Podcast appearances and mentions of Melvin Van Peebles

Kevin Nash and Sean Oliver return for another packed episode of Kliq This. The guys kick things off with a deep dive into the current landscape of the NBA playoffs, discussing the grueling pace of the season and sharing some classic basketball nostalgia involving legendary players. From there, the conversation takes an unexpected turn as Kevin breaks down his upcoming travel plans to Japan, debating the merits of a luxury cruise versus an immersive private tour through Tokyo. The entertainment talk heats up as Kevin and Sean debate the greatest comedic actors of all time, sparked by an unexpected documentary viewing. They explore the evolution of cinema, including a fascinating look at underground films from the late 1960s. Fans of wrestling nostalgia are in for a treat as Kevin is confronted with a long-forgotten commercial he recorded for a classic video game. Plus, Kevin shares the deeply personal story and cinematic inspiration behind the original song created by his son Tristan. No episode is complete without the beloved "Dear Sexy" segment, where Kevin dishes out his signature blunt advice on some truly wild relationship dilemmas. The guys then open up the floor for fan questions, covering everything from Kevin's international wrestling tours to his preferred back exercises. Listeners will also get a health update on his stem cell treatments and hear the hilarious internal monologue he had after attempting a massive leg press at sixty-seven years old. BlueChew-Right now, when you buy two months of BlueChew Gold, you get the third for FREE with promo code NASH. Visit BlueChew.com for more details and important safety information, and we thank BlueChew for sponsoring the podcast. 00:00 Kliq This #204: Martin Short 00:56 Pistons 06:33 Rooting against the Knicks 09:46 a naked man next to you 11:09 Rooting against the Knicks cont'd 17:06 Sunroofs 18:47 Using Eye Drops 22:41 10 day cruise 23:46 Planning a trip to Japan 26:19 Working with Martin Short 34:00 talking slow 35:53 Al Pacino 37:13 Bugonia 37:46 Martin Short documentary 40:46 going to India with HHH 43:03 Hal Holbrook 45:16 HERE 47:21 Martin Short 51:29 Mt Nashmore: comedy actors 52:31 Melvin Van Peebles 56:22 We Bury the Dead 59:07 RAW for the SEGA 01:02:05 The Origin of Sophia 01:09:02 Marvin Gaye vs Pharell/Thicke 01:12:43 THEFT in today's economy? 01:14:26 BREAK BLUECHEW 01:16:20 DEAR SEXY #1 01:19:55 DEAR SEXY #2 01:22:16 ASKNASH 01:22:36 How to Kev to sign something 01:25:26 East europe 01:26:28 Ex NBA Player podcasts 01:29:32 La Parka a top guy? 01:30:14 Bent over Rows 01:32:42 Stem Cell treatments 01:38:32 OUTRO 

Movie of the Year: 1971The Finale, Part IThe Movie of the Year 1971 Podcast Reaches Its ReckoningThe Movie of the Year 1971 podcast has arrived at its moment of reckoning. Ryan, Mike, and Greg — the Taste Buds — open the three-part finale with a full awards ceremony, a frank assessment of what 1971 means to cinema history, and the first wave of bracket eliminations. Sixteen films entered this season. Not all of them survive Part 1.This is a different kind of episode. There is no single film to defend or dissect. Instead, the Taste Buds are doing something harder: accounting for an entire year, making choices that cannot be unmade, and sending some of the finest films ever made home without a championship. The bracket is merciless. So, it turns out, is 1971.Part 2 continues the eliminations next week. Part 3 crowns the champion the week after. However, before any of that — the awards begin.About This Season: Sixteen Films, One ChampionThe Movie of the Year podcast runs a bracket-style competition each season, selecting the best film from a given year. This season, the Taste Buds covered sixteen films from across the full spectrum of 1971 cinema — studio blockbusters, guerrilla filmmaking, European art cinema, and Hollywood at its most unguarded. The field represents not just a great year in film, but an ongoing argument about what movies are for.The sixteen contenders are:A Clockwork Orange — Stanley KubrickSweet Sweetback's Baadasssss Song — Melvin Van PeeblesThe Devils — Ken RussellDuel — Steven SpielbergHarold and Maude — Hal AshbyStraw Dogs — Sam PeckinpahDirty Harry — Don SiegelMcCabe & Mrs. Miller — Robert AltmanWilly Wonka and the Chocolate Factory — Mel StuartWanda — Barbara LodenThe Conformist — Bernardo BertolucciThe Panic in Needle Park — Jerry SchatzbergThe French Connection — William FriedkinBrian's Song — Buzz KulikThe Last Picture Show — Peter BogdanovichKlute — Alan J. PakulaFor every episode from this season, visit the Movie of the Year podcast archive on PopFilter.What Does 1971 Mean to the Movies?Before any film is eliminated, the Taste Buds take a step back and ask the question the whole season has been building toward: what does 1971 actually mean to the history of cinema?The short answer is that 1971 is the year movies stopped asking permission. The Production Code was dead, and New Hollywood was at full velocity. The studios were desperate. The filmmakers who had spent the late 1960s learning a new visual language were suddenly free to use it without restraint. Consequently, the films of 1971 are not polished products. They are arguments — about violence, about sexuality, about power, and about who gets to survive.Moreover, 1971 is uniquely international in its ambitions. Bertolucci's The Conformist brought a European grammar of fascism and desire to mainstream audiences. Meanwhile, Melvin Van Peebles made Sweet Sweetback's Baadasssss Song entirely outside the studio system — financing it with his own money and changing the economics of Black independent filmmaking permanently. These were not films that happened alongside American culture. They actively reshaped it.Furthermore, the year produced an unusual number of films that resist a single reading. Dirty Harry is simultaneously a fascist power fantasy and a critique of one. Straw Dogs refuses to let its audience off the hook. The French Connection makes a hero out of a man who may not deserve the title. As a result, 1971 is defined not by its answers but by the quality of its questions.Above all, the Taste Buds argue that 1971 matters because it remains unresolved. These films are still being debated, still being taught, still being felt. That is the mark of a year that did something real — and the reason a bracket this competitive is so hard to close.Movie of the Year 1971 Podcast Awards: Best Supporting ActressThe first award of the finale is Best Supporting Actress. The nominees represent five performances that each, in their own way, stole scenes from films that were already remarkable. Notably, two nominees come from the same film — a testament to how fully The Last Picture Show populated its world with fully realized human beings.The nominees for Best Supporting Actress are:Ellen Burstyn — The Last Picture ShowCloris Leachman — The Last Picture ShowJulie Dawn Cole — Willy Wonka and the Chocolate FactoryVivian Pickles — Harold and MaudeStefania Sandrelli — The ConformistHistorically, the Academy nominated both Burstyn and Leachman at the 1972 Oscars — and Leachman won. However, the Taste Buds are not the Academy. Their winner reflects their own criteria, their own arguments, and a full season of watching these performances in context. Who walks away with the award? Listen to the episode to find out.Movie of the Year 1971 Podcast Awards: Best Supporting ActorThe second award is Best Supporting Actor — a category that reads, in 1971, like a catalog of actors doing the most demanding and least comfortable work of their careers. The nominees include debut-level performances and career-defining turns alike. The competition is, by any measure, extraordinary.The nominees for Best Supporting Actor are:Dudley Sutton — The DevilsMichael Gothard — The DevilsJeff Bridges — The Last Picture ShowBen Johnson — The Last Picture ShowGastone Moschin — The ConformistBen Johnson's Sam the Lion is among the most quietly devastating performances in American film — a man who embodies everything a dying town loved and then lost. Jeff Bridges, in his first major role, announced his entire career in a single film. Gastone Moschin made fascist complicity feel not monstrous but ordinary, which is considerably more frightening. The Devils, meanwhile, sent both its nominees into material that demanded everything an actor has. To find out who wins, listen to the episode.The Eliminations: The Bracket Does Not ForgiveThe awards are only half of Part 1 of the Movie of the Year 1971 podcast finale. The other half is the bracket — and the bracket is not sentimental. In this episode, the Taste Buds make the first wave of cuts. Films that have defined the conversation all season, films that generated genuine argument and genuine love, are sent home.This is the nature of the format. Nevertheless, that does not make it easy. 1971 is not a year with obvious fodder. Every film in this bracket earned its place. Consequently, every elimination in this finale is a real loss — and a real statement about what the Taste Buds believe cinema can do at its best.Which films survive? Which ones go home in Part 1? That, you will have to hear for yourself. Parts 2 and 3 continue the process — and by the end of the three-part finale, only one film from 1971 will be left standing.Why the Movie of the Year 1971 Podcast Finale MattersA season finale is never just a conclusion. It is an act of criticism — a declaration about what mattered, what lasted, and what deserves to be remembered. The Movie of the Year 1971 podcast finale is doing that work for one of the most important years in the history of film.Furthermore, the bracket format makes that work visible in a way that traditional film criticism rarely does. The Taste Buds cannot hedge. They cannot say everything is great and leave it there. They have to rank, eliminate, and ultimately choose. In doing so, they reveal something true about how they experience cinema — and they invite every listener to push back.Above all, this three-part finale is a love letter to a year that refused to behave. 1971 did not make comfortable films. It did not offer easy consolations. It asked audiences to look directly at things they would have preferred to avoid. The Taste Buds have been doing the same thing all season. Now, in three parts, they are going to decide which film did it best — and which one deserves to be called the Movie of the Year.Related Episodes from Movie of the Year: 1971

Send us Fan MailIn this episode of Harlem World Magazine Podcast, Kathryn Weill, photographer and educator, talks about her experience and photographs of her neighbor, Melvin Van Peoples, her work at the Smithsonian, and much more with host Danny Tisdale.Kathryn and Danny discuss her great experiences of being neighbors with Melvin Van Peoples, with his VW Van mounted on the wall of his apartment.Kathryn Weill Kathryn Weill studied photography at Rochester Institute of Technology, completed her bachelor's and master's at Philadelphia College of Art. She taught elementary art, woodworking, and parent education for 40 years. She is one of the founders of the New York Women's Foundation, supporting women and girls in economic, gender, and racial justice. Stay tuned for more from this inspiring story with Kathryn for subscribers. Photo credit: Kathy Weill. Resources Website: kathrynweillphotography.comMelvin Van Peebles photographs : kathrynweillphotography.com/melvin-van-peeblesHWM article: https://www.harlemworldmagazine.com/at-home-with-melvin-van-peebles-an-intimate-look-at-the-late-icons-life-and-legacy/Support the showAs an independent magazine, we rely on readers like you to help keep our content free. Please Support Us. 

Movie of the Year: 1971Sweet Sweetback's Baadasssss SongThe Sweet Sweetback's Baadasssss Song PodcastThe Sweet Sweetback's Baadasssss Song podcast brings Ryan, Mike, and Greg to one of 1971's most radical and uncompromising films. Melvin Van Peebles wrote, directed, produced, scored, edited, and starred in this landmark independent work — entirely outside the Hollywood system. The result is a film unlike any other in the bracket. Above all, it challenges every assumption about who gets to make movies, and why.This week, the Taste Buds dig into three major threads: the film as a revolutionary political act, its polarizing form and style, and its complex treatment of sex and gender. Furthermore, they induct a film into the PopFilter Hall of Fame and take on Recast the Podcast. It is a wide-ranging, debate-heavy episode from first minute to last. The Movie of the Year 1971 bracket has produced bold conversations — and this one may be the boldest yet.About the FilmSweet Sweetback's Baadasssss Song follows Sweetback (Van Peebles), a Black sex-show performer raised in a brothel. When police use him as a convenient patsy, he fights back — killing two racist cops and becoming a fugitive. He runs south toward the Mexican border. Along the way, the Black community shelters him. Bikers, revolutionaries, and sex workers cross his path. Consequently, the film becomes less a conventional chase narrative and more an odyssey of Black survival and defiance.Van Peebles privately funded the film after walking away from a studio deal at Columbia Pictures. He served as one-man auteur across every department. The film opened in just two theaters in March 1971 — Detroit and Atlanta. Nevertheless, it broke box office records on opening night and went on to gross over $15 million. The MPAA assigned it an X rating. Van Peebles turned that into the defiant tagline: "Rated X by an all-white jury." The Black Panther Party declared it required viewing for all members.Learn more at the Wikipedia entry for Sweet Sweetback's Baadasssss Song and the IMDb listing. The Criterion Collection has released a definitive edition of the film — explore it at Criterion.com. The American Film Institute has also recognized the film's landmark status — read the AFI Movie Club entry here.A Movie Revolution: Van Peebles and the Politics of IndependenceVan Peebles did not simply make a film — he staged a full act of defiance. Studio backing, the ratings system, and traditional distribution were all refused outright. Moreover, he financed part of the production by borrowing $50,000 from Bill Cosby, keeping total creative control throughout. The result was a film the industry could not co-opt, contain, or dismiss. For listeners of any Melvin Van Peebles podcast or documentary, the story of how this film got made is as remarkable as the film itself.The release strategy was equally radical. Van Peebles released the soundtrack before the film — an unusual move at the time — to build word-of-mouth in Black communities without spending money on traditional advertising. The score featured a very young Earth, Wind & Fire. By contrast, Hollywood in 1971 was still releasing social-problem films that sought respectability over truth. Sweetback rejected that approach entirely. Notably, its commercial success proved that Black-led, Black-financed films could find a massive audience without white institutional gatekeepers.Ryan, Mike, and Greg debate what Van Peebles' revolution actually accomplished. Was it the birth of a genuinely new Black cinema? Or did it also open the door for the blaxploitation genre — a category Hollywood quickly co-opted and stripped of its radical politics? Additionally, the Taste Buds ask whether the DIY model Van Peebles pioneered holds lessons for independent filmmakers working today. As a blaxploitation film podcast discussion, this episode goes deeper than genre classification — it asks what political filmmaking actually costs.Form, Style, and Watchability: A Sweet Sweetback's Baadasssss Song Podcast Deep DiveThe film's style is not subtle. Van Peebles employs jagged jump cuts, kaleidoscopic superimpositions, and psychedelic sound design throughout. These choices feel closer to Jean-Luc Godard than to anything playing at an American theater in 1971. However, they also produce a film that polarizes audiences to this day. The Sweet Sweetback's Baadasssss Song podcast tackles this polarization head-on.Some viewers find the style exhilarating — a sustained howl of rage rendered in pure cinematic form. Others find the loose structure and repetitive sequences frustrating. The Taste Buds confront this tension directly. Furthermore, they ask whether "watchability" is even the right standard for a film that never set out to be comfortable or conventional.The soundtrack adds another dimension entirely. Van Peebles composed and performed the score himself, with Earth, Wind & Fire providing the instrumental backing. The music pulses through the film like a second heartbeat. Consequently, sound and image work together to create a sensory experience unlike any other 1971 film in the bracket. Ryan, Mike, and Greg weigh in on whether Van Peebles' formal choices ultimately serve the film's political goals — or occasionally work against them.Sex, Gender, and ControversySweetback's sexuality is central to the film's identity. His sexual power is his primary weapon and his means of survival. Van Peebles frames this as a form of liberation — a radical Black body asserting itself against a system designed to destroy it. However, the film's treatment of women and of queer characters draws sharp criticism from contemporary audiences.Women in the film exist largely in relation to Sweetback's desires. The film includes graphic sexual content, some of it deeply uncomfortable by any modern standard. Moreover, the film's portrayal of lesbian characters is explicitly homophobic. The Taste Buds wrestle with how to hold these contradictions honestly. A film can be genuinely revolutionary and genuinely problematic at the same time. In fact, Sweet Sweetback's Baadasssss Song may be the most complex example of that tension in the entire 1971 bracket.Additionally, the film's opening sequence — depicting a child's sexual initiation — has unsettled audiences for over fifty years. Van Peebles cast his own son Mario in the role. That decision raises serious ethical questions that Ryan, Mike, and Greg do not avoid. Ultimately, the conversation around sex and gender in this film is not a comfortable one — and that discomfort is precisely what makes it essential. This is one of the most challenging discussions in the 1971 film podcast series to date.PopFilter Hall of FameEach season of Movie of the Year, the Taste Buds set aside the bracket to recognize films that define an era. The PopFilter Hall of Fame is not about winning a head-to-head matchup. It honors the films that changed cinema itself — the ones that opened doors, broke rules, and made everything that came after possible.The Hall of Fame carries special weight in this episode. Sweet Sweetback's Baadasssss Song raises the question of what "greatness" means for films that operate outside mainstream critical frameworks. A film does not need to be comfortable, polished, or widely loved to be important. The Hall of Fame exists precisely to honor that distinction. This week, the hosts make their cases for a 1971 inductee. Tune in to hear which film earns the honor — and whether all three Taste Buds can agree on the pick.Recast the PodcastIn Recast the Podcast, Ryan, Mike, and Greg take on one of cinema's great thought experiments. They choose a film and rebuild the cast from scratch — drawing on actors from any era, any genre, any corner of film history. Each host makes their picks. Then the debate begins.Sweet Sweetback's Baadasssss Song presents a unique challenge for Recast the Podcast. The film was defined by Van Peebles' decision to cast himself. Sweetback's blank-faced, nearly wordless presence was a deliberate choice — not a performance in the conventional sense, but a statement. Who could step into that role today? Who has the gravity, the physicality, and the political weight to carry the film's central conceit? The Taste Buds bring their full range of cinematic knowledge to the question. Listen in to hear their picks, the reasoning behind each choice, and where the three hosts inevitably disagree.Why Sweet Sweetback's Baadasssss Song Still MattersSweet Sweetback's Baadasssss Song was never meant to be easy. Van Peebles built it as a provocation — a film that demanded a response. More than fifty years later, it still gets one. The film's influence runs through Spike Lee, John Singleton, Ava DuVernay, and virtually every Black filmmaker who followed. However, its importance is not only historical. The questions it raises about representation, power, and who controls the means of production are still urgent today.Furthermore, the film's DIY model anticipated the independent film movement by decades. Van Peebles proved that a filmmaker could retain complete creative control, bypass the studio system entirely, and still reach an enormous audience. That lesson has...

Episode 248 is our annual, Black History Month show. We look at a couple of VERY different, but equally badass lead actors who are fed up with the man and push back...hard! We start off with the legendary "Sweet Sweetback's Baadasssss Song" from 1971. The brainchild of multi-hyphenate Melvin Van Peebles, it follows the eponymous character around as he settles some hash, and avoids arrest, with help from the community. It's brave, shocking, psychadelic stuff. It does have some questionable material in spots, but you can't deny the artistic impact of the message. We follow that with 1972's "Trouble Man", starring the incredible Robert Hooks as "Mister T", who is settling scores in the neighborhood and runs afoul of a wealthy criminal overlord. It drips with coolness and is really well made and we can not recommend it highly enough.Send us your thoughts on the show and recommendations for future episodes to flickersfrom@yahoo.com or flickersfrom@gmail.com. You can also reach us on Facebook, Instagram, Letterboxd. YouTube.

Mario Van Peebles brings his signature charisma to discussing Syfy's "Superstition," where he serves as director, writer, producer, and actor in a Gothic Americana series that explores the rich tapestry of American supernatural folklore. Drawing from his upbringing in the Van Peebles independent film family business—which he compares to growing up on a family farm where you learn every aspect of the operation—Mario explains how working with Clint Eastwood on "Heartbreak Ridge" reinforced the value of understanding all aspects of filmmaking. He dismisses the notion that his diverse recognition across demographics (from military fans of "Heartbreak Ridge" to brothers who loved "New Jack City" to Broadway audiences) means different things, noting with humor that people who've seen his "early porn work" are disappointed—though he's kidding about that last part.Mario's vision for "Superstition" goes beyond typical monster-of-the-week storytelling, focusing on a loving family running the Hastings Funeral Home while battling infernal demons emerging as humanity damages the planet. He emphasizes incorporating the wisdom his father Melvin Van Peebles passed down, like "luck is preparation meets opportunity" and "it's not the stuff you face that defines you, it's how you face it that reveals you." Working alongside his daughter Morgana (who plays his granddaughter and enjoys calling him "grandpa" to his annoyance) and featuring a diverse cast representing white, Black, straight, and gay characters, the show forces audiences to embrace and learn from the human family that is America. Mario admits he avoids superstitions generally but confesses to recently disposing of his day-of-the-week socks after mixing up Thursday and Friday pairs felt like bad luck, and he definitely wasn't walking under a ladder on Friday the 13th while filming.

Diretamente dos revolucionários movimentos dos direitos civis, chega-nos uma comédia "negra" de Melvin Van Peebles acerca do choque racial e de como eram tratados os negros nos anos 70.

Sintonía: "Chittlins" - Willie Egan1 - "Spaghetti and Meal Ball" - H-Bomb Ferguson2 - "Chittlins and Rice" - Champion Jack Dupree3 - "Hoppin´ John" - Melvin Van Peebles4 - "Stuffed Peppers Aka Humpin´" - Frank Armstrong 5 - "Soul Food" - Lynn Taitt6 - "Simmer Down" - The Wailing Wailers7 - "Sam-The Hot Dog Man" - Lil Johnson8 - "Banana in your Fruit Basket" - Bo Carter9 - "Beans" - Beans Hambone & El Morrow10 - "Rabbit Blues" - Smokey Babe & Herman E. Johnson11 - "Papa Wants A Cookie" - Leroy Carr12 - "Rice, Red Beans and Turnip Greens" - Little Richard Todas las músicas seleccionadas y presentadas por Héctor Martínez desde RNE en MadridSi quieres contactar con Héctor, su Instagram es: @comerycantarsoulfoodEscuchar audio

Support us on Patreon: https://patreon.com/tonedeafmusical Subscribe for more shenanigans! https://www.youtube.com/channel/UCvkOoAewCm516PyofP7agBw?sub_confirmation=1 Check out our podcast here on youtube https://youtube.com/playlist?list=PLHJ9qmk-v3mRC-OlKfHSdD0mrStgyGE53&si=AWuXj-MrsuGPxDiK In this episode, K introduces Warren to their new favorite director, screenwriter, and playwright, Melvin Van Peebles by way of the musical "Don't Play us Cheap". We briefly talk about Melvin Van Peebles' amazing life, we discuss metaphorical cannibalism (it makes sense in context), and Warren learns about The Screwtape Letters. Remember folks, "If you see a devil, SMASH HIM!" Promo: One Mic Black History Help out local theatres and check out BeAnArtsHero, Arts Leaders of Color Emergency Fund, The Actor's Fund, and the Artist's Relief Tree to find out how you can help local theatres!

Mario Van Peebles joins IndieWire's Jim Hemphill for a live version of Filmmaker Toolkit to talk about his directorial debut, “New Jack City.” In a conversation that followed a 35mm screening of the 1991 gangster classic, Van Peebles discusses casting the film, finding its visual language, and the influence of his father Melvin Van Peebles on his approach. Learn more about your ad choices. Visit megaphone.fm/adchoices

As we gear up for the Los Angeles Diversity Film Festival, Bella and Nick explore the work of some of the most important figures in Black Independent Cinema and Independent Cinema in general. These powerful voices are a huge reason why this podcast and the Los Angeles Diversity Film Festival exist today - so tune in for our discussion on these bold movies. We start with A Symbol of the Unconquered by the legendary Oscar Micheaux. Nick and Bella discuss this impressive silent-film work by Micheaux, as well as the inspiring journey of getting the film made and distributed. Second, independent-film icon Melvin Van Peebles dips his toe in the studio pool with his audacious and unforgettable film, Watermelon Man. Finally, Cheryl Dunye takes the torch and creates a film that blends genres, presents ideas, and remains uniquely her own in her debut feature film, The Watermelon Woman. ❗️SEND US A TEXT MESSAGE ❗️Support the showSign up for our Patreon for exclusive Bonus Content.Follow the podcast on Instagram @gimmethreepodcastYou can keep up with Bella on Instagram @portraitofacinephile or Letterboxd You can keep up with Nick: on Instagram @nicholasybarra, on Twitter (X) @nicholaspybarra, or on LetterboxdShout out to contributor and producer Sonja Mereu. A special thanks to Anselm Kennedy for creating Gimme Three's theme music. And another special thanks to Zoe Baumann for creating our exceptional cover art.

Gay homosexuals Nick and Joseph review Noah's Arc: The Movie - a 2025 film directed by Patrik-Ian Polk.Additional topics include:Tyler Perry x Derek DixonNick's trip to NYCBlack filmmakers who are not Tyler Perry: Patrik-Ian Polk, Melvin Van Peebles, Mario Van Peebles, Horace Ove, and Maya AngelouThe deaths of ⁠Ananda Lewis⁠, Harris Yulin, Sly Stone, and Brian WilsonJoin us on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/FishJellyFilmReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046Find merch here: https://fishjellyfilmreviews.myspreadshop.com/allVenmo @fishjellyVisit their website at www.fishjellyfilms.comFind their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms)Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson

In the thirty-first episode of Season 11: The Son of Cult Flicks, Kyle is joined by filmmaker Daniel Lopez and cinephile Alejandro Etcheagaray to discuss the mixture of avant-garde formalism, black nationalist attitude, and revolutionary politics that created the explosive and rebellious statement of black power, autonomy, and survival in Melvin Van Peebles' radical Sweet Sweetback's Baadasssss Song (1971).

Mario Van Peebles was in London in early February along with his son, Mandela. And the pair stopped by for a long chat about their work, their latest film - Outlaw Posse - and a whole lot more. In this chat, topics include Jaws: The Revenge, the role of a producer, Melvin Van Peebles, the hidden names in the end credits of Outlaw Posse, New Jack City and a whole lot more... Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, K introduces Warren to their new favorite director, screenwriter, and playwright, Melvin Van Peebles by way of the musical "Don't Play us Cheap". We briefly talk about Melvin Van Peebles' amazing life, we discuss metaphorical cannibalism (it makes sense in context), and Warren learns about The Screwtape Letters. Remember folks, "If you see a devil, SMASH HIM!" Promo: One Mic Black History Help out local theatres and check out BeAnArtsHero, Arts Leaders of Color Emergency Fund, The Actor's Fund, and the Artist's Relief Tree to find out how you can help local theatres! Buy some merch at our TeePublic!  Join the Podcast Nexus (formerly Cast Junkie discord) and help support indie podcasts at https://discord.gg/ajPg3JSg6e. Follow us on Bluesky, Instagram, Tumblr, and Facebadger @ToneDeafMusical for some dank theatre memes, check out the patreon at https://www.patreon.com/tonedeafmusical and visit our website, tonedeafmusical.com

“I think as humans, we forget. We are often limited by our own stereotypes, and we don't see that in everyone there's the potential for beauty and love and all these things. And I think The Architecture of Oppression, both parts one and two, are really a reflection of all the community and civil rights work that I've been doing for the same amount of time, really - 25 years. And I wanted to try and mix my day job and my music side, so bringing those two sides of my life together. I wanted to create a platform for black artists, black singers, and poets who I really admire. Jermain is somebody I've worked with for probably about six, seven years now. He's also in the trenches of the black civil rights struggle. We worked together on a number of projects, but it was very interesting to then work with Jemain in a purely artistic capacity. And it was a no-brainer to give Anthony a call for this second album because I know of his pedigree, and he's much more able to put ideas and thoughts on paper than I would be able to.”Jake Ferguson is an award-winning musician known for his work with The Heliocentrics and as a solo artist under the name The Brkn Record. Alongside legendary drummer Malcolm Catto, Ferguson has composed two film scores and over 10 albums, collaborating with icons like Archie Shepp, Mulatu Astatke, and Melvin Van Peebles. His latest album is The Architecture of Oppression Part 2. The album also features singer and political activist Jermain Jackman, a former winner of The Voice (2014) and the T.S. Eliot Prize winning poet and musician, Anthony Joseph.www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I think as humans, we forget. We are often limited by our own stereotypes, and we don't see that in everyone there's the potential for beauty and love and all these things. And I think The Architecture of Oppression, both parts one and two, are really a reflection of all the community and civil rights work that I've been doing for the same amount of time, really - 25 years. And I wanted to try and mix my day job and my music side, so bringing those two sides of my life together. I wanted to create a platform for black artists, black singers, and poets who I really admire. Jermain is somebody I've worked with for probably about six, seven years now. He's also in the trenches of the black civil rights struggle. We worked together on a number of projects, but it was very interesting to then work with Jemain in a purely artistic capacity. And it was a no-brainer to give Anthony a call for this second album because I know of his pedigree, and he's much more able to put ideas and thoughts on paper than I would be able to.”Jake Ferguson is an award-winning musician known for his work with The Heliocentrics and as a solo artist under the name The Brkn Record. Alongside legendary drummer Malcolm Catto, Ferguson has composed two film scores and over 10 albums, collaborating with icons like Archie Shepp, Mulatu Astatke, and Melvin Van Peebles. His latest album is The Architecture of Oppression Part 2. The album also features singer and political activist Jermain Jackman, a former winner of The Voice (2014) and the T.S. Eliot Prize winning poet and musician, Anthony Joseph.www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

How can music challenge systemic oppression and bring about social change? How can we envision alternative paths while avoiding the pitfalls of past paradigms?Jake Fergusonis an award-winning musician known for his work with The Heliocentrics and as a solo artist under the name The Brkn Record. Alongside legendary drummer Malcolm Catto, Ferguson has composed two film scores and over 10 albums, collaborating with icons like Archie Shepp, Mulatu Astatke, and Melvin Van Peebles. His latest album is The Architecture of Oppression Part 2. The album also features singer and political activist Jermain Jackman, a former winner of The Voice (2014) and the T.S. Eliot Prize winning poet and musician, Anthony Joseph.“I think as humans, we forget. We are often limited by our own stereotypes, and we don't see that in everyone there's the potential for beauty and love and all these things. And I think The Architecture of Oppression, both parts one and two, are really a reflection of all the community and civil rights work that I've been doing for the same amount of time, really - 25 years. And I wanted to try and mix my day job and my music side, so bringing those two sides of my life together. I wanted to create a platform for black artists, black singers, and poets who I really admire. Jermain is somebody I've worked with for probably about six, seven years now. He's also in the trenches of the black civil rights struggle. We worked together on a number of projects, but it was very interesting to then work with Jemain in a purely artistic capacity. And it was a no-brainer to give Anthony a call for this second album because I know of his pedigree, and he's much more able to put ideas and thoughts on paper than I would be able to.”www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

“I think as humans, we forget. We are often limited by our own stereotypes, and we don't see that in everyone there's the potential for beauty and love and all these things. And I think The Architecture of Oppression, both parts one and two, are really a reflection of all the community and civil rights work that I've been doing for the same amount of time, really - 25 years. And I wanted to try and mix my day job and my music side, so bringing those two sides of my life together. I wanted to create a platform for black artists, black singers, and poets who I really admire. Jermain is somebody I've worked with for probably about six, seven years now. He's also in the trenches of the black civil rights struggle. We worked together on a number of projects, but it was very interesting to then work with Jemain in a purely artistic capacity. And it was a no-brainer to give Anthony a call for this second album because I know of his pedigree, and he's much more able to put ideas and thoughts on paper than I would be able to.”Jake Ferguson is an award-winning musician known for his work with The Heliocentrics and as a solo artist under the name The Brkn Record. Alongside legendary drummer Malcolm Catto, Ferguson has composed two film scores and over 10 albums, collaborating with icons like Archie Shepp, Mulatu Astatke, and Melvin Van Peebles. His latest album is The Architecture of Oppression Part 2. The album also features singer and political activist Jermain Jackman, a former winner of The Voice (2014) and the T.S. Eliot Prize winning poet and musician, Anthony Joseph.www.creativeprocess.infowww.oneplanetpodcast.orgIG www.instagram.com/creativeprocesspodcast

Donna Pescow is a film, television and theater actor, director and producer with a career spanning five decades . She was born and raised in Brooklyn NY, graduated from New York's prestigious American Academy of Dramatic Arts. Shortly after graduation she was cast as Annette in the iconic film SATURDAY NIGHT FEVER (1977), and was nominated for Best Supporting Actress by the New York Film Critics Circle. She followed that up with her starring role in the sitcom Angie (1979), for which she received a Golden Globe nomination for Best Actress in a Comedy Series and a People's Choice Award nomination for Favorite Female Performer on a New Television Program. In addition, she starred in the long running sitcom Out of This World (1987) and the popular sitcom Even Stevens (2000) for which she was nominated for three Emmy Awards. Early on she appeared in the soaps One Life to Live, All My Children and General Hospital. Other tv credits include The Flash, Clueless, NYPD Blue, Pauly, Ivory Tower, New Girl, Truth Be Told, Welcome to Chippendales, The Sopranos, and most recently Grey's Anatomy. Donna's other film credits include JAKE SPEED, PARTNERS, CAROL OF THE BELLS, and ORANGE SHERBERT. And her NY, LA, and regional stage credits include, Love Letters, Rest in Pieces, Isn't It Romantic, Grease, Guys & Dolls, Promises, Promises, Melvin Van Peebles' production of Body Bags, and her own successful cabaret act that she performed at New York's Les Mouches, East Hampton's John Drew Theatre and LA's Canon Theatre. What an absolute thrill to chat with Donna about her childhood, early inspirations and early career; her portrayal of "Annette" in the iconic film SATURDAY NIGHT FEVER, the film's popularity, her thoughts on John Travolta, and the Bee Gees soundtrack; her sitcom ANGIE; working on soap operas; and so much more, including my idea for a SATURDAY NIGHT FEVER sequel! Got somethin' to say?! Email us at BackroomAndy@gmail.com Leave us a message: 845-307-7446 Twitter: @AndyOstroy Produced by Andy Ostroy, Matty Rosenberg, and Jennifer Hammoud @ Radio Free Rhiniecliff Design by Cricket Lengyel

Seven more 70's movie reviews in the can today, putting us at a grand total of 337 movies we have showcased or reviewed. Today we start out with (Colossus the Forbin project 1970) Dammit, first off we are all not perfect in general, and here ME in particular got 2 actors screwed up and said a bunch of wrong shite. Look up actors Eric Braeden, and Ken Berry circa 1970 and give me the slightest bit of redemption please. Here we have the Mom from Webster and the Mom from Happy days as part of a team of genius nerds who create a super computer in 1970 that we cannot even create now. Said computer gets out of their control extremely fast and decides that humans are flippin dumb and quite bent on murdering each and very much deserve a time out! (Don't play us cheap 1972) is up next and it was streaming, so that was a nice lil treat for us. Film has 2 iconic t.v. mom's in it, before they were t.v. moms. Mabel King was Mama from What's Happening, and Esther Rolle was Florida Evan's from Good Times, Annnnnd Maude.  This film has only a few other actors, and is kind of a play on wheels, crazy because it was oddly a movie first, then a play which was done to get funding to distribute the movie. It was directed by Melvin Van Peebles, please listen for more. next is (Property is no longer a theft 1973) I'm jumping sharks but sayin anyways that this sounds cooler than it is, possibly a very rad movie in there but some ick that made this one difficult. Directed by Elio Petri, with quite an interesting radical life to read about, we will see his work again hopefully under better circumstances. (Barry Lyndon 1975) According to our amazing V they chose a quite problematic script to adapt here, I'd have to agree, however with that, the film looks absolutely stunning, stars Ryan O'neal and is directed by master Stanley Kubrick, and we'll see them both again sooooon. Next today we get the Mighty Murphy Brown in (Night full of rain 1978) Candice plays a rad feminist photographer traveling in Italy where she meets this shitty shit. The acting is very good and we have a woman director here telling the hard truth of an abusive narccisistic man, and unlike many movies, she does leave him at the end, spoiler I know but in a triggering setting I usually wanna know the end so I can worry just a lil less. Lina Wertmuller was the first woman to receive an Oscar for directing, so we may see her work again, still both of these Italian films we review today get a content warning. Happily moving on to (Meetings with remarkable men 1979)This trippy ish cult film was available only on VHS, until we watched the F'r- and now you can watch it on amazon for 2.99. I was longing for a young Terrence Stamp here, but A. I got the release date wrong and he looks just as he does in superman, and B. He's hardly in this. Listen for more info on all these films, why not?! There is a fun Bauhaus band connection here. Finally today we review (Serial 1980). Sally Kellerman and Roseanne's boss star in this film about trying to find some ease in this crazy cruel world. Best appearance of Christopher Lee ever! Put yer hands down! that's the reviews and we are out of here. Please if you are seeing this write us a review, good or bad, it will help people find the pod. Thanks friends.

Episode 452.Father and Son: Mario and Mandela Van Peebles.Legend Mario Van Peebles joins me to talk about his newest film "Outlaw Posse", New Jack City, his father and legend Melvin Van Peebles.We also joined by Mario's son, Mandela who is a wonderful actor in his own right who co-stars with his dad in "Outlaw Posse" Mario talks about how #whoopigoldberg casting herself, making a western, working with his son and so much more.I have always been a huge fan of Mario's work and getting a chance to speak with him was immensely enjoyable.#90s #90smovie #90stv #newjackcity #mayorofkingstown #fyp #western #blazingsaddles #80smovies #80stv #80s https://linktr.ee/mondaymorningcritic

It's a very special episode, screamers! Recently, the Fort Worth Film Club screened Melvin Van Peebles' scathing look at white privilege, 1970s Watermelon Man. At our post-screening discussion we were lucky enough to be joined by Mr. Marcellis Perkins, and Dr. Frederick Gooding Jr. It was a candid, lively, enriching conversation, and we are pleased to present that live recording here.    Next episode we'll be back to wrap up discussion on Hal Hartley and discuss the new(ish) films 'The Book of Clarence,' and 'The Iron Claw.' Until then, enjoy the live conversation with Marcellis and Dr.G.     Keep in touch and read more at whydoesthewilhelmscream.com on instagram @whydoesthewilhelmpod and twitter @whywilhelm Find out more about upcoming Fort Worth Film Club screenings and events at fortworthfilmclub.com and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_

See omnystudio.com/listener for privacy information.

Season 7: Episode 50 Melvin Van Peebles (born Melvin Peebles; August 21, 1932 – September 21, 2021) was an American actor, filmmaker, writer, and composer. He worked as an active filmmaker into the 2000s. His feature film debut, The Story of a Three-Day Pass (1967), was based on his own French-language novel La Permission and was shot in France. The film won an award at the San Francisco International Film Festival which gained him the interest of Hollywood studios, leading to his American feature debut Watermelon Man, in 1970. ----------------------------------------------------------------------- LaKisha LaTaye Davis is a certified life coach, author, event and podcast host, as well as speaker. She is the author of "The Power of Words: Affirmations to Promote You in Life and Business" as well as "The Seven Sins of Social Media: Change Your Approach to Increase Engagement". As a military veteran she has served at the White House Medical Unit, the Pentagon and Walter Reed Army Medical Center. LaTaye is a seasoned leader within the federal and state government as well as big box retail companies. Her professional and personal experiences coupled with her out of the box approach allows her to be able to work with women and men from various demographics and cultures. --- Send in a voice message: https://podcasters.spotify.com/pod/show/globalgirlspodcast/message Support this podcast: https://podcasters.spotify.com/pod/show/globalgirlspodcast/support

0:00 - Intro & Summary2:00 - Movie Discussion34:18- Cast & Crew/Awards42:39 - Pop Culture50:48 -  Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind

David is joined by Richard Doyle and a first-time guest, actor/filmmaker Aaron Strand, to discuss this film adaptation of a barrier-breaking Broadway musical.

David is joined by Richard Doyle and a first-time guest, actor/filmmaker Aaron Strand, to discuss this film adaptation of a barrier-breaking Broadway musical.

Today we get into the plot of our upcoming feature film 'Withdrawal'. Aaron discusses where the idea came from and how it evolved from an inspired thought to an actionable project, culminating in a 8-Point 'Upfront Aims Program' inspired by Melvin Van Peebles.Follow the film on IG: @withdrawalfilmEmail us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastProducer: Greg Kleinschmidt Hosted on Acast. See acast.com/privacy for more information.

The "Dirty Sons of Pitches" have begun a new decade for their retrospective and they're taking aim at the 1970s, the era of autuer directors flexing their creative muscles and for new voices to emerge. They discuss two movies from 1970, the soldiers-as-scoundrels caper "Kelly's Heroes" starring Clint Eastwood and Telly Savalas and Don Rickles, and then "Watermelon Man," a social satire about racism from the vision of director Melvin Van Peebles.  Available on Spotify and Apple Episode 383 includes: -Ben learns about the breaking news of OceanGate's lost sub of billionaires touring the Titanic. Irony explodes.  -Trailer reactions to "3 Body Problem" Netflix series and "Quicksand." Yes, it's a contained thriller about a couple trapped in quicksand, the overly prevalant fear of many a child.  -Nate declares "Elemental" a cute and winning romance from Pixar.  -Is the long-gestating movie "The Flash" an unmitigated disaster? No. Is it good? Not really.  -By the Decade -- 1970 -- "Kelly's Heroes" / "Watermelon Man" -The guys discuss the men-on-a-mission WWII action movie with Clint Eastoowd leading a group of soldiers into enemy territory to rob a German bank of its gold, and then director Melvin Van Peebles' racial satire of a white man who wakes up one day and becomes black. 

A much older man (Melvin Van Peebles) pursues Joan, but she is unsure whether or not to date him because of the age difference. Maya is trying to come up with a new concept for her new book series, and she finds it right under her nose. --- Support this podcast: https://podcasters.spotify.com/pod/show/antoinette-q-smith/support

Aaron is joined by award winning director, Alfred Preisser. In 2006, Mr. Preisser directed the acclaimed 2006 revival of 'Ain't Supposed to Die a Natural Death', during which time he became close friends with Melvin Van Peebles. Preisser went on to act in Van Peebles' final film 'Confessions of an Ex-Dufus Itchyfooted Mutha' and work on the staged Opera of 'Sweet Sweetback's Baadasssss Song'. We are honored that Alfred took the time to speak to us about the time he spent with Melvin.Mr. Preisser's work has been recognized with The American Theatre Wing Award for Outstanding Artistic Achievement, The Drama Desk Award, The Edwin Booth Award, The Lucille Lortel Award, and two Obie Awards.Aflred Preisser: https://www.alfredpreisser.com/Email us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastProducer: Greg Kleinschmidt Hosted on Acast. See acast.com/privacy for more information.

Melvin takes over Broadway only to see his midas touch leave him. Later in life he experiences a Renaissance as the first black trader on Wall Street and ages gracefully into one of the greatest elder statesmen in cinema history. Rest In Peace Melvin Van Peebles (8/21/32-9/21/21), one of the greatest artists of the 20th Century.Email us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastJoin our weekly film club: https://www.instagram.com/arroyofilmclubProducer: Greg KleinschmidtSources:'Sweet Sweetback's Baadasssss Song' by Melvin Van Peebles (1971)'How to Dismantle a [Theatric] Bomb: Broadway Flops, Broadway Money, and Musical Theater Historiography' by Dr. Elizabeth Wollman (May, 2020'2008 Interview with Red Bull Music Academy': https://www.redbullmusicacademy.com/lectures/melvin-van-peebles-dont-write-a-check-your-ass-cant-cash'Unstoppable: Melvin Van Peebles, Gordon Parks, and Ossie Davis in Conversation': https://www.youtube.com/watch?v=AHuW5bxVamgVisionary Project: https://www.youtube.com/watch?v=TeRJLgAbW-4&list=PLCwE4GdJdVRLS1R8f9-G8hihJQKmePpCW&t=116'How To Eat Your Watermelon in White Company (And Enjoy It)' (2005) Dir. Joe AngioBlack Arts/West History by Douglas Q Barnett: https://www.historylink.org/File/3523Paul Carter Harrison Archives: Emory University Rose Reading Room'Le Fete a Harlem' Program Archive: https://data.bnf.fr/fr/39467577/fete_a_harlem_spectacle_1964/1972 Tony Awards: https://www.youtube.com/watch?v=weVm6vn7SOgMario Van Peebles/Melvin Van Peebles interview with Charlie Rose: https://www.youtube.com/watch?v=y9N3D7ZzjkY&t=996sJune 6th 1972 Episode of Black Journal: https://www.criterionchannel.com/don-t-play-us-cheap/videos/melvin-van-peebles-on-black-journal-2NYT 'The Boadasssss Success' (1972): https://www.nytimes.com/1972/08/20/archives/the-baadasssss-success-of-melvin-van-peebles-van-peebles-counting.html?searchResultPosition=76NYT 'Melvin Van Prolific' (1972): https://www.nytimes.com/1972/05/28/archives/melvin-van-prolific-melvin-van-prolific.html?searchResultPosition=15NYT Review of 'Waltz of the Stork' (1982): https://www.nytimes.com/1982/01/06/theater/stage-waltz-of-van-peebles-opens.html?searchResultPosition=13'Making Do the Right Thing' Dir St. Clair Bourne: https://archive.org/details/making-do-the-right-thing'Classified X' Dir. Melvin Van Peebles: https://www.youtube.com/watch?v=kOfwnPJtHJMJoshie Jo Armstead Interview: https://www.youtube.com/watch?v=dMcWYsDOm8M'Melvin Van Peebles The Real Deal': https://www.criterionchannel.com/videos/melvin-van-peebles-on-sweet-sweetback-s-baadasssss-song-2002 Hosted on Acast. See acast.com/privacy for more information.

Happy Mother's Day! Joshua and Drusilla discuss both Evil Dead Rise and Ari Aster's Beau is Afraid. Plus Josh is back from Salem Horror Fest! He discusses the new Severin release for Morgiana. Drusilla visits the Academy Museum, Patty snubs Melvin Van Peebles, and then the kids discuss all things Evil Dead. Then they get into the main feature. From wiki: "Beau Is Afraid is a 2023 American surrealist tragicomedy horror film[5][6] written, directed, and produced by Ari Aster. The film stars Joaquin Phoenix as the title character, Beau Wassermann, a mild-mannered but paranoia-ridden man who embarks on a surreal odyssey to get home to attend his mother's funeral,[7] confronting his greatest fears along the way. The film includes a supporting ensemble cast of Patti LuPone, Nathan Lane, Amy Ryan, Kylie Rogers, Parker Posey, Stephen McKinley Henderson, Hayley Squires, Michael Gandolfini, Zoe Lister-Jones, and Richard Kind."NEXT WEEK: Dead Ringers Website: http://www.bloodhauspod.comTwitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.com          Drusilla's art: https://www.sisterhydedesign.com/ Drusilla's Instagram: https://www.instagram.com/hydesister/Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/       Joshua's website: https://www.joshuaconkel.com/Joshua's Twitter: https://twitter.com/JoshuaConkelJoshua's Instagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel 

Melvin flips Hollywood the middle-finger setting out to make his own independent movie, at a time when it was considered borderline impossible. What followed was one of the wildest stories in film history as Sweet Sweetback's Baadasssss Song survives on-set madness and impossible odds to become one of the most successful films of the decade.Email us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastJoin our weekly film club: https://www.instagram.com/arroyofilmclubProducer: Greg KleinschmidtSources:'Sweet Sweetback's Baadasssss Song' by Melvin Van Peebles (1971)'2008 Interview with Red Bull Music Academy': https://www.redbullmusicacademy.com/lectures/melvin-van-peebles-dont-write-a-check-your-ass-cant-cash'Unstoppable: Melvin Van Peebles, Gordon Parks, and Ossie Davis in Conversation': https://www.youtube.com/watch?v=AHuW5bxVamg'Interview with Olumide Productions': https://www.youtube.com/watch?v=xRn9nr5qXOgMarlon Brando Eulogy for Bobby Hutton: https://www.youtube.com/watch?v=1g05Sb9CcnEInterview with Reelin In the Years: https://www.youtube.com/watch?v=B48FJ03-tkUVisionary Project: https://www.youtube.com/watch?v=TeRJLgAbW-4&list=PLCwE4GdJdVRLS1R8f9-G8hihJQKmePpCW&t=116s'How To Eat Your Watermelon in White Company (And Enjoy It)' (2005) Dir. Joe Angio'SUBVERTING HOLLYWOOD FROM THE INSIDE OUT' by Racquel Gates: https://www.jstor.org/stable/10.1525/fq.2014.68.1.9 Hosted on Acast. See acast.com/privacy for more information.

There were a ton of newcomers to the entertainment industry in 1967, and It Happened One Year is there! After an introduction by friend of the show and ReconCinemation co-host Jon Deiner, Sarah & Joe unroll the landmark TV debuts, first albums, and inaugural feature film directing efforts coming out of '67 - covering a vast spectrum of the media universe, including The Flying Nun, The Producers, Surrealistic Pillow, Dragnet, Piper at the Gates of Dawn, Who's That Knocking at My Door? and many more! Cameos abound from the likes of Gary Busey, Claude Debussy, the Peanut Butter Conspiracy, Strawberry Alarm Clock, Melvin Van Peebles, Ken Loach, and George of the Jungle, plus lots and lots of Mel Brooks talk.

Fresh off his triumphant homecoming at the 1967 San Francisco International Film Festival, Melvin Van Peebles finds himself in a very different America than the one he left in 1959. There are protests against the Vietnam war, a growing counter culture culminating in the ‘Summer of Love', and The Civil Rights Movement evolving into cries of Black Power. Soaking up this chaos like a sponge, Melvin combines global politics, street conversations, and his favorite 1880's French Singer to create the worlds first hip-hop album, ‘Brer Soul'. From there, he goes to Hollywood for his first and only studio film, ‘Watermelon Man'. Facing oppressive studio oversight, Melvin uses every trick at his disposal to subvert Hollywood's racist pass from the inside out.Email us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastJoin our weekly film club: https://www.instagram.com/arroyofilmclubProducer: Greg KleinschmidtSources:'Sweet Sweetback's Baadasssss Song' by Melvin Van Peebles (1971)'2008 Interview with Red Bull Music Academy': https://www.redbullmusicacademy.com/lectures/melvin-van-peebles-dont-write-a-check-your-ass-cant-cash'Unstoppable: Melvin Van Peebles, Gordon Parks, and Ossie Davis in Conversation': https://www.youtube.com/watch?v=AHuW5bxVamg'Interview with Olumide Productions': https://www.youtube.com/watch?v=xRn9nr5qXOgMarlon Brando Eulogy for Bobby Hutton: https://www.youtube.com/watch?v=1g05Sb9CcnEInterview with Reelin In the Years: https://www.youtube.com/watch?v=B48FJ03-tkUVisionary Project: https://www.youtube.com/watch?v=TeRJLgAbW-4&list=PLCwE4GdJdVRLS1R8f9-G8hihJQKmePpCW&t=116s'How To Eat Your Watermelon in White Company (And Enjoy It)' (2005) Dir. Joe Angio'SUBVERTING HOLLYWOOD FROM THE INSIDE OUT' by Racquel Gates: https://www.jstor.org/stable/10.1525/fq.2014.68.1.9 Hosted on Acast. See acast.com/privacy for more information.

Welcome back, Mr. Torrence and hi there! It's part two of Keri's birthday story: The Shining. Here we learn what it took to get the creative gears in the mind of Stephen King flowing before Stanley Kubrick turned it into the iconic GOAT that horror fans still love today. We talk about the tv reboot and yes, of course, we talk about Doctor Sleep! She's packed.  To send in topics of interest, please email quiteabitpodcast@gmail.comFollow us on instagram/facebook/youtube:https://linktr.ee/quiteabitpodcast Sources for this episode:The Shining: A novel by Stephen King (1977)The Shining: A film by Stanley Kubrick (1980)The Shining: A Miniseries by Stephen King and Mick Garris (1997)Room 237: A Documentary by Rodney Ascher (2012)Doctor Sleep: A novel by Stephen King (2013)Doctor Sleep: A film by Mike Flanagan (2019)Making the Shining (1980) by Vivian Kubrick:https://m.youtube.com/watch?v=OukJ7jR4CaMMaking the Shining Mini-Series:https://m.youtube.com/watch?v=aIgptpKE13shttps://www.rollingstone.com/tv-movies/tv-movie-news/stephen-king-ewan-mcgregor-doctor-sleep-interview-894174/amp/https://en.m.wikipedia.org/wiki/The_Shining_(film)https://en.m.wikipedia.org/wiki/The_Shining_(novel)https://en.m.wikipedia.org/wiki/The_Shining_(miniseries)https://www.goodhousekeeping.com/life/entertainment/g34331965/the-shining-facts-trivia/?utm_source=google&utm_medium=cpc&utm_campaign=arb_ga_ghk_md_pmx_us_urlx_19597983321&gclid=EAIaIQobChMImeag4tPt_QIV8v_jBx3U0QsUEAAYASAAEgJTZvD_BwEhttp://www.visual-memory.co.uk/amk/doc/interview.ts.htmlhttps://m.imdb.com/title/tt0081505/triviahttps://www.cinemablend.com/news/2551221/the-shining-behind-the-scenes-facts-about-the-legendary-horror-filmhttps://www.theguardian.com/film/2017/oct/27/danny-lloyd-the-kid-in-the-shining-i-was-promised-that-tricycle-after-filming-but-it-never-camehttps://www.mentalfloss.com/article/55893/25-things-you-might-not-know-about-shininghttps://screenrant.com/shining-movie-connection-david-lynch-eraserhead/https://m.youtube.com/watch?v=uZr1gaAOin4https://ew.com/movies/2019/11/05/stephen-king-doctor-sleep-redeems-the-shining-stanley-kubrick/https://m.youtube.com/watch?v=Em3OG3Xi0Nshttps://en.m.wikipedia.org/wiki/Doctor_Sleep_(2019_film)https://en.m.wikipedia.org/wiki/Doctor_Sleep_(novel)https://www.buzzfeed.com/crystalro/doctor-sleep-behind-the-scenes-factshttps://m.youtube.com/watch?v=uGOd_cM_voY 

Today, Aaron is joined by Dr. Amy Abugo Ongiri, film historian, Director of Ethnic Studies at the University of Portland, and author of the book: “Spectacular Blackness: The Cultural Politics of the Black Power Movement and the Search for a Black Aesthetic".Dr. Ongiri talks to us about this shift from Civil Rights to Black Power, how The Black Panther Party effectively used the media to spread their message, and how the Black Arts Movement sought to define a distinctly black aesthetic. All of these forces would greatly affect Melvin Van Peebles during his most creative years from 1968-1971.Amy Ongiri on Instagram: @daughterofthedustEmail us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastProducer: Greg Kleinschmidt Hosted on Acast. See acast.com/privacy for more information.

I am hard at work prepping the next installment of the Melvin Van Peebles history series. In the meantime, I wanted to take a moment to talk about the release schedule moving forward as well as reflecting on how this show has evolved beyond just a history podcast and how that will continue to shape the show going forward!If you have any thoughts or questions, please email me at behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcast Hosted on Acast. See acast.com/privacy for more information.

In this episode we meet Melvin Van Peebles, a small but brilliant boy who grows up split between the rough South Side of Chicago and the nearby suburb of Phoenix, Illinois. A brilliant student, he graduates from high school at the age of fifteen, becomes the first person in his family to go to college. By the time he's 26, he's a veteran officer of the Air Force, a father, a husband in an interracial marriage, and a Gripman on a San Francisco Cable Car. After writing a moderately successful book titled 'The Big Heart', Melvin gets bit by the cinema bug and decides to become a filmmaker...little did he know that it would take him ten years and moving to another continent in order to get one made!Email us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastJoin our weekly film club: https://www.instagram.com/arroyofilmclubProducer: Greg KleinschmidtSources: Hosted on Acast. See acast.com/privacy for more information.

It is our first episode on the life and work of the revolutionary artist, Melvin Van Peebles... only Mr. Van Peebles will not be appearing. In order to understand the themes, imagery and messages within his films, we are going to tell a story of African American representation in American drama. We'll meet a Caribbean immigrant who founds the first black owned theatre in the U.S., a gangly white actor who made one of the most dangerous pieces of art in human history, a lower Manhattan wunderkind who would come to be known as 'King of all Dancers' and of course, the South Dakota Homesteader turned father of African American independent cinema, Oscar Micheaux!Email us: behindtheslatepod@gmail.comInstagram: @behindtheslatepodTikTok: @behindtheslatepodYouTube: @behindtheslatepodcastJoin our weekly film club: https://www.instagram.com/arroyofilmclubProducer: Greg KleinschmidtSources:‘White People Do Not Know How to Behave at Entertainments Designed for Ladies and Gentlemen of Colour' by Marvin McAllister'The African Grove Theatre and Company' by Jonathan Dewberry‘Stephen C. Foster and Negro Minstrelsy' by Robert P. Nevin‘Select Committee on the Slave Trade. Evidence by Thomas Trotter'‘Slave Culture: Nationalist Theory and the Foundations of Black America' by Sterling Stuckey‘Black Magic a Pictorial History of Black Entertainers in America' by Langston Hughes‘American Notes' by Charles Dickens‘Red Summer' by Cameron McWhirter Hosted on Acast. See acast.com/privacy for more information.

Jerah and Jonathan review the 90's western “Posse” which follows a group of Black soldiers with one white tag-along that are all on the run after they're betrayed by their colonel. The film has a large ensemble cast starring Mario Van Peebles, Melvin Van Peebles, Tommy Lister Jr., Salli Richardson, Isaac Hayes, Blair Underwood, Tone Loc, Charles Lane, Robert Hooks, Pam Grier, Vesta Williams, Big Daddy Kane, Nipsey Russell, Richard Gant, Reginald VelJohnson, Faizon Love, Aaron Neville, Washington Hudlin, Robert Lee Minor, and last but not least, Reginald Hudlin. It's directed by Mario Van Peebles and written by Sy Richardson.  Produced by Melisa D. Monts Edited by Diane Kang Executive produced by Brett Boham, Joe Cilio, Alex Ramsey Listen to Black Men Can't Jump [In Hollywood] Ad-Free on Forever Dog Plus: https://foreverdogpodcasts.com/plus FOLLOW BLACK MEN CAN'T JUMP [IN HOLLYWOOD]: https://twitter.com/blackmenpodcast https://www.instagram.com/blackmenpodcast BUY BLACK MEN CAN'T JUMP [IN HOLLYWOOD] MERCH: https://www.teepublic.com/stores/black-men-can-t-jump-in-hollywood SUPPORT BLACK MEN CAN'T JUMP [IN HOLLYWOOD] ON PATREON: https://www.patreon.com/BMCJ BLACK MEN CAN'T JUMP [IN HOLLYWOOD] IS A FOREVER DOG PODCAST: https://foreverdogpodcasts.com/podcasts/black-men-cant-jump-in-hollywood Learn more about your ad choices. Visit megaphone.fm/adchoices

Floyd Webb of the Blacknuss Network joins us as we blast off to the stars for two wildly and weirdly different cinematic visions of space travel in a sprawling but mellow talk that goes from usual movie and weed convo into the mysterious deaths of NASA's Black astronauts, Floyd's experiences with Melvin Van Peebles, and so much more. This episode takes small steps and giant leaps PLUS it's dropping on the 53rd anniversary of the US Moon landing! Bob assures us that OMFYS is far too disorganized to have our Black astronaut conspiracy episode posting on NATIONAL MOON DAY and that this is purely coincidental, but is it!?! Blaxploitation and Afrofuturist longings collide in our first film, TOP OF THE HEAP (1972), where producer/writer/director Christopher St. John stars as George Lattimer, a Black beat cop in Washington D.C. who lapses into hallucinatory dreams of landing on the Moon. However, even his interstellar fantasies are no escape from his real-life anxieties. His badge makes him a pariah in his own community and earns him no respect from his white co-workers. His marriage is falling apart and things aren't going much better with his lounge singer girlfriend. And if that wasn't enough to cause a break with reality, his teenage daughter is doing drugs; and he is avoiding his mother's funeral in Alabama. Virtually lost for decades, Floyd gives insights into his quest to rediscover it and make it available on Blacknuss.tv. And OMFYS goes from the sublime with "Top of the Heap" to the ridiculous with Zsa Zsa Gabor in QUEEN OF OUTER SPACE (1958) where square-jawed, horned-up American spacemen crash land on Venus, which is of course run entirely by 50s pinup models with Forbidden Planet surplus ray guns. Their leader is a masked and man-hating space Queen hellbent on using her space ray to destroy the Earth. Can Zsa Zsa as a rebel leader scientist free the Earth astronauts so they can save their home world? Will everyone stop making out long enough to disable the death ray and put Zsa Zsa on the throne? And what kind of weed do you smoke with all this mid-Century nonsense? We have the answer to the last question at least somewhere in the vast expanses of this episode after Floyd blows our minds with his tale of seeing "Queen of Outer Space" in a segregated theater in Mississippi when it was first released. Top of the Heap is streaming on Blacknuss, a streaming service focused on Black independent filmmakers from around the world. You can start your free trial at https://blacknuss.vhx.tv/ and it's just $3.99 a month after that. $3.99! Queen of Outer Space is available for $2.99 on Prime or on Dailymotion if your conscience can bear it it. https://www.dailymotion.com/video/x21o27r Special Guest: Floyd Webb Co-hosts: Bob Calhoun and Greg Franklin Audio editing: Cory Sklar

Ian and Pat break out their turtlenecks and leather trenchcoats to review Gordon Parks' seminal Blaxploitation epic, Shaft!Richard Roundtree stars as the Black private dick who's a sex machine to all the chicks. It's 1971 in New York City, and John Shaft has been hired to find the kidnapped daughter of a Harlem gangster. He winds up on the wrong side of the police, the Mafia, and a crew of militants all battling to control the streets of the Big Apple.The guys continue their exploration of 70s Black cinema with a (pretty much) first-time viewing of Parks' swagger-heavy procedural--comparing it to Melvin Van Peebles' Sweet Sweetback's Baadasssss Song (which came out the same year), and questioning whether or not this film belongs in the genre with which it is most heavily associated.Shaft was recently given the deluxe treatment by The Criterion Collection, which has made the film available on 4K UHD and Blu-ray.Show Links:Watch the Shaft (1971) trailer.Keep up with Pat at HollywoodChicago.com.Subscribe to, like, and comment on the Kicking the Seat YouTube channel!

The Freedom of Independent Films: A Review of The Watermelon Man | Episode 92 We watched The Watermelon Man directed by Melvin Van Peebles. Join us in a discussion on being in the South from Chicago, and all the different kinds of racism. Works Cited:  Amber's and Ben's Articl in The Washington Post:  https://www.washingtonpost.com/dc-md-va/interactive/2022/interracial-couples-tiktok-racism/ WATERMELON MAN - Movie Review by Kicking the Seat https://www.youtube.com/watch?v=S6vUlDcnNDU Join our Patreon: https://www.patreon.com/thescifisigh?ltclid=74dee16e-c704-48b4-a577-240e80313ce7 Follow on Instagram: https://www.instagram.com/thescifisighpodcast/ Follow on Tik Tok: https://www.tiktok.com/@burr_iam?lang=en Subscribe on YouTube: https://www.youtube.com/watch?v=A-quzNQbZTQ&list=PLRgBIvxlI3NZ8OyviVDNrn71KxhFWSBhK Click here to listen on Apple Podcast, Spotify, Amazon Music and Vodacast: https://linktr.ee/thescifisighpodcast  

Are you tired of the Man trying to keep you down? Ready to take matters into your own hands? Or maybe some other body part? Well Beau has just the pick for you: Sweet Sweetback's Baadasssss Song (Dir. Melvin Van Peebles). Coming AttractionIn the Heat of the Night (Norman Jewison) Episode GuideSweet Sweetback's Baadasssss Song discussion - 8:37Trivia - 44:11 Join the Club!LetterboxdInstagramMCFC Film Spreadsheet

In this talk, Racquel Gates presents her experience working as consulting producer on the Criterion release of Melvin Van Peebles: Essential Films. A legendary filmmaker whose unique personality is just as well-known as his body of work, Van Peebles made an indelible impact on both Black film and independent cinema. How, then, to present new insights on Van Peebles in a way that built on viewers' existing familiarity with the filmmaker and his work while avoiding cliches and hagiography? In “Reintroducing Melvin Melvin Van Peebles,” Gates considers the history of her own research on Van Peebles's films, and details the pleasures — and challenges — of trying to create a bridge between the worlds of academic film studies and more public facing consumer film culture. Racquel Gates is an Associate Professor of Film and Media at Columbia University. Her research focuses on blackness and popular culture, with special attention to discourses of taste and quality. She is the author of Double Negative: The Black Image and Popular Culture (Duke, 2018), and is currently working on her second book, titled Hollywood Style and the Invention of Blackness. In 2020, she was named an Academy Film Scholar by the Academy of Motion Picture Arts and Sciences.

Melvin Van Peebles' SWEET SWEETBACK'S BAADASSSSS SONG was a monumental moment for Black cinema and a gamechanger for cinema as a whole. Not only are we joined by the great Michael Jai White, whose BLACK DYNAMITE was a direct descendant of SWEETBACK, but his friend Mario Van Peebles (son of Melvin, and star of BAADASSSSS!, which tells the story of the making of today's film) pops in to drop some wisdom on us!Then, we play a quiz about the celebrity children of celebrity parents.What's Good :Alonso: OmsomDrea: Finishing taxes earlyMichael: Division of labor, domestically speakingIfy: Birthday Trip!ITIDIC:Camila Cabello Cinderella Is Winning #OscarsFanFavoriteChanning Tatum Says ‘Magic Mike' Training Regimen Might Not Be Healthy/RealisticStaff Picks:Drea: COFFYAlonso: THE LIVING ENDMichael: THE MACKIfy: BLACK DYNAMITEBuy Alonso's book - I'll Be Home for Christmas MoviesWith:Ify NwadiweDrea ClarkAlonso DuraldeMichael Jai WhiteMario Van PeeblesProduced by Marissa FlaxbartSr. Producer Laura Swisher

9.22.21 #RolandMartinUnfiltered: Haitian migrant crisis update; DHS allows some Haitian migrants to stay and places several border patrol officers on administrative leave for using whips on migrants; Title 42 decoded; Voter ID Senate hearing gets hot; DC police accused of "systemic psychological abuse"; Jesse Jackson leaves hospital; Julius Jones' execution date set; R. Kelly trial update; Melvin Van Peebles dies Support #RolandMartinUnfiltered and #BlackStarNetwork via the Cash App ☛ https://cash.app/$rmunfiltered or via PayPal ☛ https://www.paypal.me/rmartinunfiltered Download the #BlackStarNetwork app on iOS, AppleTV, Android, Android TV, Roku, FireTV, SamsungTV and XBox #RolandMartinUnfiltered and the #BlackStarNetwork are news reporting platforms covered under Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Learn more about your ad-choices at https://www.iheartpodcastnetwork.com See omnystudio.com/listener for privacy information.