Podcasts about new yawk

Anna and Paul discuss math, finance, geometry, finance bros, Piza, pizza, New Yawk, the Yankees, and making things accessible to the common man. Note: We refer to the author of "Finding Fibonacci" as “Kevin Devlin.” He is actually Keith Devlin. Follow @engineering_history_podcast on Instagram to keep up with our latest updates :) Further reading: The Man of Numbers: Fibonacci's Arithmetic Revolution By Keith Devlin Finding Fibonacci: The Quest to Rediscover the Forgotten Mathematical Genius Who Changed the World By Keith Devlin Fibonacci and the Financial Revolution By William Goetzmann  The Origins of Value: The Financial Innovations that Created Modern Capital Markets By William Goetzmann and K. Rouwenhurst   The History of Algrebra in Italy in the 14th and 15th Centuries. Some Remarks on Recent Historiography By Rafaella Franci  The Positional System and Base 10 | Mathematics for the Liberal Arts (lumenlearning.com)

There is a two-word combo deal that I didn't have on my Mar-a-Lago Bingo bonanza bucket list, and that is President Trump & Rikers Island! Rikers Island, gladiator academy for many a New York City gangster, and the sheer fact that the former President could even serve a day on the Island as they call it, defies humanity in so many ways, that it has taken me many stops and starts to even comment on this. And if I am being honest, I am surprised that 12 jury members decided that Donny did it, and again for those of you that are not aware of a jury it means that every single jury agreed that he was guilty on all the counts. But guess what, in the month of May as Don Don did the bodega tour, partied with young Hip-Hop upstarts Sheff G and Sleepy Hallow in the Bronx, and drove around the streets of Manhattan like Cam'ron when he had his Pink Range Rover,  this verdict, trial and ensuing post coital Fox News love fest only has proven one thing, $141 Million in campaign funds raised, is making Donola look like Kim Jung Un at a military parade, and oh yeah a resounding appearance at UFC fight night to a standing ovation, the haze of the last four years is really coming into focus…. So Alvin Bragg congrats buddy, mozzle mozzle and good things, it looks like this display of New Yawk justice, seemingly could turn into the pivotal moment wherein Don T, ascended to American Folk hero, and while if Trump was found guilty at the federal level of 34 counts there would be no question he would be headed to Otisville, we now have to play a guessing game on whether judge Juanito Marchand decides to actually sentence the president to jail time….

Only in New Yawk bay-bee

Hilly Gross, a renaissance man, shares his effusive New Yawk stories about Woody Allen doing him favors, his local government positions in Manhattan, and his optimistic view for Jewish life in America!   Interviewed in his home in Manhattan where his family resided for many generations this is an uplifting and fun story filled adventure.  Enjoy!

This week we have Miss Joy and Eric from Arc'd Angel. Arc'd Angel is a hard rock/metal band from North Jersey (she thinks its New Yawk lol) We had a lot of fun hanging and tlaking with them. Be sure to check them out, follow, and support them.  As always a HUGE shout out to our favorite partners in crime, Manafirkin Brewery in Manahawkin NJ. www.manafirkin.com We can't forget Lofidelic Records in Belmar https://www.lofidelic.com Also, True Jersey. https://truejersey.com use the code JSMUSICPOD060523 for 10% off

Chapter 80 is our Roman Empire (Taylor's version). Join Sophie, Sam, and Hannah as they discuss surfing the 'net (for kids and families!), Sophie's cat's inner potential, and secret subway cities.

Don't worry, you'll like Chapter 79 because it's full of weirdos! Join Sophie, Sam, and Hannah as they discuss the immersion-breaking appeal of New York delis, time-travelling Russian communist fashion, and indulge in their annually mandated zoo spiel.

Chapter 78 is all about breakfast. Join Sophie, Sam, and Hannah as they finally find the most divisive topic they've ever discussed: lasagna.

Chapter 77 is full of so much good biology, finally! Join Sophie, Sam, and Hannah as they discuss campfire snacks, some absolutely wild real life genetic experiments, and get super into the weeds (or into the womb??) about amniocentesis. 

Alan, and Hal, discuss the changes in th MLb rules, and the collapse of the New Yawk teams in 2023.

Chapter 76 started off with a fish, how did it end up like this?? Join Sophie, Sam, and Hannah as they discuss which Olympic sport is most like throwing a four-year-old, monarch butterfly migration, and why Max should stop scuba diving between chapters.

The Summer of 1988 was filled with BIG, seminal comedies (actually including the movie Big) which were sizeable hits and had long-lasting legacies including Bull Durham, Who Framed Roger Rabbit, and previous episodes Midnight Run and A Fish Called Wanda.  Kind of lost in the shuffle was this small, quirky mob comedy directed by Jonathan Demme though it did feature a very promising cast including Dean Stockwell, Mercedes Ruehl, Oliver Platt, Alec Baldwin, and Matthew Modine.  Leading this cast was the illustrious Michelle Pfeiffer kind of playing against type with BIG hair, a big attitude and a prominent New Yawk accent - she plays Angela, a Long Island housewife who is....you guessed it....married to a mobster played by Baldwin.  Things don't end well for her husband so Angela decides to try to start a fresh new life with her son AWAY from the Mob....but not every one is onboard with that including the FBI and local mob boss Tony played by Stockwell in a performance which earned him an Oscar nomination.  And hilarity ensues..... Host: Geoff Gershon Editors: Geoff and Ella GershonProducer: Marlene Gershonhttps://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/ 

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Weekend happenings + Cardinals win a series in New Yawk + David Freese turns down Cardinals HOF induction

Ghostface takes NYC by storm in Scream 6!  He loves New Yawk - we saw him smack a cab and yell, “I'm stabbin' here, I'm stabbin' here!” Freddy Krueger also gets a change of scenery (and reality) in New Nightmare.  Meta? We got your meta right here!  #wescraven #scream6 #newnightmare #ghostface #freddykrueger #heatherlangenkamp #wescraven

Matty Whitener is out and about in New Yawk, so it's all hands on deck to fill the void! David Solomon, Jason Greene and Daddy Padre are all on the air talking some hockey!

Eyy! We're walkin' here! This week, we take you to the magical land of Queens, New Yawk, a fictional place where the Northern Lights are often visible and you can talk to your long-dead dad—but only if it's about sports! Tune in to learn about how Dennis Quaid decided to spend his COVID quarantine (whatever you're imagining, we guarantee you're wrong!) and hear us discuss the rampant copaganda that pretty much ruined this one for us. Also, find out if Paige knows what baseball is! Let's go Mets! If you'd like to take US out to the ballgame, you can let us know by rating, reviewing and/or subscribing!

Hot town, summer in the city! Christmas? That's old news buddy. It's 2023: new year, new you, new podcast episode. Are you hurting from a hedonistic New Year's Eve celebration? Let the soothing voices of Alex and Ben heal your aching head. Today we're covering the third Die Hard film, Die Hard: With a Vengeance. This time our friend John McClane is back on his home turf: New Yawk city, baby. And he's not alone! Samuel L. Jackson joins the Die Hardverse as Zeus Carver to help crack some puzzles and save NYC from yet another goofy German psycho (this time played by friend of the pod Jeremy's Iron). Enjoy the show and Happy New Year!

Rammer pays a visit from New Yawk. Nate and Rammer kick around a myriad of local sports topics in the opening segment.

We're on a cruise, chatting New Yawk accents with cuise podcasting maestro Tommy at AwaysBeBooked.com SmilingForSuccess22@gmail.com Instagram DebbieParkerNet

Moving, NFL Season, Cheap Preach, Hard Knocks, No Friends, New Yawk, Toys, Run for Herschel and more… --- Support this podcast: https://anchor.fm/squirrelsworldpocast/support

This week CD-R delivers to The Cult a healthy dose of estrogen packed vengeance with an erratically delivered side order of Fundamentalist Mormon hatred in the liftage section. First, we kick things off with the extremely questionable, implant smuggling, Tiana Alexander-Silliphant star vehicle, Catch the Heat (1987). Then we head on up to New YAWK by way of 1997 and a LOT of Riotgrrrrl influence in the Drive-in infused A Gun for Jennifer.  Feedback: cultofmuscle@gmail.com Facebook: facebook.com/groups/cultofmuscle Merch: redbubble.com/people/cultofmuscle/shop

Come join (g)hosts Chris & Nickey in the crash box of a muscle car (or don't) as they skid around all of the problematic and entertaining elements of Quentin Tarantino's 2007 grindhouse homage, Death Proof! They drive through a slew of controversial topics such as Quentin Tarantino's foot fetish, Arlene's New Yawk accent, desgusteng shots of Chartreuse, scissoring with a car, not NOT Erika Christensen, active white girls vibes, crying like Nancy Kerrigan and much more! Follow Queer Horror High on Instagram @queerhorrorhigh. --- Support this podcast: https://anchor.fm/queerhorrorhigh/support

New York Jonathan, Slice, Football (and to a lesser extent Producer Tory) brought the Halloween fun with "Nick or Treat," "Hoagie-okie" and a surprise call from Office Hours boss man Tim Heidecker. So pour yourself a cup of New Yawk cawfee, sit back, relax and enjoy the show! Support Office Hours, get access to the ad free version of this podcast and much, much, much more at patreon.com/officehourslive. Office Hours East brings you the fun and laughs you love from Office Hours plus the grit and grime of New York City!

Nintendo announces the cast for the new Super Mario Movie coming in 2022, people are chasing cheese down a hill and Mcgregor is still an absolute savage even with a cane. Vinny can't name the 5 burrows of NEW YAWK, and Phil wants to start a midivil fighting league, this is Sunday Sauce Episode 99.

Nintendo announces the cast for the new Super Mario Movie coming in 2022, people are chasing cheese down a hill and Mcgregor is still an absolute savage even with a cane. Vinny can't name the 5 burrows of NEW YAWK, and Phil wants to start a midivil fighting league, this is Sunday Sauce Episode 99.

Risky Business eat your heart out. This week on Whoa!mance, Morgan and Isabeau visit NEW YAWK but better in “One Last Stop” by Casey McQuiston. August is still putting the “new” New York City when she meets timeless punk hottie Jane on the Q. When she discovers just HOW timeless, our gal Auggie puts her hereditary gumshoe skills, and chosen family slash roomies, to use is breaking Jane free from the amber of the MTA. Is freaky the new vanilla? Does greater visibility equal meaningful progress? Did people like “Red, White & Royal Blue”? Stand clear of the sliding doors, this episode is about to disembark. Whoa!mance is a part of the Frolic Podcast Network.

It's summertime, and that can only mean one thing: it's teen comedy time! This time we discuss “What a Girl Wants,” the 2003 Amanda Bynes vehicle wherein she plays an ordinary American teen who finally meets her aristocratic British dad (Colin Firth) and just doesn't fit in. You might call it a “fish out of water” scenario, but that incorrectly implies that there is a milieu in which Amanda Bynes's character would be at home. It's more like a “fish out of water but also the fish is allergic to water and falls down a lot” scenario.Join us as we discuss more bad New Yawk accents, Colin Firth dancing in leather pants, a daughter who clearly inherited her total lack of situational awareness from her mother, Colin Firth dancing in leather pants, a musical Chekhov's gun that never goes off, an uncomfortably romantic father-daughter reunion, and Colin Firth dancing in leather pants. Did we mention that Colin Firth dances in leather pants in this movie?Follow us on Twitter @rombombsMusic: "Our Big Adventure" by scottholmesmusic.com

Robert Cole, Marty Rose and Ralph Tyko, celebrate the 'amazing,' recent, performance of The Amazin' Mets. Topics of conversation also include Walter O'Malley's rude departure from New Yawk, which broke the hearts of the three co=hosts.A Comfortably Zoned Radio Network, production.All of our offerings are archived here. https://www.youtube.com/channel/UCiQUY00KIKj9RFo2Ruqg4CgIf you enjoy our offerings, we ask that you get in the habit of accumulating lightly used children's books, and donating them to your local Head Start.

Angela has a product idea that could change the world, it may even make millions! Then, are you suffering with FOMO? We can help! PLUS as always, so much more!As always, make sure to Follow us at @AfterglowOnAir and let us know your thoughts or text us at 833-632-0490*This episode was aired LIVE on May 12, 2021, from 7-10 am est. commercial & music breaks have been removed and edited out for ease of replay. Portions of this program were pre-recorded and aired live.

Ah, Spring. The time when a young woman's fancy turns to abandoning yet another man at the altar. In this episode, we discuss Runaway Bride, the 1999 movie wherein Garry Marshall tried to replicate the magic of Pretty Woman and instead pulled a dead dove out of his sleeve. Join us as we discuss Richard Gere's needlessly bad New Yawk accent, what a journalist is (and isn't), and our undying love of Joan Cusack. Stay as we worry about the welfare of Richard Gere's character's cat. Follow us on Twitter @rombombsMusic: "Our Big Adventure" by scottholmesmusic.com

It's that time of year again - when we look back on the year behind us and talk about movies we liked, stuff we saw for the first time, and what we'd like to see out of that golden haze on the horizon called "the future."We're talkin' movies (Bad Hair, Alone, Feels Good Man, Bad Trip and more!) We're talkin' documentaries (Feels Good Man, Class Action Park!) We're talkin'... whatever we feel like (Wesley Snipes movies? Doctor Sleep? Making funny eyyy ohhhhh New Yawk accents?)All of this plus so much more awaits you in this episode full of slam-bang CINEMA TALK babayyy!!!!

Love Never Dies was a 2010 musical from famed composer and plagiarist Andrew Lloyd Webber, acting as a sequel to his mega-hit show The Phantom Of The Opera. Originally based off an unofficial sequel to the original story titled The Phantom Of Manhattan, Webber took many artistic liberties, turning the stage version into a story where the previously independent lead Christine now finds herself pining for the titular Phantom once again, mired in a romantic melodrama set against a circus sideshow. The original stage performance itself was controversial for the sheer number of rewrites which took place, and was soundly mocked by critics for being overwrought and pompous.On this episode of Hell Is A Musical Lilz and Scott dig into their first ever live stage performance of a musical, joined by Susan Kim. Join the three of them as Scott expresses his disdain for televised musicals, Lilz gets grossed out by the intense amount of gaslighting going on in the script, Susan rags on "The Rootbeer Man", and really bad New York accents abound....with Lilz and Scott!

Sure, US politics is corrupt now but it can't always have been that way?? Can it?? Dan and Rory are here with the answer as they delve into the many folds of 19th century corruption that was the life of Boss Tweed! Plus, find out what YOUR colonial name was. Dan's questions get progessively worse, Rory slips into a New YAWK accent, and the boys ponder where the Capitol rioters will hit next.

As we put the nail in the coffin of 2020 and step into a new coffin a.k.a. 2021, we're celebrating two New Years cult classics: the 1980 ball dropper slasher "New Year's Evil" featuring an unhinged white dude embarking on a festive killing spree through Van Nuys, and the Gen-X 80s nostalgia fest "200 Cigarettes" starring a cast so stacked it can only be described as "The Thin Red Line" of broad studio comedies (Ben Affleck, Casey Affleck, Kate Hudson, Paul Rudd, Courtney Love, Christina Ricci, and Dave Chappelle just to name a few of the stand-outs in the ensemble). We're once again joined by film professor Macy Todd to discuss campy New Yawk accents, bad screenwriting, and the legendary Gene Shalit, who is still alive! "New Year's Evil" is streaming on Amazon Prime and "200 Cigarettes" is streaming nowhere because the music royalties ran out, so you might have to get a little creative if you wanna see Kate Hudson covered in shit for 90 minutes.

Will there be Baseball in 2020? Marty Rose, Robert Cole and Ralph Tyko, weigh in. A Comfortably Zoned Radio Network, production. Check out our website. http://comfortablyzonedradio.com/ If you enjoy our offerings, we ask that you get in the habit of accumulating lightly used children's books, and donating them to your local Head Start.

He had a huge heart. It’s the latest No Filter Sports Podcast with Eli Zaret, Denny McLain, and Bob Page! Was he, pound for pound, the best fighter in NHL history? Ex-Red Wings fan fave DENNIS POLONICH joins the boys! Eli fesses up: as a New Yawk guy, he LIKES hockey but just didn’t grow up with it. He likes most...

Bernie Rose, Robert Cole, and Marty Rose, discuss the possibility of the return of Baseball. A Comfortably Zoned Radio Network, production. Check out our website. http://comfortablyzonedradio.com/ If you enjoy our offerings, we ask that you get in the habit of accumulating lightly used children's books, and donating them to your local Head Start.

Instagram personality New York Nico will discuss his New York accent contest and his most recent New York t-shirt contest.

On Today’s Show: Special Announcement to start the show (0:26)  Rug’s first encounter with Tik Tok (2:10)  Rug isn’t happy with the JK Dobbins pick (3:55)  Dave is very pleased with Dallas  Mark is convinced Washington is back.  Luke attempts to justify Seattle’s obscure picks.  Drafts we liked and hated (15:53)  Breakdown of Hurts to the Eagles (28:52)  What was Green Bay thinking? (35:22)  Special Segment (Lets trash the host) (42:10)  Rug enlightens us about the rise of sports talk radio in New Yawk (54:18)  Zach continues to struggle with the exit Please subscribe to the podcast and be sure to leave a review on your preferred listening platform. Also we would love if you could give our twitter (@hailmarycast) and Tik Tok (@hailmarypodcast) a follow. Be on the lookout for the upcoming name change at the end of this week to The 4th and 40 Podcast. Hope you enjoy the show.

Hearken back to merry old England with the tale of Sally in the Woods and the Green Children of Woolpit! Then head back to NYC with us for some real New Yawk urban legends!

Noel Hynd, Alan Blumkin, and David Nemec, take us back in time when social interaction was a good thang. A Comfortably Zoned Radio Network, production. Check out our website. http://comfortablyzonedradio.com/ If you enjoy our offerings, we ask that you get in the habit of accumulating lightly used children's books, and donating them to your local Head Start.

David Nemec joins Alan Blumkin and Noel Hynd, for a trip back in time. A Comfortably Zoned Radio Network, production. Check out our website. http://comfortablyzonedradio.com/ If you enjoy our offerings, we ask that you get in the habit of accumulating lightly used children's books, and donating them to your local Head Start.

Noel Hynd and Alan Blumkin, remember the life and times of Johnny Antonelli. May he RIP. A Comfortably Zoned Radio Network, production. Check out our website. http://comfortablyzonedradio.com/ If you enjoy our offerings, we ask that you get in the habit of accumulating lightly used children's books, and donating them to your local Head Start.

Way, way, way back with David Nemec, Alan Blumkin, and Noel Hynd. A Comfortably Zoned Radio Network, production. Check out our website. http://comfortablyzonedradio.com/ If you enjoy our offerings, we ask that you get in the habit of accumulating lightly used children's books, and donating them to your local Head Start.

Alan Blumkin and Noel Hynd continue the discussion about Hall o' Famer's back in the day. Now batting for the Dodgers, #4, Duke Snider, #4. A Comfortably Zoned Network, production. Check out our website. http://comfortablyzonedradio.com/ If you enjoy our offerings, we ask that you get in the habit of accumulating lightly used children's books, and donating them to your local Head Start.

With Noel Hynd on assignment, Ralph Tyko sits in. and he and Alan Blumkin, carry on. Discussion revolves around Baseball Hall o' Famer Johnny Mize. A Comfortably Zoned Network, production. Check out our website. http://comfortablyzonedradio.com/ If you enjoy our offerings, we ask that you get in the habit of accumulating lightly used children's books, and donating them to your local Head Start.

On this episode, I chat about my trip back home. The amazing connections made while visiting! Including the lesson learned during the trip. Tune in and sip a beverage while listening this episode! We are available on all Podcast Platforms! Kindly Share, Rate and give us a follow! Your support matters and is appreciated! Follow me on all things Social Media @coffeewithcurls

K.Mack & Brandi Champ together gives you the most New Yawk show you'll ever hear. The girls get into a bit of everything. Sit back and listen as K.Mack makes up for lost time on the return from her break. --- Support this podcast: https://anchor.fm/kmack-nyc/support

For two kids who grew up eating a lot of New York City pizza, the "most popular food in the world" is a hot topic for debate. Jack and Kev talk about different styles, their favorite and least favorite spots, and more. Plus, at the end of the episode, they debut a new additional segment. (P.S. Wednesday is the new day of the week for episode drops!)

Colleen and Neil share news about a new New York initiative.

Upper Balcony takes on another 20/20 ABC podcast! But first we run back over the previous UBP where we clear up some things after having a wonderful conversation with Miles Bozeman about his podcast Terror in Old Town!!! Then we review the semi boring "A Murder on Orchard Street"! Listen as we butcher accents, give a shout out to Cooking with Grief Podcast, discuss our love for the New Yawk detective Lenny Silvia, and rate the podcast with a wine glass scale! REMEMBER: we are not professions, we do not put doll hairs into this production, and sometimes our facts are messed up...enjoy.

Follow us on instagram and twitter @djflipwave & @iamafricanwolf!

CAPRICORN BIRTHDAY BASH Saturday | January 12th, 2019 | 10:00pm - 2:00am WAVY BUNCH SOUND PRESENTS: @IAMAFRICANWOLF'S 4TH ANNUAL CAPRICORN BIRTHDAY BASH CELEBRATION A NEW YAWK STATE OF MIND LIVE PERFORMANCE BY: @KANAYOKING PERFORMING HIS HIT SINGLE “AFTER PARTY” MUSIC BY: @SOCAPASSIONLIVE'S OWN WAVY BUNCH SOUND'S @DJFLIPWAVE, @DJFEMI & @SELECTAJIGGA ALONG WITH @LUUMBA_GREEN (FAYA RAS) & @DJFLEXX1220 LIVE ON SET LIMITED ONLINE EARLY BIRD TICKETS FOR $10 ON AFRICANWOLFNEWYAWKSTATEOFMIND.EVENTBRITE.COM @SPIRITPGH HALL 252 51st, Pittsburgh, PA 15201 #GETONLINENOW

This week the Binge Boys leave the comfort of their home and go to… THE MOVIES?!?! Cody and Ned take a whole new approach to binge shrinking when they check out a gangster flick on the New Yawk crime boss, Gotti! Now let me tell you something. Gotti is the greatest fuckin’ binge we ever … Continue reading "BONUS! Gotti Doesn’t Binge!"

FRIDAY JANUARY 5TH, 2018 AFRICAN WOLF'S ANNUAL CAPRICORN BIRTHDAY BASH CELEBRATION: A NEW YAWK STATE OF MIND OPEN BAR FROM 9:00PM - 11:00PM WITH LIVE TELEVISION BROADCAST ON iRAP TV LIVE PERFORMANCE BY: @AUDIROME PERFORMING HIS HIT SINGLE “DOLLAR BILLS” & @NANANYCOFFICIAL (2014 3G AWARDS WINNER) MUSIC BY: #TROPICALBLENDZ'S OWN @WHOISLEGEND & #WAVYBUNCHSOUND (@OUTTAREACH412 & @DJFLIPWAVE) ALL CAPRICORNS FREE ALL NIGHT LIMITED ONLINE TICKETS: newyawkstateofmind.eventbrite.com $20 ALL NIGHT AT THE DOOR @SPIRITPGH 242 51ST STREET, PITTSBURGH, PA 15201

Listen to this week's podcast with guest Joshua Holland, who sounds way sexier than expected (i.e., he laughed at our jokes). The Ranters discuss with Joshua his article-linked below, abortion megaplexes, indictments, Medicare for All, and really bad New Yawk accents. https://www.thenation.com/article/medicare-for-all-isnt-the-solution-for-universal-health-care/ Joshua's Twitter: @joshuahol And HIS podcast: https://itunes.apple.com/us/podcast/politics-and-reality-radio/id931213292?mt=2  

It's a Naked City Du-fecta as Mike and Pat discuss the work of some downtown New Yawk post-modernists and fondly recall their youth. John Zorn – NAKED CITY; Bill Frisell – TRIO LIVE; Uri Caine – THE GOLDBERG VARIATIONS; Tom Waits – RAIN DOGS.

TSR is in NEW YAWK! In between belting the Rent Soundtrack the TSR gals find time to get a dose of MNDFL (pronounced mindful)-ness from founders Ellie Burrows and Lodro Rinzler, who opened a meditation studio where they practice what they preach. We learn all about what it takes to get into a meditation practice, the different types of meditation, and get some pro-tips from the experts themselves. All roses in this pod today (except Elizabeth's carbo-coma and Stephanie's frustration with adults who behave like juveniles). PS: Check out our AWESOME Holiday DIY video ;) It's a treat for all those who want to get elevated. PPS: The girls will be bartending Bravo's Watch What Happens Live this week so keep your eyes peeled.

This one is such a classic in the "So bad it's good" department, we had to do another episode about it. More on Jason the Tourist in Times Square, Uncle Charles' Swim School, and the most unrealistic depictions of New Yawk and heroin addicts ever put to screen. It's more fun than a barrel-full of drowned rats!

Vinny and Alex party-in-the-sky their way from New Yawk to San Francisco so we can chat about the Silent Hills that wasn't, Valve's paid-mod calamity, the fully formed Broken Age, the Telltale fast food tie-in, video game knockoffs, lady MCs, the future oThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5928697/advertisement

Vinny and Alex party-in-the-sky their way from New Yawk to San Francisco so we can chat about the Silent Hills that wasn't, Valve's paid-mod calamity, the fully formed Broken Age, the Telltale fast food tie-in, video game knockoffs, lady MCs, the future o

In today's episode, Bob, Matt, and Boomer discuss the differences between the New Jersey accent and New Yawk accent, reminisce about high school marching band trips, and play a game called "Tinder Time."

New York City is known for a lot of things – its skyscrapers, its frenetic energy, and let's not forget -- its accent. It's not New York…it's New Yawk. It's not coffee…it's cawfee. And for some people… it's not 33rd and 3rd...it's Toidy Toid and Toid. That's a more classic pronunciation that you're probably less likely to hear on the streets today. In fact, some say New York's accent is disappearing as the city becomes more gentrified. On this week's Cityscape, we're exploring the NYC accent.

New York City is known for a lot of things – its skyscrapers, its frenetic energy, and let’s not forget -- its accent. It’s not New York…it’s New Yawk. It’s not coffee…it’s cawfee. And for some people… it’s not 33rd and 3rd...it's Toidy Toid and Toid. That’s a more classic pronunciation that you’re probably less likely to hear on the streets today. In fact, some say New York’s accent is disappearing as the city becomes more gentrified. On this week's Cityscape, we're exploring the NYC accent.