dawn choose the theme, "Still Holds Up" which means a movie that stands the test of time. Ruben is given Dirty Dancing, and Dawn is given Who Framed Roger Rabbit. One of the few episodes where no one complains about their movie! I know nothing about audio recording so I apologize for the quality, hopefully it will eventually get better. Wanna suggest a theme? Want to try to convince mom to read the Roger Rabbit book? Want Ruben to explain monomyth? - ktmashow@gmail.com We have a Patreon! www.patreon.com/KTMAshow Theme music is Funky Chunk by Kevin MacLeod at incompetech.com

AFTERBUZZ TV — Dirty Dancing edition, is a weekly "after show" for fans of Dirty Dancing. In this special, hosts Amy Cassandra, Sam Davidson, Chae Jones, and Carla Renata discuss the Dirty Dancing Movie. ABOU DIRTY DANCING MOVIE: Spending the summer at a Catskills resort with her family, Frances "Baby" Houseman falls in love with the camp's dance instructor, Johnny Castle, which changes many things for everyone in the Houseman family   Follow us on http://www.Twitter.com/AfterBuzzTV "Like" Us on http://www.Facebook.com/AfterBuzzTV Buy Merch at http://shop.spreadshirt.com/AfterbuzzTV/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

On today’s Lady Bits, we talk about whether Johnny Castle is actually a good teacher and determine if “Dirty Dancing” passes the Bechdel Test! With special guest, Christie Vozniak!

Show Rundown: In this week’s episode, we talk about the Super Bowl, because it’s an important key word that will get us a lot of downloads. We will talk about the commercials, the halftime show with Lady Gaga, and what’s it’s like when everyone is into something in pop culture that you couldn’t care less about. In our second segment, in honor of “La La Land,” we share our top 3 favorite musical moments in our recurring segment, “Why Should I Listen To You.” All of that plus our favorite headlines of the week.   Topic 1: Super Bowl 51, the commercials, the game and why we care some, but not much Why are the New England Patriots so hated? Why do people hate winners? Want to see all the movie previews: http://www.vox.com/2017/2/5/14517596/super-bowl-2017-trailers-guardians-logan-transformers Here's all the big commercials if you want: http://www.sbnation.com/2017/2/5/14509354/2017-super-bowl-li-commercials-highlights   Topic 2: Why Should I Listen to You-Our Top 3 Musical Moments Chris: As Time Goes By - The greatest song on memory and nostalgia ever written https://www.youtube.com/watch?v=1_a57ZNlU6o https://www.youtube.com/watch?v=bAlzmRjixr0   Somewhere Over the Rainbow - The greatest song on longing ever written https://youtu.be/U016JWYUDdQ?t=5s   Superman Theme - Greatest action theme ever written https://www.youtube.com/watch?v=394jYH82s2o   James Bond https://www.youtube.com/watch?v=3nxG09xHhro   Raiders of the Lost Ark music/scenes https://www.youtube.com/watch?v=F1ZyHNmb1yU   Sonia: Singin’ In The Rain https://www.youtube.com/watch?v=D1ZYhVpdXbQ   John Travolta takes the floor in “Saturday Night Fever” https://www.youtube.com/watch?v=sT2daisxdvA   The opening to “A Hard Day’s Night” https://vimeo.com/120657280   Runners-up: “Circle Of Life” in “The Lion King,” Uma Thurman and John Travolta dancing in “Pulp Fiction,” “In Your Eyes” in “Say Anything,” Baby watches Johnny Castle in “Dirty Dancing,” pretty much every Prince performance in “Purple Rain”   Find The Dorking Out Show here... Dorking Out Show Blog - Twitter - YouTube - Facebook - Patreon   Find Sonia here... Twitter - The Sonia Show Blog - The Sonia Show Facebook Page   Find Chris here... Twitter - The Jett Jergens Blog - The Jett Jergens Facebook Page

I shared stages with Johnny a couple of decades ago and we worked in the studio together. I reconnected this spring online and found him as candid, unapologetic, and focused as ever. He’s a father, a joker, and a fabulous bass player. He and I both share the belief that no band can exceed its rhythm section. He currently drives the Nighthawks and the Thrillbillys as well as sparking memorable studio tracks. If the feet ain’t tappin’, the song ain’t happ’nin’.

Shana's seen Dirty Dancing countless times, while this was Mike's first viewing. Does it hold up for The Wife, and what did The Husband think about this much-loved movie from 1987? Also, is Johnny Castle the best name ever? Hint: Yes. Yes it is.

Shana's seen Dirty Dancing countless times, while this was Mike's first viewing. Does it hold up for The Wife, and what did The Husband think about this much-loved movie from 1987? Also, is Johnny Castle the best name ever? Hint: Yes. Yes it is.

Shana's seen Dirty Dancing countless times, while this was Mike's first viewing. Does it hold up for The Wife, and what did The Husband think about this much-loved movie from 1987? Also, is Johnny Castle the best name ever? Hint: Yes. Yes it is.

Shana's seen Dirty Dancing countless times, while this was Mike's first viewing. Does it hold up for The Wife, and what did The Husband think about this much-loved movie from 1987? Also, is Johnny Castle the best name ever? Hint: Yes. Yes it is.