Podcast appearances and mentions of Peter Newman

On today's program, Dr. Michael Brown of The Line of Fire was the subject of an independent investigation late last year. The findings of that report have now been released, allegedly finding that Brown DID engage in misconduct with two women who were not his wife. We'll have details. And, is Bob Jones University facing closure? The school's president says no—but alumni aren't so sure. We'll take a closer look. Plus, The Salvation Army in Denver is embroiled in protests, violence, and a failed $3 million bid to provide housing to the city's homeless population. The ministry says the city is using it as a ‘scapegoat' even as it faces an overwhelming homelessness crisis. But first, a female victim has joined the fray in suing Kanakuk Kamps for negligence after she was abused by former staffer Peter Newman when she was just 9 years old. The producer for today's program is Jeff McIntosh. We get database and other technical support from Stephen DuBarry, Rod Pitzer, and Casey Sudduth. Writers who contributed to today's program include Kim Roberts, Jessica Eturralde, Tony Mator, Bob Smietana, and Brittany Smith. Until next time, may God bless you.   MANUSCRIPT:    FIRST SEGMENT Warren: Hello everybody. I'm Warren Smith, coming to you this week from Charlotte, North Carolina. Natasha: And I'm Natasha Cowden, coming to you from Denver, Colorado, and we'd like to welcome you to the MinistryWatch podcast. Warren: On today's program, Dr. Michael Brown of The Line of Fire was the subject of an independent investigation late last year. The findings of that report have now been released, allegedly finding that Brown DID engage in misconduct with two women who were not his wife. We'll have details. And, is Bob Jones University facing closure? The school's president says no—but alumni aren't so sure. We'll take a closer look. Plus, The Salvation Army in Denver is embroiled in protests, violence, and a failed $3 million bid to provide housing to the city's homeless population. The ministry says the city is using it as a ‘scapegoat' even as it faces an overwhelming homelessness crisis. Natasha: But first, a female victim has joined the fray in suing Kanakuk Kamps for negligence after she was abused by former staffer Peter Newman when she was just 9 years old. Warren: The plaintiff, referred to as Jane Doe due to the sensitive nature of the allegations, filed suit on Monday, April 14 against Kanakuk Heritage, Kanakuk Ministries, KUKORP, and Joe White for negligent retention, negligent supervision, negligent infliction of emotional distress, and sexual battery. The lawsuit was filed in Taney County, Missouri, where Kanakuk is located. This is the first known female victim of Newman to come forward with a lawsuit, according to a press release by Monsees & Mayer, the law firm representing the plaintiff. The plaintiff alleges she was sexually molested by Peter Newman in 2008 when she was just 9 years old and attending K-Kountry, one of the summer camp programs for 6- to 11-year-old children. Natasha: I know these cases are extremely sensitive for the victims but why didn't she bring the lawsuit sooner? Warren: According to the lawsuit, Doe's memory of the events was repressed until December 2024 when she regained the memories of abuse and began to question Kanakuk's conduct and responsibility for Newman's actions. Missouri's law allows for a pause of the statute of limitations related to childhood sexual abuse when memory of the abuse was repressed. Natasha: Our next story brings to light more unfortunate news Warren: An independent investigation into sexual misconduct allegations against Dr. Michael Brown of The Line of Fire “concluded that Brown's actions toward the two females were inappropriate and unacceptable for his leadership position within the ministry.” Brown was accused of sexual misconduct by crossing physical boundaries with a 21-year-old woman,

2025 - 03 - 27 Prof Peter Newman by CurtinFM 100.1 in Perth, Western Australia

Peter Newman, Professor of Sustainability at Curtin University says zero emissions is essential for our long-term viability. Some cities are leaping forward with their green agenda, embracing new technologies and restoring ecosystems. Is St Louis Missouri in the race?

A vision to tackle the world's climate crisis.Year after year, activists and scientists chalk out plans for nations to cut emissions. But are climate conferences achieving their objectives? And what are the challenges being faced by developing nations and climate offenders? Suzanne Lynch, Associate Editor with Politico Europe. Abhiir Bhalla, Youth adviser at Commonwealth Human Ecology Council. Peter Newman, Professor of Sustainability at Curtin University. Host: Mohammed Jamjoom Connect with us:@AJEPodcasts on Twitter, Instagram, Facebook At Al Jazeera Podcasts, we want to hear from you, our listeners. So, please head to https://www.aljazeera.com/survey and tell us your thoughts about this show and other Al Jazeera podcasts. It only takes a few minutes!

“Protect Children. Support Survivors. Protest Pete Newman's Parole!” are the opening lines readers will see when they click on the new website, protestpetesparole.com. As the September 25 parole hearing for serial child sexual abuser Peter Newman quickly approaches, survivors and advocates continue to call for support in urging the Missouri Department of Corrections Board and Parole to deny his possible release. Previously, survivors and advocates have urged concerned citizens to write letters to the parole board expressing their grievances regarding Newman's crimes. This new website reminds viewers of these instructions. It also offers viewers a way to fill out an online form to submit their letters directly to the parole board. The form includes the option to submit an editable pre-loaded statement or follow a template to craft your own. In addition to letter-writing, the website also links to a petitionagainst Newman's parole, which will be “submitted to the Missouri Parole Board as part of Newman's hearing.” Despite being sentenced to two life terms plus 30 years — a total of 90 years, with 30 counting for each life sentence — Newman is eligible for parole after serving just 15. This is the minimum portion of his sentence that must be completed, according to RSMo 217.690 which mandates that offenders serving multiple sentences totaling 45 or more years must complete at least 50% of one sentence before parole eligibility. After a hearing, the parole board typically takes eight to 12 weeks to come to a decision. If Newman's parole is denied, he will be eligible for a reconsideration hearing every one to five years until a release date is established. The new website reminds viewers that all evidence from the Sept. 25 hearing can be used in future hearings, including contributions to the petition as supporters continue to sign. Access to MinistryWatch content is free.  However, we hope you will support our work with your prayers and financial gifts. To make a donation, click here. In the event Newman were to be granted parole, he would go to an offender treatment program for “approximately 12 months of therapy and a Sex Offender Assessment Process,” designed to help offenders reintegrate into regular society and prevent recidivism, the website explains. However, survivors and advocates note concerns regarding his ability to avoid returning to abuse. According to Elizabeth Carlock Phillips' statement, while the prosecution estimates Newman's victim count to be in the hundreds, “clinical experts estimate (the count) to be between 2,000 and 5,000 due to the patterns of his perpetration, (his) amount of unfettered access and time with children year-round and the victim count known at sentencing.” She argues the impact of his crimes is far deeper than a simple felony charge, calling him a “murderer” who “butchered the souls of boys with his deceit and abuse, some even to their graves.” Phillips' submitted her statement on behalf of her late brother, Trey Carlock, who died by suicide due to the traumatic effects of his abuse by Newman. She says Trey was “silenced to his grave” by Newman's abuse compounded by further civil litigations, which included a Non-Disclosure Agreement. This article was originally published by Baptist News Global. It is reprinted with permission.

2024 - 08 - 26 Professor Peter Newman by CurtinFM 100.1 in Perth, Western Australia

2024 - 07 - 31 Professor Peter Newman by CurtinFM 100.1 in Perth, Western Australia

It's time for our annual EO/ESOP Podcast Summer School series. We've selected some of our favorite episodes over the past year for your enjoyment over the summer break. Bret Keisling was joined by Peter Newman, founder of Peak Wealth Planning [www.peakwealthplanning.com/], a boutique financial advisory firm specializing in high net-worth individuals with an emphasis on employee ownership. In this episode, Peter discusses the various considerations someone should make as they begin planning for a successful retirement. Many employee owners may retire with a nest egg that generates more income than the salary. Peter describes how a mindset shift can be necessary to focus on designing and funding a retirement lifestyle, and why making and implementing financial decisions during the career can have a huge impact on retirement. This episode was originally published on January 10, 2023, as the first in a three-part series, which is now available in its entirety on our website. The show notes for this episode also include a helpful PDF called "The Employee Owner's Guide to Diversification and Retirement Planning." https://www.theesoppodcast.com/post/esop-summer-school-43-peter-newman-successful-retirement-planning

The recent solar storm scrambled undersea sensorsThe solar storm that lit up the evening sky with aurora recently was also detected by Canada's Ocean Network system of undersea oceanographic observatories off both coasts of the country and up in the Arctic. The compass instruments that normally provide the direction of ocean currents fluctuated by as much as 30 degrees at the height of the solar storm and were picked up as deep as 2.7 kilometers. Kate Moran, the CEO and President of Ocean Networks Canada, said these measurements could prove to be useful for solar scientists to understand the depth of the impact geomagnetic storms can have on our electromagnetic field. Robots are stronger, and faster, and better – but still lose to animalsDespite being built to run, robots still can't beat real animals in a race, says a new study published in Science Robotics. Researchers compared the physical abilities of animals to the latest generation of agile autonomous robots and showed that while they can exceed biology in strength and speed, robots still can't match the performance of animals. Simon Fraser University professor Max Donelan explained that biology has better integrated systems, which makes animals able to respond faster to the situation at hand. How European brown rats took over North AmericaThe brown rat is the clear undisputed winner of the rat race, having established ecological dominance in most cities across the continent. A new study led by Eric Guiry from Trent University involved analyzing piles of rat bones from dig sites and centuries-old shipwrecks to put together a timeline of when and how brown rats took over North America. He found that brown rats came across the pond much earlier than expected, and surprisingly dominated over black rats very quickly, even though the two animals weren't actually in competition for the same food. The research was published in the journal Science Advances.Decoding whale talk and primate calls Scientists are turning to technology to help decode animal communication. In the Caribbean researchers sorted rhythmic sperm whale clicks into an entire alphabet, while on land, machine learning algorithms revealed a new level of complexity in the calls of orangutans in Borneo.Eavesdropping on nature sounds to save ecosystems in US National parksIn a basement at Penn State University, researchers with the Protected Areas Research Collaborative (PARC) Lab are listening to thousands of hours of recordings from the US National Park service in order to track every single noise - whether it be natural or human-made. This data is being used to understand how to preserve natural sounds in the parks, which have been shown to be beneficial to both humans, and wildlife. Now, the team is adopting machine learning and artificial intelligence to listen to more data than ever before. We spoke with co-principal investigator Peter Newman, and co-lab manager Morgan Crump. In a separate paper, recently published in Science Advances, researchers are calling attention to nature's smellscapes—the various chemicals put out by trees and animals—and how they can affect humans. The multidisciplinary, international team, led by Gregory Bratman from the University of Washington, provides a conceptual framework for investigating nature's smells, to fill in the gaps about what those scents are doing to humans, but also, to know what we're doing to those scents.

2024 - 04 - 23 Prof Peter Newman by CurtinFM 100.1 in Perth, Western Australia

If the batteries of tomorrow aren't as lithium-dependent as they are today, can Australia still become the ‘critical minerals superpower' it hopes to be as countries across the global electrification race take off? That's the question Rusty and Nadine are on a mission to answer. To help them on their quest, they enlist the help of Dr. Veronika Wright, or as she's better known - Electrified Veronika. With a flair for electrical engineering and physics, Veronika dissects lithium-ion mechanics while challenging the viability of solid-state batteries, hailed as the next frontier in energy storage. Peter Newman, Professor of Sustainability at Curtin University and for the past 5 years the Lead Author for Transport in the IPCC (the UN's climate change body), joins later in the show to discuss the national and global implications for a lithium-ion economy. He sheds light on Australia's mining industry manoeuvres, propelling the nation beyond its 'exporter' label and toward 'innovator' status. With value-added strategies upstream in the lithium supply chain, Newman envisions local economic revitalisation and Australia's ascent as the beacon of green exporters in critical minerals.  See omnystudio.com/listener for privacy information.

In this episode, we look at management strategies for glyphosate resistant weeds.We're joined by University of Adelaide researcher Chris Preston, who recently presented on the topic at the GRDC Crop Updates in Dubbo.We're also joined by Delta Ag agronomist David Strahorn who speaks about the current state of glyphosate resistance in his patch.NEWS and LINKSWebinar:Spot Spray technology – opportunities & challenges incorporating the latest camera/optical spray equipment: Extension agronomists Greg Condon and Peter Newman spoke to representatives from Millers/McIntosh, John Deere, Goldacres and Croplands to understand the latest spot spray technology.Learn more about WeedSmart by visiting our website. Don't forget you can follow us on Twitter too.

In this episode, we delve into the world of spot spray technology.Rob Price, from South Australia, and Jake Hamilton, from Queensland, use Bilberry and John Deere See and Spray tech respectively. They explain their motivations for using the tech, and discuss the opportunities and challenges they have faced when incorporating the latest camera/optical spray equipment into their cropping program.NEWS and LINKSWebinar:Spot Spray technology – opportunities & challenges incorporating the latest camera/optical spray equipment: On March 6, Join Weedsmart Extension Agronomists, Peter Newman and Greg Condon as they explore the current spot spray technologies on offer and the opportunities and challenges with incorporating the latest spot (camera/optical) spray equipment.Millers/McIntosh Tech specialist Scott Jamieson and John Deere's Anton Kowalenko provide their insights into how farmers/spray contractors can address the challenges and opportunities with utilising this technology.Learn more about WeedSmart by visiting our website. Don't forget you can follow us on Twitter too.

Part 3 of 3.  Bret Keisling again welcomes Peter Newman of Peak Wealth Planning for a discussion on the benefits of ESOP companies providing personal financial wellness training to employee owners.  We know that ESOPs provide greater retirement wealth than non-EO companies, but too many employee owners face the same retirement uncertainties and insecurities as non-employee owners. Just as many ESOPs emphasize open book management, Peter Newman discusses why it's important to include personal financial wellness planning, which leads to higher job security and satisfaction as well as increased retention among workers.  Peak Wealth Planning works with companies to offer three tiers of education, tailoring each program to where people are in their career cycle. Peak Wealth Planning [https://www.peakwealthplanning.com/] is a boutique financial advisory firm specializing in high net-worth individuals with an emphasis on employee ownership. The show notes for this episode, including a helpful PDF called "The Employee Owner's Guide to Diversification and Retirement Planning," are available on our website at https://www.theesoppodcast.com/post/265-peter-newman-part-3-esop-company-provided-personal-financial-wellness-planning

Bret Keisling shares an excerpt featuring Peter Newman of Peak Wealth Planning [https://www.peakwealthplanning.com/], discussing things to consider mid-career when looking towards a future retirement, taken from next week's episode of The EsOp Podcast. In the final episode of our three-part series with Peter Newman, he will be discussing the importance of employee-owned companies offering personal financial wellness education to employee owners, and the three training tracks offered by Peak Wealth Planning for three different career stages: early, mid-career, and close to retirement. Visit our website for the full transcript, video, and show notes for this episode, including a helpful PDF called "The Employee Owner's Guide to Diversification and Retirement Planning."

Part 2 of 3.  Bret Keisling is joined again by Peter Newman, founder of Peak Wealth Planning [www.peakwealthplanning.com/], for our deepest dive ever on Diversification and Distributions. ESOP plans allow participants to diversify, i.e., sell some of their shares back to the company, at various points prior to retirement.  Peter describes various considerations, include taxes and total portfolio management, that may lead a participant to diversify or not.  He also shares what participants should consider about post-employment life as they plan to use their ESOP distributions for a successful retirement. The show notes for this episode, including a helpful PDF called "The Employee Owner's Guide to Diversification and Retirement Planning," are available on our website at https://www.theesoppodcast.com/post/264-peter-newman-part-2-diversification-and-distributions-a-deep-dive

Bret Keisling shares an excerpt featuring Peter Newman of Peak Wealth Planning [https://www.peakwealthplanning.com/], who gives a very quick look at ESOP Account Diversification taken from next week's episode of The EsOp Podcast. In that episode you'll hear our deepest dive yet on the nuts and bolts of ESOP Account Diversification and Distributions. ESOP account owners usually have the right at various times to diversify their holdings by selling their ESOP shares back to the ESOP Trust or the company, and understanding your options with Diversification and Distributions is critical for planning a successful retirement. Visit our website for the full transcript, video, and show notes for this episode, including a helpful PDF called "The Employee Owner's Guide to Diversification and Retirement Planning."

Part 1 of 3. Bret Keisling is joined by Peter Newman, founder of Peak Wealth Planning [https://www.peakwealthplanning.com/], a boutique financial advisory firm specializing in high net-worth individuals with an emphasis on employee ownership. In this episode, Peter discusses the various considerations someone should make as they begin planning for a successful retirement.  Many employee owners may retire with a nest egg that generates more income than the salary.  Peter describes how a mindset shift can be necessary to focus on designing and funding a retirement lifestyle, and why making and implementing financial decisions during the career can have a huge impact on retirement. The show notes for this episode, including a helpful PDF called "The Employee Owner's Guide to Diversification and Retirement Planning," are available on our website at https://www.theesoppodcast.com/post/263-peter-newman-part-1-planning-retirement-success-with-peter-newman

On today's podcast episode, our contestants compete in The Great Behind the Numbers Take Off, 2024 mobile trends edition, where they will try and cook up the most interesting predictions for the coming year. They'll discuss how shoppable media will evolve on mobile devices, where mobile ad dollars are moving to, and why foldable phones are here to stay. Tune in to the discussion with our analysts Peter Newman, Andrew Spink, and Yory Wurmser.    Follow us on Instagram at:  https://www.instagram.com/insiderintelligence/   For sponsorship opportunities contact us: advertising@insiderintelligence.com For more information visit: https://www.insiderintelligence.com/contact/advertise/ Have questions or just want to say hi? Drop us a line at podcast@emarketer.com    For a transcript of this episode click here:  https://www.insiderintelligence.com/content/podcast-daily-great-btn-take-off-2024-mobile-trends-shoppable-media-mobile-ad-dollar-shifts-foldable   © 2023 Insider Intelligence 

Over the next three weeks, Bret Keisling is bringing you episodes featuring Peter Newman, founder of Peak Wealth Planning [https://www.peakwealthplanning.com/], a boutique financial advisory firm specializing in high net-worth individuals with an emphasis on employee ownership. Part one with Peter Newman is a general look at issues people in their forties and fifties should be considering as they approach retirement age. The second episode is the deepest dive we've ever had on The EsOp Podcast about the nuts and bolts of diversification and distributions. In the third episode, Peter talks about the importance of companies providing financial wellbeing information and even classes to their employees about personal finances.  To introduce Peter Newman to our listeners, we're sharing his EO A-ha Moment, excerpted from the third episode of our upcoming series. Show notes and the full transcript of this episode are available on our website at https://www.theesoppodcast.com/post/mini-cast-250-peter-newman-s-eo-a-ha-moment

2023 12 15 Peter Newman by CurtinFM 100.1 in Perth, Western Australia

In this episode, we wrap up the 2023 season by talking with our WeedSmart Extension Agronomists.Together, Northern Extension Agronomist Paul McIntosh, Southern Extension Agronomists Greg Condon and Chris Davey, and Western Extension Agronomist Peter Newman take us through the year that was in their various parts of the country.The talk about the season itself, how harvest has panned out, and of course the weed control tactics that have proved most beneficial in 2023.NEWS and LINKSWebinar: Biological control of grains weeds – development of novel tools and approaches for integration: Discover the pioneering work of CSIRO researchers Dr Ben Gooden and Dr Michelle Rafter on using biocontrol agents to control crop weeds. They will discuss their work conducting exploratory surveys of biocontrol agents and host-testing with pathogens and insects.Articles1. Testing optical sprayer technology return on investment: Machinery prices have sky-rocketed in recent years, leaving many growers wondering whether new technologies, like optical spot sprayers, can pay their way. Peter Newman, Planfarm farm business consultant and WeedSmart western extension agronomist, has run some figures for his clients to help them with boomspray purchase decisions, and found that the benefits often outweigh the upfront cost of weed detection technology.2. Measuring the value of weed control expenses: Weed control is expensive, and it is often hard to measure the return on your investment. WeedSmart's southern extension agronomist, Chris Davey, is determined to show that his advice to growers will put money back in their pockets through improved crop yield and fewer weeds to control in future seasons.Learn more about WeedSmart by visiting our website. Don't forget you can follow us on Twitter too.

2023 - 12 - 04 Professor Peter Newman by CurtinFM 100.1 in Perth, Western Australia

On today's podcast episode, we discuss what's most to blame for this sustained ad spending rebound, what concerns us about it, and what we expect to see from ad spending in 2024. "In Other News," we talk about why ad-blocking rates are experiencing a gradual uptick and a cord-cutting milestone. Tune in to the discussion with our director of forecasting Peter Newman and vice president of content Paul Verna.   Follow us on Instagram at:  https://www.instagram.com/insiderintelligence/   For sponsorship opportunities contact us: advertising@insiderintelligence.com For more information visit: https://www.insiderintelligence.com/contact/advertise/ Have questions or just want to say hi? Drop us a line at podcast@emarketer.com    For a transcript of this episode click here:      © 2023 Insider Intelligence    Transform insights into impact with Affinity Solutions, your window into unparalleled consumer purchase insights. By analyzing data from over 140 million cards, Affinity Solutions informs personalized action plans that resonate with your market, driving growth and precision in every transaction. Visit www.affinitysolutions.com and lead with data.  

2023 - 11 - 20 Professor Peter Newman by CurtinFM 100.1 in Perth, Western Australia

2023 - 10 - 26 Prof Peter Newman by CurtinFM 100.1 in Perth, Western Australia

In this episode, we talk about harvest preparedness. We hear from two of WeedSmart's extension agronomists.WeedSmart southern extension agronomist, Chris Davey, discusses the different ways growers can get the crop dry enough to successfully put it through a harvester without any blockages, such as windrowing, desiccation and crop topping. WeedSmart western extension agronomist, Peter Newman, talks about optimum harvester set-up to ensure weed seeds go into the chaff cart, chaff deck or weed seed impact mill.NEWS and LINKSWebinar recording: The economics of weeds — what they cost and the benefits of managing them effectivelyWe don't often take the time to calculate what yield reduction weeds are actually responsible for, or what a well-planned rotation for weed management can make a farming business. In our latest webinar, we discussed the economic benefits of implementing an integrated weed management approach on your farm. Upcoming webinar: Biological control of grains weeds – development of novel tools and approaches for integrationDiscover the pioneering work of CSIRO researchers Dr Ben Gooden and Dr Michelle Rafter on using biocontrol agents to control crop weeds. They will discuss their work conducting exploratory surveys of biocontrol agents and host-testing with pathogens and insects. Articles1.    Windrowing barley plus HWSC in the high rainfall zone: Tim Williams (Conmurra, SA) uses the barley phase to really drive down their weed seed bank. Tim says they windrow the barley as early as possible, cutting it low to the ground. This minimises weed seed shedding, particularly in ryegrass, so they can capture the seed and process it through the impact mills at harvest.2.    Never miss an opportunity to tackle weeds: Lance Turner says herbicide resistance, particularly glyphosate resistance, was going to take them out of cropping if they didn't start using harvest weed seed control. Twenty-five years on and the Turners still have the newer chemistries ‘up their sleeve'.3.    Mills impact the weed seed bank: Bruce McLean farms at Bool Lagoon in South Australia's high rainfall zone. He says that the limited harvest hours in the region were a major deterrent when it came to implementing harvest weed seed control, but they have found that the impact mill doesn't slow them down too much, and they have the option to bypass it if necessary.4.    Can I take an integrated approach to summer fallow management? Glenn Shepherd, agronomist and director of IMAG Consulting in Dubbo, NSW, says growers have opportunities to take an integrated approach to fallow management using the WeedSmart Big 6 as a checklist. Read Glenn's summer fallow management tips.Learn more about WeedSmart by visiting our website. Don't forget you can follow us on Twitter too.

2023 - 09 - 06 Professor Peter Newman by CurtinFM 100.1 in Perth, Western Australia

Professor of Sustainability at Curtin University and lead author on transport for the IPCC, Peter Newman, says electric transport not only provides an opportunity to produce healthier, net zero vehicles, it enables us to rethink and build healthier, better cities.

Climate scientists say this past July was likely the hottest month on record and possibly the warmest in 120,000 years. It comes as heat waves sizzle across large swathes of Europe, North America and Asia. In the meantime, heavy rains have led to deadly floodings across the world. The Chinese capital Beijing recorded its heaviest rainfall over the past few days since records began 140 years ago. UN Secretary General Antonio Guterres warned that the world has entered the "era of global boiling". What has been driving such extreme weather events worldwide? Is climate change to blame? Host Zhao Ying is joined by Peter Newman, Professor of Sustainability at Curtin University, and a lead author at the Intergovernmental Panel on Climate Change; Michael Mehling, Deputy Director of the MIT Center for Energy and Environmental Policy Research; and Wu Changhua, CEO of Beijing Future Innovation Center and Executive Director of Professional Association for China's Environment.

On today's episode, we discuss whether Microsoft's AI-powered Bing can take share from Google, if social platforms can compete with Amazon on product search, and what to make of the idea that Apple might release its own search engine. "In Other News," we talk about what watching Peacock in the metaverse looks like and how people feel about all of their subscriptions. Tune in to the discussion with our director of forecasting Peter Newman and analyst Max Willens.   Follow us on Instagram at:  https://www.instagram.com/behindthenumbers_podcast/   For sponsorship opportunities contact us: advertising@insiderintelligence.com For more information visit: https://www.insiderintelligence.com/contact/advertise/ Have questions or just want to say hi? Drop us a line at podcast@emarketer.com    For a transcript of this episode click here:  https://content-na1.emarketer.com/podcast-daily-how-much-search-ground-will-google-lose-peacock-enters-metaverse?_ga=2.213979984.613858781.1681933161-175926949.1671072240&_gl=1*1gt4y0r*_ga*MTc1OTI2OTQ5LjE2NzEwNzIyNDA.*_ga_XXYLHB9SXG*MTY4MTkzMzE2MC42MS4wLjE2ODE5MzMxNjAuMC4wLjA.   © 2023 Insider Intelligence    Cint is a global insights company. Our media measurement solutions help advertisers, publishers, platforms, and media agencies measure the impact of cross-platform ad campaigns by leveraging our platform's global reach. Cint's attitudinal measurement product, Lucid Impact Measurement, has measured over 3000 campaigns and 480 billion impressions globally.  

On today's episode, we discuss how sports betting in the US became an overnight market and how many folks will own cryptocurrency going forward. "In Other News," we talk about Substack's new tweet-like feature "Notes" and how YouTube is pricing NFL Sunday Ticket. Tune in to the discussion with our director of forecasting Peter Newman and analyst Andrew Spink.   Follow us on Instagram at:  https://www.instagram.com/behindthenumbers_podcast/   For sponsorship opportunities contact us: advertising@insiderintelligence.com For more information visit: https://www.insiderintelligence.com/contact/advertise/ Have questions or just want to say hi? Drop us a line at podcast@emarketer.com    For a transcript of this episode click here:  https://www.insiderintelligence.com/content/podcast-daily-us-sports-bettings-explosion-how-people-feel-about-owning-crypto   © 2023 Insider Intelligence      Cint is a global insights company. Our media measurement solutions help advertisers, publishers, platforms, and media agencies measure the impact of cross-platform ad campaigns by leveraging our platform's global reach. Cint's attitudinal measurement product, Lucid Impact Measurement, has measured over 3000 campaigns and 480 billion impressions globally.  

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 today's episode, we discuss which video streaming platforms marketers will spend most of their ad dollars on, how the different card network players stack up against each other, and where most folks prefer to return items. "In Other News," we talk about our expectations for out-of-home and programmatic advertising in 2023. Tune in to the discussion with our directors of forecasting Peter Newman and Oscar Orozco.   Follow us on Instagram at:   https://www.instagram.com/behindthenumbers_podcast/   For sponsorship opportunities contact us: advertising@insiderintelligence.com For more information visit: https://www.insiderintelligence.com/contact/advertise/ Have questions or just want to say hi? Drop us a line at podcast@emarketer.com    © 2022 Insider Intelligence      Tinuiti is the largest independent performance marketing firm across Streaming TV and the Triopoly of Google, Meta, Amazon, with over 1,200 employees and $3 billion in digital media under management. Tinuiti has industry-leading expertise in search, social, Amazon and marketplaces, addressable TV and mobile apps, Lifecycle Marketing, and more.   

On today's episode, we discuss what brand new forecasts the forecasting team cooked up in Q2, including influencer marketing spend by platform and tier, luxury ecommerce, and US prescription drug sales. "In Other News," we talk about Apple Pay's meteoric rise and what DoorDash's Q2 performance says about the future of the food delivery space. Tune in to the discussion with our senior forecasting analyst Iwona Drapala and director of forecasting Peter Newman.   For sponsorship opportunities contact us: advertising@insiderintelligence.com For more information visit: https://www.insiderintelligence.com/contact/advertise/ Have questions or just want to say hi? Drop us a line at podcast@emarketer.com    © 2022 Insider Intelligence 

Returning to chat with us after his first visit was lost to the eddies of chaos, Peter Newman (author of the Vagrant and Deathless series) reads out an original story written to the prompt 'The Handshake' and answers some off the wall questions from Nico & Ben.Support the show (https://www.patreon.com/thetinybookcase)

Freedom Seekers: Escaping from Slavery in Restoration London (University of London Press, 2022) by Professor Simon P. Newman reveals the hidden stories of enslaved and bound people who attempted to escape from captivity in England's capital. In 1655 White Londoners began advertising in the English-speaking world's first newspapers for enslaved people who had escaped. Based on the advertisements placed in these newspapers by masters and enslavers offering rewards for so-called runaways, this book brings to light for the first time the history of slavery in England as revealed in the stories of resistance by enslaved workers. Featuring a series of case-studies of individual "freedom-seekers", this book explores the nature and significance of escape attempts as well as detailing the likely routes and networks they would take to gain their freedom. The book demonstrates that not only were enslaved people present in Restoration London but that White Londoners of this era were intimately involved in the construction of the system of racial slavery, a process that traditionally has been regarded as happening in the colonies rather than the British Isles. An unmissable and important book that seeks to delve into Britain's colonial past. R. Grant Kleiser is a Ph.D. candidate in the Columbia University History Department. His dissertation researches the development of the free-port system in the eighteenth-century Caribbean, investigating the rationale for such moves towards “free trade” and the impact these policies had on subsequent philosophers, policy-makers, and revolutionaries in the Atlantic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Freedom Seekers: Escaping from Slavery in Restoration London (University of London Press, 2022) by Professor Simon P. Newman reveals the hidden stories of enslaved and bound people who attempted to escape from captivity in England's capital. In 1655 White Londoners began advertising in the English-speaking world's first newspapers for enslaved people who had escaped. Based on the advertisements placed in these newspapers by masters and enslavers offering rewards for so-called runaways, this book brings to light for the first time the history of slavery in England as revealed in the stories of resistance by enslaved workers. Featuring a series of case-studies of individual "freedom-seekers", this book explores the nature and significance of escape attempts as well as detailing the likely routes and networks they would take to gain their freedom. The book demonstrates that not only were enslaved people present in Restoration London but that White Londoners of this era were intimately involved in the construction of the system of racial slavery, a process that traditionally has been regarded as happening in the colonies rather than the British Isles. An unmissable and important book that seeks to delve into Britain's colonial past. R. Grant Kleiser is a Ph.D. candidate in the Columbia University History Department. His dissertation researches the development of the free-port system in the eighteenth-century Caribbean, investigating the rationale for such moves towards “free trade” and the impact these policies had on subsequent philosophers, policy-makers, and revolutionaries in the Atlantic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Freedom Seekers: Escaping from Slavery in Restoration London (University of London Press, 2022) by Professor Simon P. Newman reveals the hidden stories of enslaved and bound people who attempted to escape from captivity in England's capital. In 1655 White Londoners began advertising in the English-speaking world's first newspapers for enslaved people who had escaped. Based on the advertisements placed in these newspapers by masters and enslavers offering rewards for so-called runaways, this book brings to light for the first time the history of slavery in England as revealed in the stories of resistance by enslaved workers. Featuring a series of case-studies of individual "freedom-seekers", this book explores the nature and significance of escape attempts as well as detailing the likely routes and networks they would take to gain their freedom. The book demonstrates that not only were enslaved people present in Restoration London but that White Londoners of this era were intimately involved in the construction of the system of racial slavery, a process that traditionally has been regarded as happening in the colonies rather than the British Isles. An unmissable and important book that seeks to delve into Britain's colonial past. R. Grant Kleiser is a Ph.D. candidate in the Columbia University History Department. His dissertation researches the development of the free-port system in the eighteenth-century Caribbean, investigating the rationale for such moves towards “free trade” and the impact these policies had on subsequent philosophers, policy-makers, and revolutionaries in the Atlantic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies

Freedom Seekers: Escaping from Slavery in Restoration London (University of London Press, 2022) by Professor Simon P. Newman reveals the hidden stories of enslaved and bound people who attempted to escape from captivity in England's capital. In 1655 White Londoners began advertising in the English-speaking world's first newspapers for enslaved people who had escaped. Based on the advertisements placed in these newspapers by masters and enslavers offering rewards for so-called runaways, this book brings to light for the first time the history of slavery in England as revealed in the stories of resistance by enslaved workers. Featuring a series of case-studies of individual "freedom-seekers", this book explores the nature and significance of escape attempts as well as detailing the likely routes and networks they would take to gain their freedom. The book demonstrates that not only were enslaved people present in Restoration London but that White Londoners of this era were intimately involved in the construction of the system of racial slavery, a process that traditionally has been regarded as happening in the colonies rather than the British Isles. An unmissable and important book that seeks to delve into Britain's colonial past. R. Grant Kleiser is a Ph.D. candidate in the Columbia University History Department. His dissertation researches the development of the free-port system in the eighteenth-century Caribbean, investigating the rationale for such moves towards “free trade” and the impact these policies had on subsequent philosophers, policy-makers, and revolutionaries in the Atlantic world. Learn more about your ad choices. Visit megaphone.fm/adchoices

Freedom Seekers: Escaping from Slavery in Restoration London (University of London Press, 2022) by Professor Simon P. Newman reveals the hidden stories of enslaved and bound people who attempted to escape from captivity in England's capital. In 1655 White Londoners began advertising in the English-speaking world's first newspapers for enslaved people who had escaped. Based on the advertisements placed in these newspapers by masters and enslavers offering rewards for so-called runaways, this book brings to light for the first time the history of slavery in England as revealed in the stories of resistance by enslaved workers. Featuring a series of case-studies of individual "freedom-seekers", this book explores the nature and significance of escape attempts as well as detailing the likely routes and networks they would take to gain their freedom. The book demonstrates that not only were enslaved people present in Restoration London but that White Londoners of this era were intimately involved in the construction of the system of racial slavery, a process that traditionally has been regarded as happening in the colonies rather than the British Isles. An unmissable and important book that seeks to delve into Britain's colonial past. R. Grant Kleiser is a Ph.D. candidate in the Columbia University History Department. His dissertation researches the development of the free-port system in the eighteenth-century Caribbean, investigating the rationale for such moves towards “free trade” and the impact these policies had on subsequent philosophers, policy-makers, and revolutionaries in the Atlantic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Freedom Seekers: Escaping from Slavery in Restoration London (University of London Press, 2022) by Professor Simon P. Newman reveals the hidden stories of enslaved and bound people who attempted to escape from captivity in England's capital. In 1655 White Londoners began advertising in the English-speaking world's first newspapers for enslaved people who had escaped. Based on the advertisements placed in these newspapers by masters and enslavers offering rewards for so-called runaways, this book brings to light for the first time the history of slavery in England as revealed in the stories of resistance by enslaved workers. Featuring a series of case-studies of individual "freedom-seekers", this book explores the nature and significance of escape attempts as well as detailing the likely routes and networks they would take to gain their freedom. The book demonstrates that not only were enslaved people present in Restoration London but that White Londoners of this era were intimately involved in the construction of the system of racial slavery, a process that traditionally has been regarded as happening in the colonies rather than the British Isles. An unmissable and important book that seeks to delve into Britain's colonial past. R. Grant Kleiser is a Ph.D. candidate in the Columbia University History Department. His dissertation researches the development of the free-port system in the eighteenth-century Caribbean, investigating the rationale for such moves towards “free trade” and the impact these policies had on subsequent philosophers, policy-makers, and revolutionaries in the Atlantic world. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Digital advertising has taken a few hits in the recent past (ahem, the pandemic), but there's still lots of hope and some flat growth that can't be ignored. "In Other News," we discuss Vizio's new ad solution and what exactly service hoppers are. Tune in to the discussion with our analysts Peter Newman and Paul Verna.   For sponsorship opportunities contact us:    advertising@insiderintelligence.com.   For more information visit:   https://www.insiderintelligence.com/contact/advertise/ Have questions or just want to say hi? Drop us a line at podcast@emarketer.com   © 2021 Insider Intelligence   

Ben and Nico are joined, in part at least by Peter Newman, author of the Vagrant and Deathless book series.In this technologically challenged episode, the team take on the prompt "The Handshake".Support the show (https://www.patreon.com/thetinybookcase)

Today, we bring you a spy author interview. Spybrary hosts Shane Whaley and Peter Newman find out more about Charlotte Philby's latest novel, Edith and Kim. Charlotte also shares memories of her grandfather, Kim Philby, and reveals some interesting responses in the world-famous Spybrary Quickfire Round!

How are various players around the world getting in on the latest digital advertising bandwagon of retail media? Join our analyst Bill Fisher as he hosts analysts Peter Newman, Matteo Ceurvels, and Paul Briggs.   For sponsorship opportunities contact us:   advertising@insiderintelligence.com.   For more information visit:   https://www.insiderintelligence.com/contact/advertise/ Have questions or just want to say hi? Drop us a line at podcast@emarketer.com   © 2021 Insider Intelligence     

An Australian public transport expert doesn't back free transport in New Zealand. Perth provides a free transit zone to the public – but there are uncertainties it would be a success here. Curtin University's Sustainable Transport Professor Peter Newman told Andrew Dickens it doesn't work unless public transport services are strong enough to compete with the convenience of a car. He says New Zealand public transport lacks the resources and convenience that makes the Perth service a success. LISTEN ABOVE 

SUPER Special episode face to face interview with the #thundercats Larry Kenney and Peter Newman recorded at the 2020 Ultracon of South Florida convention! Guillermo Olivo sits down and chat plastic with the legendary voices behind the 80's icons cartoon such as Thundercats and #silverhawks as well as other voice ventures from these living legends! Recorded Ultracon of South Florida Please check out the rest of Plastic Chats here: https://vimeo.com/ondemand/plasticchats/ You can find Plastic Crack Documentary Series in the links below: Amazon US: https://amzn.to/2IEZXrr Amazon UK: https://amzn.to/2UK4ZtN Amazon Germany: https://amzn.to/2KOvw4Q Vimeo OnDemand (World Wide availability) https://vimeo.com/ondemand/plasticcrackdocumentary Find us for more content on: https://www.facebook.com/PlasticCrackFilm/ https://www.instagram.com/plasticcrackfilm/?hl=en --- Support this podcast: https://podcasters.spotify.com/pod/show/plasticchats/support

Today, Lucy Branch talks to sculptor, Peter Newman, on the podcast. Peter has exhibited in Trafalgar Square, the Royal Festival Hall and the Hayward Gallery in London, the Turner Contemporary in Margate and at the Guggenheim Museum in Venice. His work was projected onto the exterior of the 21st Century Museum of Contemporary Art, in Kanazawa, Japan and can be found all over the world in public and private collections. Join us and BE INSPIRED BY SCULPTURE. You can find images of Peter Newman's work and a transcription of the interview at Sculpture Vulture Blog - SCULPTURE VULTURE Please support the show by purchasing, Bronze Behaving Badly, about the foundations of preserving sculpture and architectural features. Or, one of several novels such as, Restoration Murder, by Lucy Branch. This podcast was brought to you by Antique Bronze

Since everyone has so much extra time at home (stay safe everybody) we've got an extra long episode to round out our Cradle marathon. You miss 100% of the shots you don't take so we let it rip with our Sacred Valley theories. Is it just me or do the Vroshir have a case? We're joining up based on the Mad King's flex alone. Stick with us next week as we start reading The Vagrant by Peter Newman and keep the comments coming on twitter (@DCitaBC), email (dcbc@dontcallitabookclub.com) or facebook. Special thanks to VOLO for the intro and outro music.The post Uncrowned first appeared on Don't call it a book club..