Podcasts about Malcolm Campbell

‘A light went off in my head': Malcolm Campbell honors his high school civics teacher, who inspired him to become a teacher himself.Do you have your own story of an unsung hero? We'd love to hear it! Record a voice memo and email it to us at myunsunghero@hiddenbrain.org. Some guidance:--Focus on ONE moment that you will never forget. --Make sure you're in a quiet, non-echoey room.--Speak conversationally, like you're talking to a friend.--Let us know why this person continues to impact your life.--If your hero were standing front of you today, what would you say? Address them directly.

On What's Cookin' we'll visit Cranewood on Main in Sackville. Malcolm Campbell is busy baking all kinds of treats using local blueberries. 

This episode of Lunch Money was recorded live at our Sydney breakfast seminar.  Welcome to our in-depth seminar on mastering business acquisitions! In this video, we bring together industry experts Nicholas Samios, Ian Hyman, Andrew Casson, and Malcolm Campbell to share their expertise and experiences in the world of mergers and acquisitions (M&A). We cover a wide range of topics essential for finance professionals, business owners, and anyone involved in the acquisition process. Key Highlights: Economic and Situational Impacts: Understand how major events like GST and COVID-19 have influenced business owners' decisions to sell and the current state of the market. Growth Strategies: Learn about the benefits and challenges of growing your business through acquisitions versus organic growth. Legal and Regulatory Insights: Discover the legal bear traps in business acquisitions and how to navigate them effectively. Valuation and Sale Preparation: Get tips on how to prepare a business for sale, including realistic valuations and addressing potential red flags. Buyer's Perspective: Hear about common mistakes buyers make, such as overpaying and strategic misalignment, and how to avoid them. Financing Acquisitions: Explore different ways to structure the financing of acquisitions, leveraging assets and ensuring adequate working capital. Expert Panel: Nicholas Samios: Director of Hermes Capital, specialist provider of cashflow finance Ian Hyman: Principal of Hymans, specialising in property and equipment valuation. Andrew Casson: Founder of Castle Advisory, with over 20 years of experience in M&A, focusing on the sell side. Malcolm Campbell: Principal lawyer at Carmen and Greg, with extensive experience in business transactions and commercial law. This seminar is packed with actionable advice and real-world examples, making it a must-watch for anyone looking to enhance their understanding of business acquisitions. Listen now and gain the knowledge you need to succeed in your next acquisition!

Today we are joined by Grace's dear friend and longtime mentor, Malcolm Campbell, as they dive deep into a profound conversation about life's meaning, the pivotal role of creativity, and the pursuit of joy.    From Grace: Every month for almost a decade, I've been meeting my spiritual and creative life mentor, Malcolm Campbell for coffee. We go deep on our lives, our purpose, what it means to love yourself and others, and what inspires us to be the best we can be.  At 84 years young, I've learned so much from my dear friend Malcolm that I've been eager to share with all of you in this conversational interview. Malcolm is a Master Practitioner and Trainer of Neuro-Lingusitic Programming and an ordained minister. He is a former U.S. Marine and industrial engineer.  Malcolm co-created the first alternative AIDS clinic in 1990 in Dallas, Texas and was the Unity minister for the Federal Corrections Institute in Fort Worth, Texas.   He works with everyone from leaders of industry, entrepreneurs, incarcerated felons, couples, individuals with life-threatening illnesses, and people facing end-of-life transitions. But to me, he's just a dear friend that I can be honest with and know that he'll be honest with me. He's been my guide and mentor for so many challenging times and even guided my sister, Maggie in the end of her young life as she was grappling with the deepest philosophies of life and death during her battle with terminal cancer. He's my confidante and my coach. And one of my very best friends. I'm so honored to welcome Malcolm to our show today. Enjoy this special episode! Xo, Grace   Together, Grace and Malcolm discuss the remarkable impact of starting a new chapter regardless of age, the unique capacity and brilliance that each person brings into the world, and the importance of embracing both the positive and negative aspects of life, or “all of it” as Malcolm expresses.  This episode is a treasure trove of wisdom for anyone looking to navigate the complexities of life with a clearer purpose, the gift of creativity and love, and undaunted hope that we can truly shape our own fulfillment.   //   https://www.thehivery.com/podcast Subscribe to The Hivery Newsletter: https://www.thehivery.com/newsletter-subscription Follow The Hivery on Instagram: https://www.instagram.com/thehivery/

Aloha Everyone, welcome to a new episode of The Temple of Surf - The Podcast. We will give you full access to the best surfers, skaters, shapers, surfboards collectors, shop owners in the world! Discover with me their stories, their greatest successes, amazing behind the scenes and much more! Today with us, from California, legendary shaper Malcolm Campbell We discussed with him about surf, surfboards, innovation and much more!

On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----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.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----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.   Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again.   But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films.   For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast.   We're talking about 1985's Into the Night.   But, as always, before we get to Into the Night, some backstory.   John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life.   After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The  7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around.   In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could  because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight.   Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film.   The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker.   The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money.   Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed.   The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future.   Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before.   An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar.   In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies.   And then, as previously mentioned, there was the accident during the filming of The Twilight Zone.   Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident.   Which brings us to Into the Night.   While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller.   Landis would agree to make the film, if he were allowed some leeway in casting.   For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character.   While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour.   Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr.   The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison.   The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone.   During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter.   I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood.   The reviews, like with many of Landis's films, were mixed.   Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights.    But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room.   After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget.   Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life.   I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school.   I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis.   Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On our final episode of 2022, we look back at the music video/mini-movie for Michael Jackson's Thriller, on the fortieth anniversary on the release of the album which bore its name. ----more---- Transcript:   Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. If you're listening to this episode as I release it, on November 30th, 2022, today is the fortieth anniversary of the release of the biggest album ever released, Michael Jackson's Thriller. Over the course of those forty years, it has sold more than seventy million copies. It won a record-breaking eight Grammy Awards. A performance of one of its signature songs, Billie Jean, for a televised concert celebrating the 25th anniversary of Motown Records would introduce The Moonwalk to an astonished audience, first in the auditorium and then on TV screens around the world. The album was so big, even MTV couldn't ignore it. Michael Jackson would become the first black artist to be put into regular rotation on the two year old cable channel. So what does all this have to do with movies, you ask. That's a good question. Because out of this album came one of the most iconic moments in the entertainment industry. Not just for MTV or the music industry, but for the emerging home video industry that needed that one thing to become mainstream. The music video for the album's title song, Thriller. Thriller was the sixth solo album by Michael Jackson, even though he was still a member of The Jacksons band alongside his brothers Jackie, Jermaine, Marlon, Randy and Tito. Although The Jacksons were still selling millions of albums with each release, Michael's 1979 solo album Off the Wall made him a solo star, selling more than ten million copies worldwide in its first year of release, almost as much as all of the previous Jacksons albums combined. After the completion of The Jackson's 1980 album Triumph, Jackson would re-team with his Off the Wall producer, the legendary Quincy Jones, to try and craft a new album that would blow Off the Wall out of the water. Jackson wanted every song on the album to be a killer. Every song a hit. Over the course of 1981 and 1982, Jackson and Jones would work on no less than thirty songs that could be included on the final album, and assembled some of the biggest names in the music industry to play on it, including David Foster, James Ingram, Paul McCartney, Rob Temperton, Eddie Van Halen, and the members of the band Toto, who were having a great 1982 already with the release of their fourth album, which featured such seminal hits at Africa and Rosanna. Recording on the album would begin in April 1982 with the Jackson-penned The Girl is Mine, a duet with Paul McCartney that Jackson hoped would become even bigger than Ebony and Ivory, the former Beatle's duet with Stevie Wonder which had been released a few weeks earlier and was be the number one song in a number of countries at that moment. There would be three other songs on the final album written by Jackson, Beat It, Billie Jean, and Wanna Be Startin' Somethin', which Jackson would co-produce with Jones. The other five songs, Baby Be Mine, Human Nature, The Lady in My Life, P.Y.T. and the title track, would be written by other artists like James Ingram, Steve Pocaro of Toto, and Rob Temperton, who were also working on the album as backup singers and/or musicians. The final mixing of the album would continue up until three weeks before its expected November 30th, 1982 release, even though The Girl Is Mine had already been released as a single to radio stations and record stores on October 18th. While the song wouldn't exactly set the world on fire or presage the massive success of the album it had come from, the single would sell more than a million copies, and hit number two on the Billboard Hot 100 charts. When the album was released, it sold well, but it wouldn't be until Billie Jean, the second single from the album, was released on January 2nd, 1983, that things really started to take off. Within three weeks, the song would already hit #1 on the Billboard R&B charts. But it would still a few more weeks for white America to take notice. In early 1983, the music world was dominated by the cable channel MTV, which in less than two years had gone from being a small cable channel launched in only portions of New Jersey to making global stars of such musical acts as Duran Duran, Eurythmics, U2 and even Weird Al Yankovich. But they just were not playing black artists. The lack of black music on MTV was so noticeable that, in an interview with MTV VJ Mark Goodman timed to the release of his comeback album Let's Dance, David Bowie would admonish the VJ and the channel for not doing its part to promote black artists. MTV's excuse, for lack of a better word, was that the network's executives saw the channel as being rock centered, and Billie Jean was not “rock” enough for the channel. The president of Jackson's record label, CBS, was more than just enraged by the channel's refusal to show the video for Billie Jean. He threatened to pull every single CBS act off the air, and never give MTV another music video to air. Could MTV really afford to lose Bruce Springsteen and Billy Joel and Journey and Toto and The Clash and Joe Jackson, Eddie Money, Chicago, Judas Priest, ELO, Adam Ant, Cheap Trick, Loverboy, Heart, Men at Work and a hundred other artists that accounted for more than a quarter of all the music videos in rotation on the channel at the time? MTV would add Billie Jean to its rotation on March 10th, 1983. Within a month, both the song and the album would hit #1 on their respective charts. Lost in all the hubbub about Billie Jean was that Beat It, with its blistering Eddie Van Halen guitar solo, had been released as a single on February 14th, and it too would become a #1 hit song. In fact, after Billie Jean topped the charts for seven weeks, Beat It would become the #1 song in the nation, after a single week of Dexy's Midnight Runners taking the top spot. Ironically, despite how they felt about Billie Jean just a few weeks earlier, MTV would actually be the first outlet to show the Beat It video, not three weeks after it finally relented on Billie Jean. Wanna Be Startin' Somethin', Human Nature, and P.Y.T. were all released as singles between May and September 1983, but none of them would have the success enjoyed by Billie Jean and Beat It, and sales for the Thriller album were starting to wane. There were only three songs left on the album that hadn't been released as singles yet, and neither Baby Be Mine not The Lady in My Life were the kinds of songs that would be featured as singles. That left Thriller. There never was a plan for Thriller to be released as a single. The label saw the song, with its vaguely spooky lyrics and ending narration by legendary horror actor Vincent Price, as a novelty song, not unlike a Weird Al Yankovic song. In early August 1983, Jackson would see An American Werewolf in London. He loved the movie, especially the scenes where actor David Naughton would transform into a werewolf on screen. The film's director, John Landis, was working in London at the time, and late one evening, the phone in his hotel room would ring. It was Michael Jackson. The singer wanted to know if Landis would come aboard to make a music video based on this song, and help turn him into a monster. “Michael, it's 2am in London,” Landis would exclaim to the excited singer on the other end of the line. “I will call you when I get back to Los Angeles in a couple weeks,” he'd say, before hanging up the phone and went back to sleep. Except Landis didn't wait for his return to the States to call Jackson back. The filmmaker and the singer would, despite the eight hour time difference, speak several times over the phone about ideas for a music video. For weeks, Landis, Landis's costume designer wife Deborah Nadoolman, and Rick Baker, the genius behind the practical makeup effects for An American Werewolf in London, would meet with Jackson to discuss story, choreography, makeup and costuming.  Landis and his producing partner, George Foley Jr., would come up with a final story that featured a story about a young man and a young woman who find themselves being chased by zombies through the streets of Los Angeles, before the boy becomes, at various times, a zombie himself and a werewolf-like cat creature. It was going to be Landis's homage to fun horror movies of the past, from I Was a Teenage Wereworld to Night of the Living Dead. Landis and Folsey would present the president of CBS Records with a script for the project, and a $900,000 budget, ten times more than the average music video cost to make at the time and nearly triple the previous record for the highest budget for a music video at that time. And unlike most videos made at the time, it would be shot using 35mm film and Arriflex cameras. It was not going to be just a music video. This was going to be a mini-movie. The record label president was not pleased. Album sales for Thriller had been slowing, and it did not make sense for them to spend nearly a million dollars to make a video for what would be the seventh and riskiest single off the album.  They refused to pay for it. So Folsey, Jackson and Landis would go to the major television networks, to see if they would be willing to finance the project, which they pitched as not only getting a fifteen minute music video from one of the biggest artists in the world, but also a thirty minute making-of documentary, so the entire program could be slotted for a full hour of airtime including commercials. They would all say no. Then they went to MTV, who had seen a dramatic spike in subscriptions since they started airing Billie Jean and Beat it, in the hopes they would want in on the action. They would also decline, because they had a policy of not financing ANY music videos. Music videos were promotions for the record labels. They should be paying for the making of them. They then went to cable movie channels like HBO and Showtime. Imagine having exclusive rights to a fifteen minute mini-movie from the biggest music star on the planet, they would suggest, as well as a forty-five minute making-of feature that could be slotted for a full hour of programming. Imagine how many new subscribers you'd get if your channel was the only place to see it! Showtime would agree to finance half the video in exchange for exclusive movie channel rights to screen Thriller. Sensing there might actually be a market for this, Jackson's record label would commit to throw in $100,000, if they could find another partner to cover the rest.  MTV would make up the difference, after deciding they were not financing a music video but indeed a short motion picture and a making-of featurette. Landis would bring a number of his regular collaborators with him. In addition to producing partner George Foley Jr. and costume designer Deborah Nadoolman, Landis would have his American Werewolf in London cinematographer Robert Paynter behind the camera, Malcolm Campbell, who had edited American Werewolf and Trading Places, assembling the final footage, and the legendary music composer Elmer Bernstein, who created the scores for Animal House and American Werewolf, to provide an incidental musical score to the movie inside the movie, and other sequences not directly related to Jackson's song. The vast majority of the shoot, which took place over four nights in October, the 11th through the 14th, would take place around Downtown Los Angeles. The scenes at the movie theatre were filmed at the Palace Theatre on Broadway, while the zombie dance was filmed a couple miles to the south at Calzona Street and Union Pacific Avenue and the final house sequence was filmed in the Echo Park neighborhood just northwest of downtown.  Side note: the Palace Theatre is still there, and still occasionally shows movies to this day, and both the intersection where the dance sequence was filmed and the neighborhood where the final chase sequence took place still look remarkably similar to what they did forty years ago. And how quickly did it take for Landis and his team to get the footage assembled? Thriller would have its first screening at the Crest Theatre in Westwood Village on November 14th, 1983, not thirty days after filming was complete. John Landis would tell Nancy Griffin in a 2010 Vanity Fair oral history about Thriller that despite having been to events like the Oscars, the Emmys and the Golden Globes, he had never seen a turnout like the one he witnessed that night. Diana Ross, who had discovered the Jacksons nearly twenty years earlier, was there. As was Prince and Eddie Murphy and Warren Beatty. Ola Ray, Jackson's co-star in the film, was there too, and before the screening, she noticed Jackson was nowhere to be found. She would find him a few moments later, hiding in the projection booth with the projector operator. Ray would do her best to lure Jackson out, to mingle with the crowd. This was his night, after all. But Jackson would only compliment Ray on her dress, and tell her to go enjoy herself. Once the crowd was seated, Landis would warm the crowd up with some light banter and a screening of a new print of a Mickey Mouse cartoon, The Band Concert, that Jackson was able to get Disney to strike just for this occasion. It's one of Disney's best cartoons, and the crowd would enjoy it. But they were here to see what amazing thing Michael would pull off this time. Finally, the main event would begin. And the first thing the audience would see was a disclaimer… “Due to my strong personal convictions, I wish to stress that this film in no way endorses a belief in the occult. Michael Jackson.” This was in reaction to word that Jackson had gotten a couple weeks earlier from the leaders of the Jehovah's Witnesses, to which he was a practicing member of at the time, that he risked being excommunicated from the church. The church was worried the film, which, incidentally, they had not seen yet, would promote demonology to younger people. At first, Jackson would call his assistant and order them to destroy the negatives to the film. The assistant, with the help of the production team, would instead lock the negatives up in a safe place until a compromise could be reached. It would be Jackson's assistant who came up with the pre-roll statement, which was acceptable to Jackson, to the church, and to the production team. At the end of the screening, Jackson, Landis and the film received a standing ovation. Eddie Murphy screamed out “Show the damn thing again!” And they did. John Landis hadn't made a music video. He made a short movie musical. And he wanted recognition for his efforts. So despite his standing in the industry as a semi-pariah due to the ongoing legal troubles concerning the Twilight Zone accident, Landis wanted an Oscar for his work. The movie was that good. Even though he had never worked with Disney in the past, Landis was able to convince the studio to allow him to screen the PG-rated Thriller mini-movie in front of the G-rated Fantasia, which was going to be released on Thursday, November 24th, on one screen in Los Angeles. The L.A. Times newspaper ad would be a split image. On the top half, Mickey in his Sorcerer's Apprentice getup, and on the bottom, listed as an “extra added attraction,” Michael in his leather jacket, in a nearly identical pose to the cartoon mouse above him. Five shows a day for seven days, with an extra late show on Thursday, Friday and Saturday, Academy members and one guest could present their membership card at the box office for free tickets to see Thriller on the Avco Cinema Center, then stay and watch Fantasia as well. If you want to see a not exceptional image of the newspaper ad, make sure you head over to this episode's entry on our website, the80smoviepodcast.com Now, I'm not sure how many free tickets were given away to Academy members that week, but practically every screening was sold out. While the $52,000 worth of tickets sold in those seven days would be credited to Disney and Fantasia, it was clear from the audiences who were leaving after the fourteen minute short was done what they were there to see. And for that week, this was the only way to see Thriller on the entire planet. On December 2nd, MTV would show Thriller for the first time in prime time. Ten times the regular audience would turn in to watch. At the end of the video, MTV told their viewers they would watch it again if they wanted at the top of the hour. And they would show it every hour at the top of the hour for twenty-four straight hours. It would be MTV's biggest day to date. In February 1984, Showtime would air the video and its corresponding making-of featurette six times, and those airings would be amongst their biggest days in their nearly decade-long history. Vestron Home Video, a smaller videotape distributor based in Connecticut, would pay for the home video rights to the video and making-of featurette, and release it later in the spring. It would sell more than 900,000 copies at $29.99 MSRP. It would be the first major sell-through home video title, and usher in the mindframe that collecting movies on VHS was a totally normal thing, like a record collection.  And the album? It would quickly return to the top of the charts within weeks of the release of the video no one really wanted to make outside of Michael Jackson, and it would go on to sell another ten million copies just in 1984. The red leather jacket worn by Jackson in the video, designed by Deborah Nadoolman, would become as iconic in pop culture as Indiana Jones' fedora, which Nadoolman also hand-picked for that character. Shooting a music video as if it were a movie, and on 35mm film, would soon become the norm instead of the exception. Future filmmakers like Spike Jonze would use Thriller as a template for what they could get away with when they started making music videos in the 90s. Over the years, Thriller has been deemed THE single best music video of all time by a number of news organizations and fans all around the world. An official 4K remastered version of the video was uploaded to YouTune in October 2009, a few months after Jackson's unfortunately and untimely passing, where it has amassed more than 865m views over the past 13 years. And that's just for that one version of the video. There are dozens more copies available on YouTube, each with millions of views of their own. Thank you for joining us.  And with that, we wrap up 2022 and our fourth season. We'll talk again in early January 2023, when the podcast will return for its fifth season, as we take a much needed vacation to Thailand for Christmas and New Years.  2022 has been the best year for this podcast so far, and I want to thank every single one of you for spending some of your valuable time listening to me talk about older movies. I cannot tell you how much I appreciate all of you. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Michael Jackson's Thriller. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

Meet Malcolm Campbell, President of Midwest Mosaic, and a Toledo Ohio Based ceramic tile contractor. He has been in the tile trade for over 25 years and provides skilled ceramic tile installation to general contractors and construction managers in the greater tri-state area – Ohio Indiana and Michigan. He also provides residential tile installation to home owners, property investors, home builders and remodelers. Malcolm has an unmistakable passion for his trade, his team, and the quality he delivers to clients. You will learn the story of how Malcolm put in the work to build his foundational skills in the tile trade and the strategies and processes he's used to catapult to a 7 figure plus business in just the last few years. Tune in to hear his wisdom that is decades in the making and start growing your business to 7 figures now! Timestamps: [2:05] Introduction to Malcolm [6:00] What Keeps Malcolm in the industry [8:25] How Malcolm got started in the tile industry [9:32] Where Malcolm learned his work ethic and mindset [10:51] Malcolm's take on getting into tile at the entry level [11:11] How mentorship influence Malcolm [12:38] The importance of personal development [13:45] Where the “Take the best, leave the rest," philosophy comes from [14:37] A good decision that Malcolm made in the business [18:27] Discussing burn out [19:10] Malcolm's strategy for hiring [20:00] A bad decision that Malcolm made in the business [21:00] ‘The Fundamental Five' [24:00] ‘Tile Wisdom' [25:43] The importance of being highly qualified in the tile trade [27:39] ‘Take the 20 minutes' '[29:20] Speed round [31:26] Does Malcolm Mastermind? [33:33] If he only had one hour each day to run his business, how would he do it? Quotes: “I do have a fire. I do have a fire in my belly. They talk about entrepreneurship. I got the fire and sometimes it cuts both ways. I cut people with it and I'm always working on that to be a better me.” - Malcolm Campbell “As I started out in tile. I went to university and I got a Bachelor's of Science in Civil Engineering, which is kind of like getting a doctorate in cement.” - Malcolm Campbell “When I work with cement it's coming from that perspective of how a jazz player just takes an instrument and improvs with it.” - Malcolm Campbell “There are guys that aren't at the seven figure level yet that want to do things inside their business to grow it faster, but they have to master the little things before they can get there.” - Chaz Wolfe (Host) “You catch a lot of heat from the customers and, and I just have kept a mantra for a lot of years. This has been from when I was small and just coming up, even to now. My saying is, ‘I'll keep showing up every day until you tell me not to.'”- Malcolm Campbell Let's Connect! Malcolm Campbell: Website: http://www.midwestmosaic.us/ Personal Facebook: https://www.facebook.com/malcolm.campbell.52 Business Facebook: https://www.facebook.com/profile.php?id=100064159354830 Twitter: https://mobile.twitter.com/mudduckk Instagram: https://www.instagram.com/midwest_mosaic_inc/ Book Recommendations: “Reminiscences of a Stock Operator & Methods of Trading in Stocks,” by Jesse Livermore: https://www.amazon.com/Jesse-Livermores-Books-Market-Wisdom/dp/1946774561 If you liked this episode, please SUBSCRIBE to the podcast and drop us a FIVE-STAR REVIEW. We appreciate you, and your support enables us to keep bringing you the goods on the show!

Kawerau Mayor, Malcolm Campbell, lost his butchery of over 47 years to a ram raid last year, and gave Tova his opinion on whether this package is enough. See omnystudio.com/listener for privacy information.

The surge in ram raids is a scourge for business owners, shopkeepers, and communities, and Police say it’s only a matter of time before someone is killed Children as young as 11 are in the stolen cars being ploughed into shop windows. Labour MP Kiri Allan has said the issue was a problem in her electorate, specifically in the town of Kawerau We're talking to the Kawerau Mayor Malcolm Campbell. See omnystudio.com/listener for privacy information.

We learn all about a traditional halloween treat dating back centuries - soul cakes! Never heard of them? Neither have I! But a bakery in the Sackville area has been making them for years. Malcolm Campbell with Cranewood on Main will be my guest on Homegrown.

@MalcolmCampbell is a #lawyer and owner of @ColemanGreigLawyers   a #sydney based #commerciallaw firm. Malcolm works with and advises #smeowners through the whole business life cycle. In this episode we talk about the critical #legalissues challenging #sme owners currently and how and when to tackle them. We cover; the real dichotomy in the current market with absolute winners and unfortunately, and sadly, businesses at the other end of the spectrum doing it really tough; bricks and mortar retail hospitalityanything to do with travel  dealing with the big headline #businessexpenses, #fixedoverheads that businesses have e.g. #rent and #staffcosts the importance of not ignoring an issue, any issue but putting your head in the sandhow to tackle tough issues;for rent issues early communication with the agent, or landlord directlyusing your local #SmallBusinessCommissioner  who will often #mediate problems so you don't necessarily need to incur lots of legal costs  which helps overcome the fear of high costs associated with legal disputeswhy good commercial lawyers have a passion for business and want #smeowners to free or reduced cost service where you can to preserve funds for when it's really critical Malcolm's own business succession planning - how he partnered up and stopped being a sole practitioner which he knows can be very lonelythe value of #smallbusiness #networkinggroups, #chambersofcommerce and #mentoringservices -  learning from others,  listening to other people's experiences, regardless of whether it's in the same area of business as your business the importance of getting legal structures right now - operating a business as a #soletrader or a #traditional partnership (#unlimitedliability) vs. a company with #limited liability If you have business partners the need for a #shareholdersagreement  because things change over time and there are so many #disputes or #misalignments between business owners that could be reasonably and cost effectively and quickly resolved, if there was a shareholders or partnership agreement in placewhy money changes people being courageous enough at the start of a business to put your pride to one side and say we are hoping for the best but planning for the worst and so  let's get all this structural stuff in place - if it goes great we'll never have to worry about itthe key #legalinstruments that small business owners deal with in the business lifecycle for all the important relationships;internal relationships between business partnersfurther internal relationships with your people, your staff, whether they're employees or contractorsexternal relationships with your clients and your suppliersexternal relationships like with the government, but also just the general public. being aware of where each of your key legal relationships are, and having the right documentation in place for those relationshipsthe need to understand that business is more than just the customer business relationship, there's all those other relationships involved in running a business that are really important to get righthow any of those different types of relationships can have a really positive, or really negative effect on on the business itselfthe need for business owners carrying a #financialburden to avoid burying your head in the sand, to get the right people around you including a #goodaccountant or #financialadvisor and not just someone who does your tax returns for you,  someone who's going to sit and look at your books and go 'why is your business not going well ?' - because once you know the why, you can then take the appropriate corrective actionand why sometimes when there is nothing you can do you might then need to talk to insolvency professionalsthe changes in the #insolvencyregime in Australia which promotes getting early advice because there is potentially a  window of time there, where you will be protected from things like insolvent trading and those sorts of things which can open up personal liability for directors the vital need to understand the internal mechanics of your business and why things might be a problem because once you then know what the problem is you can address it@kerrcapital.com.au

We are in conversation: with Malcolm Campbell, aka Malcolm the Weaver, Managing Director, Cloth of Kings. We journey to the islands of Harris and Lewis, to the weavers cottage to learn of the history and to understand the production of Harris Tweed, the cloth that Chanel, Vivian Westwood, top designers the world over, love. We hear of the limitations on production, the oversight of the cloth by the Harris Tweed Authority. #ScotsInUS released 1st & 3rd Monday of the month at 7pm on your favorite podcast platforms and on ASF #ScotsInUS ScotsinUS on YouTube.

Guest: The late Malcolm Graham Campbell (5 Oct 1934 – 27 Nov 2020) Host: Dave Homewood Recorded: 12th of April 2013 Released: 14th of March 2021 Duration:  57 minutes 50 seconds In this tribute episode Dave Homewood releases an old interview he did with the late Malcolm Campbell, who was well known as a pilot, airline founder and [...]

#remodelyourlife #makemenmanlyagain Contains paid promotion. Man Tools Streams Live Thursdays 7.30 MT (9.30 ET, 6.30 PT) at https://mantoolsmedia.com/stream-man-tools/ We finally got a legitimate question from a single mom on Reddit, so we answered that. In the news we covered Boston's cancelling of advanced placement classes due to their “lack of diversity,” a man in India who strangled a leopard that attacked his family, and a Colorado bill to “protect our data'' by restricting our speech. Cool Stuff this week included a life-saving hoodie and a new form of meditation. Our Tool of the week was an actual tool, thanks to technical difficulties, that turns your regular drill into an auger. In sports, again thanks to technical issues, we only covered hockey. Finally, this week in His Story we learned about the first military use of dirigibles, Malcolm Campbell's auto speed record, and Max Conrad's trip around the world in a Piper Aztec. If you want to chat with us & ensure that we see your messages during live streams please join our Discord: https://tinyurl.com/mantoolschat Thanks to our Sponsors: #ExoAutoWorks - https://exoautoworks.com/ #EnharmonicStudios - https://www.facebook.com/enharmonicstudios/ #TwistedApes Bar & Grill - https://twistedapes.com/ #MadridMaintenance - https://www.facebook.com/madridmaintenance/ #TheBeardStruggle - https://www.thebeardstruggle.com/discount/TLANE15?ref=trevorlane1 (code TLANE15 for 15% off) Off-site Video Production Provided by #LoneWolf Productions Man Tools Around the Web: https://mantoolsmedia.com/ http://www.facebook.com/mantoolsmedia https://twitter.com/ManToolsMedia https://www.instagram.com/mantoolsmedia/ https://www.minds.com/mantoolsmedia/ https://parler.com/profile/mantoolsmedia/posts https://mantoolsminions.locals.com/ https://www.patreon.com/mantoolsmedia Licensed Content: Music - I Domine, Skeleton Carnival, Cutting Edge, and Sports FM by Shane Ivers - https://www.silvermansound.com Sound FX -  http://soundsilk.com Stock Footage - https://www.videvo.net © Man Tools Media LLC --- Send in a voice message: https://anchor.fm/man-tools-podcast/message

Course Directors A. Malcolm Campbell, Kimberly Tanner, and Bill Wood talk about the reasons why we need to reform undergraduate biology education and why they got involved in the Scientific teaching Series project.

Course Directors A. Malcolm Campbell, Kimberly Tanner, and Bill Wood talk about the reasons why we need to reform undergraduate biology education and why they got involved in the Scientific teaching Series project.

There's never a bad time for movies about women pulling themselves out of bad situations. And even though Herself—directed by Phyllida Lloyd, and written by Malcolm Campbell and the movie’s star, Clare Dunne—isn’t specifically a COVID-related film, it speaks to an era in which many people are having to do a lot with a little.

We have all been in a position where we scheduled to find quality help and when we did find help we didn't know how to manage them. Our guest Malcolm Campbell, owner of Midwest Mosaics shares his program that he sends all of his newcomers through. Be sure to check out his Instagram page @mudduckk40 for a copy of his Funda 5 & Tile Wisdom Grab you gloves, a notepad, and step into The Masters Class Be sure to subscribe, rate, and review! Visit www.simplyintricatedesigns.com for booking

THE WORD BECAME FLESH ••• Bible Study Verses: Isaiah 9:6-7, Romans 1:28-32, John 1:1-4, 10-12, 14, Philippians 2:9-11, John 3:16, Roman 5:19, Hebrews 10:4-5, Hebrews 8:6, Romans 8:6-7, I Corinthians 2:14, Romans 1:18-28, I Samuel 8:19-20, Matthew 11:29, 2 Corinthians 6:17, Matthew 11:28-30, Psalm 139.14, Jeremiah 1.5, Colossians 1.27. ••• Infinite, and an infant. Eternal, and yet born of a woman. Almighty, and yet hanging on a woman's breast. Supporting a universe, and yet needing to be carried in a mother's arms. King of angels, and yet the reputed son of Joseph. Heir of all things, and yet the carpenter's despised son” Charles Spurgeon † ••• “...behold, an angel of the Lord appeared...saying, “Joseph, son of David, do not be afraid to take to you Mary your wife, for that which is conceived in her is of the Holy Spirit. And she will bring forth a Son, and you shall call His name Jesus...” ...that it might be fulfilled which was spoken by the Lord through the prophet, saying: “Behold, the virgin shall be with child, and bear a Son, and they shall call His name Immanuel,” which is translated, “God with us.”...” Matt.1.20-23, NKJV ••• Why are some people so mad at the thought of celebrating Christmas? ••• What does God say those who approve of sexual immorality & wickedness deserve? ••• Why has God given some people over to a debased mind? ••• What are 3 reasons why our societies’ cultural got into such a debased condition? ••• Which gospel clearly outlines that Christ Jesus is Our Creator God? ••• What are 4-reasons why is it so important to realize the revelation that Christ Jesus is Lord? ••• What is the Godless world’s false explanation of where all things came from? ••• What are 5-reasons why it was so important for Christ to be Born? ••• What was Love compelled to do? ••• What would’ve been 5-negative consequences for the human race If Christ Was Not Born? ••• What are at least 5-reasons why it is difficult for many earth dwellers to Believe that Our Creator came to the earth as a baby to show us the way to eternal life? ••• Why do “educated imbeciles” call religion the opiate of the masses? ••• If you are having issues believing in baby Jesus, how can you now believe? ••• Eddie Murphy playing Prince Akeem Joffer, the prince of Zamunda, in the film “Coming to America”, wanted to what in the borough of Queens New York? ††† ••• Are you taking the time to investigate The Case For Christ and the historical, Archeological, geological, written & legal evidence of His existence during the upcoming holiday season? ••• Pastor Godwin Otuno expounds on this and much more on the exciting journey of Fresh Encounters Radio Podcast originally aired on December 5, 2020 on WNQM, Nashville Quality Ministries and WWCR World Wide Christian Radio broadcast to all 7-continents on this big beautiful blue marble, earth, floating through space. Please be prayerful before studying The Word of God so that you will receive the most inspiration possible. ••• This Discipleship Teaching Podcast is brought to you by Christian Leadership International and all the beloved of God who believe in it’s mission through prayer and support. Thank you. ••• Study Guides at: https://shows.acast.com/fresh-encounter-radio-podcast/episodes ••• COVER ART CREDIT: Photo by Benji Aird ( https://www.airdography.com/ ), art direction by gil on his mac. ••• † Source: https://www.christianquotes.info/top-quotes/top-25-christian-quotes-about-christmas/ ••• Podcaster Website: http://www.lifelonganointing.com/ ††† Directed by John Landis, Produced by George Folsey Jr., Robert D. Wachs, Screenplay by David Sheffield, Barry W. Blaustein, Story by Eddie Murphy, Starring Arsenio Hall, James Earl Jones, John Amos, Madge Sinclair, Shari Headley, Music by Nile Rodgers, Cinematography Sol Negrin, Woody Omens, Edited by Malcolm Campbell, George Folsey Jr. ••• FERP201205 Episode #149 GOT201205ep149 See acast.com/privacy for privacy and opt-out information.

A True Crime Revenge Thriller with Shocking Drama from the UKCall Sign Charley One:Malcolm, an ex-soldier and law-abiding family man, starts a new job as a retail security officer, covering West Midlands cities. On his third day, his life changes forever after being viciously attacked by a newly released prisoner high on crack cocaine.The injury and trauma of this attack results in Malcolm entering into shock, withdrawn, and frightened. A shadow of his true self. Over time, security staff and criminals laugh at him, labeling him a coward.However, no one could have known about the horrifying past Malcolm had endured, and the town was certainly not prepared for the ferocity of his response.This story documents a four-year period where Malcolm single-handedly achieves over four hundred arrests with five assassination attempts on his life. He responds to burglaries, assaults, bulk thefts, knife attacks, and muggings. He takes us on foot chases through housing estates, parks, towns, and cities, pursuing criminals through rivers and fast-moving traffic.Fanatical, enraged, and completely obsessed, slipping into psychosis, family and friends fear the worst as his bravery becomes suicidal. Often beaten to an inch of his life, now death, has become his shadow.This gripping and controversial true story sends us hurtling into the dark world of crime and chaos, documenting a harrowing, shocking, and sinister journey which exposes everything with complete transparency by reliving the true story of one man's battle to uphold the good within his heart while fighting the evil that lies within."They should have left me alone."Now it's my war. Support this show http://supporter.acast.com/houseofmysteryradio. See acast.com/privacy for privacy and opt-out information.

Course Directors A. Malcolm Campbell, Kimberly Tanner, and Bill Wood talk about the reasons why we need to reform undergraduate biology education and why they got involved in the Scientific teaching Series project.

Course Directors A. Malcolm Campbell, Kimberly Tanner, and Bill Wood talk about the reasons why we need to reform undergraduate biology education and why they got involved in the Scientific teaching Series project.

A True Crime Memoir By Malcolm CampbellCall Sign Charley One:Malcolm, an ex-soldier and law-abiding family man, starts a new job as a retail security officer, covering West Midlands cities. On his third day, his life changes forever after being viciously attacked by a newly released prisoner high on crack cocaine.The injury and trauma of this attack results in Malcolm entering into shock, withdrawn, and frightened. A shadow of his true self. Over time, security staff and criminals laugh at him, labeling him a coward.However, no one could have known about the horrifying past Malcolm had endured, and the town was certainly not prepared for the ferocity of his response.This story documents a four-year period where Malcolm single-handedly achieves over four hundred arrests with five assassination attempts on his life. He responds to burglaries, assaults, bulk thefts, knife attacks, and muggings. He takes us on foot chases through housing estates, parks, towns, and cities, pursuing criminals through rivers and fast-moving traffic.Fanatical, enraged, and completely obsessed, slipping into psychosis, family and friends fear the worst as his bravery becomes suicidal. Often beaten to an inch of his life, now death, has become his shadow.This gripping and controversial true story sends us hurtling into the dark world of crime and chaos, documenting a harrowing, shocking, and sinister journey which exposes everything with complete transparency by reliving the true story of one man's battle to uphold the good within his heart while fighting the evil that lies within.Support this show http://supporter.acast.com/house-of-mystery-true-crime-history. See acast.com/privacy for privacy and opt-out information.

In this week's episode, the tables are turned and Michaela Selway and Bryony Ammonds-Smith are put in the hot seat as Dr Malcolm Campbell interviews them about their University experience. They covered many topics from why study history at university, does history still have a place in our current day, and what kind of things you can learn here at the University of Auckland. For more information about studying a History degree, click here: https://www.auckland.ac.nz/en/study/study-options/find-a-study-option/history.html Music: Makeshift Locale

Board builder Malcolm Campbell discusses the Bonzer design, the role it’s played in surfing and the quirky dynamics that sometimes push and often impede board design evolution. The Bonzer is the first truly functional, high-performance three finned surfboard design, and the Campbell Brothers introduced it a full decade prior to the invention of the Thruster. … Continue reading "332 – Malcolm Campbell" The post 332 – Malcolm Campbell appeared first on Surf Splendor.

Board builder Malcolm Campbell discusses the Bonzer design, the role it’s played in surfing and the quirky dynamics that sometimes push and often impede board design evolution. The Bonzer is the first truly functional, high-performance three finned surfboard design, and the Campbell Brothers introduced it a full decade prior to the invention of the Thruster. We bring today's episode straight from the Malcolm’s kitchen in his home in Oxnard. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

Contains paid promotion. Man Tools streams live every Thursday 7:30 PM MST at http://www.mantoolsmedia.com/. In the news we covered the delay in the release of the next James Bond movie, “No Time to Die,” Taylor Swift’s “The Man '' music video and her blatant misandry (which was blocked by YouTube, so check out the transcript in the link below), and the latest viral video of open shoplifting thanks to California’s no arrest law. In our Election 2020 coverage we discussed Super Tuesday and possible reasons and implications for the DNC deciding that Biden is their guy. In sports we saw the best plays and scores from the NHL, discussed the State of Ohio banning spectators and vendor’s from the Arnold Sports Festival due to coronavirus concerns, and looked at World’s Strongest Man Eddie Hall’s upcoming armwrestling match. This week in His Story we learned about the first use of dirigibles in war, the invention of Aspirin, and the insane speed record of 1935 set by Malcolm Campbell. Since Youtube blocked it, here’s a transcript of our commentary on the Taylor Swift video, “The Man” https://www.happyscribe.co/transcriptions/8ce88d1488a14e4294906a0c0090f337/edit_v2 Get “RECOGNISING AND STOPPING MANIPULATION - Man Tools’ Guide to Avoid Being a Puppet” from https://gumroad.com/mantoolsmedia or https://www.patreon.com/mantoolsmedia Support our sponsors: https://exoautoworks.com/ https://www.facebook.com/mortyspage/ https://www.facebook.com/enharmonicstudios/ https://www.facebook.com/madridmaintenance/ Support Man Tools http://www.facebook.com/mantoolsmedia https://anchor.fm/man-tools-podcast/support https://mantoolsmedia.com/shop https://mantoolsmedia.com/give-mom-a-hand Opening & Sports theme music courtesy of https://www.bensound.com Some opening stock footage provided by Videvo, downloaded from https://www.videvo.net © Man Tools Media LLC --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/man-tools-podcast/message

Hello Tile Friends! Welcome back to another episode of Tile Money, the podcast where we discuss the Business of Being a Tile Contractor. My name is Luke Miller and I am on a mission to help Tile Contractors grow Profitable Sustainable Businesses. Are you setting goals for your business? Do you have strategies and systems set in place to achieve your goals and continue to monitor them? Today we will hear from a couple of goal-setters, first, we will revisit an interview I did with Steve Rausch. He was a very successful man and business owner, he believed goal setting was the most important thing you can do for both business and personal life. 6:50 What are successful contractors doing to help them grow? 8:40 “Your decisions will shape your destiny” -Steve Rausch 11:10 What is the formula for setting and achieving goals? 16:00 Find a “Peak Performance Partner” 17:55 Industry News sponsored by the NTCA; "Have you attended an Industry event? I want to encourage you to attend one of these events. I used to think that attending these events would not be worth the time and money, I was wrong!" 22:05 Real life example of Goal Setting with Malcolm Campbell 26:15 Other examples of people using goals 29:35 Tile Money Tip sponsored by Laticrete; What is the S.M.A.R.T. goal setting method? This episode of Tile Money is sponsored by the National Tile Contractors Association, Laticrete and Crossville. https://laticrete.com/ https://www.tile-assn.com/# https://www.crossvilleinc.com/Company Check out what I’m up to at www.tilemoney.com --- Send in a voice message: https://anchor.fm/luke190/message

There are always more than two options. In the way we see the world. In the way we collaborate. And in the way in which we hope to impact culture. Malcolm Campbell, an executive director of R&D labs at Canon Medical Systems, talks about how spirituality and science can create magic of desired culture through the narratives that people share.IMPORTANT LINKSMalcolm's "Skirnir" web page with his LARP games, photographs and writing.A discussion about Malcolm's talk on "Living Seidr".Malcolm's talk "Transforming an Organisational Culture" at "Agile By Example 2019" Conference.Recommended book: “Hostage at the table” by George Kohlrieser. 

We hope you have found the (Y)our Call series helpful, and especially the past 5 weeks as we have been navigating some of the greatest struggles we face.  This week we will hear a number of people share what God has been saying to them in the ‘(Y)our Call’ series. Malcolm Campbell will also share how God has been challenging him.  

Malcolm Campbell, Henry Segrave, Kaye Don and John Cobb. These four illustrious racing-drivers, synonymous with Brooklands, are also central to the story of the World Water Speed Record. Their exploits form part of a multimedia presentation with speed at its heart, from author and publisher Nigel Macknight. Nigel is leading the ‘Quicksilver’ team, which is building a turbofan-propelled, 400-mph superboat to return the record to Britain. Furthermore, he’ll be the boat’s driver. Here he describes and illustrates the background to the challenge and provides an update on the latest progress made. He’ll also have some tales from his writing career in show business, motorsport, aviation and space exploration, on what is a unique and inspiring evening.

I'm glad I was able to meet Malcolm in person, I've been enjoying his comments inside my FB group. Malcolm owns and operates a successful commercial tile installation business along with having a custom residential division. This episode of Tile Money is brought to you by the National Tile Contractors Association and Sponsored by Laticrete International. https://laticrete.com/ https://www.tile-assn.com/# --- Send in a voice message: https://anchor.fm/luke190/message

Join us this Sunday 2nd September at 10am and 6pm as we focus on living a standout life as Malcolm Campbell explores what discipleship on the inside looks like.

Nora, Nicole and Greg are joined by guest Malcolm Campbell to talk about how animal navigate, and then discuss food production and a new type of corn.

Malcolm Campbell joins us this week on The RUNATL Podcast, sharing some great racing stories and some valuable training advice for everyone. Malcolm has been racing competitively since 1987 and coaching for more than 10 years. Malcolm was still racing competitively when he was diagnosed with a medical condition that would keep him from ever racing again.

As Michael Sheen releases his new film, Norman: The Moderate Rise and Tragic Fall of a New York Fixer, John Wilson talks to the actor about his career. He delves into how Sheen prepared for some of his most well-known roles, playing real people such as Tony Blair, David Frost and Brian Clough. Sheen considers, too, his connection to his home town, Port Talbot, and his increasing social and political activism.Ackley Bridge is set in a newly opened school which integrates the largely divided white and Asian children of a Yorkshire town. The Channel 4 drama, which focuses on both the staff and pupils, was created by the writer of East is East, Ayub Khan Din, as well as two former Shameless writers, Malcolm Campbell and Anya Reiss. Shahidha Bari reviews.Neither Wolf Nor Dog is the fictionalised account of a road trip by a white man and an old Native American through Indian country. Former Led Zeppelin singer Robert Plant tells John Wilson how the novel captivated him and why he wants to bring it to a British readership, and the book's author, Kent Nerburn, explains how the tribal elders of the Red Lake Ojibwe reservation came to trust him to write their story.

Some suggestions for New Years resolutions IF you want to have a productive year in the Lord.

... This episode is only available to SUPPORTERS. Become a SUPPORTER for $5 a month and enjoy access to our entire archive of shows ad-free, receive discounts on merch and be automatically entered into surfboard giveaways. Member support ensures that we can continue to document surf culture weekly and maintain an archive of podcasts for … Continue reading "087 – Malcolm Campbell and The Bonzer" The post 087 – Malcolm Campbell and The Bonzer appeared first on Surf Splendor.

In today’s episode we discuss the Bonzer design, the role that it’s played in surfing, and the surf world’s quirky social dynamics that sometimes push and often impede board design evolution. The Bonzer is the first truly functional, high-performance three finned surfboard design, and the Campbell Brothers introduced it a full decade prior to the … Continue reading "087 – Malcolm Campbell and The Bonzer" Learn more about your ad choices. Visit megaphone.fm/adchoices

With the growing Formula 1 schedule and following, there's an increasing appetite for motor racing. Helen Mark heads to Weybridge in Surrey to visit Brooklands - claimed to be the world's first purpose-built motor racing circuit to hear how one Hugh Locke-King's passion for speed led him to have the track designed and built on his land, almost bankrupting him. The site was used for land speed records even before the first race and also became a centre for aviation development. It reached its heyday in the 1920s and 30s but World War II saw it taken over by the Ministry of Defence and its decline as a circuit. Enthusiasts from the Brooklands Society fought to preserve it - both by digging the track free of overgrowing weeds and by getting it listed - and the museum continues to celebrate the records and achievements marked in its history. Malcolm Campbell's grandson Don Wales shares about his family's love of the track. Helen Mark heads to the track in style - in a 1929 four and a half litre Bentley - to see how it's used today. Members of the Vintage Sports Car Club (VSCC) take tests, both of vehicles and drivers, around planned courses but how will Helen fare on her spin up test hill and the historic banking? Produced in Bristol by Anne-Marie Bullock.

#207 Exclusive interview with Wing Commander Andy Green. The history of the World Land Speed Record, the vehicles, technology, the men and the mindset that pushed the boundaries of speed, and how Bloodhound SSC will take this man over 1000mph on land.

My guest this episode is Malcolm Campbell, Malcolm has written for Skins, Shamless and now Lenny Abrahamson’s latest film What Richard Did.

Malcolm Campbell gives a brief overview of what research in sythetic biology is being conducted in his laboratory.