Podcast appearances and mentions of marc eliot

Do you want to go on a wild ride? Then listen to this episode! The life of Steve McQueen is unbelievable. He lifted himself from rock bottom to the highest pedestal. Listen now! Image Source: IMDB Episode Sources: A book titled Steve McQueen by Marc Eliot; a book titled My Husband, My Friend by Neile McQueen-Toffel; a TV biography titled Steve McQueen: Desert Racer; The Los Angeles Times; historicracing.com; IMDB

This morning on the Greg and Dan Show, Marc Eliot, New York TImes bestselling author and the Peoria Riverfront Museum's resident film curator gave us a visit.   Tonight at the Peoria Riverfront Museum Marc will be hosting a special screening for Francis Ford Copolla's legendary Godfather II. The screening will have a pre show dinner at 5:15 pm with the screening beginning at 6:30 pm. In this interview, Dan asks Marc about the origins of the film series, its connections to Shakespeare, how Al Pacino wanted out of the movie, and much more.    Thank you for coming in to visit us Marc!  See omnystudio.com/listener for privacy information.

For years, Dan avoided this movie, fearing it was like a Hallmark Holiday Classic or Very Special Episode of Mad About You. But after our episode on Broadcast News, Mike insisted Dan give it a watch. Join us as we talk about the ways in which the film surfs just above the sharks of sentimentality that threaten it at every plot point and offers a great combination of characters, problems, and new problems once original ones are solved. Patrick McGilligan's Jack's Life: A Biography of Jack Nicholson and Marc Eliot's Nicholson are good starting points if you're interested in the life of the actor. Follow us on X and Letterboxd–and let us know what you'd like us to watch! Incredible bumper music by John Deley. Also check out Dan's new Substack site, Pages and Frames, for more film-related material. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Discover more content in http://www.cine.ufm.edu and http://www.newmedia.ufm.edu Organized by: http://www.cine.ufm.edu A production by UFM Studios http://newmedia.ufm.edu Follow us on social media Facebook @ufmvideos Twitter @newmediaufm Facebook @UFMcine Twitter @UFMCine Instagram @cineufm

Discover more content in http://www.cine.ufm.edu and http://www.newmedia.ufm.edu Organized by: http://www.cine.ufm.edu A production by UFM Studios http://newmedia.ufm.edu Follow us on social media Facebook @ufmvideos Twitter @newmediaufm Facebook @UFMcine Twitter @UFMCine

EPISODE 28 - “Golden Era Stars in 1970s Disaster Films” - 03/25/2024 Just when many classic films stars thought they were finished in showbiz, a wonderful thing happened — 1970s disaster movies! Producers like IRWIN ALLEN and JENNINGS LANG shepherded in an exciting, over-the-top, new genre that capitalized on our fears. They also smartly cast many classic film actors in these movies, providing familiar faces who added comfort and emotional investment. These films proved not only lucrative for these golden era stars, but kept them in the public eye longer and often revived careers. Listen this week as we talk about our favorite film icons as they are shaken, flipped, torched, and dropped from the sky in the great 70s disaster films. SHOW NOTES:  Sources: Charlton Heston: Hollywood's Last Icon (2017), by Marc Eliot; Burt Lancaster: An American Life (2000), by Kate Buford Trust Me: A Memoir (2011), by George Kennedy Steps In Time: An Autobiography (2008), by Fred Astaire; Master of Disaster: Irwin Allen - The Disaster Years (2009), by John William Law; Disaster Movies: The Cinema of Catastrophe (2006), by Stephen Keane; Disaster Movies: A Loud, Long, Explosive, Star-Studded Guide To Earthquakes, Floods, Meteors, Sinking Ships, Twisters, Viruses, Killer Bees, Nuclear Fall Out, and Alien Attacks in the Cinema (2006), by Glen Kay and Michael Rose; The Stewardess Is Flying The Plane: American Films of the 1970s (2005), by Ron Hogan and Peter Bogdanovich; IMDBPro.com; Wikipedia.com; Movies Mentioned:  Airport (1970) - Burt Lancaster, Dean Martin, George Kennedy, Van Helflin, & Helen Hayes; Straight Jacket (1964) - Joan Crawford, Diane Baker, & George Kennedy; The Sons of Katie Elder (1965) - John Wayne, Dean Martin, & George Kennedy; The Sin of Madame Claudet (1931) - Helen Hayes, Robert Young, & Lewis Stone; The Strange Love of Martha Ivers (1946) - Barbara Stanwyck, Van Heflin, Lizabeth Scott & Kirk Douglas; Johnny Eager (1942) - Robert Taylor, Lana Turner, & Van Heflin; Act of Violence (1949) - Van Heflin, Robert Ryan, Janet Leigh, & Mary Astor; Earthquake (1974) - Charlton Heston, Ava Gardner, George Kennedy, Geneviéve Bujold, Lorne Green, Barry Sullivan, Lloyd Nolan, and Monica Lewis; Touch of Evil (1958) - Charlton Heston, Orson Welles, & Janet Leigh;  The Hucksters (1947) - Clark Gable, Deborah Kerr, & Ava Gardner; Autumn Leaves (1956) - Joan Crawford, Cliff Robertson, & Vera Miles; Michael Shayne: Private Detective (1940) - Lloyd Nolan & Marjorie Weaver; Jeopardy (1953) - Barbara Stanwyck, Barry Sullivan, & Ralph Meeker; The Towering Inferno (1974) - Paul Newman, Steve McQueen, Faye Dunaway, William Holden, Fred Astaire, & Jennifer Jones;  The Swarm (1978) - Michael Caine, Katharine Ross, Richard Widmark, Olivia de Havilland, Ben Johnson; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Greg and Dan Show sits down with the Peoria Riverfront Museum's Film Curator and Historian Marc Eliot to preview the next Art of Film Festival series, "If They Asked Me If I Could Write A Book - And I Did!," starting Friday, January 19th with the special dinner and a movie experience. Eliot visits the Peoria Riverfront Museum for the opening weekend of his latest festival which features classic films such as Vertigo, Monkey Business, and The Towering Inferno. The festival continues through March 10th by highlighting a classic film starring the subjects of Eliot's biographies every Friday and Sunday. Visit peoriariverfrontmuseum.org for more information.See omnystudio.com/listener for privacy information.

Marc Eliot is the New York Times bestselling author of more than a dozen books on popular culture, most recently "The Hag: The Life, Times, and Music of Merle Haggard." Other highly acclaimed biographies of Cary Grant and Jimmy Stewart, the award-winning Walt Disney: Hollywood's Dark Prince, Down 42nd Street, Take It from Me (with Erin Brockovich), Down Thunder Road: The Making of Bruce Springsteen, To the Limit: The Untold Story of the Eagles, American Rebel: The Life of Clint Eastwood, and Death of a Rebel. He has written on the media and popular culture for numerous publications, including L.A. Weekly and California Magazine. He divides his time among New York City, Woodstock, New York, and Los Angeles.

A Biography.

On this special episode of The Greg and Dan Show Podcast, New York Times bestselling author and the Peoria Riverfront Museum's Film Curator Marc Eliot sits down with Greg to preview his upcoming film festival at the museum from Thursday, January 19th - Sunday, January 22nd.  Eliot details his passion for film, the inspiration to begin writing about the greatest actors of our time, why he chose each film for this weekend's film festival, and the feature films to watch over the course of the next year at the Peoria Riverfront Museum.  Tickets for each film can be purchased at peoriariverfrontmuseum.org or in person at the Giant Screen Theater.See omnystudio.com/listener for privacy information.

The biography “The Hag: The Life, Times, and Music of Merle Haggard” written by Marc Eliot tells the story of the country music legend. Merle Haggard was the most influential country music musician in the 20th century and his impact still is seen today in country music.

For access to full-length premium episodes and the SJ Grotto of Truth Discord, subscribe to the Al-Wara' Frequency at patreon.com/subliminaljihad. Dimitri and Khalid finally set their sights on Big Mouse and embark on a wide-ranging investigation of all things Disney, including: their monopolistic control over the collective American imagination, how the current conservative attacks on Disney ain't nuttin' new, Peter Schweizer's 1999 takedown “The Mouse Betrayed: Greed, Corruption, and Children At Risk”, Marc Eliot's much-maligned “Walt Disney: Hollywood's Dark Prince” from 1992, Henry Giroux's "The Mouse That Roared: Disney and the End of Innocence”, Disney-as-New Religious Movement, Walt Disney becoming the convenient WASP face of Hollywood to assuage the “Presbyterian censorship” of the Hays Code era, Disney as secularized manifestation of Old Line White Protestant cultural hegemony, Walt's heavy flirtations with Nazism in the late 1930s, the anality of early Disney cartoons and sus Lacanian undertones, Walter Benjamin and Sergei Eisenstein's critical support for Mickey Mouse, Walt's abusive anti-Semitic dirtbag socialist evangelical Christian father, his ancestral ties to the Norman conquest of England, Walt discovering that his parents might not be his real parents, J. Edgar Hoover grooming Walt to be the perfect Lost Boy FBI informant, and the traumatic abduction of Oswald the Lucky Rabbit.

Marc Eliot discusses his new book, The Hag: The Life, Times, And Music Of Merle Haggard.

Marc Eliot is an established veteran of the New York City event design world and has worked with clients like The White House, high profile heads of state, Fortune 500 entities, and institutional organizations to create high-end, luxe events.  Marc is also an established song writer, vocalist, and author. Susan and Marc talk about how to recarpet a ballroom, which flower best embodies the Pantone color of the year, and how to catch the creative breeze.

Merle Haggard was one of the most influential country music musicians who ever lived. His astonishing musical career stretched across the second half of the 20th century and into the first two decades of the next, during which he released an extraordinary 63 albums, 38 that made it on to Billboard's Country Top Ten, 13 that went to #1, and 37 #1 hit singles. Merle changed country music as much as country music redeemed him. A childhood trauma-his father's death when he was only 9-set him off on a life of petty thievery, running away, and other assorted acts of rebellion that led him to a 15-year sentence at San Quentin penitentiary. There he befriended Caryl Chessman, whose execution was a forewarning to Merle he'd better change his ways. When Johnny Cash performed at the prison, Merle was in the audience, and credited that moment with helping him to turn things around. Eight years later, he was the biggest star in country music. THE HAG: The Life, Times, and Music of Merle Haggard tells, without compromise, the extraordinary life of Haggard, augmented by deep secondary research, sharp detail, and ample never-been-told anecdotal material that acclaimed biographer Marc Eliot is known for, and enriched and deepened by over 100 new and far-ranging interviews

Merle Haggard was one of the most influential country music musicians who ever lived. His astonishing musical career stretched across the second half of the 20th century and into the first two decades of the next, during which he released an extraordinary 63 albums, 38 that made it on to Billboard's Country Top Ten, 13 that went to #1, and 37 #1 hit singles.Merle changed country music as much as country music redeemed him. A childhood trauma-his father's death when he was only 9-set him off on a life of petty thievery, running away, and other assorted acts of rebellion that led him to a 15-year sentence at San Quentin penitentiary. There he befriended Caryl Chessman, whose execution was a forewarning to Merle he'd better change his ways. When Johnny Cash performed at the prison, Merle was in the audience, and credited that moment with helping him to turn things around. Eight years later, he was the biggest star in country music.THE HAG: The Life, Times, and Music of Merle Haggard tells, without compromise, the extraordinary life of Haggard, augmented by deep secondary research, sharp detail, and ample never-been-told anecdotal material that acclaimed biographer Marc Eliot is known for, and enriched and deepened by over 100 new and far-ranging interviews

Merle Haggard was one of the most influential country music musicians who ever lived. His astonishing musical career stretched across the second half of the 20th century and into the first two decades of the next, during which he released an extraordinary 63 albums, 38 that made it on to Billboard's Country Top Ten, 13 that went to #1, and 37 #1 hit singles. Merle changed country music as much as country music redeemed him. A childhood trauma-his father's death when he was only 9-set him off on a life of petty thievery, running away, and other assorted acts of rebellion that led him to a 15-year sentence at San Quentin penitentiary. There he befriended Caryl Chessman, whose execution was a forewarning to Merle he'd better change his ways. When Johnny Cash performed at the prison, Merle was in the audience, and credited that moment with helping him to turn things around. Eight years later, he was the biggest star in country music. THE HAG: The Life, Times, and Music of Merle Haggard tells, without compromise, the extraordinary life of Haggard, augmented by deep secondary research, sharp detail, and ample never-been-told anecdotal material that acclaimed biographer Marc Eliot is known for, and enriched and deepened by over 100 new and far-ranging interviews

Hag, by Marc Eliot is the definitive biography of country legend Merle Haggard.Marc has penned best selling books on Cary Grant, The Eagles, Jimmy Stewart and so many more. His latest work explores the complex and conflicting personality forces that push and pull Merle Haggard both to the brink of destruction and to indelible greatness. Marc shines a light on the charismatic and mysterious man behind the achingly beautiful music that continues to move and inspire us. Plus Fritz and Weezy are recommending Disney's Encanto and Munich: The Brink Of War on Netflix.Path Points of Interest:EncantoMunich: The Edge of WarMarc Eliot Amazon Author PageHag: The Life, Times and Music of Merle Haggard by Marc EliotCountry Music by Ken BurnsCountry Music by Ken Burns on Amazon PrimeMerle Haggard Playlist on Youtube

“Everybody wants to be Cary Grant. Even I want to be Cary Grant.” So, once said Cary Grant. Born Archibald Leach in Bristol, England, at nine his was abandoned by his father and told that his mother had died. (She hadn’t.) At 14 he ran away and joined the circus. (OK, an acrobat troop but you get the idea.) By 20 he was honing his public persona of Cary Grant, the world’s most elegant man. Best selling author Marc Eliot has delved deeply into the lives of 25 and counting fascinating subjects to write his celebrity bios. He joins us with fascinating backstories which help sort myth from man. Plus Fritz and Weezy are recommending, the Pete Souza doc, My Octopus Teacher, Boys State and Acorn’s A Place To Call Home.

An interview with Marc Eliot, author of "Walt Disney: Hollywood's Dark Prince." --- Support this podcast: https://anchor.fm/the-junot-files/support

Bill discusses his new comic novel, “The Adventures of Spike the Wonder Dog,” about a very funny English Bull Terrier with a politically incorrect sense of humor and a heart of gold tells the story of his rise to fame on both his master's TV talk show and social media, and the price he pays for that fame. “...Comedic wizardry...Spike is the newest canine literary hero to take on the world with hilarious results."Winston Groom, Author Forrest Gump   "Bill Boggs has hit a home run with this satire on...everything." Marc Eliot, NYT Best Selling Author   "Wondrous...this one is made for the big screen." Linda Stasi, New York Daily News   " This is laugh-out-loud-funny smart satire." Ed Kalegi, Host, "The Weekend with Ed Kalegi" syndicated radio program.    "Bill Boggs takes us on a comic journey...savages the media landscape."  Richard Johnson, New York Post   "Exactly the kind of funny book we all need to be reading now." O Henry Magazine    "A satire populated with a cast of characters worthy of a hit comedy." Best selling author, Talia Carner "Such a brilliant book. Funniest book I have read in a long time, made me laugh out loud. Spike is a tremendous character, I couldn't put it down." "Downtown with Rich Kimball" Syndicated radio https://www.amazon.com/Adventures-Spike-Wonder-Dog-Boggs/dp/1642933767 follow @spikewonderdog www.orderspike.comwww.billboggs.com

Video: https://bit.ly/3dfaSEB Discover more content in newmedia.ufm.edu Hollywood is one of the biggest film industries in the world and a big group of filmmakers dream of working in it. In this forum led by Ronald Flores, the writer and cinema critic, Marc Eliot shares his view of this industry and what is the best way to tell a story. Marc Eliot describes the importance of every artist to achieve individuality and universality in their work because this leads to the understanding of the two pathways connected to art: business and expression. He mentions that Hollywood can be analyzed from three points of view; as a place, an industry of communication, and as an idea that searches to make people reflect and see-through film.

Tony and Captain Ron talk with Author Marc Eliot on the Dark Prince of Hollywood, Will we find out if Walt Disney had a dark side and how dark was he? Tune in and Share this show... Get Your questions ready for our guest.

New life, new us. At the Tiny Dots network, we proudly present a new show, discussing the history and work of Disney studios. Of course, we need to start with Snow White. More Rod Squad content to come, but for now, it's Disney time. This is a pilot, so we only have room to grow. We hope you enjoy.  Ratings: Ash 6.75, Max 4, Ben 8, Mom 3.5, Dad (Steve) 9. Avg: 6.25/10  Sources:  Grimm 053: Little Snow-White Barrier, Michael (1999). Hollywood Cartoons: American Animation in Its Golden Age. New York.: Oxford University Press. ISBN 0-19-516729-5. Bob Thomas, Disney's Art of Animation: From Mickey Mouse to Beauty and the Beast (Hyperion, New York, 1991) Walt Disney - Hollywood's Dark Prince, by Marc Eliot, 1993. Frank Thomas and Ollie Johnston, The Illusion of Life: Disney Animation (Disney Editions, Italy, 1981) The Full Selection Of Eight Albert Hunter Concept Drawings For Disney's Snow White And The Seven Dwarfs, Auctioned At Bonhams Bruno Girveau (editor), Once Upon a Time — Walt Disney: The Sources of inspiration for the Disney Studios (Prestel, London, 2006) ISBN 978-3-7913-3770-8 "Adriana Caselotti, 80, Voice of Snow White". The New York Times. January 21, 1997. Retrieved October 8, 2017. Business Cycles, James Arthur Estey, Purdue Univ., Prentice-Hall, 1950, pages 22-23 chart. Sito, Tom (2007). Drawing The Line: The Untold Story of the Animation Unions from Bosko to Bart Simpson. Lexington, KY: University Press of Kentucky. pp. 111–112. ISBN 978-0-8131-2407-0.  

Descubre en esta completísima biografía de Walter Elias Disney, todo sobre la vida de este gran genio. Desde su nacimiento el 5 de diciembre de 1901, hasta la primavera de 1926 cuando cambiaron el nombre de su empresa, que pasó a llamarse Walt Disney Studio... Desde su gran crisis de salud de 1931 debida a su adicción al trabajo, hasta sus primeras Sinfonías tontas de 1932. Desde el nacimiento del pato Donald en 1934, hasta su primer largometraje de dibujos animados, primero también de la historia del cine, titulado Blancanieves y los siete enanitos realizado en 1937, que dejó a Disney endeudado hasta 1961 por culpa de la amortización de los créditos que tuvo que pedir, ya que el presupuesto inicial de 500.000 dólares de la película había acabado triplicándose. En Blancanieves y los siete enanitos se utilizó por primera vez la cámara multiplano, capaz de sugerir profundidad de campo gracias a un ingenioso sistema de superposición de cinco láminas filmadas en un mismo plano para simular lejanía, y un nuevo sistema de technicolor. La película fue el primer ejemplo de que el cine de animación de la escuela Disney tenía un sólido procedimiento narrativo, en el que los personajes humanos eran descritos a partir de la «mirada» de los animales humanizados o de los seres fantásticos. También quedó patente en el filme el gusto de Disney por lo tenebroso y su estilo de sugerir más que de mostrar abiertamente el terror. Pinocho de 1940, considerada como una de las piezas maestras del cine de animación por los críticos y en la que se invirtieron 2.600.000 dólares, fue un desastre comercial. Lo mismo sucedió con Fantasía (1940), que costó 2.300.000 dólares. Considerada una obra maestra por unos y una insultante caricatura de la música clásica por otros. Estos fracasos comerciales abrieron una importante brecha económica en la empresa, paliada poco después por los éxitos consecutivos de Dumbo (1941) y Bambi (1942). Disney exigía un alto nivel de creatividad y producción a cambio de salarios muy bajos, aunque nunca reparó en gastos a la hora de hacer sus películas y siempre llevó personalmente una vida privada sin lujos ni ostentaciones. El 10 de noviembre de 1940 empezó a colaborar con el FBI. En 1941, un sindicato de ilustradores recién creado en su compañía amenazó al «Mago de Burbank» con ir a la huelga en demanda de mejores salarios. El 29 de mayo de aquel año, los estudios Disney quedaron casi paralizados por una huelga en la que participaron la mayoría de los trabajadores y que duró todo un año. Disney recibió una interesante propuesta de Howard Hughes: un crédito sin intereses de un millón de dólares a cambio de su ayuda en un terreno (el sector cinematográfico) que el multimillonario tejano no conocía y en el que quería invertir. Con aquel dinero, Disney puso en marcha 18 nuevos proyectos, entre ellos Cenicienta (1950), Alicia en el país de las maravillas (1951) y Peter Pan (1953). En 1953, después de ganar un nuevo Oscar al mejor documental con El desierto viviente, inició conversaciones con la cadena televisiva ABC para ceder la emisión de sus películas al nuevo invento. A diferencia de otros productores de Hollywood, que la consideraban una amenaza, Disney creyó que la televisión era un excelente medio de difundir sus productos. Un año después inició la realización de filmes específicamente para televisión, la parte de su producción artística más denostada por los críticos. Críticas que también le lloverían años después con Mary Poppins (1964), su primer largometraje con sólo actores reales. Pero a Disney no le importaron, porque esas películas le daban el dinero que necesitaba para hacer realidad un proyecto que acariciaba desde hacía tiempo: construir un enorme parque de atracciones basado en sus personajes. Disneyland, que abrió sus puertas el 17 de julio de 1955 en Anaheim, California. Este parque, con una extensión de 120 hectáreas, costó 17 millones de dólares. Multimillonario y galardonado con veintinueve Oscars, en la década de los sesenta se había consolidado como uno de los personajes más conocidos y queridos de todo el mundo, pero su salud flaqueaba, y todo su imperio entró en una lucha por la sucesión. Fumador empedernido y aficionado al alcohol, murió el 15 de diciembre de 1966 en Los Ángeles, California, víctima de un cáncer de pulmón, después de haber supervisado los esbozos de Disney World, parque temático al estilo de Disneyland pero más enfocado hacia los adultos, que abriría sus puertas en 1971 en Orlando, Florida (en 1983, la compañía inauguró en Japón el Tokio Disneyland y en 1992 abrió sus puertas el Euro Disney de París). Con el fallecimiento de Disney, entraba en la leyenda uno de los nombres fundamentales de la cultura popular del siglo XX. Con variada fortuna, tratarían de sustituirle figuras tan dispares como su hermano Roy O. Disney, su sobrino Roy E. Disney y su yerno Ron Miller. Pero sólo el productor ejecutivo Michael Eisner demostró ser un digno sucesor suyo. Biografía extraída de biografiasyvidas.com Pero existe una biografía, escrita en 2001 por Marc Eliot, titulada "Walt Disney, el príncipe oscuro de Hollywood", publicada en Estados Unidos, donde relata el lado oscuro del famoso productor. En este libro, desmonta capitulo a capitulo el mito del Walt Disney. Marc asegura entre otras muchas cosas que el productor de cine era alcohólico, un neurótico cazacomunistas, y que se atribuyó la creación de Mickey Mouse. También indica que Walt, fue agente del FBI y simpatizante de los nazis. Se cree que su verdadero nombre de Walt Disney es José Guirao, hijo de una casquivana española que se refugió en Estados Unidos. Walt participó en la producción de Mickey Mouse pero no fue su creador, su verdadero autor fue Ub Iwerks, considerado históricamente uno de los mayores talentos de la compañía. El libro de Marc "Walt Disney, el príncipe oscuro de Hollywood", ha sido objeto de indignación, malestar e incredulidad por parte de los admiradores del creador de sueños, y de los herederos. Una de sus hijas, Diane Disney Miller dijo: "Considero este libro -que irónicamente se entrega a la fantasía más de lo que mi padre hizo- un asesinato de un gran hombre que llevó diversión a la gente alrededor del mundo". Para Disney, se había convertido en una obsesión tratar de establecer dónde y cuándo había nacido y quién era su verdadero padre. A los 16 años había recibido un certificado de nacimiento de la oficina de registro de Chicago en el que se le informaba que en la fecha de nacimiento que suministraba -diciembre 5 de 1901- no aparecía ningún Walt Disney. Por último, tras la muerte de Walt Disney se difundió un rumor que ha llegado hasta nuestros días, todavía son muchos los que creen que Disney continúa criogenizado, con las constantes vitales suspendidas, a la espera de poder despertar y que los nuevos avances médicos puedan hacer que vuelva a la vida. Pero por desgracia, esto no es más que una leyenda urbana extendida en el tiempo, ya que el cadáver Disney fue incinerado por deseo expreso de sus familiares.

Descubre en esta completísima biografía de Walter Elias Disney, todo sobre la vida de este gran genio. Desde su nacimiento el 5 de diciembre de 1901, hasta la primavera de 1926 cuando cambiaron el nombre de su empresa, que pasó a llamarse Walt Disney Studio... Desde su gran crisis de salud de 1931 debida a su adicción al trabajo, hasta sus primeras Sinfonías tontas de 1932. Desde el nacimiento del pato Donald en 1934, hasta su primer largometraje de dibujos animados, primero también de la historia del cine, titulado Blancanieves y los siete enanitos realizado en 1937, que dejó a Disney endeudado hasta 1961 por culpa de la amortización de los créditos que tuvo que pedir, ya que el presupuesto inicial de 500.000 dólares de la película había acabado triplicándose. En Blancanieves y los siete enanitos se utilizó por primera vez la cámara multiplano, capaz de sugerir profundidad de campo gracias a un ingenioso sistema de superposición de cinco láminas filmadas en un mismo plano para simular lejanía, y un nuevo sistema de technicolor. La película fue el primer ejemplo de que el cine de animación de la escuela Disney tenía un sólido procedimiento narrativo, en el que los personajes humanos eran descritos a partir de la «mirada» de los animales humanizados o de los seres fantásticos. También quedó patente en el filme el gusto de Disney por lo tenebroso y su estilo de sugerir más que de mostrar abiertamente el terror. Pinocho de 1940, considerada como una de las piezas maestras del cine de animación por los críticos y en la que se invirtieron 2.600.000 dólares, fue un desastre comercial. Lo mismo sucedió con Fantasía (1940), que costó 2.300.000 dólares. Considerada una obra maestra por unos y una insultante caricatura de la música clásica por otros. Estos fracasos comerciales abrieron una importante brecha económica en la empresa, paliada poco después por los éxitos consecutivos de Dumbo (1941) y Bambi (1942). Disney exigía un alto nivel de creatividad y producción a cambio de salarios muy bajos, aunque nunca reparó en gastos a la hora de hacer sus películas y siempre llevó personalmente una vida privada sin lujos ni ostentaciones. El 10 de noviembre de 1940 empezó a colaborar con el FBI. En 1941, un sindicato de ilustradores recién creado en su compañía amenazó al «Mago de Burbank» con ir a la huelga en demanda de mejores salarios. El 29 de mayo de aquel año, los estudios Disney quedaron casi paralizados por una huelga en la que participaron la mayoría de los trabajadores y que duró todo un año. Disney recibió una interesante propuesta de Howard Hughes: un crédito sin intereses de un millón de dólares a cambio de su ayuda en un terreno (el sector cinematográfico) que el multimillonario tejano no conocía y en el que quería invertir. Con aquel dinero, Disney puso en marcha 18 nuevos proyectos, entre ellos Cenicienta (1950), Alicia en el país de las maravillas (1951) y Peter Pan (1953). En 1953, después de ganar un nuevo Oscar al mejor documental con El desierto viviente, inició conversaciones con la cadena televisiva ABC para ceder la emisión de sus películas al nuevo invento. A diferencia de otros productores de Hollywood, que la consideraban una amenaza, Disney creyó que la televisión era un excelente medio de difundir sus productos. Un año después inició la realización de filmes específicamente para televisión, la parte de su producción artística más denostada por los críticos. Críticas que también le lloverían años después con Mary Poppins (1964), su primer largometraje con sólo actores reales. Pero a Disney no le importaron, porque esas películas le daban el dinero que necesitaba para hacer realidad un proyecto que acariciaba desde hacía tiempo: construir un enorme parque de atracciones basado en sus personajes. Disneyland, que abrió sus puertas el 17 de julio de 1955 en Anaheim, California. Este parque, con una extensión de 120 hectáreas, costó 17 millones de dólares. Multimillonario y galardonado con veintinueve Oscars, en la década de los sesenta se había consolidado como uno de los personajes más conocidos y queridos de todo el mundo, pero su salud flaqueaba, y todo su imperio entró en una lucha por la sucesión. Fumador empedernido y aficionado al alcohol, murió el 15 de diciembre de 1966 en Los Ángeles, California, víctima de un cáncer de pulmón, después de haber supervisado los esbozos de Disney World, parque temático al estilo de Disneyland pero más enfocado hacia los adultos, que abriría sus puertas en 1971 en Orlando, Florida (en 1983, la compañía inauguró en Japón el Tokio Disneyland y en 1992 abrió sus puertas el Euro Disney de París). Con el fallecimiento de Disney, entraba en la leyenda uno de los nombres fundamentales de la cultura popular del siglo XX. Con variada fortuna, tratarían de sustituirle figuras tan dispares como su hermano Roy O. Disney, su sobrino Roy E. Disney y su yerno Ron Miller. Pero sólo el productor ejecutivo Michael Eisner demostró ser un digno sucesor suyo. Biografía extraída de biografiasyvidas.com Pero existe una biografía, escrita en 2001 por Marc Eliot, titulada "Walt Disney, el príncipe oscuro de Hollywood", publicada en Estados Unidos, donde relata el lado oscuro del famoso productor. En este libro, desmonta capitulo a capitulo el mito del Walt Disney. Marc asegura entre otras muchas cosas que el productor de cine era alcohólico, un neurótico cazacomunistas, y que se atribuyó la creación de Mickey Mouse. También indica que Walt, fue agente del FBI y simpatizante de los nazis. Se cree que su verdadero nombre de Walt Disney es José Guirao, hijo de una casquivana española que se refugió en Estados Unidos. Walt participó en la producción de Mickey Mouse pero no fue su creador, su verdadero autor fue Ub Iwerks, considerado históricamente uno de los mayores talentos de la compañía. El libro de Marc "Walt Disney, el príncipe oscuro de Hollywood", ha sido objeto de indignación, malestar e incredulidad por parte de los admiradores del creador de sueños, y de los herederos. Una de sus hijas, Diane Disney Miller dijo: "Considero este libro -que irónicamente se entrega a la fantasía más de lo que mi padre hizo- un asesinato de un gran hombre que llevó diversión a la gente alrededor del mundo". Para Disney, se había convertido en una obsesión tratar de establecer dónde y cuándo había nacido y quién era su verdadero padre. A los 16 años había recibido un certificado de nacimiento de la oficina de registro de Chicago en el que se le informaba que en la fecha de nacimiento que suministraba -diciembre 5 de 1901- no aparecía ningún Walt Disney. Por último, tras la muerte de Walt Disney se difundió un rumor que ha llegado hasta nuestros días, todavía son muchos los que creen que Disney continúa criogenizado, con las constantes vitales suspendidas, a la espera de poder despertar y que los nuevos avances médicos puedan hacer que vuelva a la vida. Pero por desgracia, esto no es más que una leyenda urbana extendida en el tiempo, ya que el cadáver Disney fue incinerado por deseo expreso de sus familiares.

8 Keys to Build Your Podcast Brand – Episode 187 Building your podcast brand is a big step toward audience growth. If you want to keep listeners coming back time and again, you need to build top-of-mind awareness. Your listeners need to think of you first when they think of your niche. To build your memorable podcast brand, follow these 8 steps.   1. BENEFITS, NOT CONTENTS It's the Snap, Crackle, Pop … Not the Puffed Rice Rice. Sugar. Salt. Malt flavor. Mmmmm. I can't wait to get a bowl of that! Your listeners aren't attracted by the contents of your show. They don't care if your show discusses money or business or politics or sports. All your listener cares about is the benefits they will receive from your show. Here are a few podcast descriptions I found on iTunes. "Those people that make videos on YouTube now have their own audio podcast. Hope you will stay awhile." "(unnamed podcast) produces original stories each week for families around the world. Each week on the (unnamed podcast), we'll be sharing a free story from one of our original story series." "The world's favorite podcast about old video games reaches its next stage! Join (hosts) and a variety of guests as they discuss the favorite games and topics of yesteryear." I'm sure these are solid podcasts. They were all listed in the "New & Noteworthy". The content may be great, but the descriptions lack any snap, crackle or pop. People get attracted to your show by the benefits, not ingredients. Consumers buy the fun of the Snap, Crackle & Pop. They aren't buying the puffed rice. Listeners are seeking the fun of learning life's lessons through stories, not original stories for families. The audience wants nostalgic memories of teenage afternoons wasted in the arcade in front of Donkey Kong, Ms. Pac Man and Dragon's Lair, not discussion of your favorite games and topics. When a listener decides to listen to your podcast, they ask, "What will this podcast do for me?" If the answer is topics and discussions, your listener is probably moving on. If it is nostalgic memories and comedic bits of "name that video game theme", you might just entice him to check out your show. There is a reason the fun of the experience is on the front of the box and the ingredients are relegated to the side. You need to sell the fun.   2. BE WELL PREPARED, NOT SCRIPTED You must know where you're going before you can actually get there. That statement is true with a road trip and it is also true with your podcast. When you set out to record a show, you must have goals in mind. Once you've determined what you hope to accomplish, you can then decide how you will make it happen. So many podcasters seem to record their show less than fully prepared. I hear hosts often search for details that should be right at their fingertips. There is no reason to lack the proper information while you are doing your show. If you've fully prepared for your podcast, the information should be right in front of you.   3. BE CREATIVE Create "theater of the mind." The use of active language will stir the imagination of your listener and help you connect to your audience. Put the listener in the moment. Make the listener see the action you are describing. "I'm walking in the bustling restaurant and shaking off the cold without even watching where I'm walking." That is active language. In your mind, you can see me walking in. Sure, your restaurant may be different from my restaurant. That difference is what makes theater of the mind great. You see it the way you think it fits best for you. Your scene doesn't need to match my scene in order for the story to make sense. It is your theater. Active language connects each listener to the story in his or her own way. It will create strong audience engagement. Active language during storytelling is a powerful tool you can use while you're building your podcast. Create a great podcast brand. Create theater of the mind.   4. MAKE THEM FORGET There is a primary reason most people seek entertainment. They want to escape reality. Help your listener make their escape by making them forget they are listening to a recording. People want to forget about their troubles of the day. To get away, they watch movies, go to concerts, watch television, listen to radio and spend time with your podcast. People get wrapped up in another time, place and story. This makes them forget about their reality, even if it is only for a short time. Take them to another place with your podcast by using stories. Make your storytelling so strong that their imaginations put your listener in another time and place. That's what great storytelling is all about. That's what great relationships are all about. It is engagement. So, how do you make them forget? How do you engage and entertain to the point where your listener is so engrossed with your content that they forget about everything else? What are the steps to create a great story? The intriguing introduction. The vivid details. The powerful conclusion. Then, ask "what else?" Take a few tips from movies and television. Tell compelling stories just like the movies. [ESSENTIAL ELEMENTS OF POWERFUL STORYTELLING – EPISODE 129]   5. FEAR IS THE ENEMY OF CREATIVITY Think about a speech you have given. When you have only rehearsed the speech a couple times, anxiety sets in. Thinking about making a mistake makes you nervous. Your lack of preparation is the cause. You worry that you may forget something. You are not prepared. On the other hand, when you have rehearsed the speech many, many times, you eventually know it by heart. You begin to feel much more confident. The worry isn't present. You begin to relax. When you relax, the spontaneity kicks in. Spontaneity in your speech happens most when you aren't worried about the mechanics of the presentation. Your mind is allowed to move naturally through the material. This relaxation helps you become truly engaged with the audience and material. Wonderful, creative, spontaneous things happen when you reach this point. The same can be said for your podcast. When you know the material, have defined a specific goal for the show, and have mapped out a plan to achieve that goal, your podcast will be filled with many "oh wow" moments. When you worry about your content, you have no brain power left for spontaneous things to happen. Where are you spending your time? Are you too busy thinking about the next question and blocking out the spontaneity? Is rehearsal really the enemy of spontaneity?   6. BE INTERESTING BY BEING INTERESTED Listen to your guest. You become interesting by being interested. Podcasters often ask how long their podcast needs to be. Your podcast needs to be as long as it needs to be. As long as it is interesting, it isn't too long. You need to do your homework prior to the interview. You need to know what makes your guest interesting. What will make your guest engaging to your audience? Find that story, and help your guest bring it to life. You become interesting by being interested. Listen to the answers your guest provides. Then, ask great, intriguing, follow-up questions.   7. TELL STORIES, DON'T READ Walt Disney was one of the greatest storytellers of our time. When you examine his work, you realize he wasn't a great story writer. He was a fantastic story teller. Snow White, Pinocchio, Fantasia, Dumbo, Bambi, Cinderella, Peter Pan, Jungle Book. All are stories written by someone else. Disney just turned them into great stories that sometimes didn't follow the original exactly. Snow White – "Snow White" is a German fairy tale known across much of Europe and is today one of the most famous fairy tales worldwide. The Brothers Grimm published it in 1812 in the first edition of their collection Grimm's Fairy Tales. Pinocchio - The Adventures of Pinocchio is a novel for children by Italian author Carlo Collodi, written in Florence. The first half was originally a serial in 1881 and 1882, and then later completed as a book for children in February 1883. Fantasia – The movie was developed around the Sorcerer's Apprentice, a German poem written in 1797 by Johann Wolfgang von Goethe. Bambi - Bambi, a Life in the Woods, was originally published in Austria in 1923 and written by Felix Salten. Cinderella – This movie started as a European folk tale. The first written European version of the story was published in Naples, by Giambattista Basile, in 1634. Peter Pan - Peter Pan is a character created by Scottish novelist and playwright J. M. Barrie in 1902. Peter Pan, or The Boy Who Wouldn't Grow Up, premiered on 27 December 1904 in London. Jungle Book - The Jungle Book (1894) is a collection of stories by English author Rudyard Kipling. The stories were first published in magazines in 1893–94. Even recent, successful movies created by the Disney company after Walt Disney's death were based on stories written by others. Hercules – Greek myth Mulan – Chinese legend Tarzan – 1914 book by Edgar Rice Burroughs Tangled – Base on Rapunzel published in 1812 Brothers Grimm   Model the Disney filter. Walt Disney's upbringing shaped his view on life and influenced how he told stories. According to the book "Walt Disney – Hollywood's Dark Prince" by Marc Eliot, Disney's life on his boyhood Missouri farm was harsh. Walt was unsure of his father, because he had no birth certificate. He grew up in a very strict household where his father often used corporal punishment. Walt's mother usually did very little to tame the strick hand of the senior Disney. Growing up on the farm, Walt and his brother Roy were required to do chores to earn their keep. They would attend school during the day while working on the farm at night. There was no time for friends. Walt's friends were the various animals around the farm. The life Disney experienced on the farm influenced his films. If you study the films created by Disney while he was alive, you see the evidence. Most of Disney's feature-length films contain a protagonist with no father figure. The main character is typically a lonely outcast who has made friends with various animals. Think of your favorite Disney character. Does that individual fit that description? Cinderella. Snow White. Mowgli in the Jungle Book. Peter Pan. It is all right there. Disney didn't write great stories. He told great stories as seen through his filter. Plan your story using your own filter. Many podcasters believe that planning all of their content removes the opportunity for things to happen. Does planning remove the fun from your show? Not at all. When you spend less time trying to think of the next piece of content, you can spend more time thinking about how to make the next piece of content amazing. Organizing your content is the key to allowing your content to become entertainment.   8. THE CLOCK The one tool most radio hosts use to organize their show is a show clock. This is basically a schedule of what is to happen on the show and when those pieces of content occur. The show clock becomes even more important when you have a co-host. The clock puts all members of the show on the same page. Each host knows exactly what is coming up and when it is supposed to happen. You can download the PTC Show Clock template in the worksheet library online at PodcastTalentCoach.com.   Do you need help with your podcast? E-mail me any time at Coach@PodcastTalentCoach.com. Let's see what we can do. You can find my podcast and other tools to help you create great content at www.PodcastTalentCoach.com. Let's turn your information into engaging entertainment.

Marc Eliot is Founder and CCO (Chief Creative Officer) of swoop, a New York-based design studio for upscale luxury celebrations for weddings, social events, and corporate events alike. swoop is also the exclusive in-house event design affiliate for Cipriani. In this episode, Marc and Andy discuss what music and design have in common, the importance of "Game Day" improvisation, listening to what a design "wants", how to get where the clients wants to go even if they can't express how to get there, the freedom of structure, and more. Marc discovered a passion for music and as a young man. As a teenager he composed music and entertained as a singer, with a focus on performing standards by greats like Nat King Cole, Dean Martin, and Frank Sinatra. This love of music eventually took him from New York to California in search of fame and fortune, and eventually back to NYC when those remained elusive. Marc's involvement in the luxury wedding industry is a happy accident—the result of being asked to work for a floral decorator as a young man. Originally a way to help finance his music career, Marc found a new passion—design. He learned that he loved designing events, producing events, and working with people. This new kind of "performance" fueled a lot of the same passions as music for him, and for some time his music career and design career co-existed, as Marc simultaneously honed his design craft while performing music, releasing albums, and producing shows. In 1991, Marc founded his own Long Island floral company, Simply Elegant, with two partners and ran it for nine years as its Managing Partner & Creative Director. His growing reputation ultimately led to being General Manager and Creative Director of Floralia Decorators, with an exclusive affiliation at The Waldorf Astoria's in-house floral provider. When not fully immersed in his role at swoop, Marc is an avid composer, crooner, lyricist and writer, and an active member of the world-famous Friar's Club. Links swoop swoop on Facebook swoop on Instagram Cipriani  

Martha's guests are Jade Chang, Daniel Connolly, and Marc Eliot.

Can You Tell Stories Like Walt Disney? – Episode 130   Walt Disney was one of the greatest storytellers of our time.   When you examine his work, you realize he wasn't a great story writer. He was a fantastic story teller.   Snow White, Pinocchio, Fantasia, Dumbo, Bambi, Cinderella, Peter Pan, Jungle Book. All are stories written by someone else. Disney just turned them into great stories that sometimes didn't follow the original exactly.   Snow White – "Snow White" is a German fairy tale known across much of Europe and is today one of the most famous fairy tales worldwide. The Brothers Grimm published it in 1812 in the first edition of their collection Grimm's Fairy Tales.   Pinocchio - The Adventures of Pinocchio is a novel for children by Italian author Carlo Collodi, written in Florence. The first half was originally a serial in 1881 and 1882, and then later completed as a book for children in February 1883.   Fantasia – The movie was developed around the Sorcerer's Apprentice, a German poem written in 1797 by Johann Wolfgang von Goethe.   Bambi - Bambi, a Life in the Woods, was originally published in Austria in 1923 and written by Felix Salten.   Cinderella – This movie started as a European folk tale. The first written European version of the story was published in Naples, by Giambattista Basile, in 1634.   Peter Pan - Peter Pan is a character created by Scottish novelist and playwright J. M. Barrie in 1902. Peter Pan, or The Boy Who Wouldn't Grow Up, premiered on 27 December 1904 in London.   Jungle Book - The Jungle Book (1894) is a collection of stories by English author Rudyard Kipling. The stories were first published in magazines in 1893–94.   Even recent, successful movies created by the Disney company after Walt Disney's death were based on stories written by others.   Hercules – Greek myth Mulan – Chinese legend Tarzan – 1914 book by Edgar Rice Burroughs Tangled – Base on Rapunzel published in 1812 Brothers Grimm   THE DISNEY FILTER   Walt Disney's upbringing shaped his view on life and influenced how he told stories. According to the book “Walt Disney – Hollywood's Dark Prince” by Marc Eliot, Disney's life on his boyhood Missouri farm was harsh.   Walt was unsure of his father, because he had no birth certificate. He grew up in a very strict household where his father often used corporal punishment. Walt's mother usually did very little to tame the strick hand of the senior Disney.   Growing up on the farm, Walt and his brother Roy were required to do chores to earn their keep. They would attend school during the day while working on the farm at night. There was no time for friends. Walt's friends were the various animals around the farm.   The life Disney experienced on the farm influenced his films.   If you study the films created by Disney while he was alive, you see the evidence. Most of Disney's feature-length films contain a protagonist with no father figure. The main character is typically a lonely outcast who has made friends with various animals.   Think of your favorite Disney character. Does that individual fit that description?   Cinderella. Snow White. Mowgli in the Jungle Book. Peter Pan. It is all right there.   Disney didn't write great stories. He told great stories as seen through his filter.   ELEMENTS OF GREAT STORIES   There are four elements to a great story. Those elements include a reason to care, revealing the details, a powerful resolution and asking “what else?”.   THE REASON   Give your listener a reason to care. Begin with an engaging introduction. “Tell me if I'm gonna go to Hell for this…” That is a hook.   What do you want the audience to feel? This is what your engaging introduction should answer.   Make your introduction human. Stir emotion. Make it humorous, compelling or tragic. My radio coach Bill McMahon often asked what I would like to make the audience laugh at, marvel at or better understand.   Find great emotions. They could include joy, sympathy, empathy, anger, tragedy, tenderness, humor, rage, patriotism or various other emotions.   Your introduction should pull your listener into the story. Give them a roadmap.   REVEAL THE DETAILS   Details are more believable than generalities. Details reveal specifics about your thoughts, beliefs and character. This is how listeners get to know, like and trust you and your business.   Use all 5 senses when telling your stories. We are creating visions in the theater of the mind of your listener.   POWERFUL RESOLUTION   Your powerful resolution is a strong reframing of introduction. This resolution puts a nice bow on the story.   WHAT ELSE?   Asking “What Else” will transform your show. This takes your story to a whole new level. This transforms your story from a nice piece of entertainment into an incredible piece of engaging content.   When you ask “what else”, you let your story lead to something bigger. This might mean continuing the conversation on your Facebook page. You may solicit questions or thoughts from your listeners. The story might lead into a bigger discussion or interview or skit.   The options are endless. Your “what else” step will also make your content unique and powerful.   HOW YOU CAN BE A STORYTELLER   You can become a powerful storyteller by funneling your content through your filter. Then, ask the four storytelling questions.   What is the engaging set up? How will it be revealed in the story? What is the resolution? What else can you do with it?   Try a few stories in your episode this week. Let me know how it goes.   If you would like a Podcast Talent Coach worksheet to help you develop your stories, CLICK HERE.   Next week, how your stories activate the theater of the mind for your listeners. Plus, how to use theater of the mind to create more engagement.   You can find my podcast and other tools to help you create great content at www.PodcastTalentCoach.com.   Let's turn your information into engaging entertainment.  

Marc Eliot, composer, singer, actor always loved the crooners: the Franks, the Tonys, the Sammys. A passion for music and performing, a rich voice, led to musical theater, club appearances, and cd's ("New York Blue"). "One of the Good Guys," Eliot's own

Michael Stoler and fellow Friars, Len Cariou, Jamie deRoy, Marc Eliot, Stan Gilbert-actor and cabaret performers talk about their love of the music they perform. Friend Sidney Myer, booking agent, agrees that cabaret is here to stay for all to enjoy.