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Matt Crowley made a big name for himself when he debunked the claims some Bigfoot casts had dermal ridges. He's on Conspiracy Skeptic to talk about that work and ruminate on why anyone would want to cover up the existence of Bigfoot.
Original Air Date: October 16, 1939Host: Andrew RhynesShow: The Lone RangerPhone: (707) 98 OTRDW (6-8739) Stars:• Earle Graser (Lone Ranger)• John Todd (Tonto) Writer:• Fran Striker Producer:• George W. Trendle Music:• Ben Bonnell Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK
Original Air Date: October 16, 1939Host: Andrew RhynesShow: The Lone RangerPhone: (707) 98 OTRDW (6-8739) Stars:• Earle Graser (Lone Ranger)• John Todd (Tonto) Writer:• Fran Striker Producer:• George W. Trendle Music:• Ben Bonnell Exit music from: Roundup on the Prairie by Aaron Kenny https://bit.ly/3kTj0kK
With the Century Book in dire need of restoration, the students attempt to invoke a Round 2 of a historical exhibition. Eclair finally confronts her rival. Chad attempts to create a revenue stream. Ashlee sends an ultimatum. Phyrlass shares a recipe for success. STARRING - DM Michael "Skitch" Schiciano: https://bsky.app/profile/skitch.bsky.social Players: Austin Yorski: https://bsky.app/profile/austinyorski.bsky.social Sara (Cosmignon): https://bsky.app/profile/cosmignon.bsky.social Forneia: https://bsky.app/profile/forneiavtuber.bsky.social , https://www.twitch.tv/forneia Peter Hunter: https://bsky.app/profile/pretorhunter.bsky.social Edited by Austin Yorski: https://bsky.app/profile/austinyorski.bsky.social Title Sequence by Matt Crowley: https://bsky.app/profile/mattjcrowley.bsky.social - https://www.youtube.com/Videokind SUPPORT LINKS - Austin - https://www.patreon.com/austinyorski Sara - https://www.patreon.com/cosmignon - https://runawaydrakaina.com/ Forneia - https://ko-fi.com/forneia Skitch - https://www.patreon.com/skitch - https://skitch.bandcamp.com/ ART - Sara (Cosmignon): https://bsky.app/profile/cosmignon.bsky.social Matt Crowley: https://bsky.app/profile/mattjcrowley.bsky.social AUDIO & MUSIC - Shardpoint Theme by Skitch - https://skitch.bandcamp.com/album/dice-funk-one-shot-themes FAN COMMUNITIES - https://discord.gg/YMU3qUH
Leveret, co-founded by Doug Rebeles and Matt Crowley, is a unique sock brand that emerged from a vision to revolutionize the golf apparel market. Recognizing that socks were an often overlooked but essential part of a golfer's ensemble, they set out to create high-quality, colorful socks that could seamlessly complement any outfit. Leveret isn't just about socks; it's about completing the golfer's look with vibrant, stylish designs that make a statement both on and off the course. With a diverse range of color combinations and styles, Leveret ensures your golf attire is impeccable from head to toe. Their journey is nothing short of inspiring! Tune in before you tee off. ⛳️ #GolfingInTheGardenState #Socks #Luxury #StateOfGolf #WeAreNewJersey #GolfCommunity #Golftips #golfaddict #golfersdoingthings #Golfer #golfers #GolfLife #Golfing #Golf #creator #creatortips #contentcreator #socialmedia #socialmediastrategy #contentideas #golfr Learn more about your ad choices. Visit megaphone.fm/adchoices
The department of Health and Human Services has updated their bulletin for healthcare marketers – this episode features Ray Mina, Head of Marketing at Freshpaint and Matt Crowley, VP of Digital Services at MoreVisibility – who explain more about the latest bulletin updates and how using a customer data platform can help healthcare marketers protect their data and stay HIPAA compliant. More resources on this topic: · Read more about the latest HHS updates in this blog from Freshpaint · Download our recent webinar featuring Ray & Matt here To talk with our team anytime on healthcare digital marketing, send an email to info@morevisibility.com
咖啡赛事早就和普通爱好者的日常密不可分了！爱好者们越来越倾向于通过咖啡赛事来认识优秀的咖啡师、烘焙品牌，了解当下最出色的产区、庄园和新豆种。每年的世界赛，也是国外豆爱好者开荒其他国家优秀烘焙品牌的秀场，冠军豆、冠军品牌成了近年精品咖啡市场的一块金字招牌。同时，咖啡行业和从业者们也不断地从比赛中吸收着新科技、设备的变革：2013年澳大利亚选手Matt Perger首次在世界赛上使用EK43做意式咖啡，引领了接下来风靡全球近十年的“磨王”盛况；2017年加拿大Monogram的Ben Put优先在世界赛上使用了冷冻蒸馏牛奶，至今无数选手仍然选择用各种技术预处理牛奶，也有越来越多的门店开始用冰博客、旋蒸奶制作咖啡；2022年世界冠军Anthony Douglas首次使用的Auto Comb布粉器，近几个月越来越多地出现在国内的咖啡店；还有太多了...如今大家习以为常的器具、制作技术大多源自于赛场，并且越来越多年轻的咖啡师开始选择走上了赛场。所以我一直在想除了邀请冠军做专访，也许我们还可以换个角度来聊一聊咖啡比赛！很幸运，这次请来了活跃在世界赛事圈十余年的专家，前叙那些所有的变革，他不止是见证者、还是亲历者，在幕后辅佐过很多优秀世界选手的Matt Crowley默默地看着大家功成名就，是当之无愧的无冕之冠。2023年12月初，在南京见到了远道而来的Matt和Fey。Matt拥有15年精品咖啡从业经验，其中12年间以烘焙师、教练、澳洲国内赛事主审的身份投身于咖啡赛事，他是2022年WBC世界咖啡师大赛总冠军Anthony Douglas、以及2023年WBC世界咖啡师大赛季军Jack Simpson的教练。而Matt、Anthony、Jack共同来自墨尔本的精品咖啡烘焙品牌Axil Coffee Roasters！而初次见Fey，是在2023年雅典WBC世界咖啡师大赛直播中的亚裔主持人，让人印象深刻。因为主动询问朱金贵的全名，一直活跃在欧洲的Fey因此接触到了国内咖啡人。当Jeremy（张寅喆）在寻找擅长烘世界级比赛用豆的人的时候，Fey应邀带着Matt来到中国...『本期嘉宾』FeyFey荷兰咖啡师决赛、冲煮决赛感官评审雅典WBC世界赛、台北世界烘豆赛主持人尼加拉瓜/瓜地马拉/哥伦比亚卓越杯CoE国际评审德国SCA教育统筹委员Matt CrowleyAxil Coffee Roasters首席烘焙师和生豆采购Axil所有咖啡师选手的烘焙师（10次参赛不同的咖啡）2022年世界咖啡师大赛冠军Anthony Douglas的烘焙师兼教练2023年世界咖啡师大赛季军Jack Simpson的烘焙师兼教练2018年世界咖啡师大赛季军Cole Torode的顾问2022/2023年阿拉伯咖啡师冠军Ahmed Abdelaziz的顾问、烘焙师和教练评审经验：澳大利亚咖啡师大赛主审WBC认证感官评委澳大利亚烘焙师大赛评委播客中提及的：Dave Makin｜澳洲哦Axil创始人/两度澳洲咖啡师大赛冠军/2008年哥本哈根世界咖啡师大赛亚军Boram UM｜2023年世界咖啡师大赛冠军（Cole Tarode是他的教练）Cole Torode｜加拿大Rosso Coffee Roasters创始人/2018年世界咖啡师大赛季军『本期内容』Table of Contents 认识FeyFey00:02:11 和WBC雅典世界赛主持人Feyfey网友奔现00:03:22 从精油转行咖啡赛圈，对香气无法抗拒00:06:39 因为瑰夏和蕾利达庄园，独身勇闯巴拿马00:12:01 在翡翠庄园的杯测桌上初识Matt和AnthonyMatt和墨尔本精品咖啡品牌Axil00:17:40 Matt Crowley和Axil Coffee Roasters00:22:38 千禧年后，墨尔本成为世界精品咖啡之都00:26:06 墨尔本独特的Fine dining Cafe scene00:32:26 墨尔本、布里斯班、悉尼咖啡的细微差异成为世界冠军背后的男人00:36:21 Matt:我选择了用另一种方式成为比赛的一部分00:40:46 为什么咖啡师们挤破头想要参加比赛？00:44:20 世界冠军背后的梦之队是这样协作的...00:48:01 关于那只比赛豆Sidra的一切00:54:34 什么样的咖啡豆适合用于比赛？01:02:23 使用Auto Comb第一人，源于Anthony对布粉的执着01:05:12 是谁在世界赛上花式卷牛奶？01:11:11 怎么给选手烘焙赛豆？01:16:39 WBC是烘焙师或者咖啡豆的比赛吗？01:19:10 冠军团队量产冠军，对独立咖啡师公平吗？01:22:15 亚裔选手在国际赛事舞台上的优势和劣势01:27:06 量产冠军的秘诀！『延伸资料』左一是Matt、左二是Fey从左到右依次是Matt、Anthony、Jack『本期主播』Yujia如果你喜欢我们的节目内容,请记得订阅频道。推荐您在小宇宙App,苹果Podcasts, Spotify，豆瓣播客等泛用性客户端收听我们的节目,你还可以通过喜马拉雅,网易云音乐,QQ音乐,Google podcast等平台收听我们的节目。如果您喜欢我们的内容，请别忘了在小宇宙App给我们留言、点赞，在苹果Podcast给我们五星好评，也请多分享播客给朋友们！如果希望支持我们，可以通过“爱发电”平台打赏：https://afdian.net/a/coffeeplusYYY片头音乐: Modern Attempt片尾音乐: O Come All Ye Faithful-DJ Williams『留言互动』 小红书:@Coffeeplus播客 @Yujia_66微信公众号:Coffeeplus播客也可以搜索添加微信Fishplus_wx, 记得备注“播客”哦，邀请您进入微信社群～
The OTRNow Radio Program Thanksgiving Show-03Over 3 1/2 hoursEnough old-time radio to bake a turkey. Rosie prepares some Thanksgiving dinner while playing some Thanksgiving themed radio programs.Host:Rosie the RiveterThe Aldrich Family. November 23, 1952. NBC net. Sponsored by: Sustaining. It's Thanksgiving time and there's only one turkey left. Both the Aldrich and Brown families want it. Bob MacKenzie (announcer), Clifford Goldsmith (writer), Bobby Ellis, Jack Grimes, House Jameson, Katharine Raht, Dick Dudley (announcer).Casey, Crime Photographer. November 27, 1947. CBS net. "After Turkey, The Bill". Sponsored by: Anchor Hocking Glass. A young ex-con is framed for a gas station robbery on Thanksgiving. The story has a surprising conclusion. Alonzo Deen Cole (writer), Archie Bleyer (music), Herman Chittison (piano), Jan Miner, John Dietz (director), John Gibson, Staats Cotsworth, Tony Marvin (announcer), George Harmon Coxe (creator), Harry Marble (commercial spokesman). The Challenge Of The Yukon. November 28, 1946. Program #459. WXYZ, Detroit origination, The Michigan Radio Network. "Thanksgiving In The Wilderness". Sponsored by: Sustaining. A flashback story: Father Haley has been kidnapped, along with the church funds. The townspeople suspect that the new priest may have stolen the money. Father Haley's dog Shep helps Sergeant Preston solve the mystery. The system cue has been deleted. Jay Michael, Mildred Merrill (writer), Larry McCann (announcer). Command Performance Thanksgiving Special. 1944. AFRS origination. "Thanksgiving at Wally Brown's" Lionel Barrymore(announcer), Dinah Shore, Harry Von Zell, Wally Brown, John Charles Thomas sings a Thanksgiving hymn, Fanny Brice,Hanley Stafford, Frank Morgan. Family Theatre. February 04, 1953. Mutual net. "Home For Thanksgiving". Sponsored by: Sustaining. A warm family story about a return for the holidays. The script was previously used on "Family Theatre" on Novemeber 27, 1947 (see cat. #70059). Joan Leslie, Stephen McNally (host), Tony La Frano (announcer), Harry Zimmerman (composer, conductor), Joseph Mansfield (director, transcriber), Irene Tedrow, Pat McGeehan, John McGreavy (writer), John Stevenson, Alice Backes. The Jell-O Program Starring Jack Benny. November 23, 1941. Red net, KFI, Los Angeles aircheck. Sponsored by: Jell-O, Jell-O Pudding. Guest Alice Faye joins the rest of the gang for Thanksgiving dinner at Jack's. Alice sings, "Tropical Magic.". Jack Benny, Don Wilson, Eddie Anderson, Mary Livingstone, Dennis Day, Phil Harris, Alice Faye, Ed Beloin (writer, performer), Bill Morrow (writer), Mahlon Merrick (conductor). Lum and Abner. November 22, 1945. ABC net. Sponsored by: Alka Seltzer. A Thanksgiving show. There's nothing like a holiday...even for women! The system cue and final commercial have been deleted. Chester Lauck, Norris Goff, Gene Baker (announcer). Mark Trail. November 22, 1950. Mutual net. "Poisoned Turkey". Sponsored by: Kellogg's Corn Flakes, Gro-Pup. A Thanksgiving show. Who fed rat poison to kill all of Jim Pilgrim's Turkeys?. Matt Crowley, Jackson Beck (performer, announcer), Ben Cooper, Joyce Gordon, Elwood Hoffman (writer), Drex Hines (director), Jon Gart (organist), Ed Dodd (creator). Host:Rosie the RiveterSOURCES: Wikipedia and The RadioGoldindex.com
An hour of CrimeFirst, a look at this date in history.Then The Whistler, originally broadcast October 18, 1942, 81 years ago, Death Comes At Midnight. A man dreams that he's going to be killed in forty-eight hours...and it looks like he's going to be proved correct!Followed by Mark Trail starring Matt Crowley, originally broadcast October 18, 1950, 73 years ago, The Wings of the Vampire. Mark Trail is called in to investigate why cattle are being killed and all their blood drained. Could it be...vampires?And Claudia, originally broadcast October 18, 1948, 75 years ago. Claudia looks for a parking place.
Adam Boorstin and Matt Crowley, co-CEOs of Studio71, offer insights on the growth trajectory of the creator economy from their perch as leaders of a top firm that provides support services for social media creators. The pair discuss how emerging talent is increasingly tapping into professional tools and a higher level of advertising and sponsorship deals to make social media a robust and profitable medium unto itself.See omnystudio.com/listener for privacy information.
Serial Mondays Dick Tracy, Detective - Tess Disappears Starring-Bob Burlen, Barry Thomson, Ned Wever, Matt Crowley, Walter Kinsella, Helen Lewis & Andy Donnelly The series aired over a period of 14 years, from 1934 - 1948, and was based on a newspaper comic strip. What set Dick Tracy apart was his use of high-tech and ultra-modern gadgets to fight the forces of evil. He was never without his faithful sidekick Pat Patton and his band of merry followers, Junior Tracy and Tess Trueheart. Although in this premiere episode Tess disappears.
A recent Google bulletin sparked conversation within the Healthcare industry around data confidentiality. Matt Crowley joins the podcast to discuss that news from Google and review potential options for Healthcare providers to ensure all data within Google Analytics follows laws, rules and regulations. Looking for more tips or how we can help your analytics strategy? Contact us at info@morevisibility.com.
On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- 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. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- 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. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
In this episode, we are joined by Matt Crowley, the accomplished President of Chicago Steak Company, a prominent online purveyor of top-tier steaks and meat products across the United States. Leveraging his astute marketing strategies and the resounding success of his acclaimed food blog, Steak University, Matt has steered Chicago Steak Company into becoming a multimillion-dollar enterprise. Under his leadership, the company not only boasts retail partnerships with major chains like Costco but also provides premium meat and seafood offerings to esteemed corporations such as FedEx, Bank of America, and Google. Tune in to learn more!
Casey, Crime Photographer - The Treasure Cave Murders From-1947 Announcers-Tony Marvin, Bob Hite & Bill Cullen Herman Chittison-the piano player Stars-Statts Cotsworth Various cast members-Matt Crowley, Jim Backus, Jan Miner & Art Carney Ann and Logan delve into a series of four strange murders that took place deep inside a cave.
For our 200th episode we are joined by Matt "The Tube" Crowley and Tim Cridland, aka Zamora the Torture King, to discuss the new documentary about the rise and fall of the Jim Rose Circus. This rock n' roll version of sideshow oddities reintroduced the art of sideshow to many who had never seen it. As two of the original four marvels of the Jim Rose Circus, Matt and Tim share tales of the road, their philosophy of what sideshow is -- and what it may evolve into -- as well as giving away a few secrets of their acts.
Matt Crowley and Bill Wichert, the co-founders of TonDone, have recently secured $1.5 million in funding and facilitated over $30 million in work orders through their platform. Their mission is to solve the challenges faced by building and facility services.Matt and Bill first crossed paths at Case Western Reserve University and decided to work together going forward. In an eclectic joint career experience, they served as Chief Information Officers at Philadelphia International Airport and Cleveland Hopkins International Airport, where they oversaw the development of technology resources for millions of airline customers annually. Their industry knowledge and experience in aviation inspired them to create software for airport operations, which eventually — through a series of learnings and pivots, and participation in Akron's Bounce Innovation Hub accelerator and Techstars accelerator programs — led them to the idea of developing a business operating system for the building and facility service market at large — they developed a platform to help frontline employees get a ton done, hence TonDon!In this episode, Matt and Bill discuss their experience with airport innovation, the ups and downs of pivoting, team building, the importance of falling in love with the problem instead of an idea, knowing your own strengths and weaknesses, the power of accelerator programs, and much more.Please enjoy my conversation with Matt Crowley and Bill Wichert!--Learn more about TonDone — https://www.tondone.com/Connect with Bill Wichert on LinkedIn — https://www.linkedin.com/in/billwichert/Connect with Matt Crowley on LinkedIn — https://www.linkedin.com/in/k8cle/Follow TonDone on Twitter — https://twitter.com/gettondone/Follow Matt Crowley on Twitter — https://twitter.com/variables--Connect with Jeffrey Stern on LinkedIn — https://www.linkedin.com/in/jeffreypstern/Follow Jeffrey Stern on Twitter @sternJefe — https://twitter.com/sternjefeFollow Lay of The Land on Twitter @podlayofthelandhttps://www.jeffreys.page/
Host, Christopher Lee, brings you the greatest mystery detective horror and sci-fi from the golden age of radio. Boston Blackie 7-9-46 “The Skating Rink Murders” w/ Dick Kollmar White Hall 1212 4-20-52 “Case of Mrs. Manerva Bannamon” by Wyllis Cooper X Minus One 9-8-55 “Martian Death March” w/ Matt Crowley & David Pfeffer To access more classic radio shows visit classicradioclub.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Matt Crowley was born in Minnesota in 1875. In 1887 his family relocated to North Dakota to establish a ranch where they raised Hereford cattle. Crowley only had four years of formal education. After that, his father was his teacher as they worked the ranch together.
Dimension X - No Contact From-1950 Host-Norman Rhodes Stars-Luis Van Rooten, Donald Buka, Matt Crowley & Cameron Prudhomme It was in the year 1982 that space men first discovered the great galactic barrier. In the past 10 years rocket travel to the moon and the nearer planets had become common place and then men fixed their sights on a more distant star the remote planet known as Volta. 5 exploratory ships went out and none came back each disappearing mysteriously at the same vanishing point an invisible wall somewhere in the vast outer reaches that became known as the wrecker of spaceships, the Galactic Reef...
Information Specialist Eric Stoker interviewed Christian Wouden from West Jordan High School and Kasey Walkenhurst from Farmington High School as they talk about how they are including people with disabilities on their basketball teams and they share advice on what coaches that are doing other sports to include more people with disabilities. Program Support Specialist Olyvia Burbidge interviewed Eric Stoker and Matt Crowley to hear from them what it is like to be a basketball manager on their high school basketball teams, how their teams includes them and so much more.
Host: John Buse, MD, PhD Guest: Matthew Crowley, MD Can telehealth change the way we manage persistently controlled type 2 diabetes (PPDM)? Dr. John Buse speaks with Dr. Matt Crowley, an Associate Professor of Medicine in the Department of Medicine in the Division of Endocrinology, Metabolism and Nutrition at Duke University, to explore some of the research on different methods of telehealth.
In this interview, we take a deep dive into the routine of recently crowned World Barista Champion, Anthony Douglas of Axil Coffee Roasters. Anthony was supported by Axil Coffee Roasters Head Roaster Matt Crowley and was coached by industry heavyweight Jack Simpson. Anthony's journey hasn't been without hardships, he came so close to winning the Australian Barista Championship many times. This year he finally overcame that hump and went a step further to become the world's best barista. In this podcast, we talk about the routine itself and Anthony's years-long journey to get there. We also get to hear the account of Matt Crowley and Jack Simpson who were hugely influential in helping Anthony to become the champion. Enjoy this podcast, and as always, STAY COOL!
X Minus OneNo Contact - 1955 5 exploratory ships went out and none came back. The explorers refused to admit defeat. Mason Adams, Donald Buka, Matt Crowley,Luis Van Rooten, Bill Smith & Ken Williams
Corporate Tauranga is ruing the departure of Simon Bridges from the political scene. The local MP has been seen as a dependable ally of the local businesses. At a national level, Bridges was seen by many as taking a muscular business line on issues such as the government's three waters reforms. Tauranga Chamber of Commerce chief executive Matt Crowley spoke to Guyon Espiner.
This episode is cross-posted from the Building State Capability at Harvard University Podcast Series and features Matt Crowley, Superintendent of the Public School District in Woburn, Massachusetts, interviewed by Salimah Samji, Director of the Building State Capability Programme. They discuss how this school system pivoted to remote learning during the COVID-19 pandemic and the importance of collaboration and adaptability when leading through a crisis. Links The original episode, first published on the Building State Capability at Harvard University Podcast Series: https://harvardbsc.simplecast.com/episodes/pivoting-education-systems-in-a-crisis (https://harvardbsc.simplecast.com/episodes/pivoting-education-systems-in-a-crisis) Building State Capability at Harvard University's Podcast Series: https://bsc.cid.harvard.edu/podcasts (https://bsc.cid.harvard.edu/podcasts) The Building State Capability Programme at Harvard University: https://bsc.cid.harvard.edu/ (https://bsc.cid.harvard.edu/) What is PDIA- Problem Driven Iterative Adaptation (Video)? https://vimeo.com/262046965 (https://vimeo.com/262046965) PDIA Toolkit - A DIY Approach to Solving Complex Problems (Guide): https://bsc.cid.harvard.edu/files/bsc/files/pdiatoolkit_ver_1_oct_2018.pdf (https://bsc.cid.harvard.edu/files/bsc/files/pdiatoolkit_ver_1_oct_2018.pdf) Funda Wande through the Lens of PDIA: Showcasing a Flexible and Iterative Learning Approach to Improving Educational Outcomes (insight Note) by Salimah Samji and Mansi Kapoor: https://riseprogramme.org/publications/funda-wande-through-lens-pdia-showcasing-flexible-and-iterative-learning-approach (https://riseprogramme.org/publications/funda-wande-through-lens-pdia-showcasing-flexible-and-iterative-learning-approach) To solve the learning crisis, start with the problem (Blog) by Marla Spivack: https://riseprogramme.org/blog/solve-learning-crisis-start-problem (https://riseprogramme.org/blog/solve-learning-crisis-start-problem) Marla Spivack on Diagnosing Education Systems, CID Speaker Series (Podcast): https://riseprogramme.org/publications/podcast-diagnosing-education-systems (https://riseprogramme.org/publications/podcast-diagnosing-education-systems) Building State Capability: Evidence, Analysis, Action (book) by Andrews, Pritchett and Woolcock: https://bsc.cid.harvard.edu/building-state-capability-evidence-analysis-action (https://bsc.cid.harvard.edu/building-state-capability-evidence-analysis-action) Speaker biographies Matt Crowley is the Superintendent of the Public School District in Woburn, Massachusetts. Salimah Samji is the Director of Building State Capability (BSC). She has more than 15 years of experience working in international development on the delivery of public services, transparency and accountability, strategic planning, monitoring, evaluation and learning. She joined the Center for International Development at Harvard University in 2012 to help create the BSC programme. Today, she is responsible for providing vision, strategic leadership, oversight and managing projects and research initiatives. Salimah also leads BSC's work on digital learning. Attribution This episode was first published on the Building State Capability at Harvard University Podcast Series and has been cross-posted with permission. RISE is funded by the UK's Foreign, Commonwealth and Development Office; Australia's Department of Foreign Affairs and Trade; and the Bill & Melinda Gates Foundation. The Programme is implemented through a partnership between Oxford Policy Management and the Blavatnik School of Government at the University of Oxford. The Blavatnik School of Government at the University of Oxford supports the production of the RISE Podcast. Producers Building State Capability at Harvard University
Hosted by David and Nycci Nellis. On today's show: • J.P. Sabatier, Ralph Brabham and Drew Porterfield. It's cozy, it's sophisticated, it's fun. Jane Jane just opened and it's the wonder of 14th Street. It features 30-plus classic cocktails, a selection of house cocktails created by Sabatier, and concise beer and wine lists; • Chef Ed Reavis and Jennifer Meltzer of Money Muscle BBQ and the All Set Restaurant in Downtown Silver Spring; • And the Chicago Steak Co.'s Tommy Tsitouris and Matt Crowley. They tell us how to get a great steak and how to prepare it.
Hosted by David and Nycci Nellis. On today's show: • J.P. Sabatier, Ralph Brabham and Drew Porterfield. It's cozy, it's sophisticated, it's fun. Jane Jane just opened and it's the wonder of 14th Street. It features 30-plus classic cocktails, a selection of house cocktails created by Sabatier, and concise beer and wine lists; • Chef Ed Reavis and Jennifer Meltzer of Money Muscle BBQ and the All Set Restaurant in Downtown Silver Spring; • And the Chicago Steak Co.'s Tommy Tsitouris and Matt Crowley. They tell us how to get a great steak and how to prepare it.
On CBS Radio December 19, 1946. Jack Casey solved crimes while on assignment as a photographer for The Morning Express newspaper. Casey and Ann fight the Christmas shopping crowds when Casey sees a pickpocket at work. Apparently broadcast before an audience with host-announcer Tony Marvin (Photo) (October 5, 1912 – October 10, 1998) an American radio and television announcer. He became a staff announcer for CBS, and later became most known as the long-time announcer with variety show host Arthur Godfrey. https://en.wikipedia.org/wiki/Tony_Marvin The program starred Matt Crowley or Staats Chatsworth, as Casey, and Jan Miner as Ann. She later appeared as MADGE in the TV soap commercials. https://en.wikipedia.org/wiki/Casey,_Crime_Photographer
In this BSC podcast, Director Salimah Samji interviews Matt Crowley, Superintendent of the Public School District in Woburn, MA. They discuss how this school system pivoted to remote learning during the COVID-19 pandemic and the importance of collaboration and adaptability when leading through a crisis.
E-commerce sales continue to grow as more people are interested in ordering food online. For some retail shoppers loading up a cart at the grocery store with everything needed is no longer the norm. In the last year, more consumers have become comfortable with perishable items being delivered straight to their door. During this week’s MEAT+POULTRY Podcast, the company’s owner Matt Crowley explains how Chicago Steak has grown since 2007 and what it had to do to keep up with online orders during the first stretch of the COVID-19 pandemic. Crowley also discusses how Chicago Steak sources its USDA Prime products to ship for customers. Next, he dives into the ways the company reaches current and potential customers and how he hopes to grow the business in the future. One way is Chicago Steaks’ commitment to customer education with its Steak University section of its website. Its online resources give all the information and videos customers need to prepare and cook the steaks and other cuts of meat the company offers. --- Send in a voice message: https://anchor.fm/meatpoultry-podcast/message
My guest today is Onion staff writer Matt Crowley (@MatthewPCrowley). We talk about how he got his start in college writing short comedic plays, how he got his position at The Onion and how he was able to move up the ladder from apprentice to staff writer. We also talk about what it was like working at The Onion in the insane time that was the Trump presidency and the ongoing pandemic, as well as his expectations for the Biden presidency. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app
On January 30, 1950, Mutual Broadcasting System launched a radio adaptation, Mark Trail, featuring Matt Crowley in the title role. The 30-minute episodes aired three times weekly, and 174 episodes were produced, running until June 8, 1951. A second radio series, starring Staats Cotsworth, was broadcast on ABC beginning September 18, 1950, with 51 half-hour shows that ran thrice weekly until January 1952. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
On January 30, 1950, Mutual Broadcasting System launched a radio adaptation, Mark Trail, featuring Matt Crowley in the title role. The 30-minute episodes aired three times weekly, and 174 episodes were produced, running until June 8, 1951. A second radio series, starring Staats Cotsworth, was broadcast on ABC beginning September 18, 1950, with 51 half-hour shows that ran thrice weekly until January 1952. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
On January 30, 1950, Mutual Broadcasting System launched a radio adaptation, Mark Trail, featuring Matt Crowley in the title role. The 30-minute episodes aired three times weekly, and 174 episodes were produced, running until June 8, 1951. A second radio series, starring Staats Cotsworth, was broadcast on ABC beginning September 18, 1950, with 51 half-hour shows that ran thrice weekly until January 1952. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
On January 30, 1950, Mutual Broadcasting System launched a radio adaptation, Mark Trail, featuring Matt Crowley in the title role. The 30-minute episodes aired three times weekly, and 174 episodes were produced, running until June 8, 1951. A second radio series, starring Staats Cotsworth, was broadcast on ABC beginning September 18, 1950, with 51 half-hour shows that ran thrice weekly until January 1952. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
On January 30, 1950, Mutual Broadcasting System launched a radio adaptation, Mark Trail, featuring Matt Crowley in the title role. The 30-minute episodes aired three times weekly, and 174 episodes were produced, running until June 8, 1951. A second radio series, starring Staats Cotsworth, was broadcast on ABC beginning September 18, 1950, with 51 half-hour shows that ran thrice weekly until January 1952. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
On January 30, 1950, Mutual Broadcasting System launched a radio adaptation, Mark Trail, featuring Matt Crowley in the title role. The 30-minute episodes aired three times weekly, and 174 episodes were produced, running until June 8, 1951. A second radio series, starring Staats Cotsworth, was broadcast on ABC beginning September 18, 1950, with 51 half-hour shows that ran thrice weekly until January 1952. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
On January 30, 1950, Mutual Broadcasting System launched a radio adaptation, Mark Trail, featuring Matt Crowley in the title role. The 30-minute episodes aired three times weekly, and 174 episodes were produced, running until June 8, 1951. A second radio series, starring Staats Cotsworth, was broadcast on ABC beginning September 18, 1950, with 51 half-hour shows that ran thrice weekly until January 1952. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
On January 30, 1950, Mutual Broadcasting System launched a radio adaptation, Mark Trail, featuring Matt Crowley in the title role. The 30-minute episodes aired three times weekly, and 174 episodes were produced, running until June 8, 1951. A second radio series, starring Staats Cotsworth, was broadcast on ABC beginning September 18, 1950, with 51 half-hour shows that ran thrice weekly until January 1952. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
On January 30, 1950, Mutual Broadcasting System launched a radio adaptation, Mark Trail, featuring Matt Crowley in the title role. The 30-minute episodes aired three times weekly, and 174 episodes were produced, running until June 8, 1951. A second radio series, starring Staats Cotsworth, was broadcast on ABC beginning September 18, 1950, with 51 half-hour shows that ran thrice weekly until January 1952. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
On January 30, 1950, Mutual Broadcasting System launched a radio adaptation, Mark Trail, featuring Matt Crowley in the title role. The 30-minute episodes aired three times weekly, and 174 episodes were produced, running until June 8, 1951. A second radio series, starring Staats Cotsworth, was broadcast on ABC beginning September 18, 1950, with 51 half-hour shows that ran thrice weekly until January 1952. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
On January 30, 1950, Mutual Broadcasting System launched a radio adaptation, Mark Trail, featuring Matt Crowley in the title role. The 30-minute episodes aired three times weekly, and 174 episodes were produced, running until June 8, 1951. A second radio series, starring Staats Cotsworth, was broadcast on ABC beginning September 18, 1950, with 51 half-hour shows that ran thrice weekly until January 1952. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
On January 30, 1950, Mutual Broadcasting System launched a radio adaptation, Mark Trail, featuring Matt Crowley in the title role. The 30-minute episodes aired three times weekly, and 174 episodes were produced, running until June 8, 1951. A second radio series, starring Staats Cotsworth, was broadcast on ABC beginning September 18, 1950, with 51 half-hour shows that ran thrice weekly until January 1952. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
On January 30, 1950, Mutual Broadcasting System launched a radio adaptation, Mark Trail, featuring Matt Crowley in the title role. The 30-minute episodes aired three times weekly, and 174 episodes were produced, running until June 8, 1951. A second radio series, starring Staats Cotsworth, was broadcast on ABC beginning September 18, 1950, with 51 half-hour shows that ran thrice weekly until January 1952. --------------------------------------------------------------------------- Entertainment Radio Stations Live 24/7 Sherlock Holmes/CBS Radio Mystery Theater https://live365.com/station/Sherlock-Holmes-Classic-Radio--a91441 https://live365.com/station/CBS-Radio-Mystery-Theater-a57491 ----------------------------------------------------------------------------
Next month Rhythm Section International will release an album from Australian three man outfit Retiree. The long form assortment of abstract cuts and intriguing twists has a conceptual nature and has allowed the group to focus on a variety of themes whilst exploring the deinition of "house" and "home". The group is made up of Matt Crowley, Tori Holleman and Marco Vella who each compose various elements on the new forthcoming LP. Bradley Zero, the man behind Rhythm Section, has long since formed a close bond with the Australian musical community and has regularly championed upcoming artists from the country. Their appearance makes sense. We invited the group to record a mix for us which features music by the likes of Visible Cloaks, Gerry Read and Tori Holleman.
"Mark Trail"--originally broadcast October 16, 1950, 67 years ago. Episode titled "Strange Invitation to Death." The Ed Dodd comic strip comes to life with Matt Crowley as Mark Trail. Farms are being devastated by deer...or are they?
Hello and welcome back to the Early Stage podcast, where we listen to some of the most dynamic Founders in the startup scene talk about the origins of their companies, what makes them special, and the unique challenges ahead. I'm John Valentine, resident startup nerd, and I host this humble pod. I'm glad I was able to sneak in a few hours of editing, because I'm really excited to introduce my conversation with Vesper CEO, Matt Crowley. A technology founded in a University of Michigan lab by Bobby Littrell almost a decade ago, Vesper has built the first zero-power listen-to-wake microphone built with piezoelectric materials. This always-on technology can help an Amazon Tap run for years without being plugged in. Matt and I talk about how voice interfaces will enable the next class of business concepts, forcing people to think more creatively about their own products. As machine learning and AI systems reduced errors in voice analysis to make the tech comfortably usable, Vesper' digital transducer could usher in the IoT revolution. Accomplice and Amazon's Alexa Fund seem to think so too, and they put money into Vesper's first big funding round. They have truly built a full stack solution with their sensor, MEMS, mechanical devices, complex analog circuit, digital signal processing, and voice interface algorithms. This team turns sound information into digital information better than anyone else in the world.
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