Podcast appearances and mentions of leslie stevens

TVC 689.2: Dore Page, author of Leslie Stevens Goes to Hollywood: Daystar Productions, Kate Manx and the Making of Private Property, talks to Ed and guest co-host Chuck Harter about Stoney Burke (ABC, 1962-1963), the “art house” look at the lives of 20th-century rodeo riders starring Jack Lord, Bruce Dern, and Warren Oates and produced by Leslie Stevens that ABC canceled after one season—despite garnering a 38 share—partly because the show was considered too ethereal for sponsors to get behind. Other topics this segment include how Warren Oates' character on Stoney Burke can be considered a forerunner to Angel Martin (the character that Stuart Margolin later played on The Rockford Files), and how Stevens came to pattern his independent production company, Daystar Productions, after Quinn Martin Productions once Stevens decided to focus on developing projects for television. Leslie Stevens Goes to Hollywood is available through McFarland Books.

TVC 687.1: Ed and guest co-host Chuck Harter welcome Dore Page, author of Leslie Stevens Goes to Hollywood: Daystar Productions, Kate Manx and the Making of Private Property, a deep dive into the life and career of Leslie Stevens—the maverick television writer and producer whom most of us know best as the creator of The Outer Limits—that particularly focuses on Stevens' early career as a playwright (including the Broadway production of The Marriage Go-Round); the back story of Daystar Productions, the production company that Stevens formed with Stanley Colbert, which Stevens intended to be the first truly independent TV and film production company; and the making of Private Property (1960), the New Wave-style erotic thriller that Stevens made for relatively little money, but which went on to gross several million dollars—despite being flagged as indecent at the time it was originally released. Dore's book also explores the tragic life of stage actress Kate Manx, Stevens' wife at the time he made Private Property. Though Manx made a brief splash in Hollywood after the release of Private Property, her film and TV career never got off the ground, while the actress herself died under mysterious circumstances in November 1964. Leslie Stevens Goes to Hollywood is available through McFarland Books.

The Outer Limits: "Controlled Experiment" There is nothing wrong with your podcast app. We are controlling transmission. It's another Gimmicks historical deep dive as we explore TV's very first bottle episode--a term coined by Outer Limits creator Leslie Stevens! We dig into what "bottle episode" actually means and how this installment of the sci-fi anthology series used cleverness and camera tricks to produce a quick and cheap but still compelling and funny episode about Martians (The Fugitive's Barry Morse and Archie Bunker himself, Carroll O'Connor) who try to scientifically determine why humans commit murder. A proud part of ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Glitterjaw Queer Podcast Collective⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Tip us on Ko-Fi⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Gimmicks Website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠gimmickspodcast@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@gimmickspod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@gimmickspod⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Theme song:⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠"Disco Tears" by Raven⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Creative Commons Attribution 3.0⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sources: Vulture's article on bottle episodes (which is NOT by the same author as that awful Lost article) The Outer Limits: The Official Companion Wonderful Cinema's article on chamber pieces

In this episode, Donna and Dr Adam are joined by longtime radio DJ Leslie Stevens! Leslie has 45 years' experience as a DJ, including hosting his own long-running syndicated show “Route 66 Oldies Show”, which brings back the sounds and memories of the ‘50s and ‘60s. In their conversation, Leslie shares his journey from a small radio station in the LA mountains to hosting, producing, and reporting for radio and TV stations in California and Arizona. Remember KHJ Boss Radio in Los Angeles? Or perhaps you had your own favourite radio station in your city growing up. We'll revisit those memories and more in the latest episode of Love's A Secret Weapon Podcast!

Chris demonizes climbing walls, again. Stockton Rush's coffee cup. Greg Abbott's dishonest border war. ALSO: Throwing Elvis impersonators at a problem. The Kardashians are Wild West mummies. PLUS: Greg hopes he doesn't end up a mummy in a funhouse! Can Do Cold Brew! Song of the week from Leslie Stevens!!Leslie Stevens - "Big Time, Sucka": https://www.youtube.com/watch?v=uze_VTyvrNMCold Brew Patreon: Patreon.com/chriscroftonChannel Nonfiction (featuring the Old West mummy doc): Channelnonfiction.comCan Do Cold Brew: CanDoColdBrew.com

Injustement nanardisé par sa particularité (il est parlé en Esperanto), Incubus savait surtout prendre langue avec les meilleurs contes gothiques. Mais qu'est-ce qui est passé par la tête de Leslie Stevens ? En 1968, ce cinéaste a acquis un statut d'excellent faiseur hollywoodien, insufflant à des registres variés, du drame social au film de chevalerie, un regard très personnel sur les rapports humains. Voilà qu'il se lance dans une aventure des plus singulières avec Incubus. C'est un film à mi-chemin entre les tourments existentiels d'un Bergman et l'imaginaire gothique autour d'une histoire de femme démon ensorcelant les hommes d'un village de pêcheurs jusqu'à tomber amoureuse d'une de ses proies. Sauf qu'Incubus sera l'un des deux seuls films de l'histoire du cinéma à être tourné en espéranto. La logique de rendre universelle le fond de ce récit via une novlangue farfelue, censée pouvoir être parlée par tout le monde, peut s'entendre. Mais elle fera d'Incubus un film énoncé dans un sabir improbable, lui procurant une telle réputation de nanar qu'il sombra quasi immédiatement dans les limbes de la cinéphilie. À tort, quand cette malheureuse particularité linguistique aura occulté une dream-team comme on en verra rarement (de Stevens à la mise en scène aux géniaux Conrad Hall et Dominic Frontier à la photo et la musique) comme une fable noire sur la dévorante part possessive de l'amour. Porté disparu jusqu'à la découverte d'une copie dans les caves de la cinémathèque française, Incubus réapparait aujourd'hui en Blu-ray dans une restauration étincelante, révélant autant sa splendeur visuelle expressionniste que révélant que la langue que ce film maudit parlait le mieux, était celle des grands drames mélancoliques. Il serait dommage de faire à nouveau échouer dans l'oubli cette relecture crève-cœur du mythe des sirènes. Edité par Le chat qui fume.

A seasoned singer-songwriter on the LA music scene, Leslie Stevens returns with a collection of new songs for her self-titled third solo album set for release late February. Stevens spreads her wings with her new band on the latest release, sliding from her folk roots into new territory as you'll hear on “Big Time, Sucka.” 

In this episode, Leslie Stevens, a branding and marketing strategist, shares her insights on making sales without relying on social media. Leslie emphasizes the importance of building genuine connections, having purposeful conversations, and collaborating with others to leverage their audiences. She explains how taking small, consistent actions, such as initiating two conversations daily, will foster meaningful connections and drive sales. Leslie introduces the concept of the Client Connection Method, a training resource she offers for free. This method serves as a comprehensive guide, empowering individuals to navigate the sales landscape successfully by focusing on personal connections and purpose-driven communication. For those seeking to break free from the social media mold and explore alternative avenues for sales success, Leslie's insights and actionable advice provide a refreshing perspective on building a sustainable and meaningful business.Brilliant Recommendations:FREE Training: More sales without social media - clientconnectionmethod.comNot an Influencer, an Impact MakerLeslie's WebsiteFollow Leslie's on FacebookFollow Leslie's on InstagramApplication for Brilliant Moms Who Podcast Directory FREE: Discover the marketing strategy that generates new leads in just 10 minutes a day - Expand your audience. Grow your community. Start powerful conversations.Book a fitting call to chat about Empowered to profit M.O.R.E.Learn more about Empowered to Profit M.O.R.E. - Lani Jackson CoachingJoin the Brilliant Mompreneurs Society | FacebookWork with LaniFollow Brilliant Mompreneurs on InstagramFollow Lani on InstagramAbout Leslie:Leslie Stevens, is a branding and marketing strategist specializing in teaching service-based entrepreneurs how to get  to more clients without having to depend on social media. Through her signature Client Connection Method, Leslie combines design and sales psychology to help her clients convert strangers into clients quickly and easily. As the host of the podcast "Not an Influencer, an Impact Maker," Leslie chats with fellow entrepreneurs, exploring alternative organic marketing strategies that have driven their business success. Leslie's mission is to show other entrepreneurs that you do not need to be an influencer to have a successful online business.

The CEO of Blackrock doesn't know why everyone is in a bad mood. His name is Larry Fink - for real. He manages 9 trillion dollars. Back in the day, the townspeople would have violently dismantled his stagecoach. ALSO: Anthony Blinken plays the blues. PLUS: Chris's upcoming tour with Neil Hamburger and a song of the week from Leslie Stevens!!!!Leslie Stevens - "Secrets": https://www.youtube.com/watch?v=fVWGshS13lcPatreon: Patreon.com/chriscroftonChannel Nonfiction: Channelnonfiction.comCan Do Cold Brew: Candocoldbrew.com

Get ready for an unconventional take on marketing as we sit down with branding and marketing strategist, Leslie Stevens. Challenging the status quo, Leslie debunks the myth that social media is the be-all-end-all for small business success. Her own journey of social media burnout led her to create a unique approach she calls the Client Connection Method, a blend of design and sales psychology that converts strangers into paying clients without the constant need for social media posting. Leslie's fresh perspective will inspire you to rethink how you approach marketing, even if you've felt overwhelmed by social media in the past.As we take a dive into Leslie's strategy, we discuss the importance of understanding your audience, the power of networking, and the need for a solid foundation before attempting to conquer the social media landscape. Leslie shows how to use social media to foster genuine connections with your customers and glean insights from them. Plus, Leslie shares her tips for creating engaging content and sparking conversations for business growth. Give a listen to learn more about Leslie's approach!Send us a Text Message.Support the Show. Show Notes Apply to be featured on My Weekly Marketing!

Leslie shares how she built a successful private practice without using social media platforms. Episode Show Notes: kayladas.com/episode23 Leslie's Free Training Learn How to Book Consistent Clients without having to Post on Social Media: kayladas.com/lesliestevensfreetraining Free Boosting Business Community: facebook.com/groups/exclusiveprivatepracticecommunity Designer Practice Digital Template Shop: designerpractice.etsy.com Open Path Psychotherapy Collective: kayladas.com/openpath Credits & Disclaimers Music by ItsWatR from Pixabay The Designer Practice Podcast and Evaspare Inc. has an affiliate and/or sponsorship relationship for advertisements in our podcast episodes. We receive commission or monetary compensation, at no extra cost to you, when you use our promotional codes and/or check out advertisement links.

Meet Leslie Stevens, a branding and marketing strategist who supports entrepreneurs in service based businesses get consistent clients without relying on social media through The Cultivated Vision. She started her career journey as a registered dietician and certified personal trainer who marketed herself online but found that her clients were inconsistent. She believes in practicing what she preaches but as an introvert it felt forced and burned her out. She had always wanted to be an artist so she ultimately went back to her aesthetic roots and built deeper connections by starting conversations and building relationships. Now being clear about her boundaries and doing what is in alignment with her integrity, she has transformed from an influencer to an impact maker. She shares her experience building confidence in herself after investing in support to scale her first business and not receiving the return she had expected. Be sure to listen to her podcast, Not an Influencer, an Impact Maker for online serviced-based business owner who have always wanted to be able to book consistent clients without the pressure to post on social media. Key takeaways: -Do one thing every day that scares you. -Building deeper relationships actually saves time. -Zoom out, take a step back, look at the bigger picture and focus on what you enjoy and what is working. -Add things in one at a time to see what is really working. -There is not one version of success and you get to create your own. https://thecultivatedvision.com https://www.instagram.com/thecultivatedvision https://www.facebook.com/TheCultivatedVision https://www.linkedin.com/in/lesliestevens1 https://www.pinterest.com/TheCultivatedVision https://www.youtube.com/playlist?list=PLLEUxCkdyY2uC-9tHlDUkYBUe89EOrXMS https://thecultivatedvision.com/free-training/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/compassionate-climb/message

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- 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.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, 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.

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- 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.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, 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, Jude's talking with Leslie Stevens   Leslie's  runs her own successful Oklahoma based, marketing business.  She had tough beginnings, and naturally learned to change her mindset to a positive place.  She also discovered manifesting without any books or direction... and successfully manifested an escape from her old life, an amazing and empowering relationship, and two successful businesses, and countless other things.  Because of this proof, she's learned to let go of the "radical responsibility" and lean in to trust.   _____________   Jude Daunt is a world-renowned Mindset Coach, the Founder of Unbreakable Mindset Method® and over the years has coached thousands of people including High Profile and celebrity clients all over the world In this Podcast, Jude will share with you her pivotal teachings as well as Guests sharing their experiences of Manifestations so you can hear real-life examples of mind shifts that manifest goals into the real world.  A month to manifest is now available for you to start your very own manifestation journey. This manifestation course will teach you everything you need to be able to manifest your dream life, in 4 weeks you'll be able to manifest with ease https://www.judedauntcoaching.co.uk/month-to-manifest/ If you want to go deeper and do powerful mindset work, the Unbreakable Mindset Method® teaches you how to gain control of your thoughts, internal reprogramming, overcome your childhood blueprint,  regain your self worth, to overcome your anxiety triggers, manifestation,  self-awareness, the ability to think bigger than your current reality but most of all, to be happy. This is Judes signature 1-1 programme where you will work together for around 4 months to transform your mindset and your current reality https://www.judedauntcoaching.co.uk/personal-coaching/ If you want to become a certified Life coach trained in the Unbreakable Mindset Methodology then the waiting list is now open for you register https://www.judedauntcoaching.co.uk/unbreakable-mindset-method-certification/

On this episode, Jude's talking with Leslie Stevens Leslie's runs her own successful Oklahoma based, marketing business. She had tough beginnings, and naturally learned to change her mindset to a positive place. She also discovered manifesting without any books or direction... and successfully manifested an escape from her old life, an amazing and empowering relationship, and two successful businesses, and countless other things. Because of this proof, she's learned to let go of the "radical responsibility" and lean in to trust. _____________ Jude Daunt is a world-renowned Mindset Coach, the Founder of Unbreakable Mindset Method® and over the years has coached thousands of people including High Profile and celebrity clients all over the worldIn this Podcast, Jude will share with you her pivotal teachings as well as Guests sharing their experiences of Manifestations so you can hear real-life examples of mind shifts that manifest goals into the real world. A month to manifest is now available for you to start your very own manifestation journey. This manifestation course will teach you everything you need to be able to manifest your dream life, in 4 weeks you'll be able to manifest with ease https://www.judedauntcoaching.co.uk/month-to-manifest/If you want to go deeper and do powerful mindset work, the Unbreakable Mindset Method® teaches you how to gain control of your thoughts, internal reprogramming, overcome your childhood blueprint, regain your self worth, to overcome your anxiety triggers, manifestation, self-awareness, the ability to think bigger than your current reality but most of all, to be happy. This is Judes signature 1-1 programme where you will work together for around 4 months to transform your mindset and your current reality https://www.judedauntcoaching.co.uk/personal-coaching/If you want to become a certified Life coach trained in the Unbreakable Mindset Methodology then the waiting list is now open for you register https://www.judedauntcoaching.co.uk/unbreakable-mindset-method-certification/ Hosted on Acast. See acast.com/privacy for more information.

Rani is a vibrant soul who is forging a clear pathway of heaven on earth.  An earth mama, cat lover, writer, singer and surfer Empowering others to remember who they are, as sparks of the Divine. From a school teacher to pastor and naturopath, A dreamer, empath and intuitive. Naturally healed an ovarian cyst doing a 30 day juice cleanse. Leslie is a truth seeker and human design coach. She believes seeing people live in their truest God designed expression is what elevates our planet into the next dimension of deeper love. Connect with them here Rani: https://harmonichealth.nz https://instagram.com/Rani.Curtis Leslie: https://www.thelesliedavis.com/ https://instagram.com/thelesliedavis Coaching With Me: ► 4 Simple steps to unlock your life's Purpose ► Our 'Royal Hybrids' Training Program ✅ Subscribe to FUSE LIFE on YouTube ✅ Follow us on social media Facebook    +     Instagram ► Purchase my Bestselling book "The NO B.S. GUIDE TO THE ABUNDANT LIFE" on Amazon NOW!

In this episode of Neighbourhood Nutritionist, I talk to Leslie Stevens about our gut brain connection.In my conversation with Leslie, we talked about:How we look at FibreSoluble vs insolubleViscosity (is it pulling in water or not?FermentabilityCan you have too much fibre? How to avoid extra bloat - chew your food, lower intake of carbonated drinksHow to consume more fermented foodsExercise helps your microbiome thriveThe relationship between stress and our gut health ...And much more***To connect with Leslie:IG:  https://www.instagram.com/womenshealthcoach/***Connect with me on LinkedIn, Facebook and Instagram. To book a FREE Discovery Session with me to find out how you can improve your nutrition without extreme workouts and unsustainable diets, click here: https://www.notadiet.co.ukSubscribe to Neighbourhood Nutritionist now to hear about other interesting nutrition topics! Please rate and review on wherever you're listening now. To get in touch with me, please send an email to hello@notadiet.co.uk 

The conclusion of the look at the contributions of TV/film creator Leslie Stevens. His 1972 NBC TV series SEARCH, The Invisible Man, Gemini Man, Battlestar Galactica, Buck Rogers in the 25th Century, the return of his classic The Outer Limits, and his final years and legacy. From the Inner Mind To...The Outer Limits Scripts of Joesph Stefano new book! The Outer Limits season 1 and The Outer Limits season 2 are available on Bluray from Amazon. SEARCH on DVD from Amazon. The Invisible Man (1975) on DVD/Bluray from Amazon. Battlestar Galactica on DVD from Amazon. Buck Rogers in the 25th Century on DVD/Bluray from Amazon. Private Property (1960) on Bluray from Amazon. SUPPORT FORGOTTEN TV ON PATREON! Support Forgotten TV with Paypal More at Forgotten TV Book links: Science Fiction Television Series 1959 through 1989 by Mark Phillips and Frank Garcia Leslie Stevens Goes to Hollywood by Dore Page Leslie Stevens: The Unsung Hero of Battlestar Galactica Written By Justin Murphy So Say We All: The Complete, Uncensored, Unauthorized Oral History of Battlestar Galactica by Mark A. Altman and Ed Gross An Analytical Guide to Television's Battlestar Galactica by John Kenneth Muir By Your Command Vol 1 by Alan Stevens and Fiona Moore Amazon links are affiliate. Music credits: Water by DJ Answer is used under a Creative Commons Attribution 4.0 International License. Solstice by Spectacles Wallet and Watch is used under license by Epidemic Sound. If you need music for your podcast or YouTube channel, please visit Epidemic Sound.  Forgotten TV is not affiliated with or authorized by any production company or TV network involved in the making of any TV show or film mentioned in this podcast. All mentioned TV series, specials, movies, commercials, and clips are the property of their respective copyright holders.  Copyright 2021 Forgotten TV Media

The early life and contributions of TV/film creator Leslie Stevens is considered. His entry into film with Private Property and Incubus; his TV work Stoney Burke and The Outer Limits; and his book est: The Steersman Handbook, Charts of the Coming Decade of Conflict and Earthside Missile Base project are discussed. The Outer Limits season 1 and The Outer Limits season 2 are available on Bluray from Amazon. SUPPORT FORGOTTEN TV ON PATREON! Support Forgotten TV with Paypal More at Forgotten TV Book links: Leslie Stevens Goes to Hollywood by Dore Page The Outer Limits Companion by David J. Schow The Tragic Death of Marina Habe by Tighe Taylor Amazon links are affiliate. Music credits: Dark Moment by Pollyanna Maxim, Creepy Thoughts by Phoenix Tail, Eye For Detail by Jay Varton, and Solstice by Spectacles Wallet and Watch are used under license by Epidemic Sound. If you need music for your podcast or YouTube channel, please visit Epidemic Sound.  Density of Being by Dreamstate Logic is used with permission and under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported license. Forgotten TV is not affiliated with or authorized by any production company or TV network involved in the making of any TV show or film mentioned in this podcast. All mentioned TV series, specials, movies, commercials, and clips are the property of their respective copyright holders.  Copyright 2021 Forgotten TV Media

A preview of the upcoming podcast on TV/film creator Leslie Stevens. Including a behind the scenes look at The Outer Limits, his provocative films Private Property and Incubus, the hi-tech 1972 NBC series SEARCH, and his involvement with both Battlestar Galactica and Buck Rogers in the 25th Century.

More often we are hearing about how our physical health, gut and diet play a role in our mental health. I asked the amazing Leslie Stevens, registered dietitian and trainer to join me to talk about this connection. If you are trying to find natural ways to help with your mental health, this is the episode for you. We hear about Leslie's past and what took her down this life path, the benefits of even 5 minutes of exercise while breaking down what is happening in our body that make physical movement so important. We also dig in to the foods we eat, diet culture, and how bad foods can create mental health issues. Connect with Leslie Stevens: https://wellbeingteam.kartra.com/page/LeslieStevensConsulting --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thehennessyshouse/support

In this episode of the Holistic Women's Health podcast, Alex talks with Leslie Stevens. Leslie is a High Performance Lifestyle Coach, Registered Dietitian, and Owner of Leslie Stevens Coaching. She helps women in service based businesses up-level their body and mind so they can do more, be more, and achieve more. It is her mission to refill the cup of the women who give the most. Connect with Leslie: - Instagram: @womenshealthcoach - Free Mini Recipe Book Download: https://www.lesliestevensconsulting.com/strengthagainststress - Website: www.LeslieStevensCoaching.com Connect with Alex: - Instagram: @nutritionmoderation - Facebook: NutritionModeration (www.facebook.com/NutritionModeration) - Website: www.nutritionmoderation.com - If you want to start cycle syncing your period with your life to balance your hormones, you can work with me here: https://my.practicebetter.io/#/5e4ef5402a98231b50e19126/bookings?step=services - Get access to my course here: https://nutritionmoderation.thinkific.com/courses/synced (15% OFF DISCOUNT CODE: HWHpodcast) - Get a discount on professional grade supplements here: https://ca.fullscript.com/welcome/aking

Cosmic singer/songwriter talks about walking away from a life of conformity and group think and accessing her multi-dimensional self through the delicate balance of art and entertainment. --- Support this podcast: https://anchor.fm/jake-feinberg/support

Leslie Stevens & I had a wonderful chat about health and the confidence that women can have by taking care of themselves. You don't think you fit into the molds that society is trying to put you in that's okay because Leslie says that's your superpower. She knows what it's like to worry about your weight and then overcome it. She has lived it and knows how to help others to gain confidence and live the life that they deserve.

When Farscape aired it was riddled with mid-season breaks, so So Farscape presents: The Greatest Hiatus! Taking a 1-week break from Farscape, we're reviewing the premiere of "Buck Rogers in the 25th Century"" In 1987, a space phenomenon sends NASA astronaut William ""Buck"" Rogers and his space shuttle off course and freezes his life support systems for 500 years. In 2491, he awakens aboard the flagship Draconia, under the command of Princess Ardala and her henchman Kane, a former native of Earth. First aired on 20 September, 1979, written by Glen A. Larson, Leslie Stevens, and directed by Daniel Haller" Support this podcast

 There is nothing wrong with your speakers. Do not attempt to adjust the sound. We are controlling transmission. For the next hour your Planet 8 crew will control what you hear. You are about to experience the awe and mystery of the classic 60s TV show, The Outer Limits!One of the last of the anthology series on television, Outer Limits is fondly recalled by many fans today. One of its hallmarks was its "bears" - the strange, striking aliens and monsters created for the show. Appearing in almost every episode, these creatures often featured outlandish designs, which have proved to be highly memorable, such as the ant-like Zantis, the twisted Thetan from  Architects of Fear, and the Ebontie interrogator from Nightmare. The Projects Unlimited team, including Jim Danforth and Wah Chang, produced designs which have stood the test of time.But beyond the monsters, Outer Limits was a top notch science fiction show. It explored what it meant to be human, our flaws and  our potential. This was key for the shows creators, Leslie Stevens and Joe Stefano. Much like Star Trek, they wanted to impart a message about humanity. They also aimed high, for a more literary form of science fiction, although obviously they were balancing it with the crazy monster each week!We'll discuss a number of episodes, some favorites and some that we just found intriguing. Of course, OL had an extremely limited run -just a season and a half, 49 episodes. But there are so many fun shows to discuss! And there are interesting connections to other 60s shows, like Batman, Hogan's Heroes, Star Trek, and so on. As usual, we'll look at other aspects of the production, including the lighting, staging, and of course, the unique music, which was composed by Dominic Frontierre. And who could forget the control voice, performed by actor Vic Perrin?Outer Limits is definitely one of the most important SF series ever made, and its stories and creatures continue to provide entertainment and are influential decades later.Appropriately for our Sensor Sweep, Karen shares a beautiful book, David Schow's The Outer Limits at 50. This large paperback was published by Creature Features in 2014. It is packed full of fantastic photos from the show, some from behind the scenes. It also has descriptions and details about making each episode. This book is hard to find now (there are some ridiculous prices on eBay). But if you see it in a used bookstore, grab it! You won't be disappointed! Schow's Outer Limits Companion is also highly recommended.As we recorded this episode, news of the passing of actor David Prowse was just breaking. Your Planet 8 crew is saddened by this news. Of course, Prowse changed all our lives by being the physical presence of Darth Vader. But he also appeared in a number of Hammer films, and trained Christopher Reeve to bulk up for Superman. He was a remarkable gentleman, and we salute his life, and shall miss him.That's it for this time. We return control to you! Send your transmissions to us:Twitter: https://twitter.com/Planet8CastFacebook: www.Facebook.com/Planet8PodcastThanks for listening!

Hi Dreamers and Doers! We believe you are NEVER too young to be a dreamer and NEVER too young to do your dream. This week's episode is with Leslie Stevens. Born and raised in California, @wellbeing_dietitian set down her roots in Oklahoma after completing college and graduate school at OSU. Along the way she became a Registered Dietitian and Personal Trainer. Through her own transformation she learned how the impact of taking care of your health and wellbeing can truly be the catalyst to achieving things far beyond just your health. To help others transform their lives through their nutrition and lifestyles she founded her own company, Leslie Stevens Consulting. Leslie strongly believes this world needs more happy, healthy, and confident people and she committed to helping people bring out that version of themselves. Key Topics: Being strong in who you are is so important Nutrition can help you become happy, healthy, and confident. Feeding your body in a nutritious way will help you put more energy into your passions. Check out our show notes at https://loveworksleadership.blog/2020/09/16/episode-40-you-get-out-what-you-put-in/.

When she arrives, Leslie Stevens is carrying a large beach bag. Protruding from its insides is a large cowboy hat sporting a massive feather. It’s a perfect encapsulation of the Los Angeles singer-songwriter, whose career found her flirting a number of genres, including time as the frontwoman of the punk band, Zeitgeist Auto Parts. But her the twang of her latest, Sinner, is perfectly suited to her musical stylings. With a foot firmly planted in Laurel Canyon, it’s clear she’s finally making the music she’s always wanted.

This month, Erik and Kyle only have two episodes left in season one of The Outer Limits. Fittingly, they're both would-be spin-offs from each of the show's two driving creative forces. First up is "Controlled Experiment," a comedy take on sci-fi from series creator Leslie Stevens. Second is the bat-poop crazy "The Forms of Things Unknown" from head writer Joseph Stefano.

The Hollywood Honky Tonk Music Show with Grant Langston brings you the best in Southern California Americana, Roots, and Country Music.   Here's the show #2 Playlist   Playlist from October 1, 2019 1. Jason Hawk Harris - , from the LP Love and The Dark 2. Greg Felden- , SINGLE 3. Leslie Stevens-  from the LP Sinner 4. Davey Meshell and The Transatlantics - , from Self-Titled LP 5. Nicholas Mudd - , SINGLE 6. Susy Sun - , from the LP The Way The Wind Blows 7. Mike Jacoby - , from the LP Long Beach Calling 8. Jesse Williams - , from the EP Jesse Williams and the Coyotes. 9. Parting Lines - , SINGLE 10. Langhorn Slim and Mara Connor - , SINGLE

The Show On The Road is back with Cosmic California Country Singer / Songwriter Leslie Stevens. Z. speaks with the deeply intuitive songwriter and cosmic country singer who has been creating viscerally vulnerable songs that seem to ache right through the speakers with her shimmering voice on her much awaited solo album “Sinner”, which came out in August.

This week, Matt and Graham are joined by former Diverse employee and Taylor Swift obsessive, Lily. The three of them review The Teardrop Explodes, Dolly Parton, Leslie Stevens and Tropical Fuck Storm. Which means Graham swears again. Lily gives the boys some pop tips and casts doubt upon the fairness of the Green Man Festival quiz!

This week, Matt and Graham are joined by former Diverse employee and Taylor Swift obsessive, Lily. The three of them review The Teardrop Explodes, Dolly Parton, Leslie Stevens and Tropical Fuck Storm. Which means Graham swears again. Lily gives the boys some pop tips and casts doubt upon the fairness of the Green Man Festival quiz!

Lady Luck will erase all your gambling debt and get your family back on their feet as long as you place one final bet, on yourself. Literally. She takes on an associate of Red's who has information on the Third Estate. Support the Show! Be sure to #FillTheFedora on Patreon. Case Profile Lady Luck Lady Luck is really a mother who was down on her luck. While she was giving birth to her daughter, her husband went with their son to buy a scratch off ticket which netted them $87 million dollars. Except that on the way back to the hospital, the husband and son were in an accident which left the husband paralyzed and the son, dead. So she makes it her mission to take gamblers off the map, while also making sure their families are taken care of. Lady Luck goes after an associate of Red's that has infomration on the third estate so the chase is on to stop the execution of this criminal gambler so the task force can get more information on the plot against america. Elswhere Ressler and MJ from the CIA talk about a woman now in her 80s that was a name on a ferry passenger manifest who move to chicago with her husband and four-legged friends. Turns out that this woman cold very well in fact be Katarina's Mother. Except Liz didn't want Ressler digging into things regarding Katarina so now Ressler has to follow up on this lead all on his own. Be sure to answer our profiling question of the week: Is Katarina's Mother still alive?? Visit our feedback page to leave a response or call +1 (304) 837-2278. Lady Luck In Pictures Here are a just a few of our favorite scenes from this week. The Music of Lady Luck Well we know where the music budget went finally the last few episodes. First up as we meet Henry in Atlantic City we hear “My Diary” by 5 Alarm Music. Then as Henry attacks the woman in the tub we hear “Gamblin’ Man” by Lonnie Donegan. As Ned tries to off himself in his garage we hear “My Everything” by Eric Vasquez, Leslie Stevens, Kristen Agee, and Jeff O’Bannon. Then at the end of the episode as Red and Dembe look on from the wings of the stage we are treated to an Acapella version of "Every Breath You Take" from The Police. Fun fact that they had to get the rights from Sting and John Bissell actually worked with the choir for the track we hear in the show. You can hear these songs via the official Blacklist playlist on Spotify or the same playlist recreated by us on Apple Music.  Keep Connected Each week of The Blacklist Exposed will take a deep look at both the minor and major plot lines to this fantastic series. Be sure to subscribe and review us in Apple Podcasts, Stitcher, or through whichever podcast app you prefer. Also check out our other Golden Spiral Media Podcasts. A special thanks to Veruca Crews for creating our podcast cover art. If you love it, be sure to check out the rest of her Blacklist and other artwork on her tumblr page. Thanks for listening! We’ll talk to you soon. In the meantime, be sure to keep yourself off, The Blacklist.  Send Us Feedback: Check out our Feedback Form! Call our voicemail: (304)837-2278 Email Us Connect With Us: Facebook Community Twitter Instagram Tumblr Troy's Twitter Aaron's Twitter Subscribe to The Blacklist Exposed: Apple Podcasts,  Google Podcasts,  Spotify,  Pandora,  RSS Feed

LA Singer/songwriter Leslie Stevens joins me to chat about Neutral Milk Hotel's classic 1998 album 'In The Aeroplane Over the Sea'. We talk about The Diary of Anne Frank and it's influence on the album, authenticity in music and innocence lost. We unpack our teenage superiority complexes and debate whether genre labels are essential in the music world.   Leslie plays us an impromptu rendition of Norwegian Wood on her saw and we discuss vulnerability in song writing, whether 'Aeroplane Over the Sea' has dated and the album's hipster following. 

Here we go! A new year and a new season. Erik and Kyle are embarking on their journey into the 1960s sci-fi anthology series The Outer Limits, which ran for 49 episodes on ABC TV in the United States and has since been reappraised time and again. We know a thing or two about series that began in 1963 that have gone on to longevity. To begin, we look no further than the series' creator, Leslie Stevens, who wrote and directed four episodes during the first season. We're only talking about three of them in this episode, and they are "The Galaxy Being," "The Borderland," and "Production and Decay of Strange Particles."

Hello everyone! Happy New Year! First and foremost, welcome to 2019 and The Writers Room's new direction. It's still Erik and Kyle discussing old TV sci-fi, but for the next year or so, we'll be talking about the original 1963-1965 series The Outer Limits. To start with, we're doing a bit of a primer about the series, how it came to be, who were the key creative types in charge of its 49 episodes, and what kinds of stories you can expect on the journey. First full episode about series creator Leslie Stevens will arrive January 15. Sorry for the sound issues in this episode, it will not be indicative of the whole run, we assure you. We just didn't have time to re-record. And finally, please consider supporting our new Patreon! Patreon.com/TheWritersRoom

Songwriter LESLIE STEVENS joins R8B host ANDRAS JONES and ELENI MANDELL for a musical divination that really sneaks up on you. Recorded on December 14th, 2017 at Starburns Industries in Burbank, CA. Host: ANDRAS JONES Musical Guest: Eleni Mandell R8B Theme performed by Eleni Mandell Engineered by Emma Erdbrink Mixed by Tony Householder Digital Media by Carlo Velasquez Produced by Andras Jones LINKS: RADIO8BLOG - http://www.radio8ball.com/2018/01/17/leslie-stevens-eleni-mandell/ LESLIE STEVENS - https://www.lesliestevensmusic.com/ ELENI MANDELL - http://elenimandell.com/ RADIO8BALL Website - http://www.radio8ball.com/ RADIO8BALL PATREON - https://www.patreon.com/radio8ball RADIO8BALL FACEBOOK - https://www.facebook.com/radio8ball/ RADIO8BALL TWITTER - @radio8ball RADIO8BALL INSTAGRAM - @theradio8ballshow R8B APP - http://www.radio8ball.com/the-r8b-app/ Support the show. Support the show: https://www.patreon.com/radio8ball See omnystudio.com/listener for privacy information.

Tras nuestro especial del segundo Halloweenversario volvemos a la carga con un episodio "normal", aunque este tiene hasta poco de ellos, ya que trataremos una de las dos únicas películas de la historia rodada en Esperanto...Por supuesto hablamos de Incubus, dirigida por el mítico Leslie Stevens e interpretada por el inigualable William Shatner. Ala! A disfrutar!

Leslie Stevens has one of those voices - it's a perfectly engaging throwback to Patsy Cline and the golden age of Nashville's musical matriarchy. It's the kind of voice that sounds good singing anything, and she's a natural with a melody. But the thing that keeps people coming back to Stevens is her songwriting. In conversation, when she's not giving a quick-witted running comedic commentary of the world we all share, Stevens can be almost quiet. Ask her about herself, and her sentences get shorter still. But when the topic of the art and avocation of songwriting comes up, Stevens lights up like a firefly - and for good reason, because behind all that elegant vocal phrasing is a powerhouse songwriter who has been known to teach advanced songwriting classes at Los Angeles College of Music. She's amassed quite a resume over the last few years, including two albums with the backup band she calls The Badgers, lending her voice to projects with Brian Wilson, Father John Misty and Jonathan Wilson, several placements in television and movies - as well as a new album due in 2018.

Leslie Stevens has one of those voices - it's a perfectly engaging throwback to Patsy Cline and the golden age of Nashville's musical matriarchy. It's the kind of voice that sounds good singing anything, and she's a natural with a melody. But the thing that keeps people coming back to Stevens is her songwriting. In conversation, when she's not giving a quick-witted running comedic commentary of the world we all share, Stevens can be almost quiet. Ask her about herself, and her sentences get shorter still. But when the topic of the art and avocation of songwriting comes up, Stevens lights up like a firefly - and for good reason, because behind all that elegant vocal phrasing is a powerhouse songwriter who has been known to teach advanced songwriting classes at Los Angeles College of Music. She's amassed quite a resume over the last few years, including two albums with the backup band she calls The Badgers, lending her voice to projects with Brian Wilson, Father John Misty and Jonathan Wilson, several placements in television and movies - as well as a new album due in 2018.

Leslie Stevens has one of those voices - it's a perfectly engaging throwback to Patsy Cline and the golden age of Nashville's musical matriarchy. It's the kind of voice that sounds good singing anything, and she's a natural with a melody. But the thing that keeps people coming back to Stevens is her songwriting. In conversation, when she's not giving a quick-witted running comedic commentary of the world we all share, Stevens can be almost quiet. Ask her about herself, and her sentences get shorter still. But when the topic of the art and avocation of songwriting comes up, Stevens lights up like a firefly - and for good reason, because behind all that elegant vocal phrasing is a powerhouse songwriter who has been known to teach advanced songwriting classes at Los Angeles College of Music. She's amassed quite a resume over the last few years, including two albums with the backup band she calls The Badgers, lending her voice to projects with Brian Wilson, Father John Misty and Jonathan Wilson, several placements in television and movies - as well as a new album due in 2018.

Guest:     Dennis King, Writer/Creator of the play " What Holds Us Together 2, "New Beginnings" joins us to discuss the play and the messages behind it.   Tim Chavous, Head Football Coach at Saint Augustine University joins us to discuss their big win over Winston Salem State and previews their upcoming game on the road vsFayetteville State.   Cedric Pearl, Head Football Coach at Central State University recaps their win vs Arkansas Pine Bluff and previews their game vs Fort Valley State.   Leslie Stevens, Licensed Therapist in North Carolina. Join LA and Reggie Howell for all the discussions. Listen live beginning 6pm Eastern at blogtalkradio.com/la-batchelor or via phone at646-929-0130. You can ask questions to our guest at labatchelor40@gmail.com or padnation2@twitter Interested in advertising on the show, email us at labatchelor40@gmail.com  Listen to the podcast of each show at thebatchelorpadnetwork.com Follow us at padnation@facebook, padnation2@twitter 

Some of Partners include: Exceptional Service Home Care Agency: If you are looking to start a new career in the medical field.For more information call their office @ 919.225.0538. Or visit them at their website at www.exceptionalservicehca.com. Guest:   Mike Patton of Sportsawakening.com talks about his latest article on his website and previews Tennessee State's upcoming homecoming football game.   Orlando Hughes, CEO and Play by Play voice for KRSB radio in Philadelphia previews the weekend in major college football.   Leslie Stevens, Professional Counselor and Minister discusses white mental illness vs black mental illness. Listen live beginning 6pm Eastern at 646-929-0130, online at blogtalkradio.com/la-batchelor  You can ask questions to our guest at labatchelor40@gmail.com or padnation2@twitter Interested in advertising on the show, email us at labatchelor40@gmail.com. Listen to the podcast of each show at thebatchelorpadnetwork.com or at tunein.com under "the batchelor pad show".  Follow us at padnation@facebook, padnation2@twitter 

Guest:    Dr Lee Bell, Media Personality, Motivational Speaker and Community Activist discusses the illegal actions of Donald Trump as it relates to the NFL Player protest and other topics.   Leslie Stevens, Professional Counselor and Minister discusses tragedy locally and nationally and how to deal with it.   Orlando Hughes, President and Play by Play voice for KRSB radio joins us to discuss sports and social topics. Listen live beginning 6pm Eastern at 646-929-0130, online at blogtalkradio.com/la-batchelor You can ask questions to our guest at labatchelor40@gmail.com or padnation2@twitter Interested in advertising on the show, email us at labatchelor40@gmail.com or atlabatchelor@thebatchelorpadnetwork.com Listen to the podcast of each show at thebatchelorpadnetwork.com or at tunein.com Follow us at padnation@facebook, padnation2@twitter 

Guest:   Mike Patton of Sportsawakening.com previes the weekend in college football.   Ronald Agers, Contributing writer for ESPN True Hoops Network tells us what the best and worst NBA Franchise are all time, the best six man and the best guard tandem of all time.   Leslie Stevens, Licensed Therapist and Minister in the Raleigh/Durham area joins us to discuss how to relate to terror and tragedy especially when it is on a nationally level. Listen live beginning 6pm Eastern at 646-929-0130, online at blogtalkradio.com/la-batchelor  You can ask questions to our guest at labatchelor40@gmail.com or padnation2@twitter Interested in advertising on the show, email us at labatchelor40@gmail.com. Listen to the podcast of each show at thebatchelorpadnetwork.com or at tunein.com under "the batchelor pad show".  Follow us at padnation@facebook, padnation2@twitter 

Guest:    Dr Wilmer J Leon III, Syndicated Host joins us to discuss the latest in politics.     Leslie Stevens, Professional Counselor and Minister discusses obesity in the black community and how to beat it clinically and spiritually. Plus other discussions. Listen live beginning 6pm Eastern at 646-929-0130, online at blogtalkradio.com/la-batchelor  You can ask questions to our guest at labatchelor40@gmail.com or padnation2@twitter Interested in advertising on the show, email us at labatchelor40@gmail.com or at labatchelor@thebatchelorpadnetwork.com Listen to the podcast of each show at thebatchelorpadnetwork.com or at tunein.com Follow us at padnation@facebook, padnation2@twitter 

Guest: Dr Wilmer Leon, Syndicated Talk Show host on XM Satellite radio and Tom Donelson, Republican Strategist and of "The Donelson Files" joins us to discuss the latest in politics and the White House. Dr Lee Bell, media personality, motivational speaker and community activist discusses the disturbing New Census Bureau data shows an increasingly optimistic picture for white Americans — but far less so for Americans of color, many of whom still face stark income disparities. Leslie Stevens, Licensed Professional Counselor.  She is in private practice in Carrboro,, NC and Licensed minister and serves at New Bethel Missionary Baptist church in Durham, NC tells us how obesity in the black community affects us and what we can do to fight/avoid it. theYou can ask questions to our guest at labatchelor40@gmail.com or padnation2@twitter Interested in advertising on the show, email us at labatchelor40@gmail.com. Listen to the podcast of each show at thebatchelorpadnetwork.com or at tunein.com under "the batchelor pad show".  Follow us at padnation@facebook, padnation2@twitter 

Guest:   Brett Downer, Evening Anchor at KTRH 740 AM in Houston, TX joins us to give us an update on the conditions there in the midst of Tropical Storm Harvey.   Dr Lee Bell, motivational speaker, media personality and community activist discusses the continued rise of hate groups in the midst of the Emmett Till killing 62 years ago and how not much has changed.   Leslie Stevens, Licensed Professional Counselor and Minister tells us how people can manage stress, anxiety and depression in a climate of hate, sadness and sorrow. Listen live beginning 6pm Eastern at 646-929-0130, online at blogtalkradio.com/la-batchelor  You can ask questions to our guest at labatchelor40@gmail.com or padnation2@twitter Interested in advertising on the show, email us at labatchelor40@gmail.com or at labatchelor@thebatchelorpadnetwork.com Listen to the podcast of each show at thebatchelorpadnetwork.com or at tunein.com Follow us at padnation@facebook, padnation2@twitter 

Most musicians can readily tell you about their influences, but the best musicians can tell you who it was that influenced their influences; they're always going a step farther back in time and they know full well that all of us here in the current age are standing on the shoulders of the shoulders of giants. The genre of classic rock casts a long shadow, and six decades on from Chuck Berry, Bill Haley and Elvis Presley, teenagers of the new millennium are just as apt to want a turntable and a laptop as an electric guitar, but many songs from the heyday of rock and roll have found a second life in video games like Rock Band and Guitar Hero, as well as in beer commercials. Eli Wulfmeier grew up in Michigan, but he sounds like an apple that fell directly off the Allman Brothers' tree. On guitar, Wulfmeier's trick bag is full of tried and true rock and roll licks and he executes them with a smooth flair and tasteful approach that can at times lean toward the incendiary. Vocally, he shows an affinity for the amped up blue-eyed soul of the best legacy rock singers. After spending the last decade in California, honing his guitar chops by playing with the likes of Shelby Lynne, Joe Purdy, Leslie Stevens and Jonny Fritz, Wulfmeier has formed a new trio of his own to allow him to showcase his considerable talents as a songwriter, guitarist and singer. That trio, called Leroy From the North, has a style that is not quite jam band territory, but the three-piece format does allow him the flexibility to improvise and change arrangements on the fly. Wulfmeier hews close enough to the elemental building blocks of rock that his songs, singing and guitar playing sound comfortably familiar, and he's got enough talent in his approach that it still sounds fresh.

Most musicians can readily tell you about their influences, but the best musicians can tell you who it was that influenced their influences; they're always going a step farther back in time and they know full well that all of us here in the current age are standing on the shoulders of the shoulders of giants. The genre of classic rock casts a long shadow, and six decades on from Chuck Berry, Bill Haley and Elvis Presley, teenagers of the new millennium are just as apt to want a turntable and a laptop as an electric guitar, but many songs from the heyday of rock and roll have found a second life in video games like Rock Band and Guitar Hero, as well as in beer commercials. Eli Wulfmeier grew up in Michigan, but he sounds like an apple that fell directly off the Allman Brothers' tree. On guitar, Wulfmeier's trick bag is full of tried and true rock and roll licks and he executes them with a smooth flair and tasteful approach that can at times lean toward the incendiary. Vocally, he shows an affinity for the amped up blue-eyed soul of the best legacy rock singers. After spending the last decade in California, honing his guitar chops by playing with the likes of Shelby Lynne, Joe Purdy, Leslie Stevens and Jonny Fritz, Wulfmeier has formed a new trio of his own to allow him to showcase his considerable talents as a songwriter, guitarist and singer. That trio, called Leroy From the North, has a style that is not quite jam band territory, but the three-piece format does allow him the flexibility to improvise and change arrangements on the fly. Wulfmeier hews close enough to the elemental building blocks of rock that his songs, singing and guitar playing sound comfortably familiar, and he's got enough talent in his approach that it still sounds fresh.

Welcome to the Finding Your Forte Show and the Premiere of the Power Lunch Hour.  Today's Power Lunch Hour Special Guest is Leslie Stevens, Director of Movement and Purpose, Marketing SunTrust Bank. Power Lunch Topic:  Leaders: Here's What Your People Won't Tell You Join us as we check in with Leslie Stevens, Director of Movement and Purpose Marketing about her own pursuit of purpose and what it's like to do it in an organization that values purpose. Meet Leslie: Human Resources Business Partner to SunTrust's Corporate Marketing organization. Partner with Chief Marketing Officer and senior Marketing leaders to create and implement Human Capital Strategy aligned to business plans and objectives. Champion for change and ensuring the implementation, delivery, and quality of HR products, services, and initiatives. Develop human capital solutions for the Marketing organization and lead execution of human capital initiatives throughout the workforce. Provide executive coaching and assist in identifying interventions that enable the effectiveness of the Management team. Play a leadership role for HR program and/or initiative deployment across corporation, following a project management discipline. The opinions expressed during this radio and podcast broadcast are for inspiration, information and motivation purposes. This show is a production of Up2Me Radio and to learn more about this show, the show host and the station visit us at www.up2meradio.com Enjoy the Show!  Like us on Facebook at Up2Me Radio and follow us on Twitter @Up2Meradio

Most musicians can readily tell you about their influences, but the best musicians can tell you who it was that influenced their influences; they're always going a step farther back in time and they know full well that all of us here in the current age are standing on the shoulders of the shoulders of giants. The genre of classic rock casts a long shadow, and six decades on from Chuck Berry, Bill Haley and Elvis Presley, teenagers of the new millennium are just as apt to want a turntable and a laptop as an electric guitar, but many songs from the heyday of rock and roll have found a second life in video games like Rock Band and Guitar Hero, as well as in beer commercials. Eli Wulfmeier grew up in Michigan, but he sounds like an apple that fell directly off the Allman Brothers' tree. On guitar, Wulfmeier's trick bag is full of tried and true rock and roll licks and he executes them with a smooth flair and tasteful approach that can at times lean toward the incendiary. Vocally, he shows an affinity for the amped up blue-eyed soul of the best legacy rock singers. After spending the last decade in California, honing his guitar chops by playing with the likes of Shelby Lynne, Joe Purdy, Leslie Stevens and Jonny Fritz, Wulfmeier has formed a new trio of his own to allow him to showcase his considerable talents as a songwriter, guitarist and singer. That trio, called Leroy From the North, has a style that is not quite jam band territory, but the three-piece format does allow him the flexibility to improvise and change arrangements on the fly. Wulfmeier hews close enough to the elemental building blocks of rock that his songs, singing and guitar playing sound comfortably familiar, and he's got enough talent in his approach that it still sounds fresh.

Episodio 124. Oggi Omar Serafini ci parlerà di The Outer Limits, una serie TV antologica statunitense degli anni Sessanta ideata da Leslie Stevens e Joseph Stefano. Per l'immagine di copertina: © Aventi diritto. All rights reserved.Support this podcast at — https://redcircle.com/fantascienticast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Hot Chicks Write Hot Books Podcast Episode #9 - Melanie Johnson and Jenn Foster Interview Leslie Stevens Suhy, Best Selling Author! Leslie Stevens Suhy | Surviving Divorce Without Losing Your Mind. Leslie Stevens Suhy is the Amazon #1 Bestselling author of DIVORCED: Now What? As a successful coach, Leslie speaks to groups not only on surviving divorce, but also on women's empowerment and finding happiness and fulfillment in the modern age. After publishing her first national bestselling book , Leslie tapped into her background in acting and started a podcast, then turned her private coaching practice into an international coaching program. With her passion for standing up in front of a crowd Leslie has thrived not only while conducting talks about intentions, happiness, and your future, but also in stints as Las Vegas pirate and Star Fleet Lieutenant. She credits her year in India for teaching her patience, the demise of her marriage for showing her how to find strength, and her children for allowing her to understand true vulnerability and love. Hot Chicks Write Hot Books is a group for people who want to become an expert, authority and star in your niche by writing a book. We have systematized the book writing Process For you, saving you time, money and effort. We've created a podcast to help you in the book writing process. For more information you can text your name and email to 1(832) 572-5285 More information about Leslie at http://www.Transformation.Today

My guests are: Actress, Leslie Stevens ("Victor/Victoria") Talk Host, Paul Jacek ("Oh, Mary") To hear this show: http://www.latalkradio.com/Sheena.php For more info: http://www.sheenametalexperience.com

My guests are: Actress, Leslie Stevens ("Victor/Victoria") Talk Host, Paul Jacek ("Oh, Mary") To hear this show: http://www.latalkradio.com/Sheena.php For more info: http://www.sheenametalexperience.com