Podcasts about Needle Park

In 1966 the Mayor's Office of Film was established to try and encourage local filmmaking, in the hopes that it might help boost the economy. What resulted were films that presented a raw and unfiltered version of the city on the edge of crisis. Starting April 1, the Criterion Channel will feature a collection of films under the headline "Fun City: NYC Woos Hollywood, Flirts with Disaster," featuring films like "Dog Day Afternoon," "Cotton Comes to Harlem," "The Panic in Needle Park," and more. Writer and film critic J. Hoberman, who served as a film critic for the Village Voice and curated the Criterion series, discusses this period of film history. Hoberman's forthcoming book is called The 1960s New York Avant-Garde: Primal Happenings, Underground Movies, Radical Pop.

By Walt HickeyDouble feature today!Welcome to the Numlock Sunday edition.This week, I spoke to Alissa Wilkinson who is out with the brand new book, We Tell Ourselves Stories: Joan Didion and the American Dream Machine.I'm a huge fan of Alissa, she's a phenomenal critic and I thought this topic — what happens when one of the most important American literary figures heads out to Hollywood to work on the most important American medium — is super fascinating. It's a really wonderful book and if you're a longtime Joan Didion fan or simply a future Joan Didion fan, it's a look at a really transformative era of Hollywood and should be a fun read regardless.Alissa can be found at the New York Times, and the book is available wherever books are sold.This interview has been condensed and edited. All right, Alissa, thank you so much for coming on.Yeah, thanks for having me. It's good to be back, wherever we are.Yes, you are the author of We Tell Ourselves Stories: Joan Didion and the American Dream Machine. It's a really exciting book. It's a really exciting approach, for a Joan Didion biography and placing her in the current of American mainstream culture for a few years. I guess just backing out, what got you interested in Joan Didion to begin with? When did you first get into her work?Joan Didion and I did not become acquainted, metaphorically, until after I got out of college. I studied Tech and IT in college, and thus didn't read any books, because they don't make you read books in school, or they didn't when I was there. I moved to New York right afterward. I was riding the subway. There were all these ads for this book called The Year of Magical Thinking. It was the year 2005, the book had just come out. The Year of Magical Thinking is Didion's National Book Award-winning memoir about the year after her husband died, suddenly of a heart attack in '03. It's sort of a meditation on grief, but it's not really what that sounds like. If people haven't read it's very Didion. You know, it's not sentimental, it's constantly examining the narratives that she's telling herself about grief.So I just saw these ads on the walls. I was like, what is this book that everybody seems to be reading? I just bought it and read it. And it just so happened that it was right after my father, who was 46 at the time, was diagnosed with a very aggressive leukemia, and then died shortly thereafter, which was shocking, obviously. The closer I get to that age, it feels even more shocking that he was so young. I didn't have any idea how to process that emotion or experience. The book was unexpectedly helpful. But it also introduced me to a writer who I'd never read before, who felt like she was looking at things from a different angle than everyone else.Of course, she had a couple more books come out after that. But I don't remember this distinctly, but probably what happened is I went to some bookstore, The Strand or something, and bought The White Album and Slouching Towards Bethlehem off the front table as everyone does because those books have just been there for decades.From that, I learned more, starting to understand how writing could work. I didn't realize how form and content could interact that way. Over the years, I would review a book by her or about her for one publication or another. Then when I was in graduate school, getting my MFA in nonfiction, I wrote a bit about her because I was going through a moment of not being sure if my husband and I were going to stay in New York or we were going to move to California. They sort of obligate you to go through a goodbye to all that phase if you are contemplating that — her famous essay about leaving New York. And then, we did stay in New York City. But ultimately, that's 20 years of history.Then in 2020, I was having a conversation (that was quite-early pandemic) with my agent about possible books I might write. I had outlined a bunch of books to her. Then she was like, “These all sound like great ideas. But I've always wanted to rep a book on Joan Didion. So I just wanted to put that bug in your ear.” I was like, “Oh, okay. That seems like something I should probably do.”It took a while to find an angle, which wound up being Didion in Hollywood. This is mostly because I realized that a lot of people don't really know her as a Hollywood figure, even though she's a pretty major Hollywood figure for a period of time. The more of her work I read, the more I realized that her work is fruitfully understood as the work of a woman who was profoundly influenced by (and later thinking in terms of Hollywood metaphors) whether she was writing about California or American politics or even grief.So that's the long-winded way of saying I wasn't, you know, acquainted with her work until adulthood, but then it became something that became a guiding light for me as a writer.That's really fascinating. I love it. Because again I think a lot of attention on Didion has been paid since her passing. But this book is really exciting because you came at it from looking at the work as it relates to Hollywood. What was Didion's experience in Hollywood? What would people have seen from it, but also, what is her place there?The directly Hollywood parts of her life start when she's in her 30s. She and her husband — John Gregory Dunn, also a writer and her screenwriting partner — moved from New York City, where they had met and gotten married, to Los Angeles. John's brother, Nick Dunn later became one of the most important early true crime writers at Vanity Fair, believe it or not. But at the time, he was working as a TV producer. He and his wife were there. So they moved to Los Angeles. It was sort of a moment where, you know, it's all well and good to be a journalist and a novelist. If you want to support yourself, Hollywood is where it's at.So they get there at a moment when the business is shifting from these big-budget movies — the Golden Age — to the new Hollywood, where everything is sort of gritty and small and countercultural. That's the moment they arrive. They worked in Hollywood. I mean, they worked literally in Hollywood for many years after that. And then in Hollywood even when they moved back to New York in the '80s as screenwriters still.People sometimes don't realize that they wrote a bunch of produced screenplays. The earliest was The Panic in Needle Park. Obviously, they adapted Didion's novel Play It As It Lays. There are several others, but one that a lot of people don't realize they wrote was the version of A Star is Born that stars Barbra Streisand and Kris Kristofferson. It was their idea to shift the Star is Born template from Hollywood entities to rock stars. That was their idea. Of course, when Bradley Cooper made his version, he iterated on that. So their work was as screenwriters but also as figures in the Hollywood scene because they were literary people at the same time that they were screenwriters. They knew all the actors, and they knew all the producers and the executives.John actually wrote, I think, two of the best books ever written on Hollywood decades apart. One called The Studio, where he just roamed around on the Fox backlot. For a year for reasons he couldn't understand, he got access. That was right when the catastrophe that was Dr. Doolittle was coming out. So you get to hear the inside of the studio. Then later, he wrote a book called Monster, which is about their like eight-year long attempt to get their film Up Close and Personal made, which eventually they did. It's a really good look at what the normal Hollywood experience was at the time: which is like: you come up with an idea, but it will only vaguely resemble the final product once all the studios get done with it.So it's, it's really, that's all very interesting. They're threaded through the history of Hollywood in that period. On top of it for the book (I realized as I was working on it) that a lot of Didion's early life is influenced by especially her obsession with John Wayne and also with the bigger mythology of California and the West, a lot of which she sees as framed through Hollywood Westerns.Then in the '80s, she pivoted to political reporting for a long while. If you read her political writing, it is very, very, very much about Hollywood logic seeping into American political culture. There's an essay called “Inside Baseball” about the Dukakis campaign that appears in Political Fictions, her book that was published on September 11, 2001. In that book, she writes about how these political campaigns are directed and set up like a production for the cameras and how that was becoming not just the campaign, but the presidency itself. Of course, she had no use for Ronald Reagan, and everything she writes about him is very damning. But a lot of it was because she saw him as the embodiment of Hollywood logic entering the political sphere and felt like these are two separate things and they need to not be going together.So all of that appeared to me as I was reading. You know, once you see it, you can't unsee it. It just made sense for me to write about it. On top of it, she was still alive when I was writing the proposal and shopping it around. So she actually died two months after we sold the book to my publisher. It meant I was extra grateful for this angle because I knew there'd be a lot more books on her, but I wanted to come at it from an angle that I hadn't seen before. So many people have written about her in Hollywood before, but not quite through this lens.Yeah. What were some things that you discovered in the course of your research? Obviously, she's such an interesting figure, but she's also lived so very publicly that I'm just super interested to find out what are some of the things that you learned? It can be about her, but it can also be the Hollywood system as a whole.Yeah. I mean, I didn't interview her for obvious reasons.Understandable, entirely understandable.Pretty much everyone in her life also is gone with the exception really of Griffin Dunn, who is her nephew, John's nephew, the actor. But other than that, it felt like I needed to look at it through a critical lens. So it meant examining a lot of texts. A lot of Didion's magazine work (which was a huge part of her life) is published in the books that people read like Slouching Towards Bethlehem and The White Album and all the other books. What was interesting to me was discovering (I mean, not “discovering” because other people have read it) that there is some work that's not published and it's mostly her criticism.Most of that criticism was published in the late '50s and the early '60s when she was living in New York City, working at Vogue and trying to make it in the literary scene that was New York at that time, which was a very unique place. I mean, she was writing criticism and essays for both, you know, like National Review and The Nation at the same time, which was just hard to conceive of today. It was something you'd do back then. Yeah, wild stuff.A lot of that criticism was never collected into books. The most interesting is that she'd been working at Vogue for a long time in various positions, but she wound up getting added to the film critic column at Vogue in, '62, I want to say, although I might have that date slightly off. She basically alternated weeks with another critic for a few years, writing that until she started writing in movies proper. It's never a great idea to be a critic and a screenwriter at the same time.Her criticism is fascinating. So briefly, for instance, she shared that column with Pauline Kael. Pauline Kael became well known after she wrote about Bonnie and Clyde. This was prior to that. This is several years prior to that. They also hated each other for a long time afterward, which is funny, because, in some ways, their style is very different but their persona is actually very similar. So I wonder about that.But in any case, even when she wasn't sharing the column with Pauline Kael, it was a literal column in a magazine. So it's like one column of text, she can say barely anything. She was always a bit of a contrarian, but she was actively not interested in the things that were occupying New York critics at the time. Things like the Auteur Theory, what was happening in France, the downtown scene and the Shirley Clark's of the world. She had no use for it. At some point, she accuses Billy Wilder of having really no sense of humor, which is very funny.When you read her criticism, you see a person who is very invested in a classical notion of Hollywood as a place that shows us fantasies that we can indulge in for a while. She talks in her very first column about how she doesn't really need movies to be masterpieces, she just wants them to have moments. When she says moments, she means big swelling things that happen in a movie that make her feel things.It's so opposite, I think, to most people's view of Didion. Most people associate her with this snobbish elitism or something, which I don't think is untrue when we're talking about literature. But for her, the movies were like entertainment, and entering that business was a choice to enter that world. She wasn't attempting to elevate the discourse or something.I just think that's fascinating. She also has some great insights there. But as a film critic, I find myself disagreeing with most of her reviews. But I think that doesn't matter. It was more interesting to see how she conceived of the movies. There is a moment later on, in another piece that I don't think has been republished anywhere from the New York Review of Books, where she writes about the movies of Woody Allen. She hates them. It's right at the point where he's making like Manhattan and Annie Hall, like the good stuff. She just has no use for them. It's one of the funniest pieces. I won't spoil the ending because it's hilarious, and it's in the book.That writing was of huge interest to me and hasn't been republished in books. I was very grateful to get access to it, in part because it is in the archives — the electronic archives of the New York Public Library. But at the time, the library was closed. So I had to call the library and have a librarian get on Zoom with me for like an hour and a half to figure out how I could get in the proverbial back door of the library to get access while the library wasn't open.That's magnificent. That's such a cool way to go to the archives because some stuff just hasn't been published. If it wasn't digitized, then it's not digitized. That's incredible.Yeah, it's there, but you can barely print them off because they're in PDFs. They're like scanned images that are super high res, so the printer just dies when you try to print them. It's all very fascinating. I hope it gets republished at some point because I think there's enough interest in her work that it's fascinating to see this other aspect of her taste and her persona.It's really interesting that she seems to have wanted to meet the medium where it is, right? She wasn't trying to literary-up Hollywood. I mean, LA can be a bit of a friction. It's not exactly a literary town in the way that some East Coast metropolises can be. It is interesting that she was enamored by the movies. Do you want to speak about what things were like for her when she moved out?Yeah, it is funny because, at the same time, the first two movies that they wrote and produced are The Panic in Needle Park, which is probably the most new Hollywood movie you can imagine. It's about addicts at Needle Park, which is actually right where the 72nd Street subway stop is on the Upper West Side. If people have been there, it's hard to imagine. But that was apparently where they all sat around, and there were a lot of needles. It's apparently the first movie supposedly where someone shoots up live on camera.So it was the '70s. That's amazing.Yes, and it launched Al Pacino's film career! Yeah, it's wild. You watch it and you're just like, “How is this coming from the woman who's about all this arty farty stuff in the movies.” And Play It As It Lays has a very similar, almost avant-garde vibe to it. It's very, very interesting. You see it later on in the work that they made.A key thing to remember about them (and something I didn't realize before I started researching the book)was that Didion and Dunn were novelists who worked in journalism because everybody did. They wrote movies, according to them (you can only go off of what they said. A lot of it is John writing these jaunty articles. He's a very funny writer) because “we had tuition and a mortgage. This is how you pay for it.”This comes up later on, they needed to keep their WGA insurance because John had heart trouble. The best way to have health insurance was to remain in the Writers Guild. Remaining in the Writers Guild means you had to have a certain amount of work produced through union means. They were big union supporters. For them this was not, this was very strictly not an auteurist undertaking. This was not like, “Oh, I'm gonna go write these amazing screenplays that give my concept of the world to the audience.” It's not like Bonnie and Clyding going on here. It's very like, “We wrote these based on some stories that we thought would be cool.”I like that a lot. Like the idea that A Star is Born was like a pot boiler. That's really delightful.Completely. It was totally taken away from them by Streisand and John Peters at some point. But they were like, “Yeah, I mean, you know, it happens. We still got paid.”Yeah, if it can happen to Superman, it can happen to you.It happens to everybody, you know, don't get too precious about it. The important thing is did your novel come out and was it supported by its publisher?So just tracing some of their arcs in Hollywood. Obviously, Didion's one of the most influential writers of her generation, there's a very rich literary tradition. Where do we see her footprint, her imprint in Hollywood? What are some of the ways that we can see her register in Hollywood, or reverberate outside of it?In the business itself, I don't know that she was influential directly. What we see is on the outside of it. So a lot of people were friends. She was like a famous hostess, famous hostess. The New York Public Library archives are set to open at the end of March, of Didion and Dunn's work, which was like completely incidental to my publication date. I just got lucky. There's a bunch of screenplays in there that they worked on that weren't produced. There's also her cookbooks, and I'm very excited to go through those and see that. So you might meet somebody there.Her account of what the vibe was when the Manson murders occurred, which is published in her essay The White Album, is still the one people talk about, even though there are a lot of different ways to come at it. That's how we think about the Manson murders: through her lens. Later on, when she's not writing directly about Hollywood anymore (and not really writing in Hollywood as much) but instead is writing about the headlines, about news events, about sensationalism in the news, she becomes a great media critic. We start to see her taking the things that she learned (having been around Hollywood people, having been on movie sets, having seen how the sausage is made) and she starts writing about politics. In that age, it is Hollywood's logic that you perform for the TV. We have the debates suddenly becoming televised, the conventions becoming televised, we start to see candidates who seem specifically groomed to win because they look good on TV. They're starting to win and rule the day.She writes about Newt Gingrich. Of course, Gingrich was the first politician to figure out how to harness C-SPAN to his own ends — the fact that there were TV cameras on the congressional floor. So she's writing about all of this stuff at a time when you can see other people writing about it. I mean, Neil Postman famously writes about it. But the way Didion does it is always very pegged to reviewing somebody's book, or she's thinking about a particular event, or she's been on the campaign plane or something like that. Like she's been on the inside, but with an outsider's eye.That also crops up in, for instance, her essays. “Sentimental Journeys” is one of her most famous ones. That one's about the case of the Central Park Five, and the jogger who was murdered. Of course, now, we're many decades out from that, and the convictions were vacated. We know about coerced confessions. Also Donald Trump arrives in the middle of that whole thing.But she's actually not interested in the guilt or innocence question, because a lot of people were writing about that. She's interested in how the city of New York and the nation perform themselves for themselves, seeing themselves through the long lens of a movie and telling themselves stories about themselves. You see this over and over in her writing, no matter what she's writing about. I think once she moved away from writing about the business so much, she became very interested in how Hollywood logic had taken over American public life writ large.That's fascinating. Like, again, she spends time in the industry, then basically she can only see it through that lens. Of course, Michael Dukakis in a tank is trying to be a set piece, of course in front of the Berlin Wall, you're finally doing set decoration rather than doing it outside of a brick wall somewhere. You mentioned the New York thing in Performing New York. I have lived in the city for over a decade now. The dumbest thing is when the mayor gets to wear the silly jacket whenever there's a snowstorm that says “Mr. Mayor.” It's all an act in so many ways. I guess that political choreography had to come from somewhere, and it seems like she was documenting a lot of that initial rise.Yeah, I think she really saw it. The question I would ask her, if I could, is how cognizant she was that she kept doing that. As someone who's written for a long time, you don't always recognize that you have the one thing you write about all the time. Other people then bring it up to you and you're like, “Oh, I guess you're right.” Even when you move into her grief memoir phase, which is how I think about the last few original works that she published, she uses movie logic constantly in those.I mean, The Year of Magical Thinking is a cyclical book, she goes over the same events over and over. But if you actually look at the language she's using, she talks about running the tape back, she talks about the edit, she talks about all these things as if she's running her own life through how a movie would tell a story. Maybe she knew very deliberately. She's not a person who does things just haphazardly, but it has the feeling of being so baked into her psyche at this point that she would never even think of trying to escape it.Fascinating.Yeah, that idea that you don't know what you are potentially doing, I've thought about that. I don't know what mine is. But either way. It's such a cool way to look at it. On a certain level, she pretty much succeeded at that, though, right? I think that when people think about Joan Didion, they think about a life that freshens up a movie, right? Like, it workedVery much, yeah. I'm gonna be really curious to see what happens over the next 10 years or so. I've been thinking about figures like Sylvia Plath or women with larger-than-life iconography and reputation and how there's a constant need to relook at their legacies and reinvent and rethink and reimagine them. There's a lot in the life of Didion that I think remains to be explored. I'm really curious to see where people go with it, especially with the opening of these archives and new personal information making its way into the world.Yeah, even just your ability to break some of those stories that have been locked away in archives out sounds like a really exciting addition to the scholarship. Just backing out a little bit, we live in a moment in which the relationship between pop culture and political life is fairly directly intertwined. Setting aside the steel-plated elephant in the room, you and I are friendly because we bonded over this idea that movies really are consequential. Coming out of this book and coming out of reporting on it, what are some of the relevances for today in particular?Yeah, I mean, a lot more than I thought, I guess, five years ago. I started work on the book at the end of Trump One, and it's coming out at the beginning of Trump Two, and there was this period in the middle of a slightly different vibe. But even then I watch TikTok or whatever. You see people talk about “main character energy” or the “vibe shift” or all of romanticizing your life. I would have loved to read a Didion essay on the way that young people sort of view themselves through the logic of the screens they have lived on and the way that has shaped America for a long time.I should confirm this, I don't think she wrote about Obama, or if she did, it was only a little bit. So her political writing ends in George W. Bush's era. I think there's one piece on Obama, and then she's writing about other things. It's just interesting to think about how her ideas of what has happened to political culture in America have seeped into the present day.I think the Hollywood logic, the cinematic logic has given way to reality TV logic. That's very much the logic of the Trump world, right? Still performing for cameras, but the cameras have shifted. The way that we want things from the cameras has shifted, too. Reality TV is a lot about creating moments of drama where they may or may not actually exist and bombarding you with them. I think that's a lot of what we see and what we feel now. I have to imagine she would think about it that way.There is one interesting essay that I feel has only recently been talked about. It's at the beginning of my book, too. It was in a documentary, and Gia Tolentino wrote about it recently. It's this essay she wrote in 2000 about Martha Stewart and about Martha Stewart's website. It feels like the 2000s was like, “What is this website thing? Why are people so into it?” But really, it's an essay about parasocial relationships that people develop (with women in particular) who they invent stories around and how those stories correspond to greater American archetypes. It's a really interesting essay, not least because I think it's an essay also about people's parasocial relationships with Joan Didion.So the rise of her celebrity in the 21st century, where people know who she is and carry around a tote bag, but don't really know what they're getting themselves into is very interesting to me. I think it is also something she thought about quite a bit, while also consciously courting it.Yeah, I mean, that makes a ton of sense. For someone who was so adept at using cinematic language to describe her own life with every living being having a camera directly next to them at all times. It seems like we are very much living in a world that she had at least put a lot of thought into, even if the technology wasn't around for her to specifically address it.Yes, completely.On that note, where can folks find the book? Where can folks find you? What's the elevator pitch for why they ought to check this out? Joan Didion superfan or just rather novice?Exactly! I think this book is not just for the fans, let me put it that way. Certainly, I think anyone who considers themselves a Didion fan will have a lot to enjoy here. The stuff you didn't know, hadn't read or just a new way to think through her cultural impact. But also, this is really a book that's as much for people who are just interested in thinking about the world we live in today a little critically. It's certainly a biography of American political culture as much as it is of Didion. There's a great deal of Hollywood history in there as well. Thinking about that sweep of the American century and change is what the book is doing. It's very, very, very informed by what I do in my day job as a movie critic at The New York Times. Thinking about what movies mean, what do they tell us about ourselves? I think this is what this book does. I have been told it's very fun to read. So I'm happy about that. It's not ponderous at all, which is good. It's also not that long.It comes out March 11th from Live Right, which is a Norton imprint. There will be an audiobook at the end of May that I am reading, which I'm excited about. And I'll be on tour for a large amount of March on the East Coast. Then in California, there's a virtual date, and there's a good chance I'll be popping up elsewhere all year, too. Those updates will be on my social feeds, which are all @alissawilkinson on whatever platform except X, which is fine because I don't really post there anymore.Alyssa, thank you so much for coming on.Thank you so much.Edited by Crystal Wang.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

oin Washington Examiner Senior Writer David Harsanyi and Federalist Editor-In-Chief Mollie Hemingway as they discuss Jeff Bezos' new coverage priorities for the Washington Post pages, debate the end of the White House Correspondents' Association's cartel-like press pool control, and weigh in on Jake Tapper's attempt to monetize his coverup of former President Joe Biden's cognitive decline. Mollie and David also reflect on Roberta Flack's music career and share their thoughts on "Reacher" and The Panic in Needle Park. Check out David's Substack here. If you care about combatting the corrupt media that continue to inflict devastating damage, please give a gift to help The Federalist do the real journalism America needs.

Join Washington Examiner Senior Writer David Harsanyi and Federalist Editor-In-Chief Mollie Hemingway as they discuss Jeff Bezos' new coverage priorities for the Washington Post pages, debate the end of the White House Correspondents' Association's cartel-like press pool control, and weigh in on Jake Tapper's attempt to monetize his coverup of former President Joe Biden's cognitive decline. Mollie and David also look back at Roberta Flack's music career and share their thoughts on "Reacher" and The Panic in Needle Park.Check out David's Substack, featuring "You're Wrong," here. If you care about combatting the corrupt media that continue to inflict devastating damage, please give a gift to help The Federalist do the real journalism America needs.

Am 14. Februar 1995 wurde in Zürich der Letten geräumt und grossräumig abgesperrt. Ein paar Jahre zuvor wurde bereits der Platzspitz geschlossen. Dort, mitten in der Stadt zwischen Hauptbahnhof und Limmatufer, hatte sich eine offene Drogenszene ausgebreitet und zog Drogenabhängige aus der ganzen Schweiz und aus dem Ausland an an.Hier spielte sich eine der grössten sozialen Katastrophen der jüngeren Schweizer Geschichte ab. Der erste Versuch, die offene Drogenszene zu unterbinden, scheiterte kläglich – erst die Lettenräumung vor 30 Jahren beendete das Elend.Wie kam es zum Kontrollverlust? Und was für Lehren zieht die aktuelle Drogenpolitik aus den damaligen Ereignissen? Diese und weitere Fragen beantwortet Michèle Binswanger, Autorin im Ressort Leben, in einer neuen Folge des täglichen Podcasts «Apropos».Host: Mirja GabathulerProduzent: Tobias HolzerArtikel zum Thema: Mulltimediale Reportage «Needle Park»: Wie das reiche Zürich in die Drogen-Katastrophe abstürztePodcast Apropos EP626: Warum Crack sich in der Schweiz ausbreitet Unser Tagi-Spezialangebot für Podcast-Hörer:innen: tagiabo.chHabt ihr Feedback, Ideen oder Kritik zu «Apropos»? Schreibt uns an podcasts@tamedia.ch

"Dio aiuti Bobby e Helen"

GGACP celebrates the recent release of actor-producer Griffin Dunne's book, "The Friday Afternoon Club: A Family Memoir" by revisiting this memorable interview from 2019. In this episode, Griffin talks about blending horror and comedy, teaming with Martin Scorsese and Sidney Lumet, the cynical cinema of Billy Wilder and the lives (and work) of Joan Didion and Dominick Dunne. Also, Jerry Lewis adapts Gore Vidal, Otto Preminger takes a bad trip, Griffin sneaks onto the set of “Gilligan's Island” and Tim Burton (almost) directs “After Hours.” PLUS: Howdy Doody! “Who's That Girl”! “The Panic in Needle Park”! The genius of Harry Nilsson! And the artistry of GGACP guest Rick Baker! Learn more about your ad choices. Visit megaphone.fm/adchoices

The Panic in Needle Park was Al Pacino's first starring role in the movies. It's a story of Heroin addict Bobby (Pacino) and his clean-cut girlfriend Helen (Kitty Winn) as they frequent the area in New York known as Needle Park. Directed by Jerry Schatzberg and written by husband/wife duo John Gregory Dunne and Joan Didion. Released in North America in 1971. The film and it's director were nominated for the Palme d'Or award at the Cannes Film Festival. Actor Kitty Winn won Best Actress at the same festival. Film Critic and Author John Bleasdale joins the podcast to discuss the film. John talks about why he doesn't see it as a depressing film, how well-rounded an actor Pacino is already and what he thinks happens to Bobby & Hellen. All About Al: The Pacino Podcast is written, edited and presented by Mark Searby. Hosted on Acast. See acast.com/privacy for more information.

GGACP celebrates Irish American Heritage Month (and a belated St. Patrick's Day!) by presenting this ENCORE of a 2021 interview with comedian, writer and actor Colin Quinn. In this episode, Colin joins Gilbert and Frank for a frequently hilarious conversation about vanishing Manhattan, awkward celebrity encounters, the gritty cinema of Sidney Lumet and Martin Scorsese and his one-person show, “Colin Quinn: The Last Best Hope.” Also, Rod Steiger holds a grudge, Pat Cooper blows his stack, Kate Winslet shops at a bodega and Colin remembers the late, great Norm MacDonald. PLUS: Michael V. Gazzo! “The Panic in Needle Park”! The comedy stylings of Jan Murray! In praise of Steve Buscemi! Norman Lloyd hangs with Babe Ruth! And the boys deconstruct “Titanic,” “The Departed” and “The Godfather: Part III”! Learn more about your ad choices. Visit megaphone.fm/adchoices

A special edition of the Crime Courts & Public Safety Update has exclusive ActionLine details on two recent incidents - one in the North End, the other on Pembina Hwy. - where violent criminals terrorized female victims, with one left homeless. 4:40 Part 2- If she hadn't delayed taking her sleeping pills - because she was on the phone with the cops for the second time Monday night about the tenants upstairs- Tamara Bard could have died. In an extended interview, she says a "very physical" domestic disturbance that ended in a fire joined a long list of trouble from other tenants of the College Ave. house she's lived in for 4 years. It's a story of a vulnerable tenant whose right to a safe home was ignored by a negligent property management company. To sponsor podcasts, or support our reporting via Interac: martygoldlive@gmail.com Despite the cops doing a wellness check after her first call to 911 Monday evening, the fighting flared up again around midnight. After she hung up from the second call, a neighbour alerted her to a fire raging on the first floor. A woman, her son and her boyfriend lived there. One was found dead and 2 are in hospital. The daughter of that woman, and a female roommate, lived in the top floor unit and were unharmed. Tamara has been disabled since 2012 and barely escaped from her basement suite with her dog- but her 4 cats perished. Her daughter set up a Go Fund Me and we are urging listeners to do what they can to assist Tamara. Click here- My mom lost her home & everything to a house fire 16.30- You'll be shocked by the revolving door of unstable 'Housing First' renters placed upstairs from Tamara by Ember Realty in the last 12 months. A mother with 2 teenage boys lived upstairs from Jan.-June. As Tamara describes, no matter how many complaints she made about fighting, screaming, and garbage, it took a naked missing teenage girl emerging from a bedroom window, and a mad dog biting Tamara and a cop, to get them turfed. And that's not all. 21:19 Part 3- After the missing girl was rescued and charges laid, it didn't take long for a new set of problems. A St. Boniface agency referred a woman and her cousin to rent the unit, which lasted until November. You'll hear about piles of garbage and dog crap, and vagrants pitching tents in the front yard. Tamara describes a scene straight out of 'Panic in Needle Park' with rigs sticking out of the arms of zombies. The next door neighbours had to build a fence to protect their young kids and pets. She says that Ember Realty didn't really evict the druggies, they just dumped them into a West End property. Can you believe it? She was almost flooded out by the arsonists who moved in after- and guess who referred them to the landlord? Getting paid direct deposit by welfare was easy, but managing the social disorder of 'Housing First' policies and protect an honest, disabled resident was too hard. When we interviewed her for Episode 6, the landlord still hadn't called to offer help. For Tamara Bard, a disabled tenant, it's become 'Housing Last'. She is sticking up for 'good people on a really quiet street until the problems in the house'. Tamara Bard has a message to City Hall and the province: "They say and do things that look good to the media... The system is very broken... it's not them that is suffering... they're safe, they're warm." "They don't know how the rest of us live and don't care to. It makes them uncomfortable... If I would have taken them (sleeping pills) at 10 and went to bed, I can't guarantee I would have been woken up." Support our work with a donation! 46:50 Part 4- Degenerate criminals doesn't only victimize residents. Family businesses are also under siege by the lawlessness roaming Winnipeg streets. She told Marty Gold it sounded like a car crashing into her restaurant. Then the owner of the Garwood Grill, closing up last Saturday, realized it was a goon trying to break in. What's it costing her to fix the front door? LOTS.

The Wall Street Journal reported last month that the ballot initiative to decriminalize all drugs in the state of Oregon is failing, and that efforts are underway to recriminalize hard drugs. Mark points out that decriminalizing drug possession does nothing to improve black market production of drugs, which makes drugs much more dangerous to consume. More importantly, it is Oregon's socialist ideology that coddles homelessness and open hard drug use that is the real problem for the good citizens of the state—and is not helping the drug addicts either. The solution is for society—the nexus of private property owners—to reassert its will. See also "Welcome to Needle Park" by Mark Thornton: Mises.org/Minor48_A Be sure to follow Minor Issues at Mises.org/MinorIssues. Get your free copy of Murray Rothbard's Anatomy of the State at Mises.org/IssuesFree.

The Wall Street Journal reported last month that the ballot initiative to decriminalize all drugs in the state of Oregon is failing, and that efforts are underway to recriminalize hard drugs. Mark points out that decriminalizing drug possession does nothing to improve black market production of drugs, which makes drugs much more dangerous to consume. More importantly, it is Oregon's socialist ideology that coddles homelessness and open hard drug use that is the real problem for the good citizens of the state—and is not helping the drug addicts either. The solution is for society—the nexus of private property owners—to reassert its will. See also "Welcome to Needle Park" by Mark Thornton: Mises.org/Minor48_A Be sure to follow Minor Issues at Mises.org/MinorIssues. Get your free copy of Murray Rothbard's Anatomy of the State at Mises.org/IssuesFree.

The Wall Street Journal reported last month that the ballot initiative to decriminalize all drugs in the state of Oregon is failing, and that efforts are underway to recriminalize hard drugs. Mark points out that decriminalizing drug possession does nothing to improve black market production of drugs, which makes drugs much more dangerous to consume. More importantly, it is Oregon's socialist ideology that coddles homelessness and open hard drug use that is the real problem for the good citizens of the state—and is not helping the drug addicts either. The solution is for society—the nexus of private property owners—to reassert its will. See also "Welcome to Needle Park" by Mark Thornton: Mises.org/Minor48_A Be sure to follow Minor Issues at Mises.org/MinorIssues. Get your free copy of Murray Rothbard's Anatomy of the State at Mises.org/IssuesFree.

The Wall Street Journal reported last month that the ballot initiative to decriminalize all drugs in the state of Oregon is failing, and that efforts are underway to recriminalize hard drugs. Mark points out that decriminalizing drug possession does nothing to improve black market production of drugs, which makes drugs much more dangerous to consume. More importantly, it is Oregon's socialist ideology that coddles homelessness and open hard drug use that is the real problem for the good citizens of the state—and is not helping the drug addicts either. The solution is for society—the nexus of private property owners—to reassert its will. See also "Welcome to Needle Park" by Mark Thornton: https://Mises.org/Minor48_A Be sure to follow Minor Issues at https://Mises.org/MinorIssues Get your free copy of Murray Rothbard's Anatomy of the State at https://Mises.org/IssuesFree

Tonight, we'll be talking a set of films that almost form a genre of their own.   These films were often, though not always, “respected” by critics and the general public at large, but all bore that dark, almost despairing claustrophobia and realistic feel of what I and others were living every day out on the streets locally, far from the dayglo nonsense of the 60's reruns or the sunnier Hollywood based fare of the day.   The streets were crowded, filthy, filled with the detritus of the post-hippie era – the junkies, the odd artsy types, the gangs, the whores.  The days where you were damn glad to see Curtis Sliwa's Guardian Angels on a subway…if you were crazy enough to use them at all. Everything covered in graffiti, buildings collapsing into tenements, crack houses, illicit hookup spots for rough trade cruising types.  Garbage in the streets, and decay in every sense of the word.   These are films that wallow in what in later years would be referred to as urban blight, but not so much “celebrating” as providing a window into all the palpable danger and decline of an impoverished post-blackout Manhattan in the days after the Watts and Newark riots, not long past Ford telling the mayor and city to go screw ourselves when asking for Federal relief.   These were the days of Studio 54, CBGBs and the original Saturday Night Live – but filled with menace. Hard drug use was rampant.  Muggings were so commonplace as to be a shrug of the shoulders.  Nobody in their right mind stepped into Central Park after sunset.  Washington Square was known for decades as Needle Park.  And the East Village?  Forget about Alphabet City, the Bronx or Brooklyn.   This was a special breed of film, that focused on crooked, flawed cops working outside a busted system…but not with the heroic vibe of Reaganite action heroes.  These guys paid for painting outside the lines.  The denouments were never triumphant, all victories were pyrrhic.  Vigilante justice and community action were about as fantastic as these films got, and as close to actual comeuppance as anyone got.   This is the story, in a way, of our childhood and early youth to young adulthood, as told in some very memorable films. So join us as we go dumpster diving in the back alleys of most dangerous of neighborhoods, only here on Weird Scenes! Week 111 (11/30/23): Take a Bite of the Rotten Apple - NYC cop/crime films of the 70s https://weirdscenes1.wordpress.com/ https://www.facebook.com/WeirdScenes1 https://twitter.com/WeirdScenes1 (@weirdscenes1) TheThirdEyeCinema @Threads https://thirdeyecinema.podbean.com/ https://itunes.apple.com/us/podcast/third-eye-cinema-weird-scenes-inside-the-goldmine-podcast/id553402044 https://(open.spotify.com)/show/4s8QkoE6PnAfh65C5on5ZS?nd=1 https://music.amazon.com/podcasts/09456286-8956-4b80-a158-f750f525f246/Third-Eye-Cinema-Weird-Scenes-Inside-the-Goldmine-podcast Take a Bite of the Rotten Apple - NYC cop/crime films of the 70s  

The Alan Cox Show

https://ia801601.us.archive.org/25/items/the-panic-in-needle-park/The%20Panic%20in%20Needle%20Park.mp3 Turns out that Al Pacino really hit the ground running in his acting career. The Godfather was his second staring role, followed closely by Serpico and Dog Day Afternoon, but even in his first starring role in The Panic In Needle Park he really establishes himself as one of America’s greatest. And that’s not … Continue reading "382: The Panic In Needle Park [1971] Movie Discussion"

THE FINAL FILM IN AN EPIC VHS JOURNEY TO THE EARLY 1970s  *TRIGGER WARNING: SCARECROW CONTAINS A SCENE OF SEXUAL ASSAULT*  VHS, in its heyday, was the best way to watch movies. They opened up a generation to movies previously impossible to see if they weren't circulating in movie theaters years and decades after release. You could argue our current nerd culture, where everybody has seen everything, was kickstarted by GEN X getting their hands on previously obscure movies.  A lot of transfers of older movies to VHS were crappy. Available film prints were Paleolithic, compression was an issue,  and, frankly, studios did not care how they looked when monetizing their libraries; Too dark, pan-and-scanned, color resolution sometimes bordering monochromatic. But in 2022 it IS a visual  aesthetic filmmakers try to replicate to give their films a grimy, unwashed and somehow dangerous feel. Our impromptu trilogy of films we watched on VHS comes to a close with Jerry Schatzberg's sadly neglected vagabond road trip masterwork, SCARECROW (1973), with GENE F*CKING HACKMAN and AL G*DDAMN PACINO in their primes. Like our previous two films in this series (BRING ME THE HEAD OF ALFREDO GARCIA and FAT CITY), Scarecrow was made at a time when studios (in this case, Warner Brothers) had no idea what the kids wanted to see.  A riff on the themes in super successful films Easy Rider and Midnight Cowboy, featuring two of the biggest stars of the time actually sounds like a no-brainer. Scarecrow is about two vagabonds with big plans that team up to drift from California to Pittsburgh (with a detour in Detroit). Hackman has never been so lived-in with a role that he always considered a favorite and Pacino is a revelation of warmth and humor, also in a role he often cites as a favorite. We get into the plot on the episode and discuss what happened to this film to have two of the biggest stars of the era, be a great movie, and all but disappear.  It is so good its cult status is understandable but why did it fail upon its release?Director Jerry Schatzberg was a highly regarded photographer in the 1960s that became an even more highly regarded fashion and celebrity portrait photographer before trying his hand at film.  He'd worked with Pacino in Panic at Needle Park a few years earlier with Pacino (a street-level heroin addiction drama adapted by... JOAN DIDION and JOHN GREGORY DUNNE.  So we watched three movies on VHS released between 1972 and 1974. What was in the water? What changed in movies that have made all three cult favorites rather than films we see on cinema montages? We'll get into that and the great era of 70s studio filmmaking that was gone almost before it started, Another grimy, gorgeously depressing early 1970s film perfect for rewatch on VHS. Whoever invented pan-and-scan for VHS owes everyone involved with Scarecrow an apology. THEME SONG BY: WEIRD A.I.Email: thegoodthepodandtheugly@gmail.comFacebook: https://m.facebook.com/TGTPTUInstagram: https://instagram.com/thegoodthepodandtheugly?igshid=um92md09kjg0Twitter: https://twitter.com/thegoodthepoda1YouTube: https://www.youtube.com/channel/UC6mI2plrgJu-TB95bbJCW-gBuzzsprout: https://thegoodthepodandtheugly.buzzsprout.com/Letterboxd (follow us!):Ken: Ken KoralJack: jackk1096

John Heilemann goes all-in on The Bear — the FX series set in the fictional sandwich shop The Original Beef of Chicagoland that came out of nowhere (Yes, chef) to become the breakout show of the summer (Heard, chef), the source of a jillion Internet memes (Hands!), and a full-blown cultural phenomenon (all day) — with its star, Jeremy Allen White, and creator, Chris Storer. White and Storer discuss the show's surprising runaway success; their passion for and commitment to creating the first scripted series ever to capture the realities of the world of restaurant kitchens accurately and authentically; their many, varied, and unlikely inspirations for The Bear, from The Panic in Needle Park to Terms of Endearment, Taxi, and Rounders; and how the rapturous reception of the show has changed both of their lives almost overnight. White, heretofore best known for his 11 seasons and 10 years playing Lip Gallagher (a gifted kid from a dysfunctional working-class Chicago family) in the signature Showtime series Shameless, reflects on his wariness about taking on the superficially similar character Carmen Berzatto in The Bear, and his approach to the seven-minute, show-stopping soliloquy in the show's finale that could make him a mortal lock for an Emmy Award next year — while Storer teases some elements of Season Two of The Bear that the show's legions of newly minted, hyper-obsessive super-fans (including Heilemann) are sure to find deliciously tantalizing. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.

Our theme of our parent's fav movies continues with this week covering Harley's moms fav, Panic in Needle Park from 1971. We paired with one with Cigar City Brewing's Guayabera (no it has nothing to do with Guava and you'll hear why). Plus Mike talks about how he is back on the Drag Race train! Follow, rate, review, like and subscribe. Insta:@brewsonfilm

Marty Schwartz and Scott Sharplin are on a mission to explain how every movie ever made is secretly the same story! They're kinda like heroes, in a sense… Core Connections:Midnight Run (1988, Dir. Martin Brest)Across 110th Street (1972, Dir. Barry Shear)Road to the Lemon Grove (2018, Dir. Dale Hildebrand) Connective Cameos:Norbit (2007, Dir. Brian Robbins)Austin Powers: International Man of Mystery (1997, Dir. Jay Roach)Austin Powers: The Spy Who Shagged Me (1999, Dir. Jay Roach)Austin Powers in Goldmember (2022, Dir. Jay Roach)Coming to America (1988, Dir. John Landis)Catch-22 (1970, Dir. Mike Nichols)Beverly Hills Cop (1984, Dir. Martin Brest)Snatch (2000, Dir. Guy Ritchie)The Matrix (1999, Dir. Lana Wachowski and Lili Wachowski)Batman (1989, Dir. Tim Burton)Midnight Runaround (1994, Dir. Frank De Palma)Midnight Run For Your Life (1994, Dir. Daniel Sackheim)Another Midnight Run (1994, Dir. James Frawley)Happy Gilmore (1996, Dir. Dennis Dugan)Goodfellas (1990, Dir. Martin Scorsese)Repo Man (1984, Dir. Alex Cox)Wakefield (2016, Dir. Robin Swicord)Plan 9 From Outer Space (1957, Dir. Edward J. Wood, Jr.)Thelma & Louise (1991, Dir. Ridley Scott)Fear and Loathing in Las Vegas (1998, Dir. Terry Gilliam)The Panic in Needle Park (1970, Dir. Jerry Schatzburg)Cleopatra Jones (1973, Dir. Jack Starrett)Shaft (1971, Dir. Gordon Parks)Willie Dynamite (1974, Dir. Gilbert Moses)Bone (1972, Dir. Larry Cohen)Live and Let Die (1973, Dir. Guy Hamilton)The Exorcist (1973, Dir. William Friedkin)The French Connection (1971, Dir. William Friedkin)It's A Mad, Mad, Mad, Mad World (1963, Dir. Stanley Kramer)Se7en (1995, Dir. David Fincher)Rocky (1976, Dir. John G. Avildsen)Goodfellas (1990, Dir. Martin Scorsese)The Good, the Bad, and the Ugly (1966, Dir. Sergio Leone)Dogma (1999, Dir. Kevin Smith)Ghost Dad (1990, Dir. Sidney Poitier)High Noon (1952, Dir. Fred Zinnemann)Go West (1940, Dir. Edward Buzzell)The Story of Mankind (1957, Dir. Irwin Allen)Anatomy of a Murder (1959, Dir. Otto Preminger)The Comedians (1967, Dir. Peter Glenville)The Grand Illusion (1937, Dir. Jean Renoir)Being John Malkovich (1999, Dir. Spike Jonze)Logan's Run (1975, Dir. Michael Anderson)Nashville (1975, Dir. Robert Altman)The Spanish Prisoner (1997, Dir. David Mamet)Without Love (1945, Dir. Harold S. Bucquet)The Panic in Needle Park (1970, Dir. Jerry Schatzburg)Greed (1924, Dir. Eric von Stroheim)Super Mario Bros. (1993, Dir. Annabel Jankel and Rocky Morton)The Disaster Artist (2017, Dir. James Franco) Linked Film Count: 532

Portrait d'Al Pacino, acteur mythique du cinéma américain. Deuxième partie de ce portrait, après Al,l'humain, retour sur Pacino l'acteur. Tour d'horizon de ses plus grands films. Un Podcast Radio Gatine. Episode du 03/03

Marty Schwartz and Scott Sharplin: Who are they? What are they? Who moved the rock?!? Core Connections:Addams Family Values (1993, Dir. Barry Sonnenfeld)Idle Hands (1999, Dir. Rodman Flender)Silver Streak (1976, Dir. Arthur Hiller) Connective Cameos:Intolerance (1916, Dir. D.W. Griffith)The Panic in Needle Park (1970, Dir. Jerry Schatzberg)The Addams Family (1991, Dir. Barry Sonnenfeld)Ghostbusters II (1989, Dir. Ivan Reitman)One Flew Over the Cuckoo's Nest (1975, Dir. Milos Forman)The Opposite of Sex (1998, Dir. Don Roos)Fear and Loathing in Las Vegas (1998, Dir. Terry Gilliam)The Matrix Resurrections (2021, Dir. Lana Wachowski)Airplane! (1988, dir. Zucker, Abrahams, and Zucker)Who Framed Roger Rabbit? (1989, Dir. Robert Zemeckis)Sister Act (1992, Dir. Emile Ardolino)In & Out (1997, Dir. Frank Oz)Jeffrey (1995, Dir. Christopher Ashley)Coastal Elites (2020, Dir. Jay Roach)Big Trouble (1986, Dir. John Cassavetes)Leprechaun 2 (1994, Dir. Rodman Flender)Evil Dead II (1987, Dir. Sam Raimi) Mad Love (1935, Dir. Karl Freund)The Lost Boys (1987, Dir. Joel Schumacher)A Nightmare on Elm Street 3: Dream Warriors (1987, Dir. Chuck Russell)Batman Returns (1992, Dir. Tim Burton)The Man Without A Face (1993, Dir. Mel Gibson)From Dusk Till Dawn (1996, Dir. Robert Rodriguez)The Crow (1994, Dir. Alex Proyas)Sin City (2005, Dir. Robert Rodriguez)Pineapple Express (2008, Dir. David Gordon Green)Until the End of the World (1991, Dir. Wim Wenders)The Wicker Man (1973, Dir. Robin Hardy)Independence Day (1996, Dir. Roland Emmerich)Best in Show (2000, Dir. Christopher Guest)This is Spinal Tap (1984, Dir. Rob Reiner)Reanimated (2006, Dir. Bruce Hurwit)Blazing Saddles (1974, Dir. Mel Brooks)Midnight Run (1988, Dir. Martin Brest)48 Hrs. (1982, Dir. Walter Hill) The Odd Couple (1968, Dir. Gene Saks)Die Hard (1988, Dir. John McTiernan)The Spy Who Loved Me (1977, Dir. Lewis Gilbert)Moonraker (1979, Dir. Lewis Gilbert)Eegah (1962, Dir. Arch Hall Sr.)Lady Sings the Blues (1972, Dir. Sidney J. Furie)Lost Highway (1997, Dir. David Lynch)Harold and Maude (1971, Dir. Hal Ashby)Dracula (1931 Dir. Tod Browning)It's Pat: The Movie (1994, Dir. Adam Bernstein)Se7en (1995, Dir. David Fincher)John Wick (2014, Dir. Chad Stahelski)Linked Film Count: 514 

Join Marty Schwartz (classic MacGuffin) and Scott Sharplin (overcooked drug cliché) as they ponder the interconnectivity of all movies great and small. Core Connections:The Spanish Prisoner (1997, Dir. David Mamet)Goodfellas (1990, Dir. Martin Scorsese)The Panic in Needle Park (1971, Dir. Jerry Schatzburg) Connective Cameos:Anatomy of a Murder (1959, Dir. Otto Premnger)Super Mario Bros (1993, Dir. Annabel Jankel and Rocky Morton)State and Main (2000, Dir. David Mamet)Pulp Fiction (1994, Dir. Quentin Tarantino)Glengarry Glen Ross (1992, Dir. David Mamet)Dirty Rotten Scoundrels (1988, Dir. Frank Oz)Indiana Jones and the Kingdom of the Crystal Skull (2008, Dir. Steven Spielberg)Gremlins 2: The New Batch (1990, Dir. Joe Dante)The Godfather (1972, Dir. Francis Ford Coppola)Scarface (1983, Dir. Brian De Palma)Carlito's Way (1993, Dir. Brian De Palma)The Great Train Robbery (1903, Dir. Edwin S. Porter)Italianamerican (1974, Dir. Martin Scorsese)Raging Bull (1980, Dir. Martin Scorsese)Casino (1995, Dir. Martin Scorsese)The Irishman (2019, Dir. Martin Scorsese) Hugo (2011, Dir. Martin Scorsese)The Godfather Part II (1974, Dir. Francis Ford Coppola)The Godfather Part III (1990, Dir. Francis Ford Coppola)Midnight Cowboy (1969, Dir. John Schlesinger)Kids (1995, Dir. Harmony Korine)Gummo (1997, Dir. Haromy Korine)The Exorcist (1973, Dir. William Friedkin)The Exorcist II: The Heretic (1977, Dir. John Boorman) The Devil's Advocate (1997, Dir. Taylor Hackford)Requiem for a Dream (2000, Dir. Darren Aronofsky)John Wick (2014, Dir. Chad Stahelski)Tomorrow Never Dies (1997, Dir. Roger Spottiswoode)Being John Malkovich (1999, Dir. Spike Jonze)  009         The Spanish Panic in Good Prison Fellas Park 

Die SP hat sich an ihrem Parteitag neu organisiert. Die neue Struktur trägt die Handschrift des Führungsduos Mattea Meyer und Cédric Wermuth. Und sie ist eine Gratwanderung; zwischen parteiinterner Basis-Demokratie und einer möglichst geschlossenen Politik nach aussen. Weitere Themen: Nach zwei Jahren Corona-Pandemie ziehen Branchenexperten für den Pharmastandort Schweiz eine positive Bilanz. Nicht allein wegen einzelnen Covid-Produkten, sondern aufgrund der wirtschaftlichen Bedeutung insgesamt.  Vor 30 Jahren wurde in Zürich der Platzspitz beim Hauptbahnhof geräumt, der sogenannte Needle Park. Heute gibt es in Zürich zwar keine offene Drogenszene mehr, aber noch immer junge Menschen, die dem Heroin verfallen. Ein Betroffener berichtet. 

"The Secret Diary of Adrian Mole, Aged 13 3/4," May 6-June 7, 1981. Adrian paints his Noddy wallpaper black and becomes a red sock revolutionary. Dad is made redundant, the power shuts off, Bert Baxter loses his 40-year-old false teeth, Doreen Slater cures Dad's impotence, and Grandma beats up Barry Kent. Jody and Alison do dramatic readings and provide critical literary analysis of this Sue Townsend classic. Ginormous thank yous to Blume Heads Lisa and Deanna for their letters about drunk teens, Jane Eyre, and Panic in Needle Park. It's a Judy Blume book club. Join us every week!

This week, we reach into the City Arts & Lectures archives for a conversation with Joan Didion. One of the most influential writers of our time, Didion both chronicled and shaped American culture with a sharp, witty, and distinctively Californian sensibility.   The Sacramento native graduated from the University of California at Berkeley. Her novels include “Play it as it Lays”, “A Book of Common Prayer”, and “The Last Thing He Wanted”.  With her husband John Gregory Dunne, she co-wrote screenplays including “True Confessions”, “Up Close and Personal”, and “The Panic in Needle Park”.  Didion's nonfiction, beginning with the 1968 “Slouching Towards Bethlehem”, exemplifies the New Journalism movement – a subjective approach to reporting that employs literary techniques. Didion's inimitable voice was brought even more to the foreground in her memoirs “The Year of Magical Thinking”, and “Blue Nights”, which describe the loss of her husband and daughter and her anxieties about parenting and aging.  Joan Didion died in Manhattan on December 23, 2021, at the age of 87. Joan Didion appeared on City Arts & Lectures six times between 1996 and 2011.  In her last visit, recorded on November 15, 2011, she spoke with novelist Vendela Vida, shortly after the publication of “Blue Nights” at the Herbst Theater in San Francisco.  The program was a benefit for the 826 Valencia College Scholarship program. 

John Bleasdale talks to Mark Searby, author of Al Pacino The Movies Behind the Man. His recommended book is Lawrence Grobel's biography of Al Pacino.Here's a blurb from the book:Al Pacino: The Movies Behind The Man is the ultimate insider's guide to the filmography of the legendary Hollywood actor.Consistently recognised as one of the greatest actors of all time, Al Pacino has a huge legacy within film and an equally impressive archive of awards to his name. Unlike many other books that hold a sole character in their title, whether you're a fan of his repertoire or not, Al Pacino: The Movies Behind The Man gives a remarkable and often unexplored insight into film and one of it's key actors, making this an accessible and inspiring read.Giving an in-depth look at the films made by this icon throughout his career, Al Pacino: The Movies Behind The Man explores his legacy from his breakout performance in The Panic in Needle Park through to the early highs of the 1970s and 80s with The Godfather Parts I and II, Serpico, Dog Day Afternoon and Scarface. Each chapter of this book guides the reader through the inception, pre-production and filming of Al Pacino's entire film catalogue, delving in to previously unearthed critique and opinions of those that worked so closely with him.Readers can explore the reviews and the box office returns and digest a critical analysis on every film Pacino has ever worked on. His big box office hits such as Heat, The Devil's Advocate and Donnie Brasco through to the smaller, independent and personal productions including The Local Stigmatic, Looking For Richard and Chinese Coffee make for an inspirited variation of accounts and insight into the workings of such a highly regarded character.Featuring over fifty exclusive interviews from actors, directors, producers and writers, interviews include the likes of Stephen Bauer (Scarface), Jerry Schatzberg (The Panic in Needle Park), Israel Horovitz (Author! Author!), Hugh Hudson (Revolution), Bruce Altman (Glengarry Glen Ross), Lowell Bergman (The Insider), Jay Mohr (S1m0ne), Cary Brokaw (Angels in America), Kris Marshall (The Merchant of Venice), Lawrence Grobel (Salome and Wilde Salome) and many more.Giving a unique insight and depth to the workings behind a film icon, Mark Searby presents, AL PACINO: THE MOVIES BEHIND THE MANAvailable to purchase now. Click for Amazon UK, Amazon US, Barnes & Noble, Kobo, Smashword, iBooks and other e-book retailers.Paperback edition available hereSupport this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

Comedian, actor, writer and lifelong New Yorker Colin Quinn (finally!) joins Gilbert and Frank for a hilarious conversation about vanishing Manhattan, mobsters with podcasts, awkward celebrity encounters, the gritty cinema of Sidney Lumet and Martin Scorsese and his new one-person show, "Colin Quinn: The Last Best Hope." Also, Rod Steiger holds a grudge, Pat Cooper blows his stack, Kate Winslet shops at a bodega and Colin remembers the late, great Norm MacDonald. PLUS: Michael V. Gazzo! "The Panic in Needle Park"! The comedy stylings of Jan Murray! In praise of Steve Buscemi! Norman Lloyd hangs with Babe Ruth! And the boys deconstruct "Titanic," "The Departed" and "The Godfather: Part III"! Learn more about your ad choices. Visit megaphone.fm/adchoices

  Listen, Subscribe, Share the Show, Donate. Help us keep this train rollin! Notes & Links from Today's Show https://www.wsj.com/articles/rhode-island-set-to-be-first-state-to-pilot-safe-injection-sites-for-drug-users-11635067801   https://www.statista.com/statistics/195331/number-of-murders-in-the-us-by-state/   https://peoplesaction.org/institute/ https://substanceabusepolicy.biomedcentral.com/articles/10.1186/s13011-021-00394-7   Facebook stories fill news feeds with "The Facebook Papers" - Axios New Facebook Storm Nears as CNN, Fox Business and Other Outlets Team Up on Whistleblower Docs — The Information Kemp takes a swing at MLB as Braves advance to World Series (ajc.com) NYC's Barclays Center swarmed by protesters supporting Nets' Kyrie Irving's refusal to be vaccinated (msn.com) Sniffing essential oils can help COVID patients regain their sense of smell - Study Finds New Facebook Storm Nears as CNN, Fox Business and Other Outlets Team Up on Whistleblower Docs — The Information The Facebook Papers may be the biggest crisis in the company's history - CNN A man on house arrest in Italy reportedly begged to go to jail to get away from his wife: 'The jail is better' (msn.com) Facebook and social media endangers Americans. We need a federal data agency. (nbcnews.com) The Propaganda Report on Rokfin CCDH Spreads Hate (with Help from Biden) | Rokfin The Propaganda Report on Patreon The Propaganda Report Store Support Our Sponsors! Donate... If you find value in the content we produce and want to help us keep this train rollin, drop us a donation via Paypal or become a Patreon. (links below) Every little bit helps. Thank you! And thank you to everyone who has and continues to support the show. It's your support that enables us to continue producing shows. Paypal Patreon Subscribe & Leave A 5-Star Review... Subscribe on iTunes Subscribe on Google Play Music Listen on Google Podcasts Listen on Tunein Listen on Stitcher Follow on Spotify Like and Follow us on Facebook Follow Monica on Twitter Follow Binkley on Twitter Subscribe to Binkley's Youtube Channel https://www.paypal.me/BradBinkley https://www.patreon.com/propagandareport https://twitter.com/freedomactradio https://twitter.com/MonicaPerezShow https://www.youtube.com/bradbinkley https://www.youtube.com/monicaperez  

Dominick John Dunne (October 29, 1925 – August 26, 2009) was an American writer, investigative journalist, and producer. He began his career in film and television as a producer of the pioneering gay film https://en.wikipedia.org/wiki/The_Boys_in_the_Band_(1970_film) (The Boys in the Band) (1970) and as the producer of the award-winning drug film https://en.wikipedia.org/wiki/The_Panic_in_Needle_Park (The Panic in Needle Park) (1971). He turned to writing in the early 1970s, and after the 1982 murder of his daughter https://en.wikipedia.org/wiki/Dominique_Dunne (Dominique), came to focus on the ways in which wealth and high society interact with the judicial system. Dunne was a frequent contributor to https://en.wikipedia.org/wiki/Vanity_Fair_(magazine) (Vanity Fair), and from the 1980s, appeared regularly on television discussing crime. Dunne was born in 1925 in Hartford, Connecticut, the second of six children of Richard Edwin Dunne, a hospital chief of staff and heart surgeon, and Dorothy Frances (née Burns). His maternal grandfather, Dominick Francis Burns (1857–1940), was a successful grocer who in 1919 co-founded the Park Street Trust Company, a neighborhood bank. Although his Irish Catholic family was affluent, Dunne recalled feeling like an outsider in the predominantly "WASPish" West Hartford suburb where he grew up. As a boy, Dunne was known as Nicky. He attended the Kingswood School and the Canterbury School in New Milford, Connecticut, but was drafted into the Army during his senior year of high school. He served in World War II and received the Bronze Star for heroism during the Battle of Metz. After the war, Dunne attended Williams College from which he graduated in 1949. Dunne was the older brother of writer https://en.wikipedia.org/wiki/John_Gregory_Dunne (John Gregory Dunne) (1932–2003), a screenwriter and critic who married the writer https://en.wikipedia.org/wiki/Joan_Didion (Joan Didion). The brothers wrote a column for The Saturday Evening Post and collaborated on the film https://en.wikipedia.org/wiki/The_Panic_in_Needle_Park (The Panic in Needle Park): John Gregory Dunne and Joan Didion wrote the screenplay, and Dominick Dunne produced the film (which featured actor Al Pacino in his first leading role).

Greg and Reed join us for a meditation on Shang-Chi and the Legend of the Ten Rings plus we also talk 9/11: One Day in America, Vacation Friends, Cliff Walkers, Cruella, Le Marginal, The Panic in Needle Park and Champagne and Bullets. 0:00 - Intro: Reed's Plush Toy Shopping Story 23:30 - Review: Shang-Chi and the Legend of the Ten Rings 58:00 - Other Stuff We Watched: 9/11: One Day in America, Cliff Walkers, Cruella, Vacation Friends, The Paper Tigers, Champagne and Bullets, The Rebel Princess, Shanghai Noon, Le Marginal, The Circle, Fires Were Started, Two Days One Night, Dune (1984), The Panic in Needle Park, Barbara (2012) 2:27:15 - This Week on DVD, Blu-ray and VOD 2:34:40 - Outro 2:42:00 - Spoiler Discussion: Shang-Chi and the Legend of the Ten Rings

Hosts Rosalie Lewis, a writer for FThisMovie.com, and Tim Rosenberger -- a 25 Years Later film writer, a blogger, and YouTuber -- look back at two of Al Pacino's earliest films: his second film and the first to feature him in a leading role, The Panic in Needle Park (1971), and Scarecrow (1973), a little-talked-about drama starring him and Gene Hackman. Both highlight his early talent while also showing a lighter, more comedic side that some may be unfamiliar with.

To mark the 40th anniversary of 1981's "An American Werewolf in London," Gilbert and Frank present an encore episode with actor, producer and director Griffin Dunne, who talks about blending horror and comedy, teaming with Martin Scorsese and Sidney Lumet, the cynical cinema of Billy Wilder and the lives (and work) of Joan Didion and Dominick Dunne. Also, Jerry Lewis adapts Gore Vidal, Otto Preminger takes a bad trip, Griffin sneaks onto the set of “Gilligan's Island” and Tim Burton (almost) directs “After Hours.” PLUS: Howdy Doody! "Who's That Girl"! “The Panic in Needle Park”! The genius of Harry Nilsson! And the artistry of two-time GGACP guest Rick Baker! Learn more about your ad choices. Visit megaphone.fm/adchoices

Harrison Blackman joins Brian for a discussion of THE PANIC IN NEEDLE PARK, starring Kitty Winn and Al Pacino, in his first major movie role. They also talk about Pacino's extraordinary career and pick his three best films!THE PANIC IN NEEDLE PARK is available on Amazon: https://amzn.to/3kEPS0sFollow the podcast at filmatfifty.com and @filmatfifty on social media, and please leave a five-star review on Apple Podcasts or wherever you listen to your podcasts. You can also email Film at Fifty at fiftyyearsagoinfilm@gmail.com!

Another late upload as we do another doublesode! This week we are watching Jerry Schatzberg's The Panic in Needle Park (1971), featuring Al Pacino in his first major role. We also watch Robert Fuest's The Abominable Dr. Phibes (1971).

Lara and Maddy discuss Jerry Schatzberg's grim (but romantic?) heroin drama The Panic in Needle Park. Digressions include A Star is Born, You, Terraced House, Inside Llewyn Davis, some minor Sopranos spoilers, After Hours, The Exorcist, American Zoetrope, and Scoot McNairy. Jerry Schatzberg’s photography Get in touch via Twitter / Instagram / Email

La Tienda De Biblioteca Del Metal: Encontraras, Ropa, Accesorios,Decoracion, Ect... Todo Relacionado Al Podcats Biblioteca Del Metal Y Al Mundo Del Heavy Metal. Descubrela!!!!!! Ideal Para Llevarte O Regalar Productos Del Podcats De Ivoox. (Por Tiempo Limitado) https://teespring.com/es/stores/biblioteca-del-metal-1 Poison es una banda estadounidense de Hard rock formada en Mechanicsburg, Pensilvania. Está formada por Bret Michaels (Voz, Guitarra rítmica y Armónica), C.C. DeVille (Segunda voz, Guitarra solista, Coros), Bobby Dall (Bajo, Teclados, Coros), y Rikki Rockett (Batería, Percusión, Coros). Fue popular desde mediados de 1980 hasta mediados de 1990, con más de 15 millones de álbumes vendidos en su país y más de 45 millones en todo el mundo. Poison es una de las bandas de Glam metal con más ventas de la década de 1980, siendo una de las agrupaciones más representativas de ese género. El estilo estrafalario en el vestir y del peinado de sus integrantes en los inicios de la banda atrajo a un gran número de seguidores, así como los vídeos musicales coloridos y con situaciones cómicas, siguiendo con la tendencia de otros grupos de gran éxito como Bon Jovi, Mötley Crüe, Europe, Ratt y Def Leppard. En total, desde que debutaron en 1986, la banda ha publicado siete álbumes de estudio, cuatro álbumes en vivo, ocho álbumes recopilatorios, y veintiocho sencillos. En 2015 VH1 los clasificó en el tercer puesto de su lista The Hair Metal 100: Ranking the ’80s Greatest Glam Bands. Poison inició su carrera musical en 1983 en la ciudad de Mechanicsburg, Pensilvania, Estados Unidos. De manera intencional Poison utilizó una imagen que recordaba a grupos como New York Dolls o Hanoi Rocks. París (el nombre inicial del grupo fue The Kidz, pero no duró mucho) se formó por iniciativa del vocalista Bret Michaels y el baterista Rikki Rockett, quienes se conocieron gracias a que Rikki era el estilista de la hermana de Bret. Ambos formaron parte de un grupo denominado The Spectres. Posteriormente reclutaron al bajista Kuykendall, mejor conocido como Bobby Dall y al exguitarrista de Dirty Angel, Matt "Ko Ko" Smith. Tomaron el nombre de Poison (veneno en español) de las acusaciones de las sectas religiosas, que los acusaban de ser un "mal veneno". Con esta alineación y ya con el nombre de Poison grabaron un demo, el cual incluía las canciones: "Rock Like a Rocker", "Razor's Edge" y "Steal Away". El legendario Kim Fowley (conocido por grabar los discos de The Runaways, entre otros más) convenció al grupo de mudarse a Tinseltown en marzo de 1984. Poison entonces se preparó para grabar lo que debía ser su álbum debut, sin embargo, las relaciones entre el grupo y Fowley no funcionaron y el proyecto quedó enlatado. Pese a todo, Poison empezó a presentarse en el circuito de clubs de Los Ángeles con todo su espectáculo. Poison (entonces manejados por Vicky Hamilton) no tardaría mucho de hacerse de un buen número de seguidores gracias al carismático Bret Michaels y de llamar la atención de la gente de Atlantic Records, para quienes la banda grabaría otro demo bajo el mando de Jim Faraci. Las canciones que formaron parte de este demo fueron: "#1 Bad Boy", "Want Some, Need Some" y "Blame It on You". Al final Atlantic decide no firmar a la banda. La frustración del grupo al no conseguir el contrato con Atlantic se incrementaría por la salida de Matt Smith. El guitarrista decidió dejar al grupo y regresar a Mechanicsburg para estar con su novia, quien estaba esperando el primer hijo de ambos. Más adelante Smith formaría parte de otra banda. De inmediato Poison realizó audiciones para encontrar a su nuevo guitarrista. Entre los postulantes se encontraba el guitarrista Slash, quien había audicionado por una recomendación de su amigo Matt, Bret votó por el debido a su estilo tipo Aerosmith pero Rikki y Bobby prefirieron a C.C. por el estilo más Van Halen, también debido a que Rikki le sugirió que debía de maquillarse y ponerse ropa más extravagante a lo cual el no aceptó, posteriormente Slash alcanzaría fama como guitarrista de Guns N' Roses. ​El elegido para el puesto fue el ex-St. James y Screaming Mini, C.C. DeVille. Finalmente con esta alineación, Poison estaba listo para sacar su álbum debut para la pequeña compañía Enigma Records, subsidiaria de Capitol Records. En 1986 lanzaron su álbum debut Look What the Cat Dragged In producido por Ric Browde. El material fue grabado en 12 días con un presupuesto de 23 mil dólares estadounidenses. Este álbum ha vendido más de 4 millones de copias en todo el mundo, siendo uno de los mejores álbumes debut en ventas de todos los tiempos. ​Lanzan en agosto su primer sencillo denominado «Cry Tough», sin embargo, este no tuvo tanto éxito que sus predecesores, con los hits: «Talk Dirty to Me», «I Want Action» y «I Won't Forget You», alcanzaron la notoriedad que deseaban. La fuerte rotación del vídeo de "Talk Dirty to Me" en MTV conseguirían colocar al disco en las listas del Billboard. Para promocionar el álbum, Poison salió de gira siendo telonero de grupos como Quiet Riot, Loudness y Cheap Trick. Por los Estados Unidos. Finalmente en 1986 realizan su primera gira mundial llamada Look What the Cat Dragged In Tour, contando con el apoyo de las bandas Ratt, Cinderella y Loudness. Por los Estados Unidos, Canadá y Japón, teniendo gran éxito en las presentaciones. Fueron nominados a Mejor Banda Nueva para los MTV Awards de 1987, también participan en el MTV New Year's el 31 de diciembre de 1987 interpretando "Rock and Roll All Nite" y I Want Action. En 1987 Poison grabó una versión de la canción "Rock and Roll All Nite" para la banda sonora de la película Less Than Zero. Una vez que la banda estuvo lista para entrar al estudio de grabación, surgió el rumor de que Paul Stanley (Kiss) sería el productor del segundo álbum del grupo (el cual en ese entonces tenía planeado titularse Swallow This). Estos rumores empezaron a circular desde que el vocalista de Kiss tocara junto a Poison durante el Texxas Jam '87, aunque no se concretó la participación de Stanley. En 1988, la banda lanza su segundo álbum titulado Open Up and Say... Ahh!, producido por Tom Werman (Cheap Trick, Mötley Crüe). El arte de la portada del álbum fue controversial, ya que representa una figura femenina demoníaca con una larga lengua obscena. La versión de la portada fue censurada, centrándose únicamente en los ojos de la figura. El álbum vendió más de 12 millones de copias en todo el mundo, siendo este el álbum más exitoso de la banda en lo que lleva de carrera. El disco incluyó los éxitos: «Every Rose Has Its Thorn», «Nothin' but a Good Time», «Fallen Angel» y «Your Mama Don't Dance», de Loggins and Messina. También se grabaron videoclips para las canciones "Every Rose Has Its Thorn", "Nothin' but a Good Time", "Your Mama Don't Dance" y "Fallen Angel". En la gira Open Up and Say Ahh! Tour contaron con el soporte de grupos y solistas como David Lee Roth, Tesla, Lita Ford y Britny Fox. En el MTV New Year's de 1988, Poison interpretó éxitos como "Fallen Angel" y "Every Rose Has Its Thorn". Recibieron el premio a la Mejor Banda del Año. A partir de 1989, Poison se había convertido en la séptima banda de Hard rock con más ventas en los EE. UU., tan solo detrás de Mötley Crüe, Def Leppard, Bon Jovi, Guns N' Roses, Aerosmith y Van Halen. En este mismo periodo la banda se vio envuelta en un escándalo cuando Bryn Bridenthal, directora de publicidad de Geffen Records, impuso una demanda de 1,1 millones de dólares a la banda por haberla empapado con bebidas alcohólicas dentro de una fiesta. Por otro lado, Sanctuary Music, la antigua compañía de administración del grupo, presentó una demanda de 45,5 millones de dólares por incumplimiento de contrato en contra de la banda. Poison respondió a la demanda con cargos de malversación de fondos. Los conflictos judiciales a Michaels le trajeron nuevas demandas en Atlanta, Los Ángeles y Tallahassee. A principios de 1990 salió a la venta el primer videohome del grupo titulado Sight for Sore Ears. Este vídeo incluía los ocho vídeos de Poison extraídos de sus dos primeros discos, además de comentarios del propio Bret Michaels. En ese mismo año, Poison daría sus primeros conciertos en Reino Unido. La banda se presentó en el Marquee Club de Londres y el Rock City en Nottingham. Posteriormente se presentarían ante más de 72.000 fanáticos como parte del festival Monsters of Rock junto a Whitesnake, Aerosmith, The Quireboys y Thunder. Este evento fue transmitido por la BBC Radio 1. El tercer álbum de la banda llegó en 1990 y se llamó Flesh & Blood; el cual fue producido por el mega-productor Bruce Fairbairn, conocido por sus trabajos con Bon Jovi y Aerosmith). Ya para este entonces, Poison había dejado a un lado la imagen 'Glam' con la cual se dieron a conocer. El álbum también cuenta con una portada alternativa, ya que el original tenía lo que parecía recorrer tinta o posiblemente sangre del tatuaje. (Versiones posteriores de esta portada retiraron la tinta "extra"). Este disco también fue multi-platino, vendiendo más de 8 millones de copias en todo el mundo, siendo el segundo disco más vendido de Poison. De este disco sobresalieron los sencillos: «Unskinny Bop», «Ride the Wind», «Life Goes On», «Something to Believe In», (esta fue escrita por Bret Michaels tras la muerte por sobredosis de Kimo Maano, uno de los guardias de seguridad de Poison), también como quinto y último sencillo del álbum lanzaron «(Flesh & Blood) Sacrifice» a finales de 1991.El vídeo de "Flesh & Blood (Sacrifice)" fue prohibido en MTV debido a su alto contenido explícito, pero más tarde salió a la luz a principios de 1991 en su segunda compilación de vídeo, Flesh, Blood, & Videotape. En 1990 se dio inicio a la gira Flesh & Blood World Tour, teniendo como invitados inicialmente a Warrant, hasta que las fricciones entre ambas bandas, forzaron a esta última a tener que retirarse en pleno tour, en medio de una guerra de declaraciones. Entre los otros grupos y solistas que participaron durante esta gira estuvieron Don Dokken, Alice In Chains, BulletBoys, Trixter y Slaughter. Dando conciertos en diferentes partes del mundo, el concierto de Reno Club en Reino Unido resultó ser uno en particular especial cuando se les unieron en el escenario Jimmy Page (Led Zeppelin) y David Coverdale (Whitesnake). También en 1990, Poison apareció en el programa MTV Unplugged haciendo versiones acústicas de temas como "Talk Dirty to Me", "Your Mama Don't Dance", "Unskinny Bop" y "Every Rose Has Its Thorn". ​Poison recibió una carta del Secretario de Defensa de los Estados Unidos, Dick Cheney, agradeciendo a la banda por contribuir con 20.000 copias del álbum Flesh & Blood para levantar la moral de las tropas de EE. UU., durante la Guerra del Golfo y su continuo apoyo a las Fuerzas Armadas. Para mediados de 1991 las tensiones en el interior del grupo empezaron a incrementarse forzando al grupo a tener que admitir que tanto Bobby Dall como C.C. DeVille se encontraban en clínicas de rehabilitación por su adicción a las drogas. El grupo canceló varias presentaciones, dando origen a los rumores sobre la posible disolución de la banda, en especial tras la cancelación de un festival en Islandia. En esta ocasión DeVille se molestó porque según él, no fue informado de la cancelación de este evento y tomó un avión para asistir a la presentación. Finalmente la ruptura de C.C. con el grupo se daría durante una presentación especial para la cadena MTV, en la que la banda debía interpretar la canción «Unskinny Bop». Pero C.C. DeVille, con el cabello teñido de rojo y bajo los efectos de la droga, se rehusó a tocarla. En los ensayos para la entrega de los premios interpretaba mal la canción. Cuando llegó el momento de tocarla en la entrega (con difusión televisiva a nivel mundial), C.C. DeVille empezó a tocar el acorde de otra canción. El resto de la banda se vio obligada entonces a tocar la canción «Talk Dirty to Me», cambiando lo inicialmente planeado. Durante el show, DeVille no tocó bien, pisó su cable y lo desconectó mientras su presentación en vivo seguía. Las cosas empeoraron cuando C.C. DeVille llegó a los golpes con Bret Michaels en los camerinos, dando como resultado su expulsión de la banda. En noviembre salió a la venta el disco doble Swallow This Live. Para promocionar este nuevo álbum se tenía pensado un video para la canción «So Tell Me Why», en el cual se incluía a todo el grupo. Sin embargo, tras la salida de C.C., en el vídeo solo aparece Bret Michaels. Luego de su salida, DeVille inició un grupo de Jazz fusión denominado The C.C. DeVille Experience. A los pocos meses después, el guitarrista se encontraba trabajando en un nuevo proyecto con el baterista Carmine Appice (Vanilla Fudge, Cactus, King Kobra) y el bajista Jimmy Bain (Rainbow, Dio). Este proyecto no duraría mucho y terminó para el año de 1992. Por su parte Bobby Dall ponía al resto del grupo en un descanso obligatorio al lastimarse sus dedos en un accidente. El bajista aprovechó su tiempo para dedicarse a su primer hijo, Zachary Brandon Dall, quien acababa de nacer. Además en ese lapso llegó a producir al grupo originario de Los Angeles, Rozy Coyote. Bret Michaels por su parte aprovechó su tiempo libre tocando junto al grupo Hollywood Gutter Cats, además de componer y producir el álbum de debut de su novia Susie Hatton, Body and Soul. Michaels también colaboró durante ese tiempo con algunas canciones para Stevie Nicks y Tuff, además de participar como actor invitado en la serie de televisión "Burke's Law". Poison se encontraba bajo la presión de su disquera para conseguir un nuevo guitarrista y para el lanzamiento de un nuevo álbum por lo cual optaron por elegir entre Warren DeMartini de Ratt, Nuno Bettencourt de Extreme, Steve Stevens de Billy Idol y George Lynch de Dokken. A esta lista de guitarristas experimentados se sumaron también los jóvenes Blues Saraceno y Richie Kotzen. El elegido fue Blues Saracenel cual rechazó la propuesta, se propuso también a Steve Stevens y finalmente, optaron por el guitarrista Richie Kotzen. Poison entró al estudio con su nuevo guitarrista para grabar su nuevo álbum, originalmente titulado Resurrection, bajo la producción de Richie Zito. En 1993 sacaron su cuarto disco de estudio, llamado Native Tongue. Este trabajo del grupo fue una sorpresa para los fans debido a que el nuevo sonido del álbum estuvo orientado completamente al género Blues rock. Esto marcó un cambio para la banda, ya que abandonaron sus melodías tipo himno de fiesta para centrarse en temas más serios y trascendentes. El álbum recibió comentarios positivos por parte de críticos especializados. Native Tongue logró vender más de 1 millón de copias a nivel mundial. Se promocionando tres sencillos: «Stand», (el cual contaba con la participación del coro de la Iglesia A.M.E., mismos que aparecen en el videoclip), «Until You Suffer Some (Fire and Ice)» y «Body Talk». El vídeo de "Stand" estuvo dentro de los primeros 10 en el programa MTV's Most Wanted. El segundo sencillo, "Until Suffer Some (Fire and Ice)" se colocó dentro del Top 20 del Billboard Hot 100. Pese a tener todo en contra, Poison se embarcó de nueva cuenta en su gira llamada Native Tongue World Tour, teniendo como teloneros a bandas como Damn Yankees, Firehouse y Wild Boyz. Dieron conciertos por los Estados Unidos e Inglaterra, y la banda apareció en programas como el de David Letterman y Arsenio Hall. La presentación de Poison en el Hammersmith Apollo en el Reino Unido fue filmada para ser editada en un nuevo videohome, el cual fue titulado Seven Days Live. Durante el concierto de Hammersmith Apollo surgieron ciertos conflictos entre Rikki Rockett y Richie Kotzen, ya que Rockett se enteró que Kotzen empezó a salir secretamente con su prometida, además de que a Richie no le gustaba mucho la idea de "pertenecer" a un grupo, todo esto dio como resultado que Kotzen fuera despedido de la banda. Rápidamente entró al relevo Blues Saraceno para terminar los últimos dos meses de conciertos. Para promocionar el disco salen otra vez de gira mundial encontrándose con Aerosmith, Warrant y Cinderella en algunas fechas. El guitarrista Kotzen regresó a su carrera como solista y al momento de salir de Poison se estuvo comentando la posibilidad de entrar al grupo The Black Crowes. Esto nunca sucedió, pero para 1999 entró a Mr. Big en lugar de Paul Gilbert. El guitarrista Blues Saraceno entró para reemplazar a Richie Kotzen ya hacia finales de 1993, Saraceno fue la primera elección para sustituir a C.C. DeVille. Junto con el nuevo guitarrista, salieron de gira por primera vez a Latinoamérica, dando una serie de conciertos en México, Brasil, Chile y Argentina con gran éxito. Después de esta gira de tres semanas, Saraceno fue anunciado de manera oficial como parte de Poison. Pronto se iniciaron los planes para un nuevo álbum. Por su parte, DeVille firmó un acuerdo con Hollywood Records, la compañía propiedad de Disney. El guitarrista formó una banda con el exbaterista de Kingdom Come, James Kottak y el bajista original de Warlock, Tommy Henriksen. DeVille tenía pensado como vocalista a Mats Levén (Treat, ex-Swedish Erotica) para completar el grupo pero el proyecto finalmente se disolvió. DeVille también formó otro grupo llamado Needle Park, con los ex-Sweet Savage, el vocalista Joey C. Jones y el bajista Adam Hamilton, pero este grupo también tuvo una duración bastante corta. Adam Hamilton regresó al grupo Joe 90 y posteriormente formaría parte de L.A. Guns. Poco después, DeVille volvió a su tratamiento para librarse de la adicción a las drogas, el cual seguiría por varios años. Bret empezó a trabajar en una película que el mismo había escrito, A Letter from Death Row, la cual sería acompañada por su respectivo álbum. No hacía mucho que Bret había hecho su debut como actor haciendo el papel de una estrella de rock llamado Roger Cooper para la serie dramática Burke's Law. A Letter from Death Row fue producida junto con su socio, el actor Charlie Sheen, quien hace una aparición especial dentro de la película al igual que su padre Martin Sheen. Michaels también estuvo en la mira de los tabloides al empezar a salir con la estrella de Baywatch, Pamela Anderson. La pareja incluso inició un negocio juntos al abrir un restaurante en asociación con el actor de Picket Fences, Costas Mandylor. El escándalo no fue ajeno a la pareja cuando se empezó a difundir un vídeo de ambos teniendo relaciones sexuales. El hecho inició una serie de batallas legales para demandar el responsable de la comercialización de este vídeo. Michaels no duraría mucho con Pamela y al poco tiempo la actriz iniciaría una nueva relación con el baterista de Mötley Crüe, Tommy Lee. Poison entró a los estudios para grabar su quinto álbum, Crack a Smile, bajo la producción de John Purdell y Duane Baron, reconocidos por su trabajo con Ozzy Osbourne y Alice Cooper. Este nuevo disco fue realmente satisfactorio para los integrantes de Poison, logrando llevar más allá el sonido obtenido en Native Tongue pero sin perder el toque distintivo de Poison. Crack a Smile tenía sencillos potenciales, como la canción acústica "Best Thing You Ever Had", "Doin' as I Seen on My TV", "That's the Way (I Like It)", "Sexual Thing", "Mr. Smiley" y la versión de Dr. Hook & the Medicine Show, "Cover of the Rolling Stone". Para mala fortuna y pese a la gran calidad de este nuevo álbum, Capitol Records optó por enlatarlo y en su lugar editó la recopilación Poison's Greatest Hits: 1986–1996, la cual incluía todos los grandes éxitos de Poison además de los temas "Sexual Thing" y "Lay Your Body Down" de las sesiones de Crack a Smile como Bonus tracks. La decisión de Capitol fue muy decepcionante, tanto para el grupo como para los fanes. Algunos seguidores lograron hacerse de copias de este álbum, convirtiéndose en una pieza muy preciada por los coleccionistas y usuarios del Internet. Durante un buen tiempo este álbum fue conocido como "The Lost Album" (el álbum perdido). Con el disco de éxitos en el mercado en lugar del que habían grabado, Poison decidió tomarse un descanso. Blues Saraceno optó por salir de la banda para dedicarse a otros proyectos. Uno de ellos fue el grupo Gorgeous George, el cual formó poco después de su salida del grupo. Saraceno también estuvo durante un corto tiempo en la banda de heavy metal UFO antes de que estos regresaran con su guitarrista original, Michael Schenker. Por su parte Rikki Rockett se mantuvo ocupado dentro del mundo de los Comic. Entre los años 1995 y 1996, Rikki puso a la venta la serie "Sisters of Mercy", en donde los personajes principales estaban inspirados por su novia Malina y su hermana Mariah. Se planeó también una línea de figuras de acción inspiradas por la serie. Próximo a editar la película A Letter from Death Row y su respectiva banda sonora, Michaels siguió con su interés en el mundo del cine, haciendo apariciones especiales en películas como In God's Hands, filmada en locaciones en Bali. Michaels también tenía programado aparecer en Celebrity Pizza, Last Child (junto a Martin Sheen, Charlie Sheen y Tía Carrere), además de un episodio de la serie erótica de televisión "Red Shoe Diaries" junto con su novia, la actriz y modelo Kristi Gibson. El 16 de agosto de 1997, Michaels dio su primer concierto como solista en el club Billboard Live en el Sunset Strip de Hollywood y estrenó material de su álbum como solista. La banda que lo acompañó en ese momento estaba formada por los guitarristas Cliff Calabro y Gabriel Moses, el tecladista Lorenzo Pryor y el baterista Brett Chassen. Finalmente para el verano de 1998, Michaels editó el álbum A Letter from Death Row bajo su propia compañía, Poor Boy. En el disco participaron sus compañeros en Poison, C.C. DeVille y Rikki Rockett. Para 1998 C.C. DeVille ya estaba de vuelta en Poison por lo que surgieron los rumores sobre una posible gira junto a Whitesnake, Def Leppard y Mötley Crüe, aunque fue hasta 1999 cuando finalmente se organizó la gira Greatest Hits World Tour, teniendo como bandas teloneras a Ratt, Great White y L.A. Guns. La reunión coincidió con el reconocimiento otorgado por la BMI a la canción "Every Rose Has Its Thorn" por ser tocada más de un millón de veces por la radio americana. También para ese entonces el álbum Poison's Greatest Hits: 1986–1996 llegaba al millón de copias vendidas, superando por mucho a discos similares de sus contemporáneos. Con esto, Poison sobrepasaba los 10 millones de discos vendidos tan solo en los Estados Unidos. En ese mismo año, se estrenó por la cadena VH1 el especial "Behind the Music" de Poison, en el cual sus integrantes contaban su propia historia desde sus inicios y con todos sus problemas. El especial contaba con escenas en vivo grabadas durante un concierto en Detroit de su actual gira. El programa fue visto por 5,1 millones de televidentes el día de su estreno. Durante esta gira se grabaron un par de conciertos con la intención de editar un nuevo álbum en directo, en el cual se incluirían 5 temas nuevos de estudio. El título inicial de este álbum fue Live Plus 5. Para los temas de estudio se estuvieron manejando los nombres de diversos productores, entre ellos el de Bob Ezrin (Pink Floyd, Alice Cooper, Kiss) pero finalmente la producción correría a cargo del productor Richie Zito quien trabajó con ellos previamente en el álbum Native Tongue. Para cuando la gira terminó, C.C. ya había formado un nuevo grupo llamado The Stepmothers, firmando contrato con Portrait Records la cual era dirigida por el gurú del AOR, John Kalodner para Sony Music. Poco después DeVille le cambió el nombre a Samantha 7. La insistencia de DeVille para que su nuevo grupo formara parte de la siguiente gira de Poison, creó nuevas fricciones dentro de la banda, dando por resultado la salida por segunda vez del guitarrista. De inmediato se rumoreó la inclusión de Tracii Guns (L.A. Guns) en la banda, pero un par de semanas después C.C. DeVille estaría de regreso. A la par, Rockett empezó con los preparativos de un álbum de covers con temas de conocidas bandas de Glam rock de los setentas. Bajo el título de Glitter for Your Soul, Rikki invitó a diferentes músicos para que lo asistieran en esta nueva aventura, entre ellos Bret Michaels, Blues Saraceno, Chuck Garric (bajista de Dio), John Corabi (Union, ex-Mötley Crüe) y Jizzy Pearl (Love/Hate, L.A. Guns, Ratt). El 2000 vería por fin la salida del denominado "álbum perdido". Crack a Smile... and More! salió a la venta gracias al interés que había despertado Poison en los últimos años y a la insistencia de los fanes para que este álbum fuera editado de manera oficial. Además de los 12 temas que originalmente formaban el disco, se incluyeron los temas "One More for the Bone" y "Set You Free", además de un demo sin finalizar de estas mismas sesiones. También apareció en este álbum la canción "Face the Hangman" la cual era originalmente un lado B del álbum Open Up and Say... Ahh! editado solo en Europa y también 4 de los 6 temas interpretados en el MTV Unplugged de 1990. Poison también dio a conocer el álbum en vivo Power to the People bajo el propio sello de la banda, Cyanide Music. Fue su primer disco con DeVille en nueve años. El álbum contenía cinco nuevas canciones de estudio: "Power to the People", "Can't Bring Me Down", "The Last Song", "Strange" y "I Hate Every Bone in Your Body but Mine", este último marcaba el debut en la voz principal de C.C. DeVille en un álbum de Poison. El resto del álbum contó con las actuaciones en directo de la gira Greatest Hits World Tour en 1999. Seguido de una nueva gira de Power to the People Tour, ahora con los grupos Cinderella, Dokken y Slaughter como teloneros. La alta asistencia de público llamó la atención de propios y extraños, demostrándole a muchos detractores que Poison podía llenar grandes arenas, mientras que muchos artistas de moda no lo podían hacer. Durante uno de los conciertos Poison filmó su primer vídeo en más de 6 años para la canción "Power to the People". Dicho vídeo pudo ser visto únicamente vía Internet. En ese mismo año salió a la venta el álbum tributo Show Me Your Hits: A Salute to Poison, producido por el propio Bret Michaels y que contaba con la participación de artistas como Bruce Kulick (Union, ex-Kiss), Slaves on Dope, el actor Pauly Shore (con una cómica versión de "Unskinny Bop"), Total Chaos, Mark Kendall (Great White), entre otros más. Para el final de la gira, DeVille y su banda Samantha 7, ya tenían su álbum a la venta y una gira por diversos clubs de la unión americana e incluso algunos lugares en el Reino Unido y Europa. Lamentablemente el álbum no tuvo la respuesta esperada y a la banda le fue terminado su contrato junto a otros artistas firmados por Portrait Records como Cinderella y Pat Benatar. El 2001 Poison también tendría una gira para el verano, la gira Glam, Slam, Metal Jam Tour, con la participación de Warrant, Quiet Riot, Enuff Z'Nuff, además de Vince Neil, Great White y BulletBoys en algunas fechas selectas. La inclusión de Warrant en la gira de Poison fue emocionante para muchos fanes, pero quedó claro que las diferencias entre ambas bandas aún estaban presentes. El baterista Rikki Rockett tuvo algunos altercados con el baterista de Warrant, Mike Fasano. Este tour daba inicio durante el mes de mayo en Texas, la gira incluía una parada en el festival Little River Rockfest junto a grupos del prestigio de Styx y Survivor. Durante este año Poison sólo editó una canción para promocionar la gira, "Rockstar", la cual estuvo disponible de manera gratuita a través de su website. Por su parte, Capitol Records puso a la venta un DVD titulado Poison Greatest Video Hits, con todos los vídeos hechos por Poison incluyendo el de la canción "Power to the People". Para mala fortuna del grupo, al transcurrir la gira, el bajista Bobby Dall tuvo que ser intervenido quirúrgicamente de emergencia debido a una lesión en la parte alta de la espalda en el Centro Médico de la Universidad de Nebraska. Un total de 22 conciertos tuvieron que ser cancelados debido a esta razón. A Bobby Dall le fue ordenado reposo total durante un lapso de casi 5 meses. Para finales de este año, Poison ya se encontraba en el estudio de grabación preparando su primer álbum de estudio completo junto a C.C. DeVille en más de una década. Casi a la par, Bret Michaels estuvo trabajando en su nuevo álbum como solista, que saldría después del de Poison. Producido por Thom Panunzio, Hollyweird salió a la venta en la primera mitad del 2002. El primer sencillo de este álbum fue un cover de The Who, "Squeeze Box". Esta canción la solía tocar Poison en sus inicios, cuando aún eran conocidos como París. El álbum fue recibido con reacciones diversas por parte de los críticos y de los fanes. "Squeeze Box" se colocó de manera regular en las estaciones de radio del género. Para la gira correspondiente nombrada Hollyweird World Tour, Poison volvió a tener a Cinderella y haciendo su aparición por primera vez estuvieron Winger y Faster Pussycat. La gira inició el 16 de mayo en Tupelo. Por cuarta ocasión, la gira fue un éxito. En Clarkston, Míchigan tuvieron una asistencia de 15 mil personas y en Milwaukee, Wisconsin de 13 mil. La influencia de Poison en las bandas nuevas quedó de manifiesto cuando en el PNC Bank Arts Center en Holmdel, Nueva Jersey, los cuatro integrantes de la banda de Nu metal, Drowning Pool, subieron junto a Poison al escenario para una versión del clásico de Kiss, "Rock and Roll All Nite". Durante un show en Atlanta el 25 de agosto del año 2006, Bret Michaels y Bobby Dall tuvieron que ser separados por los miembros del equipo seguridad, después de que ambos llegaran a los golpes, justo antes de los coros. La pelea se originó cuando Michaels le lanzó su micrófono, y Dall respondió, dándole un golpe con el bajo en la pierna derecha ocasionándole una lesión en la rodilla. Minutos después Michaels declaró lo siguiente: "Es posible que hayan visto el último concierto de Poison en su formación actual". El altercado ocurrió antes de que la banda terminara de tocar "Talk Dirty to Me". Después de algunos momentos de tensión Michaels se disculpó con la multitud concluyendo su explicación de que "como hermanos, a veces hay que airear las cosas", la banda terminó el concierto. Dall dejó el escenario de inmediato. Ha habido muchos conflictos físicos dentro de la banda, pero esta fue la primera en el escenario ya que la pelea entre Michaels y DeVille en los MTV Video Music Awards de 1991 fue en los camerinos. La banda se tomó un descanso mientras Michaels continuó con su gira en solitario. Para 2007, y gracias a una sugerencia de Capitol Records, Poison entró al estudio a grabar un disco de covers que se titula Poison'd!, bajo la producción de Don Was. Este disco contiene versiones de Alice Cooper, The Romantics, Sweet, David Bowie, The Rolling Stones, The Cars, Kiss, The Who y Tom Petty, entre otros. El 2 de agosto de 2007 la banda grabó una presentación en el Verizon Wireless Ampitheatre en St. Louis, Missouri, Estados Unidos. Esta presentación fue exhibida en la cadena HDNet y también lanzada en formato DVD el 15 de julio de 2008 bajo el título Live, Raw & Uncut. El 15 de enero del año 2008, Poison es confirmado para formar parte del Rock2Wgtn Festival en Willington, Nueva Zelanda, los días 22 y 23 de marzo. Poison actuó el 23 de marzo, iniciando la fecha final del festival junto a Ozzy Osbourne, The Symphony of Screams, Whitesnake y Sonic Altar. En 2009 hicieron una gira llamada Summer Tour con Def Leppard y Cheap Trick, en Estados Unidos y Canadá. También lanzaron Poison – Box Set (Collector's Edition). Para junio de 2011 la banda participó de una gira llamada Glam-A-Geddon 25 Tour, celebrando sus 25 años de trayectoria artística en compañía de Mötley Crüe y New York Dolls. También para conmemorar dicho aniversario, se lanzó Double Dose: Ultimate Hits, un nuevo compilado que consta de dos discos compactos y una colección digital que se publicó el 3 de mayo de 2011 por Capitol/EMI

Jerry Schatzberg is a paragon of perseverance, who paid his dues to become one of the most influential photographers and filmmakers of the late 20th century. After getting his start with baby and catalogue pictures, he worked his way up to photographer at Vogue and Glamour magazines, where he initially met music industry executives like Atlantic Records President Ahmet Ertegun. After befriending Bob Dylan, Jerry’s pictures were used on the covers of Dylan’s first book, “Tarantula,” and the “Blonde On Blonde” album. Jerry went on to photograph some of the most famous people in the world, including The Beatles, Aretha Franklin, The Rolling Stones, Sammy Davis Jr., Andy Warhol, Frank Zappa, and countless other cultural titans.After conquering the photography world, Jerry became a film director, helming a string of classics like “Puzzle of a Downfall Child” (with Faye Dunaway), “Panic In Needle Park” (Al Pacino’s film debut as a lead character), “Scarecrow” (with Pacino and Gene Hackman), “The Seduction of Joe Tynan” (with Alan Alda and Meryl Streep), “Street Smart” (with Christopher Reeve and Morgan Freeman), and many others.In this interview, Jerry discusses his friendship with Bob and Sara Dylan, Nico, Faye Dunaway, and Jimi Hendrix, whom Jerry hired to play in his discotheque when Hendrix still went under the professional name “Jimmy James.” Jerry’s friend Josh Safdie (co-director and writer of “Uncut Gems”), was kind enough to provide this insight into Jerry’s unique role in our cultural history: “Jerry is an ‘iconic’ artist and by that, I don’t mean he himself is iconic (though of course he is), but that he works in the language of iconography without ever flirting with cliche. His characters are icons of parables, of personalities, of types. His work has taught us how to immerse yourself in the iconography of the story and having FAITH in the POWER of character. His work as a photographer, photographing some of the most iconic men and women of the 20th century, led him to develop an incredible taste for talent and knack for showing a person’s power.” To see some examples of what Safdie means, go to www.JerrySchatzberg.com.

Tribeca celebrated the legacy of The Godfather & The Godfather Part II one with a 45th anniversary screening and reunion event at our 2017 festival. The director and cast got together for a conversation after the screening.Francis Ford Coppola (Director) is one of the most acclaimed filmmakers of our time; a six-time Academy Award®-winning writer, director, and producer of such films as Patton, The Godfather, The Godfather Part II, American Graffiti, The Conversation, Apocalypse Now, and Bram Stoker’s Dracula. He produces a short story magazine called Zoetrope: All-Story, winner of three National Magazine Awards for Fiction, and is the best-selling author of The Godfather Notebook and Live Cinema and Its Techniques, about a new form of art which is a combination of theater, film, and television. He has also been producing wine for nearly forty years at his Napa Valley and Sonoma Valley wineries.Actor and director Al Pacino (Michael Corleone) was born in East Harlem and grew up in New York City’s South Bronx. He attended the School of Performing Arts until he moved on to study acting at the Herbert Berghof Studio with Charles Laughton, and later, at the Actors Studio with Lee Strasberg. His first leading part in a feature film was in the 1971 drama Panic in Needle Park. The following year, Francis Ford Coppola selected him to take on the breakthrough role of Michael Corleone in The Godfather, for which he was nominated for an Academy Award®One of the most versatile actors in film, James Caan (Sonny Corleone) is best known for his Academy Award® nominated performance as Sonny Corleone in The Godfather and for his Emmy®-nominated portrayal of football star Brian Piccolo in Brian’s Song. Appearing in more than 100 movies, Caan also earned great recognition starring in Rob Reiner’s critically acclaimed film Misery; and For The Boys, co-starring Bette Midler. He was equally praised for his performance as a brain damaged football star in Francis Ford Coppola’s The Rain People. Caan made his directorial debut and starred in the critically acclaimed film Hide In Plain Sight.A leading man since the 1960s, Robert Duvall (Tom Hagen) has specialized in driven characters of all types. Respected by his peers and adored by audiences worldwide, he has earned numerous Oscar® nominations for his performances in The Judge, The Godfather, Apocalypse Now, The Great Santini and The Apostle. Duvall won the Academy Award® and a Golden Globe® as Best Actor for his role in Tender Mercies. In addition, he has received Golden Globe® Awards for his performances in the title role of HBO’s Stalin as well as for his memorable turns in Apocalypse Now and Lonesome Dove.Talia Shire (Connie) comes from a family of artists. The Yale drama school alum has appeared in over fifty movies and television shows, received two Academy Award® nominations, and won the NY Film Critics Award for her performance in Rocky (1976). She and her husband Jack Schwartzman independently financed and produced several movies among them Never Say Never Again (1983) and Rad (1986) whose sequel is currently in development. In 1994 she directed One Night Stand. In 1994 Jack Schwartzman died. In 1997 she was one of several producers on the Tony® nominated play Golden Child. Family is at the center of her life. Talia’s children continue on in the same tradition of theatre and film. Her two step children John Schwartzman (Cinematographer) and Stephanie Schwartzman (Artist), her son Matthew Shire (Writer/Producer), Jason Schwartzman (Actor/Musician/Writer/Director/Producer), & Robert Schwartzman (Actor/Musician/Director/Producer).Diane Keaton (Kay Adams)Robert De Niro (Vito Corleone - The Godfather: Part II) launched his motion picture career in Brian De Palma's The Wedding Party in 1969. By 1974, he had won the New York Film Critics Award for Best Supporting Actor in Bang the Drum Slowly and from the National Society of Film Critics for Mean Streets. In 1974 De Niro won the Academy Award® for Best Supporting Actor for The Godfather: Part II. In 1980 he won his second Oscar®, as Best Actor, for Raging Bull. De Niro has also earned Academy Award® nominations for his work in: Taxi Driver, The Deer Hunter, Awakenings, the remake of Cape Fear and Silver Linings Playbook. He was most recently seen in The Irishman, his ninth collaboration with Martin Scorsese. The Irishman, based on the book I Heard You Paint Houses by Charles Brandt, either won or was nominated for a multitude of awards including being nominated for best picture from the Academy of Motion Pictures and BAFTA. The Irishman, released by Netflix, also won the New York Film Critics and the National Board of Review awards for Best Picture. Prior to The Irishman, De Niro was seen in Warner Bros. The Joker and Tribeca Productions’ and HBO’s Wizard of Lies starring as Bernie Madoff, for which he received both an Emmy Award® nomination for lead actor in a limited series or movie and a Screen Actors Guild nomination for Outstanding performance by a male actor in a Miniseries or Television movie. In 2009, De Niro received the Kennedy Center Honor for his distinguished acting and the Stanley Kubrick Award from the BAFTA Britannia Awards. De Niro was honored with the Cecil B. DeMille Award at the 2011 Golden Globe Awards. He served as the jury president of the 64th Cannes Film Festival.  In 2020, De Niro received the Screen Actors Guild Lifetime Achievement Award. De Niro takes pride in his production company, Tribeca Productions, and the Tribeca Film Festival, which he founded with Jane Rosenthal and Craig Hatkoff. Through Tribeca Productions, De Niro has developed projects on which he has served as producer, director and actor. Tribeca's A Bronx Tale in 1993 marked De Niro’s directorial debut. De Niro also directed The Good Shepherd in 2006.Taylor Hackford (Moderator) was the director of the Academy Award® winning films Ray and An Officer and a Gentleman. In addition, he helmed the beloved features Against All Odds, The Devil’s Advocate, Dolores Claiborne, and Blood In, Blood Out. Hackford most recently directed Robert De Niro in The Comedian. His feature documentary work is equally acclaimed, with Chuck Berry: Hail!, Hail! Rock n’ Roll and When We Were Kings, a behind-the-scenes look at the legendary 1974 bout between Muhammad Ali and George Foreman, which won for Best Documentary Feature. He has served two terms as president of the Directors Guild of America.

The first episode in the podcast where we watch and talk about every single Al Pacino movie. In this episode we cover his first three films Me, Natalie, The Panic in Needle Park and the Godfather.

Ein Gespräch mit Pfarrer Christoph Schluep über menschliche Würde, persönliche Krisen, das spirituelle Leben, sowie über gleichgeschlechtliche Liebe, Insektenburger, gebrochene Menschen und was wir von Kühen lernen können.Website: https://www.regenbogenkirche.chWebsite: https://emk-zuerich-4.chFoto: Christoph SchluepAufnahmedatum: 8. Juli 2020.----Rückmeldungen, Anfragen, Kommentare und Schulgeschichten an kontakt@mensch.schule.Unterstütze dieses Projekt:https://paypal.me/menschschulehttps://www.patreon.com/menschschuleIn den sozialen Medien:https://facebook.com/menschschuleWebsite:https://mensch.schule

Actor, producer and director Griffin Dunne drops by the studio to talk about vanishing New York, teaming up with Martin Scorsese and Sidney Lumet, the timelessness of Billy Wilder's "Ace in the Hole" and the life (and work) of his famous family members, Dominick Dunne and Joan Didion. Also, Otto Preminger takes a bad trip, Jerry Lewis interprets Gore Vidal, Griffin sneaks onto the set of "Gilligan's Island" and Tim Burton (almost) directs "After Hours." PLUS: "The Panic in Needle Park"! The artistry of Harry Nilsson! The brilliance of Rick Baker! Howdy Doody pleasures himself! And Griffin shares the screen with the Material Girl!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back for another episode of the GGtMC!!! This week Sammy, Will and Todd bring you coverage of Hangover Square (1945) directed by John Brahm and The Panic in Needle Park (1971) directed by Jerry Schatzberg. We hope you enjoy the show!!! Emails to midnitecinema@gmil.com Adios!!! --- Send in a voice message: https://anchor.fm/ggtmc/message

Download In this episode Joe interviews, Richie Ogulnick, a long time Ibogaine provider and enthusiast. During the show they discuss Ibogaine and Addiction-Interruption Therapy. 3 Key Points: Ibogaine is a compound found in the Tabernanthe Iboga plant that has been used to treat opioid and other addictions. Ibogaine has shown to have the power to reset the biochemistry of a person to a non-addictive state, and reduce/eliminate the agonizing symptoms of withdrawal, allowing a person to heal from an addiction. The combination of Ibogaine, relocation and integration therapy is the best scenario for healing someone and preventing them from relapse. Support the show Patreon Leave us a review on iTunes Share us with your friends – favorite podcast, etc Join our Facebook group - Psychedelics Today group – Find the others and create community. Navigating Psychedelics Show Notes About Richie In 1989 he was Introduced to Ibogaine while visiting family and friends in New York Its an alkaloid extracted from a West African shrub He was ready to fall in love with doing something with purpose He came across an article about a corporation called NDA created by Howard Lotsof When Howard (a heroine addict) was 19 years old, a chemist gave him a dose of Ibogaine A few days later, he realized he “wasn't afraid” and then he realized he wasn't having opioid withdrawals In “Needle Park”, a park in New York, heroin addicts come there for free needles Richie’s dream was to dose all the addicts with Ibogaine, and that only a quarter of them would show up to Needle Park because they were not addicted anymore He brought 13 grams of Ibogaine back from Africa with him He received a chapter from a book (Healing Journey) called Ibogaine: Fantasy and Reality by Claudio Naranjo People were coming from all over the world to receive Ibogaine treatments It was 15 years where he conducted over 750 psycho-spiritual and addiction-interception sessions underground Upon training people, those people would then go and open their own treatment centers in Mexico, abroad, etc. What is Iboga Tabernanthe Iboga is the plant Ibogaine Hydrochloride is the best product to use to interrupt addiction and symptoms of withdrawal from an addiction Ibogaine is safe as long as someone has had an EKG that has been looked at very closely for any red flags Other than cardiac risk and previous suicidality, schizophrenia, psychotic breaks there aren't many more threats to being treated with Ibogaine The Miracle Compound “There is a miracle compound in ibogaine. There is nothing I have come across on the planet that can reset the biochemistry to a pre-addictive state, that can bring a person to make a choice without the agony of the symptoms of withdrawal.” - Richie There is a 36 hour window where a person has a life review, what brought them to the addictive process in the first place, the person's willingness and maturity It creates a symbiotic relationship for a person to explore themselves with insight Relapse is possible if they don't work on the reason they became addicted in the first place It's the witness component that Ibogaine delivers that helps people process through their addiction Ibogaine as a molecule has a really pharmacologically complex, alien like structure Relapse Justin Hoffman, a DJ in Las Vegas runs Holistic House, a facility where people get to relax and get out of their previous context for a week or two after treatment If a family wanted to help out their family member who is addicted to heroine, Richie says that he asks the family about relocation because it's a big part of reducing relapse He also says that finding a proper therapist to help afterward is huge too The combination of Ibogaine, relocation and integration therapy is the best scenario for healing someone and preventing them from relapse Big Pharma’s Impact Joe says how he got a message from Dana Biel, talking about how the harm reduction movement has been manipulated by the ‘Big Pharma’ industry, especially suboxone Richie says that drugs like suboxone are prescribed to be used everyday for the rest of someone's life, and Ibogaine is a “one-time-only” style drug that doesn't require alot of money to heal people Ibogaine is not profitable so its not attractive to Big Pharma “Ibogaine will never hit the streets like LSD did. It's not a recreational experience, it's a long, daunting 3 stage process.” - Richie Use Cases He knows of a story where these two ladies took Ibogaine daily for their Parkinson's, and as soon as they stopped taking Ibogaine, they got their symptoms back He knows of another lady who had been walking with a cane and upon taking Ibogaine she was walking a mile around her neighborhood without her cane Final Thoughts Joe asks if Richie thinks we are over harvesting Iboga There is the Wakanga tree that contains a small amount of Ibogaine, so he thinks we are okay Ibogaine is an important subject because a lot of people are dying from opiates Ibogaine is available in Portugal but it hasn't had much activity It can be used for therapeutic use as well as addiction-interruption Links website Richie Ogulnick is a long time Ibogaine provider and enthusiast Over the course of fifteen and a half years, he conducted about 750 sessions, including addiction-interruption treatments. He spent the next several years referring close to 1,000 more people to other ibogaine providers. During that time, he also trained doctors and ex-addicts who opened ibogaine centers throughout the world. Richie feels a pull to focus again on the more therapeutic and psycho-spiritual treatments where he is able to offer his expertise in ibogaine treatment along with his knowledge of reintegration with individuals who are looking to deepen and enrich their life experience.

Andrew Loog Oldham is the original manager/producer of the Rolling Stones, founder of Immediate Records, writer of STONED, 2STONED, and ROLLING STONED, and the longtime lead DJ on the Underground Garage channel on SiriusXM. Sounds and Vision is the next chapter. On this episode, Andrew sits down with film director/photographer Jerry Schatzberg. Published in Vogue, McCall’s, Esquire, Glamour, and Life in the 1960’s, Schatzberg captured intimate portraits of the generation's most notable artists, celebrities and thinkers (from Bob Dylan to Robert Rauschenberg), and he pushed on in the 1970s to the medium of film participating in the renaissance of American cinema, directing films such as: Puzzle of a Downfall Child, The Panic in Needle Park, Scarecrow. His films mark a significant time in the history of film when the importance of solid and introspective narrative proved paramount.  You're likely familiar with Jerry's pictures which included the cover of Bob Dylan's "Blonde on Blonde" and the Rolling Stones in drag. Share Sounds and Vision with a friend. Write a review for this podcast and Andrew will give you a shout out in a future episode. Tweet at Andrew and let him know what you think of this episode.

Berkreviews.com Moviecast Top Five Movies - episode 098 - Look Away For episode 098, Jonathan (@berkreviews), Michael (@servermonkey), and Corey (@coreyrstarr) decided to look at the moments from films that they just couldn't watch. These are moments where they just had to Look Away from the screen whether it was too gruesome, too scary, or just too bizarre and uncomfortable to watch. There are plenty of moments to choose from in the history of film, but these are the ones that stood out to the trio. Jonathan's list: 5. American Wedding (2003) 4. Trainspotting (1996) 3. Black Swan (2010) 2. Neon Demon (2016) 1. Raw (2016) Mike's list 5. A Serbian Film (2010) 4. Irreversible (2002) 3. Twin Peaks: Fire Walk With Me (1992) 2. Se7en (1995) 1. Haute Tension (2003) Corey's list 5. The Ring (2002) 4. Panic in Needle Park (1971) 3. Raw (2016) 2. Gerald's Game (2017) 1. Dogtooth (2009) --- Support this podcast: https://anchor.fm/berkreviewscom-moviecasts/support

We discuss the costumes of The Deuce (HBO 2017). The Deuce (2017) http://www.imdb.com/title/tt4998350/ Anna Terrazas hhttp://www.imdb.com/name/nm2607465/ Taxi Driver (1976)http://www.imdb.com/title/tt0075314/ The Panic in Needle Park (1971) http://www.imdb.com/title/tt0067549/ Katzelmacher (1969) http://www.imdb.com/title/tt0064536/ https://www.nytimes.com/2017/10/27/style/sex-worker-prostitute-fashion-the-deuce-blade-runner.html https://fashionista.com/2017/09/hbo-the-deuce-costumes

Across more than 50 years of essays, novels, screenplays, and criticism, Joan Didion has been our premier chronicler of the ebb and flow of America’s cultural and political tides with observations on her personal – and our own – upheavals, downturns, life changes, and states of mind. In the intimate, extraordinary documentary JOAN DIDION: THE CENTER WILL NOT HOLD, actor and director Griffin Dunne unearths a treasure trove of archival footage and talks at length to his “Aunt Joan” about the eras she covered and the eventful life she’s lived, including partying with Janis Joplin in a house full of L.A. rockers; hanging in a recording studio with Jim Morrison; and cooking dinner for one of Charles Manson’s women for a magazine story. Didion guides us through the sleek literati scene of New York in the 1950s and early ’60s, when she wrote for Vogue; her return to her home state of California for two turbulent decades; the writing of her seminal books, including Slouching Towards Bethlehem, Play It as It Lays, A Book of Common Prayer, and The White Album; her film scripts, including The Panic in Needle Park; her view of 1980s and ’90s political personalities; and the meeting of minds that was her long marriage to writer John Gregory Dunne. She reflects on writing about her reckoning with grief after Dunne’s death, in The Year of Magical Thinking (winner of the National Book Award for Nonfiction), and the death of their daughter Quintana Roo, in Blue Nights. With commentary from friends and collaborators including Vanessa Redgrave, Harrison Ford, Anna Wintour, David Hare, Calvin Trillin, Hilton Als, and Susanna Moore, the most crucial voice belongs to Didion, one of the most influential American writers alive today. Director Griffin Dunne (American Werewolf in London, After Hours) joins us for a conversation on "Aunt Joan" and her fiercely personal body of remarkable body of fiction and non-fiction. To view Joan Didion: The Center Will Not Hold go to: netflix.com

节目组：The Screen Age 荧屏时代 节目名称：Scent of a woman开头曲 Por Una Cabeza-Thomas Newman B: Hello, my dear audience, Welcome back to the Screen Age. This is BobBee.L: Hey, friend. I'm Lynn. Well, BobBee, I saw a classical American movie last night. It's so excellent that I stayed up for watching it at midnight. And now, I'm keen to recommend it for you strongly!B: That's great! What's its name?L: It's Scent of a Woman.B: Oh, I've seen it. It's well worth watching it indeed. When the theme song Por una Cabeza sounded, my hot blood is boiling.L: Yeah, the pet phrase “Hooah” of Colonel is also charming.B: It'’s so interesting. Let's talk about it today.L: Great! 插曲1 Por Una Cabeza-Thomas Newman F: Young student Charlie has inadvertently witnessed the process of several students preparing to tease principal, the principal asked him to tell the mastermind of mischief, otherwise he will be punished. Charlie came to the veteran's home to do part-time job. Lieutenant Colonel was the head of President Linden Baines Johnson, who had experienced war and many setbacks, but was blinded in an accident. B: Blind makes Frank Colonel got a very sensitive auditory and smell sense, and even can identify its height, hair color and even the color of the eye by smelt other women's perfume. In fact, this is derived from his deep understanding of life and sentiment.F: He did nothing at home all day, lost his courage and confidence in life. He is ready to exhaust the last energy to enjoy a wonderful life. He traveled with Charlie, eating nice food, driving fast Ferrari, jumping tango with nice girl, live luxury hotel, and then want to end his own life.B: Charlie tried to stop the school's suicidal behavior, since the initiation of their feelings as father and son. So that Frank also recovered the courage and strength to live. The film finally Frank in the school Lecture Hall passionate speech, saved Charlie's future, satirical school hypocrisy. The two guys were reborn in each other. 插曲 2 Main Title-Thomas Newman L: One of the leader actor in this film is Al Pacino. In 1969, he first appeared in the film screen. Because of the perfect performance in the film The Panic in Needle Park, he was selected to be the leader actor of the film The Godfather. And it was such a great success. After four consecutive years, he won the Oscar for best actor or best supporting actor nomination. In 1993, he won the 65th Oscar Award for Best Actor Award and the 50th Golden Globe Award for Best Actor with the film Scent of a Woman.M:The other leader actor in this film is Chris O'Donnell. He played McDonald's fast food television advertising in his high school era. He is famous for the role of Robin in the film The Batman. Before playing Robin, he played a lot of roles in famous films, such as "Scent of a Woman", in this film he won the Golden Globe nomination. His brave and strong performance was showed in the film The Three Musketeers completely.L: In addition, the leader actress is Gabrielle Anwar. She tangoed with the best actor Al Pacino in this film. It is only a glimpse, but impressive. Her star road has widened since then. And she has gained high exposure among the new generation of actress. She is so charming in many films like The Three Musketeer. 插曲3 Main Title-Thomas Newman M: Movies often have lines that become part of our culture. The line from this one is hoo-ha! I don't know why for sure Pacino says that. He does though and it's great. Whenever I ask anyone about this movie, those who have seen it 99% of the time answer with a hearty hoo-ha!F: As for the performances: Pacino, I dare say, gave his best performance ever. It was also the riskiest. We're not supposed to like him, but we do. We can tell he doesn't think that Charlie is a moron. We can tell that he likes him in fact as a son. It strikes us as sad though. We can sense that this man has always been lonely. But then he lost his sight because of his mere stupidity and fondness for booze. He became even more lonely and sarcastic. Mean in fact, but funny.M: This movie once again proves that Pacino is one of the greatest actors of our time and that we all should be very glad he choose to portray Colonel Frank Slade in 'Scent of a woman', no one else could have done it. The story of 'Scent of a woman' stands and falls with Pacino's acting and the bringing alive of his character. It's touching and makes you smile and leaves you behind with the feeling that you've just have had the pleasure of meeting Colonel Frank Slade, a crazy but interesting man.B: I first saw this movie when I was staying with my grandma at her cabin. I was blown away. The story is great, the acting is perfect, and you can't help but get attached to the characters. The relationship, trust, and love that develops as the story unfolds is nearly unparalleled in modern cinema. One of Pacino's BEST performances. Not like some of his other roles. Chris O'Donnel actually puts in probably his best performance of his career. 插曲 4 Fleurs De Rocaille-Thomas Newman B: This is all of our program today, hope you like it.L: Don't forget to see the film Scent of a Woman!B: How time flies! The end of this period is coming. Never fail an exam.L: It's time to say goodbye. 最后感谢制作张安康。See you next time!B: Bye~ 结束曲 Fleurs De Rocaille-Thomas Newman 节目监制：刘逸超编辑：邹佳琳 毕鑫屹播音：赛碧乐(F) 杨旸(M) 邹佳琳(L) 毕鑫屹(B)制作：张安康

OK folks, we have an amazing interview today. Join us as Ryan talks with the fascinating Rutanya Alda. With a career spanning nearly 50 years in show business and over a hundred roles, Alda might be best known for her performances in The Deer Hunter as Steven's wife, Angela, as well as for the cult classic Mommie Dearest, as loyal Crawford housekeeper Carol Ann, and Amityville II: The Possession. We talk about all of this ! And of course, we talk about Rocky ! Stories about Al Pacino, Burt Young, Sylvester Stallone, Joan Crawford, Robert De Niro, ..and many more. It's all here folks.   Here are some of the movies we touch on:   Greetings (1968) Hi, Mom! (1970) The Panic in Needle Park (1971) Scarecrow (1973) Next Stop, Greenwich Village (1976) The Fury (1978) The Deer Hunter (1978) Rocky II (1979) Mommie Dearest (1981) Amityville II: The Possession (1982)   Literally just a fraction of what we could touch on...well enjoy the conversation and be sure to buy her book on Amazon !     https://www.amazon.com/Mommie-Dearest-Diary-Carol-Tells/dp/1515260607/ref=sr_1_1?s=books&ie=UTF8&qid=1482129332&sr=1-1&keywords=rutanya+alda  

This week on the show Damian is joined by his long time friend; Alexisonfire member, Mister City and Colour himself, Dallas Green! Sit in as the two go through Dallas’ journey from Canadian independent music loving kid into Canadian music industry icon (no joke, he won an award saying as much the night before). Also covered: -This being long time coming -The nature of friendship when you play in a band -First exposure coming from a cool older sister -Getting caught up in the Grunge explosion -The first Warped Tour -Seeing Quicksand’s Slip video late at night and it changing your life. -Last night a Walter Schreifels saved my life -Danko Jones working heel and turning baby face -Job hopping at the mall -Joel and Dine Alone records -“Scott Vogal mosh calling Jimmy Eat World kids” -Hardship Post’s ”Hack” ep being one of the greatest eps ever -The great post-Nirvana generation of Canada’s indie explosion -The Sick Boys: benevolent kings of the scene -Dallas’ first band: Needle Park -Mogwai (the band) -“Are you guy’s a Black Crows cover band?” -Helicon Blue: trying for Hum and Swervedriver -Seeing Moneen and being inspired -Being Much Music’s metal VJ Dan Gallagher’s cousin -Join a band and barley see the world -Elliott -The Alexisonfire formation from Dallas POV -Helping change the perception of heavy music for the Canadian Music Industry -The lack support for 90’s Canadian Punk/HC/Metal bands -Alexisonfire/ Billy Talent/ DFA 1979 -Going from Canadian to US Tours, from the highest heights to the lowest low -Dealing the Toronto Hardcore backlash -The early 2000’s Message Board Hate Culture -Hating the band not the members -Being grateful for the things that kept you humble -“They would hate me if they knew me in Canada” -Having to be pressured in to releasing a solo record -PCP with D and D -The Melvins' episode preview

During this episode of Legends of Film we talk to Jerry Schatzberg, Director of Scarecrow, The Panic in Needle Park, and Sweet Revenge. Mr. Schatzberg discusses casting Morgan Freeman in his breakthrough role, the importance of improvisation, and problems that occur when your lead actor is also your screenwriter. Get More Legends of Film Subscribe to Legends of Film by RSS | iTunes

Say hello to our listener friend! (Get it? “Say hello to our LISTENER…friend.” Scar…face….yeah.) THIS WEEK, we’re watching an Al Pacino double header! First up, it’s that heroin filled classic THE PANIC IN NEEDLE PARK, directed by Jerry Schatzberg and starring Al Pacino and Kitty Winn. After that, we break out the cigars with SCARFACE, directed by Brian DePalma (scripted by Oliver Stone) and starring Al Pacino, Steven Bauer, Michelle Pfeiffer, Robert Loggia, and Mary Elizabeth Mastranton. Mountains of white powder, bad Cuban accents, New York, LA, it’s all here on MASS MOVIECIDE!

This week we run down our thoughts and predictions for the 2012 Independent Spirit Awards We talk about some other stuff we watched including The Panic in Needle Park, The Imposter, Simon of the Desert, Carnival of Sinners, Amour, and Paradise: Love and finally we go over this week's movie predictions and DVD and Blu Ray releases We want to hear your suggestions and feedback! Send us an e-mail at feedback@filmpulse.net or leave us a message on our voicemail line at (850) 391-6071 and we'll feature your comments on the show!

No one wants a needle park in his or her neighborhood, but that is exactly what prohibition brings. Prohibition also brings increased violence and property crime. Legalization would bring commercially produced products that are reasonably priced, writes Mark Thornton.This audio Mises Daily is narrated by the author.