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2 episodes with Pacific Theatre
4 episodes with Pacific Theatre
2 episodes with Pacific Theatre
Author and journalist Michael Doyle's new book, Nightmare in the Pacific: The World War II Saga of Artie Shaw and His Navy Band (Univ. of North Texas Press, 2025) is an adventurous tale and a must read. Shaw, a leading big band leader into the early 1940s, joined the Navy a few months after Pearl Harbor. He formed a Navy big band of accomplished and to varying degrees roguish musicians and led them across the Pacific during the war, entertaining troops, finding trouble and dealing with grueling hardships. Michael Doyle joins us this week to give a preview of this book and musicians at war.Michael Doyle's website: www.doyleauthor.comYou can support Hooks & Runs by purchasing books, including books featured in this episode, through our store at Bookshop.org. Here's the link. https://bookshop.org/shop/hooksandruns Hooks & Runs - www.hooksandruns.com Email: hooksandruns@protonmail.com Hooks & Runs on TwitterCraig on Bluesky (@craigest.bsky.social)Rex (Krazy Karl's Music Emporium) on Facebookhttps://www.facebook.com/people/Krazy-Karlz-Music-Emporium/100063801500293/ Hosts Emeriti:Andrew Eckhoff on Tik TokEric on FacebookMusic: "Warrior of Light" by ikolics (via Premium Beat) This podcast and this episode are copyright Craig Estlinbaum, 2025.
Paul Hilliard, President of Badger Oil Corporation, has led a wonderful life of generosity and love of community that provides a humbling lesson in being a good steward of God's resources. At 99 years of age, he is sharp and insightful, a true testament to his wisdom and vitality. Paul was 17 when he enlisted in the U. S. Marine Corps during his Senior year in high school in February 1943, quitting school when he received permission from his mother to join the war effort. He trained to be a gunner, handling machine guns in the back of Douglas SBD Dauntless (Scout Bomber by Douglas Aircraft) planes in air missions conducted in the Pacific Theatre of Operations. SBD was jokingly referred to as “Slow But Deadly.” He flew 45 combat missions and was twice awarded the Distinguished Flying Cross in addition to receiving the Air Medal with six bronze stars. Following his service, Hilliard earned his law degree from the University of Texas before beginning a career in the oil and gas industry. He credits the GI Bill for the opportunities it afforded him and so many other servicemen who would not have otherwise been able to obtain an education. Hilliard exemplifies the selfless spirit and pride of our WWII generation of heroes, as well as the successful ingenuity of a veteran oil and gas entrepreneur. Known for his self-effacing wit and ability to achieve in spite of a hardscrabble upbringing in Wisconsin, Hilliard has been a successful independent operator and owner of Badger Oil Corporation since 1955 and has seen fit to use his success in business to help others in need. Awarded the Civic Cup in 2003 and the esteemed national Horatio Alger Award in 2009, Paul has also been active in statewide associations working to improve the oil and gas industry, business, and civic endeavors. Paul has also been active in statewide associations working to improve the oil and gas industry, business, and civic endeavors. In 2015, he received the Circle of Honor Award from the Congressional Medal of Honor Foundation. UL Press released Dauntless: Paul Hilliard in WWII and a Transformed America in 2023. Written by Rob Citino with Ken Stickney and Lori Ochsner, the book documents some of the most fascinating decades in American history: the impact of World War II, the importance of post-war social and economic changes, and the development of the oil industry from the 1950s to today. “Dauntless is a compelling narrative tracing Paul Hilliard's life experiences during the Great Depression, from farm life in Wisconsin's Dust Bowl to his distinguished service as a Marine in World War II, his education through law school, and a long and successful business in the oil fields. Paul's lifelong philanthropy and his passion for education and the lessons of WWII make him an inspiration. His life is the Horatio Alger story. He is, and always be, one of my heroes.”—Boysie Bollinger Paul has been a generous benefactor in causes to help at-risk children learn to read so that they can overcome poverty as he did. He and his late wife, Lulu, provided $5 million dollars in seed money to start the Paul and Lulu Hilliard Art Museum at UL – Lafayette. Paul has served as a National WWII Museum trustee, and he and his wife, Madlyn, have been two of the Museum's most active advocates and supporters. They have provided transformative support for several Museum initiatives, including acquisition and restoration of artifacts, collection of oral histories, and education programs. In September 2018, Hilliard accepted the position of Board Chair of the museum, focusing on the completion of the its $400 million campus expansion. For more information, visit https://www.nationalww2museum.org, a treasure trove of thousands of oral histories and hundreds of thousands of photos depicting the WWII experience. Paul ended the interview by sharing his gratitude for being born in the United States of America. He spoke of a favorite quote by Cicero: “Gratitude...
This week on Ghost Light Radio, bits and pieces from forty years worth of Christmas shows at Pacific Theatre. First Christmas: An Entertainment, Cotton Patch Gospel, Dreams Of Kings And Carpenters, and of course Christmas Presence itself. From Lawrence Ferlinghetti to Bone Man Slim, seasonal selections with a theatrical flavour.
General Douglas MacArthur's forces began landing at Leyte on October 20, 1944. That's the day MacArthur took the famous picture wading ashore at Leyte, but there was a lot more to the operation than that. Why was Leyte chosen over Mindanao? How prepared were Japanese commanders for the invasion? How did the Japanese army and navy try to repel the invasion? Did MacArthur really hope to take part in the Battle of Leyte Gulf aboard the USS Nashville? MacArthur Memorial historians Jim Zobel and Amanda Williams sat down to discuss these questions and more.Have a comment about this episode? Send us a text message! (Note: we can only read the texts, we can't reply) Follow us on:Twitter: @MacArthur1880; @AEWilliamsClarkFacebook: @MacArthurMemorialwww.macarthurmemorial.org
Practically forgotten but possibly the best US service band in WWII, it was initially led by Artie Shaw in the Pacific Theatre, but when Shaw went home it was taken over by tenor saxophonist Donahue and brought to England for the last few months of the war. These recordings feature this crack unit on VDisc, AFRS transcriptions and a Jubilee broadcast with superb work by the leader, Ralph La Polla on clarinet, John Best on trumpet, Tak Takvorian on trombone and Rocky Collucio on piano. --- Support this podcast: https://podcasters.spotify.com/pod/show/john-clark49/support
4/4: When China Attacks: A Warning to America by Grant Newsham (Author) https://www.amazon.sg/When-China-Attacks-Warning-America/dp/1684513650 Communist China is ambitious. It wants to replace the United States as the world's leading superpower. And it is well on its way. It is dominant in the world economy. It is a master at intellectual property theft. It shows strategic genius at cornering essential markets. It has been staggeringly successful in buying influence among American elites. And its military buildup is astonishing. So far, China has been waging a cold war on the United States and its Asian allies. But, emboldened by American weakness and decline, that cold war is about to turn hot. The flashpoint will be Taiwan—but the war will extend over the entire Pacific Theatre. The results could be devastating. America is facing the possibility of humiliating regional retreat—one with almost unimaginable costs to our economy and security. That's the warning of Grant Newsham, a longtime China analyst for the Marine Corps, the Foreign Service, and Morgan Stanley Bank in Japan. His shocking new book When China Attacks is a fire bell in the night—a warning about an imminent hot war that we are already in the process of losing. It offers a frightening, but well-founded, blow-by-blow account of what might happen. 1958 Tibet
1/4: When China Attacks: A Warning to America by Grant Newsham (Author) https://www.amazon.sg/When-China-Attacks-Warning-America/dp/1684513650 Communist China is ambitious. It wants to replace the United States as the world's leading superpower. And it is well on its way. It is dominant in the world economy. It is a master at intellectual property theft. It shows strategic genius at cornering essential markets. It has been staggeringly successful in buying influence among American elites. And its military buildup is astonishing. So far, China has been waging a cold war on the United States and its Asian allies. But, emboldened by American weakness and decline, that cold war is about to turn hot. The flashpoint will be Taiwan—but the war will extend over the entire Pacific Theatre. The results could be devastating. America is facing the possibility of humiliating regional retreat—one with almost unimaginable costs to our economy and security. That's the warning of Grant Newsham, a longtime China analyst for the Marine Corps, the Foreign Service, and Morgan Stanley Bank in Japan. His shocking new book When China Attacks is a fire bell in the night—a warning about an imminent hot war that we are already in the process of losing. It offers a frightening, but well-founded, blow-by-blow account of what might happen. 1967 Red Guard
GOOD EVENING: The show begins in Las Vegas to look to the future foran MLB stadium and the new Hard Rock Hotel and Casino..,. undated Out CBS EYE ON THE WORLD WITH JOHN BATCHELOR FIRST HOUR 9-915 #PacificWatch: #VegasReport: Mirage and Tropicana replaced by Hard Rock Hotel and MLB. @JCBliss 915-930 #MEXICO: AMLO on the eve of control as the peso retreats. Mary Anastasia O'Grady, WSJ 930-945 #SCOTUS: Immunity and the Special Counsel. Dodd Frank and the Special Counsel Richard Epstein, Hoover. 945-1000 #POTUS: "Freedom" at the DNC. Richard Epstein, Hoover. SECOND HOUR 10-1015 #POTUS: Harris White House can reward California with the 2028 DNC Convention in LA. Bill Whalen, Hoover Institution. 1015-1030 #LANCASTER REPORT: Shopping nothing but discounts galore: Jim McTague, former Washington Editor, Barrons. @MCTagueJ. Author of the "Martin and Twyla Boundary Series." #FriendsofHistoryDebatingSociety 1030-1045 #SPACEX: Grounded for a barge landing anomaly. Bob Zimmerman BehindtheBlack.com 1045-1100 #NASA: Troubled Europa Clipper to fly. Bob Zimmerman BehindtheBlack.com THIRD HOUR 1100-1115 1/4: When China Attacks: A Warning to America by Grant Newsham (Author) https://www.amazon.sg/When-China-Attacks-Warning-America/dp/1684513650 Communist China is ambitious. It wants to replace the United States as the world's leading superpower. And it is well on its way. It is dominant in the world economy. It is a master at intellectual property theft. It shows strategic genius at cornering essential markets. It has been staggeringly successful in buying influence among American elites. And its military buildup is astonishing. So far, China has been waging a cold war on the United States and its Asian allies. But, emboldened by American weakness and decline, that cold war is about to turn hot. The flashpoint will be Taiwan—but the war will extend over the entire Pacific Theatre. The results could be devastating. America is facing the possibility of humiliating regional retreat—one with almost unimaginable costs to our economy and security. That's the warning of Grant Newsham, a longtime China analyst for the Marine Corps, the Foreign Service, and Morgan Stanley Bank in Japan. His shocking new book *When China Attacks* is a fire bell in the night—a warning about an imminent hot war that we are already in the process of losing. It offers a frightening, but well-founded, blow-by-blow account of what might happen. 1115-1130 2/4: When China Attacks: A Warning to America by Grant Newsham (Author) 1130-1145 3/4: When China Attacks: A Warning to America by Grant Newsham (Author) 1145-1200 4/4: When China Attacks: A Warning to America by Grant Newsham (Author) FOURTH HOUR 12-1215 #Non-Proliferation: What is to be done IN THE US, IRAN, SAUDI ARABIA, RUSSIA, CHINA? Henry Sokolski, NPEC 1215-1230 #RUSSIA: #PRC: Cold War in LEO. Henry Sokolski, NPEC 1230-1245 #ELECTRICITY: Generac to the rescue of a power hungry and starved 21st. Robert Bryce. 1245-100 am #ITALY: Hollywood on the Palatine. Lorenzo Fiori, Ansaldo Foundation.
3/4: When China Attacks: A Warning to America by Grant Newsham (Author) https://www.amazon.sg/When-China-Attacks-Warning-America/dp/1684513650 Communist China is ambitious. It wants to replace the United States as the world's leading superpower. And it is well on its way. It is dominant in the world economy. It is a master at intellectual property theft. It shows strategic genius at cornering essential markets. It has been staggeringly successful in buying influence among American elites. And its military buildup is astonishing. So far, China has been waging a cold war on the United States and its Asian allies. But, emboldened by American weakness and decline, that cold war is about to turn hot. The flashpoint will be Taiwan—but the war will extend over the entire Pacific Theatre. The results could be devastating. America is facing the possibility of humiliating regional retreat—one with almost unimaginable costs to our economy and security. That's the warning of Grant Newsham, a longtime China analyst for the Marine Corps, the Foreign Service, and Morgan Stanley Bank in Japan. His shocking new book When China Attacks is a fire bell in the night—a warning about an imminent hot war that we are already in the process of losing. It offers a frightening, but well-founded, blow-by-blow account of what might happen. 1966 Red Guard
2/4: When China Attacks: A Warning to America by Grant Newsham (Author) https://www.amazon.sg/When-China-Attacks-Warning-America/dp/1684513650 Communist China is ambitious. It wants to replace the United States as the world's leading superpower. And it is well on its way. It is dominant in the world economy. It is a master at intellectual property theft. It shows strategic genius at cornering essential markets. It has been staggeringly successful in buying influence among American elites. And its military buildup is astonishing. So far, China has been waging a cold war on the United States and its Asian allies. But, emboldened by American weakness and decline, that cold war is about to turn hot. The flashpoint will be Taiwan—but the war will extend over the entire Pacific Theatre. The results could be devastating. America is facing the possibility of humiliating regional retreat—one with almost unimaginable costs to our economy and security. That's the warning of Grant Newsham, a longtime China analyst for the Marine Corps, the Foreign Service, and Morgan Stanley Bank in Japan. His shocking new book When China Attacks is a fire bell in the night—a warning about an imminent hot war that we are already in the process of losing. It offers a frightening, but well-founded, blow-by-blow account of what might happen. 1968 Red Guard
Send us a Text Message.USS PETTIT (DE-253) was a Coast Guard manned, Edsall-Class destroyer escort which escorted convoys in the Atlantic protecting ships and chasing U-Boats. After V-E Day PETTIT also served in the Pacific Theatre and searched for possible allied survivors on various islands. The Destroyer Escort Historical Museum wouldn't be here today if it weren't for Dr. Martin Davis, a PETTIT sailor. You'll hear all about his time aboard ship and his contributions to SLATER in part 2. Follow along with our transcript part 1 & part 2 and check out the photos on our website. If you like what you hear and are able to help us out by leaving a donation, we appreciate every dollar we are given! Donations are used to restore, preserve, and educate the public about USS SLATER and Destroyer Escorts. USS SLATER is a private not-for-profit museum that receives no regular support from New York State, the federal government, or the US Navy. We are funded by private donations, ticket, and merchandise sales. Thanks for listening and lending your support!Support the showSupport the Show.Thank you for listening to DE Classified and supporting USS SLATER! All proceeds earned from this podcast, tickets & merchandise sold, as well as donations recieved go directly to suuport the ship and her restoration. Donate at www.ussslater.org Find us online: Facebook, Instagram, Website, Podcast, and YouTube.
Send us a Text Message.USS PETTIT (DE-253) was a Coast Guard manned, Edsall-Class destroyer escort which escorted convoys in the Atlantic protecting ships and chasing U-Boats. After V-E Day PETTIT also served in the Pacific Theatre and searched for possible allied survivors on various islands. The Destroyer Escort Historical Museum wouldn't be here today if it weren't for Dr. Martin Davis, a PETTIT sailor. You'll hear all about his time aboard ship and his contributions to SLATER in part 2. Follow along with our transcript part 1 & part 2 and check out the photos on our website. If you like what you hear and are able to help us out by leaving a donation, we appreciate every dollar we are given! Donations are used to restore, preserve, and educate the public about USS SLATER and Destroyer Escorts. USS SLATER is a private not-for-profit museum that receives no regular support from New York State, the federal government, or the US Navy. We are funded by private donations, ticket, and merchandise sales. Thanks for listening and lending your support!Support the Show.Thank you for listening to DE Classified and supporting USS SLATER! All proceeds earned from this podcast, tickets & merchandise sold, as well as donations recieved go directly to suuport the ship and her restoration. Donate at www.ussslater.org Find us online: Facebook, Instagram, Website, Podcast, and YouTube.
Celebrating National Ice Cream Day with U.S. Navy Ice Cream Barge Bravo Zulu: Post 914 in Louisville, Ill. THE INTERVIEW Eric Stoffers, founder of BioXcellerator joins us to talk more about the stem cell therapy we talked about in Episode 216 with Crispy Avila. Eric takes us on a deeper dive into what this innovation can mean for the treatment of autoimmune and degenerative diseases as well as orthopedic, spine and disc, and neurological conditions. SCUTTLEBUTT CNAS Report: Social Media a barrier to bringing back the draft After dubious shootdowns, NORAD now checks with balloon hobbyist groups After CNN report, White House bringing back program for Gold Star families to honor service members buried abroad Special Guest: Eric Stoffers.
China's largesse in the Pacific is nothing if not visible. From mobile phone towers to gleaming stadiums and government buildings, Beijing's splashing out on those it sees as choosing “the right side of history.” In this episode, we explore Taiwan's future in the Pacific as it is deserted by its former diplomatic allies, lured by Beijing's goodies. In this episode, Louisa and Graeme are joined by Solomon Islands journalist Dorothy Wickham, co-founder of the Melanesian News Network, and the University of California's Jessica Marinaccio, a former staffer in Tuvalu's Taiwanese embassy. Show transcripts can be found at: https://www.thechinastory.org/lrp/ Image: Wikimedia Commons. “President Tsai and Tuvalu Prime Minister Sopoaga plant a coconut seedling, symbolizing the close friendship between Taiwan and Tuvalu.” (2017) Office of the President, Republic of China (Taiwan) | Government Website Open Information AnnouncementSee omnystudio.com/listener for privacy information.
Centenarian Dr. Herb Lipe was born February 10th, 1924, in Claremore, Oklahoma, growing up during the Depression and Dust Bowl. His Father, Clark, and Mother, Virginia, owned a grocery store in Claremore and were proprietors of acreage near Oologah, where they had a pecan orchard.Herb joined the Navy in 1943 during World War II, serving in the Pacific Theatre.Shortly before completing his military service, he read an advertisement for the Southern College of Optometry in Memphis, Tennessee. After earning his Doctor of Optometry degree, he began his practice in Drumright, Oklahoma, before moving to Tulsa, where he treated thousands of patients for over 50 years. Herb has voted in every election since he left the Navy. He said: “That is what we fought for, that is what America should believe in, but it is not free, you have to keep it up”.More advice from 100-year-old Herb Lipe: “Respect and love your country, the flag, and the military for what it does”.Listen to Herb talk about his life and his concerns for future generations on the oral history website and podcast VoicesOfOklahoma.com.
Our special mini series kicks off the inaugural episode of Ogden's Masters of the Air with Fred Blakely, a local Ogden boy who brought the City of Ogden to the Pacific Theatre and the Japanese home front. Do we mean that literally? You'll have to listen to find out. Join us as we examine Fred's storied career, the bombing missions, the first hand accounts, and our tribute to Lt. Col. Blakely's experiences in taking the fight to Japan in his B-29 Superfortress. While listening take a moment to pay your respects to these brave aviators and consider the mental, physical, and emotional cost of what was needed to win the war. Ogden, Ogden Utah, Junction City, True Crime, Historic 25th Street, Two-Bit Street, Ogden True Crime, Utah True Crime, Police, Police Podcast, Tales of Policing, History, History Podcast
IN THE NEWS 40th Anniversary of Operation Urgent Fury, when America Took a Stand Against Soviet and Cuban Influence in the Caribbean THIS WEEK'S GUEST Two members of the American Legion National Leadership team discuss the looming threat of a government shutdown, and the potential National Security concerns and impacts that could ripple through VA. Coast Guard veteran and National Veterans Affairs & Rehabilitation Commission Chairman Autrey James and Army veteran and Chairman of the National Security Commission Matthew Shuman discuss how veterans and servicemembers should prepare themselves, and discuss how The American Legion can help. RAPID FIRE ‘Home again': Marine's WWII diary returns to his daughter 81 years after final entry Property company ordered to repay troops charged illegal rental fees Farewell to JSTARS: End of an era in military intelligence Special Guests: Autrey James and Matthew Shuman.
In the grand tapestry of human history, wars often serve as the junctures where the fate of nations is decided. World War II, with its vast theater and unparalleled scale, is a particularly striking example of such a defining period. This monumental clash of powers, ideologies, and human spirit led to battles whose names still echo through time, their stories written and rewritten by the pens of historians. One such battle, though not as globally renowned as Stalingrad or Normandy, was nevertheless a crucial pivot in the Pacific Theatre, bearing heavy implications for the progression and ultimate outcome of the war. This was the Battle of Saipan. Saipan – a speck of land in the vast Pacific Ocean, part of the Mariana Islands, was a critical strategic stronghold for both the Empire of Japan and the United States. To Japan, it was a bulwark of its inner defense line, a shield to protect the mainland from the encroaching Allied forces. To the United States, it was a stepping stone, a launchpad for their Island Hopping campaign designed to take the fight directly to the heart of the Japanese Empire. From the tranquil Pacific waves that belied the tension beneath to the infernal battle cries amid the pandemonium of war, from the meticulously calculated military strategies to the raw, untamed bravery of soldiers, the Battle of Saipan was more than just an engagement between two armies; it was a pivotal moment that shaped the future course of World War II. As we delve into this epic saga of valor, desperation, strategy, and sacrifice, we will journey from the quiet planning rooms of the United States military command to the frantic defense preparations of the Japanese Imperial Army. We'll witness the human side of this colossal clash, the hopes and fears of those who were not merely players but humans whose lives were irrevocably altered by the battle. The tale of Saipan is one of heroism and tragedy, of victory and defeat, of the indomitable spirit of humanity amid the harshest trials. This is the story of the Battle of Saipan, an unforgettable chapter in the annals of World War II. --- Support this podcast: https://podcasters.spotify.com/pod/show/ww2-stories/support
After the devastating Japanese blows of December 1941, the Allies found themselves reeling with defeat everywhere in the Pacific. Although stripped of his battleships and outnumbered 10:3 in carriers, the US Navy commander-in-chief Admiral Ernest J. King decided to hit back at Japan's rapidly expanding Pacific empire immediately, in an effort to keep the Japanese off-balance.On February 1, 1942, Vice Admiral Bill Halsey led the US Pacific Fleet carriers on their first raid, using high-speed hit-and-run tactics to strike at the Japanese, at a time when most of the Japanese carrier fleet was in the Indian Ocean. Halsey's aggressive commitment inspired its American participants to invent the mythical “Haul Ass With Halsey” club. The last of the 1942 US carrier raids in March 1942 would form a defining moment in the Pacific War, prior to a new phase of high-seas battles between the opposing fleets.To discuss this overlooked era is Brian Herder, author of “Early Pacific Raids 1942: The American Carriers Strike Back.”This 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/3101278/advertisement
The Pacific Ocean, vast and seemingly limitless, conceals a history of bloodshed and courage within its azure depths. As the echoes of World War II continue to reverberate through time, tales of valor, sacrifice, and strategic genius rise from beneath the waves, forever etching their legacy onto the canvas of human history. One such tale is the Battle of Tarawa, a deadly contest of will and power that unfolded across the sun-scorched atoll of Tarawa in the Gilbert Islands. This story, steeped in heroism and tragedy, is far more than a historical event. It's a testament to human spirit and endurance, a vivid snapshot of a world at war. In the heat of November 1943, the tranquil, palm-fringed beaches of Tarawa became the stage for one of the most ferocious battles of the Pacific Theatre. It was a confrontation where the indomitable forces of the United States faced the hardened defenses of the Imperial Japanese Army. Both sides, motivated by the strategic importance of the Pacific Islands, were locked in a desperate struggle that would forever alter the trajectory of the war. Behind each gun fired, each strategy devised, and each life lost, there were men of unwavering conviction. Men like Admiral Chester Nimitz, the audacious commander of the US Pacific Fleet, and Vice Admiral Keiji Shibasaki, the steadfast Japanese defender of Tarawa. Their decisions and actions, rippling out like waves in the Pacific, shaped the course of this dramatic battle. This is the story of the Battle of Tarawa, a tale of fire and fury, hope and heartbreak. It's a journey through the grueling days of combat, the costly triumph, and the enduring legacy of this pivotal moment in World War II. We dive into the depths of strategy, explore the heroism in the face of overwhelming odds, and pay tribute to the profound impact of this battle on the course of the war. In the shadow of these monumental events, we're reminded that history isn't merely a record of what has been, but a beacon illuminating the path ahead. --- Support this podcast: https://podcasters.spotify.com/pod/show/ww2-stories/support
Irene gabs away with the amazing Sarah Rodgers, live from her current Directing contract in North Carolina! Sarah has an incredible career all over Canada and the US! She is a multi nominated and award winning Actress, Director as well as a Coach and adjunct Professor and she currently holds the legendary position of the Artistic Director for United Players of Vancouver Theatre Company. She received her BFA (Acting) and MFA (Directing) from The University of British Columbia. Sarah has performed on every stage in BC and she is one of Canadas top in-demand Directors often Directing back to back Seasons at many of our local Theatre companies including Theatre Under the Stars, The Arts Club Theatre Company, United Players, Western Canada Theatre, Firehall Arts Centre , Pacific Theatre, Studio 58, Gateway Theatre and most recently she Directed "The Little Mermaid" for the Opera House in North Carolina! Sarah's Directing resume could truly FILL a phone book!! She has made an impact off the stage and on the stage dominating in such shows as "Angels in America", "Les Belles-Soeurs", "Thoroughly Modern Millie", "To Avenge" and so many more! Not to mention her scene stealing moments in her Film and Television roles! She is an Artist a Mother a beautiful person inside and out and you are one of the lucky ones if you get to work with her or watch her work. She is a Wonder Woman as she continues to mentor and lead the Theatre industry encouraging veteran artists and emerging artists to work together through United Players. Thank you Sarah for all you do for the Arts!! To BOOK Sarah Rodgers for her incredible Directing and Acting skills please contact her Agent Josh Drebit at Kirk Talent Agency. To learn more about Sarah and follow her on her Social Media platforms please visit her on Facebook and Instagram!! To audition or become involved with Sarah and United Players of Vancouver, please visit their website www.unitedplayers.com. Join me in celebrating my friend, Sarah Rodgers!!#ilo_artistseries
In this episode: Kelli's background in foreign manufacturing, how Jerry got involved in the aviation industry, and Jerry's experiences during World War II in the Pacific Theatre. Then, his time at Utah's Hill Air Force Base, the founding of LSI, and how the organization has evolved and changed over 51 years. Want to learn more about LSI? Find us on LinkedIn, Instagram, Facebook, and Twitter, or at LSIWINS.com!
Have you stopped and considered what got you here? Who paved the way for you to learn and grow up in America? For first-generation Chinese American Paul Lee who was born in Somerville, Massachusetts, it is time for him and his siblings to remember their cultural roots, and to honor his parents' incredible immigrant journey to America. It is also time for us to thank his father Sen Lee for his service to America. Sen Lee fought for America in WWII in the United States Armed Forces in Pacific Theatre. Music Used: The Wrong Way by Jahzzar The Family Instrumental by Chad Crouch Prism by Xylo Ziko Four Way by William Ross Chernoff's Nomads Climb by The Ghost in Your Piano Boss 1: The First Challenge by Komiku Singing In The Rain Instrumental by David Mumford Rosedale Daydream Back in the Room by Greg Atkinson Youk Ra Lom Ai Oh by Les Cartes Postales Sonores One in a Billion Theme Song by Brad McCarthy Find Your Roots is a history and culture project centering on Asian American voices, perspectives, and experiences. It is a one-on-one in-depth podcast interview show with Asian “Roots-Finders” seeking to remember the diverse and profound influences of their parents and grandparents. This educational podcast project is designed to promote and preserve the legacy of the countless contributions—as well as forgotten struggles and sacrifices—of our ancestors who paved the way for us today. We want to include you in this conversation. Share your thoughts. Pitch us a story. To send us your comments or stories, email us @ info@oneinabillionvoices.org or go to our Facebook page or website at OneinABillionVoices.org under “Pitch a Story.” “One in a Billion” connects Asians and Americans through storytelling, one person at a time. Season 7 Find Your Roots Series is produced by One in a Billion Productions, a non-profit educational media company (501c3), with generous funding from PLUS Charitable Trust.
The number of military and civilian fatalities caused by World War II is estimated to be between 50 to 56 million people, with an additional 19 to 28 million deaths being caused by war related disease and famine. Out of all the areas that this war was fought, none were active as long as the area called the Pacific Theatre. The constant war in this area triggered a civil war and famine that is estimated to have killed more people that currently live in the countries of Canada and Australia combined.There were countless atrocities that occurred during this time, and some of the worst were caused by the operations of Unit 731. This biological warfare unit dove to new depths in what was already a genocidal war. Before this Unit was ended in 1945, it committed some of the most atrocious human experiments in recorded history.So get comfortable my spooky friends…you are about to hear the terrifying tale of Unit 731. But be aware: In today's episode we will be talking about some of the worst human experiments in recorded history. Listener discretion is advised.We got merch! Shop now: HorrifyingHist1.redbubble.com Join our fan club at: https://www.patreon.com/horrifyinghistory Facebook: https://www.facebook.com/horrifyinghistoryInstagram: https://instagram.com/horrifying_historyTwitter: https://twitter.com/horrifyinghist1 Horrifying History is part of the Darkcast Network. Check out their other amazing podcasts at https://www.darkcastnetwork.comThis 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/4180070/advertisement
This Memorial Day weekend, Chuck and Sam are honored to speak with Sergeant First Class Shane Vincent. Shane joined the Army in 2008 and was assigned to the 3rd Infantry Regiment, more commonly known as The Old Guard, where he became a Sentinel of the Tomb of the Unknown Soldier. He joins Breaking Battlegrounds this weekend to share his experiences in honoring the men and women who made the ultimate sacrifice to protect our nation. -On March 4, 1921, Congress approved a resolution providing for the burial of an unidentified American soldier, following the custom adopted by other allied countries after World War I. The site was to be the plaza of Arlington National Cemetery's Memorial Amphitheater, which had been dedicated the previous year.On Memorial Day, 1921, an unknown was exhumed from each of four cemeteries in France. The remains were placed in identical caskets and assembled at Chalon sur Marne.On October 24, Army Sergeant Edward F. Younger, wounded in combat and highly decorated for valor, selected the unknown soldier for World War 1 by placing a spray of white roses on one of the caskets. Those remaining were interred in the Meuse Argonne Cemetery, France. The Unknown Soldier then returned home to the U.S. to lie in state in the Capitol Rotunda until Armistice Day. On November 11, 1921, President Warren G. Harding officiated at the interment ceremonies at the Amphitheater.The monument which rests on top of the Unknown grave is a sarcophagus simple but impressive in its dimensions. Its austere, flat-faced form is relieved at the corners and along the sides by neo-classic pilasters, or columns, set unto the surface.Sculpted into the panel which faces Washington are the three figures of Valor, Victory, and Peace. On the plaza face the words "Here Rests in Honored Glory An American Soldier Known But To God".On August 3, 1956, President Dwight D. Eisenhower signed a bill to select and pay tribute to the Unknown Soldiers of World War II and Korea on Memorial Day 1958. The World War II Unknown was selected from 19 remains exhumed from military cemeteries in Hawaii, Europe, and the Philippines.Two Unknowns from World War II, one from the European Theatre and one from the Pacific Theatre, were placed in identical caskets and taken aboard the U.S.S. Canberra, a guided missile cruiser resting off the Virginia capes. Hospital Man First Class William R. Charette, then the Navy's only active duty Medal of Honor recipient, selected the Unknown Soldier of World War II. The remaining casket received a burial at sea.Four unknown Americans who had lost their lives in Korea were disinterred from the National Cemetery of the Pacific in Hawaii. Master sergeant Ned Lyle, U.S. Army made the final selection. Both the caskets arrived in Washington on May 28, 1958 where they lay in the Capital Rotunda until May 30.That morning they were carried on caissons to Arlington National Cemetery. President Eisenhower awarded each the Medal of Honor and the Unknowns were interred in the Plaza beside their comrade of World War 1.Twenty six years later, on Memorial Day, May 28, 1984, after a search made difficult because of advances in technologies used to identify the remains of unknown soldiers, President Ronald Reagan presided over the interment ceremony for the Vietnam Unknown service member. Like his predecessors, he was laid to rest in the plaza of the Tomb during a ceremony that received national coverage.Originally a civilian watchman was responsible for the security of the Tomb of the Unknown Soldier. Then, March 24, 1926, a military guard from the Washington Provisional Brigade (forerunner of the U.S. Army Military District of Washington) was established during the day-light hours. In 1948 the 3d U.S. Infantry "The Old Guard" assumed the post following the units reactivation in the nation's capital. Members of the 3d Infantry's Honor Guard continue to serve in this distinguished duty today.A soldier seeking the honor of serving as a sentinel at the Tomb must possess exemplary qualities, to include American citizenship, a spotless record, and impeccable military bearing.While on duty the sentinel crosses a 63-foot rubber surfaced walkway in exactly 21 steps. He then faces the Tomb for 21 seconds, turns again, and pauses an additional 21 seconds before retracing his steps. The 21 is symbolic of the highest salute accorded to dignitaries in military and state ceremonies.As a gesture against intrusion on their post, the sentinel always bears his weapon away from the Tomb.Only under exceptional circumstances may the guard speak or alter his silent, measured tour of duty. He will issue a warning if anyone attempts to enter the restricted area around the Tomb, but first will halt and bring his rifle to port arms.The Guard wears the Army Dress Blue Uniform, reminiscent of the color and style worn by soldiers during the late 1800's. Tomb Guards are privileged to wear the Tomb Identification Badge on the right breast pocket. The design is an inverted open laurel wreath surrounding a representation of the front elevation of the Tomb. The words "Honor Guard" are engraved at the base of the badge. A guard leaving after at least nine months of service is entitled to wear the badge as a permanent part of the uniform.-Connect with us:www.breakingbattlegrounds.voteTwitter: www.twitter.com/Breaking_BattleFacebook: www.facebook.com/breakingbattlegroundsInstagram: www.instagram.com/breakingbattlegroundsLinkedIn: www.linkedin.com/company/breakingbattlegrounds This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit breakingbattlegrounds.substack.com
Who are the key figures behind the battle for the Philippines, one of the most important battles of the Pacific Theatre?Al Murray, James Holland are joined by John C McManus to speak about his terrific new book 'To The End Of The Earth: The US Army and The Downfall of Japan'A Goalhanger Films ProductionProduced by Joey McCarthyExec Producer: Tony PastorTwitter: #WeHaveWays @WeHaveWaysPodWebsite: wehavewayspod.comEmail: wehavewayspodcast@gmail.com Hosted on Acast. See acast.com/privacy for more information.
Episode 243: Bryce Eddy is joined by James Fenelon to discuss his book Angels Against The Sun. They discuss the Pacific Theatre of World War II and how knowing history helps us understand the present.Putting the "MAN" back in mankind!Visit https://www.friendofbryce.com/ to get your free copy of Alliance Entrust's book on financial stewardship, 'Wisdom Before Wealth'.Go to https://www.goodranchers.com to receive FREE applewood-smoked bacon with every subscription. Also, use code Bryce for $20 off your order.Text BRYCE to 989898 to claim your free info kit on converting an IRA or 401k into an IRA in precious metals with Birch Gold.BE A THREAT TO THE GREAT RESET!Please subscribe and follow us on the following platforms!Rumble - https://rumble.com/c/TheBryceEddyShowSpotify - https://open.spotify.com/show/0S9VEEBrxdXaKdLvSHPue6Apple Podcast - https://podcasts.apple.com/us/podcast/the-bryce-eddy-show/id1635204267Google Podcast - https://podcasts.google.com/feed/aHR0cHM6Ly9vbW55LmZtL3Nob3dzL2xpYmVydHktc3RhdGlvbi9wbGF5bGlzdHMvbGliZXJ0eS1zdGF0aW9uLnJzcwInstagram - https://www.instagram.com/thebryceeddyshow/
Episode 243: Bryce Eddy is joined by James Fenelon to discuss his book Angels Against The Sun. They discuss the Pacific Theatre of World War II and how knowing history helps us understand the present. Putting the "MAN" back in mankind! Visit https://www.friendofbryce.com/ to get your free copy of Alliance Entrust's book on financial stewardship, 'Wisdom Before Wealth'. Go to https://www.goodranchers.com to receive FREE applewood-smoked bacon with every subscription. Also, use code Bryce for $20 off your order. Text BRYCE to 989898 to claim your free info kit on converting an IRA or 401k into an IRA in precious metals with Birch Gold. BE A THREAT TO THE GREAT RESET! Please subscribe and follow us on the following platforms! Rumble - https://rumble.com/c/TheBryceEddyShow Spotify - https://open.spotify.com/show/0S9VEEBrxdXaKdLvSHPue6 Apple Podcast - https://podcasts.apple.com/us/podcast/the-bryce-eddy-show/id1635204267 Google Podcast - https://podcasts.google.com/feed/aHR0cHM6Ly9vbW55LmZtL3Nob3dzL2xpYmVydHktc3RhdGlvbi9wbGF5bGlzdHMvbGliZXJ0eS1zdGF0aW9uLnJzcw Instagram - https://www.instagram.com/thebryceeddyshow/See omnystudio.com/listener for privacy information.
On this episode, we talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it. Robert Altman's O.C. and Stiggs. As always, before we get to the O.C. and Stiggs, we will be going a little further back in time. Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry. Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world. After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot. Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier. Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended. Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment. But his next film would change everything. Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war. Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes. This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again. And Altman would give them exactly that. MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s. After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy. MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade. 1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen. 1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure. Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946. Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come. 1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal. The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales. 1975 would bring what many consider to be the quintessential Robert Altman movie to screens. The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn. Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years. And we're going to stop here for a second and take a look at that list of films again. MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations. And we're still only in the middle of the 1970s. But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact, Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant. His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness. That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later. I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game. While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit. And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt. And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office. Altman's next film for Fox, 1979's Quintet, would not be as fortunate. Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline. Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt. In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack. But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way. But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band. Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated. That worry would continue with his next film, Health. A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves. But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf. Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood. And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray. I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon. After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade. Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k. Which, finally, after half an hour, brings us to our featured movie. O.C. and Stiggs. Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs was from any other project he had made to date. O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it. So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck. As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film. A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself. Despite hating studio executives for doing stuff like buying a script he's attached to then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m. Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern? The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves. The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage. But here's the funny thing about dailies. Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women. After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night. A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent. At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.” Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf. More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year. That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all. Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out. How long would O.C. and Stiggs be left in a void? It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day. The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career. In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor. And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson. On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there. But May would come and go, without a hint of the film. Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend. There would not be a second weekend of reported grosses. But to MGM's credit, they didn't totally give up on the film. On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie. I don't know how well the film did at the Nick, suffice it to say the film was gone after a week. But to MGM's credit, they still didn't give up on the film. On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles. MGM did not report grosses, and the film was gone from the new multiplex after a week. But to MGM's credit, they still didn't give up on the film. The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988. MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen. O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus. But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar. In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years. Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career. Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist. He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries. Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released. 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 talk about the great American filmmaker Robert Altman, and what is arguably the worst movie of his six decade, thirty-five film career: his 1987 atrocity O.C. and Stiggs. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we're going to talk about one of the strangest movies to come out of the decade, not only for its material, but for who directed it. Robert Altman's O.C. and Stiggs. As always, before we get to the O.C. and Stiggs, we will be going a little further back in time. Although he is not every cineaste's cup of tea, it is generally acknowledged that Robert Altman was one of the best filmmakers to ever work in cinema. But he wasn't an immediate success when he broke into the industry. Born in Kansas City in February 1925, Robert Altman would join the US Army Air Force after graduating high school, as many a young man would do in the days of World War II. He would train to be a pilot, and he would fly more than 50 missions during the war as part of the 307th Bomb Group, operating in the Pacific Theatre. They would help liberate prisoners of war held in Japanese POW Camps from Okinawa to Manila after the victory over Japan lead to the end of World War II in that part of the world. After the war, Altman would move to Los Angeles to break into the movies, and he would even succeed in selling a screenplay to RKO Pictures called Bodyguard, a film noir story shot in 1948 starring Lawrence Tierney and Priscilla Lane, but on the final film, he would only share a “Story by” credit with his then-writing partner, George W. George. But by 1950, he'd be back in Kansas City, where he would direct more than 65 industrial films over the course of three years, before heading back to Los Angeles with the experience he would need to take another shot. Altman would spend a few years directing episodes of a drama series called Pulse of the City on the DuMont television network and a syndicated police drama called The Sheriff of Cochise, but he wouldn't get his first feature directing gig until 1957, when a businessman in Kansas City would hire the thirty-two year old to write and direct a movie locally. That film, The Delinquents, cost only $60k to make, and would be purchased for release by United Artists for $150k. The first film to star future Billy Jack writer/director/star Tom Laughlin, The Delinquents would gross more than a million dollars in theatres, a very good sum back in those days, but despite the success of the film, the only work Altman could get outside of television was co-directing The James Dean Story, a documentary set up at Warner Brothers to capitalize on the interest in the actor after dying in a car accident two years earlier. Throughout the 1960s, Altman would continue to work in television, until he was finally given another chance to direct a feature film. 1967's Countdown was a lower budgeted feature at Warner Brothers featuring James Caan in an early leading role, about the space race between the Americans and Soviets, a good two years before Neil Armstrong and Buzz Aldrin landed on the moon. The shoot itself was easy, but Altman would be fired from the film shortly after filming was completed, as Jack Warner, the 75 year old head of the studio, was not very happy about the overlapping dialogue, a motif that would become a part of Altman's way of making movies. Although his name appears in the credits as the director of the film, he had no input in its assembly. His ambiguous ending was changed, and the film would be edited to be more family friendly than the director intended. Altman would follow Countdown with 1969's That Cold Day in the Park, a psychological drama that would be both a critical and financial disappointment. But his next film would change everything. Before Altman was hired by Twentieth-Century Fox to direct MASH, more than a dozen major filmmakers would pass on the project. An adaptation of a little known novel by a Korean War veteran who worked as a surgeon at one of the Mobile Auxiliary Surgical Hospitals that give the story its acronymic title, MASH would literally fly under the radar from the executives at the studio, as most of the $3m film would be shot at the studio's ranch lot in Malibu, while the executives were more concerned about their bigger movies of the year in production, like their $12.5m biographical film on World War II general George S. Patton and their $25m World War II drama Tora! Tora! Tora!, one of the first movies to be a Japanese and American co-production since the end of the war. Altman was going to make MASH his way, no matter what. When the studio refused to allow him to hire a fair amount of extras to populate the MASH camp, Altman would steal individual lines from other characters to give to background actors, in order to get the bustling atmosphere he wanted. In order to give the camp a properly dirty look, he would shoot most of the outdoor scenes with a zoom lens and a fog filter with the camera a reasonably far distance from the actors, so they could act to one another instead of the camera, giving the film a sort of documentary feel. And he would find flexibility when the moment called for it. Sally Kellerman, who was hired to play Margaret “Hot Lips” Houlihan, would work with Altman to expand and improve her character to be more than just eye candy, in large part because Altman liked what she was doing in her scenes. This kind of flexibility infuriated the two major stars of the film, Elliott Gould and Donald Sutherland, who at one point during the shoot tried to get Altman fired for treating everyone in the cast and crew with the same level of respect and decorum regardless of their position. But unlike at Warners a couple years earlier, the success of movies like Bonnie and Clyde and Easy Rider bamboozled Hollywood studio executives, who did not understand exactly what the new generation of filmgoers wanted, and would often give filmmakers more leeway than before, in the hopes that lightning could be captured once again. And Altman would give them exactly that. MASH, which would also be the first major studio film to be released with The F Word spoken on screen, would not only become a critical hit, but become the third highest grossing movie released in 1970, grossing more than $80m. The movie would win the Palme D'Or at that year's Cannes Film Festival, and it would be nominated for five Academy Awards, including Best Picture, Best Director and Best Supporting Actress for Ms. Kellerman, winning only for Best Adapted Screenplay. An ironic win, since most of the dialogue was improvised on set, but the victory for screenwriter Ring Lardner Jr. would effectively destroy the once powerful Hollywood Blacklist that had been in place since the Red Scare of the 1950s. After MASH, Altman went on one of the greatest runs any filmmaker would ever enjoy. MASH would be released in January 1970, and Altman's follow up, Brewster McCloud, would be released in December 1970. Bud Cort, the future star of Harold and Maude, plays a recluse who lives in the fallout shelter of the Houston Astrodome, who is building a pair of wings in order to achieve his dream of flying. The film would feature a number of actors who already were featured in MASH and would continue to be featured in a number of future Altman movies, including Sally Kellerman, Michael Murphy, John Schuck and Bert Remson, but another reason to watch Brewster McCloud if you've never seen it is because it is the film debut of Shelley Duvall, one of our greatest and least appreciated actresses, who would go on to appear in six other Altman movies over the ensuing decade. 1971's McCabe and Mrs. Miller, for me, is his second best film. A Western starring Warren Beatty and Julie Christie, was a minor hit when it was first released but has seen a reevaluation over the years that found it to be named the 8th Best Western of all time by the American Film Institute, which frankly is too low for me. The film would also bring a little-known Canadian poet and musician to the world, Leonard Cohen, who wrote and performed three songs for the soundtrack. Yeah, you have Robert Altman to thank for Leonard Cohen. 1972's Images was another psychological horror film, this time co-written with English actress Susannah York, who also stars in the film as an author of children's books who starts to have wild hallucinations at her remote vacation home, after learning her husband might be cheating on her. The $800k film was one of the first to be produced by Hemdale Films, a British production company co-founded by Blow Up actor David Hemmings, but the film would be a critical and financial disappointment when it was released Christmas week. But it would get nominated for an Academy Award for Best Original Dramatic Score. It would be one of two nominations in the category for John Williams, the other being The Poseidon Adventure. Whatever resentment Elliott Gould may have had with Altman during the shooting of MASH was gone by late 1972, when the actor agreed to star in the director's new movie, a modern adaptation of Raymond Chandler's 1953 novel The Long Goodbye. Gould would be the eighth actor to play the lead character, Phillip Marlowe, in a movie. The screenplay would be written by Leigh Brackett, who Star Wars nerds know as the first writer on The Empire Strikes Back but had also adapted Chandler's novel The Big Sleep, another Phillip Marlowe story, to the big screen back in 1946. Howard Hawks and Peter Bogdanovich had both been approached to make the film, and it would be Bogdanovich who would recommend Altman to the President of United Artists. The final film would anger Chandler fans, who did not like Altman's approach to the material, and the $1.7m film would gross less than $1m when it was released in March 1973. But like many of Altman's movies, it was a big hit with critics, and would find favor with film fans in the years to come. 1974 would be another year where Altman would make and release two movies in the same calendar year. The first, Thieves Like Us, was a crime drama most noted as one of the few movies to not have any kind of traditional musical score. What music there is in the film is usually heard off radios seen in individual scenes. Once again, we have a number of Altman regulars in the film, including Shelley Duvall, Bert Remsen, John Schuck and Tom Skerritt, and would feature Keith Carradine, who had a small co-starring role in McCabe and Mrs. Miller, in his first major leading role. And, once again, the film would be a hit with critics but a dud with audiences. Unlike most of Altman's movies of the 1970s, Thieves Like Us has not enjoyed the same kind of reappraisal. The second film, California Split, was released in August, just six months after Thieves Like Us. Elliott Gould once again stars in a Robert Altman movie, this time alongside George Segal. They play a pair of gamblers who ride what they think is a lucky streak from Los Angeles to Reno, Nevada, would be the only time Gould and Segal would work closely together in a movie, and watching California Split, one wishes there could have been more. The movie would be an innovator seemingly purpose-build for a Robert Altman movie, for it would be the first non-Cinerama movie to be recorded using an eight track stereo sound system. More than any movie before, Altman could control how his overlapping dialogue was placed in a theatre. But while most theatres that played the movie would only play it in mono sound, the film would still be a minor success, bringing in more than $5m in ticket sales. 1975 would bring what many consider to be the quintessential Robert Altman movie to screens. The two hour and forty minute Nashville would feature no less than 24 different major characters, as a group of people come to Music City to be involved in a gala concert for a political outsider who is running for President on the Replacement Party ticket. The cast is one of the best ever assembled for a movie ever, including Ned Beatty, Karen Black, Ronee Blakely, Keith Carradine, Geraldine Chaplin, Robert DoQui, Shelley Duvall, Allen Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum, Barbara Harris, Cristina Raines, Lily Tomlin and Keenan Wynn. Altman would be nominated for two Academy Awards for the film, Best Picture, as its producer, and Best Director, while both Ronee Blakely and Lily Tomlin would be nominated for Best Supporting Actress. Keith Carradine would also be nominated for an Oscar, but not as an actor. He would, at the urging of Altman during the production of the film, write and perform a song called I'm Easy, which would win for Best Original Song. The $2.2m film would earn $10m in ticket sales, and would eventually become part of the fourth class of movies to be selected for preservation by the National Film Registry in 1991, the first of four Robert Altman films to be given that honor. MASH, McCabe and Mrs. Miller, and The Long Goodbye would also be selected for preservation over the years. And we're going to stop here for a second and take a look at that list of films again. MASH Brewster McCloud McCabe and Mrs. Miller Images The Long Goodbye Thieves Like Us California Split Nashville Eight movies, made over a five year period, that between them earned twelve Academy Award nominations, four of which would be deemed so culturally important that they should be preserved for future generations. And we're still only in the middle of the 1970s. But the problem with a director like Robert Altman, like many of our greatest directors, their next film after one of their greatest successes feels like a major disappointment. And his 1976 film Buffalo Bill and the Indians, or Sitting Bull's History Lesson, and that is the complete title of the film by the way, did not meet the lofty expectations of film fans not only its director, but of its main stars. Altman would cast two legendary actors he had not yet worked with, Paul Newman and Burt Lancaster, and the combination of those two actors with this director should have been fantastic, but the results were merely okay. In fact, Altman would, for the first time in his career, re-edit a film after its theatrical release, removing some of the Wild West show acts that he felt were maybe redundant. His 1977 film 3 Women would bring Altman back to the limelight. The film was based on a dream he had one night while his wife was in the hospital. In the dream, he was directing his regular co-star Shelley Duvall alongside Sissy Spacek, who he had never worked with before, in a story about identity theft that took place in the deserts outside Los Angeles. He woke up in the middle of the dream, jotted down what he could remember, and went back to sleep. In the morning, he didn't have a full movie planned out, but enough of one to get Alan Ladd, Jr., the President of Twentieth-Century Fox, to put up $1.7m for a not fully formed idea. That's how much Robert Altman was trusted at the time. That, and Altman was known for never going over budget. As long as he stayed within his budget, Ladd would let Altman make whatever movie he wanted to make. That, plus Ladd was more concerned about a $10m movie he approved that was going over budget over in England, a science fiction movie directed by the guy who did American Graffiti that had no stars outside of Sir Alec Guinness. That movie, of course, was Star Wars, which would be released four weeks after 3 Women had its premiere in New York City. While the film didn't make 1/100th the money Star Wars made, it was one of the best reviewed movies of the year. But, strangely, the film would not be seen again outside of sporadic screenings on cable until it was released on DVD by the Criterion Collection 27 years later. I'm not going to try and explain the movie to you. Just trust me that 3 Women is from a master craftsman at the top of his game. While on the press tour to publicize 3 Women, a reporter asked Altman what was going to be next for him. He jokingly said he was going to shoot a wedding. But then he went home, thought about it some more, and in a few weeks, had a basic idea sketched out for a movie titled A Wedding that would take place over the course of one day, as the daughter of a Southern nouveau riche family marries the son of a wealthy Chicago businessman who may or may not a major figure in The Outfit. And while the film is quite entertaining, what's most interesting about watching this 1978 movie in 2023 is not only how many great established actors Altman got for the film, including Carol Burnett, Paul Dooley, Howard Duff, Mia Farrow, Vittorio Gassman, Lauren Hutton, and, in her 100th movie, Lillian Gish, but the number of notable actors he was able to get because he shot the film just outside Chicago. Not only will you see Dennis Christopher just before his breakthrough in Breaking Away, and not only will you see Pam Dawber just before she was cast alongside Robin Williams in Mark and Mindy, but you'll also see Dennis Franz, Laurie Metcalfe, Gary Sinese, Tim Thomerson, and George Wendt. And because Altman was able to keep the budget at a reasonable level, less than $1.75m, the film would be slightly profitable for Twentieth Century-Fox after grossing $3.6m at the box office. Altman's next film for Fox, 1979's Quintet, would not be as fortunate. Altman had come up with the story for this post-apocalyptic drama as a vehicle for Walter Hill to write and direct. But Hill would instead make The Warriors, and Altman decided to make the film himself. While developing the screenplay with his co-writers Frank Barhydt and Patricia Resnick, Altman would create a board game, complete with token pieces and a full set of rules, to flesh out the storyline. Altman would once again work with Paul Newman, who stars as a seal hunter in the early days of a new ice age who finds himself in elaborate game with a group of gamblers where losing in the game means losing your life in the process. Altman would deliberately hire an international cast to star alongside Newman, not only to help improve the film's ability to do well in foreign territories but to not have the storyline tied to any specific country. So we would have Italian actor Vittorio Gassman, Spaniard Fernando Rey, Swedish actress Bibi Andersson, French actress Brigitte Fossey, and Danish actress Nina van Pallandt. In order to maintain the mystery of the movie, Altman would ask Fox to withhold all pre-release publicity for the film, in order to avoid any conditioning of the audience. Imagine trying to put together a compelling trailer for a movie featuring one of the most beloved actors of all time, but you're not allowed to show potential audiences what they're getting themselves into? Altman would let the studio use five shots from the film, totaling about seven seconds, for the trailer, which mostly comprised of slo-mo shots of a pair of dice bouncing around, while the names of the stars pop up from moment to moment and a narrator tries to create some sense of mystery on the soundtrack. But audiences would not be intrigued by the mystery, and critics would tear the $6.4m budget film apart. To be fair, the shoot for the film, in the winter of 1977 outside Montreal was a tough time for all, and Altman would lose final cut on the film for going severely over-budget during production, although there seems to be very little documentation about how much the final film might have differed from what Altman would have been working on had he been able to complete the film his way. But despite all the problems with Quintet, Fox would still back Altman's next movie, A Perfect Couple, which would be shot after Fox pulled Altman off Quintet. Can you imagine that happening today? A director working with the studio that just pulled them off their project. But that's how little ego Altman had. He just wanted to make movies. Tell stories. This simple romantic comedy starred his regular collaborator Paul Dooley as Alex, a man who follows a band of traveling bohemian musicians because he's falling for one of the singers in the band. Altman kept the film on its $1.9m budget, but the response from critics was mostly concern that Altman had lost his touch. Maybe it was because this was his 13th film of the decade, but there was a serious concern about the director's ability to tell a story had evaporated. That worry would continue with his next film, Health. A satire of the political scene in the United States at the end of the 1970s, Health would follow a health food organization holding a convention at a luxury hotel in St. Petersburg FL. As one would expect from a Robert Altman movie, there's one hell of a cast. Along with Henry Gibson, and Paul Dooley, who co-write the script with Altman and Frank Barhydt, the cast would include Lauren Bacall, Carol Burnett, James Garner and, in one of her earliest screen appearances, Alfre Woodard, as well as Dick Cavett and Dinah Shore as themselves. But between the shooting of the film in the late winter and early spring of 1979 and the planned Christmas 1979 release, there was a change of management at Fox. Alan Ladd Jr. was out, and after Altman turned in his final cut, new studio head Norman Levy decided to pull the film off the 1979 release calendar. Altman fought to get the film released sometime during the 1980 Presidential Campaign, and was able to get Levy to give the film a platform release starting in Los Angeles and New York City in March 1980, but that date would get cancelled as well. Levy then suggested an April 1980 test run in St. Louis, which Altman was not happy with. Altman countered with test runs in Boston, Houston, Sacramento and San Francisco. The best Altman, who was in Malta shooting his next movie, could get were sneak previews of the film in those four markets, and the response cards from the audience were so bad, the studio decided to effectively put the film on the proverbial shelf. Back from the Mediterranean Sea, Altman would get permission to take the film to the Montreal World Film Festival in August, and the Telluride and Venice Film Festivals in September. After good responses from film goers at those festivals, Fox would relent, and give the film a “preview” screening at the United Artists Theatre in Westwood, starting on September 12th, 1980. But the studio would give the film the most boring ad campaign possible, a very crude line drawing of an older woman's pearl bracelet-covered arm thrusted upward while holding a carrot. With no trailers in circulation at any theatre, and no television commercials on air, it would be little surprise the film didn't do a whole lot of business. You really had to know the film had been released. But its $14k opening weekend gross wasn't really all that bad. And it's second week gross of $10,500 with even less ad support was decent if unspectacular. But it would be good enough to get the film a four week playdate at the UA Westwood. And then, nothing, until early March 1981, when a film society at Northwestern University in Evanston IL was able to screen a 16mm print for one show, while a theatre in Baltimore was able to show the film one time at the end of March. But then, nothing again for more than another year, when the film would finally get a belated official release at the Film Forum in New York City on April 7th, 1982. It would only play for a week, and as a non-profit, the Film Forum does not report film grosses, so we have no idea how well the film actually did. Since then, the movie showed once on CBS in August 1983, and has occasionally played on the Fox Movie Channel, but has never been released on VHS or DVD or Blu-Ray. I mentioned a few moments ago that while he was dealing with all this drama concerning Health, Altman was in the Mediterranean filming a movie. I'm not going to go too much into that movie here, since I already have an episode for the future planned for it, suffice to say that a Robert Altman-directed live-action musical version of the Popeye the Sailor Man cartoon featuring songs by the incomparable Harry Nilsson should have been a smash hit, but it wasn't. It was profitable, to be certain, but not the hit everyone was expecting. We'll talk about the film in much more detail soon. After the disappointing results for Popeye, Altman decided to stop working in Hollywood for a while and hit the Broadway stages, to direct a show called Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean. While the show's run was not very long and the reviews not very good, Altman would fund a movie version himself, thanks in part to the sale of his production company, Lion's Gate, not to be confused with the current studio called Lionsgate, and would cast Karen Black, Cher and Sandy Dennis alongside newcomers Sudie Bond and Kathy Bates, as five female members of The Disciples of James Dean come together on the 20th anniversary of the actor's death to honor his life and times. As the first film released by a new independent distributor called Cinecom, I'll spend more time talking about this movie on our show about that distributor, also coming soon, suffice it to say that Altman was back. Critics were behind the film, and arthouse audiences loved it. This would be the first time Altman adapted a stage play to the screen, and it would set the tone for a number of his works throughout the rest of the decade. Streamers was Altman's 17th film in thirteen years, and another adaptation of a stage play. One of several works by noted Broadway playwright David Rabe's time in the Army during the Vietnam War, the film followed four young soldiers waiting to be shipped to Vietnam who deal with racial tensions and their own intolerances when one soldier reveals he is gay. The film featured Matthew Modine as the Rabe stand-in, and features a rare dramatic role for comedy legend David Alan Grier. Many critics would note how much more intense the film version was compared to the stage version, as Altman's camera was able to effortlessly breeze around the set, and get up close and personal with the performers in ways that simply cannot happen on the stage. But in 1983, audiences were still not quite ready to deal with the trauma of Vietnam on film, and the film would be fairly ignored by audiences, grossing just $378k. Which, finally, after half an hour, brings us to our featured movie. O.C. and Stiggs. Now, you might be asking yourself why I went into such detail about Robert Altman's career, most of it during the 1970s. Well, I wanted to establish what types of material Altman would chose for his projects, and just how different O.C. and Stiggs was from any other project he had made to date. O.C. and Stiggs began their lives in the July 1981 issue of National Lampoon, as written by two of the editors of the magazine, Ted Mann and Tod Carroll. The characters were fun-loving and occasionally destructive teenage pranksters, and their first appearance in the magazine would prove to be so popular with readers, the pair would appear a few more times until Matty Simmons, the publisher and owner of National Lampoon, gave over the entire October 1982 issue to Mann and Carroll for a story called “The Utterly Monstrous Mind-Roasting Summer of O.C. and Stiggs.” It's easy to find PDFs of the issues online if you look for it. So the issue becomes one of the biggest selling issues in the history of National Lampoon, and Matty Simmons has been building the National Lampoon brand name by sponsoring a series of movies, including Animal House, co-written by Lampoon writers Doug Kenney and Chris Miller, and the soon to be released movies Class Reunion, written by Lampoon writer John Hughes… yes, that John Hughes… and Movie Madness, written by five Lampoon writers including Tod Carroll. But for some reason, Simmons was not behind the idea of turning the utterly monstrous mind-roasting adventures of O.C. and Stiggs into a movie. He would, however, allow Mann and Carroll to shop the idea around Hollywood, and wished them the best of luck. As luck would have it, Mann and Carroll would meet Peter Newman, who had worked as Altman's production executive on Jimmy Dean, and was looking to set up his first film as a producer. And while Newman might not have had the credits, he had the connections. The first person he would take the script to his Oscar-winning director Mike Nichols, whose credits by this time included Who's Afraid of Virginia Wolff?, The Graduate, Catch-22, and Carnal Knowledge. Surprisingly, Nichols was not just interested in making the movie, but really wanted to have Eddie Murphy, who was a breakout star on Saturday Night Live but was still a month away from becoming a movie star when 48 Hours was released, play one of the leading characters. But Murphy couldn't get out of his SNL commitments, and Nichols had too many other projects, both on Broadway and in movies, to be able to commit to the film. A few weeks later, Newman and Altman both attended a party where they would catch up after several months. Newman started to tell Altman about this new project he was setting up, and to Newman's surprise, Altman, drawn to the characters' anti-establishment outlook, expressed interest in making it. And because Altman's name still commanded respect in Hollywood, several studios would start to show their interest in making the movie with them. MGM, who was enjoying a number of successes in 1982 thanks to movies like Shoot the Moon, Diner, Victor/Victoria, Rocky III, Poltergeist, Pink Floyd - The Wall, and My Favorite Year, made a preemptive bid on the film, hoping to beat Paramount Pictures to the deal. Unknown to Altman, what interested MGM was that Sylvester Stallone of all people went nuts for the script when he read it, and mentioned to his buddies at the studio that he might be interested in making it himself. Despite hating studio executives for doing stuff like buying a script he's attached to then kicking him off so some Italian Stallion not known for comedy could make it himself, Altman agree to make the movie with MGM once Stallone lost interest, as the studio promised there would be no further notes about the script, that Altman could have final cut on the film, that he could shoot the film in Phoenix without studio interference, and that he could have a budget of $7m. Since this was a Robert Altman film, the cast would be big and eclectic, filled with a number of his regular cast members, known actors who he had never worked with before, and newcomers who would go on to have success a few years down the road. Because, seriously, outside of a Robert Altman movie, where are you going to find a cast that included Jon Cryer, Jane Curtin, Paul Dooley, Dennis Hopper, Tina Louise, Martin Mull, Cynthia Nixon, Bob Uecker, Melvin van Peebles, and King Sunny Adé and His African Beats? And then imagine that movie also featuring Matthew Broderick, Jim Carrey, Robert Downey, Jr. and Laura Dern? The story for the film would both follow the stories that appeared in the pages of National Lampoon fairly closely while also making some major changes. In the film, Oliver Cromwell “O.C.” Oglivie and Mark Stiggs are two ne'er-do-well, middle-class Phoenix, Arizona high school students who are disgusted with what they see as an omnipresent culture of vulgar and vapid suburban consumerism. They spend their days slacking off and committing pranks or outright crimes against their sworn enemies, the Schwab family, especially family head Randall Schwab, a wealthy insurance salesman who was responsible for the involuntary commitment of O.C.'s grandfather into a group home. During the film, O.C. and Stiggs will ruin the wedding of Randall Schwab's daughter Lenore, raft their way down to a Mexican fiesta, ruin a horrible dinner theatre performance directed by their high school's drama teacher being attended by the Schwabs, and turn the Schwab mansion into a homeless shelter while the family is on vacation. The film ends with O.C. and Stiggs getting into a gun fight with Randall Schwab before being rescued by Dennis Hopper and a helicopter, before discovering one of their adventures that summer has made them very wealthy themselves. The film would begin production in Phoenix on August 22nd, 1983, with two newcomers, Daniel H. Jenkins and Neill Barry, as the titular stars of the film. And almost immediately, Altman's chaotic ways of making a movie would become a problem. Altman would make sure the entire cast and crew were all staying at the same hotel in town, across the street from a greyhound racetrack, so Altman could take off to bet on a few of the races during production downtime, and made sure the bar at the hotel was an open bar for his team while they were shooting. When shooting was done every day, the director and his cast would head to a makeshift screening room at the hotel, where they'd watch the previous day's footage, a process called “dailies” in production parlance. On most films, dailies are only attended by the director and his immediate production crew, but in Phoenix, everyone was encouraged to attend. And according to producer Peter Newman and Dan Jenkins, everyone loved the footage, although both would note that it might have been a combination of the alcohol, the pot, the cocaine and the dehydration caused by shooting all day in the excessive Arizona heat during the middle of summer that helped people enjoy the footage. But here's the funny thing about dailies. Unless a film is being shot in sequence, you're only seeing small fragments of scenes, often the same actors doing the same things over and over again, before the camera switches places to catch reactions or have other characters continue the scene. Sometimes, they're long takes of scenes that might be interrupted by an actor flubbing a line or an unexpected camera jitter or some other interruption that requires a restart. But everyone seemed to be having fun, especially when dailies ended and Altman would show one of his other movies like MASH or The Long Goodbye or 3 Women. After two months of shooting, the film would wrap production, and Altman would get to work on his edit of the film. He would have it done before the end of 1983, and he would turn it in to the studio. Shortly after the new year, there would be a private screening of the film in New York City at the offices of the talent agency William Morris, one of the larger private screening rooms in the city. Altman was there, the New York-based executives at MGM were there, Peter Newman was there, several of the actors were there. And within five minutes of the start of the film, Altman realized what he was watching was not his cut of the film. As he was about to lose his stuff and start yelling at the studio executives, the projector broke. The lights would go up, and Altman would dig into the the executives. “This is your effing cut of the film and not mine!” Altman stormed out of the screening and into the cold New York winter night. A few weeks later, that same print from New York would be screened for the big executives at the MGM lot in Los Angeles. Newman was there, and, surprisingly, Altman was there too. The film would screen for the entire running length, and Altman would sit there, watching someone else's version of the footage he had shot, scenes put in different places than they were supposed to be, music cues not of his design or consent. At the end of the screening, the room was silent. Not one person in the room had laughed once during the entire screening. Newman and Altman left after the screening, and hit one of Altman's favorite local watering holes. As they said their goodbyes the next morning, Altman apologized to Newman. “I hope I didn't eff up your movie.” Maybe the movie wasn't completely effed up, but MGM certainly neither knew what to do with the film or how to sell it, so it would just sit there, just like Health a few years earlier, on that proverbial shelf. More than a year later, in an issue of Spin Magazine, a review of the latest album by King Sunny Adé would mention the film he performed in, O.C. and Stiggs, would, quote unquote, “finally” be released into theatres later that year. That didn't happen, in large part because after WarGames in the early summer of 1983, almost every MGM release had been either an outright bomb or an unexpected financial disappointment. The cash flow problem was so bad that the studio effectively had to sell itself to Atlanta cable mogul Ted Turner in order to save itself. Turner didn't actually want all of MGM. He only wanted the valuable MGM film library, but the owner of MGM at the time was either going to sell it all or nothing at all. Barely two months after Ted Turner bought MGM, he had sold the famed studio lot in Culver City to Lorimar, a television production company that was looking to become a producer and distributor of motion pictures, and sold rest of the company he never wanted in the first place to the guy he bought it all from, who had a kind of seller's remorse. But that repurchase would saddle the company with massive bills, and movies like O.C. and Stiggs would have to sit and collect dust while everything was sorted out. How long would O.C. and Stiggs be left in a void? It would be so long that Robert Altman would have time to make not one, not two, but three other movies that would all be released before O.C. and Stiggs ever saw the light of day. The first, Secret Honor, released in 1984, featured the great Philip Baker Hall as former President Richard Nixon. It's probably Hall's single best work as an actor, and the film would be amongst the best reviewed films of Altman's career. In 1985, Altman would film Fool For Love, an adaptation of a play by Sam Shepard. This would be the only time in Shepard's film career where he would star as one of the characters himself had written. The film would also prove once and for all that Kim Basinger was more than just a pretty face but a real actor. And in February 1987, Altman's film version of Beyond Therapy, a play by absurdist playwright Christopher Durant, would open in theatres. The all-star cast would include Tom Conti, Jeff Goldblum, Christopher Guest, Julie Hagerty and Glenda Jackson. On March 5th, 1987, an article in Daily Variety would note that the “long shelved” film would have a limited theatrical release in May, despite the fact that Frank Yablans, the vice chairman of MGM, being quoted in the article that the film was unreleasable. It would further be noted that despite the film being available to international distributors for three years, not one company was willing to acquire the film for any market. The plan was to release the movie for one or two weeks in three major US markets, depending on its popularity, and then decide a future course of action from there. But May would come and go, without a hint of the film. Finally, on Friday, July 10th, the film would open on 18 screens, but none in any major market like Chicago, Los Angeles or New York City. I can't find a single theatre the film played in that weekend, but that week's box office figures would show an abysmal $6,273 worth of tickets were sold during that first weekend. There would not be a second weekend of reported grosses. But to MGM's credit, they didn't totally give up on the film. On Thursday, August 27th, O.C. and Stiggs would open in at least one theatre. And, lucky for me, that theatre happened to be the Nickelodeon Theatre in Santa Cruz. But despite the fact that the new Robert Altman was opening in town, I could not get a single friend to see it with me. So on a Tuesday night at 8:40pm, I was the only person in all of the region to watch what I would soon discover was the worst Robert Altman movie of all time. Now, I should note that even a bad Robert Altman movie is better than many filmmakers' best movies, but O.C. and Stiggs would have ignobility of feeling very much like a Robert Altman movie, with its wandering camera and overlapping dialogue that weaves in and out of conversations while in progress and not quite over yet, yet not feeling anything like a Robert Altman movie at the same time. It didn't have that magical whimsy-ness that was the hallmark of his movies. The satire didn't have its normal bite. It had a number of Altman's regular troop of actors, but in smaller roles than they'd usually occupy, and not giving the performances one would expect of them in an Altman movie. I don't know how well the film did at the Nick, suffice it to say the film was gone after a week. But to MGM's credit, they still didn't give up on the film. On October 9th, the film would open at the AMC Century City 14, one of a handful of movies that would open the newest multiplex in Los Angeles. MGM did not report grosses, and the film was gone from the new multiplex after a week. But to MGM's credit, they still didn't give up on the film. The studio would give the film one more chance, opening it at the Film Forum in New York City on March 18th, 1988. MGM did not report grosses, and the film was gone after a week. But whether that was because MGM didn't support the film with any kind of newspaper advertising in the largest market in America, or because the movie had been released on home video back in November, remains to be seen. O.C. and Stiggs would never become anything resembling a cult film. It's been released on DVD, and if one was programming a Robert Altman retrospect at a local arthouse movie theatre, one could actually book a 35mm print of the film from the repertory cinema company Park Circus. But don't feel bad for Altman, as he would return to cinemas with a vengeance in the 1990s, first with the 1990 biographical drama Vincent and Theo, featuring Tim Roth as the tortured genius 19th century painter that would put the actor on the map for good. Then, in 1992, he became a sensation again with his Hollywood satire The Player, featuring Tim Robbins as a murderous studio executive trying to keep the police off his trail while he navigates the pitfalls of the industry. Altman would receive his first Oscar nomination for Best Director since 1975 with The Player, his third overall, a feat he would repeat the following year with Short Cuts, based on a series of short stories by Raymond Carver. In fact, Altman would be nominated for an Academy Award seven times during his career, five times as a director and twice as a producer, although he would never win a competitive Oscar. In March 2006, while editing his 35th film, a screen adaptation of the then-popular NPR series A Prairie Home Companion, the Academy would bestow an Honorary Oscar upon Altman. During his acceptance speech, Altman would wonder if perhaps the Academy acted prematurely in honoring him in this fashion. He revealed he had received a heart transplant in the mid-1990s, and felt that, even though he had turned 81 the month before, he could continue for another forty years. Robert Altman would pass away from leukemia on November 20th, 2006, only eight months after receiving the biggest prize of his career. Robert Altman had a style so unique onto himself, there's an adjective that exists to describe it. Altmanesque. Displaying traits typical of a film made by Robert Altman, typically highly naturalistic, but with a stylized perspective and often a subversive twist. He truly was a one of a kind filmmaker, and there will likely never be anyone like him, no matter how hard Paul Thomas Anderson tries. Thank you for joining us. We'll talk again in two weeks, when Episode 106, Mad Magazine Presents Up the Academy, is released. 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.
Mat and Pete are returning to the Pacific Theatre of the Second World War, to walk another battlefield from the legendary Guadalcanal Campaign. Following on from their episode about the Thin Red Line, this time they are walking the slopes of Mount Austen, a landmark that could be seen from all parts of the battlefield and the scene of some of the bloodiest fighting in the final stages of the campaign. This is a tale of audacious patrols behind enemy lines, Medal of Honor actions, desperate fights to the last man and the unwavering support of the local people to help win one of the most important campaigns of the Second World War.Presenters: Mat McLachlan and Peter SmithProducer: Jess StebnickiBecome a member to listen ad-free and to receive exclusive bonus episodes from only $2.99 per month!: https://plus.acast.com/s/battlewalksSupport the show with a one-off donation: www.buymeacoffee.com/battlewalksFollow us on Twitter @BattleWalks and Facebook @Battle.WalksFor more great history content, visit www.LivingHistoryTV.com, or subscribe to our YouTube channel at www.youtube.com/c/LivingHistoryTV Become a member at https://plus.acast.com/s/battlewalks. Hosted on Acast. See acast.com/privacy for more information.
The B-25 Mitchell Bomber, affectionately nicknamed "Panchito," is a symbol of American ingenuity and determination during World War II. This medium bomber was developed by North American Aviation and produced between 1940 and 1945. A staggering total of 9,815 B-25s were built throughout the war, making it one of the most widely produced aircraft models in history. The B-25 holds a special place in the pantheon of military aviation due to its versatility, dependability, and widespread use. The B-25 was designed to excel in various combat scenarios, focusing primarily on medium-altitude bombing missions between 8,000 and 12,000 feet. It was equipped with a robust suite of armaments, including up to twelve .50 caliber machine guns, 3,000 pounds of bombs, and a 75mm cannon, making it a formidable adversary for enemy forces. The bomber's twin engines gave it a top speed of over 300 miles per hour, allowing it to evade enemy fire and deliver payloads with precision. One of the most iconic moments involving the B-25 occurred on April 18, 1942, in what is famously known as the Doolittle Raid. This daring mission was a key turning point in the Pacific Theatre, as sixteen B-25s took off from the USS Hornet to carry out a surprise bombing raid on Tokyo, led by Lieutenant Colonel James H. Doolittle. This feat demonstrated the bomber's incredible adaptability and solidified its place in aviation history. Nowadays, the public has the rare opportunity to experience a piece of history through the offerings of the Delaware Aviation Museum in Georgetown. The museum is home to Panchito, one of the few remaining operational B-25s, which has been meticulously restored to its original specs. It holds a place of honor as the lead plane for events such as the Sussex Air Force tribute to healthcare workers. Visitors to the Delaware Aviation Museum can do more than just marvel at Panchito's impressive appearance; they can also experience the thrill of taking to the skies inside this legendary aircraft. By offering rides in Panchito, the museum allows aviation enthusiasts and history buffs to immerse themselves in the unique experience of soaring through the clouds in a bona fide World War II bomber, taking a journey through time and space that few can claim to have enjoyed. In conclusion, the B-25 "Panchito" represents an era of innovative aviation design and a crucial moment in military history. Its versatility, power, and adaptability have secured its place not only as an essential weapon during World War II but also as an enduring testament to the human spirit of unity and perseverance. By preserving and celebrating Panchito, the Delaware Aviation Museum ensures that future generations can continue to appreciate the incredible legacy of this distinguished aircraft. --- Send in a voice message: https://podcasters.spotify.com/pod/show/wonderwomenofaviation/message Support this podcast: https://podcasters.spotify.com/pod/show/wonderwomenofaviation/support
John McManus joins Al and James to explore the Bougainville campaign. This otherwise unassuming little island just off mainland Papua New Guinea was home to one of the final campaigns in the Pacific Theatre. The trio also explore issues of race in the US Army chain of command and the resulting treatment of the 24th Infantry Regiment, the African American unit.A Goalhanger Films ProductionProduced by Vasco AndradeExec Producer: Tony PastorTwitter: #WeHaveWays @WeHaveWaysPodWebsite: wehavewayspod.comEmail: wehavewayspod@gmail.com Hosted on Acast. See acast.com/privacy for more information.
Carl Thomas Saunders, 99, of Sandston passed away on Thursday, February 9, 2023. He was preceded in death by his parents, Thomas and Mary B. Saunders; four brothers, Herbert, Donald, Thomas “Tommy” and his twin brother, Clayton Saunders; and one sister, Ruth Cocke Nagy. He is survived by his wife of 66 years, Virginia A. Saunders; son, Ronald Saunders; daughter, Susan Saunders Wood and her husband, Robin of Mechanicsville; three grandchildren, Kelsey Gray, Jessica Saunders and Cameron Wood; brother, O'Neil Saunders of Richmond; and many nieces and nephews. He was a WW II veteran having served in the Pacific Theatre...Article LinkSupport the show
Our first escape from the Pacific Theatre, we look at the escape of Midshipman Peter Noel Vesey Newsome, who despite being a Merchant sailor for the Blue Funnel Line, served as a GI in the US Army, taking part in Guerilla warfare in the Philippines, and even liberated his own prison camp! For You The War Is Over is a podcast that looks at the real life stories of Prisoner-of-War escapes from the the Second World War. Hosted by Dave Robertson and Tony Hoskins, each episode looks at a new escape. If you would like to follow us on Twitter we can be found @FYTWIO we can also be found on Facebook https://www.facebook.com/FYTWIO/ or if you would prefer to send a more long form message we can also be reached via email at FYTWIOpodcast@gmail.com
Much has been written about the European Theater in World War II. But the war in the Pacific Theater was the largest naval war ever fought. It covered the entire breadth of the Pacific Ocean, and much of the fighting took place in remote, wild environments. How did the conflict impact those environments heretofore untouched by the outside world? And what about the Indigenous peoples who lived there? Ian W. Toll is the author of Six Frigates: The Epic History of the Founding of the US Navy and the Pacific War Trilogy—Pacific Crucible, The Conquering Tide, and Twilight of the Gods. On this episode of Reversing Climate Change, Ian joins Ross to explain how airbases were built on hundreds of Pacific islands during WWII and describe how the scale of development radically and irrevocably changed the ecosystems there. Ian discusses how hundreds of shipwrecks from WWII have the potential to turn into environmental disasters at any time and weighs in on what we can do to avoid a modern-day war in the Pacific—and why it's crucial. Listen in for Ian's insight on the logistical prowess of the US to ramp up shipbuilding during WWII and find out why Admiral Halsey ranked the bulldozer among the five most important weapons of the Pacific War. Connect with Nori Purchase Nori Carbon Removals Nori's website Nori on Twitter Check out our other podcast, Carbon Removal Newsroom Carbon Removal Memes on Twitter Carbon Removal Memes on Instagram Resources Ian W. Toll on Twitter Six Frigates: The Epic History of the Founding of the US Navy by Ian W. Toll Ian W. Toll's Pacific War Trilogy Patrick O'Brian Test Ban Treaty With the Old Breed: At Peleliu and Okinawa by E.B. Sledge The Pacific Tales of the South Pacific by James A. Michener Alfred Thayer Mahan --- Send in a voice message: https://anchor.fm/reversingclimatechange/message Support this podcast: https://anchor.fm/reversingclimatechange/support
The importance of passion cannot be understated. It can be a wonderful and beautiful thing, and if it's made into a positive part of not only one's own life but for others as well; it's a passion worth pursuing. On this episode of The Unfinished Print I speak with mokuhanga collector, self taught scholar and instructor, Carol Dorman. Having seen her work and lectures with the Japan Foundation Toronto, on various topics on ukiyo-e history and culture, I found her knowledge and story to be of great interest. I speak with Carol about her journey from working at the CBC for the national news, to working side by side with Stuart Jackson, a mokuhanga gallery owner here in Toronto. Carol speaks on her love of the ukiyo-e period of Japanese woodblock prints, her collecting, how that world has changed dramatically during her time at The Stuart Jackson Gallery, and we discuss her work at the LIFE Institute of Toronto where she teaches and instructs age 50+ students about ukiyo-e history. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Regina, Saskatchewan - is the capital of the Canadian Province of Saskatchewan. Located on the land of the Cree, Saulteaux, Dakota, Nakota, Lakota, and Métis peoples, it is the 16th most populace city in Canada. The city has many restaurants, museums, and other places of interest. More info can be found at Tourism Regina, here. University of Toronto - considered a public research university, U of T is located in the city of Toronto, Ontario, Canada, and was founded in 1827. It has educated any number of famous Canadian authors, scientists, politicians, and the like. More info, here. Stuart Jackson Gallery - is a ukiyo-e specific gallery located at 882 Queen Street W. in Toronto, Ontario, Canada. It has been doing business in Toronto for almost fifty years. More info, here. The Royal Ontario Museum - also known as The ROM, is an art, world culture, and natural history museum in the city of Toronto, and is one of the oldest museums in the city. More info, here. The Canadian Broadcasting Corporation - also known as the CBC, is a Canadian Federal Crown corporation and is the oldest broadcasting network in Canada. Founded in 1936, the CBC broadcasts news, original programming, and sports throughout Canada and the world. They broadcast via various digital platforms as well as terrestrial platforms such as television and radio. More info, here. Meiji Period of Japan (1868-1912)- the Meiji Period in Japanese history is synonymous with turmoil and regime change. The Meiji Period is named after Prince Mutsuhito (1852-1912), who became Emperor after his fathers death, Emperor Kōmei (1846-1867). Mutsuhito's reign came at the end of the Keiō Era, (1865-1868), until his own death in 1912. Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs. Tsuzoku Suikoden Goketsu Hyakuhachi-nin no Hitori (津属水滸伝後けつ百八人にの一人 ca. 1827) Utagawa Kunisada (1786-1865) - arguably one of the more important woodblock print designers, Kunisada designed many types of prints, from landscape, books, erotica, sumo etc. Kunisada worked during the period of ukiyo-e history with Andō Hiroshige (1797-1858), Katsushika Hokusai (1760-1849), and the above mentioned Kuniyoshi. Defintely a rich and abundant period in Japanese woodblock print history. Oni Azami Seikichi (鬼あざみ清吉) 1859 Yorkville, Toronto - Yorkville is a neighbourhood located in the heart of Toronto. It has a rich history, politically and culturally. It has become a high end neighbourhood in the city, with many expensive shops, luxury homes and condos. It is famous for once being the hotbed of folk music in the world, outside of New York City, in the 1960's. Performers such as Neil Young, Joni Mitchell, Bob Dylan amongst others performed in the various clubs in the neighbourhood. 2008 Financial Crisis - was a world wide financial crisis which started in 2007 and lasted throughout 2008 and onwards. This crisis affected housing, mortgages, the automotive industry, and world economic markets. David Kutcher is the owner and operator of Moonlit Sea Prints, located in Easthampton, Massachusetts. His interview with The Unfinished Print can be found, here. Fading of Japanese woodblock prints - certain colours, especialy in ukiyo-e period prints (beni), are known to fade over time. Since pigments in mokuhanga are generally water based, they will fade naturally, but more quickly if located near sunlight. There are many reasons why your print will fade, so the website Viewing Japanese Prints has written a fine article regarding those very reasons, amongst other ways you can protect your mokuhanga collection. You can find that article, here. The Kentler International Drawing Space - is an art gallery located in Red Hook, Brooklyn, New York. It has hosted several mokuhanga centred exhibitions. The most recent was Between Worlds as hosted by The Mokuhanga Sisters, from July 17 - July 31, 2022. More info, here. Red Hook, Brooklyn, NY - is a neighbourhood in Brooklyn, New York. Once called South Brooklyn and once an industrial area, Red Hook has evolved over time to house many New Yorkers who are looking to be close to Manhattan and still be able to afford a home. There is a great New York Times article, here, which explores the history of this fascinating area. Doi Hangaten - is a mokuhanga print publisher located in Tōkyō, Japan. Once a publisher of prints associated with the shin-hanga movement of the ealry twentieth century, the company continues to publish reproductions of famous Japanese prints, in the old ways. Most recently, the Doi family have collaborated with David Bull and Mokuhankan to publish new verions of some of the old blocks from almost 100 years ago. More info about the Doi Hangaten can be found here, here and here. The collaboration videos produced by Mokuhankan regarding the Doi family and the subsequant collaboration can be found, here. LIFE Institute - is a learning facility for adults age 50+. The LIFE Institute began in 1991, and has a membership of 2500 today. The institute offers high quality education in the Arts, Humanities, Science and Technology, amongst others. Courses are conducted in person or online. More info can be found, here. The National Gallery of Art - is a free art gallery located in Washington D.C. Founded by financier Andrew W. Mellon. The West building was constructed in 1941. The gallery houses more than 150,000 pieces of art and is dedicated to education and culture. More info can be found, here. Itō Jackuchū (1716-1800) - was a Japanese painter who painted in silk. His work can be seen in scrolls (kakemono), sliding doors (fusuma), and folding screens (byōbu). Known for his wild style of painting, Jackuchū's most popular theme is of birds. There are many books wirtten about Jackuchū and his life and times. More info can be found, here , to get you started. Rooster (18th Century) Nishiki-e (錦絵) - is the Japanese phrase for colour woodblock prints, otherwise known as brocade pictures. Ogata Gekkō (1859-1920) - was a painter, illustrator and mokuhanga designer. Gekkō's work has a delightful water colour style, where the subjects seem to be floating and light, regardless of whether the subject is a beautiful woman or a ghostly fox. Gekkō's subject matter ranged from landscapes, to mythology. Ogata Gekkō had a full career, from working with many publishers for his print designs to founding various art associations. More information about the life and career of Ogata Gekkō can be found, here, on David Humphries' fantastic website about the artist. Drawing Water from Yoro Waterfall — 養老孝子瀧を汲の図 (1896) Prussian Blue - is a dark blue pigment, which has been used by painters, and mokuhanga printmakers. The pigment has been used in Europe since the 18th Century, and in Japan since around 1820, having been imported by Europeans into Japan. Evolution of Pigments in Mokuhanga - the evolution of pigments in mokuhanga began with hand painting in the later 17th Century, to the multi coloured prints of ukiyo-e, shin hanga, and sōsaku hanga. More info regarding the pigment evolution can be found, here, at the Library of Congress. The Japan Foundation - is a not for profit organization established in 1972, with many offices located around the world. The Japan Foundation Toronto has been active in the city since 1990. More info, here for the JF worldwide, and here for Toronto. Elizabeth Forrest - is an award-winning Canadian artist and mokuhanga prinmaker. She has been producing mokuhanga since the late 1980's when she lived and studied in Kyoto. She has studied with the late Akira Kurosaki (1937-2019). More info about Elizabeth's work can be found, here. And It Began To Rain (2014) Akira Kurosaki 黒崎彰 (1937-2019) - one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the “Disc Baren,” which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here. Taurus (1973) Barbara Wybou - is a Canadian mokuhanga artists who lived, worked, and studied in Japan for twenty years. Her home these days is Toronto where she continues to work on her mokuhanga. Notably she studied with the late Tōshi Yoshida (1911-1995). Her work can be found, here. Rats 3 Toyohara Kunichika (1835-1900) - was a Japanese woodblock designer of the Utagawa School of artists. His work flourished in the Meiji Period (1868-1912) of Japanese history, a period of immense change politically, economically, and industrially. Some of Kunichika's works can be found, here. Onoe Kikugorō V as The British Spencer (1894) War prints & Japanese Imperialism - as Japan entered the Pacific Theatre of war (1941-1945) with the United States, the fascist military government had complete power in Japan at the time, and used woodblock prints, as well as other mediums such as lithography and photography, to propagandize their war effort. Printmakers such as Kawase Hasui (1883-1957) even got involved in producing prints that helped the war effort. He designed several war prints during this time period. Prints such as The Red Setting Sun, is a prime example of how the times and aesthetic show a relatively innocuous scene of figures (Japanese soldiers) riding on horses with a setting sun back drop. For more detailed information regarding war time prints I suggest, Conflicts of Interest: Art and War in Modern Japan, ed. Philip K. Hu w/ Rhiannon Paget, and The Politics of Painting by Asato Ikeda. My interview with Rhiannon Paget PhD can be found, here. Russo-Japanese War (February 8, 1904 - September 5, 1905) - was a war between two colonial powers, the Imperial Russian and Imperial Japanese military, taking place in China. Information about its background can be found here at history.com, and here. bijin-ga - (美人画) is the Japanese term for beautiful women in mokuhanga. Itō Shinsui (1898-1972) After Washing Her Hair (1936) yakusha-e - (役者絵) is the Japanese term for actor prints in mokuhanga. Utagawa Yoshiiku (1833-1904) Oyama Doll - Ichikawa Udanji (1893) Taishō Period (1912-1926) - a short lived period of Japanese modern history but an important one in world history. This is where the militarism of fascist Japan began to take seed, leading to The Pacific War (1931-1945). More info can be found, here. hanmoto system - is the Edo Period (1603-1868) collaboration system of making woodblock prints in Japan. The system was about using, carvers, printers, and craftsmen by various print publishers in order to produce woodblock prints. The system consisted of the following professions; publisher, artist, carver, and printer. Yamato Take no Mikoto with His Sword Kusanagi - is the print by Ogata Gekkō which Carol mentions as one of her favourite prints. Oliver Statler (1915-2002) - was an American author and scholar and collector of mokuhanga. He had been a soldier in world war 2, having been stationed in Japan. After his time in the war Statler moved back to Japan, where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as acoomodation, and the 88 Temple Pilgrammage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” John Stevenson - is an American author who has written extenisvely on Tsukioka Yoshitoshi (1839-1892). Tsukioka Yoshitoshi (月岡 芳年) was a mokuhanga designer who is famous for his prints depicting violence and gore. His work is powerful, colourful, and one of the last vibrant moments of the ukiyo-e genre of woodblock prints. More information about Yoshitoshi's life and his copious amount of work can be found, here. The Flower of Edo (1858) Utagawa Kuniyoshi (歌川 國芳) - was a print designer and painter known for his triptychs, yoko-e (horizontal landscape prints), Yokohama-e (prints with Yokohama as its subject), and yakusha-e (actor prints). Considered as one of the last of the "golden age" print designers of the ukiyo-e genre. Ichikawa Kodanji IV as the ghost of Asakura Togo (possibly 1851) Kunisada/Kuniyoshi Exhibit - was an art exhibition held at the Museum of Fine Arts Boston from August 11 - December 10, 2017. There was also an excellent catalogue printed for this show and would add to any woodblock print fan's library. more info, here. The book I reference about Toyohara Kunichika is "Time Present and Time Past of a Forgotten Master: Toyohara Kunichika 1835-1900" There are various online print collections that the aspiring mokuhanga scholar can seek out to help in their studies. The Library of Congress has their collection online, as does ukiyo-e.org, who have various impressions af their prints throughout their website. Scholten Japanese Art - is a mokuhanga focused art gallery located in midtown Manhattan. It was founded by René Scholten, an avid collector of the Japanese print. More info can be found, here. Acadia Books - is a vintage and unique used bookstore located at Sherbourne and Queent St. East in Toronto, Ontario, Canada. In my opinion it is one of the best bookstores I have had the priviledge to visit. More info, here. © Popular Wheat Productions opening and closing musical credit - intro music is Spill Yer Lungs and outro music is Tailor both by Julie Doiron from her album I Can Wonder What You Did With Your Day (2009) on Jagjaguar Records logo designed and produced by Douglas Batchelor and André Zadorozny Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***
Several thousand Japanese Americans were trained by the US Military Intelligence Service and sent to the Pacific to serve as interpreters, translators, and interrogators, even as their own families were being held in internment camps in America. Why haven't we heard about their story?Today's guest is Bruce Henderson, author of “Bridge to the Sun.” He follows six of these soldiers, who were among the first Japanese Americans to serve in combat after Pearl Harbor, as they fight two wars simultaneously: one, overseas against their ancestral homeland, the other, against prejudice back home in America. Exploring several first-person accounts including personal interviews, oral histories, diaries, and previously classified records, we look at the courage, heroism, and patriotism of these troops.
We continue our World War II podcast series. What is the D in D-Day for? How did French shrubs cause an issue in retaking France? What was the fallout from Operation Valkyrie? What is Operation Bagration? What happened in the Warsaw Uprising and did the Soviets leave the Poles out to dry? What is the story behind A Bridge Too Far? When did the B-29s join the Pacific Theatre? What were the V-1 and V-2 bombs used for? How many hand grenades were used in the Battle of Peleliu? We discuss one of the most amazing acts of heroism in Naval history at the Battle off Samar at Leyte Gulf.
The resistance fighters of the Moro, an indigenous Muslim population of the Philippines, have been described as most the most successful and least-known guerrillas of World War II's Pacific Theatre.The Moro mounted an armed opposition so vigorous that the soldiers of the Imperial Japanese Army found themselves outfought time and again by their far less well-armed adversaries. When the soldiers of the Empire of Japan invaded their homeland, the Moros, sometimes with swords as their only weapons, bravely fought on alone after the rapid American surrender of the Philippines.In this episode James is joined by Thomas McKenna, the author of a new book on the Moro warriors, to learn more about arguably the most successful and unlikely resistance movements of the entire Second World War.Tom's book Moro Warrior: The Untold Story of the Most Remarkable Resistance Fighters of World War II in the Pacific is available here.For more Warfare content, subscribe to our Warfare Wednesday newsletter here.If you'd like to learn even more, we have hundreds of history documentaries, ad free podcasts and audiobooks at History Hit - enter promo code WARFARE for two weeks free + 50% off your first three months' subscription. To download, go to Android or Apple store.For your chance to win 5 Historical Non-Fiction Books (including a signed copy of Dan Snow's On This Day in History), please fill out this short survey. Hosted on Acast. See acast.com/privacy for more information.
Interservice rivalry between the US Navy and the US Army was a major factor in the Pacific Theatre during World War II. While such rivalry is common in all militaries because each service has to compete for funding and stake out a unique identity and mission, some scholars argue that in the case of the Pacific Theatre, the rivalry was so problematic that it led to inefficiencies in the conduct of the war. They attribute this rivalry to the powerful service interests and to personality problems. MacArthur stands out as one of the key personalities that played a role in this rivalry – but what exactly was his relationship like with the US Navy during WWII? Was there a US Navy anti-MacArthur cabal at work as he claimed? Did his personality alienate his naval counterparts? Was he the reason for a divided command in the Pacific? Join MacArthur Memorial historians Jim Zobel and Amanda Williams for a discussion of these questions.
Ralph Kiggell has been an important part of the international mokuhanga community for many years. Ralph takes many different elements of mokuhanga, the energy and exploration of an artist, to create some of the most dramatic and ambitious mokuhanga today. On this episode of The Unfinished Print I speak with mokuhanga printmaker Ralph Kiggel about his life in Thailand, using locally sourced materials for his mokuhanga from that country; we also speak on his artistic ambitions, his observations on the current state of the mokuhanga community, and what he would like to see as its future. Please follow The Unfinished Print and my own print work on Instagram @andrezadoroznyprints Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Ralph Kiggell - website, Instagram, interview with Evil. O Japan and the West - Japan as a country has had an uneasy relationship with the "West." In many cases this relationship has focused solely with the United States. For a fine early description of this particular relationship please read The Making of Modern Japan, by Marius B. Jansen, and Empreror of Japan: Meiji and His World, 1852-1912 by Donald Keene. ukiyo-e - is a multi colour woodblock print generally associated with the Edo Period (1603-1867) of Japan. What began in the 17th Century as prints of only a few colours, evolved into an elaborate system of production and technique into the Meiji Period (1868-1912). With the advent of photography and other forms of printmaking, ukiyo-e as we know it today, ceased production by the late 19th Century. Rembrandt Harmenszoon van Rijn (1606-1669) - was a Dutch painter, considered to be a part of the Dutch Golden Age of painting. He was notable for his self-portraits, landscape painting, and empathic painting. Serigraphy - is another word for the art of silk screen printing. Silk screen printing can be in on various materials, silk, canvas, paper, etc. Western Engagement with Mokuhanga - the connection with woodblock prints and the West, predominantly with the United States and Britain, began when the elite of both countries started collecting ukiyo-e. Collecting ukiyo-e was the fashion for wealthier patrons of the arts who saw the beautiful images from Japan and their “Oriental” aesthetic as worth collecting. By the start of the twentieth century ukiyo-e production had began to wane. It wasn't until Watanabe Shōzaburō (1885-1962) who worked in the woodblock print business, and who exported prints to the West to a foreign market, saw the benefit of focusing his business for foreign buyers. He established his publishing house in Tōkyō for making woodblock prints with high end techniques (almost lost at that point) and used the traditional hanmoto system of print production to facilitate the demand. This began a fruitful business which created a new generation of woodblock production and Japanese aesthetic. The two important types of woodblock print styles from this period are shin-hanga (new prints), and sōsaku-hanga (creative prints). shin-hanga - or, new prints, is a style of woodblock print production connected to the early twentieth century in Japan. Attributed to Watanabe Shōzaburō, and were created via the ukiyo-e, hanmoto system. Prints are produced through a hierarchy. This hierarchy is as follows: publisher commissions artist who designs the prints, professional woodblock carvers carve the prints, and professional printers print the prints. This collaboration system helped make shin-hanga into the collectable works we find today. They help to codify a romanticized Japanese aesthetic, for a Western audience. sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self made prints was a breakthrough for printmakers beginning to move away from where only a select group of carvers, printers and publishers created woodblock prints. War prints & Japanese Imperialism - as Japan entered the Pacific Theatre of war (1941-1945) with the United States, the fascist military government had complete power in Japan at the time, and used woodblock prints, as well as other mediums such as lithography and photography, to propagandize their war effort. Printmakers such as Kawase Hasui (1883-1957) even got involved in producing prints that helped the war effort. He designed several war prints during this time period. Prints such as The Red Setting Sun, is a prime example of how the times and aesthetic show a relatively innocuous scene of figures (Japanese soldiers) riding on horses with a setting sun back drop. For more detailed information regarding war time prints I suggest, Conflicts of Interest: Art and War in Modern Japan, ed. Philip K. Hu w/ Rhiannon Paget, and The Politics of Painting by Asato Ikeda. My interview with Rhiannon Paget PhD can be found, here. The American Occupation and Woodblock Prints - the occupation of Japan occurred after the end of the Pacific theatre (1941-1945) and World War 2 (1939-1945). The Occupation of Japan was from 1945-1952. During this period of nation rebuilding, the Japanese print market as a post-war souvenir was very popular. The rapid growth of the woodblock print in the immediate post-war is attributed to several factors. Robert O. Muller (1911-2003) was an American collector who helped establish print connections with Japan and the United States. From owning the Shima Art Co. of New York City, to working with Shōzaburō in Tōkyō after the war, Robert O. Muller's contribution can be considered unprecedented in woodblock print history. Kōshirō Onchi (1891-1955) was another factor in the rise of woodblock prints during the Allied Occupation. His First Thursday Society, and with the help of his daughter who worked directly with the Supreme Commander of Allied Powers (SCAP), Onchi was able to spread the word on the creative prints project (sōsaku hanga) by making connections with important collectors in the American military government, as well as recruiting American artists, such as Ernst Hacker (1917-1987). For more information regarding the American Occupation of Japan and woodblock prints please read, Japanese Prints during the Allied Occupation 1945-1952, and Troubled Times and Beyond: Japanese Prints 1931-1960, published by Nihon no Hanga, Amsterdam. My interview with Maureen de Vries, curator of Nihon no Hanga, can be found, here. Evolving Techniques in Japanese Woodblock Prints - is a book published by Kodansha International in 1977. It was written by Canadian woodblock printer Gaston Petit, and Amadio Arboleda, who currently apprentices as a violin maker in Tōkyō. Tama Art University - is an arts university located in various campuses in Tōkyō. It has various departments such as Architecture, Product and Textile Design, and Art Studies. 入門 - "nyuumon" in the title of the book Ralph speaks about in our interview, where we discuss what the following kanji means. There are a few meanings for this particular kanji, but in regards to the book I believe it to mean, "beginning training." 水生 - "suisei" is a Japanese word meaning, "water based." 刷物 - "surimono" is a Japanese word which means, literally, "printed thing." These were also privately commissioned prints made by wealthier clients for special occasions. These prints usually were extremely extravagant, using high-end techniques and pigments. I could not in my research find whether or not "surimono" was used more colloquially, rather than "ukiyo-e." kentō - is the registration system used by printmakers in order to line up the colour woodblocks with your key block, or outline block, carved first. Wood Like Matsumura - is an online and brick and mortar store, for woodblock printmaking, located in Nerima City, Tōkyō. website. Will Francis - is a British mokuhanga printmaker who works predominantly for American graphic designer Jed Henry, and Mokuhankan. shina - is a type of Japanese plywood used in mokuhanga. jigsaw cutting - Ralph uses various methods when making his mokuhanga. One such method is jigsaw cutting, where the blocks are cut and those cuts are used to make prints. In this video, Ralph explains his process on making his prints. Akira Kurosaki 黒崎彰 (1937-2019) - one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the “Disc Baren,” which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here. Munakata Shikō 志功棟方 (1903-1975) arguably one of the most famous modern printmakers, Shiko is famous for his prints of women, animals, the supernatural, and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work. flâneur - is a French word, meaning idler, walker of streets, a way to see a city, to understand it. The freedom to walk a city is a type of freedom that allows someone to truly understand where they are. While almost always written in French literature [(Charles Baudelaire (1821-1867)], for men there has been a question about why women haven't been associated with the word. Lauren Elkin, an American writer in Paris, tries to understand why women aren't associated with the term. The CBC podcast, IDEAS, interviewed her and it was a great way to understand what makes a flâneur, or flâneuse. You can find it, here. Alex Kerr and Lost Japan - Alex Kerr is an American Japanologist who lives and works in Japan. He has written many books on Japan, but is famous for Lost Japan, published in 1993. It describes the modernity of Japan, and what is destroyed when searching for that modernity. Meiji-jingu (明治神宮) - is a large parkland area near the Harajuku neighbouhood of Tōkyō. It is dedicated to Emperor Meiji (Prince Mutsuhito - [1867-1912]). It is open 365 days of the year and is especially busy during the New Years celebrations. Black Ships - are associated with the American naval commodore, Matthew C. Perry (1794-1858). The United States wanted to open trading with Japan, who had been in self-imposed isolation with the West since 1635. Matthew C. Perry essentially bullied his way into the conversation of trade with Japan and these "Black Ships" he arrived on, became a symbol of this moment. Frank Lloyd Wright and the Imperial Hotel - (1867-1959) FLW was an American architect who designed many different buildings in Japan since his first visit in 1905. The Imperial Hotel was located in Tōkyō in the Hibiya district. It was moved to, and reconstructed in 1968 at the Meiji-mura Museum Village in Aichi Prefecture. It was built in the Mayan Revival style. I got a chance to visit it in Aichi and it's pretty spectacular, and smaller than I thought it would be. The Imperial Hotel still exists today. Kozo paper - is a long fibered mulberry paper used for mokuhanga and cloth making. It is produced in Japan, Thailand, and South America. Lampang, Thailand - located in Northern Thailand and is a trading city with tourism, and farming. Yoshida Family of Artists - The Yoshida's are one of the most famous family of artists from Japan. Begun with painter Yoshida Kasaburō (1861-1894), made famous by Yoshida Hiroshi (1876-1950) and his work with woodblock printing. The Yoshida family has helped shape many artists around the world. More info from the Mount Holyoke College Art Museum, here. Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier, that made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925. Yoshida Tōshi (1911-1995) - eldest son of Hiroshi Yoshida. Having been affected by polio, and the pressure of continuing his fathers legacy, Tōshi Yoshida made prints and paintings which gradually became expressive, avant garde and abstract. Later in life he focused on birds and mammals. Yoshida Hodaka (1926-1995) - the second son of Hiroshi Yoshida, Hodaka Yoshida seemed to be a bit of the black sheep of the Yoshida family. His desire to become an artist was against his fathers wishes, and his work was an extreme departure from what his father had produced as well as his older brother. Inspired by western artists such as Henri Matisse (1869-1954), and Pablo Picasso (1881-1973), Hodaka began to move away from painting to woodblock prints in the 1950's. Hodaka travelled (the Yoshida family were constant travellers) and was constantly inspired by the world. This was reflected in his woodblock prints and woodblock/photo etching prints. Yoshida Tsukasa (b.1949) - is the son of Tōshi Yoshida. He is a woodblock printmaker focusing on themes of nature and especially the moon. Bangkok Art Biennale - is an art biennale located in Bangkok, Thailand. It was founded in 2018, and was created for visitors to immerse themselves in Thai culture through various arts installations and shows. The 2022/23 biennale will be from October 22, 2022 - February 23, 2023. (IG) Province of Manitoba, Canada - joined Confederation in 1870, and is known for its natural beauty and vast landscapes. The capital is Winnipeg. Province of Saskatchewan, Canada - joined Confederation in 1905, and is known for its vast fields and flat land. Its capital is Regina. April Vollmer - is an established artist who works predominantly in mokuhanga. Her book Japanese Woodblock Print Workshop is one of the authoritative books on the subject and has influenced many up and coming mokuhanga artists. Natasha Norman - is an artist based in Johannesburg, South Africa. Here mediums are mokuhanga, mokulito, monotype, and paintings. My interview with Natasha Norman can be found, here. MDF - Medium-density fibreboard is a board made of discarded wood fibres and bonded together by wax and resin, which makes it bad for you if you carve it. opening and closing credit music - Spadina Sounds as told by the walkway which had a moving sidewalk. Here are some of the sources used for the above notes: LIPSHULTZ, SANDRA LAWALL. A Japanese Legacy Four Generations of Yoshida Family Artists. Laura W. Allen, Kendall H. Brown, Eugene M. Skibbe, Matthew Welch, Yasunaga Koichi. Held at the Minneapolis Institute of Arts from FEBR. 2 to April 14, 2002. Chicago, Ill: Art Media Resources, 2002. MARTIN, KATHERINE. Highlights of Japanese Printmaking: Part Two - Shin Hanga. Scholten Japanese Art, 2006. DE VRIES, MAUREEN, Chris Uhlenbeck, and Elise Wessels. Troubled Times and Beyond: Japanese Prints 1931-1960. Nihon no Hanga, 2013. © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Україну If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***
This month, we are aboard USS ULVERT M. MOORE, a DE that served in the Pacific Theatre of WWII and made six tours through the 1950's and the Korean War. She sunk subs, splashed planes, had a famous skipper, and may or may not have had an ice cream maker aboard. You'll have to listen to find out! Follow along with our transcript and check out the photos on our website. If you like what you hear and are able to help us out by leaving a donation, we appreciate every dollar we are given! Donations are used to restore, preserve, and educate the public about USS SLATER and Destroyer Escorts. USS SLATER is a private not-for-profit museum that receives no regular support from New York State, the federal government, or the US Navy. We are funded by private donations, ticket, and merchandise sales. Thanks for listening and lending your support!See you next month! Support the show
Just before disappearing into the rehearsal hall to work on Pacific Theatre's "How The World Began," Ron looks back on some more of his favourite shows, and their music: Mercy Wild, Jesus My Boy, You Still Can't, Godspell, The Disappearing, Danny and the Deep Blue Sea, Doubt, The Rainmaker. Just keeping that Ghost Light burning...
During WWII, Allied POWs in the Pacific Theatre – whether combatant or civilian – faced physical and psychological hardships. Captivity is difficult. It is particularly difficult when access to food is irregular or insufficient because food is often associated with a sense of security, comfort, health, and memory. For many of the civilian POWs held at Santo Tomas internment camp in Manila, recipe sharing was one way to cope with the POW experience. Thinking about food helped some stay tethered to pre-captivity life, while remaining hopeful about a future life out of captivity. To discuss recipe collection and "food fantasies" at Santo Tomas, the MacArthur Memorial Podcast hosted Jennifer Cottle, a graduate student and the recipient of a grant to study the Santo Tomas recipe books preserved in the MacArthur Memorial Archives.
Mexico was one of the Allies in World War II – but it didn't just help secure the US border or provide raw materials in support of the war – it contributed a fighter squadron that saw combat in the Pacific Theatre. Few people in the United States are aware of this history, and many Pacific War historians tend to overlook Mexico's contribution to the war. Nevertheless, the participation of that squadron marked a very significant moment in Mexican military history, in Mexican foreign policy, and in US/Mexico relations. To discuss the Mexican Expeditionary Force, 201st Fighter Squadron and the combat role it played in the Pacific War, we interviewed Walter Zapotoczny, author of The Aztec Eagles: The Forgotten Allies of World War II.
USS MITCHELL DE-43 is an Evarts Class Destroyer Escort. She served in the Pacific Theatre of WWII and earned herself and impressive 9 Battle Stars! In this episode of DE Classified, you'll hear about MITCHELL'S time in the Pacific Fleet, how Pollywogs become Shellbacks, and how Ulithi Atoll became a sailors home away from home while in port. For more information head to https://ussslater.org/de-classified.Help support USS SLATER and DE Classified by making a donation to our Education Fund! https://ussslater.org/donateThanks for listening, we'll see you next month! Sea ya Slater! Support the show (https://www.paypal.com/donate?hosted_button_id=N5UDSMLUCTJWG)
In this episode Jake and Henry discuss a great character in the Pacific Theatre of World War II, Admiral Chester Nimitz. Admiral Nimitz was quickly put in charge of the Pacific fleet after the devastating attack by the Japanese on Pearl Harbor. With limited resources and a leadership style that revolved around teamwork, Nimitz successfully led the US to victory in the Pacific. But how did he do it? What were his thoughts on the A-Bomb, and how did his leadership style differ from other famous military leaders? Find out in this episode! Whether you are at the office, on a long drive, or just on the John, thank you for your support! https://instacart.oloiyb.net/d4NmQFREE delivery on first order over $35https://allswellhome.mvvx.net/c/2602920/599204/9824Free Shipping, 10-Year Limited Warranty, 100-Night Risk Free Trial, Financing As Low as 0% APRStart your podcast with Buzzsprout!https://www.buzzsprout.com/?referrer_id=1323982Start for FREE$20 Amazon Gift Card (sent after 2nd paid invoice)Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the show (https://www.paypal.me/loebroshistory)
Jessie is a Vancouver-based actress, playwright, and acting coach whose love of the arts has led her on an incredibly successful journey as an industry creative. From her work as the Associate Resident Producer for the award-winning theatre company Solo Collective to being a part of Pacific Theatre's 2018 production and tour of Kim's Convenience, and even founding her own company Acting Expanded in 2020, Jessie has a lot of information and tips from her experiences! In the episode, we chat about how Jessie's path as a creative didn't always go as planned. Not only did she start off in a completely different field of study, but also experienced the incredible hardships that come with working as a professional creative (socially and financially). Nevertheless, Jessie talks about how all those struggles (and knowledge she obtained as a business student) helped her in founding both her career and company as an actor! Guest: Jessie Liang (@jessieliang21, @actingexpanded) Acting Expanded Coaching - https://actingexpanded.teachable.com/ Facebook - http://facebook.com/actingexpanded Instagram - https://www.instagram.com/actingexpanded/ Free mini-course - https://actingexpanded.teachable.com/p/acting-after-graduation-going-from-amateur-to-pro-in-7-steps1 Hosted by: Amber Dhall (@amber_dhall, @beyond.the.film on Instagram) Jasma Zhou (@jasma_fusion_cuisine on Youtube and Instagram) Contact information: Email - offthechartspodcastt@gmail.com Instagram - @offthecharts_podcast
Though he hated the term "conscientious objector", Corporal Desmond Doss was the first in history to receive the Medal of Honor. He refused to shoot or even to carry a weapon, but served as a medic and saved dozens of lives in the Pacific Theatre of World War II. His story was told in the 2017 Oscar-winning film "Hacksaw Ridge", played by actor Andrew Garfield.
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