Podcasts about leonard part

Somewhere 'tween Johnny 5 and Leonard Part 6 lies Sutter Part 5. T-Shirts by How the West was Fucked Podcast | TeePublic How The West Was Fucked | Podcast | Patreon #howthewestwasfucked #htwwf #americanhistory #oldwest #wildwest #californiahistory #sacrementohistory #wine #fredflinstonebonvivant

Odds and Ends: T.J. needs to eat sometimes, so he mukbangs (does a mukbang? is mukbanging?) during this episode, sorry about that; the Beetlejuice sequel is pretty good, and gave T.J. an idea for a better usage of deepfake AI tech in movies Feature Film: We discuss the oddity of Leonard Part 6, a Bill Cosby movie that has been reviled long before, well, recentish events. But we maybe don't think it's actually as atrocious as it's made out to be, maybe? It's not, like, good or anything, but it's not the worst thing Bill Cosby has ever done either. Next week's movie: Lake Mungo (2008) and Late Night with the Devil (2024) wsg Chris You can join the conversation every Wednesday at 7pm EST on Twitch and Youtube! Available in podcast form on all your favorite podcatchers! Twitch // twitch.tv/ThereWillBeDuds Socials: linktr.ee/ThereWillBeDuds YouTube // There Will Be Duds Twitter // @ThereWillBeDuds Facebook // There Will Be Duds Instagram // ThereWillBeDuds TikTok // @ThereWillBeDuds --- Support this podcast: https://podcasters.spotify.com/pod/show/there-will-be-duds/support

Before Bill Cosby was a serial sex offender (well, concurrently really), he was just an unfunny comedian. And Leonard Part Six is his magnum opus of unfunny. Leonard Parker is a secret agent, like a moronic James Bond of sorts. This is technically his sixth adventure. The other five are classified! That latter bit you should be happy about. Why? Because number six is as dumb as humanly possible. It centers on Leonard's battle with the evil Medusa Johnson. Johnson uses animals to enact her nefarious plots, as well as a team of half-naked vegans. Yes, all of this comes into play in a myriad of idiotic scenarios.  It's all dumb. None of it is charming, witty, or remotely hilarious. And, by the end, you will try to drown yourself in a vat of Jell-O pudding to escape the madness. Now, sit back, cure your rabbit bites with a Bell's Hazy Hearted, and prepare to ride an ostrich! The Thunderous Wizard (@WriterTLK), Bling Blake, and Chumpzilla are smiting murderous veggie-loving terrorists with thawed magic meat! This Week's Segments: Introduction/Plot Breakdown – America's best-dressed super spy! (0:00) Lingering Questions – In a film starving for comedic moments, were any of the gags funny? (29:50) The "Ipso Facto" Trivia Challenge – Chumpzilla challenges the field to trivia about the movie. (46:54) Recommendations – We offer our picks for the week and next up: We do the first of two special episodes covering Zack Snyder's space opera, Rebel Moon – Part One Director's Cut: Chalice of Blood! (57:51) And, as always, hit us up on Threads, Twitter, Facebook, or Instagram to check out all the interesting factoids from this week's episode! You can find this episode of Hops and Box Office Flops on all your favorite pod catchers!

Odds and Ends: Luke from the Least Important Things podcast returns; We discuss the recent few entries in the Alien franchise Feature Film: Luke recommended another Crichton Classic/Crap (take your pick) with the Antonio Banderas-led The 13th Warrior. It is definitely one of those things that is a movie, that is for sure. At least if the movie isn't great, you can look at Antonio in his peak BandEra. Next week's movie: Leonard Part 6 (1987) You can join the conversation every Wednesday at 7pm EST on Twitch and Youtube! Available in podcast form on all your favorite podcatchers! Twitch // twitch.tv/ThereWillBeDuds Socials: linktr.ee/ThereWillBeDuds YouTube // There Will Be Duds Twitter // @ThereWillBeDuds Facebook // There Will Be Duds Instagram // ThereWillBeDuds TikTok // @ThereWillBeDuds --- Support this podcast: https://podcasters.spotify.com/pod/show/there-will-be-duds/support

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Nick almost gave up on this movie, but then he doubled down and watched it twice to see if he missed the point the first time, but no. What turned out to be a miserable viewing experience at least turned into one of the most hilarious breakdowns this season. Our "40-40-Offender" of the year is Bill Cosby's Leonard Part 6. It disappointed audiences in 1987 and is still going strong disappointing us at Just Play It. Thanks for tuning in. For more, follow us on Instagram & YouTube @justplayitpodcast & X (fka Twitter) @justplayitpod

FOLLOW ME ON TWITTER @HITMANCHRO60580 ANY QUESTIONS FOR ME TO ANSWER ON THE PODCAST SUBMIT VIA TWITTER #ASKROBSILVA ALL VOICE NOTES & COMMENTS EMAIL ME ROBERTSILVA57@HOTMAIL.COM FOOTAGE OF THE ENTIRE FIGHT https://youtu.be/Lolw_HNkFQw?si=OR_L7xhr3YA5yniO --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-silva5/message

On today's episode from December 26th, 1987, we spend time with Siskel & Ebert and two comedy legends, Robin Williams and Eddie Murphy. Both Good Morning, Vietnam and Eddie Murphy Raw were huge hits that year and were built around their stars' personas, further cementing Williams and Murphy as two of the biggest stars of the decade. Do their brands of humor hold up all these years later? Can topical humor from back then work today? We get into all that as well as a Bill Cosby movie that most certainly does not hold up. We also look at a movie with a much different vibe starring Christine Lahti.

We take a look at Sugar Ray's unbelievable performance against legendary Middleweight Champion Marvelous Marvin Hagler YOUTUBE LINK TO THE FIGHT https://youtu.be/Isc2dib0O6g?si=EQNI9dUg5zep1a7i FOLLOW ME ON TWITTER @HITMANCHRO60580 ANY QUESTIONS FOR ME TO ANSWER ON THE PODCAST SUBMIT VIA TWITTER #ASKROBSILVA ALL VOICE NOTES & COMMENTS EMAIL ME ROBERTSILVA57@HOTMAIL.COM --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-silva5/message

YOUTUBE LINK TO THE FIGHT https://youtu.be/h_6ETGwMNDk?si=5f4-5brhsELvE2kG FOLLOW ME ON TWITTER @HITMANCHRO60580 ANY QUESTIONS FOR ME TO ANSWER ON THE PODCAST SUBMIT VIA TWITTER #ASKROBSILVA ALL VOICE NOTES & COMMENTS EMAIL ME ROBERTSILVA57@HOTMAIL.COM --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-silva5/message

YOUTUBE FOOTAGE OF THE FIGHT https://youtu.be/-U5PurMKpPE?si=tgIwcglv8L3xSUPk FOLLOW ME ON TWITTER @HITMANCHRO60580 ANY QUESTIONS FOR ME TO ANSWER ON THE PODCAST SUBMIT VIA TWITTER #ASKROBSILVA ALL VOICE NOTES & COMMENTS EMAIL ME ROBERTSILVA57@HOTMAIL.COM --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-silva5/message

We take a look at Sugar Ray's redemption fight vs Roberto Duran in one of the most controversial fights in boxing history YOUTUBE LINK TO THE FIGHT https://youtu.be/RVndudhwKUE?si=w2YxU-IIEluzHRrh FOLLOW ME ON TWITTER @HITMANCHRO60580 ALL QUESTIONS YOU WANT ANSWERED ON THE POD SUBMIT ON TWITTER VIA #ASKROBSILVA ALL COMMENTS & VOICE NOTES EMAIL ME ROBERTSILVA57@HOTMAIL.COM --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-silva5/message

We take a look at the night Sugar Ray Leonard decimated Davey Boy Green FOLLOW ME ON TWITTER @HITMANCHRO60580 ALL QUESTIONS FOR THE POD SUBMIT ON TWITTER VIA #ASKROBSILVA ALL VOICE NOTES & COMMENTS EMAIL ME ROBERTSILVA57@HOTMAIL.COM --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-silva5/message

We take a look at Sugar Ray Leonard's iconic 1st title fight vs the Puerto Rican legend Wilfred Benitez YOUTUBE LINK TO THE FIGHT https://youtu.be/vej8uBb1kUY?si=2xVhM01940kfiCdI FOLLOW ME ON TWITTER @HITMANCHRO60580 ALL QUESTIONS YOU WANT ANSWERED ON THE POD SUBMIT ON TWITTER #ASKROBSILVA ALL COMMENTS & VOICE NOTES EMAIL ME ROBERTSILVA57@HOTMAIL.COM --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-silva5/message

We take a look at Sugar Ray Leonard's fight vs Andy Price & how the result played a major role in the downfall of Marvin Gaye's personal & professional life YOUTUBE LINK TO THE FIGHT https://youtu.be/xWhWlAIyTZA?si=GQzr6hOjXo7TpYK0 FOLLOW ME ON TWITTER @HITMANCHRO60580 ALL QUESTIONS FOR THE POD SUBMIT ON TWITTER #ASKROBSILVA ALL COMMENTS & VOICE NOTES EMAIL TO ROBERTSILVA57@HOTMAIL.COM --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-silva5/message

We take a look at Sugar Ray Leonard's toughest fight in the early stages of his career vs Mexican power puncher Marcos Geraldo YOUTUBE LINK TO THE FIGHT https://youtu.be/TKl8CGMzXEQ?si=e9zrNLxgbs3HjOb2 FOLLOW ME ON TWITTER @HITMANCHRO60580 ANY QUESTIONS YOU WANT ANSWERED ON THE PODCAST SUBMIT THEM ON TWITTER VIA #ASKROBSILVA ALL VOICE NOTES & COMMENTS EMAIL ME ROBERTSILVA57@HOTMAIL.COM --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-silva5/message

We take a look at Ray Leonard's first real test vs top 10 contender Floyd Mayweather YOUTUBE FOOTAGE OF THE FIGHT https://youtu.be/E1CKgJ8sxEw?si=NpU2CyOhlrTx8IhI ALL QUESTIONS FOR THE PODCAST SUBMIT ON TWITTER VIA #ASKROBSILVA ALL COMMENTS & VOICE NOTES EMAIL ME ROBERTSILVA57@HOTMAIL.COM --- Send in a voice message: https://podcasters.spotify.com/pod/show/robert-silva5/message

Expedition Everest, frozen bananas, Liberty Tree Tavern in Magic Kingdom and a new Disney ride concept are just a few of the things that Scott and Lisa talk about in this week's episode. Be sure to check out Lisa Leonard - Part 2 where Lisa and Scott talked about her long and incredible career as a singing and dancing Cast Member in Magic Kingdom, Epcot, and Tokyo Disneyland and she also shared what it was like riding on Walt Disney's private airplane. And now, we give you the rest of Scott's conversation with Lisa Leonard! We hope you enjoy it! Email: TheMouseAndMePodcast@gmail.com Support: www.patreon.com/themouseandme FB & Instagram: The Mouse and Me TikTok: @TheMouseAndMePodcast Twitter: @MouseMePodcast Music by Kevin MacLeod from https://incompetech.filmmusic.io --- Support this podcast: https://podcasters.spotify.com/pod/show/themouseandme/support

Lisa Leonard is a Swiss Army Knife in the entertainment industry. She's a performer, dance teacher, Casting Assistant, Casting Director, Stage Manager, Show Director, Choreographer, and is currently an Event and Promotions Manager for The Walt Disney Company where she leads the Disney Character Events team in New York City. Lisa started out singing, dancing, and acting at Walt Disney World where she was a World Dancer in Epcot and was a Kid of the Kingdom. She also worked at Tokyo Disneyland where she performed in Swing & Sing, Diamond Horseshoe, and the Hoop Dee Doo Revue. As a Casting Director and Events Manager for Disney, some of the things Lisa worked on was the “Pirates of the Caribbean - Curse of the Black Pearl” movie release, the Tarzan and Hercules premieres in NYC, The Little Mermaid video release party at Madison Square Garden, the Pocahontas movie premiere in Central Park, and promotional events for Frozen II.   We just know you're going to enjoy Part 1 of Scott's conversation with his pal, Lisa Leonard! Email: TheMouseAndMePodcast@gmail.com Support: www.patreon.com/themouseandme FB & Instagram: The Mouse and Me TikTok: @TheMouseAndMePodcast Twitter: @MouseMePodcast Music by Kevin MacLeod from https://incompetech.filmmusic.io --- Support this podcast: https://podcasters.spotify.com/pod/show/themouseandme/support

2 weeks after our initial conversation, Brooklyn based visual artist Elton Leonard returned for another episode. We started off episode 53 by talking about Martial Arts since Elton was a practitioner and I have been a long time enthusiast. We spoke about the importance of communication and how misunderstandings in our diverse city can spark into long time race tensions. We also discussed importance of mental health awareness and I invited Elton to be part of my future episodes because talks like this bring healing to both of us. Thank you for your listening and supports.

Outline00:00 - Intro01:33 - Starling Flock Formations07:17 - Harvesters ants in the desert16:54 - Decision making in the natural world and opinion dynamics 32:08 - A geometric look at political polarization36:50 - Control theory and dancing53:25 - CreativeX55:25 - On creativity57:47 - Advice to future studentsLinksAndrea Cavagna - http://tinyurl.com/uywn592jIrene Giardina - http://tinyurl.com/4jmk2h5n Starling Flock Networks Manage Uncertainty in Consensus at Low Cost: http://tinyurl.com/hc7wz5zpRegulation of harvester ant foraging: http://tinyurl.com/4s7samffFitz-Hugh-Nagumo model: http://tinyurl.com/yer32bhsBistability and Resurgent Epidemics in Reinfection Models: http://tinyurl.com/2p98fhpcSIR model: http://tinyurl.com/mrxdjvycMulti-agent system dynamics: Bifurcation and behavior of animal groups: http://tinyurl.com/ycx6ue2zFast and Flexible Multiagent Decision-Making: http://tinyurl.com/yd3azrjeA. Franci - http://tinyurl.com/5y5cn9yzA. Bizyaeva - http://tinyurl.com/3trp7c53M. Golubitsky - http://tinyurl.com/5ebkdtncI. Stewart - http://tinyurl.com/53nws9yzMulti-agent Decision-Making Dynamics Inspired by Honeybees: http://tinyurl.com/3jxmrkvdNonlinear Opinion Dynamics With Tunable Sensitivity: http://tinyurl.com/33mb23tbThe Nonlinear Feedback Dynamics of Asymmetric Political Polarization: http://tinyurl.com/rjdntrbpFlock logic: http://tinyurl.com/yyze25szThere may be others: http://tinyurl.com/fetjhecnSocial decision-making driven by artistic explore-exploit tension:  http://tinyurl.com/4r2uxebrRhythmbots: http://tinyurl.com/mr3k9f43CreativeX (Naomi's website): http://tinyurlSupport the showPodcast infoPodcast website: https://www.incontrolpodcast.com/Apple Podcasts: https://tinyurl.com/5n84j85jSpotify: https://tinyurl.com/4rwztj3cRSS: https://tinyurl.com/yc2fcv4yYoutube: https://tinyurl.com/bdbvhsj6Facebook: https://tinyurl.com/3z24yr43Twitter: https://twitter.com/IncontrolPInstagram: https://tinyurl.com/35cu4kr4Acknowledgments and sponsorsThis episode was supported by the National Centre of Competence in Research on «Dependable, ubiquitous automation» and the IFAC Activity fund. The podcast benefits from the help of an incredibly talented and passionate team. Special thanks to L. Seward, E. Cahard, F. Banis, F. Dörfler, J. Lygeros, ETH studio and mirrorlake . Music was composed by A New Element.

Lenny talks with Aaman and Nate about his personal cricket journey, his special relationship with Nepal, the underserved coverage of Associate Cricket, and ICC's protectionist approach to copyright in the age of digital media. 

Outline00:00 - Intro01:05 - Dancing and control theory03:31 - Geometric control on Lie groups09:14 - Underwater vehicles and geometric mechanics18:45 - On the Hamiltonian framework21:25 - Underwater field experiments in Monte Rey Bay 36:27 - Collective motion and coordination in animal groups54:40 - Honeybees and bifurcation theory1:03:36 - OutroLinksNaomi's website: http://tinyurl.com/j755aww5Naomi's PhD Thesis: http://tinyurl.com/ywkvvy7kLie group: http://tinyurl.com/2p83jw9sAveraging: http://tinyurl.com/df9kmmcwStability of underwater vehicles: http://tinyurl.com/yxxytufxJ. Marsden: http://tinyurl.com/zvm8kkttA. Block: http://tinyurl.com/6wc39zkdCenter of buoyancy: http://tinyurl.com/mszncamhControlled Lagrangians: http://tinyurl.com/22usb52e - http://tinyurl.com/ymmntvr8Casimir function: http://tinyurl.com/yckc99mkMonterey Bay field experiments: http://tinyurl.com/yc24adct -  http://tinyurl.com/3sd7ee39 - http://tinyurl.com/ywryjwvr Collective motion: http://tinyurl.com/yuna5pam - http://tinyurl.com/pau74hmc - http://tinyurl.com/4p7zd5szSpatial patterns in coordinated groups: http://tinyurl.com/45y7hc9v-  http://tinyurl.com/5n7rm6vfKuramoto model: http://tinyurl.com/5eshfxhaDecision making in animal groups: http://tinyurl.com/3ybne8hn - http://tinyurl.com/283yts4y Value-Sensitive Decision-Making in honeybees: http://tinyurl.com/2uhcwyy6Bifurcation: http://tinyurl.com/tfr3ks7aSingularity theory: http://tinyurl.com/4kmxuv8zSupport the showPodcast infoPodcast website: https://www.incontrolpodcast.com/Apple Podcasts: https://tinyurl.com/5n84j85jSpotify: https://tinyurl.com/4rwztj3cRSS: https://tinyurl.com/yc2fcv4yYoutube: https://tinyurl.com/bdbvhsj6Facebook: https://tinyurl.com/3z24yr43Twitter: https://twitter.com/IncontrolPInstagram: https://tinyurl.com/35cu4kr4Acknowledgments and sponsorsThis episode was supported by the National Centre of Competence in Research on «Dependable, ubiquitous automation» and the IFAC Activity fund. The podcast benefits from the help of an incredibly talented and passionate team. Special thanks to L. Seward, E. Cahard, F. Banis, F. Dörfler, J. Lygeros, ETH studio and mirrorlake . Music was composed by A New Element.

Aaman and Nate are joined by "Cricket Badger" Andrew Leonard to discuss Associate Cricket struggles, the groundbreaking upcoming T20 World Cup, the many World Cup Qualifiers, and Lenny's special relationship with Nepal. Part 1 of 2. 

On the morning of Sunday, October 11, 2015, the Leonard family went to church as usual not knowing one of them would end up dead and the lives of many more forever altered. Trigger Warning:CultBrainwashingMental, Emotional, & Physical AbuseMentions of MolestationReligious TraumaSpiritual AbuseTortureWithout A Prayer by Susan Ashline (Commission Link) Follow Us On Social Media The PodcastTik Tok @DeadlyFaithPodcastInstagram @DeadlyFaithPodcastLaciTik Tok @Laci_BeanInstagram @Laci__BeanLolaTik Tok @hellotherelolaInstagram @Spellbound_Shears

On this episode we've got part 2 of 2 of my conversation with Michael Leonard. We talk about: a different kind of goal for your round having a consistently detailed structure what it's like to play q school as an amateur techniques to move on from bad shots what better players do that average players don't playing your own game and being true to yourself And more You should walk away from this episode having a better mentality around leaning into your own game and not trying to be something you're not. ----- Michael Leonard's links: TikTok Instagram YouTube Book ----- Custom Weekly Practice Plan Do you want to get the most out of your practice time? Let Josh hand-build your practice plan using your stats and your time availability so that you can start practicing more efficiently. ----- Are you a competitive golfer? Interested in working 1-on-1 with Josh as your Golf Psychology Coach? Email Josh directly at ⁠⁠⁠⁠⁠⁠⁠mentalgolfshow@gmail.com⁠⁠⁠⁠⁠⁠⁠ or head to ⁠⁠⁠⁠⁠⁠⁠joshnicholsgolf.com⁠⁠⁠⁠⁠⁠⁠. ----- Take the Mental Game Assessment⁠⁠⁠⁠⁠⁠⁠ and learn your top mental game traits and your areas in most need of improvement. ----- Want to be a SPONSOR on The Mental Golf Show? Email us with inquiries at mentalgolfshow@gmail.com ----- ⁠⁠⁠⁠⁠⁠⁠Click here to sign up⁠⁠⁠⁠⁠⁠⁠ for The Mental Re-Grip ⛳️ Newsletter to receive mental game tips in your email inbox every-ish Tuesday. ----- Have a suggestion for a topic or guest? ⁠⁠⁠⁠⁠⁠⁠Drop your suggestions here.⁠⁠⁠⁠⁠⁠⁠ ----- Follow Josh on social: Twitter: ⁠⁠⁠⁠⁠⁠⁠@joshlukenichols⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠@joshlukenichols⁠⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠@joshlukenichols⁠⁠⁠⁠⁠⁠⁠ ----- Follow The Mental Golf Show on social: Twitter: ⁠⁠⁠⁠⁠⁠⁠@mentalgolfshow⁠⁠⁠⁠⁠⁠⁠ Instagram: ⁠⁠⁠⁠⁠⁠⁠mentalgolfshow⁠⁠⁠⁠⁠⁠⁠ TikTok: ⁠⁠⁠⁠⁠⁠⁠mentalgolfshow

On the morning of Sunday, October 11, 2015, the Leonard family went to church as usual not knowing one of them would end up dead and the lives of many more forever altered. Trigger Warning:CultBrainwashingMental, Emotional, & Physical AbuseMentions of MolestationReligious TraumaSpiritual AbuseTortureWithout A Prayer by Susan Ashline (Commission Link) Follow Us On Social Media The PodcastTik Tok @DeadlyFaithPodcastInstagram @DeadlyFaithPodcastLaciTik Tok @Laci_BeanInstagram @Laci__BeanLolaTik Tok @hellotherelolaInstagram @Spellbound_Shears

In this gripping first episode of a three-part series with Open Champion Justin Leonard, we explore the foundations of Leonard's remarkable golf journey as we delve into Leonard's early triumphs and the experiences that shaped his rise to golfing prominence.Starting with his amateur years, Leonard shares compelling insights into his victories at prominent tournaments such as the Southern Amateur, the Western Amateur, and the U.S. Amateur. Leonard's fascinating recollections of playing in the 1993 Walker Cup reveal his passion and competitiveness, offering listeners a behind-the-scenes look at his camaraderie with teammates and delightful anecdotes of their lively practice rounds.The episode shines a spotlight on Leonard's pivotal summers of back-to-back extraordinary golf performances. Playing in both major championships and tour events, Leonard describes how these experiences honed his skills and bolstered his confidence, providing a captivating view into his growth as a golfer.Further enriching the episode, Leonard reflects on the influence of legendary figures like Ben Crenshaw and relives memorable moments such as his victories at the Southern Amateur at Oak Tree. His reflections on playing in iconic events and making challenging courses appear "easy" paint a vivid picture of his talent and versatility.Listeners will appreciate Leonard's warmth and wit as he engages in a playful quiz about the Eisenhower Trophy competition, adding a lighthearted touch to the discussion. His love for the game resonates throughout the conversation, making this episode a treasure for golf enthusiasts.Join us as we travel back to the early years of Justin Leonard's golf career, "FORE the Good of the Game". Support the showFollow our show and/or leave a review/rating on: Our Website https://www.forethegoodofthegame.com/reviews/new/ Apple Podcasts https://podcasts.apple.com/us/podcast/fore-the-good-of-the-game/id1562581853 Spotify Podcasts https://open.spotify.com/show/0XSuVGjwQg6bm78COkIhZO?si=b4c9d47ea8b24b2d Google Podcasts https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS8xNzM3Mjc1LnJzcw About "FORE the Good of the Game” is a golf podcast featuring interviews with World Golf Hall of Fame members, winners of major championships and other people of influence in and around the game of golf. Highlighting the positive aspects of the game, we aim to create and provide an engaging and timeless repository of content that listeners can enjoy now and forever. Co-hosted by PGA Tour star Bruce Devlin, our podcast focuses on telling their life stories, in their voices. Join Bruce and Mike Gonzalez “FORE the Good of the Game.” Thanks so much for listening!

In this riveting second part of a three-part series, we delve into the professional career of golf legend Justin Leonard, a name synonymous with determination and prowess on the green. The episode invites you to journey through the critical years that shaped Leonard's career, leading up to the pinnacle of his success in the late 1990's.As we travel back in time, the episode explores Leonard's early years on the PGA Tour, illuminating the challenges, triumphs, and lessons learned. From his remarkable victory at the 1997 Open Championship to his victory at the Player's Championship the following year, Leonard's contributions to the game are not only inspiring but also illustrative of his unyielding dedication and love for the sport.Listeners are treated to an in-depth examination of Leonard's growth as a player, including his mindset, tactics, and the decisions that led him to become one of the most respected figures in golf. The episode also provides fascinating insights into Leonard's relationships with fellow players, his thoughts on the evolving dynamics of the game, and his unwavering commitment to excellence.With unique anecdotes and reflections, the episode paints a vivid picture of a time in golf history marked by innovation, competition, and the emergence of new talents. Leonard's perspective offers a unique window into this era, providing both casual fans and avid golf enthusiasts with a compelling narrative filled with emotion, wisdom, and the spirit of the game.Don't miss this exciting installment that celebrates not only Justin Leonard's remarkable career but also the broader landscape of golf through the lens of one of its most esteemed players. Whether you're reminiscing about the golfing moments of the '90s or eager to learn from one of the masters of the sport, this episode promises a timeless and engaging experience. Tune in, and tee it up with us "FORE the Good of the Game."Support the showFollow our show and/or leave a review/rating on: Our Website https://www.forethegoodofthegame.com/reviews/new/ Apple Podcasts https://podcasts.apple.com/us/podcast/fore-the-good-of-the-game/id1562581853 Spotify Podcasts https://open.spotify.com/show/0XSuVGjwQg6bm78COkIhZO?si=b4c9d47ea8b24b2d Google Podcasts https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS8xNzM3Mjc1LnJzcw About "FORE the Good of the Game” is a golf podcast featuring interviews with World Golf Hall of Fame members, winners of major championships and other people of influence in and around the game of golf. Highlighting the positive aspects of the game, we aim to create and provide an engaging and timeless repository of content that listeners can enjoy now and forever. Co-hosted by PGA Tour star Bruce Devlin, our podcast focuses on telling their life stories, in their voices. Join Bruce and Mike Gonzalez “FORE the Good of the Game.” Thanks so much for listening!

In this thrilling conclusion of a three-part series with Justin Leonard, listeners are invited to embark on a journey through Leonard's professional career from 2000 onward. An episode filled with vivid insights and reflections, Leonard shares his experiences playing in the Dunhill Cup, the World Cup, and the improbable putt he made at 1999 Ryder Cup at Brookline, an event etched in golfing history.Leonard opens up about his time playing alongside legends like Davis Love III and Jim Furyk, and his transition into broadcasting, providing a glimpse into the steep learning curve and the joy he found in this new avenue. He details the evolution of his analysis and the challenges he faced in adapting to the unique rhythm of televised golf commentary. His stories are seasoned with humor, wisdom, and a deep respect for the game.A particularly poignant moment arrives as Leonard reflects on his "career mulligan" at the 2004 PGA Whistling Straits, a candid admission that resonates with anyone who's felt the weight of a single decision. The hosts, Mike Gonzalez and Bruce Devlin, steer the conversation with warmth and understanding, tying in their shared experiences and engaging Leonard in a discussion that feels both intimate and universal.The episode concludes with Leonard answering the hosts' signature three questions, offering insights that transcend golf, touching on themes of perfectionism, grace, and the importance of treating people the right way. His perspective is a testament to a career well-played and a life well-lived.Join Mike, Bruce, and Justin Leonard for a final round that is as entertaining as it is enlightening, offering lessons on the fairways and beyond. Whether a golf enthusiast or simply interested in the life stories of those who have mastered their craft, this episode promises a captivating look at one man's path through professional golf, broadcasting, and life. Subscribe to our podcast to enjoy this episode and many more as they continue to celebrate the world of golf, "FORE the Good of the Game."Support the showFollow our show and/or leave a review/rating on: Our Website https://www.forethegoodofthegame.com/reviews/new/ Apple Podcasts https://podcasts.apple.com/us/podcast/fore-the-good-of-the-game/id1562581853 Spotify Podcasts https://open.spotify.com/show/0XSuVGjwQg6bm78COkIhZO?si=b4c9d47ea8b24b2d Google Podcasts https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS8xNzM3Mjc1LnJzcw About "FORE the Good of the Game” is a golf podcast featuring interviews with World Golf Hall of Fame members, winners of major championships and other people of influence in and around the game of golf. Highlighting the positive aspects of the game, we aim to create and provide an engaging and timeless repository of content that listeners can enjoy now and forever. Co-hosted by PGA Tour star Bruce Devlin, our podcast focuses on telling their life stories, in their voices. Join Bruce and Mike Gonzalez “FORE the Good of the Game.” Thanks so much for listening!

Greasers, Unite! In this episode we continue our exploration of the roots with SHA NA NA with two people crucial to the creation of the band, brothers GEORGE and ROB LEONARD! George not only conceived of Sha Na Na, but he choreographed the original act! Rob was a founding member and the original vocalist for the group (and also was friendly with Janis Joplin, as we hear about!). This is the second part of a sensational and informative two-parter!

Greasers. Unite! In this episode we continue our exploration of the roots with SHA NA NA with two people crucial to the creation of the band, brothers GEORGE and ROB LEONARD! George not only conceived of Sha Na Na, but he choreographed the original act! Rob was a founding member and the original vocalist for the group (and also was friendly with Janis Joplin, as we will hear about!). This is the first part of a sensational and informative two-parter!

Magical Interpretations for All!This week we say farewell to Dr Cormac Leonard of Ireland. He shares his advice for new interpreters to be aware that their first steps into the profession are crucial for their development. He also discusses how we can use what he learned from his research into the history of our profession and the Deaf community in Ireland.This and more is in today's episode, enjoy!I'll see you next week, until then...Give me feedback or comments!Keep the passion AWAKE! (Buy Me a Coffee)Be one of THE cool kids, join the newsletter!Please rate and review on your favorite podcast player too.Support the show Send me a voicemail and I'll try to reply in the podcast (if appropriate)! Share the PODCAST [TRANSCRIPTS ARE HERE] Thanks for listening. I'll see you next week.Take care now.

Bill Cosby is a lot like Jello Pudding left out in the sun on a hot summer day; slimy and nauseating. Without any further introduction, let's talk about Leonard Part 6: Mouth flap meandering! Five star team win! Comedy shortcomings in a Cosby comedy! Leonard leaving without letting his little one loose from a lasso! Lobster Cosby crotch! Overburdening ostriches! Playboy pipe logic! Jello Pudding! Egregious gribbit gags! Jane Fondles! Lambo cannons! Royalty free farts! Show stopping Cosby shots, and much, much more on this week's episode of The Worst Movie Ever Made! www.theworstmovieevermade.com

Making history! Yes, it's been a year since I launched this podcast. Lots of memories!Today Dr Cormac Leonard gives us a brief history lesson of the interpreting profession in Ireland.What were those first interpreters like?How were they different?What can we learn for today and our future?I'll see you next week, until then...Give me feedback or comments!Keep the passion AWAKE! (Buy Me a Coffee)Be one of THE cool kids, join the newsletter!Please rate and review on your favorite podcast player too.Support the show Send me a voicemail and I'll try to reply in the podcast (if appropriate)! Share the PODCAST [TRANSCRIPTS ARE HERE] Thanks for listening. I'll see you next week.Take care now.

"Long haired-hippy, need not apply..."Cormac takes us back to his journey to becoming the interpreter that he is today. We learn a little about the training of, the working conditions of, and the influences on interpreters.Get ready for some life lessons from Cormac. Stayed for more next week!I'll see you next week, until then...Give me feedback or comments!Keep the passion AWAKE! (Buy Me a Coffee)Be one of THE cool kids, join the newsletter!Please rate and review on your favorite podcast player too.Support the show Send me a voicemail and I'll try to reply in the podcast (if appropriate)! Share the PODCAST [TRANSCRIPTS ARE HERE] Thanks for listening. I'll see you next week.Take care now.

Wave your hands, token! Wave!We are grateful to meet with Dr Cormac Leonard from Ireland. In this episode we discuss the state of the profession in Ireland and the issues to plague us all. These are the little day-to-day topics we deal with that affect individual interpreters, the profession and the communities we serve. The topics include: making a living, accessibility for the sake of accessibility, high demand for interpreters with low supply, and much more.Stayed tuned for more from Ireland after this episode!I'll see you next week, until then...Give me feedback or comments!Keep the passion AWAKE! (Buy Me a Coffee)Be one of THE cool kids, join the newsletter!Please rate and review on your favorite podcast player too.Support the show Send me a voicemail and I'll try to reply in the podcast (if appropriate)! Share the PODCAST [TRANSCRIPTS ARE HERE] Thanks for listening. I'll see you next week.Take care now.

On Pound 4 Pound, Robert Silva talks about Tank Davis' knockout of Ryan Garcia in their mega-fight over the weekend. He does some listener Q&A before going over part one of his historical overview of Sugar Ray Leonard. Join the Patreon for just $5.00 per month: https://www.patreon.com/fightgamemedia Follow us on Twitter: https://twitter.com/fightgamemedia Subscribe to our YouTube Page: https://www.youtube.com/c/FightGameMedia Follow us on Instagram: https://www.instagram.com/fightgamemedia Learn more about your ad choices. Visit podcastchoices.com/adchoices

Podcast hosts are enjoying an all-inclusive beach vacation in the fictional island of La Tolqa, when a rendezvous with a Zombie Grrl exposes the resort's perverse subculture of hedonistic tourism, reckless violence and surreal horrors. On Episode 556 of Trick or Treat Radio we are joined once again by Rachel from The Zombie Grrlz Podcast. She helps us navigate the viscous fluids of Infinity Pool, the latest film from director Brandon Cronenberg! We also find out the definition of soul horror as it relates to body horror, we learn the power of Mia Goth, and we talk about animals doing illegal narcotics. So grab your umbrella because it's cloudy with a chance of ejaculation and strap on for the world's most dangerous podcast!Stuff we talk about: 39th Anniversary of Police Academy, Maximum Overdrive Steelbook, hopped up on coke, one-man sausage party, Stanley King, stalking Stephen King, Legend of Billie Jean, Yeardley Smith, Casey Siemaszko, Richard Tyson, Red Shoe Diaries, Kinkpin, the definition of a grinder, Women in Horror Month, Zombie Grrlz, Slumber Party Massacre, Cocaine Bear, Charlie's Angels, Elizabeth Banks, Keri Russell, Wet Hot American Summer, Orange Cassidy, Cocaine Snorting Crabs from Outer Space, MRI's with a side of ghosts, Infinity Pool, Brandon Cronenberg, Caitlin Cronenberg, body horror, soul horror, the fragility of the ego, Antiviral, Possessor, constant need to consume, The Matrix, infinite second chances, the definition of an Infinity Pool, Return to Paradise, fragile egos, the power of Mia Goth, Jeff Daniels to Cary Elwes to Dolph Lundgren, Wet Ones, Gaspar Noe, surrealism, Shit Michael Ravenshadow Says, Rob Zombie, Leonard Part 6, The Happiness of the Katakuris, Takashi Miike, Death By DVD, Cronenberg vs Cronenberg, Bananafingaz, Dollman, Albert Pyun, Scream 6, Will Forte, Extra Ordinary, Housebound, Prevenge, Alice Lowe, Ketamine Kangaroo, 118 Minutes and 7 Inches, The Sausage Prince of Maine, and sometimes the clone falls close to the tree.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

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.

On this episode we cover Leonard Part 6, the spy parody that isn't much of a spy film and isn't much of a parody. If that wasn't bad enough, it also stars Bill Cosby. Thankfully in the second half, you can look forward to our weekly discussion of Sylvester Stallone's nomination, an Elaine May love-in and a Garbage Pail Kids loath-in. Music by Bruce Charles --- Support this podcast: https://podcasters.spotify.com/pod/show/watchingworst/support

In this episode of Remote Work Radio, our host Marta Nielsen interviews Jordan Leonard, the Regional Program Coordinator in Eastern Utah for USU Extension's Rural Online Initiative program. Jordan is a founding team member of the program and helped get the  Master Remote Work Professional (MRWP) course off the ground in 2018. Today, he plays a critical role teaching and coaching rural residents of Utah as they learn remote work skills and find their first remote job. He explains the structure of the course, what you can expect after enrolling, and provides insights into what it takes to be succesful in the course and in your remote job search.

  Hey gang, were back with a new episode, on this one Stu and John are joined by none other than... Hunter. Yep folks, Hunter is now back from paternity leave, and to kick off us being a 3 piece again, we decided to do another All Filler, No Killer. For those of you who found us on YouTube, this is not like a Leonard Part 6 joke, no, we've actually done 3 of these before, you can find them on our website link below. So what are All Filler, No Killer episodes? Simply put - rants, whatever is on our mind, whatever is happening in the world. no film discussion on these, however, there is an almighty tirade of about 30 minutes on the newly dropped trailer for Rob Zombies 'The Munsters' film. What did we say? listen on and find out. Enjoy. Post Rue Britannia song 'Boris Johnson is a Fucking Cunt' by Kunt and the Gang. Go support Kunt by going to his Spotify page and giving him a follow.  Give Kunt a follow here Donate to ur show via the ko.fi link below https://ko-fi.com/midnightmoviecowboys  And finally, come join us on our discord server on the link below. Discord

This episode is so epic, it spilled out into two parts! Lucy is joined by pop culture commentator Demelza Leonard as they talk about supposed 'spinsterhood' and the dynamics of an ex addict and the family of a girl he got hooked.  Got a story of your own to add or have a story we need to see? You can submit it here: https://forms.gle/iaZiiq9ehmagcxfd6 Want even more? Join me on TikTok @lucyloves_ (https://bit.ly/3HamUij) Join the conversation on Instagram: @thejudgementedit (https://www.instagram.com/thejudgementedit/) Get more of Demelza on Instagram @demelzaleonard     

This guest podcast is a compelling MMA Podcast with a smattering of social commentary, ramblings & colorful anecdotes from your host's life. This week: mostly personal ramblings & storytelling, some takes on the Depp vs Heard trial, gun violence in America, & near the end some UFC Vegas 56 & UFC 275 banter. "It's a crazy blacked out 2 weeks...but we're here to explain..." - Eugene S. Robinson 6.5.2022 Your talented guest host, Eugene S. Robinson, author of the ‘Eugene S. Robinson Substack', the fight book: “Fight: Everything You Wanted to Know About Ass-Kicking but Were Afraid You'd Get Your Ass Kicked for Asking”, as well as the "Long Slow Screw", eclectic host of the ‘Eugene S. Robinson Show Stomper!' Podcast of course, and co-host of the ‘If The Shoes Fit' socio-political podcast. He is also a recurring guest of the ‘Crooklyn's Corner' Podcast, the host and demonstrator on the ‘JJB! - Jiu Jitsu Breakdown!' show, as well as the wildly popular host of the former ‘Knuckle Up Podcast' (prior episodes can be found here in our BEP playlists. He grew up in New York City, where he first understood the surreal joy of a bloody nose obtained through fighting. The 6'1”, 235lb Robinson is a talented practicing Jiu Jitsu Artist, having studied boxing, Kenpo karate, Muay Thai, & wrestling. He has also worked in magazine publishing, film, and television. His most recent writing gig is part of his duties as the Assistant Vice President of Marketing Content for the web presence ‘WONGDOODY' on LinkedIn; while also routinely creating freelance pieces for The New York Times. Over the years he has written for publications including GQ, Revolver, Real Fighter, Gladiator, The Wire, Grappling Magazine, Vice Magazine, Hustler, Mac|Life, SF Weekly, LA Weekly, Corporate Computing, PC Gamer and Decibel, among many others. He has also been Editor-in-Chief of Code and EQ. Eugene is also the vocalist & front man for the alt metal band: OXBOW, a rock group-cum-fight club whose most recent album, Love's Holiday, will be released this yr with Ipecac Records. The band has achieved a substantial int'l cult following, still conducting European Tours. Some of his music is in the intro & outro of his ‘Show Stomper' pod ea wk & in the custom video of the show which airs on both his 'Stompville' fb pg; there's a 1 min snippet from Stigmata, which can be heard at the end of the pod, while the show scrolls his various social media pages & such. He was also a founding member of the band Whipping Boy prior to branching out into OXBOW & Buñuel. He has worked on many musical collaborations as well. His infrequent film/television wk has seen him appearing in Leonard Part 6 with Bill Cosby, NBC's Midnight Caller, ABC's King of Love, MTV's Liquid Television's Las Apassionadas, & commercials — most notably one directed by Gus Van Sant for Miller Genuine Draft. Above all else, he's the adoring, devoted father of four incredible young ladies, & an outstanding spouse to his lovely wife. They currently reside near the Stanford, California area, with an exciting future living off the coast of Spain. Subscribe to eugenesrobinson.substack.com, follow Eugene on twitter @EugeneSRobinson, on Insta @eugene.s.robinson. PAY here at his Patreon IF you wish: https://www.patreon.com/thestomper OR use pinko95014@yahoo.com for PayPal, OR eugene-robinson-28 for CashApp, OR PlanetOxbow for Venmo. Give the live video broadcast of ‘The Show Stomper! Podcast' a “thumbs up”, subscribe on The Stomper YT pg every Sun at https://youtu.be/cLSdXBIGSow OR: Give the premium video production of the show a “like” & share on The Stomper's fb every Mon at: https://www.facebook.com/stompville/ OR: Listen to premium audio on his... Spotify, iTunes & Apple TV, iHeartRadio, OverCast, PlayerFM, TuneIn, Stitcher, blubrry or at Amazon Music. Video production, show distribution, original graphics & logos, via – June M. Williams: https://twitter.com/JuneMWilliams2, orijunels@gmail.com.

The Men go from listener mail to the TOP 5 Black Roles of Embarrassment with a #1 that will shock you but is well-earned. Then SIX DEGREES OF D'URVILLE goes from Ernest Borgnine to Penelope Cruz to The History of the Three Stooges. Finally, its time to review one of the worst movies of all-time - for all the wrong (right?) reasons — Bill Cosby's Leonard Part 6 (how's THAT for a credit line?) Learn more about your ad choices. Visit megaphone.fm/adchoices

This guest video podcast is basically a compelling MMA Podcast that touches on all aspects of the sport inside & outside the octagon with a smattering of social commentary & ramblings, with some colorful anecdotes from your host's life... "And the Cecil People's Award goes to..." -- Eugene S. Robinson 05/22/2022 Your talented guest host is none other than the astounding, Eugene S. Robinson, author of the ‘Eugene S. Robinson Substack', the fight book: “Fight: Everything You Wanted to Know About Ass-Kicking but Were Afraid You'd Get Your Ass Kicked for Asking”, host of the ‘Eugene S. Robinson Show Stomper!' Podcast of course, and co-host of the ‘If The Shoes Fit' Podcast. He is also a reoccurring guest of this ‘Crooklyn's Corner' Podcast, host and demonstrator on the ‘JJB! - Jiu Jitsu Breakdown!' show, as well as the wildly popular host of the former ‘Knuckle Up Podcast'. He grew up in New York City, where he first understood the surreal joy of a bloody nose obtained through fighting. The 6'1”, 235lb Robinson is a talented practicing Jiu Jitsu Artist, having studied boxing, Kenpo karate, Muay Thai, & wrestling. He has also worked in magazine publishing, film, and television. His most recent writing gig is part of his duties as the Assistant Vice President of Marketing Content for the web presence ‘WONGDOODY' on LinkedIn; while also routinely creating freelance pieces for The New York Times. Over the years he has written for publications including GQ, Revolver, Real Fighter, Gladiator, The Wire, Grappling Magazine, Vice Magazine, Hustler, Mac|Life, SF Weekly, LA Weekly, Corporate Computing, PC Gamer and Decibel, among many others. He has also been Editor-in-Chief of Code and EQ. Eugene is also the vocalist and front man for the alt metal band: OXBOW, a rock group-cum-fight club whose most recent album, Love's Holiday, will be released this year with Ipecac Records. The band has achieved a substantial international cult following and still conducts European Tours. Some of his music is in the intro and outro of his ‘Show Stomper' pod each week and in the custom video of the show which airs on both his Stompville fb page and every Wednesday on our own Bloody Elbow Presents podcast network as a Guest Pod; there is a one minute snippet from Stigmata, which can be heard at the end of the pod, while the show scrolls his various social media pages and such. He was also a founding member of the band, Whipping Boy prior to branching out into OXBOW, as well as Buñuel. His infrequent film and television work has seen him appearing in Leonard Part 6 with Bill Cosby, NBC's Midnight Caller, ABC's King of Love, MTV's Liquid Television's Las Apassionadas, and commercials — most notably one directed by Gus Van Sant for Miller Genuine Draft. As if all the above wasn't enough, above all else, he is the adoring, devoted father of four incredible ladies, and an outstanding spouse to his lovely wife. They currently reside near the Stanford, California area. ______________________________________ Subscribe to eugenesrobinson.substack.com, follow Eugene on twitter @EugeneSRobinson, on Insta @eugene.s.robinson, PAY here at his Patreon IF you wish: https://www.patreon.com/thestomper Give the LIVE VIDEO broadcast of ‘The Show Stomper! Podcast' a “thumbs up”, subscribe on The Stomper YT page every Sunday at: https://youtu.be/LwjUBWuPXco OR: Give the premium video production of the show a “like” and share on The Stomper's Facebook every Monday at: https://www.facebook.com/stompville/ OR: Listen to premium audio on his... * Spotify, iTunes & Apple TV, iHeartRadio, OverCast, PlayerFM, TuneIn:, Stitcher, blubrry or at Amazon Music. ________________________________________

Connecting Brand's Purpose with Customers - Amazon Seller Tips with Ben Leonard - Part 2

Connecting Brand's Purpose with Customers - Amazon FBA Seller Tips with Ben Leonard - Part 1

We continue our miniseries on British film producer David Puttnam and the films he would make or acquire during his brief run as the head of Columbia Pictures, by taking a look at the first batch of 16 movies Puttnam would approve or acquire, released between September 1987 and June 1988. ----more---- Original 1988 Theatrical One-Sheet for Spike Lee's School Daze   The titles discussed during this episode include: The Big Easy (Jim McBride, August 1987) The Big Town (Ben Bolt, September 1987) Hope and Glory (John Boorman, October 1987) Housekeeping (Bill Forsyth, November 1987) The Last Emperor (Bernardo Bertolucci, November 1987) Leonard Part 6 (Paul Weiland, December 1987) Little Nikita (Richard Benjamin, March 1988) Pulse (Paul Golding, March 1988) School Daze (Spike Lee, February 1988) Someone to Watch Over Me (Ridley Scott, October 1987) Stars and Bars (Pat O'Connor, March 1988) The Stranger (Adolfo Aristarian, December 1987) A Time of Destiny (Gregory Nava, April 1988) Vice Versa (Brian Gilbert, March 1988) White Mischief (Michael Radford, April 1988) Zelly and Me (Tina Rathborne, April 1988)   Spike Lee, Giancarlo Esposito, Larry Fishburne and the cast of School Daze   Original 1988 Theatrical One-Sheet for Pat O'Connor's Stars and Bars