Podcast appearances and mentions of Larry Flynt

Jade et Mina vous racontent l'histoire du magazine X Hustler (concurrent de Playboy) et de son provocant créateur Larry Flynt à travers l'analyse de 3 numéros de ce magazine culte né dans les années 70, histoire de voir ce qui se cache dans les magazines tout en haut des étagères de vos marchants de journaux...Pour plus de contenu exclusif et chaud comme la braise, viens suivre le N'importe cul sur InstagramPour en savoir plus :Larry Flynt, un film de Milos Forman sorti en 1996 (extrait de l'émission)Quelques articles paru lors du décès de Larry Flynt : Libération, RTL, Le Figaro...Le livret avec interview des scénaristes du film de 1996 dans le blu rayCréditsCréé et animé par Mina et Jade. Produit par Mauvaises Ondes. Générique par Maxence Moogin. Musique de Stefano Mastronardi. Illustration d'Amandine Jonniaux. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this episode, I sit down with Chris Davidson, longtime publisher of Hot Boat Magazine and current publisher of Speedboat Magazine, to reflect on nearly four decades in the performance boating industry. Chris shares his unique journey—from collecting Elvis memorabilia to shaping the voice of high-performance boating media. He discusses the early days of Hot Boat, his family's deep roots in the boating world, and the magazine's pivotal 1989 sale to Larry Flynt's LFP Inc., which transformed it into a nationally recognized publication. Chris also opens up about personal challenges, including a shocking betrayal by his brother Darren in 2006 that led to a hostile takeover of the magazine—and ultimately inspired Chris to launch Speedboat Magazine, now the last remaining print publication in the performance boat world. Throughout the conversation, Chris emphasizes the importance of teamwork, loyalty, and personal connections. He talks about how building relationships in the industry with people like Bob Leach of Eliminator Boats and Ed Borges of Eddie Marine helped him to keep his magazines moving forward. Chris credits much of his success to a trusted crew of contributors, including Kevin Spaise, Jim Wilkes, Greg Shoemaker, Fernando Escovar, and Brett Bayne. It's a candid, behind-the-scenes look at a legacy shaped by passion, perseverance, and the power of relationships. You can follow Speedboat Magazine on Instagram @speedboatmagazine_sb.mag and Facebook @Speedboat Magazine View Speedboat online and subscribe www.speedboat.com Visit our website at www.powerboattalk.com View the video for this episode: www.youtube.com/@powerboat_talk Follow us on Instagram @powerboattalk and Facebook @Powerboat Talk Contact me: powerboattalk@gmail.com  

Howdy folks of the interwebs! Welcome back for another shenanigan infused journey into the mind of this particular Garbage Can Dood!Tonight's discussion is an Occult and/or Esoteric review of the 1987 cinematic masterpiece "Dragnet" - starring Dan Ackroyd & Tom Hanks...but tonight's show is starring the esteemed gentlemen of the Third World Assassin Youtube channel - Clint & Todd!We discuss the occult and/or esoteric elements of "Dragnet" and its cast, writers, and director! From the legends of Bob "Cocaine" Evans...to infamous pornographer Larry Flynt...all the usual Process Church related characters appear in tonight's tale...and elements of their Process related nefarious activities are presented in the plot of "Dragnet"!Anyhow, folks of the interwebs thank for join'n me to get a lil GCD! An Occult and/or Esoteric Review of the 1987 cinematic masterpiece "Dragnet" w/Clint the Third World Assassin & Todd!Enjoy the show! Links for JJ - https://linktr.ee/operationgcd Links for Clint & Todd - https://x.com/FEEDTHEGODZhttps://www.youtube.com/@thirdworldassassin

Send us a textIn Episode 81 of the podcast, we take a look at the three-year racially motivated killing spree that covered at least 11 different states. From 1977 to 1980, Joseph Paul Franklin killed an estimated twenty-one people while injuring scores of others and creating an unease that spread throughout the country. What fueled his hatred towards blacks and Jews and how was he finally brought to justice?Support the show

Time for some watersports motherfuckers! Kid A.G., GDub, and the one and only Don Tang got together for a special WTF edition of the Goin' Deep Show. This episode is packed with so much WTF, you'll need a bigger dick to handle it all.  Retro Rewind GDS original release on this day a full goddamn decade ago (01/14/2015)  We start off with the controversy of "The Interview" movie, which got North Korea's little bitch-ass dictator all riled up. But wait, there's more! We dive into Larry Flynt's twisted take on the film, where you can bet your ass it's gonna be even more fucked up than the original.  Then, we got the balls to ask why the fuck a grumpy cat could make more money than all of us combined - 64 million dollars, for fuck's sake! We're not even talking about the show where they're still looking for Bigfoot like he's some kinda lost puppy. And let's not forget, in Japan, they're buying more adult diapers than baby diapers. Why? Because those salary men can't even take a piss break from work! The show takes a wild turn when we talk about an escort who nearly bit off a dude's dick. That's some hardcore shit right there. And there's this guy who goes to the doctor, thinking he's all man, only to find out he's got a set of ovaries - talk about a surprise package!  We get creepy with a story of some perv on a plane touching a minor, and then there's this dude with a fork in his dick - like, what the fuck? We delve into the dark side with discussions about Nazis, Hitler, and local gangs, because, hey, why the fuck not? And for the grand finale, we talk about kids making bank on YouTube, because apparently, playing video games is the new American Dream. Oh, and Don Tang? He shares his unique experience with golden showers, because if you're not pissing on someone, are you even living? We wrap up with a shout-out to Nancy Grace, suggesting she might enjoy some water sports, because, let's face it, she needs to lighten up. Don't miss out on this blast from the past, where we go deep into the world of WTF! Original Release Date: January 14, 2015 (episode 1241) Hosts: Kid A.G. Gdub and Don Tang

Joseph Paul Franklin: un bambino che cresce in una famiglia violenta ed abusante e diventa... Un uomo insignificante, ignorato anche dai nazisti. Ma lui ha un piano per scatenare la guerra razziale: peccato che nessuno lo ricordi per questo. Un serial killer, sì, ma che diventerà noto solo per aver sparato a Larry Flynt. Sempre se sia stato lui. Scopri la vita di Larry Flynt ascoltando Vite Scomode: https://open.spotify.com/show/10x4FJMO7tlMkYgRo7GL6W?si=7a4a08f45f6e402c --------- Patreon: https://www.patreon.com/crimeandcomedy Instagram: https://www.instagram.com/crimeandcomedy.podcast/ Telegram: https://t.me/crimeandcomedy Sito: https://www.crimeandcomedy.it Instagram: Clara Campi: https://www.instagram.com/claracampicomedy/ Marco Champier: https://www.instagram.com/mrchreddy/ Editing - Ilaria Giangrande: https://www.instagram.com/ilaria.giangrande/ Caricature - Giorgio Brambilla: https://www.instagram.com/giorgio_brambilla_bookscomedy/ Tutti i Podcast: https://link.chtbl.com/CrimeandComedy Capitoli: 00:00:00 | Intro 00:00:55 | Sigla 00:01:09 | Crime & Comedy Live! Tour 00:02:09 | Ringraziamenti Patreon 00:04:46 | Joseph paul Franklin: infanzia, matrimonio e nazismo 00:29:11 | Gli attentati e gli omicidi di Joseph Paul Franklin 00:36:56 | Joseph Paul Franklin e l'attentato a Larry Flynt 00:39:09 | Gli omicidi nei fast food di Joseph Paul Franklin 00:51:41 | Joseph Paul Franklin si fa beccare e fugge in Florida 01:08:12 | I nostri Patreon Learn more about your ad choices. Visit megaphone.fm/adchoices

Nella terza e ultima puntata dedicata a Larry Flynt parliamo della sua nuova vita in sedia a rotelle, delle battaglie legali che hanno contribuito a cambiare la legislazione degli Stati Uniti in materia di libertà di parola e delle provocazioni ai potenti che Larry porterà avanti fino alla fine, rendendolo forse una brutta persona, ma certamente una leggenda. ------ https://www.instagram.com/vitescomode.podcast/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Nella seconda puntata dedicata a Larry Flynt parliamo della nascita di Hustler Magazine, della ricchezza improvvisa dovuta a Jackie O', della statua della gallina, dell'inizio della persecuzione giudiziaria nei confronti di Larry, della sua inaspettata conversione religiosa e del terribile attentato nei suoi confronti. E non è ancora finita! ------ https://www.instagram.com/vitescomode.podcast/ Learn more about your ad choices. Visit megaphone.fm/adchoices

Larry Flynt: un eroe americano. E un pervertito. Iniziamo questa trilogia sul pornografo paladino della libertà di parola parlando delle sue umilissime origini e dell'incontro con la donna della sua vita. ------ https://www.instagram.com/vitescomode.podcast/ Learn more about your ad choices. Visit megaphone.fm/adchoices

The Projector Room Podcast Show Notes Show 175 Ted Salmon, Gareth Myles and Allan Gildea Projector Room Community Projector Room Group at MeWe Feedback and Contributions Phil Harding on Say Nothing (2024) Adrian Brain on The Day Of The Jackal (2024) Adrian Brain on Gladiator II (2024) Flop of the Fortnight Megalopolis (2024) Cellar Door (2024) Private Screening Exposed (2016) Themed Treats (Woody Harrelson) Defendor (2009) Rampart (2011) Indecent Proposal (1993) Natural Born Killers (1994) The People vs Larry Flynt (1996) The Main Feature Joker: Folie à Deux (2024) Massacre Mafia Style (1974) Mayor of Kingstown (2021) Coming Soon The Amateur (2024) - Trailer The Agency (2024) - Trailer The Studio (2025) - Trailer Parthenope (2024) - Trailer Nutcrackers (2024) - Trailer Pops (2025) - No Trailer Yet Popeye: The Slayer Man (2025) - Trailer Shiver Me Timbers (2025) - Trailer The Final Curtain Ron Ely Jim Abrahams PodHubUK - Ted on Twitter - Ted on Mastodon - MeWe PSC Group - PSC Photos - PSC Videos - WhateverWorks - Camera Creations - TechAddictsUK - The TechBox - Chewing Gum for the Ears - Projector Room - Coffee Time - Ted's Salmagundi - Steve's Rants'n'Raves - Steve's YouTube Shorts

This week Danielle and Kristine learn how to survive a new career in porn and Solange Castro joins us to talk about the year she worked for Larry Flynt. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Libbie Higgins is a comedian known for her viral video "Woman Rages Over Extra McRib," which features her character Charlene and has garnered over 4 million views since its release in November 2015. This success led to a significant increase in subscribers on her self-titled YouTube channel, totaling more than 190,000. Prior to her comedy career, Libbie worked as a special education teacher before transitioning to creating YouTube content, including vlogs and trolling videos starting in 2007. She has also made appearances on television, notably on the Pop Network TV series "Rock This Boat: New Kids on the Block" playing her character Aunt Claudette. In addition, Libbie achieved recognition by finishing in the top three of the 2016 Helium Comedy Funniest Person in St. Louis competition. Originally from the St. Louis, Missouri area, Libbie filmed a memorable YouTube video as Aunt Claudette during a visit by Larry Flynt to St. Louis, with the controversial figure making a cameo in the background. Oh! And don't forget to go watch the full video on our Youtube! WWW.YouTube.com/@ajwilkersoncomedyTodays Guest: Libbie Higgins @libbiehiggins_The What in Tardation Podcast with Captain AutismStandup comedian and viral sensation AJ Wilkerson, nicknamed Captain Autism, sits down every week with comedians and co-hosts Sydni Stephens, Kyler Finney and a variety of guests. This diverse collection of walking talking mental health issues come together in the safe space of The Tard Yard to discuss life, comedy, and current events with all their combined brain power. Enjoy consuming this Tardpod!New episodes every Wednesday!Join the Tardation Nation for pre roll episodes and exclusive content: patreon.com/TardationNationAbout AJ WilkersonWith his nervous charm, endearing smile, and appendix-bursting humor (that actually happened!), AJ has quickly become one of the most relevant young comedians in America, making appearances at Limestone Comedy Festival, Nashville Comedy Festival, Atlanta's West End Comedy Festival, and winning The Portland Comedy Festival. His videos have reached millions of views on virtually every social media platform, he can be heard on Netflix is a Joke Radio on Sirius XM, cameoed in Kevin Smith's Clerks III, and made his standup television debut on Peacock .Follow AJ on Instagram here: https://www.instagram.com/ajwilkersoncomedy/Get Tickets at https://www.ajwilkerson.com/#comedypodcast #podcastclips #standupcomedian

If there was a surprise critical and commercial failure for the year, it was Forman's highly anticipated, Oscar-baiting Andy Kauffman biopic, Man on the Moon. Among other things, Man on the Moon was touted as a second chance for Carrey to nab a best actor Oscar, following what had roundly been seen as an epic snub for his denial of the award for The Truman Show.  It had a lot going for it - an exploration of the tragic and mysterious life of an obscure but beloved cultural figure, directed by the Oscar-winning director of One Flew Over the Cuckoo's Nest and Amadeus. Forman had just come off the critical and commercial success of The People Vs. Larry Flynt, written as well by Alexander and Karaszewski, who, with that film and 1994's Ed Wood had developed a reputation as having cracked the elusive biopic formula, which they described as the “anti-biopic". Unfortunately, while it did earn his his second consecutive Golden Globe, Man on the Moon was shut out from the Oscars, and the film seemed to find some way to disappoint basically everyone, even those who loved it. This week, we invited cultural critic and giant Man on the Moon fan Sean Malin to talk about Carrey, Kaufman, and that most uneven of genres, the biopic. Sean is on Twitter @cinemalins

Erin and Paul review two films about low-class media provocateurs who become unlikely free-speech champions: Milos Forman's 1996 porn-king biopic THE PEOPLE VS. LARRY FLYNT, and Betty Thomas' 1997 retelling of the legend of Howard Stern, PRIVATE PARTS.

Arianne Phillips is an American costume designer. Phillips was recognized for her work on the Broadway musical Hedwig and the Angry Inch, starring Neil Patrick Harris, earning her a Tony award nomination for Best Costume Design. Phillips has a long-standing relationship with Madonna, with collaborations including photo shoots, music videos and designing tour costumes for six world tours over the past two decades. She has been nominated for the Academy Award for Best Costume Design three times, for James Mangold's Walk the Line (2005), Madonna's directorial debut, W.E. (2011), and for Quentin Tarantino's Once Upon a Time in Hollywood (2019). Phillips has also received a two BAFTA Award nominations for Tom Ford's A Single Man (2009) and Quentin Tarantino's Once Upon a Time in Hollywood. Her film career also includes Tom Ford's Nocturnal Animals (2016), Matthew Vaughn's Kingsman: The Secret Service (2014) and Kingsman: The Golden Circle (2017), James Mangold's Girl, Interrupted (1999) and 3:10 to Yuma (2007), John Cameron Mitchell's Hedwig And the Angry Inch (2001), Mark Romanek's One Hour Photo(2002), and Milos Forman's The People Vs. Larry Flynt (1996). In between film and music projects, Phillips works as a freelance fashion editor and stylist, collaborating with photographers for publications such as Italian Vogue, V Magazine, Harper's Bazaar, German & Spanish Vogueand W Magazine. She continuously challenges herself by taking on projects that explore new expressions of her creativity. In 2018, she made her New York City Metropolitan opera debut, designing Nico Muhly's opera, Marnie. Miuccia Prada selected Phillips for her Iconoclasts project; to curate installations for the brands flagship stores in London and Beijing which included a short fashion film for the brand, which Phillips wrote and directed, called Passages. Her friend Alessandro Michele, Creative Director of GUCCI commissioned her to create content for a special issue of A Magazine he guest edited and to style a brand film directed by Gia Coppola. She has also collaborated on special projects with Van Cleef and Arpels, Cartier, Valentino and Swarovski. Phillips was an inaugural member of the TIMES UP coalition and was asked by Reese Witherspoon to design its logo. Lawrence Sher, ASC,is an American cinematographer and film director, best known for comedy films such as Garden State, The Dictator, and The Hangover series, frequently collaborating with directors Todd Phillips and Zach Braff.[ He made his directorial debut with Father Figures, which began a wide theatrical release on December 22, 2017, by Warner Bros. Pictures. He was nominated for an Academy Award and BAFTA Award for Best Cinematography for the 2019 film Joker, directed by Phillips. As cinematographer of the 2009 film The Hangover, Sher described how a scene early in the movie shows the main characters on the roof of their hotel overlooking a stereotypical shot of the Las Vegas Strip; Sher indicated that he had tried to evoke the behind-the-scenes Vegas—after the characters wake up the following morning—by shooting a scene behind the hotels where the real action takes place. Actor Bradley Cooper credited Sher's visual style with enhancing the film's comedy, noting how Sher has "a great eye, a lot of energy and he just knows what's funny" and that "Some guys just can't shoot comedies, but Larry knows exactly what he's doing." With the success of Zach Braff's Kickstarter, Sher worked on Braff's 2014 feature, Wish I Was Here. In January 2020, Sher was nominated for the Academy Award for Best Cinematography for his work on the movie Joker, but lost to Roger Deakins for 1917.

Movie of the Year: 1996The People Vs Larry FlyntIn this episode of the Movie of the Year podcast, the hosts dive into one of the most controversial films of the 1990s: The People vs. Larry Flynt. Directed by Milos Forman and starring Woody Harrelson and Courtney Love, this 1996 biographical drama tells the story of Larry Flynt, the notorious publisher of Hustler magazine. It's more than just a courtroom drama, though—it's a deep exploration of free speech, censorship, and morality, wrapped up in a real-life story that's as outrageous as it is thought-provoking.The People vs. the Real Larry Flynt: Champion of Free Speech or Just Provocateur?The conversation kicks off with a look at the real Larry Flynt, the man who built an empire by pushing the boundaries of taste and legality. Flynt was no stranger to controversy, and the film dives headfirst into his most famous battle—his 1988 Supreme Court case, Hustler Magazine v. Falwell, which became a landmark ruling in favor of free speech.The hosts break down how the film portrays Flynt as both a larger-than-life personality and a defender of First Amendment rights. But they don't shy away from discussing Flynt's contradictions. Was he truly fighting for free speech, or was he using the legal system to justify his often offensive content? This debate adds depth to the discussion and helps paint a fuller picture of Flynt as both a cultural disruptor and a complicated figure.Woody and Courtney: A Surprising Dynamic DuoThe hosts then turn their attention to the film's two central performances: Woody Harrelson as Larry Flynt and Courtney Love as his wife, Althea Leasure. Woody Harrelson delivers a career-defining performance, bringing a surprising amount of nuance and vulnerability to a character who could have easily been portrayed as just a crude provocateur. His portrayal of Flynt showcases both the man's relentless pursuit of personal freedom and his inner turmoil.But it's Courtney Love who really grabs the spotlight in this episode's discussion. Known more for her rock star persona than her acting, Love shocked critics and audiences alike with her emotionally raw performance as Althea. The hosts explore how Love's portrayal of Althea added a layer of tragedy to the film, grounding Flynt's often chaotic life with real human emotion. The chemistry between Harrelson and Love is another highlight, bringing a sense of authenticity to their relationship and adding emotional depth to the movie.The People vs Larry Flynt's Milos Forman: Master of MavericksOf course, none of this would have worked without the direction of Milos Forman, a master of telling stories about rebellious, complex characters. The hosts dive into how The People vs. Larry Flynt fits into Forman's body of work, particularly his fascination with figures who challenge authority, like in One Flew Over the Cuckoo's Nest and Amadeus.Forman's direction is both restrained and provocative, allowing the larger themes of free speech and censorship to play out naturally through the story without hitting the audience over the head. His unique background, having lived through censorship in his native Czechoslovakia, gives him a particular sensitivity to these issues. The hosts discuss how this outsider perspective allowed Forman to bring a balanced approach to the story, making it not just a tale about a controversial publisher but a broader commentary on American freedoms.Why The People vs. Larry Flynt Still MattersAs the episode wraps up, the hosts reflect on why The People vs. Larry Flynt remains relevant today. Free speech debates haven't gone anywhere, and in many ways, they've only become more heated. The film's portrayal of the tension between personal freedom and societal standards still...

In 1999, director Milos Forman reunited with his People Vs. Larry Flynt screenwriters Scott Alexander and Larry Karaszewski for another biopic of an iconoclast, Man on the Moon. Rebounding from the Oscar snub for The Truman Show, Jim Carrey took on the role of Andy Kaufman and according to history, took it a bit too seriously. The film received … Continue reading "310 – Man on the Moon"

He's a smut peddler. She's a drug-addled stripper. And they are…in love? That aside, the most shocking thing in this pic is being reminded that the Supreme Court wasn't always a rubber stamp for right wing BS. Join the boys as they discuss that and anything else that pops into their heads.  Links You can rate and review us in these places (and more, probably) Does This Still Work? - TV Podcast https://www.podchaser.com/podcasts/does-this-still-work-1088105 ‎Does This Still Work? on Apple Podcasts https://podcasts.apple.com/us/podcast/does-this-still-work/id1492570867 Porn Ban https://www.newspapers.com/article/the-winchester-sun/154301004/ Cable Ban https://www.newspapers.com/article/the-cincinnati-post/154303560/ Making Porn Play https://www.newspapers.com/article/la-weekly/154324511/ Susan Faludi article https://www.newyorker.com/magazine/1995/10/30/the-money-shot Jerry Falwell, Hustler Capri Ad https://www.reddit.com/r/funny/comments/asayq/hustler_magazine_vs_jerry_falwellthe_pic_that/#lightbox Patron Script Link: https://docs.google.com/document/d/1dD6g0LjqC_U0Gfyxo53r4H6nYSI9xnUNyzMLQI2kztI/edit?usp=sharing  

Woody Harrelson is a notorious television and film actor. After a brief stint in New York Theater at the start of his career, he made his on-screen debut on NBC's “Cheers,” regarded as one of the best TV shows of all time. He has gained acclaim for his roles in movies like The People Vs. Larry Flynt, No Country for Old Men, and Three Billboards Outside Ebbings, Missouri. With over 60 movies in his portfolio, Harrelson acts across a range of genres, including comedy, drama, and thriller. Over the course of his career, he has been nominated for three Academy Awards and four Golden Globe Awards, and he has been the recipient of a Primetime Emmy Award.  ------ Thank you to the sponsors that fuel our podcast and our team: Squarespace https://squarespace.com/tetra ------ Lucy https://lucy.co/tetra ------ LMNT Electrolytes https://drinklmnt.com/tetra ------ House of Macadamias https://www.houseofmacadamias.com/tetra

This week, I'm honored to be joined by not one but two brilliant screenwriters, Larry Karaszewski & Daniel Waters. Larry Karaszewski & his writing/directing/producing partner Scott Alexander are best known for writing unusual true stories such as the films ED WOOD, THE PEOPLE VS. LARRY FLYNT, MAN ON THE MOON, AUTO FOCUS, BIG EYES, DOLEMITE IS MY NAME, & the hit television miniseries THE PEOPLE VS. OJ SIMPSON: AMERICAN CRIME STORY. The team has won Emmys, Golden Globes, Producers, & Writers Guild Awards. Additionally, Larry is also a former Governor & Vice President of the Academy of Motion Pictures Arts & Sciences. Born in Ohio & raised in Indiana, Daniel Waters is the Edgar award-winning screenwriter of the 1988 cult classic HEATHERS starring Winona Ryder & Christian Slater. Additionally, the man who wrote or co-wrote the films BATMAN RETURNS, HUDSON HAWK, THE ADVENTURES OF FORD FAIRLANE, DEMOLITION MAN, & more, he's also the writer-director of HAPPY CAMPERS & SEX & DEATH 101. Best friends & movie buddies since their teenage years in Indiana, in the fourth season of Watch With Jen, the two joined me to dissect the films of director Michael Ritchie, & this year, they're back to take us on another trip through the films of the 1970s, courtesy of actor Jan-Michael Vincent whose luscious blonde hair & laid back approach made him one of the most popular up-and-coming stars of the era. Although initially, we agreed on five films, including BUSTER & BILLIE, THE MECHANIC, WHITE LINE FEVER, THE WORLD'S GREATEST ATHLETE, & VIGILANTE FORCE, Larry & Dan made it their mission to do as much extra credit as possible, watching everything from obscure TV movies like TRIBES & SANDCASTLES to bigger hits like HOOPER & more. Along the way, we discuss Dan's issues with JMV in the '70s & this dream (or nightmare) he had where I ruined the vibe of his party, Larry's decision to watch two JMV movies on the ceiling under laughing gas at the dentist, & much, much more. What can I say? This conversation is a journey - a rollicking, thoughtful, & very engaging journey - & you're sure to love it.Originally Posted on Patreon (8/20/24) here: https://www.patreon.com/posts/110417546Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Shop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless ShopDonate to the Pod via Ko-fi

Our exit today has us once again trying to kidnap a dog to make our dreams come true. This week, we are talking about Screwed, written and directed by Scott Alexander and Larry Karaszewski, and starring Norm McDonald, Dave Chapelle, and Danny DeVito. Along the way, there is lots of talk about screwball comedies and Broadway musicals. Plus, It's Always Sunny in Philadelphia, Larry Flynt, 90s crime shows, William Powell, and the eternal question: why were so many movies of this time about dognapping? Thememusic by Jonworthymusic. Powered by RiversideFM. ⁠⁠⁠⁠CFF Films⁠⁠⁠⁠ with Ross and friends. ⁠⁠⁠⁠Movies We've Covered on the Show⁠⁠⁠⁠ on Letterboxd. ⁠⁠⁠⁠Movies Recommended on the Show⁠⁠⁠⁠ on Letterboxd.

It's official, these two BBWs are breaking news left and right. Lindy and Meagan predict a Kamala presidential campaign (2024), break bad news about Harambe (2016), and give you the scoop about a hot new TV show called Freaks and Geeks (1999).Plus, this week we asked YOU if you agreed with the inspiration for our hyped up Larry Flynt bit and the results are in! Tune in to hear the conclusive but certainly not final chapter of this saga. We think you're going to Ohh-Vehr-døZzz.But Lindy and Meagan's watchdog journalism is never over. Lindy saves a toad (probably). Meagan has interactions with not one but TWO veep candidates, and if you think JD Vance contacted her on a normal platform, you'd be wrong! And last but not least, these two newspapermen discuss gaming! Are you an aspiring D&D dork? Do you love iPhone games? What should Lindy and Meagan try playing? Email us at deartextmeback@gmail.com to tell us what games you're into and maybe they'll play along!Check out these (currently un-sponsored) faves!Read The Case for Reparations by Ta-Nehisi CoatesWatch Dungeons and Drag Queens (text us your every thought on the Best Friend Party Phone @ (703) 829-0003)Support your local comic book store and drop Strange Days Comics and Games a follow! Pick up The D&D Player's Handbook & feel free to email us to describe your aspirational D&D character (Toadus is taken)Play Murder in the Alps & make pizza & tell us what your favorite iPhone game is! ARE YOU A SOCRATES KID? Call us!!!⋆｡°✩⋆｡°✩⋆｡°✩⋆｡°If you like this episode and want us to keep making the show forever, please subscribe to our Patreon. This podcast will always be free, but we need your help to produce it -- and if you support our Patreon, you'll get all kinds of goodies in addition to the show itself! Learn more about the different tiers and rewards here: https://www.patreon.com/TextMeBackPodAlso! Please keep in touch with us! You can text OR CALL us at the Best Friend Party Phone: (703) 829-0003.We're on Instagram at @textmebackpod!Full videos of our episodes are on YouTube at @textlindyandmeaganbackYou can email us at deartextmeback@gmail.com!WE WANT TO HEAR FROM YOU SO BAD!⋆｡°✩⋆｡°✩⋆｡°✩⋆｡°TEXT ME BACK is a production of Lindy West and Meagan Hatcher-Mays, proud members of the BFF Network. Our senior producer is Meagan Hatcher-Mays. Our other senior producer is Lindy West. Our show is supported by COPILOT Collective and produced by Alli Slice.Our music is by Chief Ahamefule J. Oluo. Diana Bowen is our video and creative advisor. Our digital strategist is Chance Nichols.You can also follow the podcast on Instagram and TikTok @textmebackpod. And for even more bestie content, follow Lindy and Meagan on Instagram at @thelindywest and @importantmeagan!Special thanks as always to our perfect angels: Jeannie Yandel, Brandi Fullwood, and Isolde Raftery.⋆｡°✩⋆｡°✩⋆｡°✩⋆｡°See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome back as we tackle the questions nobody bothered to ask about our episode on Young Guns starring Emilio Estevez and everyone else who was hot in 1988. Zack gives us a brief history lesson about the Lincoln County War and how this film is surprisingly probably the most accurate representation ever put on film.  We go in detail about which of the Young "Buns" actors has showed his buns the most on screen and can't even believe the number that Charlie Sheen puts on the scoreboard.  Side note, one of the actresses in an early sex scene with LDP is someone Zack knows very well from Battlestar Galactica / Jenny from Pretty in Pink (and is apparently the daughter of the bad guy from Ernest Goes to Camp, small world). We play a brief game to see if Jenny can name a single current celebrity that is the age of the Young Guns cast.  Zack hits up more numbers than you would ever care to know about the box office and release schedule.   In print, we see the issue of Hustler magazine that started The People vs Larry Flynt was on the news stands when this movie was released.  In Playboy we are introduced to Cooper Hefner, who seems to be much less of a creep than his father.  Zack also realizes that he was lied to when he was told he was in the Guinness record holding conga line.  Jerry Seinfeld makes a very poor prediction about his future. In the Washington PA Observer Reporter we cover a few current events, but much more riveting was the Friday Night TV schedule and an article about the ladies boxing competition at the local fair getting much more spicy than the children in the audience were prepared for.

Criminal defense and First Amendment defense lawyer Louis Sirkin has since the 1960's been at the forefront of obscenity defense, criminal defense and First Amendment defense, often crisscrossing the nation in his battles for our civil liberties. When Jon Katz first met Louie in 1999, he was struck by Louie's powerfully persuasive approach that is both without ego and selfless, and his generosity in sharing his knowledge and experience with his fellow members of the First Amendment Lawyers Association, which Louie previously led as its president.  Louis Sirkin's clients have included Larry Flynt and many other members of the adult entertainment world, Jerry Springer when on the Cincinnati city council and probed in a massage parlor matter, a museum director prosecuted for obscenity for displaying Robert Mapplethorpe's art in 1989 (with a win for the side of right), animal rights activists, and Black Lives Matter activists.Louie at once is uncompromisingly relentless and a team player with co-counsel, and a true gentleman in pushing for the best possible results for his clients. Read more about Louie at https://www.santenhughes.com/lawyers/h-louis-sirkinThis podcast is playable on all devices at podcast.BeatTheProsecution.com. For more information, visit BeatTheProsecution.com or contact us at info@BeatTheProsecution.com, 703-383-1100 (calling), or 571-406-7268 (text). Hear our prior podcasts, at https://podcast.BeatTheProsecution.com/If you like what you hear on our Beat the Prosecution podcast, please take a moment to post a review at our Apple podcasts page (with stars only, or else also with a comment) at https://podcasts.apple.com/us/podcast/beat-the-prosecution/id1721413675

#1 ACS #575 (feat. Amber Cope, Angela Cope, Alison Rosen and Bryan Bishop) (2011) #3 ACS #577 (feat. Larry Flynt, David Eisenbach, Alison Rosen and Bryan Bishop) (2011) #3 ACS #601 (feat. Tim Minchin, Alison Rosen and Bryan Bishop) (2011) Hosted by Superfan Giovanni Request clips: Classics@adamcarolla.com Subscribe and Watch Clips on YouTube: https://www.youtube.com/@AdamCarollaCorner

#1 ACS #575 (feat. Amber Cope, Angela Cope, Alison Rosen and Bryan Bishop) (2011) #3 ACS #577 (feat. Larry Flynt, David Eisenbach, Alison Rosen and Bryan Bishop) (2011) #3 ACS #601 (feat. Tim Minchin, Alison Rosen and Bryan Bishop) (2011) Hosted by Superfan Giovanni Request clips: Classics@adamcarolla.com Subscribe and Watch Clips on YouTube: https://www.youtube.com/@AdamCarollaCorner

Join Lisa Ann for a special solo episode of The Lisa Ann Experience as she delves into the highlights of turning 52. This year we will all be celebrating the 50th birthday of Hustler with a campaign collaboration recapping the legendary life of Larry Flynt. From personal anecdotes to industry insights, Lisa Ann shares her reflections on aging with grace and wisdom. Additionally, she unveils the exciting schedule for the upcoming summer series, teasing what listeners can expect from the podcast in the coming months. This episodes mailbag will take you through the minds of Lisa Ann's curious listeners. Tune in for a candid and engaging conversation that's as refreshing as a summer breeze. - Follow Hustler Stores: https://www.instagram.com/hustlerstores -  Follow Lisa Ann:  http://beacons.ai/thereallisaann

Miles Chapin has been a real estate agent in New York City for more than 20 years. He's also a well-known actor, appearing in movies like The People vs. Larry Flynt, Hair, and Howard the Duck. Born and raised in NYC, his family has deep roots here. His can trace his lineage through 10 generations in New York City. In this episode, we discuss his family ties to the Steinway family, raising kids in the city, and a weekly Poker game that's been ongoing for over 30 years. Filmed at Brown Harris Stevens' Studio 1873, Part of the Mastery of Real Estate (MORE) Network. Subscribe here: https://podcasts.apple.com/us/podcast/the-big-life-nyc-with-roderick-angle/id1727438279 Connect with Roderick Angle: https://www.bhsusa.com/real-estate-agent/roderick-angle Connect with Miles Chapin: https://www.bhsusa.com/real-estate-agent/miles-chapin Brown Harris Stevens is one of the largest privately owned real estate brokerages in the country, with more than 40 offices across four states: New York, New Jersey, Connecticut, and Florida. https://bhsusa.com/ #thebiglifenyc #roderickangle #architecture #nyc

New York City's alternative weekly newspaper, The Village Voice, birthed a generation of legendary writers. On this week's On the Media, how the Voice transformed journalism and what's being lost as alt-weeklies across the country die off. Plus, why the feds brought America's most controversial alt-weekly mogul to court.[02:17] Host Micah Loewinger speaks with Tricia Romano, author of The Freaks Came Out to Write, about the early days of The Village Voice, including one reporter's mission to stop Robert Moses and its revolutionary music section. [15:09] Micah continues his conversation with Tricia Romano, getting into the Voice's sale to Rupert Murdoch, the tensions within the paper, and how Craigslist led to its ultimate demise.[29:11] An alt-weekly mogul, Mike Lacey, became the Larry Flynt of the internet age. The hosts of the new Audible show Hold Fast conducted a series of interviews with Lacey to tell the story of the alt-weekly chain's rise and fall. Further reading / listening:The Freaks Came Out to Write: The Definitive History of the Village Voice, the Radical Paper That Changed American CultureHold Fast: The Unadulterated Story of the World's Most Scandalous Website On the Media is supported by listeners like you. Support OTM by donating today (https://pledge.wnyc.org/support/otm). Follow our show on Instagram, Twitter and Facebook @onthemedia, and share your thoughts with us by emailing onthemedia@wnyc.org.

From 1977 to 1980, Joseph Paul Franklin went on a multi-state murder and mayhem spree, bombing a synagogue, shooting at people exiting another, and shooting interracial couples, lone black men, women who had previously dated black men, and a white porn magazine owner for publishing nude photos of an interracial couple. All in a delusional attempt to ignite a race war.  Find out how an abused and confused little boy named James Clayton Vaughn, Jr. transformed into a full grown monster, Joseph Paul Franklin. Watch the Suck on YouTube: https://youtu.be/G__kfGHdqi8Merch and more: www.badmagicproductions.com Timesuck Discord! https://discord.gg/tqzH89vWant to join the Cult of the Curious Private Facebook Group? Go directly to Facebook and search for "Cult of the Curious" to locate whatever happens to be our most current page :)For all merch-related questions/problems: store@badmagicproductions.com (copy and paste)Please rate and subscribe on Apple Podcasts and elsewhere and follow the suck on social media!! @timesuckpodcast on IG and http://www.facebook.com/timesuckpodcastWanna become a Space Lizard? Click here: https://www.patreon.com/timesuckpodcast.Sign up through Patreon, and for $5 a month, you get access to the entire Secret Suck catalog (295 episodes) PLUS the entire catalog of Timesuck, AD FREE. You'll also get 20% off of all regular Timesuck merch PLUS access to exclusive Space Lizard merch. And you get the download link for my secret standup album, Feel the Heat.

You know what's funny is that this is a film about the freedom of speech and getting the facts right when it's a film that doesn't get the facts right. But honestly, that's what makes it a great film to carry those truths even if came from something that didn't entirely do its job right. Now keep in mind that it's all about a smut peddler. I'm honored to talk about one of the films that have a special place in my heart and now y'all are about to find out why. THE SUPREME COURT SPEECH - https://famous-trials.com/falwell/1774-oralarghttpsPart 1: Intro!Part 2: Fact Vs. FictionPart 3: Courtney Love vs. Milos FormenPart 4: The Death Scene vs. The ReactionPart 5: Edward NortonPart 6: The JFK Thing...Again.Part 7: The Family BusinessPart 8: Falwell Vs. Flynt Part 9: What's next??Song - New Horizons from YouTube librarySupport 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

Dave and Paul are back! This week they bring you another six films in their wildcard series. Tune in to hear them talk about, "What We Do in the Shadows," "Miracle," "Shattered Glass," "Catch Me if You Can," "Once Upon a Time in Hollywood," and "People vs. Larry Flynt!"

Phoef Sutton and Mark Jordan Legan, your Film Freaks have the honor of sitting down and interviewing the terrific writing team of Scott Alexander and Larry Karaszewski (“Ed Wood,” “The People v. Larry Flynt,” “Man on the Moon,” “1408,” “The People v. O.J. Simpson,” “Dolemite Is My Name,” etc.). Scott and Larry are also true Film Freaks and we hope you enjoy this free-wheeling, fun, fascinating discussion where they discuss how they met as college freshmen at USC. The four of us share weird and wild cinema and pop culture trivia—everyone from Mel Brooks to Dom DeLuise to Kaypro computers to Anthony Quinn to Frank Sinatra to John Wayne to Dabney Coleman to Milos Forman to Midnight Spook Shows to regional filmmakers like Charles B. Pierce to Billy Jack are discussed and debated. Give it a listen and please subscribe and give us a five-star rating. Thanks, fellow Film Freaks! This episode is sponsored by: Libro.fm (FILMFREAKSFOREVER) | 2 audiobooks for the price of 1 when you start your membership The Writer's Bone Podcast Network

Join me as I sit down with the one and only Stephanie Matto, former 90 Day Fiancé star turned CEO of Unfiltered, for an unapologetically candid conversation about life, love, and the lucrative world of unconventional business. From selling farts in a jar to partnering with Hustler, Stephanie shares her journey of overcoming health struggles, dealing with public scrutiny, and transforming her reality TV fame into a thriving digital platform. Dive into the mind of a marketing genius and discover the raw and real side of Stephanie Matto that you've never seen before. Timestamps: 00:00:19 - Podcast Introduction and Guest Pursuit 00:00:29 - Fart Jars and TLC's Reaction 00:07:50 - Fake Engagement and Social Media Trolling 00:08:11 - Relationship with Erika Owens Post-Show 00:09:44 - Dating Life on Single Life and Bisexuality 00:10:51 - The Story Behind Farts in a Jar 00:20:26 - The Ethics of Marketing and Truth in Advertising 00:26:36 - Starting Unfiltered and Competing with OnlyFans 00:36:09 - Larry Flynt's Potential Reaction to Fart Jars 00:48:18 - The Book "Empty Blood" and Personal Struggles 00:49:49 - Celebrating Health Recovery and Future Aspirations 00:52:13 - Closing Remarks and Future Collaborations Show is sponsored by:  ***Visit our Sub-Reddit: reddit.com/r/thesarahfrasershow for ALL things The Sarah Fraser Show!!!*** Carawayhome.com use code TSFS for 10% OFF your order at check out Goodr.com/tsfs use code TSFS for FREE shipping Horizonfibroids.com get rid of those nasty fibroids! Nutrafol.com use code TSFS for FREE shipping and $10 off your subscription Oneskin.co use code TSFS for 15% OFF your fabulous order TheSeedScout.com find the perfect known sperm donor for your family. Get $100 OFF when you mention TSFS **Check out some of my FAVORITE things on Amazon Marketplace - especially if you're looking to get geared-up to start your own Podcast!!!** https://www.amazon.com/shop/thesarahfrasershow Advertise on The Sarah Fraser Show: thesarahfrasershow@gmail.com Got a TIP about your favorite show? Email: thesarahfrasershow@gmail.com Follow me on Instagram: @thesarahfrasershow Follow me on Tiktok: @thesarahfrasershow Follow me on Twitter: twitter.com/SarahFraserShow Book me on Cameo: cameo.com/sarahfraser Learn more about your ad choices. Visit megaphone.fm/adchoices

Ted Rubenstein returns to discuss his work for Flynt Publications, Larry Flynt, Mitch Werbell, Mae Brussells & Gordon Novell

GGACP celebrates the birthday of Emmy-nominated actor Rainn Wilson (b. January 20, 1966) by posting this ENCORE of a memorable 2021 interview with Rainn and writer-producer Aaron Lee. In this episode, Rainn and Aaron talk nerd culture, haunted houses, the many moods of Jerry Lewis, the staying power of "The Office" and the outrageousness of the Comedy Central roasts. Also, Gilbert plays a horse, Aaron pens jokes for Larry Flynt, Rainn wrestles Phillip Seymour Hoffman and Henny Youngman teams with the "Godfather of Gore." PLUS: "Zardoz"! "Clutch Cargo"! The comedy of Foster Brooks! "The Osbourne Family Christmas"! Rainn hangs with Pete Best! And Aaron remembers the late, great Mike McPadden! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of the podcast, I talk to and Gary Kornblau about the 30th anniversary edition of Dave Hickey's seminal 1993 book The Invisible Dragon: Four Essays on Beauty. Blake is currently a fellow with the Center for Advanced Study in Sofia, Bulgaria, as well as the author a great (which is to say, very flattering) review of my 2021 book on Hickey, and he was a stalwart participant in the Substack “book club” I organized on the new edition of Dragon. Gary is faculty at the ArtCenter College of Design. More pertinently, he was Dave's great editor, having plucked him out of obscurity to write for art Issues, the small LA-based journal that Gary founded and edited. He was the one who gave Dave just the right amount of rein to do his best work, and also the one who conceptualized and edited both Invisible Dragon and Dave's subsequent book Air Guitar. The episode covers a lot of ground, including the impact of the original version of the book, the reasons why Gary decided to put out a 30th anniversary edition, and Gary's decision to use the opportunity to try to “queer” Dave. It's a blast. I hope you listen. I also wanted to take the opportunity to run the below excerpt from my book on Dave. It covers the background to the writing and reception of Invisible Dragon, and is, IMO, a mighty fine piece of writing in its own right. Hope you enjoy.On June 12, 1989, the Corcoran Gallery of Art in Washington, DC, announced that it was cancelling Robert Mapplethorpe: The Perfect Moment, its scheduled exhibition of photographs by the celebrated American photographer, who had died of AIDS in March. The Corcoran's primary motive in cancelling was fear.Only a few months before, a long-simmering debate about the role of the federal government in funding the arts had boiled over in response to Piss Christ, a photograph of a small icon of Jesus on the cross floating in a vitrine of urine. Its creator, Andres Serrano, had received a small chunk of a larger grant from the National Endowment for the Arts (NEA), and the offending photograph had been included in a touring exhibition that was also funded by federal money. During that tour, the photograph caught the eye of the American Family Association, a conservative Chris­tian advocacy group dedicated to fighting what it saw as anti-Christian values in entertainment and the arts. They rang the alarm.Soon after, New York Senator Alfonse D'Amato called out Piss Christ from the floor of the Senate. He tore up a reproduction of the photo and denounced it as a “deplorable, despicable display of vulgarity.” North Carolina Senator Jesse Helms, who would soon lead the charge against Mapplethorpe, added: “I do not know Mr. Andres Serrano, and I hope I never meet him. Because he is not an artist, he is a jerk. . . . Let him be a jerk on his own time and with his own resources. Do not dishonor our Lord.” Patrick Trueman, president of the American Family Association, testified to Congress that governmental support of work like Piss Christ would make it less likely that prosecutors would pursue or win cases against child pornographers.The ensuing congressional battle, over funding for the NEA, became the first in a series of broader cultural and political battles that would come to be known, in retrospect, as the “culture wars” of the 1990s. These battles would range not just over sex and politics in the arts, but also over issues like gays in the military, federal funding for abor­tion, and control over history and social studies curricula in the public schools. It was “a war for the soul of America,” as Pat Buchanan framed it at the 1992 Republican Party convention, a contest over whether the nation would continue to secularize and liberalize or would return to a more conservative social equilibrium.The full contours of the conflict weren't immediately evident in the aftermath of the Serrano affair, but it was very clear, right away, that the Mapplethorpe exhibit was another grenade ready to go off. Its orga­nizers at the University of Pennsylvania had received NEA money, and the Corcoran Gallery, walking distance from the White House, was too visible an institution to slide by the notice of people like Helms and D'Amato. So the Corcoran begged off, hoping to shield themselves from the shrapnel and avoid giving conservatives another opportunity to question the value of federal funding for the arts.Instead, they got fragged by all sides. By fellow curators and museum administrators, who believed the Corcoran's appeasement would only encourage more aggression from haters of contemporary art. By civil lib­ertarians, who saw the Corcoran's actions as an example of how expres­sive speech was being chilled by the culture war rhetoric of the right. By a major donor, a friend of Mapplethorpe, who angrily withdrew a promised bequest to the museum of millions of dollars. And, of course, by the conservatives they had been hoping to appease, who accurately recognized the blasphemy in Mapplethorpe's federally funded portraits of sodomites doing naughty things to each other and themselves.Piss Christ had been useful to the conservative cultural cause as an example of how homosexual artists were taking taxpayer money to spit on the values that decent Americans held dear, but it wasn't ideal. How blasphemed could a good Christian really feel, after all, by an image of Jesus as reverential as what Serrano had in fact made? His Christ was bathed in glowing red-orange-yellow light, the image scored by dots and lines of tiny bubbles that come off almost like traces of exhumation, as if the whole thing has been recently, lovingly removed from the reliquary in which it's been preserved for thousands of years.“I think if the Vatican is smart,” Serrano later said, “someday they'll collect my work. I am not a heretic. I like to believe that rather than destroy icons, I make new ones.”Mapplethorpe's pictures, though, were something else entirely, a real cannon blast against the battlements of heterosexual normativity. Where Serrano was mostly using new means to say some very old things about the mystery of the incarnation and the corporeality of Christ, Mapplethorpe was using orthodox pictorial techniques to bring to light a world of pleasure, pain, male-male sex, bondage, power, trust, desire, control, violation, submission, love, and self-love that had been ban­ished to the dark alleyways, boudoirs, bathhouses, and rest stops of the West since the decline of Athens. And he was doing so masterfully, in the language of fine art, in the high houses of American culture.There was Lou, for instance, which could have been a photograph of a detail from an ancient bronze of Poseidon except that the detail in question is of Poseidon's muscled arm holding his cock firmly in one hand while the pinky finger of his other hand probes its hole. In Helmut and Brooks, a fist disappearing up an anus plays like an academic exercise in shape and shadow. And in the now iconic Self-Portrait, Mapplethorpe has the handle of a bullwhip up his own rectum, his balls dangling in shadow beneath, his legs sheathed in leather chaps, his eyes staring back over his shoulder at the camera with a gaze so full of intelligence and vitality that it almost steals the show from the bullwhip.In response to these kinds of beautiful provocations, the outrage, which had been largely performative vis-à-vis Serrano, became rather genuine, and the whole thing escalated. By July, a month after the exhibition at the Corcoran had been cancelled, Congress was debating whether to eliminate entirely the $171 million budget of the National Endowment for the Arts. By October, a compromise was reached. The NEA and its sister fund, the National Endowment for the Humanities, would get their usual rounds of funding, minus a symbolic $45,000 for the cost of the Serrano and Mapplethorpe grants. They would be pro­hibited, however, from using the monies to support work that was too gay, too creepy in depicting children, or just too kinky. Exceptions were made for art that violated these taboos but had “serious literary, artis­tic, political, or scientific value.” But the point had been made, and the enforcement mechanism, in any case, wasn't really the articulated rules. It was the threat of more hay-making from the right and, ultimately, the implied promise that if NEA-supported institutions kept sticking their noses (or fists) where they didn't belong then it wouldn't be too long before there wouldn't be any NEA left.A few months later, in April 1990, the Contemporary Arts Cen­ter in Cincinnati, Ohio, took up the Mapplethorpe baton by opening their own exhibition of The Perfect Moment. Hoping to head off trouble, they segregated the most scandalous of the photos in a side room, with appropriate signage to warn off the young and the delicate. They also filed a motion in county court asking that the photographs be preemp­tively designated as not obscene. But the motion was denied, and the separate room proved insufficient buffer. When the exhibit opened to the public, on April 7, its attendees included members of a grand jury that had been impaneled by Hamilton County prosecutors to indict the museum and its director for violating Ohio obscenity law. Of the more than 150 images in the exhibit, seven were selected out by the grand jury for being obscene. Five depicted men engaged in homoerotic and/ or sado-masochistic acts, and two were of naked children.The trial that followed was symbolically thick. Motions were filed that forced the judge to rule on fundamental questions about the mean­ing and political status of art. Art critics and curators were called in to witness, before the largely working-class members of the jury, to the artistic merit of Mapplethorpe's photography. The indictment read like an update of the Scopes trial, captioned by Larry Flynt, in which “the peace and dignity of the State of Ohio” was being ravaged by bands of cavorting homosexuals.The jury issued its verdict in October 1990, acquitting the museum and its director. It was a victory for the forces of high art and free expres­sion, but a complicated one. The exhibition could go on. And Map­plethorpe's photographs—indeed, the most outrageous of them—had been designated as art by the State of Ohio and by a group of decent, law-abiding, presumably-not-gay-sex-having American citizens. But the cost had been high. Museums and galleries everywhere had been warned, and not all of them would be as willing as the Contemporary Arts Center of Cincinnati to risk indictment and the threat of defunding for the sake of showing dangerous art.Perhaps most significantly, the National Endowment for the Arts, and its new director, announced a shift in funding priorities in order to take the institution out of the crossfire of the culture wars. Less and less of their money, it was decided, would go to individual artists and exhibitions, and more of it would go to support arts enrichment—to schools, outreach programs, arts camps, and educational campaigns. Mapplethorpe and Serrano were out. Sesame Street was in.For Dave Hickey, a critic and ex-gallery owner, it was, finally, all too much. Not the opportunism of the Hamilton County sheriff and his allies. Not the predictable huffing from the bow-tied brigades, who took to the pages of their tweedy magazines to bellyache, as always, about what a precipitous decline there had been in cultural standards since the 1960s ruined everything. Not even the rednecking of the senator from North Carolina was the problem for Hickey.Each of these parties was performing its assigned role in the passion play of American cultural politics. Narrow-minded prosecutors would always try to run dirty pictures out of town. New Criterion-ites would avert their eyes from new art. Senators from North Carolina would dem­agogue about queers from New York City. You could be angry at having to contend with these actors, but you couldn't genuinely feel betrayed. You knew where they stood from the get-go, and half the joy of art, and of the artistic life, lay in trying to figure out how to shock, outwit, or seduce them.The betrayal, for Hickey, came from his colleagues, from the crit­ics, curators, gallerists, professors, and arts administrators with whom he had been uneasily mixing since the late 1960s when he dropped out of his doctoral program in linguistics to open an art gallery in Austin, Texas. They had been handed a rare opportunity to represent for all that was queer and decadent and artsy-fartsy in American life, to make the case that this—beautiful pictures of men seeing what it felt like to shove things up their asses—wasn't the worst of America but the best of it. And they had whiffed.“The American art community, at the apogee of its power and privi­lege, chose to play the ravaged virgin,” wrote Hickey, “to fling itself pros­trate across the front pages of America and fairly dare the fascist heel to crush its outraged innocence. . . . [H]ardly anyone considered for a moment what an incredible rhetorical triumph the entire affair signi­fied. A single artist with a single group of images had somehow managed to overcome the aura of moral isolation, gentrification, and mystifica­tion that surrounds the practice of contemporary art in this nation and directly threaten those in actual power with the celebration of margin­ality. It was a fine moment, I thought . . . and, in this area, I think, you have to credit Senator Jesse Helms, who, in his antediluvian innocence, at least saw what was there, understood what Robert was proposing, and took it, correctly, as a direct challenge to everything he believed in.”The Corcoran had been bad enough, throwing in the towel before an opponent had even stepped into the ring. But far worse, for Hickey, were the ones who had shown up to fight but had misread the aesthet­ical-political map so badly that they had gone to the wrong arena. The fight, he believed, should have been over whether it was okay or not in our culture to make beautiful the behaviors that Mapplethorpe had made beautiful. The fight should have been over what Mapplethorpe had done with his art. Instead, the public got bromides about free expression and puritanical lectures about the civilizing function of arts in society. Worst of all, in Hickey's eyes, was how quickly the art experts ran away from the rawness of Mapplethorpe's work, characterizing him as though he were a philosopher of aesthetics, rather than an artist, as though he chose and framed his subjects for the sake of what they allowed him to say, propositionally, about the nature of light and beauty and other such things.“Mapplethorpe uses the medium of photography to translate flowers, stamens, stares, limbs, as well as erect sexual organs, into objet d'art,” wrote curator Janet Kardon in her catalogue essay for the exhibition. “Dramatic lighting and precise composition democratically pulverize their diversities and convert them into homogeneous statements.””When it came to it on the witness stand in Cincinnati, even the folks who had curated the exhibition, who surely knew that Mapplethorpe would bring the people in precisely because he was so titillating—Look at the dicks! Hey, even the flowers look like dicks!—couldn't allow them­selves even a flicker of a leer. So Hickey called them out.In a series of four essays written between 1989 and 1993, which were assembled into the sixty-four-page volume The Invisible Dragon, he launched a lacerating critique of American art critical and art historical practice. It was so unexpected, and so potent, that by the time he was done, his own intervention—a slim, impossibly cool, small-batch edi­tion from Art issues Press—would be as transformative in the art critical realm as Mapplethorpe's photographs had been in the photographic.The Invisible Dragon began with a story. It wasn't necessarily a true story, but it was a good one. So good, in fact, that it has conditioned and, in significant ways, distorted perceptions of Hickey ever since.“I was drifting, daydreaming really,” wrote Hickey, “through the wan­ing moments of a panel discussion on the subject of ‘What's Happening Now,' drawing cartoon daggers on a yellow pad and vaguely formulating strategies for avoiding punch and cookies, when I realized I was being addressed from the audience. A lanky graduate student had risen to his feet and was soliciting my opinion as to what ‘The Issue of the Nine­ties' would be. Snatched from my reverie, I said, ‘Beauty,' and then, more firmly, ‘The issue of the nineties will be beauty'—a total improvisatory goof—an off-the-wall, jump-start, free association that rose unbidden to my lips from God knows where. Or perhaps I was being ironic; wishing it so but not believing it likely? I don't know, but the total, uncompre­hending silence that greeted this modest proposal lent it immediate cre­dence for me.”Hickey, an experienced provocateur, had been expecting some kind of pushback. (Beauty?! That old thing? The issue of the '90s? You gotta be kidding me.) When he got none, he was intrigued. His fellow panelists hadn't jumped in to tussle. The moderator didn't seem ruffled. No one from the audience harangued him after he stepped down from the dais. Rather than setting off sparks, he had soft-shoed into a vacuum, which meant he had misjudged something, and in that misjudgment, he sensed, there lay potential. (“I was overcome by this strange Holme­sian elation. The game was afoot.”) He began interrogating friends and colleagues, students and faculty, critics and curators for their thoughts on beauty and its role in the production, assessment, and consump­tion of art. What he got back, again and again, was a simple and rather befuddling response: When asked about beauty, everyone talked about money. “Beauty” was the surface glitz that sold pictures in the bourgeois art market to people who lacked an appreciation for the deeper qualities of good art. It was a branding scheme of capitalism and the province of schmoozy art dealers, rich people, and high-end corporate lobby deco­rators. Artists themselves, and critics and scholars, were more properly concerned with other qualities: truth, meaning, discourse, language, ideology, form, justice. There were high-brow versions of this argument in journals like Art Forum and October, and there were less sophisticated versions, but the angle of incidence was the same.Hickey was stunned. Not by the content of such an argument— he knew his Marx and was familiar with left cultural criticism more broadly—but by the completeness of its triumph. He hadn't realized the extent, almost total, to which beauty had been vanquished from the sphere of discursive concern.“I had assumed,” he wrote, “that from the beginning of the sixteenth century until just last week artists had been persistently and effectively employing the rough vernacular of pleasure and beauty to interrogate our totalizing concepts ‘the good' and ‘the beautiful'; and now this was over? Evidently. At any rate, its critical vocabulary seemed to have evap­orated overnight, and I found myself muttering detective questions like: Who wins? Who loses?”The quest to reconstruct what had happened to beauty soon evolved for Hickey into a more fundamental effort to understand what even he meant by the term. What was he defending? What was he trying to res­cue or redeem? The critical vocabulary and community he had assumed were there, perhaps fighting a rearguard battle but still yet on the field, had winked out of existence without even a good-bye note. It was left to him, in the absence of anyone else, to reconstitute its concepts and arguments, restock its supply chain and armament.So he did, and he called it The Invisible Dragon. The issue, he wrote, is not beauty but the beautiful. The beautiful is the visual language through which art excites interest and pleasure and attention in an observer. It is a form of rhetoric, a quiver of rhetorical maneuvers. Artists enchant us through their beautiful assemblages of color, shape, effects, reference, and imagery, as a writer ensnares us with words and sentences and para­graphs, as a dancer enthralls us with legs and leaps, as a rock star cap­tures us with hips and lips and voice. The more mastery an artist has of the rhetoric of the beautiful, the more effectively he can rewire how our brains process and perceive visual sense data. It is an awesome power.Beauty, in this equation, is the sum of the charge that an artist, deploy­ing the language of the beautiful, can generate. It is a spark that begins in the intelligence and insight of the artist, is instantiated into material being by her command of the techniques of the beautiful, and is crystal­lized in the world by its capacity to elicit passion and loyalty and detes­tation in its beholders, to rally around itself constituencies and against itself enemies. Like all arks and arenas of human value, beauty is his­torically grounded but also historically contingent. In the Renaissance, where The Invisible Dragon begins its modern history of beauty, masters like Caravaggio were negotiating and reconstructing the relations among the Church, God, man, and society. They were deploying the tools of the beautiful to hook into and renovate primarily theological systems of meaning and human relation. In a liberal, pluralistic, commerce-driven democracy like America, the primary terrain on which beauty was medi­ated, and in some respects generated, was the art market.To dismiss beauty as just another lubricant of modern capitalism, then, was to miss the point in a succession of catastrophic ways. It was to mistake the last part of that equation, the creation and negotiation of value on and through the art market, for the entirety of it. It was to mistake the exchange of art for other currencies of value, which was a human activity that preceded and would persist after capitalism, for capitalism. It was to believe that the buying and selling of art in modern art markets was a problem at all, when, in fact, it was the only available solution in our given historical configuration of forces. And it was to radically underestimate the capacity of beauty to destabilize and reorder precisely the relations of politics, economy, and culture that its vulgar critics believed it was propping up.Beauty had consequences. Beautiful images could change the world. In America, risking money or status for the sake of what you found beautiful—by buying or selling that which you found beautiful or by arguing about which objects should be bought or sold on account of their beauty—was a way of risking yourself for the sake of the vision of the good life you would like to see realized.The good guys in Hickey's story were those who put themselves on the line for objects that deployed the beautiful in ways they found per­suasive and pleasure-inducing. They were the artists themselves, whose livelihoods depended on participation in the art market, who risked poverty, rejection, incomprehension, and obscurity if their work wasn't beautiful enough to attract buyers. They were the dealers, who risked their money and reputation for objects they wagered were beautiful enough to bring them more money and status. They were the buyers, who risked money and ridicule in the hopes of acquiring more status and pleasure. They were the critics, like Hickey, who risked their rep­utations and careers on behalf of the art that struck them as beautiful and on behalf of the artists whose idiosyncratic visions they found per­suasive or undeniable. And finally they were the fans, who desperately wanted to see that which they loved loved by others and to exist in com­munity with their fellow enthusiasts. The good guys were the ones who cared a lot, and specifically.The villains were the blob of curators, academics, review boards, arts organizations, governmental agencies, museum boards, and fund­ing institutions that had claimed for themselves almost total control of the assignment and negotiation of value to art, severing art's ties to the messy democratic marketplace, which was the proper incubator of artis­tic value in a free society. The blob cared a lot, too, but about the wrong things.“I characterize this cloud of bureaucracies generally,” wrote Hickey, “as the ‘therapeutic institution.'”In the great mystery of the disappeared beauty, the whodunnit that fueled The Invisible Dragon, it turned out that it was the therapeutic institution that dunnit. It had squirted so many trillions of gallons of obfuscating ink into the ocean over so many decades that beauty, and the delicate social ecosystems that fostered its coalescence, could barely aspirate. Why the therapeutic institution did this, for Hickey, was simple. Power. Control. Fear of freedom and pleasure and undisciplined feeling. It was the eternally recurring revenge of the dour old Patriarch who had been haunting our dreams since we came up from the desert with his schemas of logic, strength, autonomy, and abstraction, asserting control against the wiles and seductions of the feminine and her emanations of care, vulnerability, delicacy, dependence, joy, and decoration. It was the expression of God's anger in the Garden of Eden when Eve and Adam defied Him to bite from the juicy apple of knowledge and freedom.In one of the most extraordinary passages in the book, Hickey turned Michel Foucault, a favorite of the blob, back on the blob. It was Fou­cault, he wrote, who drew back the curtain on the hidden authoritarian impulse at work in so many of the modern institutions of social order, particularly those systems most committed to the tending of our souls. Such systems weren't content with establishing regimes of dominance and submission that were merely or primarily external. Appearances canbe too deceiving. Too much wildness can course beneath the facade of compliance. It was inner consent, cultivated therapeutically through the benevolent grooming of the institutions, that mattered. Thus the disciplined intensity with which the therapeutic institution had fought its multi-generational war to crowd out and delegitimize the market, where appearance was almost everything and where desire, which is too unpredictably correlated with virtue, was so operative.“For nearly 70 years, during the adolescence of modernity, profes­sors, curators, and academicians could only wring their hands and weep at the spectacle of an exploding culture in the sway of painters, dealers, critics, shopkeepers, second sons, Russian epicures, Spanish parvenus, and American expatriates. Jews abounded, as did homosexuals, bisex­uals, Bolsheviks, and women in sensible shoes. Vulgar people in manu­facture and trade who knew naught but romance and real estate bought sticky Impressionist landscapes and swooning pre-Raphaelite bimbos from guys with monocles who, in their spare time, were shipping the treasures of European civilization across the Atlantic to railroad barons. And most disturbingly for those who felt they ought to be in control— or that someone should be—‘beauties' proliferated, each finding an audience, each bearing its own little rhetorical load of psycho-political permission.”After getting knocked back on their heels so thoroughly, wrote Hickey, the bureaucrats began to get their act together around 1920. They have been expanding and entrenching their hegemony ever since, developing the ideologies, building the institutions, and corralling the funding to effectively counter, control, and homogenize all the unruly little beauties. There had been setbacks to their campaign along the way, most notably in the 1960s, but the trend line was clear.In this dialectic, Mapplethorpe proves an interesting and illustra­tive figure. He was so brilliant in making his world beautiful that the therapeutic institution had no choice but to gather him in, to celebrate him in order to neutralize him, to pulverize his diversities and convert them into homogeneous statements. But it turned out that he was too quicksilver a talent to be so easily caged, and the blob was overconfident in its capacity to domesticate him. It/they missed something with Map­plethorpe and made the mistake of exposing him to the senator from North Carolina and the prosecutor from Hamilton County, who saw through the scrim of institutional mediation. All the therapeutic testi­mony that followed, in the case of Cincinnati v. Contemporary Arts Center, wasn't really about defending Mapplethorpe or fending off conservative tyranny. It was about reasserting the blob's hegemony. In truth, Senator Helms and the therapeutic institution were destabilized by complemen­tary aspects of the same thing, which was pleasure and desire rendered beautiful and specific.“It was not that men were making it then,” wrote Hickey, “but that Robert was ‘making it beautiful.' More precisely, he was appropriating a Baroque vernacular of beauty that predated and, clearly, outperformed the puritanical canon of visual appeal espoused by the therapeutic institution.”Confronted by this beautiful provocation, the conservative and art establishments, whatever they thought they were doing, were, in fact, collaborating to put Mapplethorpe back in his place. The ostensible tri­umph of one side was the secret triumph for both. It was beauty that lost. The Invisible Dragon was a howl of frustration at this outcome. It was also a guerrilla whistle. Not so fast . . .Eminent Americans is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Eminent Americans at danieloppenheimer.substack.com/subscribe

Heads are rolling on this week's interview with the managing editor of Sneeze Magazine Bradley Carbone. Bradley was kind enough to host us in his beautiful apartment to give us some perspective on being the self-proclaimed Larry Flynt of streetwear, how much a tricked out wheelchair actually costs, literally heavy chain acknowledgments, helping spearhead the designer sneaker era at Adidas, spicy rigatoni nepo babies, the comfortable restraint of staying in the industry shadows, why anyone would still make a print magazine in 2023, tracking down Iggy Pop in Miami, Virgil Abloh's propensity to never stop going in, Sneeze's backpage babes, how to collab on sneakers, fashion's agency middle man scam, getting fits off while wheelchair bound, micro and macro trend forecasting from a goated mind, Spanto memories and what made him so special, 5am vs. 10am conversations, the idea of downtown and checking in with some former and future legends, reflecting on the freak accident that changed his life, parallel timelines, nearly hitting the NYC media triple crown featuring a delicious Afters tease, the best and worst things about marrying an Italian, email strategies for different nationalities and much more on this insightful and ingenious episode of The Only Podcast That Matters™. For more Throwing Fits, check us out on Patreon: www.patreon.com/throwingfits.

Confesó el intento de asesinato de dos hombres prominentes: del editor de revistas Larry Flynt en 1978 y del activista por los derechos civiles Vernon Jordan Jr. en 1980.

Plus, a website that makes it easy to find any movie on streaming. And hey, victims of the MGM cyberattack — Larry Flynt's Hustler Club has a little something to make it up to you. The health features your watch can keep track of, and how to keep your location off Google Maps. 

This week, I'm honored to be joined by not one but two brilliant screenwriters, Larry Karaszewski & Daniel Waters. Larry Karaszewski & his writing/directing/producing partner Scott Alexander are best known for writing unusual true stories such as the films ED WOOD, THE PEOPLE VS. LARRY FLYNT, MAN ON THE MOON, AUTO FOCUS, BIG EYES, DOLEMITE IS MY NAME, & the hit television miniseries THE PEOPLE VS. OJ SIMPSON: AMERICAN CRIME STORY. The team has won Emmys, Golden Globes, Producers, & Writers Guild Awards. Additionally, Larry is also a former Governor & Vice President of the Academy of Motion Pictures Arts & Sciences. Born in Ohio & raised in Indiana, Daniel Waters is the Edgar award-winning screenwriter of the 1988 cult classic HEATHERS starring Winona Ryder & Christian Slater. Additionally, the man who wrote or co-wrote the films BATMAN RETURNS, HUDSON HAWK, THE ADVENTURES OF FORD FAIRLANE, DEMOLITION MAN, & more, he's also the writer-director of HAPPY CAMPERS & SEX & DEATH 101.Dear friends & movie buddies since their teenage years in Indiana, in this witty & well-researched ninety-minute conversation, the two champion the incredible '70s run of filmmaker Michael Ritchie. Focusing on Ritchie's view of America in the films DOWNHILL RACER, PRIME CUT, THE CANDIDATE, SMILE, THE BAD NEWS BEARS, & SEMI-TOUGH, before his wildly uneven '80s era, this episode is a must for '70s film fans. Originally Posted on Patreon (9/18/23) here: https://www.patreon.com/posts/89431917 Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Logo: KateGabrielle.com

Larry Nassar stabbed in prison, Jamie Foxx is fine, Tom Brady's crypto oopsie, why RFK Jr looks different, The Ashley Madison Affair on Hulu, Drew Crime: Signs of a Psychopath, and we go in search of Tori Spelling at her 1* $100 a night motel. Jamie Foxx is completely fine and playing golf. Some people are saying there were prayers wasted and that he played us. Former US Gymnastics doctor Larry Nassar has been stabbed multiple times in prison. Not one single person has any sympathy. Drew Crime: Sign of a Psychopath covered the crimes of racist serial killer and Larry Flynt maimer Joseph Paul Franklin. Vanna White needs to be happy with what she's done and move on from The Wheel. We recall her great acting chops on Married with Children. Madonna has been sighted leaning on things following her medical emergency. Erin Andrews had a baby. Awwwww. Alec Baldwin's "little pig" daughter also had a child. Ireland Baldwin hates her father. The USMNT defeated those pesky "blessed" Canadians in soccer. Siegfried & Roy: The Original Tiger Kings aired on Reelz. Drew remains obsessed with 90 Day Fiancé and Gino & Jasmine's love story. Spoiler: A Bonerliner camped right next to them last week. Sports: Detroit Red Wings signed former 40 goal scorer Alex DeBrincat. He's 25 and from Farmington Hills. The Detroit Tigers drafted 18-year-old Max Clark. "Untold: Johnny Football" is coming out on Netflix. It's all about Johnny Manziel's failed career. Ozzy Osbourne pulls out of the big Power Trip festival. The trial over Aretha Franklin's wills begins today as all four sons battle over her money and control of future earnings. A Tennessee soccer coach was raping boys left and right. He was busted because he left his unlocked phone at a restaurant. Kevin Spacey is a sexual bully whose main moved was "violently grabbing crotches". Tori Spelling is poor & Dean McDermott remains a load. The celebrities are NOT flocking to Cameo like they used to. There is a fascinating documentary on Ashley Madison on Hulu. Sarah Brady is defending herself for the timing in dumping all of Jonah Hill's messages. She did it for his baby's health. Is Tom Brady nailing EmRata or Kim Kardashian? He's also really bad at cryptocurrency. TikTok's Boat Jumping Challenge is killing people. We try and check in with Tori Spelling at her cheap 1* hotel, but we run into a savvy phone operator. Theranos founder and fraudster Elizabeth Holmes has her sentenced reduced by two years. Poolside Karen is a pretty hot racist. Her "victim" is a pretty hot influencer. Joe Biden got a little distracted in England. The president is being accused of having 'outbursts' at aids. Elon Musk has challenged Mark Zuckerberg to a "literal dick measuring" contest. Tokyo Toni and a Kardashian brat vs Alexa. Kamala Harris tries to define "culture". RFK Jr. is ripped and people believe he's on steroids. WATP's Karl Hamburger will join us tomorrow. Get your tickets to the live show! Breaking Ending News: Northwestern football coach Pat Fitzgerald BLOWN OUT! Visit Our Presenting Sponsor Hall Financial – Michigan's highest rated mortgage company If you'd like to help support the show… please consider subscribing to our YouTube Page, Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels, Jim Bentley and BranDon

On this episode of Quantum week: movie “The People Vs. Larry Flint”, and song “Super Bon Bon” by Soul Coughing.

Matthew Perry whoppers, Election 2022 results, Orgasm Inc, Melinda French Gates gets new dong, remembering Gerard Finneran & the worst flight ever, a new Bonerline, Warren Beatty sued, John Lennon's butt crack, and John Hinckley Jr introduces the National Redemption Party.Election 2022: The power of the Senate falls on Georgia again with a runoff: Herschel Walker vs Raphael Warnock. Colorado Rep. Lauren Boebert lost. Sarah Palin lost for the 3rd time this year. Beto O'Rourke loses elections for a living. Big Gretch is the big winner of Michigan.Beavis and Butthead do ASMR.Drew finally got around to watching Eli Zaret's Local 4 special. Check it out here.Tim "Kiska my Asska" was just on ML Elrick's Soul of Detroit podcast.Julie doesn't know the ending of the Jeffrey Dahmer story yet. Nobody spoil it for her.Rest in peace, Larry Flynt. Drew feels that he was never properly eulogized.Join the National Redemption Party today.Marc liked 'Don't Worry Darling' and is now #TeamOliviaWilde, but only when it comes to directing.Nicole Daedone mastered the orgasm and cults in Orgasm Inc now on Netflix.Drew dove into Matthew Perry's biography. We expose the many whoppers in the book.Jennifer Aniston wants you to know she's still really hot... and she's correct.Look at these pictures of Coco Arquette.Crypto is getting destroyed again today. Tom Brady is a massive victim of the failure of FTX.Kate Upton is the anti-Gisele Bundchen.Butt Crack Battle: John Lennon vs Yoko Ono.Former Fox News reporter, Jon Du Pre, is plowing into Melinda French Gates.Thanks to all the participants in the 'Weinstein Penis Drawing Project'.It's time for another unsponsored Bonerline. Call or text 209-66-Boner.We remember the legend of Gerard Finneran and the fecal flight of United Airlines Flight 976.Scientology: Lisa Marie Presley is OUT of the Danny Masterson trial. Tom Cruise and Queen Elizabeth were best friends.Has anybody ever seen Michael Lockwood without a hat on? This wig does not count.More politricks: Shri Thanedar is going to Washington. Dr. Oz lost to John Fetterneck.Kristina Hirsch accuses Warren Beatty of grooming her. What a cocksman.Aaron Carter was really trying to be a great dad before his untimely death.Disney+ is winning the streaming wars.Facebook (Meta) is the latest tech company to lay a million people off.Twitter is SO racist now.Lenny Dykstra totally wants to nail Lauren Boebert.Social media is dumb, but we're on Facebook, Instagram and Twitter (Drew and Mike Show, Marc Fellhauer, Trudi Daniels and BranDon).